(navigation image)
Home American Libraries | Canadian Libraries | Universal Library | Community Texts | Project Gutenberg | Children's Library | Biodiversity Heritage Library | Additional Collections
Search: Advanced Search
Anonymous User (login or join us)
Upload
See other formats

Full text of "Picture-Play Magazine, April 1922"

THE INDISCRETIONS OF 




The 

Best Magazine 

of the Screen 




JELL-O appeals to the house- 
wife for two big reasons : It 
is simple to prepare and the 
family enjoys it. 

Attractive, healthful and de- 
licious, — reliable features of 
"America's Most Famous Des- 
sert." With a package of Jell-O 
always in the house you are 
ready to entertain an emergency 
party of neighbor children or 
your husband's business friends. 



cJELL-0 



oAmericds Most Famous Dessert 



The American Offices and 
Factory of The Qenesee Pure 
Food Company are at Le Roy, 
h!exu York, in the famous 
Qenesee Valley Country. 



The Offices and Factory of 
The Qenesee Pure Food Com- 
pany of Canada, Ltd., are 
at Bridgeburg, Ontario, on 
the Niagara River. 




Advertising Section 



Not $100, the standard price 
for a standard typewriter, but 

NOW 

$>1Q5Q 

■■Jfci _ W Cash Price or $55 
^" ^k^ on Easy Terms 





tJ'- " 








Z.WT 














. 


Alt 1 






The OIK'er typewriter <^o. 



How we save you half 

when you buy direct from the factory 



The standard price for a 
standard typewriter is $100 
or over, and has been for a 
quarter of a century. 

Half of the $100 price is 
devoted to the expense of sell- 
ing. We know, because we 
priced the Oliver at $100 for 
many years. 

But we found that we could save the 
public from a useless toll by develop- 
ing a new plan of distribution. 

So now we sell the identical $100 
Oliver, standard the world over, direct 
from the factory to the user — elim 
inating the $50.50 in sales expense. 

Product Unchanged 

Whether the price is $100 or $49.50, 
it is the same Oliver, the finest ever 
built. The price does not affect the 
machine. For the saving comes solely 
from dealing directly between maker 
and buyer. 

We found it unnecessary to main- 
tain a large staff of salesmen and 
agents. We found it unnecessary to 
have costly branches in over 50 cities. 
In dozens of ways we saved on selling 
cost. And every cent saved was sub- 
tracted from the $100. 

Our plan, while simple, was a radical 
departure from customary methods of 
selling typewriters. It was greeted 
with nation-wide enthusiasm. Over 
900,000 Olivers have been sold. 

$100 Value 

Compare all standard typewriters. 
Note how the Oliver holds a unique 
and supreme position. Not because of 
its low price alone, but because of its 
quality. Regardless of price, you can- 
not obtain a finer typewriter, nor one 



Instead of spending $50.50 to sell you an 
Oliver, we let it sell itself, saving you half 
the usual price of $100. The Oliver is sent 
to you for free trial. Keep it or return it. 



more durable, nor faster, nor easier to 
operate. 

It is the favorite of many of the fore- 
most businesses in the country. Such 
concerns as U. S. Steel Corporation, 
Hart, Schaffner & Marx, N. Y. Edison 
Co., Morris & Co., New York Central 
Lines, National Cloak & Suit Co., and 
hundreds of others, give the Oliver , 
first place.. 



If you decide against tbe 
Oliver, ship it back at our 
expense. We even refund the 
outgoing transportation 

charges, so you do not risk a 
single penny. 

Remember, the Oliver you 
receive is fresh from the fac- 
tory, not second-hand, not rebuilt. It 
is our latest and best model, the fa- 
mous No. 9, identical with the machines 
formerly priced at $100. Not a feature 
is omitted. In fact we are building a 
finer and better typewriter than ever 
before. 



Free Trial 



We ship the -Oliver to' you for five 
days' free trial. The coupon below 
brings it. ■ Use it as if it were your 
own. Compare it. Then if you decide 
it is the finest typewriter, regardless 
of price, and wish to buy it, send us 
$49.50 cash, or if you wish to pay in 
installments, send us $3, 
after trial, then $4 per 
month, until $55 is paid. 
It costs us the extra $5.50 
to carry your account for 
14 months. 



The coupon brings either the Free 
Trial Oliver or Further Information. 
Check which you desire. Be your own 
salesman NOW and saye yourself the 
$50.50: ■ ' 

Canadian Price, $79 

Typewriter (pmpan? 
1254 Oliver Typewriter Bldg., Chicago, 111. 




THE OLIVER TYPEWRITER CO. _ 

1254 Oliver Typewriter Bldg., Chicago, TO. 

□ Ship me a new Oliver No. 9 Typewriter for five 
days' free inspection. If I keep it I will pay $55 
as follows: $3 at the end of trial period and then at 
the rate of $4 per month. The title to remain in you 
until fully paid for. If I make cash settlement at end 
of trial period I am to deduct ten per cent and remit 
to you $49.50. 

If I decide not to keep it, I will ship it back at your 
expense at the end of five days. 
My shipping point is 

□ Do not send a machine until I order it. Mail me 
your book — "The High Cost of Typewriters — The 
Reason and the Remedy," your de luxe catalog and 
further information. 



Name 

Street Address 
City. 



■ ^i*j 

I Occupation or Business. . . 



State. 



MONTHLY 




COVER DESIGN BY HAMILTON KING 

Chats with Screen Authors ... . . 8 

Information and advice about scenarios and the market for them. 

The Calendar of Past Performances . . Johnson Briscoe . 17 

This day in the history of famous film stars. 

The Indiscretions of a Star . . . Inez Klumph . .18 

An intimate view of the romantic adventures of a matinee idol. 

Three Lovable Girls .... Edna Foley . . 23 

A glimpse of Richard Barthelmess' leading women. 

Where Do They Come From? . . Johnson Briscoe . 24 

The beginnings of some of our famous stars. 

The Barnstormer Robert Terry Shannon 26 

The amusing adventures of a stage-struck boy, adapted from the popular motion 
picture of the same name. 

The Observer . . 29 

Editorial comment on timely topics concerning the screen. 

Do Marriage and Art Mix? . . . Grace Kingsley . 31 

Opinions pro and con of prominent motion-picture players. 

Doctor Giggle and Mr. Hide . . . Peter White . . 34 

The two-fold personality of Harold Lloyd. 

Favorite Picture Players ... . ♦ . . 35 

Portraits in rotogravure of eight prominent players. 

Beauty and the Bean .... Malcolm H, Oettinger 43 

An unusual personality story of Norma Talmadge. 

A Fan's Adventures in Hollywood . . Ethel Sands . . 44 

She goes on a sightseeing tour with some famous players. 

Scheherazade Tells a Story . . . Malcolm H. Oettinger 48 

Exotic Alma Rubens grows reminiscent. 

Cinderella Lives Again . . . . Martin Mott . • 49 

Her name in this incarnation is Constance Binney. 

Over the Teacups ..... The Bystander . 50 

Gossip about motion-picture players grows spirited while the tea grows cold. 

Folks That You Have Known . ♦ John Addison Elliott 54 

Some striking characterizations offered by a newcomer to the motion-picture 
screen. 

Camera Land's "See-me" Side of Life . Gordon Gassaway . 56 

A demand that few stars dare to ignore. 

Romances of Famous Film Folk . . Grace Kingsley . 58 

A love story of the springtime of life — and the Shirley Mason-Bernard Durning 
elopement. 

Continued on the Second Page Following 



Monthly publication issued by Street & Smith Corporation. 79-89 Seventh Avenue. New York City, Ormond G. Smith. President: Georgk C. Smith, Treasurer; Ceorgb C. Smith Jr 

Secretary. Copyright, 1922, by Street & Smith Corporation, New York. Copyright, 1922, bv Street & Smith Corporation, Great Britain. Alt Ili'jht* Reserved. Publishers 

everywhere are cautioned against using* any of the contents of this mugszino cither wholly or in part. Entered as Second-class Matter, March 6. 1916, at the Post 

Office at New York, N. Y,, undor Act of Congress of March 3, 1879. Canadian subscription, 32.36. Foreign, 32.72. 

WARNING— Do not subscribe through agents unknown to yon. Complaints are daily made by persona who have been thus victimized. 

[MPORTANT— Authors, agents, and publishers are requested to note that this firm docs not hold Itself responsible for loss of unsolicited manuscripts while at this office or 
o transit; and that it cannot undertake to hold uncalled-for manuscripts for a longer period than alx months. If the return of manuscript is expected, postage should be inclosed. 

YEARLY SUBSCRIPTION. »».00 SINGLE COPIES. 80 CENTS 



::-:"" 



Advertising Section 




PARAMOUNT Showmen everywhere 
are on their toes to give you the 
greatest shows imaginable this year! 

Study the list. Here's rich food for 
joyous anticipation. 

On Paramount nights there will be a 
gathering of the clans and the fans in 
every town. 

It's Paramount's TENTH Birthday 
this year, you know, and high celebra- 
tions are in order all year! 

If it's a Paramount Picture it's a fan 
picture ! 

See these sixty-two as a starter and 
you'll tell the world we said it! 



IF 






m&Ssss 



Tt'S 



-*§2Qy 



Released January, 1922, to August 1, 1922 

Ask your theatre manager when he will show them 



Wallace Reid in "Rent Free" 
By Izola Forrester and Mann Page 

A William de Mille Production 

"Miss Lulu Rett" 

with Lois Wilson. Milton Sills. Theodora 

Roberts and Helen Ferguson 

From the novel and play by Zona Gale 

Wanda Hawley in "Too Much Wife" 
by Lorna Moon. A Realart Production 

"Back Pay," by Fannie Hurst Directed by 

Frank Borzago 

A Cosmopolitan Production 

Agnes Ayres in Sir Gilbert Parker's Story 
"The Lane That Had No Turning" 

Thomas Meighan in "A . Prince There Was" 

From George M. Cohan's play and the novel 

"Enchanted Hearts" by Darragh Aldrich 

Marion Davies in "The Bride's Play" 

by Donn Byrne 

Supervised by Cosmopolitan Productions 

Bobe Daniels in "Nancy From Nowhere" 

by Grace Drew and Kathrene Pinkerton 

A Realart Production 

A George Fltzmaurlce Production 

"Three Live Ghosts" with 

Anna Q. Nilsson and Norman Kerry 

Mary Miles M inter in "Tlllie" 

From the novel by Helen R. Martin 

A Realart Production 

Cecil B. de Mille's Production "Saturday 
Night." By Jeanle Macpherson 

Betty Compson in "The Law and the Woman" 

Adapted from the Clyde Fitch play 

"The Woman In the Case" 

A Penrhyn Stanlaws Production 

"One Glorious Day" 

With Will Rogers and Llla Lee 

By Walter Woods and 0. B. Barringer 

George Melford's Production 

"Moran of the Lady Letty" 

With Dorothy Dalton 

From the story by Frank Norris 

May McAvoy In "A Homespun Vamp" 
By Hector Turnbull. A Realart Production 

"Boomerang Bill" with Lionel Barrymore 
By Jack Boyle. A Cosmopolitan Production 

Ethel Clayton in "Her Own Money" 
Adapted from the play by Mark Swan 

John S. Robertson's Production 

"Love's Boomerang" with Ann Forrest 

From the novel "Perpetua" 

By Dion Clayton Calthro? 

Constance Binncy in "Midnight" 
By Harvey Thew. A Realart Production 

Pola Negri in "The Red Peacock" 

Bebe Daniels in "A Game Chicken" 

By Nina Wilcox Putnam 

A Realart Production 

William S. Hart in "Travelin* On" 

By William S. Hart 

A William S. Hart Production 

Elsie Ferguson and Wallace Reid In 

"Peter Ibbetson" 

By George Du Maurier 

A George Fitzmaurice Production. 

"The Mistress of the World" 

A series of Four Paramount Pictures with 

Mia May. Directed by Joe May 

From the novel by Carl Figdor 

Wallace Reid In "The World's Champion" 

Based on the play "The Champion" 

By A. E. Thomas and Thomas Louden 

Gloria Swanson in "Her Husband's 

Trademark" 

By Clara Bcranger 

Wanda Hawley In "Bobbed Hair" 

By Hector Turnbull 

A Realart Production 

Cecil B. de Mille's Production 

"Fool's Paradise" 

Suggested by Leonard Merrick's story 

"The Laurels and the Lady" 



Constance Binney in "The Sleep Walker" 

By Aubrey Stauffer 

A Realart Production 

Marion Davies in "Beauty's Worth" 

By Sophie Kerr 

A Cosmopolitan Production 

Betty Compson in 

a William D. Taylor Production 

"The Green Temptation" 

From the story "The Noose" 

By Constance Lindsay Skinner 

May McAvoy in "Through a Glass Window" 

By Olga Prlntzlau 

A Realart Production 

"Find the Woman" with Alma Rubens 

By Arthur Somers Roche 

A Cosmopolitan Production 

Ethel Clayton in "The Cradle" 
Adapted from the play by Eugene Brieux 

Mary Miles Winter in "The Heart Specialist" 

By Mary Morison 

A Realart Production 

Agnes Ayres and Jack Holt In 

"Bought and Paid For" 

A William de Mille Production 

Adapted from the play by George Broadhurst 



Pola Negri in 
Dorothy Dalton in 



"The Devil's Pawn" 
"Tharon of Lost Valley" 



Wanda Hawley In "The Truthful Liar" 

By Will Payne 

A Realart Production 

John S. Robertson's Production 
"The Spanish Jade" by Maurice Hewlett 

"Is Matrimony a Failure?" with T. Roy Barnes, 
Lila Lee, Lois Wilson and Walter Hiers 

Gloria Swanson in Elinor Glyn's 
"Beyond the Rocks" 

Mia May in "My Man" 

Marlon Davies in "The Young Diana" 

By Marie Corel) i 

A Cosmopolitan Production 

Jack Holt and Bebo Daniels In 
"A Stampede Madonna" 

A George Fitzmaurice Production 

"The Man from Home" 

With James Kirkwood, Anna Q. Nilsson, 

Norman Kerry, Dorothy dimming 

and John Miltern 

From the play by Booth Tarklngton and 

Harry Leon Wilson 

Agnes Ayres in "The Ordeal" 

Thomas Meighan in "The Proxy Daddy" 
From the novel by Edward Peple 

Wallace Reid in "Across the Continent" 
By Byron Morgan 

Sir Gilbert Parker's story 

"Over tho Border" 

With Betty Compson and Tom Moore 

A Penhryn Stanlaws Production 

"Sisters" by Kathleen Norris 
A Cosmopolitan Production 

George Melford's Production 

"The Cat That Walkod Alone" 

With Dorothy Dalton 

Thomas Meighan in "The Leading Citizen" 
By George Ade 

Pola Negri in "The Eyes of the Mummy" 

Jack Holt in "The Man Unconquerable" 
By Hamilton Smith 

Ethel Clayton In "For tho Defense" 
From the play by Elmer Rice 

Mia May In "Truth Conquers" 

Agnes Ayres in "The Three of Us" 
By Rachel Crothers 

"The Beauty Shop" with Raymond Hitchcock 

From the musical comedy by Channing 

Pollock and Rennold Wolf 

A Cosmopolitan Production 

Mary Miles M inter In "South of the Suva" 
By Ewart Adamson 



A PARAMOUNT PICTURE ITS THE BEST SHOW IN TOWN 



Contents— Continued 

The Screen in Review 

A critical estimate of the month's offerings of feature pictures. 

The News Reel 

Pertinent observations from the heart of the film colony. 

Can You Beat It? 

A reminder of one of the most startling personalities in filmland. 

Emotionalized Modes 

A clever dress theory carried out by Claire Windsor. 

What the Fans Think . . . ♦ 

An open forum of discussion about motion pictures. 

Something Just As Good . . . . 

Colleen Moore makes up for the good times you may have missed. 

Mr. Wang of Chinatown 

One of the most interesting figures in motion pictures. 

The Eight Most Handsome Men . , 

The fans' verdicts on the most handsome actors on the screen. 

An Old Friend Becomes an Idol 

A friendly survey of the career of Monte Blue. 

The Picture Oracle 

Answers to questions of our readers. 



Alison Smith 


60 


Agnes Smith 


64 


Edna Foley . . 


67 


Louise Williams , 


68 


♦ • • • 


70 


Edna Foley 


71 


Emma-Lindsay Squier 


72 


Our Readers 


73 


Helen Klumph . 


83 



. 94 



J^> 



ZL 



Where Are the Movies Leading Us? 

To culture — prosperity — contentment? Or to vulgarity — ruin — depression? 

I IKE a giant octopus, whose tentacles embrace thousands of people, little strips of film are wind- 
*- u ing themselves about our every interest. This is the gelatin age, for motion pictures are 
influencing our business — our modes — our manners. The trend of motion pictures is the trend of 
our very lives. 

Have you ever stopped to consider what this means? To some of us it is a colossal 
joke — this gelatin leadership. To others it is a matter of grave concern. But to every one 
it is a matter of keen interest. In our next issue Helen Klumph will show you some strik- 
ing phases of this situation. Read this — and see if you are of the ones who are being led wisely, 
or blindly. 

OTHER BIG FEATURES 



Making the Comedians Laugh 

. By Gerald C. Duffy 

It is easy enough for the comedians to make 
you laugh, but what about the poor scenario 
writer who has to make the comedian laugh? 
Hear his troubles ; they will amuse you. 



What is a Screen Test? 

By Helen Christine Bennett 

Explaining one of the most confusing mys- 
teries of the studios. Here is a straightfor- 
ward account of just what a screen test is, 
who has to take them, and what they are for. 



TWO GIRLS STEP INTO THE SPOTLIGHT 

Every one who has seen Cecil DeMille's "Saturday Night" is talking about Leatrice Joy 
and Edith Roberts. Long known as skilled players, this one picture places them among the 
most interesting personalities in the screen world, for it revealed in them new potentialities. You" 
will want to know these girls better — and you can by reading the remarkable interviews with 
them in our next issue. 

There will be other interesting personality stories too about the people you are most inter- 
ested in at the moment— Cullen • Landis, May MacAvoy, Richard Headrick, Corinne Griffith. 

DONT MISS THE MAY NUMBER OF PICTURE-PLAY. IT'S GREAT 



Advertising Section 



1 Robert m. Rhodes, jr.,*jfc 4 We are advertised by our loving friends' 

Washington, D. C. 



,^'IIIIIIIIIIIIIIIIIMIIIIIIIIIIII!III!IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIMIIIIIIIIIIIIIIIIUIIII1IIIIII^ 



Eunice E. Cornelius 
Germa'nlown, Ohio. 






ins 
Food 

All Mellin's Food 
babies are conspicuous 
by their fine, robust 
appearance and happy 
dispositions. 

Write now and ask us to mail you 

a copy of our book, "The Care 

and Feeding of Infants. " 

Mellin's Food Company 

Boston, Mass. 



Margaret J. Moon, 
Sagaponack, N. Y. 





Dane Nortnan, 
Teague, Texas; 



1 1 1 1 in 1 1 1 1 : i ri 111 in 



illlllll I III 1 1 1 1 i i. UiJ 1 1 



iiliiiiiiiiililiiiiiiiiiiiiiiiiiiiiiiiiliiiiiiiiiniiiii.ii 



Emily Root, 
Detroit, Michigan. 




The New- 
West 



Too many writers of Western photo- 
plays seem to believe they must choose 
the West of the days of Bret Harte and 
Mark Twain; they feel that with the 
coming of prohibition, the Ford, and 
ether "marks of progress" that the West is no longer 
picturesque. This is a mistake. There are still the same 
mountains, prairies, and deserts. There are still un- 
matched sunrises and sunsets, and magnificent sweeps 
of sky. There are still adventurers and pioneers. 
Romance is ever born anew against such a background — 
in such an immensity, where life may be expansive and 
poignant. Only it will be a new and different romance. 
The Indian has gone. The saloons 
and tough camps have gone. But 
the thing which most molded the 
characters of the West will never 
leave — the spirit of vastness and still- 
ness. 



W. Somerset 
Interfering Maugham in a re- 

T _. cent number of the 

Directors North American Re- 
view, said, among 
other things: "It will appear from 
these observations that I think the 
director should be definitely an inter- 
preter of the author. Since I am a 
writer it is perhaps natural that I 
should have little patience with his 
claim to be a creative artist. I think 
he has assumed this impressive role 
because in the past he has too often 
been asked to deal with material 
which was totally unsuited to the 
screen. He could produce a tolerable picture only by 
taking the greatest liberties with the story he was given, 
and so he got into the habit of looking upon the story 
as a peg upon which to hang his own inventions." 

All of which is a conclusive argument on behalf of 
the original screen story on the one hand, and the 
disciplining of directors on the other. With the original 
story renaissance at hand, and the art of continuity 
writing becoming highly developed, the director will 
simply have to be restrained. He will in the restraining 
process become shorn of a certain dignity and authority, 
but this is as it should be. 

Apropos of the above I call to mind the lines from 
Kipling's poem: ". . . but it wasn't the least what 
the lady meant," and. "it isn't on record the lady tried." 
What the director thinks the writer of an original screen 
story meant is often just what the latter emphatically did 
not mean ; therefore, in making an interpolation, the 
director often runs counter to psychology — vanity and a 
study of psychology being impossible — so that the' story 
begins to lack conviction and logic. 



For our readers who wish to en- 
gage in screen writing -we publish 
a booklet called "Guideposts for 
Scenario Writers" 'which covers 
about every point on 'which begin- 
ners wish to be informed, and 
which will be sent for ten cents 
in stamps. For those -who have 
written stories which they -wish to 
submit to producers we publish a 
Market Booklet giving the ad- 
dresses of all the leading companies, 
and telling what kind of stories 
they want. This booklet will be 
sent for six cents. Orders for these 
booklets should be addressed to 
the Scenario Writers' Department, 
Picture-Play Magazine, 79 Seventh 
Ave., New York City. Please 
note that we cannot read or 
criticize scripts. 



- Furthermore, it is a question whether many directors, 
in their conceit, "try" to follow the original story. Their 
own brilliant embellishments take on staggering im- 
portance, till the voice of Truth — which is proportion — 
is drowned out in the din of the screeching ego. 

I for one believe it would pay any motion-picture pro- 
ducing organization which accepts an original story from 
an outside writer to pay that man's transportation and 
expenses to Hollywood or New York, as the case may 
be. that he may work hand in hand with the director. 
Of course, a good salary should be added for the dura- 
tion of the filming, or the sum be agreed upon in the 
original price paid for the story. 

It is not to be imagined that all 
directors, or even a minority, are 
utter numskulls. It is the old hu- 
man, all-too-human equation that is 
involved. The author in all proba- 
bility could not direct the picture; he 
would know no more of direction 
values than the director would know 
of story values. He would probably 
know less. But once let the writer 
of the original collaborate, first with 
the continuity writer, and then with 
the director, and the finished product 
will be more sincere, more logical. 



Realism or 
Romanti- 
cism 



The screen of to- 
day faces a problem, 
which devolves pri- 
marily upon the 
shoulders of the 
screen writer. Of course, the screen, 
or should one say the motion picture, 
faces several vexatious problems of 
more or less significance ; for instance, there is the vital 
question: shall motion pictures be made for all classes. 
ie., good uns for the good uns and cheap uns for the 
cheap uns? Shall there be a segregation? 

However, the problem I shall touch upon is that af- 
fecting story tendencies. William De Mille has boldly 
stormed into the land of realism with a filmization of 
"Miss Lulu Bett;" "Main Street," one of the most 
socially significant and realistic novels of the past decade, 
is being filmed. However, the writers of "originals" 
are still clinging to romanticism. C. Gardner Sullivan's 
"Hail the Woman" is tinged with realism, but it is of the 
Nathaniel Hawthorne school rather than of the stark, 
intimate, twentieth-century mold. Of course, the will 
to romance — as fundamental as the will to live or the 
will to power — is the driving force emphasized in the 
two novels mentioned. But the cosmos of Mr. Sinclair 
and of Miss Gale, like Conrad's, is an inverted bowl, and 
all that is termed idealism is subjected to the devastations 
of environment — and of time and space. 



Advertising Section 



We sold her first story to 
Thomas H. Ince 

Yet Elizabeth Thatcher never /^Z^~~ ---^v. agent for getting the stories without 

dreamed she could write for the // .^^BfclV ^X\ which production of motion pictures 

screen until we tested her story-tell- // £L--- ' ^^ \\ cannot go on. Producers are glad 

ing ability. Will you send for the // J&-> B \\ to pay from $500 to $2,coo for good 

same tcst-FREE? // «^''JP" B %' \\ on S inal scenanos - 

Elizabeth Thatcher is a Montana // ^H J \\ Not for "born writers," but for 

housewife. So far as she could see 1 / story-tellers 

there was nothing that made her dif- \\ J I ...... 

ferent from thousands of other \\ ^^L- // The acquired art of fine writing can- 
housewives. Vvv^^k L // not be trans t erred to the screen. The 

\x tV V\. // same producer who bought Mrs. 

But she wrote a successful photo- \V ^J|) A SY Thatcher's first story has rejected the 

play. And Thomas H. Ince, the \v ^Vjl \<^/ work of scores of famous novelists 

great producer, was glad to buy it — ^ — JJ *^-^ and magazine writers. They lacked 

the first she ever tried to write. the kind of talent suited for screen 

"I had never tried to write for answered offhand. Will you be fair expression. Mrs. Thatcher, and hun- 

publication or the screen," she said to yourself? Will you make in your dreds . of others who are not profes- 

, i; ,i t. 1 ™ 1 u <.i • 1 r \- sional writers, have that gift, 

in a letter to the Palmer Photoplav own home the simple test of creative *" 

Corporation. "In fact, I had no de- imagination and storv-telling ability The Palmer Photoplay Corporation 

sire to write until I saw vour adver- which revealed Mrs. Thatcher's un- « n " ot endow you with such a gift. 

. „ J . , *. -. . , But we can discover it, if it exists. 

tlsement - suspected talent to her ? And wfi can teach yQU hQW to emp]oy 

This is what caught her eye in the _ , , , _ it for your lasting enjoyment and 

advertisement: Send for the Van Loan question- profit ' 

naire 

"Anyone with imagination and The test is a questionnaire pr ep are d We mvite y° u to "PP 1 * this free 

good story ideas can learn by H. H. Van Loan, the celebrated test 

to write Photoplays." photoplaywright, and Prof. Malcolm Clip the coupon below, and we will 

She clipped a coupon like the one at MacLean. former teacher of short- send you the Van Loan question- 

the bottom of this page, and received stor Y w " tm S at , Northwestern Lm- naire. You will assume no obl.ga- 

in • • M-, 1 versitv If vou have anv storv-te hnsr tion. It vou P ass the tot, we will 

a remarkable questionnaire. Through | ers >. .^"JfS^Son- send you interesting material descrip- 

this test, she indicated that she pos- gj"*"* ^"g ™ ^ .^if u t tive of the Palmer course and Serv- 

sessed natural story-telling ability, :a,re and , fi " ' ° ut for , - vourself > ust ice , and admit you to enrollment, 

and proved herself acceptable for the W . ", you ." should you choose to develop your 

training course of the Palmer Photo- We sna11 be Irank with you. The talent. If you cannot pass this test, 

play Corporation. Palmer Photoplay Corporation exists we w jfl frankly advise you to give up 

first of all to sell photoplays. It the idea of writing for the screen. 

And Thomas H. Ince bought her trains photoplay writers in order that It will be a waste of their time and 

first attempt ?* ma '' nave more photoplays to sell, ours for children to apply. 

With the active aid and encourage- Will you give this questionnaire a 

Only a few weeks after her enroll- ment of the leading producers, the little of your time? It may mean 

ment, we sold Mrs. Thatcher's first Corporation is literally combing the fame and fortune to you. In any 

story to Mr. Ince. With Mr. Ince's country for new screen writers. Its event, it will satisfy you as to whether 

check in her hands, Mrs. Thatcher Department of Education was organ- or not you should attempt to enter 

wrote: ized to produce the writers who can this fascinating and highly profitable 

"I ipot thnt c/r/7 ™/T,c ( „c J produce the stories. The Palmer in- field. Just use the coupon below and 

1 reel mat men success as 1 stitution is the industry's accredited do it now before you forget. 

Iiave had ts directly due to the . 

stluctivc C hclp S " a " d yOUr C °"~ PALMER PHOTOPLAY Corporation, Department of Education, Y-4 

n ,.,.,, t,, . , 124 West 4th St., Los Angeles, Cal. 

Can you do what Mrs. Thatcher ^gfev PLEASE send nu , withoat cost or 

did ? Can you . too. write a photo- nSmrafl obligation on my part, your q lles - Name 

- _ ' [»■ I V l|n| tionnairc. I will answer the qucs- 

play that we can sell? Offhand you v aUmS l tions in it and return it to you for 

.,".... AT ;-. , vStTB^ analysis. If I pass the test. I am ADDRESS 

will be inclined to answer No. But -^mpr to receive f 0rt hcr information 

. 1 ... . - about your Course and Service. 

the question is too important to be ^~ "~~~ • ., 



10 



Advertising Section 




They Laughed 
at My Idea — 

But it Increased My Pay 

$8,000 a year 

Warren Hartle's own remarkable story. They 
told him it couldn' tbe done — that it was a "fool 
stunt" to try. But he went ahead and was 
amazed to find how easy it was. From his $18 a 
week job in the railway mail service he jumped 
to $10,000 a year. 

'" f| AKTLE, you'ro all wrong. Take my 

I - ! advice and stay where you are." 
■*■•* "But listen, Jim — " 

"Nothing doing. You can't convince me 
that you can learn how to sell. If you had 
a selling personality, or if you had the 'gift 
of gab' it might be different. But you know 
yourself that you were never cut out to be 
a Salesman. Jt's a Jool stunt, that's all." 

Such was my running mate's answer when 
I told him I intended to learn the Selling game. 
True, I didn't know the first thing about Sell- 
ing. Yet I had heard of a new and easy 
method of learning Salesmanship that was 
accomplishing wonders. This amazing method 
disclosed the very secrets of Selling that were 
used by the most successful Salesmen in the 
Country. Men who previously knew nothing 
about Selling were getting results that were 
actually astonishing. 

There is M. K. Mellott of Pittsburgh, was 
a farm hand, he tells us — "I am now sales- 
manager with salary of $10,000 a year." Then 
there is J. P. Overstreet, of Denison. Texas. 
He was a police officer, earning less than 
$1,000 a vear. Now he writes: "Mv earnings 
for March were over $ 1,000, and over .fl.SOO 
for the last six weeks." C. \V. Campbell, 
Grccnsbnrg, Pa., jumped his earnings to 
£1,562 in one month ! Charles L. Berry, of 
Winterset, Iowa, who quit his job as a farm- 
hand and earned $2,140 in one month. 

Why Don't You Get Into the Big 
Money Field? 

Mr. Hartle, Mr. Mellott, Mr. Overstreet, 
Mr. Campbell and Mr. Berry are all Master 
Salesmen now. They landed into the big 
money class in an amazingly simple way, with 
the help of the National Salesmen's Training 
Association. Some time — somewhere back in 
the past, each of them read of this remark- 
able course of Salesmanship Training aud 
Employment Service, just as you are reading 
of It today. Each one of them was dissatis- 
fied with his earning capacity and cast his lot 
with the N. S. T. A. Today they are enjoying 
all the comforts and luxuries money can buy. 
Learn these secrets right in your own home 
during your spare time. 

Send for Free Book on Salesmanship Now 

Just mail this coupon for our free illustrated 
Book, "A Knight of the Grip." Let ns prove 
to you that regardless of what you are doing 
now, you can quickly become a Master Sales- 
man without interfering with your present 
work. Let us show you how you, too, can 
step into the ranks of these big money makers 
of business. Learn what we have done for 
others and what we stand ready to do for you. 
Don't put it off a minute — mail the coupon at 
once. 

NATIONAL SALESMEN'S TRAINING ASSOCIATION 

D ept. 30-D _ Chicago . III. 

National Salesmen's Train'ng Ass'n, 
Dept. 30-D, Chicago, 111. 

Send me Free Proof that vou can make me a Master 
Salesman and te'l me about vour Free Employment Service. 
Also send your Free Book and list of lines for Salesmen. 
This does not obligate me in any way. 

Name 

Addrsss 

City State 



This Is YOUR 
OPPORTUNITY 

$100 a week and more — 
easy fascinating work — a 
dignified, responsible posi- 
tion — a chance to travel 
abroad without cost — your 
own boss— HOW WOULD 
YOU LIKE ALL THIS? 

In the Field of Fashion 

Two New Professions 

For WOMEN 

The most attractive high- 
salaried opportunities ever 
open to women can now be 
found in the two delightful 
new professions which have 
recently burst into promi- 
nence — Dress and Costume 
Designing, which is the 
creating of new styles, and 
Fashion Illustration, which 
is the drawing of costumed 
figures. Hundreds of am- 
bitions women are finding in them fascinating 
careers tilled with the greatest pleasure aud 
profi t. 

Easy to Learn at Home 

No matter what you are doing now — no 
matter what your training has been — you too 
can now easily qualify for either of these at- 
tractive professions. You do not even have to 
give up your present position while studying. 
The wonderful Fashion-Correction method de- 
vised by a famous artist enables you to learn 
either Fashion Illustrating or Designing right 
at home in your spare time. 

Send for FREE BOOKLET 

Learn more about these delightful "wom- 
en's professions." Free Booklet tells all 
about tbe Fashion Arts, describes the extra- 
ordinary opportunities right now in these 
new high-salaried fields, and explains in detail 
the method which enables you to become a 
Fashion Artist at home. No obligation. Merely 
send postal or letter. Write today to 

Washington Fashion Institute 

131 Marden Building. Washington, D. C. 



ftbuhier Stops 

■fjnjinal Stops 



Adjustable Paper Cui<fa 



Forced Alignment Fork 
Platen Release 
Line Suet 
Adjustment 




Who is the Greatest Vampire 
ol the Screen??? 

Can you kucss? Wouldn't you like to linv»- 
Mr favorite portrait'' We iin-.i-it. And 
YOU may have it-»«c 8x 10-for Bile. 
Yen. and 11 other rieh ylioty* of the &Ea> 
Ri-st and heat beloved of Movie Stars— 
all for $5.00. 

50 Cents Each- 12 tor $5.00 
Mention names of Movie Start* desired 
and enclose money eoverinK your pur- 
chase toKolher with this advertisement, 
with your name and address written 

plainly thereon and mail l'ODAY to Norma Talmadcc 
S. 8RAM, Dept. 121, 209 W. 48th St.. New York 
Special I'rt.piiMtion to Dealers 




WKWm 




ROOTS 



Are you seeking a safe way to remove superfluous 
ban* and destroy the roots? Then send for a bottle of 
kT D A M tO »Oi The marvelous 

r UMIIVU French hair destroyer 
FRANCO remove* hair from face, n.-ck. undcr-arms, etc. . in 3 min- 
utes. Guaranteed harmless. Pi ANCO removes the hair and slons 
its future growth. J1.00 and $2.00 per bottle, postpaid. It's differ- 
ent from others. 

FRENCH AMERICAN PHARMACAL CO. 
1035 Tiffany St.. Dept. 8 New York City 



v*^fe. 



MiM^ 




Ten Days Trial 



SEND only $1.00 and wo will send you prepaid either of these 
solid gold rinjTs set with a genuine Lachnite Gem wciKlum: 
about a carat. Wear It for ten days everywhere you ko. 
Test it in every way. Then, if you or any of your friends can 
tell it from a diamond, return it and we will refund your 
dollar immediately. If you decide to buy, pay only $2. GO a month 
until $18.75 haa been paid. Lachniten hnvo the dinmorttl ■ 
ratlirtnco nnd arc pruaranteed eternal. They are more diflicult to 
melt than platinum - no known acid can mar them. They exceed 
In hardness all jewels but tho diamond. 

Wt*itn nPnriov Already, over 300.000 people have bought 
Write AOOay Lnctiniteson this 10-day test. Pe sure to 

Jcivc vour finger size and state the ring you prefer (men a or 
tidies') Write today and enclose only $1.00. 

Harold Lachman Co.. Dept. 1754 204 So. Peorfc St, Chicago, DL 

Cos'uriaht J'.'~l. Harold Isaehma.il Co, 




Ribbon Reverse 
Ribbon Shift 
Stencil Cutttr 

Tabulator Bar 




TYPEWRITER 
SENSATION 

Free Trial — Use as You Pay 



After trial send us only $5.00 a month 
until the low total price of $59.85 it paid, 
and the machine isyouri.This is absolutely 
the most generous typewriter offer ever made. 
Do not rent a machine when you can pay $5.00 
a month and own one. Think of it— Buying a 
f 100 00 Machine for $59.85. Cash price $54.00, 
just a Itttle more than half its original price. 

L. C. SMITH 

Perfect machines. Correspondence size. Keyboard of 
Standard Universal arrangement. 88 Keys, writing 7S 
characters— universally used in teaching the touch sys- 
tem. The entire line of writing completely visible at all 
times, has the tabulator, the two color ribbon, with auto* 
matte reverse, the back spacer, ball bearing type bars, 
ball bearing carriage action, ball bearing shift action, in 
fact every late style feature and modern operating con- 
venience. Comes to you with everything complete; tools, 
cover, operating book and instructions-nothing extra to 
buy. You cannot Imagine the perfection of this 
beautiful reconstructed typewriter until you have 
seen It. We have sold thousands of these perfect 
late style machines at this bargain price and 
every one of these thousands of satisfied customers 
had this beautiful, strictly up-to-date machine 
on five days' free trial before deciding to buy It. 
We will send it to you F. O. B. Chicago for five days' 
free trial. It will sell itself, but if you are not satisfied 
that this is the greatest typewriter you ever saw, you can 
return it at our expense. You won't want to return it 
after you try it. for you cannot equal I 
this wonderful value anywhere. 

Send No Money 
Put in Your Order Now 

When the typwriter arrives deposit with the express 
agent 21.85 and take the machine for five days' trial If 
you are convinced that it is the best typewriter vou ever 
saw keep it and send us «5.00 a month until our bargain 
priceof 759.85 is paid. If you don't want it, return it to the 
express agent, receive your S4.85and return the machine. 
We will pay the return express charges. This machine is 
guaranteed just as if you paid $100.00 for it. It is stand- 
ard. Over half a million people own and use these type- 
writers and think them the best ever manufactured. The 
supply at thla price) Is limited, the price will prob- 
ably be raised when next edvertlsement appears* eo 
don't delay. Fill In the coupon today— the typo* 
writer will be shipped) promptly. There is no red tape. 
We employ no solicitors— no collectors— no chattel raort- 
ga<re. It is simply understood that we retain title to the 
machine until full $59.85 is paid. Yon cannot lose it is tho 
greatest typewriter opportunity you will ever have. Do 
not send us one cent. Mail Coupon Today Sure. 

Smith Ty^ew^iteir S^esjC».» #|?r^^^lrL4*i Chicago 

Smith Typewriter Sale's Ctvlfflftsu^ Chicago 

Ship me the L. C. Smith Typewriter, F. 0. B. Chicago, as 
described in this advertisement. I will pay you S5 monthly 
as rent until the $55 balance of the SPECIAL 559.85 sale 

Friceispaid. The title to remain in you until fully paid for. 
t is understood that I have five days in which to examine 
and try the typewriter. If I choose not to keep it I will 
carefully repack it and return it to the express agent. It 
is understood that youtgive the standard guarantee. 

Name 

Street Address 

CHy State 

Occupation or Business 

rnrr ambitious writers 

§■ K !■ J* of photoplays, shortstories. songs, poems, 1 

'i ■■■ ll_|_ newspaper articles, send today for FREE 

,■ ■■■■■■■■ helpful booklet. '*Successfuf Writing." I 

| WRITER'S DIGEST, 624 Butler Bldg.. Cincinnati, Ohio. J 

23 YCAftS THE STANQRRD TRMMNG 
SCHOOL FDR TH£ATR£ ARTS 

ALVIEME SCHOOL 
iDRAMAHIC ARTS 

F0UI? SCHOOLS IN ONE. PRACTICAL STAGE 
TRAINING. THE SCHOOL'S STUDENTS STOCK"*. 
THEATRE AFFORD PUBUC STAGE APPEARANCES" 
Wrlto lor cqtaloi; mentioning study desired to 

D. IRWIN, Secretary 

43 W. 72d Sf. New York City 

.Between B'uay & Central Part West- 



Advertising Section 



11 



WnyJdur Skin Has Its 
Own Secret of Beauty 



Science's New Discovery Shows that 
Each Type of Skin Has Special Re= 
quirements. How the Treatment 
Especially Designed for Your Com= 
plexion Brings an Amazing Improve= 
ment Almost Immediately. 



DO you know that your skin is differ- 
ent—that there are certain scientific 
peculiarities about it? Unless you 
know what these are, you may be doing 
very great damage to your complexion 
every day. For the preparations and 
treatments that benefit another may be 
entirely unsuited to your skin. 

But the interesting and surprising thing 
is this : if you do know which type of 
skin yours is, and if you use the treatment 
especially designed for it, you can make 
such an improvement in it as would seem 
almost too good to be true. You can see 
it suddenly transformed to clear, fresh, 
radiant beauty ! And yet, when you under- 
stand the scientific secret behind this, you 
will readily see why it is possible. 

How The New Way Was Found 

If you should talk in person to the spe- 
cialist who made this remarkable new 
discovery he would tell you how he had 
spent years in the study of complexion 
correction — how he became more and 
more convinced that it was wrong for all 
women to attempt to use the same prep- 
arations on their skins. He began an ex- 
haustive investigation into the scientific 
facts concerning the structure of the skin. 

And at last his efforts were rewarded ! 
He had found the secret he sought ! He 
had discovered the Three Types of Skin! 
Every woman's skin belongs to one of 
these three types. Each type is different 
from the others. Each has its own scien- 
tific characteristics. Each has its own 
secret of beauty. Each must be treated 
in a special way to overcome any defects 
and restore natural, healthful, glorious 
beauty. 

Which Type is Yours? 

These are the three types of skin : Oily, 
Dry, and Normal. Which is yours ? You 
can tell easily from the descriptions given 
in the panel on this page. Now you can 
see why, if your skin is oily, for example, 
you must use a special treatment to 
remove the excess oil, to eliminate its 



shiny appearance, to over- 
come the tendency toward 
enlarged pores and black- 
heads. 

On the other hand, if you 
have a dry skin, you must 
be careful not to use" ordinary soups 
ftnd preparations which increase 
this condition. Beware of a dry 
skin, for it ages quickly, develops 
wrinkles and becomes pale and col- 
orless. What the dry skin needs is 
extra nourishment, for the glands 
are inactive and do not supply the 
necessary life-building properties to 
the skin cells. 

Or if you are blessed with a normal skin, 
you can see that you shouldn't use prepara- 
tions designed for a dry skin or an oilv skin. 
The normal skin too has its special require- 
ments to keep it functioning properly and to 
preserve its healthful vitality. 

So the first step toward "a beautiful com- 
plexion is to determine which type of skin 
you have. Then you must use the special 
treatment designed especially for this type. 

See for Yourself the Amazing 
Results of the New Discovery 

The complete treatment for each type of 
skin may now be bad in a combination set 
which includes a special soap, a day cream, a 
night cream, and a jar of the 'wonderful 
Beauty Secret, together with an interesting 
booklet that tells all about the three tvpes of 
skin and their care. 

You have only to use the combination set — 
known as the Luxtone Beauty Combination — 
which is designed for your type of skin, in 
accordance with directions. And in order that 
you may do this without risking a penny and 
see for yourself its wonderful results, a spe- 
cial offer is made to readers of this magazine. 

Make This 5-Days Trial 

Simply indicate on the coupon below 
whether your skin is Oily, Dry or Normal, and 
send to the Luxtone Company. You will re- 
ceive by mail the Luxtone Beauty Combination 
you Deed. When it arrives, pay the postman 
only .f^.OO, the special low price. 

Then, if after 5 days' trial, you are not 
more than delighted with the improvement in 
your complexion, your money will he refunded 
without question. 

But you must mail the coupon at once as 
this is a special offer that may be withdrawn 
at any moment. Surely if you could know 
what amazing, quick beauty other women have 
attained through the Luxtone method, you 
would not be willing to miss this opportunity. 
Just indicate your type of skin on the coupon 
below, and mail it todav. The Luxtone Co., 
Dept. 24, 2703 Cottage Grove Ave.. Chicago, 111. 




Complexions Suddenly Transformed 



"I had almost given up hope of having the fair 
complexion that I once had until I read about your 
wonderful Beauty Combination. You see I am a 
chorus girl and by using preparations everyone told 
me about my skin became so oily and coarse with 
blackheads. But now I am getting wonderful re- 
sults from using your preparations. I don't see how 
I ean ever thank you and I cannot express in words 
my gratitude. Your advertisement was a Godsend 
to me." Miss B H — -, Ravenna, Ohio. 

"I am delighted with the results of the Beauty 
Combination and your prices are so reasonable too. 
Your creams seem Just suited to my dry skin and 



I am very highly pleased with same. I have used 
some of the most expensive toilet articles on the 
market and your preparations are just as fine and 
better suited to my skin." Mrs. D. 0. P— — . Blue 
Field. W. Va. 

"Have used the entire oily skin method and find 
it exceptionally helpful. The difference in my skin 
Is amazing." Miss A. W— . Punxatawney, Pa. 

."You don't know how glad I am that I have 
found something that will clear my complexion for 
it sure was in terrible shape. I have only used 
these treatments four times, and oh. my. what a 
wonderful change!"- Mrs. J. 'S— — ■, Bowden. Okla. 



Which is 

YOUR Type of Skin 

/-\»1 ni • Caused by excessive 

llllV OKin secretion in oil glands. 

•» " Has a greasy, shiny 

appearance — a Tendency towards enlarged 
pores and blackheads. Looks coarse : powder 
does not stay on. Needs special preparations 
for proper cleansing and to remove excess oil 
and refreshen the tone and texture of the skin. 

v^ rii • Note how the oil 

IJrV Skill glands are shrunken 

J^ •"""" and inactive: do not 

supply sufficient nourishment. Skin flakes off 
like line dandruff because it lacks oii. Skin 
wrinkles and is affected by the wind and by 
the use of ordinary soap. Very sensitive — re- 
quires soothing cleansers and special creams 
to supply extra nourishment and make it 
smooth and soft. 

•pvT i ni • Clear. Arm, delicately 

Normal Skin ~iored. soft and 

smooth. Looks almost 
transparent in artificial light. Wrong treat- 
ments cause normal skin to become either too 
dry or too oily. Normal skin requires its own 
special treatment or it soon loses natural 
vitality and becomes faded and colorless. 

The Luxtone Company 

Dept. 24, 2703 Cottage Grove Ave., Chicago, III. 

THE LUXTONE COMPANY 
Dept. 24, 2703 Cottage Grove Ave., Chicago, III. 

I would like to try the special treatment 
for my type of skin. Send me the Luxtone 
Beauty Combination, consisting of a special 
soap, a day cream, a night cream, and a jar 
of the powder-and-cream Beauty Secret. Also 
booklet on complexion correction. I will pay 
the postman $:>.00 on arrival. My money is 
to be refunded if I am not entirely satisfied 
after 5 days' trial. 



For 



— Oily 


(Please check 


— Dry 


your type of 


— Normal 


skin.) 



Name 



Address 



12 



Advertising Section 



New Easy A\ky to 
Become a Cartoonist 



By this amazing new method it is possible 
for anyone to learn Cartooning in a re- 
markably short time. Many of our students 
could hardly draw a straight line before 
they began to study with us. Now hundreds 
of them are making splendid incomes. And 
they learned it all at home— in spare timet 

THE simplicity of this truly wonderful 
method will astonish you. Although you 
never leave your own fireside, you receive 
the personal attention of one of America's fore- 
most Cartoonists.. It is almost the same as if 
you were working in his studio. Your mistakes 
are not only pointed out, but each correction is 
illustrated right before your eyes. You see ex- 
actly where your faults lie and you never make 
the same mistakes twice. The speed with which 
you progress will amaze you. Through this won- 
derful method many of our students are now 
making handsome incomes and the same opportu- 
nity to enter this splendid profession is now 
yours. 

No Talent Is Needed 

The most astounding part of this wonderful 
method is that you don't have to know anything 
about drawing to begin with. The old idea that 
only those with "inborn talent" could be success- 
ful Cartoonists is exploded. // you can hold a 
pencil you can learn Cartooning this new easy way. 

Starting with first principles — straight lines and 
curves, — you progress step by step through shad- 
ing, action, composition, etc., until you find 
yourself qualified for a splendid position as Car- 
toonist almost before you realize it. 





Work That Is Play at a Big Profit 



Right now there is an increasing need for Car- 
toonists. We cannot train men fast enough to 
meet the demand and the result is high salaries. 
$n0 to .$75 a week is not at all unusual for a 
beginner. — many make much more. And there 
is absolutely no limit to what you can do. 
But aside from the big pay is the wonderful fas- 
cination of the Cartooning game. There is no 
"9 to 5" daily grind. And it really is not "work" 
at all, but the most dclightfuMy interesting play. 
You meet interesting people, work in pleasant 
surroundings and, best of all, you are practically 
your own boss. And then, think of the fun of 
creating your own characters, of being able to 
make quick, catchy little sketches at home, at a 
big dinner party, at the theatre ! Our students 
say it is the most fascinating profession in the 
world. 

Write For Free Booklet 

"How To Become A Cartoonist" explains this 
amazing new method in detail : shows you how 
it works ; tells you about our students and what 
they have accomplished : about the tremendous 
opportunities in this great field and how you can 
qualify for one of them this very year. Get 



out of the low-pay rut now. Get your 
start in this high-paid interesting* pro- 
fession at once. Clip the coupon below 
and mail it to us today. 

Washington School of Cartooning 

Room 1023, Marden BIdg. , Washington, D. C. 

WASHINGTON SCHOOL OF CARTOONING, 
Room 1023, Marden Building, Washington, D. C. 

Gentlemen : 

Please send me your free booklet, 
"How to Become a Cartoonist." and tell 
me about the big opportunities for me 
in this field. 



Name 



(State whether Mr., Mrs. or Miss) 



Address 



City 



.State. 



i-*y -C»; B N U IN K5SyJ*M5 

We have always sold for cash only, but to unload our ] 
surplus stock, we willopen charge accounts with reliable 
buyers, if desired. There is no extra chartjc for credit. 



1 EASY TO PAY-— TAKE 10 MONTHS IE 



SPECIAL LOW PRICES- 30 DAYS TRIAL 

... uine Hue- white di.imnnr!',, full of r>r1lli«riee. nn.1 fiery radiance. «nM 
direct to you by DIAMOND IMPORTIcRS at wh<.|r.nlr prim. Fnrh 
diamond i-; «.-t in a 14 karat solid fcold ring Included free of chance. 
Cnoosa your ring and cive fini;er size. 

One carat 5105.00. Former ratal! cash price S32G.0O; 
coeat S14Q.2S; 1 -2 carat 507.60 ; 1*4 carat S4S.78. 
It satisfied pay 1-5 of price and balance- in 10 monthly payments. 

We guarantee to satUfr yoa or refund your money. 
Order direct tram advertisement or write for 128>page catalog 



^SSS3SESSSSSS3S3SS3SSSBSBSSSSESSSSS3SSBSS& 



A Slim Figure- 
one safe and sure way to obtain it 

Reduce your superfluous 
flesh Externally through 
your daily bath with fra- 
grant 

FLO-RA-ZO-NA 
Bath Cartons 

The One and Onlv external 
reducer. Safe and Harmless. 
GUARANTEED to contain no 
alum, epsom "salts or harmful 
ingredient. 

No violent exercises, no depriv- 
ation—Just Bathe and GrowThin. 
Fourteen Treatments $3.00, Postpaid 

If pftur tirwtjiit ranvn' xii.pithi unit 
nrnrf 98.00 (fi.OO in Cmtndi^ riirrrt to 

Riv?l Phamwen'iral ft Pwf mfv Co.. Ipc 
Dept. RL, 49 E. 102d St.. New York 




"Here'sanExtra$50! 



"I'm making real money now ! Yes, I've 
been keeping it a secret until pay day 
came. I've been promoted with an in- 
crease of $50 a month. And the first extra 
money is yours. Just a little reward for 
urging me to study at home The boss 
says my spare time training has made me 
a valuable man to the firm and there's 
more money coming soon. We're starting 
up easy street, Grace, thanks to you and 
the I. C. S." 

Today more than ever before, money is what 
counts. You can't Bet alonir on what you have 
been making Somehow, you've simply got to in- 
crease your earnings. 

Fortunately for you there is an unfailing way to 
do it. Train yourself for bigger work, learn to do 
some one thing well and employers will be glad to 
pay you real money for your special knowledge. 

You can get the training that will prepare you 
for the position you want in the work you like best, 
whatever it may be. You can get it at home, in 
scare time, through the International Correspond- 
ence Schools. 

It is the business of the I. C. S. to prepare men for 
better positions at better pay. They have been do- 
ing it forSO years They have helped two million 
other men and women. They are training over 
130,000 now. And they are ready and anxious to 
help you. 

Here is all we ask— without cost, without obligating 
yourself in any way, simply mark and mall this coupon. 

TEAR OUT HERE 

INTERNATIONAL CORRESPONDENCE SCHOOLS 
BOX 4 5 77-0 SCB ANTON. PA. 

Without cost or obligation, please explain how I can 
qualify for the position, or In the subject before which 
I have marked an X in the list below: — 

D BUSINESS MANAG'M'T 



DELEC. ENGINEER 
J Electric Lighting & Bys. 
3 Electric Wiring 
3 Telegraph Engineer 
j Telephone Work 
3 MECHANICAL ENGB. 
3 Mechanical Draftsman 
3 Machine Shop Practice 
3 Toolmaker 

3 Gas Engine Operating 
3 CIVIL ENGINEER 
3 Surveying and Mapping 
3 MINE TOR'N or ENGR. 
3 STATIONARY ENGB. 
3 Marine Engineer 
3 ARCHITECT 
3 Contractor and Builder 
3 Architectural Draftsman 
J Concrete Builder 
3 Structural Engineer 
3 PLUMBING & HEAT'G 
3 Sheet Metal Worker 
J Text. Overseer or Supt. 
3 CHEMIST 
□ Pharmacy 



Name- 



□ SALESMANSHIP 

B ADVERTISING 
Railroad Positions 
ILLUSTRATING 

□ Show Card & Sign Ptg. 
D Cartooning 

n Private Secretary 

Bltusincss Correspondent 
_ BOOKKEEPER 

Stenographer & Typist 
Cert. Pub. Accountant 
_ TRAFFIC MANAGER 

B Railway Accountant 
Commercial Law 
D GOOD ENGLISH 

S Com. School Subjects 
CIVIL SERVICE 
~ Railway Mail Clerk 
AUTOMOBILES 
Mathematics 

B sate i am 

D Poultry |U»anKing 

L) Airplane Engines 



Street 

Address. 



City- 



Occupation- 



Persons rcxidina in Canada should send this coupon to the 

International Correspondence Schools Canadian, Limited, 

Montreal, Canada. 

For Ideas. Photoplay 

Plots accepted any form; revised, criticised, copyrighted, 
marketed. Advice free. Universal Scenario Corporation, 
910 Western Mutual Life BIdg., Los Angeles, Cal. 



MAKE MONEY AT HOME 



VOU can earn from SI to $2 an hour in 
your spare time writinjr show cards. 
Quickly and easily learned by our new simple 
InstructoRraph" method. No canvassing or 
soliciting; we teach you how, sell your work 
and pay you cash each week. 

Full particulars and booklet free 
AMERICAN SHOW CARD SCHOOL 
236 Ryrie Building, Toronto, Canada 



Advertising Section 



13 



May She Invite Him 



T; 



^HEY have just returned from a dance. 
It is rather late, but the folks are still 
up. Should she invite him into the 
house or say good-night to him at the 
door? Should he ask permission to go 
into the house with her? Should she ask 
him to call at some other time ? 

There are countless other problems that 
arise every day. Should a woman allow 
a man she knows only slightly to pay her 
fare on a car or train? Should a man 
offer his hand to a woman when he is 
introduced to her? When walking with 
two women, should a man take his place 
between them or on the outside? 

Those who know how to act under all 
circumstances are usually considered 
charming and cultured. But those who 
are always committing embarrassing mis- 
takes, who do and say the wrong thing at 
the wrong time betray themselves as un- 
cultured. 

The Value of Social Knowledge 

Everyone loves to attend dances and 
theatres, to mingle with cultured, bril- 
liant people, to take part in social func- 
tions. Without the social knowledge 
which gives one polish and poise, one 
cannot hope to be happy and at ease in 
these circles. Social knowledge, or eti- 
quette, serves as a barrier to keep the 
crude and unpolished out of the circles 
where they themselves would be embar- 
rassed and where they would cause mor- 
tification to others. 

Through generations of observation in 
the best circles of Europe and America, 
these rules of etiquette have come down 
to us — and today those that have stood 
the test of time must be observed by those 
who wish to be well-bred, who wish to 
avoid embarrassment and humiliation 
when they come into contact with cul- 
tured people. 

The man or woman who knows the 
rules of etiquette should be able to mingle 
with brilliant, cultured people and yet feel 
entirely at ease, always calm and well- 
poised. And if one knows how to con- 
duct oneself with grace and confidence, 
one will win respect and admiration no 
matter where one chances to be. The 
charm of manner has a greater power 
than wealth or fame — a power which 
admits one to the finest circles of society. 

What Do You Know 
About Etiquette? 

Perhaps you have often 
wondered what to do on a 
certain puzzling occasion, 
what to wear to some un- 
usual entertainment, what 
to saj' under certain cir- 
cumstances? Would you 
know, for instance, how to 
word a wedding announce- 
ment in the newspapers? 
Would you know how to 
acknowledge a gift received 
from someone who had not 
been invited to your wed- 
ding or party? Would you 
know the correct thing to 
wear to a formal dinner ? 

Do you know how to in- 
troduce a man to a woman, 
how to plan a tea-party, 
how to decorate the house 
for a wedding? Do you 
know how to overcome self-consciousness, 
how to have the charm of correct speech, 
how to be an ideal guest, an ideal host or 



Into the House ? 




How Many of These 

Questions Can You 

Answer? 

Should the engaged girl em- 
broider her linens with her own 
initials or the initials of her 
future married name? 

What is the correct way to 
eat com on the cob in a public 
dining-room ? 

Does the woman who marries 
for the second time wear a veil? 

Is it correct for a woman to 
wear a hat in a restaurant or 
hotel dining-room in the eve- 
ning? 

Should a servant or waiter bo 
thanked for any sen-ice? 

How should wedding gifts or 
birthday gifts be acknowledged? 

In sending an invitation or 
announcement to a family in 
which there are adult children, 
is it correct to uso the form 
"and family on the envelope? 



hostess? Do you know all 
about such important de- 
tails as setting a dinner table 
correctly, addressing invita- 
tions correctly, addressing 
servants correctly? Do you 
know the etiquette of wed- 
dings, of funerals, of dances? 

The Famous " Book oi Etiquette " 

In Two Volumes Sent to You 

Free ior Examination 

There are two methods of 
gaining the social polish, the 
•social charm that every man 
and woman must have before 
he or she can be always at 
ease in cultured society. One 
method is to mingle with so- 
ciety for years, slowly acquir- 
ing the correct table manners, the correct 
way to conduct oneself at all times, in 
all places. One would learn by one's own 
humiliating mistakes. 

The other method is to learn at once, 
from a dependable authority, the etiquette 
of society. By knowing exactly what to 
do, say, write and wear on all occasions, 
under all conditions, one will be better 
prepared to associate with the most highly 
cultivated people and yet feel entirely at 
ease. At the theatre, in 
the restaurant, at the dance 
or dinner one will be 
graceful and charming — 
confident in the knowledge 
that one is doing or say- 
ing only what is correct. 

The famous two-volume 
set of the Book of Eti- 
quette has solved the prob- 
lem in thousands of fam- 
ilies. Into these two vol- 
umes have been gathered 
all the rules of etiquette. 
Here you will find the so- 
lutions to all your etiquette 
problems — how to word in- 
vitations, what to wear to 
the theatre or dance, how 
much to tip the porter or 
waiter, how to arrange a 
church wedding. Nothing 
is omitted. 

Would you like to know 
why rice is thrown after the bride, why 
a_ tea-cup is usually given to the engaged 
girl, why the woman who marries for the 



second time may not wear white? Even 
the origin of each rule of etiquette is 
traced, and, wherever possible, explained. 
You will learn why the bride usually has 
a maid-of-honor, why black was chosen 
as the color of mourning, why the man 
raises his hat. As interesting as a story — 
yet while you read you will be acquiring 
the knowledge that will protect you 
against embarrassment and humiliation. 

Examine these two famous volumes at 
our expense. Let us send you the Book 
of Etiquette free for 5 days. Read the 
tables of contents in the books. Glance 
at the illustrations. Read one or two of 
the interesting chapters. And then decide 
whether or not you want to return the 
splendid set. You will wonder how you 
could have ever done so long without it! 

Within the 5 days' free examination period, 
you have the guaranteed privilege of return- 
ing the hooks without obligation. If you de- 
cide to keep them, as we believe you will, 
simply send ji.'i.no in full payment — and they 
are yours. But be sure you take advantage 
of this free examination offer. Send the 
coupon at once ! Nelson Doubleday, Inc., Dept. 
404, Oyster Bay, New York. 

NELSON DOUBLEDAY, Inc., 

Dept. 404, Oyster Bay, New York 

Without money in advance, send me the two-volume 
set of the Book of Etiquette free for 5 days' examina- 
tion. Within 5 days- I will either return the books or 
keep them and send you only $3.51) in full payment. 



(Please Write Plainly) 



Address : 

Check this square If you want these" books with the 
boautiful full-leather binding at $5.00 with 5 days' ex- 
amination privilege. 



14 



Advertising Section 




Get lour Name on This 

Electrical Pay Roll 



Every man listed here is earning big pay 

through knowledge gained from my course in Prac- 
tical Electricity. I have letters from them and hun- 
dreds of others telling of their successes. I will send 
copies of these letters to anyone who sends for my 
Free Electrical Book. 

Electrical Experts 

Earn $3,500 to $10,000 a Year 

Get out of the small-pay, hard-work class. Earn $12 
to $30 a dnv as an Electrical Expert. You can do it. 
Trained Electrical Men are needed everywhere at 
the highest salaries. The opportunities for advance- 
ment are the greatest ever known. Even the ordinary 
electrician is highly paid, but you can be an Expert— the 
man who bosses the big jobs. 

Let Me Help You to a 
BIG-PAYING JOB NOW 

I am Chief Engineer of the Chicago Engineering 
Works and I know exactly what you need to insure 
your success. I guarantee to give you that knowledge. In 
a few short months I can fit you to hold down one of the 
finest paying jobs in the world. 

Earn Extra Money 
While You Learn 

Learn rightinyourownhome 
without losing an hour's time 
from the work you do now. 
In fact early in my course I 
show you how to make extra 
money doing spare time elec- 
trical work. Many of my 
students earn as high as $35 
a week in addition to their 
regular pay. 

Age or Education 
Makes No Difference 

You don't have to be a col- 
lege man— not even a high 
school graduate. If you can 
read and write English I can 
make a big success of you. 
My Electrical Course is the 
most simple, thorough and 
successful course in exist- 
ence. It has revolutionized 
training by correspondence. It 
has dozens of successful features 
never before attempted. 



FREE 

ELECTRICAL 
OUTFIT 

You need tools, ma- 
terial and instru- 
ments to do the 
practical work I 
teach — these I give 
to you absolutely 
free — there is noth- 
ing for you to bay. 
You are also privi- 
ledired to use my 
Electri cat Labora- 
tories without cost, 
as .well as my stu- 
dents employment 
department which 
helps you land a 
good job. 

Money* Back 
Guarantee 

Tou taku no risk when 
you coro • for my 
Course. Under bond. 
1 RUarant<-e to return 
cv.vy penny paid mo if 
you oro not ontiroly 
■itisfK-rl with my in- 
ntrucUon . A Million 
Dollar lnntitution 
■lands b:ick of me in 
this oairantcc. 



Mail Coupon for My 
Book "Vital Facts" 

Let me send you my big free book of "Vital Facts'*— let me 
tell you more about how you can jump from a "bossed" to 
a "bossing" job— a regular man's size job that pays $70 to 
$200 a week. Fill out and mail the coupon NOW before 
you turn this page. 

L. L. COOKE. Chief Engineer 

Chicago Engineering Works 

Dept. 444, 2150 Lawrence Avenue Chicago. III. 

' i 



i 



L. L. COOKE, Chief Engineer 

CHICAGO ENGINEERING WORKS 

Dept. 444, 2150 Lawrence Avenue, Chicago 

Dear Sir— Send at once copies of letters of success, 
your Big Book of "Vital Facts." and full particulars 
of your Free Outfit and Home Study Course— all fully 
prepaid without obligation on my part. 



$soo.oo 

"EMPTY ARMS" 

Prize Contest 

THE Lester Park-Edward Whiteside 
photoplay, "Empty Arms," in- 
spired the song "Empty Arms." A 
third verse is wanted, and to the writer 
of the best one submitted a prize of 
$500 cash will be paid. 

This contest is open to everybody. 
You simply write the words for a third 
verse — it is not necessary that you see 
the photoplay before doing so. Send 
your name and address on a postal 
card or sheet of paper and we shall 
send you a copy of the words of the 
song, the rules of the contest and a 
short synopsis of this photoplay. It will 
cost you nothing to enter the contest. 

Write postal or letter today to 

"Empty Arms" Contest Editor 
World M. P. Corporation 

245 West 47th Street Dept. 693 
New York, N. Y. 



$VttS!rriHEi 



We will train you to write show cards for us. No canvass- 
ing or soliciting; we supply you with steady work; distance 
no object; will pay you from $15 to $50 a week. 

WILSO N METH ODS, limited . Dept N. 64 East Richmond. Toronto. Canada 
FOR PIANO. Easy. Beautiful. 

NIGHT IN THE UGHTHOUSE 

Chinx-a. Ortran Effect. Dreamy Melody. 
Send Two Dimes. It's Great. 

KMBRICK «3te CABAOY 
Box 135 Station F New York City 



Music 




£■*?£"£" DIAMOND 
■ ■■ t E RING OFFER 

■lust to ndvortino our famous Hawaiian :rn. 
diamonds -the jm-atost discovery tho world 
has ever known. Wo will »ond ■bsojotejv 
free 0ii» 14k scold f. rim:. Bet with a !-:!!; 
Hawaiian im. diamond— in beautiful ring 
box pontage paid. Pay pontmaster SI. 48 
C. O. 1). chances to cover vostane. boxing. 
ndvertlHinc, handling;, etc. If you can tell 
It from a real diamond return and money 
refunded. Only lO.OOOgiven away. Send no 
money. Anawer quick. Send Biie of linear. 

KRAUTH & REED, Dept. 35 
Masonic Temple Chicago 



LEARN 



| Address.. 



I 



The Cooke Trained Man is the "Big Pay' Man 



Movie Acting! 

A fascinating profession that pays big. Would you 
like to know if you arc adapted to this work? Send 
10c for our Twelve-Ilmir Talent-Tester or Key 
to Movie Acting Aptitude, and find whether or not 
you are suited to take up Movie Acting. A novel, 
instructive and valuable work. Send dime or stamps 
today. A large, interesting, illustrated Booklet on Movie 
Acting included FHI£l£ ! 

FILM INFORMATION BUREAU, Sta. R, Jackson, Mich. 



My method Is tho only way to prevent the hair from growing- again. 
Easy, panders, harmless. Nn nrars. Booklet free. Write today 
enclosing 3 stumps. We teach Beauty Culture. 
D. J. MAHLER. 18-X Mahler Park, Providence, R. I. 




Learn to Dance 

117" 11 By Arthur Murray's 

W 611 New Ea; ' v Method at 

Home in One Evening 

Let the Vnnderbilts' instructor teach 
you to be a fjood dancer. 

Lcnr tho latest (Heps bv tin* remarkahlc 
new ARTHUR MURRAY SYSTEM: surpris- 
ingly eatttt ami faxcivntina—yovi need no music 
or partner. "00,000 fnng/i/rfnnri;i<; bumml." 
You. too. enn karri nt home, privately, ma 
few hours. R.-sults iruaranteod. HALF PRICE 
OFFER ON NOW! 

FREE DANCING LESSON 

One lesson fin plnin wrapper) absolutely free 
to prove- I can make vou ah accomplished 
dancer quickly! For mailing, send 10c today. 

ARTHUR MURRAY, Studio 135, 290 BVay.N.Y. 



m 




Finish This Picture 

Fill in the missing lines. See 
how close you come to the orig- 
inal drawing. The above picture 
was drawn by Student Wynn 
Holcomb. We have a great num- 
ber of students and graduates 
whose work appears in maga- 
zines and newspapers all over the 
counto - . 

Can You Draw? 

If you like to draw write for our book. 
Read about our new method Home Study 
Course in cartooning, illustrating, design- 
ing. Learn at home, by mail, in spare time. 

Become an Artist 

Illustrators, Cartoonists, Commercial 
Artists make big money. You can earn $25 
to $100 a week and more. Learn under 
personal direction of one of America's 
most famous newspaper, magazine, adver- 
tising artists of 30 years' successful ex- 
perience. 

Book and Outfit Free 

Complete outfit free to new students. 
Write for handsome book, "How to Be- 
come an Artist." Tells what Course in- 
cludes, shows many drawings made by 
many of our students. 

Write Postal NOW 

Don't miss our book. Even if you have no 
previous knowledge of drawing, our Course 
will enable you to become a successful car- 
toonist or illustrator. Many students earn 
money while they are learning. If you are 
ambitious to get ahead, to earn more money, 
write for our free book and special offer now. 
You can do as well as our other successful 
students ! Write now for free book, "How 
to Become an Artist." Mail letter or postal. 

Washington School of Art, Inc. 
Room 1790 Marden Bldg. Washington, D.C 



Short -Story Writing 

A Course of Forty Lessons, 
taught by Dr. J. Berg Esenwcin, 
Editor of The fvritcr'sMonthly. 
One pupil has received over 
$5,000 for stories and articles 
written mostly in spare time. 
Hundreds are selling right along 
to the leading magazines and the 
best producing companies. 
Also courses in Play Writing, 
DR.ESENWEIN Photoplay Writing, Versifica- 
tion, Journalism, etc. 

150-Page illustrated catalogue free. PleascAddresa 

T&e Home Correspondence School 

Dept.7 3 Sprirurfteld , Mass. 

CSTABLISHCO 169T iNcoWQftflTto i90* 

tMIMIMHBIf H !HTIMIMIMIJMtMlE 





Advertising Section 



15 



Why Stout People Carit"V\fear New Styles 



Easy to lose 
a pound a 
day or more 
by new fas- 
c in a ting 
method. No 
exercise, 
seff-dem al 
or discom- 
forts. 




Illustrations 
show what 
wonderful 
improve- 
ment in 
figure is se- 
cured by re- 
daction of 
30 pounds. 



Reduce to Xovly Ideal Figure 

hi TwoWeeks! 

Make This Free Test - Results Guaranteed 



"T REDUCED from 175 pounds to 153 
A pounds in 2 weeks ! (22 pounds lost in 
14 days). If you had known me before 
and could see me now, you would realize 
what a wonderful discovery jour new 
method is. Before I started I was flabby, 
heavy and sick — had stomach trouble all 
the time. Had no vigor. I feel wonderful 
now." (Name furnished on request.) 

This person's experience is duplicated by 
that of hundreds of others who have quickly 
regained their normal, healthful weight and 
strong, graceful and slender figures in the 
simplest, easiest and most delightful way 
known. Mrs. George Guiterman of 420 East 
66th Street, New York, lost 13 pounds in the 
very first S days. Mrs. Mary Dennenv of 82 
West 9th Street, Bayonne, N. J., lost 74 
pounds in record time, reduced her bust 7% 
Inches, her waist inches, and her hips 11 
inches. She also banished pimples and secured 
a beautiful complexion ; all through this 
marvelous new method. She can now RUN 
upstairs without pulling or discomfort, whereas 
before it made her feel faint Just to walk up. 

Look Years Younger When 
Fat Departs 

A Pennsylvania woman writes "Since I lost 
those f>4 pounds I feel 20 years younger — and 
my family say I look it." 

This appearance of youth is one of the 
most delightful results of this new method. 
Fat people always look older than they really 
are. Merely to secure a slender form would 
bring a more youthful appearance. But this 
new method also results in a clearer skin, a 
brighter eye. a firmer step and the most won- 
derful energy and vitality. Many write us 
that they have been positively amazed to lose 
lines and wrinkles which they had supposed 
to be ineffaceable. So that when you reduce 
to normal weight in this new simple fascinat- 
ing, natural way, you look even younger than 
most slender people of the same age. Yon 
can then dress stylishly and yet be in perfect 
taste. This season's designs arc made for 
thin people. In a very short time after using 
this marvelous new method, you can wear the 
most colorful, the most fluffy, and the most 
extreme styles : and look well in them. 

And best of all, these wonderful benefits 
are secured without any discomforts what- 



jyTA\ Exercise, Starving, 
1 V vJ Special Baths, Roll- 
ing, Massage, Appliances, 
Special Clothing or Any Dis- 
comfort Whatever. 

Results in 48 Hours 



ever. No starving, no exercise, no medicines, 
— nothing to do but pay attention to an easily 
followed law of nature. In reward, nature 
gives everything and exacts no payment. 

The Secret Explained 

As simple and easily understood as is this 
natural law it seems almost magical in its 
results. Eugene Christian, a specialist of 
international renown, discovered tbat it is 
not how much they eat, and to a certain ex- 
tent it is not even what they eat that causes 
people with natural fatty tendencies to put on 
surplus flesh. It is how their food is com- 
bined. Eat certain dishes at the same meal 
and they will cause more flabbiness and fat 
and fill the body with the poisons thai cause 
the puffiness, the lack-lustre eyes and the 
skin blemishes which so often accompany 
obesity. But eat these very same dishes at 
different times and properly combined with 
other ordinary foods and they make muscle 
and bone and good rich blood instead of fat. 
Then the fat you have already stored up is 
rapidly consumed. This discovery is the great- 
est boon ever given to stout people who have 
found dieting a weakener. exercises a task 
and drugs a delusion. For when yon learn 
the secret of properly combining your food 
you can eat Potatoes, Fowl, Meat, Fish, Milk, 
Butter, Cheese, Chocolate, Corn Bread, Wheat 
Bread and many other dishes you have prob- 
ably been denying yourself. And yet you will 
lose weight steadily, right, from the start — 
perhaps a pound a day, perhaps more, as so 
many others have done. 

And as the unhealthy fat departs, your 
flesh becomes firm, your complexion clears, 
your eves brighten and your health and 
energv increase wonderfully. Youthful looks, 
youthful spirits and a youthful form become- 
quickly yours. 



When you have reduced to normal weight 
and your fatty tendencies have been corrected 
it will not be necessary for you to pay further 
attention to how your food is combined. Still 
you will probably want to keep these com- 
binations up all your life, for as Mr. Clyde 
Tapp, of Poole, Ky., says : "The delicious 
menus make every meal a pleasure never 
experienced before. ' 

Free Trial — Send No Money 

Send no money now — just 1111 out and mail coupon 
or send letter if you prefer. We will send you In 12 
Interesting booklets, complete instructions and dozens 
of delicious menus containing the foods you like com- 
bined in a way to enable you to quickly attain a 
sletuiertiess which makes you look well in tbe most 
colorful, fluffy or bouffant styles. Weigh yourself when 
the course arrives. Follow the appetizing menus In 
the first lesson. Weigh yourself again in a couple of 
days and uote the delightful and astonishing result. 

People have been so grateful for what Christian has 
done for them that they have voluntarily paid him 
fees of ?500.00 to $1,000.00. But lie wants everyone 
to be able to own this course on "Weight Control." So 
In addition to a I'KEIO Till A I, offer, he makes the 
following nominal price, which you will probably con- 
sider as hardly puylng for printing and handling. You 
only pay the postman only $1.97 (plus postage) when 
the course arrives. 'And it is then yours. There are 
no further charges. If you are dissatisfied with it you 
will have the privilege of returning it within 5 days 
and your money will then be instantly refunded. So 
you risk nothing. Act today! You'll soon create 
astonishment and envy among your friends by your 
renewed slenderness. increased health and youthful ap- 
pearance. 

CORRECTIVE EATING SOCIETY, INC., Depl.W-1954 

43 W. 16th St., New York City 

If you prefer to write a letter copy wording 
of coupon in a letter or on a postcard. 



CORRECTIVE EATING SOCIETY. INC 
Dept. W-1954, 43 W. 16th St., New York City 

You may send me. IN PLAIN WRAPPER. Eugene 
Christian's Course "Weight Control— the Basis of 
Health," In 12 books. I will pay the postman Sl.Ki 
(Plus Postage) on arrival. But if I am not satisfied 
with It I hare the privilege of returning the course 
within 5 days and my money will bo Instantly refunded. 



Name 

Please Write Plainly 

Street 

City: State 

Price outside U. S. J2.15 Cash with Order. 



16 



Advertising Section 




Actual photograph 
of frail silk lace stockings 
after if years of wear 
and the care that Ivory 
Soap Flakes gives. There 
is not a hole in toe, heel, 
lace or garter top. 



Silk Lace Stockings 15 Years Old! 

Kept unbroken and lovely by the purity that is in Ivory Soap Flakes 



■plFTEEN years ago, in Paris, France, a Kentucky 
man purchased the pair of delicate, hand-em- 
broidered silk lace stockings shown in the photograph, 
as a gift for his wife. During the years that followed 
she wore them occasionally, dipping them into Ivory 
Soap suds after each wearing, to rid them of the per- 
spiration which always, though perhaps unnoticeably, 
clings to a stocking which has been worn, and which 
rots the silk if permitted to dry into it. 

In tne past year and a half the daughter of the orig- 
inal owner has worn these same stockings at least 
twenty times, continuing to wash them after each 
wearing. The only change in method was that the 
daughter made the washing suds with Ivory Flakes, 
which sudses and cleanses almost instantly, instead of 




Send for Free Sample 
of Ivory Flakes 

with instruction book 

on the care of delicate 

garments of silk, wool, 

and all fine fabrics. 

Address Section 47-DF, 

Department of Home 

Economics, The 

Procter& Gamble 

Co., Cincinnati, 

Ohio. 



going through the more tedious process of preparing 
the suds with cake Ivory Soap. 

Mother and daughter both attribute the wonderful 
wear from these stockings to the fact that they never 
have been touched with anything but Ivory Soap. 
They never have been subjected to the chemicals in 
harsh soaps, which are as harmful as perspiration acids 
to silk fibre. They never have been rubbed — the rich 
Ivory suds remove dirt simply by dissolving it so that 
rinsing carries it away. 

To rinse out a pair of silk stockings with Ivory Flakes 
takes just a few minutes in the bathroom washbowl. 
It is as easy as washing your hands, and you will find 
there is nothing quite so satisfactory for giving you 
long wear from silk hose and other dainty finery too 
delicate for the family wash. 

Ask your dealer for 

IVORYsoap FLAKES 

Snowlike Flakes of Genuine Ivory Soap 
MAKES PRETTY CLOTHES LAST LONGER 




VoJharaae XVE 



APRIL, 11922 



Ho. 2 



llllllllllllllllllllllllll!llllllllllllllllllilllillllllllllllllllllllllilllinilllllllllllllllllllllill!lllllllillll!lll IIIIHIIIIIIIIIIIIIIilllllllllllllllllllllH !lllllllll!!lllllllllllllllll!lllllllllllllllllll!llllllllllllllllllllll 




The Calendar of Past 
Performances &£=&£ 




— 1912— MONDAY. — Mary Miles Mlnter cel- 
ebrated her tenth birthday — she has the 
papers to prove it — and save her usual 
delightful performance of Virpie in "The Littl- 
est Rebel, of which I lust in and William Far- 
num were the stars, at the Boston Theater, 
Boston. Mass., not batting an eyelash if any 
one shouted "April Fool." 



2— 1908— THURSDAY.— Thomas Holding, 
who at this time would probably have 
looked at you and 'said, "I say, old top, 
what are motion pictures anyway?" was play- 
ing with Mr. and Mrs. Kendal, at the Theater 
Royal, Nottingham, England, the part of Her. 
Arthur Leacroft in "The Elder Miss Blossom." 



3—191 1 — MONDAY".— Katlierine MacDonald 
was hoping to goodness that some one in 
the audience would pay some attention to 
her as she spouted the half dozen lines which 
fell to the lot of Fiflne in "I.a Belle Paree," 
which bit of nonsensical gayety was the at- 
traction at the newly opened Winter Garden, 
New York. 



— 1886 — THURSDAY. — Hobart Bosworth 
was a conspicuous figure in the theatrical 
life of San Francisco, Cal., going through 
his paces at the California Theater Stock 
Company of that city, and upon this occasion 
Mr. Bosworth's contribution to the town's 
brightness was in a new French melodrama, 
"Second Sight." 



5— 191S— FRIDAY.— Naomi Ch'lders had 
temporarily abandoned the screen, after 
her Vitagraph triumphs, and returned to 
her earlier love, the spoken drama, being cast 
for the part of Roberta Pollings in "Among 
Those Present," then playing the Nixon The- 
ater. Pittsburgh, Pa., the star o£ the play 
being II. B. Warner. 



6— 1992— SUNDAY.— Herbert Brenon cel- 
ebrated this Lord's Day by creating a 
role for the first time on any stage, same 
being Apaecides in "When Titus Ruled" (which 
happens to be a dramatization of our old 
friend, "The Last Days of Pompeii"), with 
the Woodward Stock Company, at the Audi- 
torium Theater, Kansas City, Mo. 



— 1905— FRIDAY. — King Baggot was a 
most vital and impassioned hero, answer- 
ing to the name of Julian Lnraine, in that 
splendid object lesson, "More To Be Pitied 
Than Scorned," and his vigorous acting 
brought forth rounds of applause at the Ly- 
ceum Theater, St. Joseph, Mo., where he 
played a two nights' engagement. 



— 1901 — MONDAY. — Mary Pickford was 
doing her utmost to retain her poise, and 
small wonder that she was excited, for 
this was her eighth birthday and this very 
same night she played Little Eva in "Uncle 
Tom's Cabin" for the first time, with the Val- 
entine Stock Company, in Toronto, Ont. 



9— 1918— TUESDAY.— Mrs. Sidney Drew 
found the public most anxious to see her 
in the flesh after her many screen tri- 
umphs, as she was eostarring with her late 
husband in "Keep Her Smiling," and thev 
had Just settled down for a lengthy stav at 
the Wilbur Theater, Boston, Mass. 

■\ A— 1905— MONDAY.— Cecil De Mille was 
\_ \J not only acting right out in public but 
was starring at the head of his own 
company, in "Lord Chumley." a drama writ- 
ten by his father and David Belasco, and 
here's hoping that he gave pleasure to the 
small gathering assembled at Trader's Grand 
Opera House, Clarksburg, W. Va. 



U— 1908 — THURSDAY.— Pauline Freder- 
ick was just about the proudest girl 
in the world for she had left the frivols 
of musical comedy for a new play, "The Girl 
in White." in which she was Lenore Calvert, 
and she was acting in her own home town of 
Boston, Mass., at the Tremont Theater. 



-f rt— 1894 — SATURDAY. — Frank Losee, who 
J[ A had an enviable stage record as an actor 
of wicked gentlemen just as the screen 
to-day knows him as inimitable in character 
roles, was very much in evidence as Jack 
Home in that good old thriller, "The Romany 
Rye," which was at Ileuck's Theater, Cin- 
cinnati, O. 



■i O —1903— MONDAY.— Vivian Martin has 
l J undoubtedly seen the Pickford screen 
version of "Little Lord Fauntloroy," 
possibly to make faces at it and to reflect how 
vastly superior she was in this same role 
before the footlights, which interesting ven- 
ture occurred at the Casino Theater, New 
York. 



-f A —1906— SATURDAY.— Will Rogers was 
I if probably not in a particularly happy 
frame of mind at this minute, although 
undergoing an interesting experiment, en- 
deavoring, if you please, to show the German 
theatergoing public how our cowboys can 
throw a lariat, he being one of the headliners 
at the Wintergarten Music Hall, Berlin. 



■i C— 1892— FRIDAY.— Bertha Belle West- 
I ^ brook, an actress, known to her friends 
as Mrs. Hal Reid, gave birth this day 
in the city of St. Louis, Mo., to a lusty male 
youngster who was destined to be the greatest 
smasher of feminine hearts in this twentieth 
century — Boy, page William Wallace Reid, 
please. 

-J /"— 1912— TUESDAY. — Theda Bara. little 
IQ dreaming that she would put the word 
"vamp" in the English language, was 
trying to prove that as an actress she was 
worthy of consideration, this in the charac- 
ter of Marine Lapuerra in "Just Like John," 
playing at the Teck Theater, Buffalo, N. Y. 



■i >7— 1903— FRIDAY.— Conway Tearle was 
J_ / whooping things up in the highbrow 
drama with a vengeance, ba tiling with an 
Ibsen play, "The Vikings," no less, supporting 
the illustrious Ellen Terry, at the Imperial 
Theater, London, and at this time his name 
had not yet appeared upon an American play- 
bill. 

1 Q— 1891— SATURDAY.— Edythc Chapman, 
J_ Q to-day one of the foremost players of ma- 
ternal roles upon the screen, was in this 
long ago the dashing heroine, iiaehel MeCreery, 
in "Held by the Enemy," which favorite war 
play delighted everybody this night, at the 
City Theater, Cohoes, N. Y. 



-j Q— 1909— MONDAY.— Harry Millarde, 
J_ y with no thought then of the picture di- 
rectorship glories which lay before him, 
brought the requisite note of animation to 
the role of Philip Scarsdale in "The Blue' 
Mouse," which giddy entertainment was hav- 
ing a fortnight's run at the Garrick Theater, 
St. Louis, Mo. 



OA — 1909— TUESDAY John Emerson, who 

£\J also had not then carved his name 
among our leading picture directors, 
was devoting his histrionic skill to the same 
play, "The Blue Mouse," wherein he played 
two minor roles. Briston and Purkiss, but he 
was in the company playing at the Lyric 
Theater, Now York. 



f\1 —1908— TUESDAY.— Mabel Ballin, now 
A I thoroughly at home in expressing tear- 
ful emotion upon the screen, was 
scampering blithely behind the footlights in 
the apparel of a page, Gaston, in "The Hoy- 
den," of which Elsie Janis was the star, being 
the lure at the Broadway Theater, Brooklyn, 
N. Y. 

rtA- 1882— SATURDAY.— W. S. Hart was 
A A all drcssed-up in his athletic togs, par- 
ticipating in a two-mile walking match 
held at the Madison Square Garden. New York, 
by the Manhattan Athletic Club, being matched 
against E. F. McDonald, who. if the truth 
must be told, came off victorious in the ven- 
ture. 

f\ O — 191G — TUESDAY'. — Martha Mansfield 
AfS was skipping blithely about in that hot- 
^ bed of latent movie talent, the New York 
Winter Garden, being numbered among the 
prettiest girls to be found in the production 
of "Maid in America," and she was billed 
under her own name of Martha Ehrlich. 



f\ /% — 1900 — TUESDAY. — Thomas Mcighan 
/.{+ gave all the girls a treat — that is those 
of them who could find him — as he 
strutted about the stage of the Lyric Theater, 
Washington, Pa., his efforts being centered 
upon a small role in "One of Our Girls," in 
which Henrietta Crosman starred. 

f\r — 190G — WEDNESDAY. — Josephine 
/j Crowell, whose portrayal of villain- 
ous females oil the screen has won for 
her the title of "The Wickedest Woman in 
Pictures," was devoting her efforts to playing 
the sweet and motherly Widow Miller in 
"York State Folks." which was playing at 
the Alvin Theater. Pittsburgh, Pa. 

r\ S_ — 1902 — SATURDAY. — Elliott Dexter 
A\\ was painfully learning a new part each 
week, in the stock company at the 
American Theater. New York, his contribution 
to dramatic affairs of the moment being Cap- 
tain de Treville in "The Three Musketeers," 
and, girls, his name upon the bills read thus, 
"Adelbert Dexter." 



f\ >-7 — 1908 — MONDAY. — Violet Mersercau 
A / was struggling to present a convincing 
picture of Flora Cameron in "The 
Clansman." which stopped for a night at the 
Majestic Theater, Butler, Pa., and little did 
she think that this same role, when offered 
upon the screen, would bring undying fame to 
its interpreter, Mae Marsh. 



C\ O —1903— TUESDAY.— William Desmond 
/(S was an avid devotee of the roaring 
school of melodrama, and you may 
depend upon it that he did well with the 
chances offered him as Edward Brockton in 
"The Struggle of Life." which unadulterated 
thriller held them spellbound at the Novelty 
Theater, Brooklyn, N. Y. 



rtQ- 1911— SATURDAY.— Allen Holubar 
Z7 put in a busy day of it as leading man 
at the Mozart Theater, Elmira. N. Y'„ 
this day giving two performances of Henri 
des Prunnelles in "Divorcons." while the morn- 
ing was given over to a rehearsal of "Salomy 
Jane." And yet they say pictures are hard 
work ! 



O A— 1902— WEDNESDAY.— Elsie Ferguson 
J\J added charm and pulchritude, if her 
dramatic opportunities were of the 
slightest, as she tripped merrily about in the 
chorus of "The Wild Rose." a musical pro- 
duction destined for a summer's run on Broad- 
way, and this date playing at the Garrick 
Theater. Philadelphia, Pa. 



The Indiscretions of a Star 

The romantic history of one of our most prominent film stars whose exploits have set tongues 
buzzing — in the film colony and out — for years. The real truth about his sentimental adven- 
turings, disclosing how the public's verdict of a matinee idol affects his whole private life. 



As told to Inez Klumph 



Illustrated by Ray Van Buren 



CHAPTER I. 



fE stood in front of the 
huge, , fireplace, feet 
planted well apart, 
hands thrust into his pockets. 
His hazel eyes were narrowed 
to mere slits, his firm jaw set. 

Then, suddenly, he stepped 
forward and caught the girl in 
his arms ; the rose-colored tulle 
of her draperies swirled about 
her as he dragged her to him, 
and blew against him in a filmy 
cloud as he held her closer and 
closer, and then, with a crooked 
little smile, bent and kissed her. 

A violin wailed plaintively 
through the long, tense moment 

that followed, then sobbed away into silence. The man 
lifted his head slowly. And the brusque voice of his 
director, standing a few feet awav, exclaimed: 

"Good stuff— cut ! That's all for to-day." 

But the girl did not turn away. She stood there for 
a moment, ■ still clinging to him, after his arms had 
dropped to his sides. I stood near enough to them to 
hear what she said as he straightened up and so forced 
her to let him go. 

"I have never hated you so before," she told him, 
her low voice trembling with anger. "I haven't forgot- 
ten, you know."- '• 

As he came off the set I looked at him questioningly. 
He shrugged his shoulders, trying to seem nonchalant, 
but I could see that he was troubled. 

"One of my— shall we say indiscretions?" he asked, 
as we sauntered down the corridor that led to his dress- 
ing room. "It — oh, I'm so sick of all this! Any man 
in my position would be forced into the same false atti- 
tude that I have to take toward the world. The public 
has made me a heart smasher— women fall in love with 
me because I'm. a motion-picture star. If. people only 
knew the truth — if they only knew -" 

"Why don't you tell them?" I suggested. "Surely it 
would be interesting." 

"Interesting? It'd be a riot! I'd like the fellows 
who go to see me on the screen to get the truth about 
all this — they'd learn a thing or two! How I'd like to 
tell it!" 

The truth about a heart smasher of the movies ! The 
truth about the letters he receives and the women who 
come to see him, about the beautiful leading ladies he 
holds in his arms while the camera grinds, and the still 
more beautiful stars whom he so intimately knows ! 

"Everything I do is indiscreet, you know." he went on. 
"People make it so. But, oh. man, how I'd like to tell 
what I know about some of the lovely ladies of the 

screen. Not scandal, you know " And he gave me 

the boyish grin that is one of the most endearing things 
about him. "Just — well, let's call it gossip with the 
malice amputated. And about the girls who write to 



"A BLAMELESS PAST— CAPA- 
BLE OF MISINTERPRE- 
TATION" 



me — and the girls who don't! 
And, oh, what I could say about 
the " 



That, in brief, is the story of Barry Stevens. 
Some guileless, wholesome, devil-may-care 
sort of chaps get themselves in all manner 
of scrapes — and Barry Stevens is one of them. 
He seems to have a regular genius for getting 
himself into the most compromising situa- 
tions and never before has he offered an ex- 
planation of any of them. But now he is pre- 
pared to tell you the real truth about his "In- 
discretions." His story involves some of the 
most prominent people in filmland, and while 
he won't tell you their real names, there is 
hardly a fan who couldn't identify most of 
inein. Here is the beginning of his story as 
he told it to Inez Klumph. 



"Say it in print!" I begged. 
"Just tell it to me and I'll write 
it. It will throw some side- 
lights on the movies that never 
have been thrown before. I'll 
keep your name out of it — I'll 
call you Barry Stevens — that's 
quite unlike your own name ; no 
Irish tang to make people think 
you're Eugene O'Brien; no 
similarity of initials to remind 
them of Wally Reid; no sug- 
gestion that you might be Rich- 
ard Barthelmess or Tony Mo- 
reno or Tom Mix or any of the 
rest of the crowd." 
He chuckled as he offered me his hand to bind the 
agreement. 

"Barry Stevens let it be," he said, "and I'll promise 
to tell the truth about some of my own sentimental con- 
quests and some facts about some of my friends — funny 
things and queer things and some sad ones, too. 

"Why — well, look at the list of girls I can think of 
just offhand. There was a continuity writer and a soci- 
ety woman who went into pictures and a little extra girl 
who jumped into stardom by turning the tables on me 
— she taught me a thing or two! And then there was 
a star — what a girl she is! And I mustn't forget the 
editor of the movie page of a newspaper — she did a lot 
for me and said I did a lot for her — I wonder. And there 
was a cute little pocket edition of a bathing girl, straight 
out of comedies — and another girl who should have been 
one, but was starred by a millionaire and told she could 
act — everybody knows who she is, I suppose. And 
there was a secretary I had — and a girl who wrote me 
fan letters for. years before I met her — and a character 

woman " • 

. "Let's cut the list short and begin on the story," I 

suggested. . [ ■; 

"All right. Only — well, I feel like an awful cad. Do 
you suppose folks who read this will understand that 
I'm not just a conceited idiot bragging about the women 
who've fallen for him, but a perfectly ordinary two- 
fisted fellow who just happens to be earning his living 
in a way that makes women pin a sentimental halo on 
him? If they'll believe the truth about me, they can 
learn a lot of things about the movies that they've never 
even suspected. If they think I think I'm something to 
rave over — gosh, it'll be awful ! Put it up to Wallace 
Reid or Tony Moreno, and you'll find out we're not 
heroes to ourselves." 

"They won't even know who you are," I reminded 
him. "You can even tell things about yourself and men- 
tion your real name, and they won't recognize you. And 
I promise to do ray best to make them see you as you 
are." 

Here is that attempt. 



The Indiscretions of a Star 



19 




She would sit in my living room and talk about him by the hour— and mv manager ivould stay there chaperoning me, fidgeting 

for fear of what people would say. 



CHAPTER II. 
To begin with, I must tell you something about Barry 
Stevens. He's one of the most popular young chaps 
who has ever been starred, but it's no wonder that his 
drawing power is so great, for he has a likable way with 
him that nobody can resist. Girls like to imagine them- 
selves going to dances with him ; young men picture 
themselves tearing across sunlit hills with him in the 
long, racy-looking car that he sometimes drives in pic- 
tures; older men and women find it pleasant to fit him 
into their lives as a companion, a weil-mannered fellow 
who can take a hand at bridge or talk about books or 
take one to the theater — or yell himself hoarse at a base- 
ball game or boxing match. He stands for what most 



of us like best in a chap his age — and so. as he says, it's 
what the public makes him seem that has made him 
popular. 

And the fact that he hasn't been spoiled is due largely 
to his own broad streak of common sense. 

As for these "Indiscretions" of his — well, put any 
girl or man his age into the same place, and just see if 
they wouldn't have done very much what he has. Con- 
sider the influences to which he has been subjected. He 
jumped from a job which paid him fifty dollars a week 
to one that paid five hundred, and then to another that 
brought him two thousand dollars a week. He was set 
down among some of the prettiest girls in the world, 
all of them out for a good time, their motto, "Let the 



20 



The Indiscretions of a Star 



devil take the hindmost !" Some of them had come 
straight out of the gutter, and supposed morals were 
something you got when you went to a fashionable 
church. Others had misplaced their moral code and 
were not too desirous of rinding it again. 

He went into pictures when the industry was not 
what it is now; when a man, if he was married, fol- 
lowed Francis X. Bushman's example and concealed 
the fact — not that his doing so was wholly Bushman's 
fault, incidentally. People like King and Florence 
Yidor, and Hugo and Mabel Ballin, and the other 
happy married couples of movieland, who would be 
pillars of society no matter what their work happened 
to be, were few and far between. The movies were 
a mushroom growth, with many toadstools sprinkled 
among the mushrooms. 

Barry Stevens and I talked it over the other day, 
when we began this story of his. 

"I don't know exactly where to begin or how far 
to go," he told me. "I don't want folks who read this 
to blame us movie people too much, yet I want them 
to know what kind of people we are and what the 
things are that make us what we are. I'll tell you — 
suppose we begin with Nadine." 

And after he'd begun telling me the incident, I 
agreed that it would indeed be well to begin with 
Nadine. 

"I wish you could have met Nadine when I first 
knew her," Barry began. We were tearing along in 
his car, on our way to a little old farmhouse on Long 
Island Sound, where he was working on location. "She 
was one of the prettiest little Irish girls in the world, 
with really beautiful black hair — the kind that fluffs 
out like spray, it's so fine and wavy — and her blue eyes 
were even lovelier then than they are now ; they always 
look sort of tired and sophisticated nowadays, it seems 
to me. 

"She was working in comedies — doing real slapstick 
stuff, getting hit with pies and all that sort of thing. 
And she was just kid enough to like it — she was only 
sixteen, you know. She'd come straight out of a New 
York tenement to go into pictures, and no matter how 
bad a director happened to be, you could bet on Na- 
dine's having known a worse one. But she was like 
a little boy who goes wading in mud puddles in city 
streets- — the dirt never touched her. She was sharp as 
a new pocketknife, and she was earning more money 
than she knew what to do with, so nobody could make 
her any kind of offer that tempted her at all." 

That was a new light on Nadine Malory for me. 
Her reputation now is — well, one hesitates to mention 
her in circles where she is really known. Try to excuse 
her to nice people, tell them how well read she is, how 
amazingly good-hearted, and all that sort of thing, if 
you like, but they just sniff and mention various rather 
lurid details that stun you into silence. I've often won- 
dered whether those details were true or not. Now 
I was to find out. 

"I was just beginning to work under my first starring 
contract, and, of course, I had a pretty good opinion of 
myself, when I met her. I'd gone over to the lot at the 
studio where she was working, with my director, to see 
if we couldn't find somebody who might make us a good 
leading lady, and somebody brought her over to where 
we were standing. 

" 'Hullo,' she said, with a friendly little grin. 'Want 
to give me a job?' 

"I was on my dignity, of course, and let her see that 
I couldn't descend to frivolity. I was just eighteen, you 
know, and Lord, how important I felt!" 

I've heard of that meeting from others. They said 
that Nadine deliberately made fun of him, and that he, 




There stood Norton, his cans of film 

looking handsome enough to be a collar ad, in his cream- 
colored flannels and tie that made his eyes look steel 
blue, flushed and stiffened and finally wound up by 
laughing with her at himself. 

"I was crazy about her by the time the afternoon was 
over," he went on. "She has real magnetism, you know, 
and a trick of making you think you're the most inter- 
esting chap in the world. She looks into your eyes and 
says, 'Do tell me about yourself!' and you burble on 
and on, and then, when you're convinced that you're 
boring her to death and stop, she opens her eyes wider 
than ever and says, 'Oh, tell me some more — it's won- 
derful!' She told me, long afterward, that she had 
thought out some of her most effective costumes and 



"he Indiscretions of a Star 



21 




under his arm, offering fabulous wealth if he could have that milk wagon for fifteen minutes. 



at least two good plots for pictures while men were 
talking to her about themselves, but, of course, at the 
time I thought she was really listening to me — just as 
all men do, I imagine. 

"She wouldn't ieave comedies to go to work with me, 
though. I did niy best to get her to do it — told her that 
she might become a star herself some day — little did I 
suspect that she'd been offered a chance to be one weeks 
before, and had turned it down. 

"But why won't you?" I asked, tagging along after 
her when she went over to a soap box that stood near 
the set and sat down. I was rather embarrassed when 
I discovered that she'd gone over there to change her 
costume — 'but she took off her shoes and stockings as 



any child would have done, apparently without even 
thinking of me, and got into some sandals and slipped 
another dress on over the one she was wearing, and 
then slid the underneath one off, while she talked on 
with me. 

" 'Shall I tell you the truth ?' she. asked, suddenly 
growing serious. 'Think you can stand it?' 

" 'I can stand anything you tell me,' I told her. I 
was rapidly losing my head over her. 

" 'All right — I won't leave because I'm living with 
my director,' she told me calmly. 

"I suppose I turned every color of the rainbow. I 
felt as if something had fallen on me and knocked the 
breath straight out of my body. 



22 



The Indiscretions of a Star 



"She waited a moment to let me get the full force of 
that, and then gave a little giggle, an impish ghost of a 
laugh. 

" 'I'm his wife, you see — but you needn't make that 
fact public,' she went on. Then, more soberly. 'And 
he's in love with somebody else.' " 

CHAPTER III. 

"Do you mean that Nadine Malory was really mar- 
ried to Lee Norton when they made those marvelous 
comedies and both became famous ?" I demanded incred- 
ulously. "Why, I've always heard " 

^'You've heard just what Lee wanted people to think." 
Barry cut in, letting his car out as we left White Plains 
and swung into the short cut to Port Chester. "He 
didn't want any one to know that he was married, and 
she, kid that she was, adored him and was willing to 
do. whatever he wanted her to. Nobody knows yet that 
she married him way back there in the days when bath- 
ing girls still wore skirts. 

"She told me because she simply had to tell some- 
body, and she said she thought I had a kind face — 
imagine how that made me feel, when I'd thought I was 
so sophisticated! 

"She told me other things, too — for instance, when 
I asked her why she stuck to him, if he was in love with 
somebody else, she said, 'But why not? He's not good 
to me now, but he won't give in to her and get rid of 
me, as she wants him to, because he needs me. I help 
him write his pictures, you know — that is, I put down 
the things he says when he's drunk.' " 

I began to see why some of the Lee Norton comedies 
were rather disconnected in spots. 

" 'Of course, we just kind of make them as we go 
along,' she told me after that. 'There's never really any 
story — comedies are just fillers, anyway. But I tell Lee 
that they could be something more than that — I think 
a comedy could be almost a feature, if it was handled 
right and had sort of a story. He thinks I'm crazy.' " 

"I wonder if he still thinks she's crazy, since Chap- 
lin's done 'The Kid' and some of the rest of them have 
turned out five-reelers in that line," I volunteered. 

"Oh, I suppose so — he'll never appreciate her. no mat- 
ter what happens. Probably thinks it was his idea — he's 
always been a regular sponge." answered Barry dis- 
gustedly. "Well, we talked for a long time, and I did 
my best to get her to break away and do straight stuff 
with me, but she wouldn't do it. 

"I found out afterward that the girl Norton was infat- 
uated with was a cheap little actress who'd got stranded 
on the coast when a road show she was with went broke. 
And Nadine had seen her sitting on the extras' bench 
outside the lot one day, realized that she was up against 
it, and finally taken her in. She lived with Nadine for 
two weeks — then Norton gave her a job, and the first 
thing anybody knew Nadine was by way of losing her 
husband." 

"And I suppose you stepped in and monkeyed with the 
buzz saw," I suggested. 

"Exactly," he answered, with a laugh. "My director 
tried to tell me I was a fool, when I kept trotting over 
to Norton's studio, but I insisted that Norton was a 
really good man — he is, you know — and that I was learn- 
ing things from seeing how he could take a bunch of 
pretty girls without an ounce of brains and actually get 
action out of them. 

"Then Nadine came to me one night, at my apart- 
ment—it was exactly like her to do that; people gos- 
siped about her and Norton, and she knew it, so she 
didn't take the slightest trouble to preserve what reputa- 
tion she might have had. She just took it for granted 
that every one was going to believe the worst of her, 



and as she knew that trying to explain to them wouldn't 
do her any good, she just didn't try. 

" 'I've changed my mind, Barry,' she told me. 'I'm 
going to switch over to you.' 

"I just stood there and stared at her. I remember 
that I was getting into a dinner coat — it was movie night 
at one of the Los Angeles cafes, and in those days I 
was crazy about stuff like that. When strangers pointed 
me out and gazed at me with awe I was tickled to pieces. 

"She had come in without being announced, and 
walked straight down the hall to the only room that 
was lighted — my bedroom. I was standing at the chif- 
fonier, fussing with my tie, when she came in, and I 
just stood there with my mouth open and the tie dan- 
gling around my neck, staring at her. You see, the 
situation embarrassed me — though she never thought a 
thing about it. 

"She sat down on the foot of the bed and motioned 
to me to go on with my dressing. 

" 'I can't stand it any longer,' she told me, and her 
face had a white, strained look that made my heart ache 
for her. I reached over and laid my hand on hers — I 
had an almost impersonal feeling of wanting to help 
her." 

"Barry Stevens, you never had an impersonal feel- 
ing about a woman in your life!" I cut in. "You know 
that as well 'as I do. But go on." 

"I tell you, I did feel that way about Nadine that 
night — I guess I was too scared to feel any other way. 
You see, there we were — not another soul in the apart- 
ment — and it was nine o'clock at night — not awfully late, 
but late enough. I knew it was all right — Nadine's heart 
was so full of Norton that she couldn't even think of 
another man. But I knew that, though the situation 
wasn't my fault, it certainly was — well, indiscreet. 

" 'I didn't mind so awfully much as long as I could 
do things for Lee,' she told me. That marvelous mag- 
netism of hers had gone out like a flame somebody's 
turned a hose on; she just sat there, staring straight 
ahead of her, with her shoulders drooping, all huddled 
in on herself. 'But now she helps him instead of me. 
They sit together when the day's rushes are run off. 
and talk about 'em, and she makes suggestions — she 
doesn't know one end of a camera from the other, if 
you want to know what I think ! 

" 'And she — listen to this, Barry — she won't be the 
goat in his pictures. No, siree ! No pies can be thrown 
at her. She says she's pretty enough to stand around 
and just be good looking — so Lee's designing a costume 
for her that's nothing but a frill or two and a bunch 
of spangles, and the next picture's all written around 
her. Me, I'm out!' 

"Well, I begged her to brace up and show him what 
she could do. My picture was all cast and under way, 
but we'd be through with it in a month — we worked 
fast in those days ! And I told her I'd get her into the 
next one. She sort of cheered up at that, and took off 
her hat and fixed her hair. 

" 'Guess I'll sleep on the living-room couch to-night, 
if you don't mind,' she told me. powdering that pretty 
little nose of hers. T haven't got a cent and no baggage 
— nobody 'd take me in.' 

"Talk about cold feet — mine turned to stone. I liked 
Nadine well enough — but I certainly didn't want to be 
all mixed up in a scandal with her, and I knew that was 
what would happen if she didn't clear out. And Nor- 
ton was exactly the kind to make a fuss and threaten 
to shoot me, and then divorce Nadine and marry this 
other girl. 

"But she had her mind all made up, so I decided that 
the thing for me. to do was to be conspicuously absent 
Continued on puge 86 



Three Lovable Girls 



Whom you will probably hate if 
you're crazy about Dick Barthel- 
mess, for they are the girls he 
makes love to on the screen. 




HERE are three charming, pretty young girls who have 
achieved success on the screen, but their chance of 
great popularity is slight — their chance of popu- 
larity, that is. among other girls. For these three enjoy the 
distinction of having been selected to play opposite Richard 
Barthelmess in his first starring vehicles and one can hardly 
blame other girls for not feeling very friendly toward them. 
Above is Gladys Hulette, who played with him in 'Tol'able 
David," at the right is Louise Huff, who supports him in 
"The Seventh Day." and below is Tauline Garon, who will 
play the leading feminine role in "Sonny."- 




Photo by Edward Thnycr Monroe 




Where Do They Come 

From? 

m , Looking backward into the early careers of our motion - 
picture favorites proves that there is no career that may 
not be superseded by the bright lights of the Kliegs. 



By Johnson Briscoe 





Illustrated by Lui Trugo 



*$«^ 



,NLY ex- 
peri- 
enced 
m o t i o n-picture 
actors can appear 
in our pictures," the 
casting director of a big 
motion-picture concern 
remarked heatedly to the 
girl who wanted an en- 
gagement. 

"But how do they be- 
, come experienced ?" 

"By acting in pictures, 
of course." 

"Then they must start 
some time. Some one 
must give them their first 
engagement. They aren't 
born motion-picture ac- 
tors !" she protested. 
"Maybe not." He dismissed the subject airily. 
She was not content to let it go at that, though. 
"Where do they come from?" she kept asking in the 
hope that she would find the royal road to the studio 
and success. "What do they do before they are motion- 
picture actors?" 

She didn't find any royal road to success; she found 
a hundred and one devious routes that in some cases 
have led to success. She didn't find any profession from 
which people could step prepared to be motion-picture 
actors; she found the stage, the schoolroom, the pulpit, 
the business office, the circus ring, and the drawing-room 
all yielding their quota to the land of the Kliegs. 

If you are a school-teacher and are ambitious to be- 
come a screen actress — consider Lois Wilson and Mary 
Thurman and how they have succeeded; if you are 
a newspaper writer — take heart from the examples of 
Wallace Reid and Mary Alden ; brokers' clerks and in- 
surance agents turn your attention to Douglas Fairbanks 
and Bryant Washburn, and you girls who find waiting 
on customers at the village store irksome know that Pola 
Negri, the fiery star of "Passion" and "One 
Arabian Night" once shared your experi- 
ences. , 

Let's take a look back through the years 
and find what our favorites did before they 
acted in pictures. Perhaps some of you 
would like to know that if you met your 
idol you could sit down and swap remi- 
niscences with him about the old days in 
the shoe-and-leather business, or the days 



of boarded-out schoolmasters, or some other past that 
has been obscured in his present rise to fame. 

Take, for instance, Gladys Smith — and of course you 
know that that means Mary Pickford. She made her 
debut on the stage at the Princess Theater in Toronto 
in a play called "Booties' Baby," January 21, 1901. 
An enthusiastic biographer tells of her success on that 
occasion in these words: 

"She was a great success in the wee assignment, and 
appeared to live her character with such unctuous joy 
that the local critics trotted forth once more the oldest 
phrase ever pinned to budding talent. They proclaimed 
her 'a born actress.' " 

That may have been the consensus of opinion, but 
a published review of the same performance said: 

"Little Gladys Smith, who played the child's part, had 
not been thoroughly drilled, and in consequence the play 
was uneven, something unusual with this company." 

However successful or unsuccessful, this was the be- 
ginning of one of the most amazing careers in the his- 
tory of the world. For eight years thereafter Mary Pick- 
ford played children's roles on tour, and a complete list 
of her various engagements reads like the titles once fa- 
vored in picturedom. There was "The Little Red School- 
house" — which incidentally was written by Wallace 
Reid's father— "In Convict Stripes," "The Fatal Wed- 
ding," "Wedded But No Wife," "For a Human Life," 
and last "The Warrens of Virginia." Pictures claimed 
her then— it was in June, 1909, and the company was 
the Biograph. She returned to the stage to play Terka, 
in "Seven Sisters," in February, 191 1, but that summer 
she returned to the screen, playing in Imp pictures for 
a while, and returning to Biograph the following Decem- 
ber. Her final appearance on the stage was made in 
January, 1913, when she played the blind girl Juliet in 
"A Good Little Devil," and since that time her picture 
career has been a series of personal 
triumphs which every motion-pic- 
ture actress might well envy. 

Though we hear a 
great deal about 
William S. 




Where Do They Come From? 



25 



Hart's "early life on the plains" and his "love for the 
open spaces and the vast outdoors," it is rather amazing 
that no mention is ever made of the fact that at the 
venerable age of seventeen W. S. Hart was a well- 
known amateur walker, a career which he followed for 
several years. He was born in Newburgh, New York, 
but moved West after a few years. His first appearance 
in public was at the Manhattan Athletic Club in New 
York, March 16, 1881, where he was matched against 
Prendergast in a one-mile walk. Our hero was defeated 
in that and other matches, but on August 8th of the 
same year he outdistanced his rivals in a one-hour walk, 
during which time he covered six miles, six hundred 
and sixty yards. Every few weeks thereafter for several 
years he entered walking matches in New York, Phila- 
delphia, Montreal, and other places — generally being vic- 
torious, with prize cups and medals showered upon 
him galore. It was not until 1889 that Mr. Hart became 
an actor, and. considering his athletic beginnings, it was 
fitting that his early struggles were confined to the sup- 
port of such strenuous veterans as Helena Modjeska, 
Hortense Rhea, and R. D. MacLean. It is hard to 
realize that during the first ten years on the stage our 
premier Western star embraced such Shakespearean 
roles as Romeo, lago, Macduff, Orlando, and Benedict. 

He also had the temerity to 
attempt Napoleon Bonaparte, 
Claude Melnotte in "The Lady 
of Lyons," and even Armand 
Duval in "Camille." Finally, in 
1896, he found the sort of part 
that has made him rich. It was 
in a melodrama called "The Great 
Northwest," which 
included a horse 
stealing, a prairie 
fire, a lynching 
party, and a poker 
game with Mr. 
Hart as the long- 
suffering hero ac- 
cused of every con- 
ceivable crime. 
There his career 
really began, and you all know the story from there. 
John Barrymore, though born to the stage purple, was 
literally forced onto the stage. Much against his will, 
he appeared in support of his father in a one-act play 
in vaudeville. He was anything but a success, and after 
two weeks was allowed to follow his own inclinations, 
which took him to Paris and art school. For some 
time he was on the staff of the New York Evening 
Journal, but in 1903 he gave up drawing asa profession 
and went on the stage. Oddly enough, his brother, 
Lionel, was a professional actor for some fifteen 
years when he suddenly announced his intention 
of becoming a painter. After a while, 
however, he returned to the stage, where 
he has won the exceptional fame charac- 
teristic of his family, t 

It's a long, long stretch between 
Laurence Brayington and 
David Wark Griffith, and 






the difference in the man is as great as the 
difference in his names. He was acting in 
the support of a well-known star named 
John Griffith, and it was thought better 
not to have a minor member 
in the cast with the same 
name. So Laurence Bray- 
in g t o n was adopted. 
Later, when he 
went into an- 
other company, 
he became 
Laurence Griffith, and that is the name he used through- 
out his stage career. It was not as an actor, however, 
but as a reporter for the Louisville Courier-Journal that 
he began his bread-and-butter struggle. And in 1896, 
when "Damon and Pythias" did not gain sufficient finan- 
cial support from the inhabitants of New Albany, Indi- 
ana, he was a book agent and also solicited subscriptions 
for The Baptist Weekly. By the spring of 1900 he was 
well launched on a theatrical career, and it was that 
season that he enjoyed the unusual experience of 
doubling in two such important parts in "Uncle Tom's 
Cabin" as Simon J^cgrcc, the villain, and George Harris, 
the hero. Several years later San Francisco was the one 
and only city to see him as John the Baptist in "The 
Holy City." No wonder there is variety in his motion 
pictures. 

William De Mille was one of our most successful 
playwrights and instructor at the American Academy of 
Dramatic Arts. Cecil De Mille had his heart set on 
being a soldier, but his mother divulged the secret that 
he was only seventeen at the time, and out of spite he 
became an actor. Herbert Brenon was call boy at Daly's 
Theater in Philadelphia, Wilfred North sailed before the 
mast for several years and then became a lawyer, John 
Emerson studied for the ministry and then taught in 
dramatic school, and Alan Crosland was a reporter on 
the Globe in New York. 

One would hardly expect that an ex-Sennett bathing 
beauty was once a school-teacher, yet that was the be- 
ginning of Mary Thurman's career, and Alan Dwan, 
who has directed her, taught electrical engineering at 
Notre Dame University, near South Bend, Indiana. 

Once .upon a time it was a comparatively easy step 
from the model stand in the artist's studio to the motion- 
picture studio. Such leaders of to-day as Alice Joyce, 
Mabel, Normand, Marguerite Courtot, and Anna Q. 
Nilssbn all traveled that route. And heavy inroads have 
been made upon the Ziegf eld beauty choruses by motion- 
picture casting directors. Mae Murray. Marion Davies, 
Justine Johnstone, Martha Mansfield, Rubye de Remer, 
Kathryn Perry, and Jacqueline Logan all came from 
there. 

The chorus has provided too many to mention, but 
we take this opportunity to contradict the oft-re- 
peated fiction that Pauline Frederick got her 
start there. True, she was in the chorus of 
"The Rogers Brothers in Harvard," but months 
before that she stepped timidly forward for a 
single week at the Music Hall in 
her native city of Boston, and in a 
scared voice tried to interest a jaded 
audience in three songs. However, 
in passing, let's not overlook the 
fact that some of our most popular 
Continued on page 95 



X 
— 4-', --_— 

■ ^ st^ * m *^ l C **** — — *■ 



WG%£3&3&r* *"* 



The Barnstormer 

The story of a youthful ambition and a greater love suggested by the 
Charles Ray-First National picture of the same name by Richard Andres. 

By Robert Terry Shannon 



THE demoniacal face scowled — gathered power 
and fury, slowly, remorselessly, as though the 
stark evil in the man's soul were battering and 
strangling to death the last feeble wraith of conscience. 

Coarse black hair, matted and twisted, hung,, like an 
eerie, fearsome cowl, on either side of the sinister coun- 
tenance, forming a dank and straggly frame for eyes that 
roved and burned; eyes underhung with deep shadows, 
heavy and black. At a hazard one might fancy such 
a gaze bespoke something more than mere age with 
approaching senility — a tainted brain — a poisoned soul 
— -an embittered, vindictive life. 

In every lineament plainly writ was the same uncanny 
advertisement of a nature tempered and steeled against 
the divine quality of mercy. 

Unmitigated cruelty revealed itself, thus, in the very 
beaklike curve of the great nose ; reminiscent, somehow, 
of the horny prow of a mountain eagle swooping down- 
ward upon defenseless prey. The satanic mouth twisted 
itself into a half smile, half snarl as though the man 
were gloating secretly over fiendish secrets locked against 
the world in his own foul breast. 

One powerful hand stroked the sparse beard that 
grew from cheek and chin, uniting below the throat in 
a tenuous sprangle — a twisting coil of murky smoke. 

The room was small and Spartan in its furnishings ; a 
plain bed, a wooden chair, a pine table and, curiously, 
a mirror. The garb of the lone occupant was as plain 
as the room itself — a long and loose garment after the 
style of a medieval cloak that hung from shoulders to 
heels, concealing in its loose folds whatsoever garments 
were beneath. 

Moving about restlessly in his narrow ^--"~>- 
confine the strange figure paused from 
time to time before the mirror; studied 
his own reflected face as one deeply in- 
terested in the enigma of human char- 
acter — as a tormented sinner might 
search his own eyes to test the seeth- 
ing iniquity in those bubbling pots of 
hate. 

So, grotesquely illumined by the saf- 
fron glare of a kerosene lamp, Joel 
Matthews paced his quarters much 
as a caged beast might move — con- 
stantly, with the tigerish restless- 
» ness of the cat tribe that is ever 
marked by some unfathomable 



Joel Matthews 
had a hard time 
mastering the 
intricacies of 
stage make-up. 




fear contending forever with some inherent sav- 
agery. 

Outside the door a step creaked on the stairs. 
. Whirling with feline speed, Joel Matthews cringed 
— shot a quick glance toward the window. The drop 
to the ground was twenty feet. He was trapped, at last, 
and he knew it. Momentarily, he stood motionless and 
breathless. Then it came, as he knew it must — the knock 
on the door. 

"Joel Matthews, open that door!" 
The voice was that of a woman, high-pitched and 
commanding. Joel Matthews passed a dry tongue over 
his dry lips. From his husky throat came a dry, un- 
intelligible murmur. 
"Open— that— door!" 

Once more the askant eyes shifted toward the window 
— returned to the door, now trembling on its hinges 
beneath a succession of blows. There was no escape. 
Biting his lip Joel Matthews shot back the bolt with 
shaking fingers; jerked open the door with a sudden 
desperate movement as a man driven to his last ex- 
tremity. 

Bloodcurdling in shrill intensity, surprise and terror 
shrieked from the woman's throat. One arm upraised 
as a shield, she fell back, ashen white, trembling in 
every nerve. 

In the room below a man, startled to action by the 
woman's cry, sprang for a rifle behind a door; leaped 
for the stairs. He was too late. Joel Matthews, with 
a rush, plunged down and past the cowering woman; 
gained a side door and fled into the night. 

Behind him, the man with the gun ran heavily, with- 
holding his fire against a moving target. Ham- 
pered by his long, enshrouding garment Joel 
Matthews lost speed. Before him loomed a 
yawning door — the entrance of a dugout. 
Poor as the chance was, the fleeing form 
accepted it; flung itself inward; pulled 
down the door. 

"Come out — come out or I'll shoot !" 
Advancing cautiously the armed pursuer 
lifted his weapon. A forefinger curved 
around the trigger. Then — in a queer, 
cracked voice Joel Matthews spoke. 

'Tm— I'm Shylock " 

"I don't care who you are" 
— the reply was as cold as 
ice — "come out or I'll 
shoot !" 

Slowly, the door lifted up- 
ward and Joel Matthews 




The Barnstormer 



27 



emerged. In one hand he 
held the matted wig that had 
been upon his head ; in his 
other the wispy beard that had 
been glued to his face. The 
beak nose — being putty — was 
oddly askew. 

"Dern it, pap !" he cried bit- 
terly. "Can't you and Ma 
leave me alone when I'm prac- 
ticing stage make-up? How 
d'ye reckon I'll ever learn to 
be an actor with you two al- 
ways interferin'?" 

Stripped of the crude dis- 
guises that he was forever 
putting on, Joel Matthews 
was the typical farm boy of 
seventeen — except, perhaps, 
that there was in his bright 1 
blue eye an imaginative gleam 
that never dimmed. With all 
of his ardent, unquenchable 
young soul he yearned to be 
an actor. 

"What makes you think 
you can act?" his father de- 
manded with a puzzled, wor- 
ried frown. "You give a 
mighty healthy performance 
at the dinner table but " 

Joel shook his head hope- 
lessly. 

"It's somethin' inside me — 
a talent," he replied, hollowly. 
"I can't explain it. It's in my 
blood, I suppose. If you hold 
me down, pap, you'll cut your 
own family off from fame and fortune!" 
^ After the manner of the Barbarian, his father snorted. 
"If I thought— if I thought for a minute I was en- 
couragin' you in any such " 

The boy's face flamed vividly. 

"I don't need any encouragement! Look here, pap: 
I got a big chance. Mr. St. Clair, manager of the 
Gwendolyn St. Clair Players, what is in town this week, 
says mebbe I can go off with his troupe. He'll give me 
eight dollars a week — and I reckon I'm goin'." 

"You've made up your mind, Joel?" 

"I have, pap." 

Keenly, for an instant, the father scrutinized the boy's 
face; marked the determined set of the chin, the beam- 
ing eye. Memory trailed backward through the years. 

When he, Eben Matthews, had been Joel's age ' The 

recollection brought an understanding, humorous twinkle 
to the older man's eyes. One hairy paw fell upon the 
son's shoulder. 

"I ain't goin' to set a straw in your way, Joel," said 
the old farmer. "Mebbe I understand better than you 
think. When I was a boy I run away myself — with a 
minstrel troupe." 

Joel whistled. "I never knowed that !" he cried. "You 
see ! It's in my blood ! Inheritance — that's what it is. 
But, pap, how come you to — to give it up?" 

Eben Matthews lifted one eyebrow quizzically. 

"There didn't seem to be any public demand for my 
actin' ; in fact it was kinda the other way. Anybody 
can be stage-struck. Most folks are. at some time or 
t'other. It don't mean a gosh-darn thing. There's 
something about an actor that sets him off from other 
people. I didn't have it. You ain't got it neither. I 




Ma and Pa assured him that there would always be a place waiting for him at home. 



can tell just by your looks. Go ahead, son — get cured. 
Your Ma and me. we'll keep a place for you at the table 
— till you get ready to come home." 

The Gwendolyn St. Clair Players moved into the little 
town of Carterville, forty miles away, the next week 
for a run of six nights of repertoire at the "Opera 
House." With the company was a gangling boy who 
had invested his meager savings in striped trousers, a 
frock coat and a pearl-gray derby. Technically, he was 
an actor. Actually, he was a scene shi f ter, a baggage 
handler, an errand boy and a billposter. His name 
was Joel Matthews. 



'It's a kind of a rot- 



" The slight blond girl be- 
hind the soda counter checked herself, abruptly. "I 
really wouldn't call it a rotten show, Mr. Matthews — but 
you know " 

Joel put down his glass nervously. It was difficult to 
disagree with one so charming. The day was Wednes- 
day. Monday, Tuesday, he had found a dozen excuses 
to entor the little country drug store. Such was the 
lure of youth and beauty. 

"We never get warmed up till the last half of the 
week," he temporized. "Wait till you see us play 'The 
Curse of Rum,' 'Her Dark' Past,' and 'East Lynne.' 
You'll change your mind !" 

Emily smiled entrancingly. "Of course, Mr. Mat- 
thews, if you was to play a part it would help a lot. You 
wasn't in the play last night or the night before, either, 
were you?" 

Joel flushed ; tapped his high white collar with a cal- 
loused finger tip.. 
■ "My "throat's been ' gi'vin' me trouble.'" He stopped ; 



28 



The Barnstormer 




He had found a dozen excuses to enter the little store; such was the lure of 

youth and beauty. 



added professionally: "all season. But they're goin' to 
let me have a chance Friday night. I'm goin' to get a 
whack at playin' the butler in 'Her Dark Past.' " 

A tiny frown darkened the girl's brow. 

"You'll be there, won't you?" Joel asked, anxiously. 

"Yes, but " 

"But what? I wanted 'specially that you'd see my 
work. You're the sort of a girl that's got intelligence. 
Say — I bet you could tell, right off, whether a feller 
was a real actor or not. That is, of course, if you was 
really interested in tellin' — I mean if you was to give 
your honest opinion " 

The girl looked at him with a steady eye. 

"Would you do me a favor, Mr. Matthews?" 

"Would I — say!" Joel leaned across the counter. 
"Betcher life!" 

"Then I wish you wouldn't act Friday night." 

"Not act ! Why it's my first " He stopped, mouth 

open and eyes batting. "Why not?" 

"I've got a good reason, Mr. Matthews. Besides, Fri- 
day is an unlucky day. Don't ask me to explain, only 
please don't act on Friday night." 

More than anything else in life Joel desired to act on 
Friday night — to exhibit his talent before this sweetly- 
bewitching creature. He would act as Booth or Joseph 
Jefferson never acted ! By sheer dramatic genius he 
would lift the commonplace butler into classic realms! 
He had looked upon the fair Emily and had felt inspira- 
tion racing through his veins. Besides, Friday was his 
only chance. The part was his first. It was only four 
lines long — the first rung on the ladder of fame ! 

"I ain't superstitious about Fridays," he asserted, 
grandly. "Don't you worry. Just be there — that's all !" 

Emily's face clouded helplessly before such assurance. 

"You mustn't!" she breathed. 

Joel smiled; shook his head. The girl, he imagined, 



was the victim of a feminine whim. 
A pleasant, flattering warmth stirred 
his heart. 

"I couldn't throw down my man- 
ager," he told her. "I don't do busi- 
ness that way. You needn't worry. 
Just keep your eye on me Friday night 

and I'll show you " 

He paused, conscious of a shadow. 
Turning he looked into the round, leer- 
ing face — the putty face — of young 
Elmer Purvis, a stocky youth in a suit 
of many flaps, slashes, and buttons. 

"Well, Ham-Fat," said Purvis with 
a snicker, "how's the punkest troupe 
on earth gettin' along?" Without 
waiting for an answer he turned to 
Emily. "Listen, girlie, what do you 
want to waste your time for listening 
to this poor simp's guff?" 

Emily reddened slowly. Joel Mat- 
thews slid off the stool upon which 
he had been sitting. Raising the gray 
derby to the girl he walked out of the 
store — took up a position outside com- 
manding the only exit. 

Through the window he watched 
Purvis consume a dish of ice cream ; 
heard him laugh raucously as he 
sought to engage Emily in conversa- 
tion. Presently, the noisy young man 
finished and came toward the door. 
He was larger, stronger, and older 
than Joel Matthews. 

"Still hanging round?" he inquired. 
"What if I am?" Instinctively, 
Joel doubled his fists. With maddening deliberation 
Elmer Purvis lit a cigarette. 

"Look here, guy," he said with a sneer, "you're wast- 
ing your time hanging around that girl in there. She 
can't see you for a minute. I'll tell you why: she's my 
girl — see? Private property. Keep off. D'ye think she 
wants to be bothered by any bum actors? She'll see 
enough of you when I take her to the show Fridav 
night." 

Joel winced, as though cut with a lash. "She wouldn't 
go with you !" he cried hotlv. 

"She wouldn't, eh? Why not?" 
"Well — she just wouldn't. That's why!" 
Purvis jerked a thumb over his shoulder. "You just 
go in and ask her whether she's going with me or not." 
Pausing a moment in indecision while his tormentor 
grinned, Joel suddenly sickened with jealousy, strode 
through the door ; approached the soda counter and 
Emily with a futile effort at nonchalance. 

"Look here, Emily," he said awkwardly, "that Purvis 
feller is claimin' you're goin' to the show with him. 
You ain't, really, are you?" 

Before she spoke he read her answer; was conscious 
of a twisting pain in his chest. 

"Yes, I'm going with him," the girl said. 
A vast sense of emptiness overpowered Joel Mat- 
thews. His lips moved wordlessly. With a trembling 
hand he sought to adjust his necktie. The splendor of 
his actorish clothes- seemed to fade ; his shoulders 
drooped forward. Vaguely, he realized the girl's back 
was toward him. Somehow, he found himself in the 
street. 

Through a peep-hole in the curtain Joel scanned the 
audience, hoping against hope. His heart, with a shud- 
Continued on page 90 




Another 
Change of 
the Times 



A motion-picture star, while showing 
us some of the scrapbooks which she 
had made a few years ago, was suddenly 
struck by the great change that has taken 
place in the type of articles and inter- 
views written about the movies and the movie folk. 

"They have become as different from what they used 
to be as have motion pictures themselves," she observed. 
"Here, for example, is an old interview with me. It 
is no more like me than though the person who wrote it 
had never seen me, and I wouldn't be surprised if he, 
or she, never did. I most certainly never said any of 
the preposterous things that I'm quoted as having said, 
and I'm sure that my own mother would never recognize 
me from the ridiculous description of me." 

The article in question, she went on to say, was typical 
of most of those of that early day — exaggerated, highly 
colored by the imagination and the tricks of a third- 
rate writer, who wrote each interview after the same 
formula, the only requirement being that every star 
should be treated to a shower of absurdly overdone flat- 
tery, fulsome praise, and sloppy sentimentality. 

"To-day," she said, "while there is still some of that 
sort of thing, it is getting much less common. The in- 
terviewers for the most part are persons whom 
we have known, often intimately. Their interviews are 
real character sketches. Honestly, I can hardly wait 
sometimes to read one of mine. 

"And then look at this one." She turned to another 
page of a little more recent vintage. 

"For a while almost every interview had to include a 
so-called exposition of the star's philosophy. And these 
were often suspiciously similar. It didn't matter whether 
the interview was with Elsie Ferguson, Mary Miles 
Minter, Nazimova, or who — the interview was always 
the same. We all, it seems, had the same deep purple 
souls and loved to flaunt them. 

"But now ! Just take a look at this," and she picked 
up a recent clipping. "If any one reads this they'll know 
me as well as my dearest friend does, because my dearest 
friend wrote it, and wrote it well. I wonder if the 
fans don't rejoice with me when thev realize that they are 
getting sincere, thoughtful, interesting information now- 
adays — written by people who know." 

Thinking over what the star had said 
Another reminded us that there have been other 
_, changes, one of which is that a few 

Litiange years ago the stars themselves — a great 
many of them — used to be unfair to 
their fan followers by trying to conceal their marriages. 
Some of the companies even made it a definite and rigid 
policy that when any of their stars were married it must 
be kept a secret, as they shared with the stars the sus- 
picion that the screen heroes and heroines must be 
thought by the public to be unwed in order to attain or 
to maintain the greatest popularity. 



Now everybody's married — or, unfortunately, di- 
vorced — and the accounts of weddings are as common 
in the news about the players as they are in the society 
pages of the papers. And no matter which side the 
players may take on the burning question of whether 
or not "art and marriage mix" at least, most of them 
seem to be getting married, and no longer trying to con- 
ceal it. What a change from the time when an actor 
named Bushman denied his wife and children until 
forced to admit their existence. 

The final accounting of the estate of 

The Riches George Loane Tucker, producer of "The 

p . Miracle Man," shows that he left only 

m 1 ictures twenty-two thousand dollars. Perhaps 

earnings of "The Miracle Man" and 

"Ladies Must Live" are to be added to this estate from 

time to time, but the fact remains that the man who 

produced one of the three finest pictures ever made was 

far from being a rich man when he died. 

The profits in motion pictures are being made these 
days by the distributors and exhibitors — although let it 
be said that the profits are comparatively small. In all 
businesses the big money goes to the man who finances 
the proposition. The publisher profits more than the 
author, the art dealer has more automobiles than the 
artist, the man who designs a great building pays less 
income tax than the man who operates it. 

But after all in money, perhaps, reward does not begin 
and end. The richest man in the world has not given 
to this earth the entertainment and the inspiration that 
George Loane Tucker gave in "The Miracle Man." It 
is better to be Michelangelo than to be the millionaire 
who buys his paintings. It is better to have been Caruso 
than to have been one of the boxholders at the Metro- 
politan Opera House. 

••It is better to have been George Loane Tucker than 
any man who "stood 'em up" and took in more money 
at his theater during the showing of "The Miracle Man" 
than George Loane Tucker left to his heirs. 

Thank You ^ ar ' laemmle of Universal is trying 

'a new plan and we herewith give him 

Mr. many cheers. He is going to put the 

Laemmle main title on one of his pictures at the 

end instead of the beginning. 

"All producers," says Mr. Laemmle, "have been 

sharply criticized for many months because of the large 

amount of matter which the audience has to read on the 

main title before the picture appears. 

"Instead of telling what wis? maker curled the villain's 
false whiskers, who painted the scenery, who wrote the 
story, who drew up the continuity, who made the art 
titles, who directed the picture, who released the picture, 
and who everything-elsed the picture, we start the Gladys 
Walton picture with a very brief, informal talk about 
Miss Walton and then jump right into the story. 



30 



The Observer 



"After the story is ended we then run the matter men- 
tioned above. Those in the audience, who want to know 
all the details, can wait and read it. Those who don't 
care a rap can walk out." 

It is our guess that the only ones who will wait will 
be the wig curler and his friends. 

Universal and United Artists have started a good idea 
by doing away with the "So-and-so presents'' credit line. 

Producers of motion pictures are supposed to know 
what the public wants but they never have learned that 
the public does not want to be bored with several minutes 
of "credit" titles mentioning names of people whose 
names mean nothing in the presentation of the show 
that is to come. 

In New York there is a body of 

Mrs. Glyn volunteer censors who believe they are 

~ ' , doing good in this world by sending out 

detisorea eacn wee k a list of the pure pictures 

that they have viewed in the previous 

seven days. They have no official connection with either 

the State board or with the National Board of Review. 

They have a rather interesting time of it, seeing all the 

pictures for nothing before anything has been cut out 

of them, and publishing their thoughts to a waiting 

world. 

Their latest brave effort to save the morals of the 
world is a notice to their friends that a scene in a 
Selznick News Reel showing Elinor Glyn, should be 
eliminated from the film before it is fit to be shown to 
young people ! 

This is not a scene from "Three Weeks" nor a picture 
of any hectic moment from one of her other books. 
It is a straight news weekly shot of Madame Glyn at 
her hotel in New York City. 

"The scene of Elinor Glyn and accompanying titles 
should be cut." says this board. 
Can you beat it? 

T ih " R V ^' e nave near( l f roni tne P ress agents 
is me tug for years a sreat cleal Q £ talk about 

Picture "big" pictures. Every new one was a 

Coming? VAt\t bigger than any ever made before. 

But now comes one that is actually 
the biggest picture ever made. It is "The Mistress of 
the World," a German production that originally was 
thirty-six reels long. 

Many pictures have been thirty-six reels long before 
they were cut, but this one was shown in thirty-six 
reels, in episodes of five reels each. Brought to the 
United States it has been cut to four chapters of five 
reels each, one chapter to be shown each week, or each 
night, depending upon the length of run in the theater. 

This is the first attempt to give the world a real chapter 
picture. D. W. Griffith announced recently that he in- 
tended to make a seventy-two-reel picture, to be shown 
in chapters. Universal was almost tempted to show 
"Foolish Wives" in two parts. 

In Germany and Austria, reports have it the chapter 
picture was a great success. Perhaps the United States 
is ready for it. There are many stories that cannot be 
told in eight or ten reels. If the pictures are well done, 
there is no reason why a chapter picture, five reels to 
the chapter, should not be a success. 

We await eagerly "The Mistress of the World." 



Ten Years 



It was only ten years ago that Sarah 
Bernhardt put the motion-picture indus- 
to' Queen try on its feet by consenting to appear 

Elizabeth in "Queen Elizabeth." 

In ten years the motion picture has 
grown from a stunt to the gosh-almightiest thing on 



earth. That is no idle boast. The motion picture is of 
more interest to more people than any other one thing. 
Even the very highbrow magazines are beginning to 
give to their readers their latest discovery — that a Mr. 
Charles S. Chaplin is showing signs of being a great 
pantomimist. 

The Boston Transcript uses two columns to discuss the 
relative merits of Paramount's "Little Minister" and 
Vitagraph's. The Atlantic Monthly startles the profes- 
sors by wondering what we are coming to with all this 
going to motion pictures — just as fifteen years ago it 
shocked its readers by printing an essay that discussed 
a new sort of dialect called "slang." 

All in ten years! It took the theater generations to 
become respectable and to reach a place in public esteem 
that the motion picture soon will take. 

Let us not try to fool ourselves. The motion picture 
is not yet entirely washed and brushed and clothed in 
fine linen. Every now and then it picks its teeth or fails 
to take off its hat in the presence of ladies. But most 
of the time the motion picture is what the old Indian 
doctor cajled his remedy, "a cure for all diseases and a 
boom to mankind." 

To celebrate the tenth anniversary of the decision of 
Madame Bernhardt, which placed the motion picture 
upon a plane of dignity, a great celebration is being 
planned, to take place in New York this spring. 
Madame Bernhardt has been asked to attend as the 
guest of honor, and it is expected at this writing that 
she will accept. If she does, the celebration will be the 
biggest thing of its kind in motion-picture history. 

An interesting feature is that the speech which she 
will make will be transmitted by telephone amplifiers such 
as were used at the funeral services of the burial of 
America's unknown soldier, to hundreds of motion- 
picture theaters, so that thousands of picture fans will 
have an opportunity of hearing the voice of the woman 
who is generally considered as the greatest actress of all 
time. 

We have before us an editorial from 

TLf ore the Grand Rapids Herald, asking for 

_ more historical films like "The Three 

History? Musketeers," "Deception," "Passion," 

and the like. 

Perhaps we shall have more, but not many more. It 
is too difficult to make history in a popular manner. 
Now and then we get a director who can make real 
human beings out of historical characters, but usually 
history in the film is as dry and unreal as history in 
a book. 

As long as the public continues to be more interested 
in "Main Street," which is a story of people they know, 
than in Plutarch's "Lives" so will there be more dramas. 

A motion-picture star that all of us 

Steakinv nave °^ ten admired has left the screen 

I _ ... . for the stage. She hasn't been doing 

of Publicity s0 we n j n pictures lately, for the public 

tired of her. 

This star's contract provided that in all advertising 
her name should be twice the size of any other type. 
Nobody else could be featured while she was around. 

Even that didn't do any good. She had her day, then 
failed longer to draw. 

Which proves that it is not the size of type, but the 
quantity of ability that makes stars popular. 

Publicity and big type help, of course. But a couple 
of companies have learned to their sorrow that certain 
names in big type — little-known directors, for instance- 
have driven people away instead of bringing them in. 

Putting a general's uniform on a buck private won't 
make him a general. 



Do Marriage and Art Mix? 

That is a subject that is always good for an argument, and the only way 
to settle it is to ask the people who have tried. Here are their answers. 

By Grace Kingsley 



I'M always in love — not always with the same person 
— but always in love !" 
That's what Antonio Moreno said to me once in 
a frivolous moment. 

"Love is so inspirational!" he went on in his volatile 
Latin fashion, with that brilliant, ingenuous smile of 
his. Then he added quite soberly, "If I am married, 
I want it to be for always. Maybe my wife not agree 
with me. That would be sad, yes?" 

Which leads us gracefully 
right up to our sub- 
ject, "Do mar- 



— painters, musicians, or actors. A slightly bigger pro- 
portion of stage folk and other artists get divorced than 
people in other walks of life, it is true. But the publicity 
is all out of proportion to the number. Stay-at-home 
wives and conventional business ' husbands are more 
afraid of what their neighbors will say than is the 
average artist, or there are the children to think of, or, 
most often of all, the wife has no way of making her 
own living, while the actress can support herself. 

Perhaps they play in romantic situations so much, 
these actors, that they get to half believing in the ideal 
stuff themselves. That's why they can't so easily pass 
up any little eccentricity on the part 
of a mate and say, "Oh, it's just 
her little way to 
eat crackers in 
bed!" Or, "Oh. 
he always did 
swear if the cof- 
fee was cold. 
It's just a way 
he has. Now I 
like my coffee a 
little bit cool my- 
self, but Henry 
doesn't. Men 
are so funny 
that way !" 

And then it's 
hard, isn't it, to 




riage and art 
mix ?" 

Well, for the 
matter of that, 
do marriage and 
green - grocery 
keeping mix ? 
Or marriage 
and stenoging? 
Or marriage 
and farming? 

Lots of people seem to think that there is something 
mysteriously disintegrating to domesticity about paint- 
ing a picture or playing a piece on the piano or portray- 
ing a part in a photoplay — a something that makes a 
man less patient when the coffee is cold or a waistcoat 
button is missing, or which causes a woman to fly into 
spasms if her husband tells her she uses too much lip 
rouge or somebody kicks her pet cat. 

It's my personal observation that artists usually don't 
know what they are eating anyway, and except for show 
purposes, a missing button worries them no more than 
the latest theory concerning the solar system. As for 
the women artists, some are temperamental, some aren't. 
The most temperamental woman I ever knew is the 
neatest housewife and another quite innocent of the 
slightest blame of artistic sense, got a divorce from her 
husband because he wore suspenders! 

Certainly some of the happiest married couples I have 
ever known were cases in which both parties were artists 



keep up the old romantic feeling for a person, once 
you've seen a bit of egg on his chin, or if you've seen 
her in patent curlers? 

Naturally it seems a bit sultry to the interviewer who 
must step up to an actor and ask him point-blank: "How 
do your marriage and your art mix to-day?" 

But they were all very nice about it, after all, even if 
there are so many varying opinions in the profession 
as out of it regarding matrimony. King Vidor and his 
wife. Florence Vidor, Allen Holubar and his wife, 
Dorothy Phillips. Bessie Barriscale and her husband, 
Howard Hickman, all agree that marriage is ideal for 
artists. On the other hand, some artists are greatlv 
opposed to their fraternity marrying. Some others still, 



32 



Do Marriage and Art Mix? 




Natalie Talmad»e, now Mrs. Buster Keaton, never cared for professional 
life, though she had every opportunity to enter it. 



even among those whose domestic af 
fairs have been less fortunate, still 
believe in the marriage institution 
for artists despite the bursting of 
their own domestic bubbles. 

Jane Novak, for instance, declares 
sweetly that an artist should be mar- 
ried, especially an actor. 

"It keeps one human," said 
Miss Novak. "And then 
it's so wonderful to ,. 

go home in the eve- 



"I'm always in love, 
says Antonio Moreno. 
"Not ahvays with 
the same person, 
but always in 
love." , 



ning to somebody who cares for you. Some- 
body who is proud of you, so that you are 
stimulated to do your best. I would advocate 
a love marriage as a wholesome inspiration 
to an artist. Self control, good sense, and 
thoughtfulness can be practiced by artists as 
well as by anybody else if they only think so. 
In fact, the work calls for the exercise of poise 
and self direction, and they should be in better 
training for the required virtues of give and 
take in domestic life than other people. Nat- 
urally children are an aid to mutual forbear- 
ance. If real sympathy and understanding 
exist between two artists married to each 
other, theirs should be an ideal life, since 
theirs are the joys of imagination and culture." 
Just the same, Miss Novak is divorced from 
her husband. 

Once Geraldine Farrar and Lou Tellegen 
were considered the ideal couple. Now close 
friends of Miss Farrar tell me she is the sad- 
dest of women, while her complaint against 
Tellegen in her divorce proceedings reveals 
the reason. She declares she will never marry 
again. 

Lina Cavalieri, wife of Muratore. the 
famous tenor, and herself a world-noted 
singer, believes that every woman should be 
in the same profession as her husband, or at 
least that her work should complement his. 

"A couple joined together for life should 
work and play together," said Mme Cavalieri, 
"work together if their home life will not 
suffer, but above all share their pleasures and 
their joys and troubles. Instead, we see hus- 
bands and wives living apart in fact if not in 
theory. My husband was surprised the other 
day when two business men invited him for 
luncheon in a big New York hotel. He asked 
their wives were to be members of the party. 
They looked surprised and finally stammered 
that they would be if he wanted them. Why 
didn't the two husbands want their wives with 
them at this luncheon, or any other social 
affair?" 

former husband of Clara Kim- 
" ball Young and lately of Clara Whipple Young, 
still believes that the ideal marriage between 
artists can be found. But he admits the tempta- 
tions from without. 

"A woman may be an artist and still 
care for her home," said Young. "Per- 
sonally, I love my home. Artists 
should be entirely sympathetic 




Do Marriage and Art Mix? 



33 



with each other's work, when 
much mutual helpfulness and 
inspiration will result." 

Gloria Swanson has lately ad- 
mitted that her marital romance 
has been shattered, though no 
divorce proceedings have been 
commenced. Interviewed as to 
whether an actress should 
marry, Miss Swanson said she 
thought an artist could be quite 
as happy married as anybody 
else. 

"Do art and marriage mix?" 
repeated Miss Swanson. "Well, 
it all depends on the people, just 
as other successful relations in 
life do. There are some direc- 
tors with whom one can work 
much better than with others; 
and there are leading men who 
respond and inspire an actress 
in her scenes with them. Artists 
should be happy together as well 
as any other people." 

"Love is the result of a real 
chemical affinity." said Thomas 
Meighan, "so that sometimes 
absence is desirable. Two 
metals which have an affinity 
for each other rush together, but when they have 
taken on all of each other's magnetism which is 
possible for them to assume, they drop apart 
and nothing can make them stay together 
again for a while. It's a good thing 
for married artists or any other married 
folks to part occasionally, only don't 
stay apart so long that some other 
chemical affinity comes along." 

The stork is known to be hovering — 
at this writing — over the happy home 
of Buster Keaton and Natalie Talmadge 
Keaton. Natalie never did care for pro- 
fessional life, though she had every oppor- 
tunity to enter it. She loves to be at home, 
and;, it is known that formerly her older 
sisters depended much on her judgment in 
business as well as in household matters. 
Buster himself is a practical young man, 
and if you knew 7 him you wouldn't 
expect any, psychological disserta 
tions from him. There weren't 
any on the subject in hand. 

"Do art and marriage mix ? 
Sure ! Excuse me. Hurry up, 
boys, let's shoot this scene be 
fore the light goes !" 

"Well, love and art mix all 
right," declared William Rus- / 
sell, "but marriage and art? '' 
Well, that's something else 
again, as Mr. Potash would say. 
Marriage is an institution, like 
taxes and rent and Christmas with 
your relatives. 

Sometimes it Don's May finds 
doesn't have any- time in spite of a 
thing to do with starring contract 
love. Sometimes, to indulge in all 
though, it has. And the indoor sports 
when love and of a young bride. 
marriage mix, it's 





/ 



\ 



Frank Mayo fears the separations inevitable in professional 
life, but if Dagmar Godowslcy-Mayo really wants to take 
up her work again, he won't object. 

ideal. Love isn't merely an emotion. It's 
character too. I don't see why two artists, 
with similar tastes and ambitions, should not 
be ideally happy." 

Pretty Betty Compson has been besieged 
by admirers who want to marry her, but 
she has withstood all emotional on- 
slaughts so far. She doesn't believe 
that an artist should wed. Asked to 
state her views. Miss Compson said:. 

"I am not married, and that's the 
best answer I can give. I think matri- 
mony itself should be made a career. 
It means time and thought and patience 
and perseverence, like any other career. 
Of course, there are many examples 
of happy marriages in which love and 
art mix, but I believe they are the ex- 
ceptions which prove the rule. As 
Stevenson says: 'An aim in life is the 
only fortune worth the finding. It can- 
not be found in foreign lands, but in 
the heart itself.' I don't believe that 
one can have two aims. If it is to be 
marriage, art should be left out; if it is 
to be art, marriage shouldn't be con- 
sidered. 

"Some day I suppose I'll take the 
fatal step, and then I'll be sorry for all 
the things I have said to-day. although 
at present I have no intentions along 
that line. I fully realize there are many 
happy marriages in the profession — 
Miriam Cooper and her husband. Enid 
Bennett and her husband, and many 
others. They are in sympathy. Sym- 
pathy is the keynote of successful mat- 
rimony, as it is of every other rela- 
Continued on page 89 




Photo by Gi-uu Kirnman 



Harold Lloyd and his leading lady, Mildred Davis, are the best of friends both in and out of the 
studio — which is the strongest sort of recommendation for both the actor and the man. 

Doctor Giggle and Mr. Hide 

The screen Harold is left at the studio 
when Lloyd scrapes the celluloids. 

By Peter White 

IN addition to being the Land of the Arclight Sun, 
Los Angeles and its environs is a land of sur- 
prises. One rarely finds what he expects to find. 
For example, the "Ship" is merely a seaside eatery with 
jazz attachments; it is no roosting place of stars, no 
checking room for reel crowns. And furthermore, di- 
rectors do not all wear puttees, nor do all camera mer 
wear their caps on backward — or wear any at all inside 
the studio. The novitiate goes to the celluloid colony 



looking for bacchanalian rev- 
els, and, instead, he finds 
home-brew and Victrola 
dances, porch parties and 
Ford picnics. 

Similarly with the people 
themselves. Such luscious 
titbits as Phyllis Haver and 
Marie Prevost never leave the 
chaperonage of their mothers ; 
Buster Keaton looks most 
commonplace off duty ; Bill 
Hart loses his equine counte- 
nance to such an extent as to 
render him indistinguishable 
from the rest of the guests at 
a sizable gathering; the very 
ones you had expected to 
• whoop things up sit in the 
corner swapping stories, and 
extras from the Studio Club 
lend the air of gayety to the 
affair. 

So I was prepared for al- 
most anything when I went 
out to Culver City to see 
Harold Lloyd, whose rise in 
popular favor has been noth- 
ing short of meteoric — rival- 
ing the war-time rise of sugar, 
or Dubonnet, or malt. He 
has become almost the pre- 
miere comique of the flickering 
pastels, second only to Chariot 
himself. 

At the Hal Roach studios. 
we were told that Mr. Lloyd 
was working, but that he 
hated to be seen, so we went 
right ahead and watched. It's 
no fun at all watching some 
one who is only too delighted 
to have an audience. 

Mr. Lloyd was working. 
He was in the center of some 
three thousand feet of tele- 
phone wire, madly attempting 
to free himself, while the 
camera clicked merrily on. In 
addition to furnishing action, 
Lloyd was directing. 

"Cut after I start unravel- 
ing!" he shouted, increasing 
his exertions. "All right 
now, get it ! Cut !" And as 
he worked a leg free the 
sharpshooter behind the Bell 
Howell ceased shooting. Two 
aids ran to him and extri- 
cated him from the wire. 

Before the camera the 
adroit young comedian per- 
sonified the spirit of jazz ; he 
struck me as a giggle grabber par excellence, a low 
comedy king of distinct merit, a dynamo of horseplay. 
But when he met me for a quiet chat over the lunch- 
eon table at the ".Cider Mill," situated midway between 
Ince's film foundry and the Lloyd chuckle cannery, I 
found him to be an entirely different sort of chap. 
Away from work Harold Lloyd is bashful, quiet, re- 
tiring. He is not the same young man who does those 
Continued on ]>a;;e 101 



Ik 



Favorite Picture Players 








SOME call her the finest dramatic actress on the screen, 
but Nazimova's friends prefer to think of her as a 
dynamic, irresistible imp. She has her own company now 
with United Artists, and soon you will see her in Ibsen's 
'A Doll's House." 




APPROPRIATELY enough, Alice Calhoun is soon to 
star in a Vitagraph production called "Angel Face." 
And even if the titling department is so hard-hearted as to 
Hange that title, they cannot rob her of her angelic coun- 
lance. 



Photo by Ednrd Thayer Monroe 




' > >to by Clarence S. Bull 



AS Dora Rogers she used to break up homes in Mack 
Sennett Comedies, but now she is Fontaine la Rue, 
accomplished character actress, under which name she 
will soon appear in "A Blind Bargain," a Coldwyn picture. 







r\OROTHY DEVORE is one of the few accomplished 
V comediennes who has no yearnings toward serious 
drama. Her latest Christie Comedies are "Saving Sister 
Susie" and "One Stormy Knight." 



I'boto by Melbourne Sparr 




Photo by Alfr* J Chuwy J 



PAULINE FREDERICK might be called 'The Old Re- 
liable" — that is, if she didn't look so young — for she 
never fails. Her next picture is "The Glory of Clemen- 
tina," by W. J. Locke. 




MARY PHILBIN came to Universal pictures by way of 
the Elks' beauty contest in Chicago, and now, after 
gaining experience in many small parts, she is playing an 
important role in "Human Hearts." 



Photo by Edwin Bower Hit 



I 




Photo l.j Edwin Bower He«aor 



ALTHOUGH Agnes Ayres is now a star, she will play in 
special productions now' and then. The next one 
will be "Bought and Paid For," a famous stage success 
which William De Mille will direct in pictures. 




NORMA TALMADGE it that rarest ot treasures—a 
beautiful woman whose head cannot be turned 
Fate has showered her with good fortune, but she stilt 
retains her girlish good humor and sincerity. On the op- 
posite page you will find an interview that presents this 
paragon just as she is. 



• Photo br Puffer 



Beauty and the Bean 

Norma Talmadge is one of the six best smilers, and she 
offers food for thought as well. Here is the evidence. 

By Malcolm H. Oettinger 



IF Marjorie Rambeau -had decided upon the screen 
when she was fifteen, she would have been very 
much what Norma Talmadge is to-day. In a 
roundabout way that describes the most popular of our 
emotional stars. Norma has been suffering, in a celluloid 
way, for so long, from early Vitagraphics on up through 
Selznicked sobbings and independent trials and triumphs, 
that now it has become a habit. There's nothing to it, 
if you ask her about it. 

Offscreen she is lovelier than on. Less inclined toward 
the fatal embonpoint, possessed, indeed, of a sylphlike 
slenderness, an ethereal slimness that seems to be all 
but lost on the silver sheet, Norma 
would do well, I think, to increase 
her personal appearances. And for 
other reasons. Her sense of humor, 
eliminated for the purposes of nine 
out of ten scenarios, is the one bright 
feature illuminating many a drab 
studio wait. It is a gamin humor, a 
rough-and-ready quirk to her make- 
up, the humor of Dot Gish rather 
than that of Betty Blythe or Olga 
Petrova. 

Womanly on, she struck me as be- 
ing girlish off the two-dimension 
stage. After considering her decade 
of service that includes kittenish in- 
genues and quavering mother parts, stage-struck subur- 
banites and sinister sirens, I am tempted to call Norma 
Talmadge the emotional Peter Pan of the picture play, 
the gelatin version of Modjeska in miniature. At a 
flash, you might take her to be twenty. I know that 
she is considerably older, simply by counting the years 
on my fingers. But her work has left no marks, her eyes 
have nothing of that lusterless pall that comes from too 
much tragedy, her laugh ii happily unaffected. 

She is a cameo in candor. Perhaps she is not, there- 
fore, a mosaic in tact, but under the circumstances, what 
could be more interesting? Another feature that dis- 
tinguishes her from the common run of star stuff is the 
fact that she does not bore with the bromidic, she does 
not inoculate you with the inane. There are no sputtered 
apologies for being late; no plea that you forgive her 
costume ; no expressed hope that she is saying the right 
thing. Crowning glory, Norma doesn't take herself 
seriously ! 

Arrayed in a flimsy, flouncy creation sporting frills 
and furbelows, the senior member of the Talmadge 
sisters' film firm was portraying the Spirit of '61 or 
something like that, for the dream episode in "Smilin' 
Through" while a dubious orchestra throbbed behind 
the shirt-sleeved camera man. The hoopskirt, the ker- 
chief, the beribboned wrists reminded me of Elsie Fergu- 
son's sartorial scenery when I came upon her dreaming 
true with Wally Reid, in "Forever." 

As I watched Norma cry real tears, while Harrison 
Ford knelt at her feet, I could not refrain from compar- 
ing her with Marjorie Rambeau : the two women are 
strangely alike in so many respects. Their reactions to 
scenes of stress are similar, too. Last winter I watched 
Miss Rambeau from the wings. When she came off 



Scenes of Rare Beauty 

from Norma Talmadge's latest 
production "Smilin' Through" will 
be found on page eighty-one of 
this issue, in the rotogravure sec- 
tion. When you see how beauti- 
fully she adapts herself to the 
quaint fancies of costume drama, 
you will understand her decision to 
make "The Duchess of Langeais" 
her next production, for this offers 
just as many opportunities for un- 
usual and exquisite costumes as 
this. 



after her hysteria in the murder episode of "The Sign on 
the Door" the tears were coursing down her face. But 
her expression was placid. 

The camera man was calling for extra lights, so a 
delay was imminent, and Norma tripped daintily over 
to my chair. The tears were gone — evaporated I sup- 
pose. Apparently she turns on the flood at will, and as 
easily stems it. 

"It'll be weeks before this thing is over I'm afraid," 

said the emotional little girl. "By the time we've 

wrapped it all up, the camera man will have a long white 

beard, and I'll have to buy me a new set of costumes. 

Don't you like 'em?" 

She pirouetted, manikin fashion. 
"I always tire of a part after it's 
taken more than six weeks. And 
this — the end isn't in sight !" 

Two weeks before I had spoken 
of emotional strain and that sort of 
thing with Lillian Gish. To her a 
part meant all in all. She lost weight 
worrying over the role with which 
she was engaged; she brought home 
her schemes and plans of how each 
new characterization should be done, 
and kept them constantly uppermost 
in her mind. 

"Did Norma Talmadge do this?" 
I wondered. And asked. 

She looked at me helplessly, humorously. 
"I'm going to be awfully disappointing, I guess. 
You see the truth is that what I'm playing doesn't 
affect me at all. I leave the lady in distress at the 
studio every night, and take her up the next morning, 
or noon, wherever I left off. When I work, of course, 
I try to put myself into the character I'm portraying. 
Everything is useless unless you do that. I try to feel 
her emotions, as she feels them, and react accordingly. 
If she is unhappy, she would cry, and so I cry." 
"How do you manage to cry at will?" 
She smiled frankly. Shrugged her white shoulders. 
"I don't know. But the tears do not affect me tem- 
peramentally. I feel no subconscious desire to cry at 
home. At work I'm an actress and at home I'm me. 
And the two ladies don't mix. When we hold over a 
heavy scene, sometimes, I worry about how I should 
do it, but except in such rare instances, I forget the 
studio when I say 'Good night' to the doorman." 

Incidentally, this star is on speaking terms with her 
studio fellows. I heard spoken evidence of this on all 
sides while she was acting. The spotlight men were 
as interested in her work as were the "grippers" loung- 
ing about the outskirts of the set. Dispositions may 
readily be gauged by the barometer of studio feeling! 
Making pictures is a business affair with Miss Tal- 
madge. She spoke candidly, openly, unsparingly of her 
work, not in the terms of art and atmosphere and 
technique, but in terms of success. 

"I enjoyed doing 'The Passion Flower* but like so 
many of the things I have enjoyed it was not a money- 
maker. It was unnatural in theme, you remember, and 
drab in its details — sordid stuff for the great fan public. 



44 



Beauty and the Bean 



On the other hand my last picture to be released, 'The 
Sign on the Door,' has made heaps of money, but really 
offered little to my taste in the way of screen fare. Of 
course it was a good story — but I don't like melodrama. 
My ideal of story and plot combined with acting chances 
would be a dramatic play with plenty of good, whole- 
some comedy." 

Doesn't that savor of a box-office viewpoint? Norma 
admitted that it did. 

"Lots of people sneer at the idea of suiting the box 
office," she said. "Foolishness! Don't you realize that 
the box office is the public ? I'm making pictures to please 
the public, and please the public completely. The critics 
are not even considered, composing as they do, the slight- 
est sort of minority." 

The directorial megaphone was waved toward her, 
and she returned to the Klieg-lit garden, to weep some 
more. The studio forces claim that during the filming 
of the tragic graveyard scene in "The Passion Flower" 
so potent was her acting that the hardened camera man 
broke down and wept sympathetically. Whether this is 
true or not may be open to conjecture, but Norma's 
virtuosity at playing on the tremolo stops coupled with 
the fact that he may have been a very sentimental Bell 
Howell expert makes the story plausible in the extreme. 

The Talmadge outlook on the cinema world is a 
complete one, encompassing as it does, all of its branches. 
For instance, I asked her what she thought of -German 
films. 

"Let them bring them over if they're all as good as 
'Gypsy Blood' and 'The Golem.' Pola Negri is marvel- 
ous, absolutely. She brings a freshness and a buoyancy 



to the screen that no one else I can think of possesses. 
She ranks with my favorites, Mary Pickford, Nazimova 
the incomparable, and Elsie Ferguson'. 

"Why shouldn't we have German films ? Competition 
never hurt any one!" 

Then the little girl in her naively added, "Anyway, 
they aren't sending many over here!" 

Norma thinks that talking pictures have as little chance 
of becoming fixtures in popular favor as have colored 
pictures or titleless films. And her greatest ambition 
is to play Du Barry. Her conception, she assured me, 
is altogether different from any one else's. And some 
day, she promises, she will do it. From now on, you 
know, she will make only two pictures a year. This 
decrease in output will demand higher standards than 
ever. What greater pains could be taken than are being 
taken now, I cannot conceive: at least fifteen minutes 
were consumed in getting the electric moonlight to strike 
the exact angle of the Talmadge shoulder deemed best 
by the meticulous director, Mr. Franklin. And three 
different veils were photographed in the tragic scene 
she was doing while I was there. 

When next she returned to me, I had a problem all 
ready for her. 

"You have been a star for some eight years. You 
have done the same sort of thing dozens of times in 
eight years. You have staved off the advances of the 
leering villain, registered terror, exhibited anger — every- 
thing in the category. And you are a tremendous 
favorite. Your every expression is watched by mil- 
lions. 

Continued on page 88 



iiiiiiiiiiuiiiNi ' i :!i;ii!'iiiiiiiiii!ii!iiifl!:iiiiiiiiii;iiiiiii:i!ii!iiiiiii!!:iiiiiiiiiiiiiii!!ii:ii:i:,iiiiiii!iiii! 



iilHil 



A Fan s Adventures in Hollywood 

Lila Lee and Theodore Roberts provide many thrills when they take her sight-seeing in Holly- 
wood — and her second meeting with Betty Compson brings the greatest surprise of her career. 

By Ethel Sands 



thrilling 



WHEN I look back over all my "Adventures in 
Movieland" I feel like a sort of Jack-of-all-the- 
interesting-professions. Pve selected gorgeous 
costumes with Elsie Ferguson, played extra in pictures, 
and even fluttered around like a social butterfly with 
Constance Binney and some of the other awfully attrac 
tive stars. And now Pve had a brand-new 
movie ad- 
vent u r e 
that lam 
going to 
pass along 
to you. 
Theodore 
Roberts 
and Lila 
Lee took 




me sight-seeing through Hollywood, showed me all the 
stars' homes, and told me a lot about the place, and now 
I'm going to play ballyhoo for you and try to show you 
Hollywood just as I saw it. 

Perhaps first I'd better tell you something about ordi- 
nary sight-seeing buses and the men on them who point 
out the interesting sights and tell you about them. They 
are called "ballyhoos." I think it is a crazy- 
word, but it isn't half as crazy as some of those 
men. They are always telling you foolish 

things 
Theodore Roberts is much nicer and more like : 
jolly than any part I have ever seen ^^^^"Here is 
him in in pictures, and he Jm* ""here the 
made a wonderful guide. £]r \ billionaires 

live ; the 

district i s 

so rich that 

even the 

birds have 

bills, a n d the 

people have to go 

away for a change," 

when what y o u really 

want to know is, where does Wally 

Reid live and where does Charlie 

Chaplin take his girl friends out 

to dinner? 

The first day I was in Los An- 




A Fan's Adventures in Hollywood 




After following a winding road to the most secluded section of Beverly Hills, one conies to ''Pickfair.' 



geles I saw a lot of sight-seeing autos parked along a 
curb. I sort of wanted to go in one and see the city, 
and yet I was sure I wouldn't be satisfied with seeing it 
that way. So you can just imagine that I felt as though 
my dreams had come true when I heard that two 
prominent movie people were going to take me on a 
sight-seeing tour and see that I saw and heard about the 
things I was really interested in. And best of all, fans 
— Theodore Roberts was every bit as funny as one of 
those real ballyhoo men, and I had Lila Lee right there, 
too, to tell me real facts when I wanted them. 

Now, we can't climb right into our car to start the 
trip because, you see. somebody gave Lila Lee a little 
puppy, and he is so helpless and cute that we cannot 
resist stopping to play with him. But 
come on. let's take him with us, and 
let's go over to the Roberts house 
first, as it is so near to the Studio 
Club, where I am stopping. 

We have to go slowly up the long 
hill at the top of which you can see 
the Roberts house. It is red brick 
and has balconies on the second floor 
at either end. From the front lawn 
you can see out over all Hollywood, 
but perhaps you will like the back 
even better, because there we find 
the kennels of his wire-haired ter- 
riers. Two or three of the dogs 
come bouncing gayly toward us and 
make us so welcome that we're al- 
most tempted to stay there and play 
with them. Lila Lee introduces her puppy to them and 
then she and Mr. and Mrs. Roberts, who are all great 
dog lovers, launch into a long argument about what she 
ought to feed her dog. 

But come; we're going to find out with our own eyes 
if movie stars really live in such palaces as we've read 
about. 

We start out through the foothills of Hollywood, 
where several stars live. They seem to be fond of hav- 
ing everything foreign. There aren't any just plain 
houses like there are back home. Sometimes the streets, 



ALL ABOARD! 

Come and see the sights of 
Hollywood — the houses, the play- 
grounds, the pets of America's 
motion picture favorites. You 
need travel only over this printed 
page, for here Ethel Sands shows 
you Hollywood as no other guide 
could. She shows you the wonder 
suburb as you would see it if you 
were lucky enough to have guides 
who are themselves among the 
film elect. 

And then — come with her and 
Betty Compson and see Hollywood 
from above the clouds. This arti- 
cle takes you to the heart of Hol- 
lywood. 



lined with palm, pepper, and eucalyptus trees — the 
strange types of houses all colors of the rainbow — 
seem so unfamiliar we almost forget we're in the 
U. S. The architecture of nearly all the buildings and 
houses is Moorish, Spanish, or mission, with the Colo- 
nial type thrown in, and the rest are bungalows. The 
houses mostly all have green roofs, and they're built of 
white plaster, or sometimes brown or yellow or even 
pink ! With the numberless bright-red geraniums and 
the California sun, it creates such a dazzling appear- 
ance that at first we're half blinded. 

We drive through the section where Wallace Reid 
lives in his brown, Moorish-style house. Right along- 
side and across the way live William Desmond and Wil- 
liam S. Hart in simple but attractive 
white residences. In another direc- 
tion, perched on top of a hill, are 
three little brown bungalows. In one 
Blanche Sweet lives ; in the next one, 
Tully Marshall — and, if I remember 
rightly, the third belongs to Kathlyn 
Williams. Sessue Hayakawa's home 
looks like a white chateau or like the 
castle in "The Connecticut Yankee." 
Wide stone steps lead up the terrace 
to the house with its arched doorway 
and heavy oaken door. 

Going out toward Griffith Park we 
come to two brown mansions built 
so close together I believe they are 
joined. This is where the great C. 
B. and William De Mille live. Don't 
you wonder if Mr. C. P.. has his home furnished like the 
sets in his pictures— with baths and fountains built in 
the floor, et cetera? Anyway, his house looks gorgeous 
enough from the outside to imagine it might be. 

Now we wind up another little hill — every movie star 
seems to live on top of a hill. 

"Charlie Chaplin's house is around here somewhere," 
Lila Lee tells us, so we go scouting around, hunting for 
it. Well, maybe I'm not thrilled to see it ! It is the 
most fascinating little place, at the summit of a hill all 
by itself, with little turrets and towers — it looks just 



46 



A Fan's Adventures in Hollywood 




One of the oddest sights of all was the ostrich farm in Pasadena where Shannon Day showed me around. 



right for the king of the movies to live in. To me it 
seems for all the world like a little "castle in Spain." 

Passing Warren Kerrigan's home, we are fortunate 
enough to spy the gentleman himself walking through 
his gardens. He looks handsome as ever. Wonder 
when he'll make some more pictures. 

Now we head for Beverly Hills, which is considered 
one of the most exclusive residential districts, and the 
place where the Pickford-Fairhankses live. Charlie Ray 
lives there, too, in a white residence, and Pauline Fred- 
erick has a very beautiful estate set back from the road. 

After following a winding road to the most secluded 
section of Beverly Hills, we come to the entrance of 
"Pickfair." The house is barely visible from the high- 
way, so we drive up the private driveway. A group of 
gardeners are seated on the lawn, but they don't pay 
much attention to us. I guess they are used to sight- 
seeing visitors. Anyway, we drive right up to the house 
and pass the door, and then turn around and drive slowly 
out. The swimming pool is on the other side of the 
house, at the foot of the sloping lawn — hidden from all 
outsiders' eyes. It is so thrilling to think that Mary has 
been all over the place and in and out those doors. 

"Isn't it wonderful !" Mrs. Roberts chimes in. "Just 
think it's only fifteen minutes' ride from Hollywood and 
the studios, and yet it's so secluded and by itself. I 
used to know Douglas Fairbanks when he was seventeen 
years old, and he was -just the same as he is now 
— so lively and full of pep, just like he appears in pic- 
tures." 

Lila Lee's home is more toward Los Angeles and away 



from Hollywood, so we won't get to see that. She is 
a most attractive brunette with wonderful dark eyes and 
fair skin and red lips — but I suppose you've guessed that 
from her pictures. She calls Mr. Roberts "Daddy"— 
so does his wife, so I guess it must be his nickname. 
Some one suggests that, being so identified with cigars, 
some one ought to name some brand of cigar after him. 

"Well, that would be all right, as long as they'd pick 
out some cigar I'd be able to smoke myself. I'd never 
let them use my name for any other kind." 

Mrs. Roberts gets as much fun out of his humorous 
sayings as anybody else does. She is a very pretty 
woman with dark .hair and eyes and quite young look- 
ing, besides being a most charming and gracious lady. 
Everybody likes Mrs. Roberts. 

Theodore Roberts has to go to some sort of meeting 
when our tour is over, as he has been elected chairman. 

"Do you know," he tells us, "actors and players never 
had so much influence and interest in political and com- 
munity affairs as they have now. since the moving pic- 
tures have come to the fore? For one thing, it's be- 
cause the players can now own their own homes and 
property, and pay high taxes, naturally they are more 
interested in community affairs and the like." 

Will Rogers' home is the last place we inspect. Like 
all the others, the house is built on a high piece of 
ground. It didn't have the seclusion of the Fairbanks 
domicile, because it is in a more populated section of 
Beverly Hills, but it is a wonderful place to live in, at 
that. High hedges hide part of the grounds, but the 
house is plainly visible. I think it is almost the largest 



A Fan's Adventures in Hollywood 



47 



and most pretentious of any home 
we have sight-seen. 

We drive right in, as we did at 
"Pickfair," and up the winding drive- 
way. From there we see a great deal 
more than we could from the out- 
side. There is quite a large circular 
runway, or whatever you call it, with 
hurdles, where Will Rogers and his 
children practice their riding and rop- 
ing stunts. Near that is the big swim- 
ming pool and slides, a bar for gym- 
nastics, a sand pile, and swings, every- 
thing to make children's hearts happy. 
It is much the most wonderful home 
of all — because for all its gorgeous- 
ness it seems a real homy place. 

And so we wind up the sight-see- 
ing tour. It seems as if all the nicest 
places belong to some movie star. 
However, there's one beautiful show 
place that was pointed out to us that 
was a surprise. It is a handsome Japa- 
nese mansion with wonderful gar- 
dens laid out around it, and they sav 
all the rooms are furnished in Japa- 
nese style. "I'll bet that's Sessue 
Hayakawa's place," was the first thing 
I thought when I saw it. But it be- 
longs to two old bachelors, I was told, 
so my enthusiasm died right out — who 
cares how picturesque a place there is 
in Hollywood if it doesn't belong to 
some movie star? 

Now. I hope that as a ballyhoo I 
haven't proved disappointing. I can't 
tell you how much any of the players' 
homes cost or anything like that be- 
cause—well. Lila Lee isn't the sort of 
girl who talks about how much every- 
thing costs. But I do hope vou were 
impressed by all the magnificence. 

I w-as so sort of breathless over the 
experiences of my sight-seeing tour 
that I was glad, next day, that my adventure was going 
to consist of just having tea with some one I had already 
met — Betty Compson. 

I love meeting a movie star the second time. The 
first time a fan can't help being more or less excited and 
nervous — you're so self-conscious and awed that you 
just go around dazed until it's all over. Then you come 
out of the spell and get all enthusiastic and think of all 
the things you might have said and done. 

"Oh. if I could only meet them once more!" you go 
around wishing — harder, even, than you wished to meet 
them the first time. At least, that's the way I've always 
felt about it. 

The second time you're more at ease, as you know 
what to expect. If not so thrilling as the first meeting, 
it is usually more enjoyable. However, when I met 
Betty Compson for the second time it was both. 

She called for me at the Metro Studio, as I was there 
selecting a dress to wear as extra in an Alice Lake 
picture the next day. How would you have felt if you 
had had some lovely movie star herself call for you at 
another star's studio? Well, I felt the same way you 
would have. 

We were bound for the Ambassador Hotel and tea, 
as this was the invitation she had given me on the day 
of my arrival in Hollywood. She looked even prettier 
than she did that day — if such a thing is possible — in 




After we landed Betty Compson showed me where we had been flying 'way up 

in the clouds. 



her fur-trimmed coat and a lovely little hat with a bunch 
of soft blue feathers right in the front of it, dripping 
over the brim and shading her eyes. They just matched 
in color, too. 

"Now, is there any particular place you would like to 
go to before we have tea? Is there anything you'd like 
to do ; I was thinking we might drive to one of the 
beaches if you haven't been there yet?" she asked me 
the first thing. 

Of course, I agreed to that — anyway, I wasn't sure 
just what one might ask a movie star to do for one's 
benefit. Besides, I didn't care where we went in particu- 
lar, as long as Betty Compson was along. So the chauf- 
feur headed the car for Santa Monica Beach, and I 
was tickled, as I knew it was a long drive, and I was 
going to have all that time to look at her and talk to her. 

"Well, are you having a wonderful time out here? 
How many players have you met? Are you enjoying 
it all?" she wanted to know before I could tell her how 
much I enjoyed having the opportunity to be with her 
again. And then she began to tell me of the stars I 
ought to meet. Betty Compson is as enthusiastic about 
some of the players as any fan could be. 

"Oh, you'll be so thrilled when you meet Rudolph Val- 
entino — Agnes Ayres is so pretty — have you seen Gloria 
Swanson yet? Lois Wilson is a lovely girl, and Dorothy 
Continued on page 91 




Photo by Ira L. Hill 



Alma Rubens is compelling, insinuating, yet al- 

ivays with troubled eyes seeing the futility of the 

future. 

IF I were a casting director, which of 
course I am not. and if I were engaged 
in filming the Bihle — another fantastic 
impossibility — the first, or charter member, 
I should sign for my cast would be the lush 
Rubens, Alma of the olive skin, the gleam- 
ing black hair, the sinuous, lithesome figure. 
She is Judith of Bcthitlia, she is the seduc- 
tive wife of Poiiphar, she is Shcba — a truer 
type than ever came out of Hollywood — 
she is Delilah, she is the Magdalene, com- 
pelling, insinuating, yet always with trou- 
bled eyes seeing the futility of the future. 



Scheherazade Tells a 
Story 

Although in no danger of losing her ornamental 
head, Alma Rubens spins an engrossing tale. 

By Malcolm H. Oettinger 



BmVmost of all, Oriental creature that she seems, 
this brunet beauty is Scheherazade. Besides pic- 
torial charm she possesses fire, verve, mischief. 
She is capable, be it known, of playing a part as 
well as posing in a pageant. And the part that she 
should play better than any other of our gelatin 
prima donnas is unquestionably Scheherazade. 

Nor was any of this hidden by the fact that she 
was just off the Avenue. 

"A story?" she repeated, letting her dark eyes 
narrow, while her red lips twisted in a slight curve. 
"Let me see. I could tell you the story of the girl 
who was led by fate." 

I leaned forward expectantly. There were ever 
so many things that I wanted to know about this 
strangely exotic, alluringly attractive actress. Per- 
haps — there is always at least a chance — I was to 
learn some of them. 

"When I played with Triangle, under the super- 
vision of Mr. Griffith, I always was wanted for 
foreign roles, and I hated them. Some queer 
whim — the desire, I sup- 
pose, to do what we cannot 
do — made me feel sure that 
American society roles 
were my forte. Luckily 
fate overruled me. First 
there was Bill Hart. He 
was watching Chet YVithey 
direct Doug Fairbanks and 
me in one of those light 
Manhattan-cocktail come- 
dies that Doug made 
Continued on page 99 




Alma Rubens talks whimsically, 
in a fairy-tale manner. 



Cinderella Lives 
Again 

Constance Binney has found luck and 
glamour in her brief but notable career. 

By Martin Mott 

WHEN, some five years ago, I attended 
a performance of "Good Morning, 
Josephine," or "Oh, My Dear," or 
some musicalamity of equally momentous title, 
I remember having remarked the beauty, the 
grace, and the charm of a minor participant 
in the festivities, she who played, humbly 
enough, the Maid of the House. 

"A fetching lass," my companion had called 
her. 

The program called her Constance Binney. 

Say what you will, Constance has made 
rapid work of this climbing-the-ladder-to-fame 
stuff we read about. After footing it featly 
for a season in "Oh, My Dear," she caught 
the eye of Rachel Crothers, the reformer- 
playwright-feminist-producer of "He and 
She," "39 East," and other Broadway illumi- 
nators. And Miss Crothers cast Miss Binney 
in "39 East." And Miss Binney did so very 
well in it that before she knew what had hap- 
pened she was being featured. 

Then the movies 
discovered her, the 
fans discovered her, 
and there you are. 
And there she is, 
Paramount star. 

The first time I saw 
la Binney — an as- 
sumed name, by the 
way — she was, as I 
have said, elevat- 
ing the fantastic 
toe in Philadel- 
p h i a ' s Chestnut 
Street Opera 
House. The sec- 
ond time I saw 
her I was more 
fortunate; 1 y 
met the & 

young lady. /^ 






She is a de- 
murely c o - 
qttetti sh , 
mildly pep- 
perish in- 
genue, with 
a typical in- 
genoodle on 
her shoul- 
ders. 



Photo by Nickolns Muray 

Not mature, this Binney girl actress impresses one with 
her poise and assurance. 

Five years, almost to the day, later. And be it said, it is no 
easy thing to meet Constance. She is not upstage in the 
approved — and unapproved — manner; she is merely chary of 
her time. 

"So many people want to meet me just so they'll have 
ft something to tell the old folks at home." she explained. 
^ after I had been brought through the lines with a 
trusted secret-service man who knew the- one-two- 
pause-rap-thrice combination requisite to obtain- 
ing entree to the Binney dressing room. "You 
are here for half a million people at once," she 
said. "That's different. It's the least I can 
do to say something for such a vast audience." 
"The very least." I assured her gravely. 
She is slight and pretty in a piquant way, 
B» dresses her own hair, reads A. A. Milne pro- 
digiously, and admires Irene Bordoni, of 
vaudeville and musical-comedy fame, more 
than any one else. And she loves Faire — or 
Fritzi, as we inside the know know she is 
rightly named — her sister, and believes inter- 
views inventions of the devil — who, I suppose 
Continued on page 100 




Photo by J. It Diamond 

No one recognizes the demure "Jane Eyre" when they see Mabel Ballin nowadays; "The Luxury Tax" has completely changed her. 



Over the Teacups 



By the Bystander 

THE most exciting 
place I know of to 
go to tea," Fanny 
informed me over the tele- 
phone early in the after- 
noon, "is up at Alma 
Rubens' apartment. Ev- 
ery one lines up their 
chairs in front of the win- 
dows and watches the 
people skating on the Cen- 
tral Park lagoon, just be- 
yond and five stories below. 
You get all the thrill of 
winter sports without get- 
ting cold and tired out." 

"You would like that," 
I commented. 

"Oh. very well." Fanny 
retorted crisply. "If you 
don't want to come with 
me " 

"But I do," I protested. 
And five minutes later I 
was with her in the ricket- 
iest taxicab ever seen out- 
side a comedy, headed for 
Central Park West and the 
big apartment hotel, where 
Alma and her mother and 
her goldfish and her 
canary live. 

"Alma will try to get 
you to go skating with 




Photo by Apfila 

Mary Bott, Lillian Gish 's protegee, has finished her first picture 
and found a unique position for herself on Broadway. 



Where the gossip about motion- 
picture players is most plentiful, 
there you will find Fanny the 
Fan. 



her," she confided to me. 
"But don't humor her. 
She is much too ambitious. 
The Talmadge girls used 
to skate with her a lot but 
now that they've gone out 
West, she expends all her 
energy trying to get some 
one else to go." 

"Well, you would prob- 
ably go if you looked as 
well in a sweater and tarn 
as Alma does." 

"That's not the point," 
Fanny insisted. "Alma is 
plenty thin enough. She 
doesn't need to be ambi- 
tious. She ought just to 
sit around and let people 
look at her. But no — she 
is alwavs doing some- 
thing." 

"You seem to think that 
the only interest people 
have in the world is get- 
ting fatter or thinner. 
Probably Alma skates just 
because she wants to, 
and " 

But just then we arrived 
at our destination; any- 
way Fanny wasn't listen- 
ing. She has never heard 
the wise saying that people 



Over the Teacups 



51 



were given two ears and only one mouth for 
a purpose, or if she has she never took it 
seriously. 

"The only thing one misses going to tea 
at Alma's is gossiping over the people at 
the next table," she volunteered as we went 
up in the elevator. "But that's no loss to- 
day as every one interesting is out of town. 
Mabel Ballin has gone to Chicago to make 
personal appearances and Betty Blythe has 
gone to New Orleans to make exteriors for 
'The Rose of Sicily.' And Lillian Gish is 
darting in and out of town every day or 
two presiding at openings of 'Orphans of 
the Storm.' 

"Alma will be going away soon to Cuba 
or South America, or maybe Mexico, to 
make some of the scenes for 'The Enemies 
of Women.' That's by Ibafiez, you know, 
who wrote 'The Four Horsemen,' " she fin- 
ished hoarsely as the door was opened and 
we streamed in. 

"Of course, you'll have gorgeous cos- 
tumes," Fanny volunteered almost before 
Alma and her mother had a chance to say 
a word. 

"Wonderful," Alma chimed in, "particu- 
larly the first one." 

And then when we urged her to tell us 
what it was she said it was a bathtub. But 
later on she told us more about what she 
was to wear. Several of the biggest de- 
signers in New York wanted to make her 
costumes for this picture but she wasn't 
at all satisfied with their designs, so Joseph 
Urban's daughter is designing some for her. 




Photo by Witzel 

Agnes Ayres has some stunning costumes for "Bought and Paid For." 

She says they are wonderful. He will make the settings, of 
course. 

"This is a Spanish year," Fanny announced pompously, as 
though she were giving out a text for the day's sermon. "You're 
playing this thing of Ibanez's and Mae Murray is making 
'Fascination,' and Rudolph Valentino is making 'Blood and 
Sand' and John Robertson's company abroad is making 'Span- 
ish Jade'- " 

"That's all very interesting." I cut in, "but you'd better go 
back and read 'Enemies of Women.' It happens that Alma 
plays a Russian." 

Fanny glared at me vindictively. 

"Just because you know Alma is a bookworm, you are trying 
to pose as a great reader, too," she snapped. 

"Well, any one who carries 'The Romance of Leonardo da 
Vinci' in two heavy volumes around with her all the time just 
because she knows it is Lillian Gish's favorite book, hasn't 

anything to say," I retorted. 
Bebe Daniels is "Oh. where can I get it?" Alma asked 

well watched; she anxiously. "Lillian has such wonderful 
has one on her taste that I know I'd love to read her fa- 
flnger and one on vorite book." 

her wrist. Of course, there was no stopping Fanny 



52 



Over the Teacups 




Photo hy I'ach Brothers 

Winifred Westover Hart is becoming one of the most popular 
hostesses in Hollywood. 

then; she and Alma rhapsodized over Lillian until Mildred 
Harris called up. She and Alma live in the same hotel and 
borrow things back and forth like two schoolgirls. The 
only difference is that they send their maids or the bellboys 
instead of rushing back and forth themselves. 

"What's Mildred Harris going to do now?" Fanny asked, 
and before Alma could answer she went on, "I saw her at 
the opening of 'Orphans of the Storm,' and she looked lovely. 
I didn't wonder that Dick Barthelmess dashed over to speak 
to her the minute the show was over." 

'She may appear in some productions of Daniel Carson 
Goodman's," Alma volunteered. "He's going to have a com- 
pany to film some of his novels, you know." 

"Oh, but you ought to be in them." Fanny protested, 
"they're dedicated to you. But if it is all right with you for 
Mildred to do them, who am I to complain?" 

"Of course, I want her to do them," Alma insisted. 
"Maybe if I weren't making Cosmopolitan pictures " 

But the phone rang again. The easiest way I 
know of to find out who is in New York is to spend the 
afternoon at Alma's house ; sooner or later they all call 
up. In the midst of it all Fanny started putting on her 
things, protesting it was late and headed for the door. 

"That's the only way you can ever get away from Alma's 
house," she assured me next day when I found her having 
tea at the Claridge. "She's so hospitable she'd keep you 
forever if you didn't dash away." 

"Guess I'll go back then," I murmured, but Fanny re- 
strained me. 

"Oh. let me tell you " she 



"Harold Lloyd is in town," she went on, 
"and he's had the funniest experiences. You 
know he never makes personal appearances — 
simply won't do it, but he's made two since he 
has been here. The first one was up at Al 
Jolson's Theater. Al Jolson saw Harold and 
Mildred Davis in the audience, so when the 
show was almost over he told the audience 
they were there and then said, 'Stand up and 
let them see you.' And the audience wouldn't 
stop applauding until they did. 

"A few nights later they were up at the 
New Amsterdam Roof where Will Rogers is 
playing. His method was even less subtle 
than Al Jolson's. He lassoed Harold and 
pulled him out on the dance floor !" 

"How about him and Mildred?" I broke in. 
"Are they engaged?" 

"Well, nothing is announced," Fanny ad- 
mitted, emphasizing the last word significantly. 
"But Harold blushes so furiously every time 
he mentions her, that I'm just sure he is in 
love with her. 

"And that reminds me — I'm afraid that the 
thousands of girls who have cast their hearts 



started, so I meekly waved to the 
waiter to bring me enough tea to last 
all afternoon ; obviously Fanny had 
lots of news to tell. 



Leatricejoy is Fanny's 
choice for the owner 
of the most graceful 
hands in the movies. 



Over the Teacups 



53 



at Rudolph Valentino's feet are going to have 
an awful blow now that he has his divorce. 
He and Natasha Rambova — you know the 
woman who designs Nazimova's sets — are go- 
ing to " 

"Fanny," I protested, "your romantic sense 
is running away with you. They go around 
a lot together but I bet that if it's rumored 
they're engaged it is because you started it." 

"Well, every rumor has to start somewhere," 
she remarked. "And lots of nice people never 
think of marrying each other until their friends 
start planning it." 

"That will do." I protested. 

"And speaking of Valentino," she went on, 
"Bebe Daniels is going to play opposite him in 
'Blood and Sand.' She'll play the part Cath- 
erine Calvert played on the stage. She ought 
to look stunning. Incidentally. Bebe is well 
watched nowadays. She has a little one set 
in a ring and a tiny one, all diamonds, that she 
wears on her wrist. 

"Every one, almost, is making pictures they 
can wear marvelous gowns in. I'm so glad 
the pure-heart-and-gingham-dress epoch seems 
to be passing. I'd much rather have tortured 
souls and panne velvet on the screen. It is so 
much nicer to look at. You'd never recognize 
the demure Jane Eyre nowadays ; Mabel Ballin 
is so completely transformed in 'The Luxury 




Photo by Royal Atelier 

Plucky Mice Brady kept on playing "Drifting" despite her physician's 
orders, but she's resting now preparatory to going hack in pictures. 

Tax.' And Agnes Ayres will wear gorgeous clothes in 
'Bought and Paid For.' Helene Chadwick is another one 
who is emerging in beautiful gowns after the plainness of 
'The Sin Flood.' She is going to be in 'Brothers Under 
the Skin,' and Claire Windsor and Jacqueline Logan will be 
in it too. They ought to rename that The Beauty Contest.' 
"And speaking of beauty contests — I'd like to inaugurate 
one right here. I nominate Leatrice Joy for having the 
most graceful and beautiful hands on the screen." 

I had no objection to offer so she drifted on to some- 
thing else. 

"Mary Bott — Lillian Gish's protegee, you know — has fin- 
ished her first picture. It is a Christy Cabanne-R. C. pro- 
duction and she enjoyed it so much that now she just knows 
that no matter how hard she may have to struggle to make 
good, she'll never give up working in pictures. There 
aren't many being made here now, so engagements are 
scarce, but Mary Bott philosophically works as an artist's 
model when she can't get the work she likes. And every 
night she stands in the lobby of the theater where 'Orphans 
of the Storm' is playing, dressed in one of those beautiful 
costumes from the garden scene, handing out programs. 
I wanted to hug her when I saw her there, but I didn't 
want to frighten the child to death. 

"Ernst Lubitsch, the director of 'Passion,' is visiting over 
here now. He asked to be introduced 
They really ought to to the Gish girls the opening night of 
rename Helene Chad- the picture, and paid them the highest 
wick's new picture, compliments on their acting. But who 
"The Beauty Contest." Continued on page 85 




Photo cnpyrinht by Strauss-l'oyton 

Chic Sale as he really is — a youth whose engaging frankness 
endears him to every one. 



Folks That You 

Presented by Chic Sale — with 

By John Addi 

wishes he hadn't used up all the strongest words 
in his vocabulary, and that bitter moment of re- 
gret usually comes to dramatic critics when they 
see Chic Sale for the first time. After a man has 
called a toe-dancer "marvelous," a trick bicyclist 
"astounding," and a vocal gymnast "masterful," 
you don't feel as though the words could do credit 
to Chic Sale. And yet, in casting about for means 
of describing his unique gifts, one can only have 
recourse to such hackneyed expres- 
sions as those. His warm friendli- 
ness is "marvelous," his presenta- 
tion of rural types and the ease 
with which he slips from one char- 
acterization to another is "astound- 
ing," and his whole performance is 
"masterful." " ; 

Chic Sale has been presenting his 
rural characterizations to vaudeville 
audiences throughout the country 
for about eight years but their be-, 
ginnings date back much farther 
than that. Chic was just a little 
boy back in Urbana, Illinois, 
when he began imitating some 
of the familiar characters around 
town. His parents couldn't 
scold him very effectively be- 
cause they couldn't help laughing 
at him — so he kept at it, adding 
characters to his repertoire from 
time to time. 

Of course, he 
was a riot at his 
f rat house at the 
University of 



E have with us to-day 



The voice is old 



\\J and cracked, the eyes peering over the spec- 
tacles are beady but good-natured, the stooped 
figure reminds you of your first schoolmaster back in 
the old home town or the pastor of the little church 
at Four Corners, or the man next door who used to 
swap stories with your grandfather. 

"We have with us to-day " 

Chic Sale usually gets just about that far in his vaude- 
ville act when some woman down in one of the front 
rows gives a hysterical shriek and doubles up with 
laughter. She is followed immediately after by the 
stout gentleman who whoops with joy. I doubt if any 
one has ever heard Chic Sale's act all the way through 
because of the screams of laughter that always greet 
him and that is one reason why there is going to be 
great rejoicing over his going into motion pictures. You 
can't miss any of the show there. 

"His Nibs," the feature picture in which Chic Sale 
plays seven roles, presents his finest work in the way 
of character portrayal. All that is funniest in the vaude- 
ville acts, which he has been presenting with marked 
success for several years, has been embodied in this 
picture. 

There comes a time in every writer's life when he 




Chic Sale as " Peelee Gear, Jr.," 
the village wise guy, the boy tenor 
who sings at every performance of 
the Slippery Elm Picture Palace. 



Chic Sale as "Elmer Bender," 
son of "His Nibs," and general 
chore boy about the theater. 



Have Known 

some explanatory remarks. 

son Elliott 



iiimiiii 



Illinois. The boys there thought they had never 
seen any one so funny. So Chic was fired with 
ambition to go on the stage. In the Middle West 
the audiences loved him, but in the East he left 
the audience so cold that the management fired 
him. It was a terrible blow because Chic had 
already jumped from playing seven shows a day 
at twenty-five dollars a week to giving two shows 
a day at one hundred and twenty dollars a week 
and he thought he was a sure-enough actor. So 
when he was fired he went back West, determined 
to make his act so good that the vaudeville im- 
presarios in the East couldn't afford to ignore him. 
He succeeded. At his try-out performance a 

few months later in 
New York City Irene 
Franklin and Bert 
Green — two of Amer- 
ica's most popular 
performers, hap- 
pened to be in the 
audience and 





Chic Sale as 
"Mr. Perci- 
fer," the ed- 
itor of the 
Weekly Bee, 
who arouses 
many fond 
recollections. 



Photo by J. Gcorire Nussbaum 

Chic Sale as "Theo Bender," operator 
and proprietor of the Slippery Elm Pic- 
ture Palace, usually known as "His 
Nibs." This part, which is played 
without any make-up except the wig 
and whiskers, is one of Chic Sale's 
finest achievements. 

shrieked with laughter. From 
that moment Chic Sale was made. 
He signed a long-term contract 
the next day and has been play- 
ing almost continuously ever 
since. 

You would think that the folks 
back home whom he imitates 
would hate him, wouldn't you? 
But they don't, for there is noth- 
ing malicious, nothing unkind 
about Chic Sale's living carica- 
tures. They are funny because 
they are so real — so absolutely 
typical of people in the smail 
towns throughout America. 

It doesn't ever occur to the 
people back in his own home 
town — proud as they are of him 
— that his characterizations are 
the result of searching study and 
hard work. They're always ask- 
ing him. "When're you goin' to stop this apin' and go to work?" 
They think of him as "Doc" Sale's boy who never seems to want to 
stop playing — a sort of Peter Pan of the prairies. 

But some day — even there among his own folks — it will be recog- 
nized that Chic Sale is a great American artist, that what Yvette 
Guilbert is to France and Harry Lauder is to Scotland, Chic Sale is 
to America. 

And it will be largely thanks to the motion-picture screen that this 
recognition will come, for through his films Chic Sale will become 
known to thousands of persons who could never see him in person. 



Photo by Bcnnhnpi 

Chic Sale as "Dessie Teed," who obliges at the piano 

at the local movie and doesn't mind your noticing 

that she is the best-dressed woman in town. 



Camera Land's "See- me" Side of Life 

One of the important duties of a star is being seen; she can't sit home quietly, she 
must go where the crowd goes. Here are some of the favorite haunts of the favorites. 

By Gordon Gassaway 



IN camera land they have syncopated Hamlet's pet 
soliloquy regarding, "To be, or not to be, that is 
the question," until it now reads, "To be seen, or 
not to be seen, there's the rub !" 

Even the greatest of stars cannot afford to be invisible. 
The seamy side of life for 
the average motion-picture 
star is a question of visi- 
bility. New York and 
Hollywood, which means 
Los Angeles, are the veri- 
table Milky Ways of star- 
dom's iridescence. 

Here they shine in all 
their splendor, and the set- 
tings provided for their 
brilliance are as gorgeous 
as the deckings of the 
stars themselves. Take 
the Cocoanut Grove in 
the great Ambassador Ho- 
tel, midway between Los 
Angeles and Hollywood as 
a huge show case, for ex- 
ample. On any Tuesday 
or Friday night you can 
pick your favorite star 
from among those pres- 
ent, I don't care who she 
or he may be. 

There is the dining 
room of the Alexandria 
Hotel, more centrally lo- 
cated, and a favorite place 
for "interview luncheons." 
When a star feels an in- 
terview coming on she 
usually takes the inter- 
viewer down to the "Alex" 
and fills him up with 
avocado salad and peach 
melba with the intention 
of getting him into a good 
humor at any cost. I am 
liable to become a fat old 
man from eating so many 
interview luncheons at the 
Alex. 

Each star has his or her 
personal choice among 
places of amusement. But 
the majority of them go 

out at night, not for pleasure, but to be seen ! They have 
told me so themselves. Most of them would much pre- 
fer to stay at home and knit or something than to climb 
into the low-and-beholds and the soup-and-fishes to jazz 
and tinkle ice in ginger-ale glasses when they have to 
climb off the mattress the next morning and be on 
location at nine a. m. This "see-me" side of life, mates, 
is a rough voyage ! 

"As long as we have to go out, Isabella, or be forgot- 
ten, let us go where the going is good !" is the general 



cry among the families of famous stars, and so they 
choose the joy palaces where they will be seen by the 
largest number of people — or by others in the "profesh." 
That is why the Cocoanut Grove has been so popular 
this season. It is huge in dimension and all the stars 

can get inside without 
squeezing — much — and 
still leave room for the 
peekers. The "peekers" 
are the thousands of folk 
from all over America 
who go to Los Angeles 
to catch a glimpse of the 
movies and how the 
stars live. 

The rivalry between 
stars for sartorial su- 
premacy is terrific. No 
star can be seen in the 
same gown twice, at the 
risk of her professional 
reputation. Even if the 
peekers are not aware of 
the fact that she has 
worn it before, be sure 
that some sister star will 
recognize the rag and 
spread the rumor, per- 
haps, that Dolly has the 
same gown on again. 
Terrible ! 

I have seen Constance 
Talmadge, sister Norma, 
Pauline Frederick, Nazi- 
mova. Mabel Normand. 
Wallace Reid, Rudolph 
Valentino, May Allison, 
Jane Novak. Bill Rus- 
sell, Colleen Moore. Ar- 
line Pretty, May Mc- 
Avoy, Constance Binnev, 
Bert Lytell, Richard 
Dix, Claire Windsor, 
and Madge Bellamy all 
dancing in the Cocoanut 
Grove the same evening. 
And this, not during a 
"special" evening, but 
just a plain stepping-out 
night. Some of these 
were there because they 
wanted to be, and others 
because they thought they ought to be. 

On special nights, such as the night of the Writers' 
Cramp Ball, given by the celebrated screen writers of 
the present era in the Ambassador ballroom, you could 
name the entire roster of motion-picture celebrities and 
be sure to find them all present. Of course this was a 
very extraordinary occasion, and to be among those 
absent would have been complete social anathema. No 
star dared to stay at home and knit. It was a see-me 
occasion de luxe. These affairs are given periodically 




Jim, the doorman at the Hotel Ambassador, daily opens the door 

for dozens of America's favorites. Colleen Moore is a frequent 

visitor there. 



Camera Land's "See-me" Side of Life 



57 



in both New York and Los Angeles, 
but it is not of them I sing. It is 
of the ordinary, everyday, public ap- 
pearance made by the stars of the 
cinema cerculean. 

There is Sunset Inn on the shores 
of the Pacific, not far from Los An- 
geles. Every Wednesday night is see- 
me night at Sunset. Gloria Swanson 
and her coterie are regular patrons of 
this famous Inn. Its dance floor is 
probably the most famous in exis- 
tence. On this floor motion-picture 
history has been made. Here famous 
directors have verbally signed up 
famous stars. Here divorces have 
been fought and won. Here merry 
marriages have been conceived and 
shortly executed. Mabel Normand is 
addicted to Sunset, and at many par- 
ties she may be seen there as the jolly 
hostess. Mack Sennett is also usually 
among those present. 

In Hollywood, during the nooning 
hour, you can find your favorite player 
in one of three cafes. Perhaps she 
would rather throw a knee over the 
stool in a near-the-studio hash-house, 
but no, she must be seen at one of 
the popular food troughs. These are 
Frank's, the Trocadero, and the Blue Front. While 
having a lobster salad with Jane Novak the other day 
at Frank's we were surrounded by Charlie Chaplin, 
johnny Walker— in the flesh, not the bottle — Edna Pur- 
viance, Al St. John, Jack Holt, Agnes Ayres, Viola 
Dana, Alice Lake, Anita Stewart, and Herb Rawlinson, 
who had wandered down from the Universal wilds. 

The next day you might find all these familiar faces 
over at the Troi-adero, there to see and to be seen. 

Previews, whether they be held in New York or Los 
Angeles, are usually glorious see-me occasions. When 
"Molly-O" was given its premiere in Los Angeles, all the 
stars were there in deckle edges. This preview chanced 




I'lioto by Chateau Art Studios 




The Hotel Alexandria, centrally located, is a great gathering place for the stars. 



to be held the night before the Writers' Cramp Pall, 
and so the stars found it necessary to provide themselves 
with two new complete sets of sartorial scenery. It is an 
expensive proposition, this see-me side of life. 

"I am nearly always in a state of complete financial 
collapse from buying gowns to appear in public with." 
one of our most beautiful stars confided to me, "but if 
you don't go out you might as well be dead. Stay at 
home and you gather no publicity !" 

When Francis X. Bushman and Beverly Bayne ar- 
rived in Los Angeles over a popular vaudeville circuit, 
all the movie world turned out to greet them on their 
opening night. The next week Geraldine Farrar sang 
"Zaza" with a traveling opera troupe which hap- 
pened to be in Los Angeles, and so the entire movie 
colony crawled out of their warm homes again — 
in new gowns and soup-and-fishes. Cinema players 
who have taken to the stage provide many see-me 
sides to the life of the film folk in Hollywood, as 
they arrive via the road-show route. 

If one is bent on naming other popular public 
show cases, the Green Mill Gardens, halfway be- 
tween the Ambassador Hotel and Sunset Inn should 
be included. In this denlike cavern gather screen 
celebrities on the nights when some of the other 
joy dens are not having any particular entertain- 
ment. It is a large, barnish structure, weather- 
beaten without and Turkish-rugged within. 
Couples dance about, peering through the gloom 
at each other to see who is among those present. 
One, here, is very apt to find one's self at the wroivv 
table. In the gloom, one divorced star suddenly 
discovered when the lights were turned up that she 
had seated herself at her ex-husband's table ! 

In the summer there is the Crystal Pier bathing 
beach. This is a small stretch of sand about as 

big as a vacant lot. but it 
When a star is threatened 
with an interview, she usu- 
ally takes the interviewer 
to luncheon. 



is the most famous bit 
of hot-dog-littered sand 
on the American conti- 
nent. This is where the 



Photo by Stags 



Continued on page 



Romances of Famous Film Folk 



The love story of Shirley Mason and Bernard Durning who met and married as mere 
youngsters — and are still more interested in each other than anything else in the world. 



By Grace Kingsley 



I HAD those big-brotherly feelings," remarked Ber- 
ney, "that you have toward a little girl — and then 
you fall in love with her !" 
"I love to hear him tell it !" grinned Shirley demurely. 
Driving up to the door, I had been met by a little girl 
riding on a bike, accompanied by an older man. Doth 
of them came dashing up to greet me. The little girl's 
cheeks were r.osy, her eyes sparkled, her bobbed hair was 
tumbled. "Meet my dad," she had explained the man. 

It would have 
seemed very 
natural, at the 
moment, to re- 
mark, "Where's 
your mamma ?" 
Instead, I asked, 
".Where's your 
husband ?" 

Next minute 
we were all hav- 




ing lunch cozily in Bernard Durning's house — Berney 
and his wife, Shirley Mason, her dad, and I — when the 
story of the Mason-Durning romance came up, follow- 
ing Shirley's explanation that she loved better than any 
other sort of outdoor exercise a spin on her bicycle with 
her father, J. C. Flugrath. who, with her mother, is 
spending the winter in California. 

Of course, they're not a bit like responsible, old mar- 
ried folks, Shirley Mason and Bernard Durning. 
They're exactly like a couple of kids. She's a child wife, 
is Shirley, like Dora of "David Copperfield." That is, 
from all appearances. You'd never think of her as a 
successful star, nor as a good housekeeper. Just the 
same, she's both. Around home she plays a foolish lit- 
tle ukulele, plays jazz on the piano, and dances about like 
a child. She can't spell very well, nor figure according 
to Hoyle ; but by some mysterious means her household 
accounts always come out right, and the servants obey 
her little highness.., . 

-Shirley has. I suspect, an individual system of running 
her house. She makes all the servants feel, in her artless 
way, that she's just a little, helpless child, who must be 
taken care of. that she adores and trusts them, and that, 
of course, they wouldn't do anything mean to her for 
worlds ! And' they don't, either. They work for her 
like a beaver, and woe betide any tradesman who tries 
to put anything over on her ! 

And even if she has been married to Bernard Dur- 
ning. Fox director, for four years, she has never left off 
her delightful kidding, flattering little ways with him. 
. "He's a wonderful director," remarked Shirley, just 
as the salad came in. "He thinks I'm good, too, don't 
you Berney ? Oh, we're the greatest team in the world ! 
I'm more scared of him than of anybody. I argue and 
argue with him sometimes about my work, but. of 
course. I know all the time that he's right! But I can 
help him, too. I write letters for Berney !" 

"Yeh," interrupted her husband with masculine supe- 
riority, "and she stops to ask me how to spell every other 
word." 

They met at the Edison studio in New York when 
Shirley was only twelve years old. And that's when 
their romance began. 

"Shirley never really had a chance 
to like anybody else," explained 
her husband. 



They are not a bit like 

responsible old married 

folks; they are just like 

a couple of kids. 



Romances of Famous Film Folk 



59 



"Oh, I used to see Berney 
walking around the studio, and 
think he was the handsomest 
man in the world !" laughed 
Shirley, pecking daintily at her 
roast squab. "He always treated 
me like a little girl, but I used 
to worship him in secret." 

Darning was assisting Charles 
Brabin in directing a train- 
wreck scene when they first 
spoke to each other. 

"Tt was really very romantic," 
explained Shirley. "I was play- 
ing a bit in the scene, and was 
supposed to lie there with my 
hand out of the car window. 
Berney saw my hand sticking 
out there. He watched it. He 
thought it ought to begin to 
move and it didn't. The rea- 
son was because I had really 
passed out — fainted— overcome 
by the smoke from the smoke 
pots they were using. He ran 
in and pulled me- out. I opened 
my eyes, and my heart began to 
pound like everything when I 
saw who had rescued me ! After 
that event we began talking to 
each other a lot around the stu- 
dio, and Berney began taking 
care of me, and " '. . 

That's when Berney made 
the remark about the big-broth- 
erly feelings that are so likely 
to turn into something more ro- 
mantic. 

"Berney wouldn't let them 
make me do stunts that were 
too hard, and he wouldn't let 
anybody say anything around 
me that he thought I shouldn't 
hear. He knocked a man down, 
once, for swearing when I was 
on the set. 

"I got scared for his life 
once, too. He was assistant di- 
rector, double, and assistant camera man with Marc Mc- 
Dermott. Aside from these offices he had nothing what- 
ever to do. One day Marc told Berney, while they were 
making some scenes on the river: 'Berney, you dive out 
of the boat. Get under the ice and stay down as long 
as you can.' Berney did as he was told. He nearly 
froze to death, and I was so frightened I couldn't speak, 
because I thought, as I watched with horrified eyes, that 
he'd never, never come up from under that ice." 

"Yes," grinned Berney, "and the worst of it is. he 
promised me three dollars extra for doing the stunt, and 
I never got it !" 

Soon after that Miss Mason went on the road, play- 
ing the lead in "The Poor Little Rich Girl," at the 
munificent salary of forty dollars a week. 

"I didn't want to go away and leave Berney; but my 
family thought it a wonderful opportunity, so I went. 
When I came back to New York, we had a misunder- 
standing. We didn't go together for eight months, 
and " 

"But when my best friend began to console her," Ber- 
ney broke in, "I thought it was time for me to show up. 
I asked her one day if I might call on her. She upstaged 
me, but finally consented, and we made it up. And you 




There is no key to the den where Bernard burning works, because Shirley would get 
lonesome if she were shut out. 



know how those things are — the harder the quarrel, the 
nicer the making up !" \ 

"Oh, and he brought me a brooch for a present !" 
Shirley chortled. 

"Aw, don't tell " interrupted Burning. 

"It was a peace offering," his little girl went on re- 
lentlessly. "The quarrel had been about his taking a 
certain girl to a dance or something. The girl had given 
him a ring, and he hocked it to get the brooch for me !" 

Shirley smiled triumphantly, and Durning grinned 
good-naturedly. 

Evidently the Durnings have the same kind of a sense 
of humor — which helps in families, don't you think? 

"We had decided to be married," Shirley went on. "b"t 
were afraid of my father. He thought I was too young 
to marry even a wonderful fellow like Berney. Finally 
we did, though, over in Jersey City. We called up mother 
when we got back to the city, thinking dad wasn't at 
home. But he was, and was, moreover, sitting right 
next to the telephone while mother talked to us. So she 
kept her head and just made calm, irrelevant answers 
when we told her we were married. 'We're married, 
ma!' we yelled in chorus, both our mouths close to the 
Continued On page 97 



The Screen in Review 



Comment and criticism on recent screen offerings, which are 
offered for your guidance in choosing your entertainment. 



By Alison Smith 




SOMETIMES t h e 
film world seems 
to have no more 
continuity than a Mack 
Sennett comedy. Often 
it seems just as funny. 
The incident that has in- 
spired this perfectly 
good-natured and not at 
all cynical thought, is the 
state of affairs that must 
have brought forth 
Eric von Stroheim's 
extraordinary production 
of which the present title 
is "Foolish Wives." 

It all happened in dim 
and distant Hollywood 
where as we know, al- 
most anything might 
happen — that is part of 
its fascination. Now, 
writing as I am from the 
farthest possible point 
East, I might as well be 
in darkest Russia so far 
as any accurate knowl- 
edge goes as to just what 
went into its making. 
All I have is the curious 
finished product which 
finally reached the New 
York theaters after a 
year and a half of ad- 
vertising. But this is 
my guess about how the 
picture got that way. 

At the time it was 
started, nearly two years 
ago, several prominent 
producers were engaged 
in a neck-and-neck race 
to get some elaborate 
and sensational films out 
on the market before the 
impending agitation for 
censorship all over the 
country began to bear 
fruit. These were the 
sort of pictures that, if 
they didn't actually go 
the limit in risky themes 
and display, at least 
skated up to the very 
limit and retreated as 
gracefully as possible. 
You know the sort of 
thing — wine, woman, and song, with very little song. 
Three of these pictures were started fairly close to- 
gether — "The Queen of Sheba" by Fox. "Man-Woman- 
Marriage" by Allen Holubar, and the third (the present 
specimen) by Von Stroheim. 

Now "The Queen of Sheba" and "Man- Woman-Mar- 
riage" got under the wire safely and reaped the sort of 



Photo by Frciilich • 

Von Stroheim's own acting 
anything he 



reward that goes alike 
to the just and the un- 
just — if the advertising 
campaign is well enough 
planned. But "Foolish 
Wives" was so much 
longer and more elabo- 
rate that the censorship 
agitation reached its 
height long before it 
was ready to be shown. 
So the present Ameri- 
can version represents 
only what was left after 
it was pruned with the 
censors' "thou must 
nots" in mind. It might 
very well be entitled, 
"You Don't Know the 
Half of it, Deary!" 

This theory would at 
least account for the 
strange lapses in its ac- 
tion, for the many 
things that the villain 
starts and doesn't finish 
— you often wonder 
why — during the five 
days in which the story 
wanders through a con- 
fused medley of inci- 
dents centering around 
Von Stroheim, who, as 
a wicked count, pur- 
sues a somewhat flabby 
wife of a stupid Ameri- 
can diplomat through 
many reels of action. 
These many reels had 
been cut to fourteen 
thousand feet by the 
time it reached New 
York and they were cut 
again after the opening 
night, so you can im- 
agine the coherence of 
the remaining scenes. 
All that really remains 
is the splendid back- 
ground which Von Stro- 
_J^ hcim has succeeded in 

making truly Continen- 
tal. He has not lost 
that genius for making 
a California studio lot 
look like the real thing 
in Europe which he 
demonstrated so skillfully in "Blind Husbands." The 
nearest I ever got to Monte Carlo was in the pages of 
Marie Corelli's novels, but his film version looks like the 
real thing as shown by the Pathe Weekly. Even the 
smallest interior had an unmistakably foreign touch. 
But apparently he couldn't get the foreign touch out of 
his plot — it collided with the censors and it wasn't the 



in "Foolish Wives" surpasses 
has ever done. 



The Screen in Review 



61 



censors that were smashed. There isn't any moral to 
this — it just strikes me as interesting, and as a proof 
that the film world gets "curiouser and curiouser," as 
Alice said when she crashed through the looking-glass. 

Although the stories which were whispered "among 
the trade" indicated that the picture was to be about the 
most sensational one that ever came out of Hollywood, 
the final censor-passed version, as you probably have 
guessed already, contains nothing that could be seriously 
objected to. If any one goes to it expecting to be tre- 
mendously shocked he will be disappointed. 

If you like to see reproduced only the cheerful and 
happy side of life, this picture is not for you, for it 
certainly is what might be called an "unpleasant" type 
of picture. But if you enjoy the superb skill with which 
Von Stroheim creates his archvillain types, you may be 
well repaid for seeing "Foolish Wives," for his acting 
in this picture surpasses anything he has done before, 
and you have, thrown in, one of the most massive, ex- 
pensive, and spectacular productions ever made. 



"Saturday Night." 

Now, apropos of the above, I never could see the re 
lationship between dollars and craftsmanship andthis 
is one of the things that has left me quite cold when 
confronted with a typical Cecil De Mille 
production. I have always felt that 
Mr. De Mille thought more of his 
palatial beds and tricky baths and 
telephones modestly swathed in 
chiffons than he did of his plot or 
his people. But it is a pleasure to 
record in "Saturday Night" he has 
not only caught a definite and logi- 
cal idea but has developed it with 
characters which have the real 
human touch. 

It's an old movie idea — set to 
reverse action. Of course you've 
seen dozens of those films where 
the millionaire's son marries the 
little kitchen drudge and where the 
aristocratic family snub her at 
first because she says the bath- 
room looks so nice that she can 
hardly wait till Saturday night 
to take a bath. But always in 
the end she reforms — her table 
manners become perfect, she 
learns how to wear clothes and 
we leave her chattering to the 
abashed family in almost per- 
fect French — taken at a 
glance. 

But this sort of thing sim- 
ply doesn't happen in real 
life. So Jeanie Macpher- 
son has written a story about 
what really would occur if 
the rich young man were to 
marry the washwoman's 
daughter. Only in this case 
two pairs of misguided lovers — a beauti- 
ful young heiress married to a burly Irish 
chauffeur joins the amusing and ironical 
set of circumstances. 

Briefly, love's young dream is lost in 
the shuffle. The washwoman's daughter 
hates the fuss and feathers all about her 
which keep her from being natural. The 

heiress finds that love in a tenement is a '" "Rent Free," Wallv Reid meets a pretty 
nightmare of noise, cheap wit, and dirty girl, impersonated by Lila Lee. 



dishes. Through a series of most exciting incidents 
(including the best fire scene I have ever watched on the 
screen) the couples are reassorted — the chauffeur marries 
the laundress, the young millionaire the heiress. It is 
quite as romantic as the old motif of King Cophetusa and 
the beggar maid and much more common sense. After 
all, would the beggar-maid have liked the stiff and 
formal court etiquette and would the king have con- 
tinued to love her when she chewed gum and addressed 
the courtiers as "Kid?" 

Both Miss Macpherson and Mr. De Mille owe much 
to their excellent cast in this picture. Edith Roberts as 
the rowdy little laundress is a splendid foil to Leatrice 
Joy as the proud but puzzled heiress. These two girls 
are certainly the most stunning brunettes on the screen 
and they know how to be brunette in different ways, 
if you get what I mean. Conrad Nagel is the rich 
young man and Jack Mower the chauffeur. They each 
present their respective characters, not as heroes, hero- 
ines, or villains, but as human beings caught and spun 
along by the mysterious force called Fate. It wasn't 
anybody's fault — it just happened. Which is my idea of 
what Jeanie Macpherson meant when she wrote 
this excellent scenario. 




"One Glorious Day." 

It's a cold and dreary month that leaves 
us without a Will Rogers picture and it's a 
joy to report that the Will Rogers output 
for this month is funnier than ever. (I've 
been saying that about Will Rogers ever 
since he struck the screen, but it's true 
\ — they do get more and more hilari- 
ous.) Perhaps one reason is that he 
is never content to rest solely on his 
>ersqiiality, though Heaven knows he 
is one actor in a thousand who could 
get away with it. But always he needs 
must have a theme to satirize — something 
to catch up in that easy laconic humor of 
his exactly as he entangles the steers with 
his lariat when at home in a purely social 
capacity. 

This time it is spiritualism. An 
outlaw soul without a body 
descends upon the person of a 
shy and lanky professor with 
most happy results. Absurd 
as the story is, you feel a sneak- 
ing belief in its weird situations 
— after all strange things have 
happened, especially since the 
war. Needless to say it is 
Rogers who makes it real. Lila 
Lee, as the placid sweetheart, 
also helps. 



"Back Pay." 

It pains me to write so 
much about the cen- 
sors but I must be- 
cause they explain so 
much in the present 
output of films. On 
account of their re- 
strictions, this story 
of Fannie Hurst's 
has been rewritten 
for the screen ver- 
sion. The salient 
feature, which ex- 
plains the heroine oi 



62 



The Screen in Revie 



the original "Back Pay" in its short-story and stage- 
play form, was that she was brought up (innocently 
enough) in a house of ill-fame. In the screen version 
this is changed to a country boarding house, so respect- 
able that if you don't pay cribbage with the old lady 
inmates, you aren t considered quite nice. With such 
a beginning you would hardly expect Seena Owen 
and Matt Moore to carry the author's mes- 
sage very far. When the heroine sobs 
"If sin has any wages, I've a lot of bad 
pay coming to me," you somehow lost 
the punch because you couldn't be 
quite sure of the gentleman who 
brought her silks and satins to feed 
her "crepe de Chine soul." Like 
"The Sheik" this screen story has 
about as much relation to the 
original as lemon pop has to 
creme de menthe. I'm always 
wondering why the producers 
select these stories which cannot 
possibly be put over under the 
present blue-law regime. 

"Turn to the Right." 

Here is a tale which could pass 
any censor: It is sweet, simple, and 
girlish — especially simple. They do 
say that when Rex Ingram was asked 
to do this script, he balked and it took 
all the persuasive power of the genial 
Metre scenario staff to induce him to film 
it. The result is as accurate a reproduction 
of the Winchell Smith stage success as could 
be given on the screen. Not a chin-whisker, 
not a hayseed, not a love-bird is missing. 
The romance is increased, if anything, with 
Alice Terry in the role of the country girl, who reforms 
all the crooks with the assistance of mother's peach jam. 
I liked the rural sentiment better than the rural humor 
— that suggested occasionally the rube bicycle acts be- 
fore a vaudeville curtain. But then it was ever thus 
on the stage. 




Jackie Coogan has 

many an adventure 

in "My Boy." 



W 

The picture is about as far from that exciting thing, 
"The Four Horsemen," as possible, or from the lovely 
glamorous "Eugenie Grandet" — (we beg Balzac's par- 
don, "The Conquering Power"). But Rex Ingram set 
out to put all the sure-lire hokum of the phenomenal 
stage success on the screen and he has done it. After 
this sweep from Ibariez to Winchell Smith, we 
back Rex Ingram to do anything. 

"Love's Redemption." 

On the woman's page of most pa- 
pers the "Advice to the Lovelorn" 
always warns you against marrying 
a man to reform him. This is what 
Norma Talmadge does in "Love's 
Redemption," and for a while you 
think the editor of the heart-balm 
column is going to win out on 
her advice. Norma (she is a 
wild little Jamaica girl called 
"Ginger") is taken from her na- 
tive island and set down in the 
midst of a lot of hateful things- 
in-law. They snub her and try 
to bring her husband back to his 
old habits of drinking more gin 
rickeys than he really needs. But 
List as you think all is over and she 
is sneaking out for home alone, the 
repentant (and sober) husband joins 
x. Together they go somewhere east 
of Suez where, if a man can raise a thirst, 
he can also curb it without meddling from 
relatives. 

Norma plays this with the same wistful 

tenderness and fiery outbursts that she 

brought to "The Wonderful Thing." After 

all, the two films are very much alike — if you liked one 

you will like the other and, as Norma is on the screen 

most of the time, you will probably like them both. 



"The Wallflower." 

Honestly, I didn't know it was in Colleen Moore. 



I've 




Back Pay," like other Fannie Hurst stories, has been changed somewhat for its screen version. 



The Screen in Review 



63 




only seen her when she was being one of 
those "mere slips" they talk about and 
sitting pretty on a script which didn't 
give her more than an occasional 
frolic. Now suddenly here she is 
as a real comedy character actress. 
The best of it is that she under- 
stands the true meaning of 
comedy — the sort of comedy that 
has real pathos under its gro- 
tesque lines. 

"The Wallflower" is a Rupert 
Hughes story which has a quality 
that suggests Booth Tarkington's 
"Alice Adams." It is the story of 
a very young girl who aims to 
please in society — who wants the 
! ocxl times that the other girls have, 
but because of poverty and shyness 
(and a foolish mother) only succeeds 
in making herself ridiculous. Unlike 
"Alice Adams." the piece has a triumphant 
ending — the goose becomes a swan. Yet the 
picture that will remain of the wallflower 
is not her successful finish — in a Lucille frock 
— but her pitiable entrance into the dance 
floor, where she knows she won't be asked 
to dance, but where she is too good a sport to show that 
she isn't having a gay time of it. There are several little 
scenes like this that are funny and heartbreaking at once 
because the actress understands her business. Why not 
"Alice Adams" for Miss Moore? 

"The Lane That Had No Turning." 

This picture is so full of gloom that you expect to see 
"Made in Russia" on its title card. Instead, it is the 
combination of Sir Gilbert Parker and Agnes Ayres. 
Most of the woe is furnished by Theodore Kosloff — and 
now that I recall it, he is a a Russian dancer, which 
justifies the first assertion somewhat. He is obsessed 
by the fear of becoming a hunchbark and he thinks about 




Leatrice Joy plays the 
proud heiress in "Sat- 
urday Night." 



''Turn to the Right" is a comedy that is 
siveet, simple, and girlish. 

it so much that of course he does. 

After one murder and a suicide his 

young wife is left free to marry 

again and start life with some one 

less neurotic. If this is a happy 

ending, then "Hamlet" is a merry 

comedy. The piece is acted 

fairly well, but you need more 

than fair acting — you need 

positive genius, to dignify its 

tragedy. 

"The Bride's Play." 

The title of this film is derived 
from a game at an Irish wedding — 
sort of Hibernian ring-round-the- 
rosy, in the course of which the bride 
is kidnaped. It doesn't seem to be 
a very amusing game — personally I'd 
prefer roller skating or crack-the-whip. 
However, Marion Davies seemed to enjoy 
it, though as usual she never played hard 
enough to get her hair or her emotions ruf- 
fled. As with most of these pictures the 
background and photography are worthy of 
a better cause. 



"Hail the Woman." 

They tell us that the women of America are the most 
pampered and indulged in the world, but Mr. Thomas 
Ince doesn't think so. He has made a picture to show 
how the alleged fair sex is bullied and browbeaten by 
a crew of senseless brutes called men. Of course, there 
are a few nice men in the cast— there is the hero and a 
gray-haired novelist who knows everything about women, 
"like W. L. George and, also like Mr. George, writes books 
about what he knows. 

Now I've always agreed with Alice Duer Miller — 
Continued on pa^e 85 



The News Reel 



Just as the ferreting eye of the news camera goes everywhere, sees every- 
thing, our intrepid reporter observes all events of importance in filmland. 



By Agnes Smith 



Please Play the Wedding March. 

ONE of the first things that Lottie 
Pickford did upon her re- 
turn to Hollywood was 
to run down to the City Hall 
and help take out a marriage 
license. The fact that the 
bride gave her name as Lot 
tie Rupp and the bride- 
groom put his name down 
as Alan Forrest Fisher, 
didn't fool the movie 
colony, as several hun- 
dred picture players and 
a flock of tourists gath- 
ered in front of the 
First Methodist Church 
to catch a glimpse of the 
principals in the latest 
Pickford wedding. In 
spite of the fact that 
three fighting ushers 
and several volunteers 
had a hard time in 
keeping the crowd from 
breaking into the church. 




it was a pretty little family wed- 
ding. 

Lottie not only looked unusually 

beautiful but she seemed unusually 

happy. She wore a fluffy white 

dress with a wreath of silver 

in her hair. Gf course, sister 

Mary was her matron of 

honor. And Jack Pickford 

gt-ve the bride away. The 

bridal party was in a state 

of nervous excitement 

when it arrived at the 

church. It was plain that 

neither Lottie nor Mary 

had expected to be 

greeted by such a crowd. 

After a little preliminary 

fluttering in the vestibule 

of the church. Mary took 

charge of the situation. 

Just before the wedding 

march started, Douglas 

Fairbanks went up the aisle 

to join Mrs. Pickford. who 

was already seated in a 

front pew. 

When the guests saw "Doug- 
las, they forgot they were in 
a church and began to applaud. 
For once in his life, Douglas 
looked scared ; it was a clear case 
of stage fright. With the first note 
of the wedding march, the buzzing 
stopped and the three Pickfords came 
solemnly down the aisle. Mary, in a white 
frock with her curls gathered on her head, 
looked like a small child taking part in her 
first public function. But she also looked 
like a determined child who had made up 
her mind to look her prettiest and behave her best. She was so 
anxious to make Lottie's wedding a happy occasion, that she kept 
back the sisterly tears. To realize how much Mary Pickford is 
beloved you must see the look of admiration in the eyes of her 
fellow film workers when Marv makes her appearance. 

Lottie's daughter, Mary Pickford Rupp. sat with her <*rand- 
mother. The expression on her face seemed to sav: "Well. 
here are mamma and me and grandma and Aunt Man- and 
Uncle Jack and Uncle Doug and Mr. Alan Forrest. We're all 
dressed up in our best clothes. I guess that's why all these 
people came to look at us." 

As for the groom, he wore the conventional black. 

And he outsmiled Fairbanks. Eddie Sutherland was 

his best man. He didn't drop the ring. Hoot Gibson, 

Harry Cohn, and Al. Rascoe. were the busiest ushers 

What does the bridegroom look like? 

dark, and good-looking. You have seen 

him many times on the screen as Alan Forrest. 

The wedding dinner was 




■-••" 



Mary looked like a smalt 

child taking part in her 

first public function. 



I ever 
He is 



saw. 
tall. 



The last public appearance of 
Lottie Pickford and Alan For- 
rest together was in "They 
Shall Pav," an Associated Ex- 
hibitors' picture. And now they 
are married. 



held at the Hotel Ambas- 
sador and the most intimate 
friends of Lottie and her 
husband were invited. As 
the society report says, 



The News Reel 



65 



among those present were: Bebe Daniels, Lila 
Lee, May McAvoy, Mabel Norniand, Mr. and 
Mrs. Tom Moore, Mr. and Mrs. Thomas 
Meighan, Mr. and Mrs. Frank Urson, Mary 
Miles Minter, Thomas Dixon, and Steve 
Franklin. 

Mary Pickford is the most loyal sister in 
the world. When she came back from Europe, 
Lottie's wedding and Jack's new picture were 
the first affairs that engaged her attention. 
Although Mary will not direct "A Tailor-made 
Man" for Jack, as widely announced, she went 
over every detail of its production before she 
left for New York to appear in a suit filed 
against her by Mrs. Cora Wilkenning, an 
agent. Yes, it's the same old suit that has 
been dragged from court to court for several 
years. 

Although Mary Miles Minter says she is 
not engaged to Thomas Dixon, son of the lead- 
pencil manufacturer, she evidently finds him 
an ideal escort. And her mother doesn't object 
to having the young folks slip away to the 
movies in the evening. Some one at the 
Realart studios suggests that, at the rate 
scenarios are submitted for Miss Minter, she 
ought to marry into the Underwood or Rem- 
ington families. 

Speaking of romance, May McAvoy's blue 
eyes remained fixed on Eddie Sutherland all 
during Lottie's wedding ceremony. 

Still More Romance. 

If Mildred Davis doesn't marry Harold 
Lloyd, Harold's father is going to be pretty 
mad. When Harold Lloyd went East. Mil- 
dred, her family, and the Lloyds, went along 
too. Papa Lloyd is as devoted to Mildred as 
he is to his son and he is immensely proud of 
her. She is his choice of a daughter-in-law 
and Papa Lloyd doesn't care who knows it. 
He gets angry when other producers 
want to star Mildred. As for Mil 
dred, she is just nineteen and 
Harold is her first beau. The 
Davises and Lloyds are great 
friends and Mildred is the 
pampered darling of both 
families and the popular pet 
of the Hal Roach studios. 
She is so carefully guarded 
and surrounded by so 
many loving friends that 
she wonders why she left 
school to go into the 
wicked movies. Harold 
Lloyd has never figured 
in any matrimonial adven- 
tures and his studio is on 
the white list. So Mildred 
will probably say "yes" and 
get a nice young man for a 
husband. Incidentally, the 
nice young man is said to make 
something like a million dollars 
a year. But Mildred and Harold 

have so much fun making phoiob»DonaidBiddi.K.yc. 

comedies that money seems 
to make little difference in their 




Photo by Melbourne Spun- 

Mildred Davis is just nineteen and Harold Lloyd is her first beau, 
is an interesting romance to watch. 



This 




Mabel to Teach History. 

What did Southern California look like before 

the hills were covered with studios? Before the 

pioneer film folk landed on Eagle Rock, were 

there any traces of the human race in Los 

Angeles? What did Hollywood look like 

previous to 191 1 ? 

Mabel Normand is going to strike a 
noble blow for Southern California when 
she appears in "Suzanne" by proving that 
there were pretty girls out here before 
picture producers began robbing the 
Ziegfeld chorus. "Suzanne" is a com- 
edy drama with real California scenery. 
Its story concerns the Spanish pioneers 
who invented the Mission style of archi- 
tecture now used in all the best bunga- 
lows. Mack Sennett says that it's going 
to be a pretentious production and Dick 
Jones, who'is congenial director for Mabel, 
is wearing the puttees. 



young lives. 



Winter Sports. 

Wallace Reid, Mrs. Reid, and little Bill Reid, 

have taken up archery. Tourists motoring on the 

road from Beverly Hills to Hollywood fre- 

Mary Miles Minter denies being engaged quently are obliged to pick arrows from 

to Thomas Dixon, but she finds him very their tires. Sometimes they write home 

gooa company. and bras: that there are still a few Indians 



66 



The News Reel 



hiding in the hills. Dorothy Davenport Reid draws a 
mean bow, while young Bill has a pair of moccasins to 
give the finishing touch to his archery suit. 

Winter tourists also stop to look at the pretty blonde 
who rides in Beverly Hills. Winifred Westover is as 
much at ease on a horse as is her husband, William S. 
Hart. 

Here's where we do a little work for The Picture 
Oracle: Yes, Sallie, Rudolph Valentino is now a real 
star. He has been playing opposite Gloria Swanson in 
"Beyond the Rocks," a story by Elinor Glyn. But now 
good, kind Mr. Lasky says he may be the whole show 
in "Blood and Sand." It is Vicente Blasco Ibaiiez's 
story of a bull-fighter and June Mathis, who wrote 
Valentino's big success, "The Four Horsemen," is 
going to write the scenario. Oh, yes, and Bebe 
Daniels and May McAvoy are cast for important parts. 

No, Rudie is not married. At least, he isn't 
married any more. His first, and so far 
only wife was Jean Acker. Miss Acker 
filed suit but Valentino was granted 
the decree. And the judge says he 
doesn't have to pay any alimony, 
Now please do not bother The 
Picture Oracle. 

Says the guide at the Lasky 
studio: "Here is a scene 
from 'Beyond the Rocks,' 
adapted from the celebrated 
novel by Elinor Glyn." 

"The what, by Elinor 
Glyn?" asks the tourist. 

"The celebrated novel," 
answers the guide, blandly. 

"Never heard of it be- 
fore." 

"Neither did I." 

"And," continued the 
guide, "Mrs. Glyn super- 
vises every detail of the 
production." 

"How come?" asks the \ 
tourist. 

"Oh, just to see that the ' 
furnishings of the English coun- 
try houses are correct." 

"And do the English use nothing 
but yellow linen in their homes?" 



A Family Reunion. 

Emil Flugrath, father of Viola Dana and 
Shirley Mason, is visiting his daughters in 
Hollywood. Both the girls look like papa. 
But the family reunion was sadly disrupted 
when Metro sent Viola on a long personal- 
appearance tour. 




Viola Dana has been 

entertaining her parents 

at her new home in 

Beverly Hills. 



Guy Bates Post has stepped before the studio lights 
and is now appearing in Richard Walton Tully's play 
"The Masqueraders." Mr. Tully himself is producing 
the picture at the United Studids. Ruth Sinclair, wife 
of Irving Cummings, has a prominent part, while others 
in the cast are Marcia Manon, Michael Dark, and Thelma 
Morgan. 

James Young, the director, is not at all afraid 
of his in-laws, past or present. Edward M. 
Kimball, father of Clara Kimball Young, is work- 
ing for his former son-in-law, and so is Jack Whipple, 
brother of Clara Whipple Young, Jimmie's latest 
wife. 



A Deserter. 

Husbands do have something to say every now and 
then. May Allison married Robert Ellis and kept the 
wedding a secret. But" now that she has told the world 
about it, Bob has asserted himself. He wants to go back 
to the stage and he thinks that May should go along, too. 
And so May sold her home in Beverly Hills and left for 
the East. The modest little home brought fifty thousand 
dollars. But who would not pay that much to live near 
Charles Ray, Francelia Billington, and her husband, 
Lester Cuneo? 

The Latest in Courtship. 

Helen Ferguson has a beau. To the world, he is a 
well-known star but to Helen he is just a nice Saturday- 
night fellah who takes her to the movies and buys her 
an ice-cream soda after the show. Helen tells this on 
herself. 

"What do you think of a man who says things 
like this? And to me, an actress with 
temperament ! We were at Grauman's 
the other night and I was watching 
a certain noted tragedienne step all 
over her own feet in a big dra- 
matic scene. Not wishing to be 
•\ catty, but just trying to be my 
own frank self, I turned to 
the man who paid for the 
tickets and said, 'I could act 
almost as well as that my- 
self.' " 

"And did he say, 'Yes, 

Helen, you can act better 

than that?' He did not. 

He simply looked at the 

screen a long time and 

handed me this succinct bit 

of criticism, 'Yes, you 

could — almost.' " 

Ferdinand Pinney Earle 
is not in the least daunted 
because his elaborate produc- 
tion of "The Rubaiyat" is held 
up by one of those involved 
legal tangles that happen in the 
best movie circles. The picture 
has had several private showings 
in Los Angeles and no less a person 
than Mickey Neilan has pronounced 
it one hundred years ahead of current ex- 
periments in the cinematic art. Mr. Neilan 
was speaking in round numbers, of course. 
Mr. Earle is going ahead and will film 
Goethe's "Faust." Perhaps you remember 
that Griffith planned to film "Faust" with 
Lillian Gish as Gretchen but apparently he has given up 
the idea. Several other producers have discovered the 
work only to have it labeled "impossible" by the scenario 
departments. 

Richard Dix likes to star his father in his jokes. When 
Mr. Dix left home to go on the stage, papa saw nothing 
ahead but disaster. He didn't think that his son would 
come up smiling in pictures. The other day Dix was 
telling his father about the theatrical season in New 
York. 

"I hear," he said, "that it has been a hard, cold winter. 
Lots of the actors have been out of work and up 
against it." 

Continued on page 95 




Photo by Alfred Cheney Johnston 



Can You Beat It? 



The smaller they look the bigger they are, and 
no one illustrates this better than Anita Loos. 



By Edna Foley 



THIS little girl, who isn't much larger than her 
own doll, isn't pictured here because she is the 
daughter of somebody or other in pictures. And 
no, she isn't one of those child-wonder actors we are 
always hearing about, who laugh and cry and eat and 
play just like unpainted little children when their direc- 
tor tells them to. And no, this isn't another of those 
wonderful when-the-heroine-was-only-a-child impersona- 
tions of any of the prominent stars. 

No, ladies and gentlemen, this carefree, ingenuous 
child is none other than the author of a hundred or more 
feature pictures. She wrote scenarios for Griffith when 
he was just an unknown young man working on some 
newfangled thing called motion pictures. And even 
before she wrote scenarios — at the advanced age of 
twelve or fourteen, in fact — she contributed smart say- 



ings to newspapers and conducted a column of society 
notes on a New York paper. She was the first person 
to inject flippancy into subtitles — and the only person 
to distinguish herself in that field. She is coauthor and 
co-everything with her husband, John Emerson, of one of 
the cleverest pictures of the year, "Red Hot Romance." 
When she can get. away from the studios, where her 
pictures are being filmed for a clay or two, she lectures 
at the big Eastern universities on scenario writing. 
Yes. folks, you have guessed it; this is Anita Loos. 

Of course, we don't want you to think that Anita sits 
around like this of an afternoon at home, or that she 
wears such togs when she goes to a producer's office 
to sign a contract for a few hundred thousand dollars. 
No, this costume was designed and worn only on the 
occasion of a recent Authors' League entertainment. 




Photo uy Clarence S. Bull 

A charming frock of dark-blue charmeusa with a canary-colored 
blouse brings out the serene, ethereal side of Claire Windsor's 

nature. 



THE first woman who thought of dressing in hlue 
to make the color of her eyes more intense was clever; 
the thousands of women who have followed her example 
have rather minimized the effect." 

A great authority on fashion was speaking to a crowd of women 
more expensively than effectively dressed. 

"When stout women began to favor unbroken lines and their 
more slender sisters to monopolize frills, we took a great step 



Emotionalized 
Modes 

iiiiiiiMiiiiimiiiiiiaiiiiiiiiiiiiw 

toward being a better-groomed nation. And now 
that we are beginning to recognize the individual 
demands of color and line, what is the next factor 
in our development of expressive and artistic dress?" 
"Emotion," I said to myself, though it was all I 
could do to keep from screaming it aloud. Eor emo- 
tion was quite obviously what most of those women 
needed to express in their gowns. Their clothes were 
just something made of expensive fabric which cov- 
ered them ; they had no real meaning. And as I 
looked at them I thought of Claire Windsor, for her 
clothes express perhaps better than any one else's what 
I mean by emotionalized modes. One doesn't think 
of the beautiful Claire as wearing a tailored suit or 

an evening frock or 
sports clothes ; it is al- 
ways a frivolous frock 
or a demure one, a 
nonchalant suit or 
a defiant one. or 
perhaps even a 
reckless, bright-col- 
ored sports suit. 
But whatever it is, 
it expresses a 
mood. 

Claire Windsor's 
hair is light brown, and her 
eyes are blue. Her fea- 
tures are fine and clear cut 
—and very expressive. The 
woman whose features are 
not expressive finds it 
more difficult to dress ac- 
cording to her moods, of 
course. 

In keying one's cos- 
tumes to the emotions, it 
is well to study one's own 
disposition first. For in- 
stance, if you are usually 
joyous, exuberant, inclined 
to be gay no matter how 
dreary the day, you can 
count on that mood when 
planning your clothes. 
You can wear red — no 
matter how sure you 
have been that red was 
not meant for you, you 
will find that somewhere 
between the faint sun- 
set pink and the deep 
wine color there is a 
shade that suits you per- 
fectly. The coppery 

A more worldly mood of 
sparkling gayety demands 
a hat with wide-spraying 
feathers and a black crimer- 
trimmed coat. 




Claire Windsor cleverly fits her costume 
to her mood, and makes every detail of 
her dress express some phase of her per- 
sonality. 

By Louise Williams 



ll!llliilllillillllillll[llllilllllllllllllllllllllil[lll!llllllllllllllli!llllllllllllllllliillllllllllllllll 



browns come under this heading also. And 
you can tone down the red with some other 
color, or with fur, if you feel that it must 
be more subdued. 

If you are rather repressed, fond of the 
quieter side of life, the various shades of 
green will be becoming to you. Green is 
for the serene, quiet moods; blue for the 
steadfast, religious ones ; yellow for a 
purely ethereal state of the emotions. 

Claire Windsor applies these various tra- 
ditions deftly. For example, in the first 
frock in which she is shown here she used 
both yellow and blue. It is an afternoon 
frock of dark-blue charmeuse, made on 
straight lines — as a rule, the emotionalized 
frock depends on simple lines for effect and 
concentrates on color. The blouse is of 
canary-colored chiffon — a fabric as ethere- 
ally inclined as is the color. And the most 
interesting touch comes in 
the embroidery which 
t r i m s the 
costume. 
It is Per- 
sian e m - 
broidery, 
used in 
narrow 
strips 
down the 
slee ve s 
and down 
the seams of 
the skirt, and 
it is rich in reds 
and blues, and in 
suggestion of the 
country whose name 
it bears. 

Here y o u have a 
truly emotionalized 
frock, in which color 
and suggestion work 
together. It is most 
becoming, as well. 
And it can easily be 
adapted and copied 
in other fabrics. In 
duvetyne it will be 
very pretty — in fact, 
a copy of it was 
made in dark-brown 
duvetyne, almost a 
cedar color, with a 
crepe de Chine 
blouse the color of 

Claire Windsor takes a long 

step from her usual costumes 

once in a while when her 

mood dictates it. 





She can wear a tailored suit with equal effectiveness, if its harshness 
is toned down with silver-tipped fox and a hat with pheasants' tails. 

leaves in autumn — a wonderful coppery red. The frock, on a brown- 
haired girl whose birthday comes in November, and who herself is 
as moody as autumn, was most effective. 

Claire Windsor is not always demure — far from it! As an illus- 
tration of that fact, study her when she feels truly French — all 
sparkling gayety, worldly, rather subtle. Her black hat with the 
spraying feathers proclaims the keynote of her mood, and her black, 
crimer-trimmed coat carries it out. She carries a tiny bouquet of 
roses of that pale, brownish yellow that verges on apricot — pink ones 
would ruin the effect. And her bag, though it is black, is topped 
with a beaded design that combines brilliant reds and greens attrac- 
tively. Black can be most alluring when properly worn. 

There are times, of course, when one feels bizarre — like breaking 
one's nice, conventional shell and doing something really startling. 
Claire Windsor takes a long step from her customary costumes once 
in a while, when her mood dictates it. 

And what could be more appropriate than an evening costume 

that begins with a comb that cries aloud — a comb so wide and so 

oddly shaped that nobody could- help noticing it? She is shown 

here wearing such a comb, whose winglike sides form an effective 

background for her delicate face. 

Her fan is rather tempestuous, and the white fur collar of her 
black coat supplements it. Her gown is thickly beaded with pearls 
— the demure stones which lose their demureness at times. This 
is one of the times ! 

To prove that she is a creature of moods that vary, she wears equally 
itectively a broadcloth suit, trimmed with collar and cuffs of silver- 
Continued on page 100 




Some Unappreciated Praise. 

I WANT to apologize for writing with a pencil. 
I know it's bad taste, but I'm a school kid and all 
my ink and fountain pens are at school. And I 
simply can't wait till to-morrow to say what I want to. 

I'm mad. Not angry, or exasperated, but just nat- 
urally mad! 

A young lady (I suppose she's a lady, most of Wal- 
lace Reid's fans are) signing herself "A Wallace Reid 
Admirer" wants to know if any one disagrees with her 
assertion that Richard Barthelmess is the best-dressed 
man on the screen. 

Well, here is one who does. 

He dresses well, of course. But 
most of his roles are character parts 
and clothes play a very small part in 
them. I mean of course what we 
consider stylish clothes. Richard 
Barthelmess, is such a splendid actor 
that it seems to me almost an insult 
to him and to his wonderful art that 
the only thing the "Wallace Reid 
Admirer" can say of him is that he 
is the "best dressed." I suppose the 
writer meant that as a compliment, 
but I don't think it is one. 

I have not seen "Broken Blos- 
soms" or " 'Way Down East," in 
which Richard Barthelmess is said 
to have done his best work, but I do 
not need them to convince me that the thing to say about 
him is that he is one of our greatest, if not our greatest, 
juvenile character actors. 

I should like to ask how it is that Wallace Reid is 
so popular? He's very handsome — no one denies that. 
He is the handsomest man on the screen. But it takes 
more than handsomeness to make plausible such char- 
acters as those Dick Barthelmess has created. Mr. 
Barthelmess is not so handsome as Wallace Reid — per- 
haps that is why he isn't so popular with the girls. But 
he is very nice looking and a great deal more handsome 
than the average man. 

The fan with whom I am disagreeing also said that 
he "looks like" the boys she knows. She's very lucky. 
If I were to meet a person in real life as handsome and 
fascinating as he is on the screen. I should faint. 

I do hot suppose you will publish this for I am afraid 
it is too prejudiced, but I should like the other fans 
to know just how splendid / think Mr. Barthelmess is. 
Richard Barthelmess Forever. • 

Miami, Florida. 

(P.S. I am really , but if my family knew 

I had written such a letter— "Whew !" I'd catch it.) 

An Adventure of Another Fan. 
I want to tell Picture-Play readers about an ex- 



IT TAKES 

many persons with many types of 
mind to make up a world. Not a 
few of the many types are repre- 
sented in this department, in 
which persons of all classes and 
from almost every corner of the 
earth are from time to time rep= 
resented. 

That, we think, is what makes 
this department of such wide in- 
terest, as so many of our readers 
have assured us that it is. 



citing experience which happened to me a few weeks 
ago. 

Theda Bara was appearing in person in one of our 
theaters. Among other things, she asked the audience 
for an expression of the kind of pictures they wanted her 
to appear in when she returned to the screen. She said : 
"Now, will all of you who want me to appear as a 
vampire please applaud." About three fourths of the 
audience applauded. "And will every one who wants 
to see me as a 'good girl' please applaud," she continued. 
Applause from about a half dozen. 

Then I, who was in the audience, arose with mag- 
nificent nerve and said in a loud, clear, ringing voice 
these immortal words: "Miss Bara, 
we want to see you on the screen 
neither as a vampire or a saint, but 
as a human being." To me it seemed 
the most obvious and natural thing 
to say. 

Then Theda Bara laughed and re- 
plied, "If you will write the story 
for me I may act in such a part. 
For that is just what I am looking 
for." 

It certainly was hard for me to 
realize afterward that I had actually 
spoken to the one and only Bara. 
I can understand now how Ethel 
Sands feels when she meets the stars. 
Marcella Compton. 
St. Louis, Missouri. 



Maurice Castleton Replies. 

To my mind Mrs. Scott, in her answer to my letter 
defending the critics, has neither refuted my statements, 
nor has she said anything that might seriously weaken 
the position of the critics. 

With disregard for logic, my worthy opponent de- 
duces, from the fact that critics do not always agree, 
that "critics are therefore not much better "than the 
much-maligned public." Now, as a rule, I find that 
critics do agree on the great majority of pictures. To 
expect reviewers to be unanimous in their judgment 
would be. of course, unreasonable. Critics are after all 
human beings. It is a psychological fact that lack of 
unanimity is caused by difference in perception. In the 
realm of criticism of the stage, consider William Winter, 
on the one hand, prim New Englander, censorius 
of the Sapphic ministrations of Olga Nethersole and 
Pinero. and Bernard Shaw, on the other hand, an equally 
reputable critic, justifying the "sex-problem" play. In 
literature consider the case of Emerson who could not 
endure the poetry of Shelley, and Scott who found no 
pleasure in reading "The Divine Comedy." 

But when Mrs. Scott says, "Let the public be the 
Continued on page 104 



Something Just as Good 

Which proves that imitations are not so bad after all 
By Edn£l Foley Photographs by Clarence S. Bull 





Mr. Wang 

of Chinatown 

By Emma-Lindsay Squier 

WE were looking for James Wang, emi- 
nent cinema actor of Chinese roles, 
and nicknamed, because of his promi- 
nence, the "Mayor of Chinatown." Our di- 
rections for finding him had been none too 
explicit, and we were left to guide ourselves 
by that instinct which writers and persons of 
the press are supposed to 
possess. 

James Wang's home, we 
were told, was in the heart 
of Chinatown. He lived, it 
seemed, on a certain Apa- 
blasa Street, the name of 
which is reminiscent of early Spanish days, 
but which is in reality located in the holy of 
holies of this little-known section of Los An- 
geles. 

A policeman, appealed to, had scratched his 
head and ventured an opinion that there was 
no such street. Reference to his guide book 



Though he's no ex- 
pert in villainy, as 
shown above, he 
prefers, the urbane 
dignity of this pho- 
tograph. 



assured him that there was, but the pocket di- 
rectory gave no further details. 

"It's over there somewhere," he finally told 
us with a wave of his arm in the vague gen- 
eral direction of southeast; "just go right down 
by the chop-suey joint on the corner, keep on 
going until you get to Chinatown, and any of 
the chinks there can tell you where Apablasa 
Street is." 

We thanked him and moved on. We felt 
like explorers leaving a port of civilization and 
protection to plunge into the unknown wilds 
of mystery and perhaps of savagery. 

We left the lighted streets behind us and 
struck boldly into the Stygian darkness of a 
tortuous allevway, ironicallv named "Bright 
Street." 

When we emerged it was to find ourselves 
in the heart of Chinatown. Not a flamboyant 
Oriental Chinatown like that of San Francisco, 
with gaudy lanterns hung in balconies and mys- 
tical strips of red paper fluttering from the 
doorposts, but a Far East, mysterious, and 
redolent Chinatown, nevertheless. 

Queer smells assailed our nostrils as we 
passed grocery stores, displaying dried shrimps, 
live turtles, and imported eggs. The singsong 
of nasal voices came to us from doorways, and 
groups of slant-eyed Chinamen watched us 
from the sidewalks where they squatted and 
smoked long-stemmed pipes, their slippers 
placed beside them on the pavement. 

We inquired for Apablasa Street, but our pro- 
nunciation was evidently faulty, for after an 
Oriental committee of the whole had gone into 

session for five min- 
utes, the chairman la- 
conically announced 
that he "no savvied." 

I tried another 
method of attack. 

"Where does James 
Wang live?" I queried 
distinctly, and the Ce- 
lestials pricked up their 
lemon-colored ears and 
eyed me with slanting 
respect. 

"Oh, him Wang," 
the Chinaman said, 
smiling broadly. "Him 
Wang live down 
there." And he pointed 
a grimy finger down 
a street, narrow and 
dusty, flanked with 
booths and stores, and 
lined with pipe-smok- 
ing Chinamen, dirt- 
covered progeny, and 
flea-hunting dogs. 

And so we found 
James Wang at last, in 
a chair tilted back 
against a Chinese pot- 
tery shop, his ample 
bulk silhouetted against 
the light from the door. 
Scraggly palm trees 
made a feeble attempt 
to transform this hid- 
Continued on page 102 




The Eight Most Handsome Men 

Here is the result of the fans' recent selection of the eight handsomest male motion-picture 
stars; a selection which is significant in showing how popular taste has decreed the passing 
of the old-time celluloid JRomeos and the supremacy of a youthful, exuberant type of players. 

By Our Readers 



SOME months ago, when the readers of Picture- 
Play Magazine elected their eight favorite beau- 
ties of the screen, a flood of letters poured in 
which asked, "Why not choose the eight handsomest 
men?" So we announced that if fans would write in 
their views of the handsomest men on the screen, a com- 
pilation of them would be printed, as was done in the 
case of the feminine beauties. And promptly there 
proved to be an avid interest in our screen Apollos, for 
the response was enormous. 

"Now," we said, "we will not have sober judgment, 
but the infatuate ravings of a lot of flappers. We will 
hear of soulful eyes, of masterful build, of luring lips." 

But did we? Not at all. 

The answers disagreed on personalities, but agreed on 
one thing. The standard was the same. "Handsome is 
as handsome does," they proclaimed, in effect, if not 
in such trite words. And that was the basis of their 
choosing. 

"It isn't good looks that count on the screen." a tiny 
little girl confided to her sister years ago. "It's just 
manliness. It's because he is big and genuine and looks 
as though he'd fight for a woman if necessary that makes 
him so attractive." 

Thus did Lillian Gish pay tribute to G. M. Anderson 
long ago, so Dorothy says. Lillian, having changed her 
views somewhat, claims the privilege of forgetting what 
she used to think. But what she said then is typical of 
what fans say of present-day favorites. It isn't the 
profile that counts so much as the personality. It is 
more important to look genial than to look godlike. It 
counts more toward popularity to look good than to be 
good looking. 

Of course, there was one exception. Ruth Durham, 
of Evansville, Indiana, thinks that J. Warren Kerrigan 
is the only actor on the screen really worthy of being 
called handsome. But, Ruth, is he on the screen? He 
doesn't seem to have appeared of late, at least in any 
new productions. 

Perhaps Ruth has given us a key to the situation, 
though. Our readers insist that mere handsomeness goes 
for naught — so that may be why we see her hero no 
more. 

But now for the universal favorites. The result may 
surprise you. 

An overwhelming vote was polled for Thomas 
Meighan as the best-looking man on the screen, and 
many of the writers laid stress on the fact that they were 
not giddy girls infatuated with a screen hero — but mar- 
ried women whose husbands shared their liking for the 
genial Irishman. 

The next few were also elected by a great majority — 
Wallace Reid, Richard Barthelmess, Rudolph Valentino. 
Who could doubt their supremacy? But after them the 
contest grows more exciting. The voting is close. An- 
tonio Moreno', Cullen Landis, and Richard Dix are the 
next three in favor. But when it comes to the eighth 
one there is a tie. Eugene O'Brien is slipping from the 
pedestal where he once stood so proudly, for he cannot 
hold even eighth place in our readers' hearts. He ties 
with Elliott Dexter, the ideal third angle of a triangle 
enacted with Wallace Reid and Gloria Swanson. 



Hardly an actor on the screen but had his enthusiastic 
supporters in this contest. Tom Moore, Charles Ray, 
and Bert Lytell had many a fan sing their praises, and 
though only one young, moonstruck maiden insisted that 
Monte Blue was handsome, many said that in any list 
of the eight of the finest — regardless of qualification — 
he should come in. Only two players of any note were 
completely ignored by the voters, and these were Lew 
Cody and Montague Love. If Fanny the Fan had only 
heard of this she would had stuffed the ballot boxes for 
Lew, but, alas ! she was not allowed to vote. 

These are the favorites of the majority of our read- 
ers — with Gaston Glass, Gareth Hughes, "Lefty" Flynn, 
and Herbert Rawlinson following close at their heels. 
Milton Sills also polled a mighty vote, Harrison Ford 
followed close behind the leaders, and Evelyn Bowen, 
of Anoka, Minnesota, echoed the sentiment of many 
others when she said she would be disappointed if Wil- 
liam Russell and Charles Hutchinson were not included. 

But the minority's voice should also be heard. Let 
Fern Tucker, of Witt, Illinois, speak up, even if her 
favorites are not the favorites of others. 

"I think that George Walsh is the most handsome 
man on the screen." she said, following that with lauda- 
tory comments for William Russell and Tom Mix, whom 
she said was Witt's favorite screen actor. Buck Jones 
and Hoot Gibson also came in for considerable praise 
from her. But Miss Tucker's tastes are not so unusual, 
after all, for she follows all this with the remark that, "I 
suppose Wally Reid, Dick Barthelmess, Rudolph Val- 
entino, and Antonio Moreno will be chosen. I know 
they're handsome, but we've seen their pictures so often 
we'd like to see the others' for a change." 

Before launching into the tributes paid the eight fa- 
vorites, let us hear, too, the interesting views of Dorothy 
Baker, of Scranton. 

"Good looks in screen heroes don't interest me much," 
she wrote in. "In fact, the homelier they are the bet- 
ter I like them. I've gone to see Wallace Reid and 
Antonio Moreno — they're surely the best-looking ones 
— only once or twice, but whenever a picture comes to 
town that has Lon Chaney or William S. Hart, Bull 
Montana or Wesley Barry, Monte Blue or Elliott Dex- 
ter in, it, I'm in line every time as soon as the theater 
opens. 

"To my mind, the better looking an actor is, the less 
human he is, and I like the actors on the screen who 
seem really vital. Find me a matinee idol that has half 
the real charm of Wesley Barry, or that is nearly so 
big and strong and trustworthy looking as Monte Blue 
and Elliott Dexter, and I'll add him to my list of fasci- 
nating players. But until then don't extol good looks 
to me. I don't like them." 

But Dorothy stands almost alone. The others ignore 
for the most part the perfection of contour of the 
Wallys, the Richards, and the rest — and praise the very 
qualities in them she finds only in Monte Blue and Elliott 
Dexter. Strength, good humor, and courage make a 
man admired, according to our correspondents, except 
in the case of Rudolph Valentino. The romantic young 
Italian upsets all the dope. The results of this contest 
proceeded in dignified manner and the tributes were 



74 



The Eight Most Handsome Men 



wholesome, not to say lofty, in tone until they came to 
Rudy. Under the piercing influence of his eyes, cau- 
tion is thrown to the winds, and vocabularies break under 
the strain. Fans forget that they have extolled their 
other favorites for trustworthiness and sincerity. Rudy 
wins them with the flaming deviltry in his eyes. 

But let the electors who selected the eight with the 
most winning ways speak for themselves. 



Thomas Meighan, the Prime Favorite. 

If Thomas Meighan ever wants to stop acting in mo- 
tion pictures, he can go to Fitchburg, Massachusetts, 
and run for mayor, judging from the number of letters 
about him that poured in from there. 

"My list consists of only one name," writes Frances 
Doyle, of that city, "Thomas Meighan. Of course, I 
could easily add seven more good-looking actors, but 
the whole seven put together wouldn't amount to as 
much as Mr. Meighan, in my esti- 
mation. He is the most genuinely 
sincere, human, and natural of any 
male star. There is absolutely no 
egotism in his make-up. He is of 
that wholesome and honest type that 
makes him a favorite with young and 
old, single and married folks." 

There is one unusual thing about 
Thomas' admirers — they seem to ad- 
mire him en masse; there is nothing 
confidential or personal about their 
affection. No one added to her trib- 
ute to him, "But don't print my real 
name in connection with this, as my 
husband might see it," which addi- 
tion was a part of almost every let- 
ter about Rudolph Valentino and 
Antonio Moreno. No ; in the case of 
Thomas Meighan husbands and 
wives wrote joint letters, groups of eight and ten ex- 
tolled him in chorus, and whole clubs went on record 
as voting him their favorite and the most handsome 
actor. And two little Philadelphians declared that they 
would be disconsolate if he did not win first place. 



A LANDSLIDE FOR 
MEIGHAN 

That is what this contest for 
the eight handsomest motion-pic- 
ture stars proved to be. There was 
no question about the winner. 
Your letters poured in by the 
hundreds electing the genial Tom- 
my to first place. 

So — because of your whole- 
hearted admiration of him — we are 
presenting to you a full page re- 
production of his latest photo- 
graph on the page opposite. The 
other winners will be found 
grouped in the following pages. 

You have spoken; three cheers 
for Thomas Meighan! 



Prodigal Wallace Reid. 

Almost as enthusiastically as the fans rallied around 
Thomas Meighan did they rush to applaud Wallace 
Reid. There is something about the radiant Wally, 
according to most of them, that disarms all criticism 
and thoughtful analysis. 

As Carl Kraus, of Hazleton, Pennsylvania, expresses 
it — you see. his admirers are not all girls — "Why is 
Wallace Reid among the handsomest? Well, one look 
at him is sufficient." Leah Wall, of Salt Lake City. 
Utah, is more articulate about him than most of his 
admirers; she says it is his profile that is irresistible, 
but most agree that it is the capricious eyebrow that fas- 
cinates them. 

But perhaps Leona Winter, of Savannah, Georgia, 
has the right idea. 

"There are other actors who have slick light hair, and 
lots of others who have such warmth of expression, but 
Wally has everything. It is the extravagance of Provi- 
dence in giving any one man such a multitude of charms 
that bowls you over when you look at Wally." 



Richard Barthelmess— Sincerity. 

"I've never stopped to consider whether Richard Bar- 
thelmess was really handsome according to sculptural 



standards," Agnes B. DeWitt, of Clinton, Iowa, wrote. 
"And I don't believe it really matters. Who cares 
whether his nose is Greek or Roman and whether his 
whole contour is convex or concave so long as he gives 
the immediate impression of being good looking? 

"When a man can look out from the screen as he can 
and thrill thousands of people with his obvious sincerity 
and boyish, questioning whimsicality, it seems to me that 
no other standard of looks is necessary. The only rea- 
son that Dick isn't the most popular and considered the 
most handsome actor on the screen is because he makes 
so few pictures. 

"I am sure that when his own productions begin to 
appear he will lead all the men stars in popularity." 

Exotic Rudolph Valentino. 

There may be broken hearts when it is found that 
Rudolph Valentino comes fourth in the list of handsome 
men, for many would place him first. 
And if his popularity continues to 
grow at the rate it has ever since his 
appearance in "The Four Horse- 
men," he may rank first in the hearts 
of fans by the time this is printed. 
Rudy works fast, to say the least. 

"He's a great relief after the army 
of Western heroes," Grace Allerton, 
of Leominster, Massachusetts, wrote. 
"He combines intelligence and charm 
with his good looks, and to my mind 
he is the only actor on the screen 
with any subtlety. Rudolph Valen- 
tino is so different; that is why we 
think he is wonderful looking." 

"He is a perfect example of the 
dark, lithe Latin," according to Ce- 
cilia Weadlock, of Chicago. "With- 
out being at all effeminate, he is 
lovely to look at." 

"I think that Rudolph Valentino is not only the hand- 
somest but also the most interesting-looking man on the 
screen," wrote Alma Berwyn, of Independence, Kansas. 
"But I hope he doesn't find out that we fans think so, 
because it might make him conceited, and then he would 
be spoiled just like some of the other promising screen 
stars." 

And Alma is not the only one who seems to be wor- 
ried over Rudy's future. "So long as he wears unusual, 
foreign costumes," many correspondents remarked, "his 
popularity is assured." But they don't like him in "regu- 
lar" clothes. 



Romantic Antonio Moreno. 

"I am sure that almost all of the fans will be with 
me in my choice of handsome men," wrote Helen Lillian 
Cohen from Newport, and she was quite right in her 
assumption. "But please note," she continued, "that 
with the exception of Tony Moreno and Cullen Landis 
these are not my favorites. 

"Every time I see Tony Moreno on the screen the 
same word comes to my lips — romance. To me Mr. 
Moreno is the embodiment of romance, a sort of mix- 
ture of D'Artagnan and Don Juan, adventurer and senti- 
mentalist. And Mr. Moreno is also a splendid athlete." 

And according to Ralph Herbert, of Sioux Falls, 
South Dakota, "Antonio Moreno is a living bronze from 
old Spain. He has the fire, the verve, the dark, romantic 
glamour of a medieval hero — eyes black and flashing, 
skin of bronze that glows with a fiery undercurrent, a 
Continued on page 88 







Thomas Meighan, the Paramount star, was proclaimed by the 

fans the best-looking man on the screen in our contest recently 

conducted to elect the eight most handsome screen actors. 







Photo by Evan* 




X 



Photo by C. Heighten ai-mrne 



V. ; 




Next to the winner in the handsome men contest came Wallace 
, fteid of the temperamental eyebrows and winning smile. 



Antonio Moreno, with the fire of old Spain in his eyes, repre- 
sents romance and adventure to his admirers. 





t'huto by Victor Gcorg 



Richard Barthelmess, praised for his directness and sincerity, 
was adjudged one of the most handsome actors. 



Hhoto by Maurice Goldberg 

Of course, there was no doubt about Rudolph Valentino's elec- 
tion to the winning eight ' 





I'hoto by Clarence 6. Boll 



No still picture can do justice to Cullen Landis, another of the 
elect, the personification of young American exuberance. 



Eugene O'Brien has slipped from the pedestal he held so l«np. 
for he barely tied for eighth place. 




Photo br Clarence S. Ball 

A newcomer, Richard Dix, made such an impression in a few 
Goldwyn pictures that he was elected to the group. 




Elliott Dexter's admirers voted him in on a claim of "Handsome 
is as handsome does." 



Cleo of the 
Boulevards 



V 



% jK 



mM 



A demure but. somewhat petu- 
lant young wife is Mae Murray 
in "Peacock Alley," but her own 
festive loveliness quite obscures 
the assumed faults of the char- 
acters she plays. 



As Cleo of the Paris boulevards she indulges in all the 

whims and caprices dear to the hearts of the flappers 

who patronize night life in the movies. 



V 



j0me~ 



And in the sensational peacock costume 
which she wears when she dances, Mae 
Murray is her old self, coquettish dis- 
dain in her eyes, and abandon in her 
toes. 



r'^- 



■■ ■ 
\ 



04 J 



Dances of 
"The Green 
Temptation" 



Betty Compson is hardly recog- 
nizable in the blond wig and bal- 
let costume which she wears as 
Carolyn in "The Green Tempta- 
tion." She is not so guileless as 
she looks, for she dons this cos- 
tume and performs in the homes 
of the rich in the picture in 
order to assist a band of crooks 
in their robberies. 






Ai the left Betty Compson is shown in another scene 
from the same picture as Genelle, an apache, dancing 
with Theodore Kosloff, who plays the part of king of 
the band of crooks to which she belongs. As varied 
as these pictures suggest are the dances which she per- 
forms during the course of the picture. "The Green 
Temptation" is a powerful dramatic story adapted from 
"The Noose," by Constance Lindsay Skinner, a story 
which attracted wide attention when it appeared in 
■Ainslee's Magazine. The apache girl, Genelle, who 
masquerades as Carolyn, a ballet dancer, is one of the 
strongest and most appealing roles Betty Compson has 
ever had. 




Welcome 
Sights 




ltiot" l>> I '-"I Utf lltwmiX 



Another favorite whom you may have missed 
from the screen of late, who also appears in 
this production, is Ann May. She plays a 
captivating young wife in the prologue to the 
picture. 



Perhaps you have been wishing that you could 
see fragile little Bessie Love again in a part 
just suited to her tragic wistfulness — and if you 
have, Sessue Hayakawa has granted your wish, 
for she appears with him in "The' Vermil ion 
Pencil." Their roles are picturesque ones, as 
shown in the scene above. At the left is an- 
other picture of Bessie Love in the role of 
Hyacinth. 



Smilin 
Through 



Moonlit gardens drenched in jas- 
mine, where hoop-skirted maidens 
rustle to and fro amid the gay- 
eties of an old-fashioned wedding, 
form a background of breath- 
taking beauty for Norma Tal- 
madge in her latest production. 
As Moonyeen she is the heroine 
of one of the sweetest and most 
tragic love stories ever told. 




rhulM t>y Al ! • 



After Moonyeen's death, her niece Kathleen, 
becomes the center of interest This part is 
also played by Norma Talmadge. Like her 
aunt, Kathleen loves deeply, but circumstances 
are more kind to her, and she is united to ber 
lover at last. It is a story fraught with youth 
and beauty and love. 



Monte Blue makes Danton in 
"Orphans of the Storm" a 
lovable and powerful figure. 
Vanished is the Monte Blue 
of old, the simple-hearted rol- 
licking young cowboy. In his 
place we have Monte Blue, 
accomplished character actor, 
another great credit to D. W. 
Griffith, under whose direction 
so many actors have found 
their true metier. 




This is one of the poignant 
scenes that Monte Blue plays 
with Lillian Gish in "Or- 
phans of the Storm," which 
brings him many compliments. 
He would rather be praised 
for some of his other scenes. 
And the reason? He explains 
that in the story on the op- 
posite page. 



An Old Friend Becomes an Idol 

Long a popular favorite, "Orphans of the Storm" has 
focused the spotlight of public interest on Monte Blue. 



By Helen Klumph 



UNDER the great elms near the Griffith studio, 
where the sloping lawns had been transformed 
. . into the gardens of Bellaire, a company of white- 
wigged and silk-clad French aristocrats, grouped about 
on the marble balustrades and around the playing foun- 
tains, stood pressing forward, tense with simulated ex- 
citement, as the young Chevalier, with a final thrust of 
his sword, pierced the leering Marquis de Prcslc to the 
heart, and catching the almost 
fainting Lillian Gish, ran with 
her up the steps — and to the 
end. of the scene. 

While this was going on 
there stood, unnoticed, in the 
background, out of range of 
the cameras, a tall, quiet fig- 
ure, gaunt and plain — 
strangely out of place among 
the dazzling courtiers — whose 
face gave no hint of the tu- 
mult of genuine excitement 
that was making his heart 
pound beneath his long ple- 
beian . French coat until he 
almost felt that those around 
him could hear it. 

"Monte," Mr. Griffith had 
said to him a few days before. 
"I've got my picture practi- 
cally finished. That is, I've 
taken the picture of 'The Two 

Orphans.' As it stands it would make a fair picture." 
Then, with earnest intensity, "But I want to build it into 
something much bigger and finer. And I can't do that 
unless I can get the right man to play the part of Danton 
— who can help me bring into it the struggle between 
Danton and Robespierre — who can carry that great 
epoch-making phase of the French Revolution. I've 
tried out almost every actor I can think of and I'm 
not satisfied yet. I want to ask you if you will see what 
you can do for me." And Monte Blue, the man whom 
Griffith, a few years before, had rescued from a pick- 
and-shovel job and had given his first real chance in 
pictures, gulped, and said he'd be mighty glad to try. 

Now he knew that the time had come when he must 
show whether or not he possessed the power to lift that 
huge undertaking from the ranks of "a pretty fair pic- 
ture" and supply the character needed to make it an- 
other Griffith masterpiece. A few minutes later the 
summons came and he stood alone on the marble balus- 
trade, now the center of the interested, expectant group, 
all ready to go through the test bit of acting which Mr. 
Griffith had previously explained to him. 

With the cameras only six feet away, that every trace 
of feeling might be registered in close-ups, his face 
suddenly became transfused with a look of anguish, as 
the signal was given to begin, and the cameras began 
to click. 

"You must let me pass!" he cried. "I am on an 
errand of mercy," and as his expression changed again 
into one of frenzied determination, he broke past an 
imaginary barrier, and dashed forward, stopping, when 
past the cameras, to recover himself and wipe the per- 



Twice the little scene was 



YEARS OF PREPARATION 

lead up to the masterly playing of so great a role 
as that of Danton in "Orphans of the Storm." 
Perhaps when you heard that Monte Blue had 
made a great success of the part you recalled 
only one or two pictures he had been in, and per- 
haps you wondered if that was all the experience 
he had. 

Far from it! Like almost all the other first-rate 
actors on the screen Monte Blue has had long, 
heartbreaking struggles on his way to fame. 
Recently, he played opposite Mae Murray in 
"Peacock Alley;" before that in "The Affairs of 
Anatol." Before that he was in "The Kentuck- 
ians," "The Perfect Crime," "Too Much Johnson," 
"Everywoman," "The Thirteenth Commandment," 
two of Mary Pickford's, two of Douglas Fair- 
banks' and any number of others. 

His career is one more refutation of the fable 
that picture stars are made overnight. 



spiration from his brow. 

repeated, and then 

"Very good," said a deep voice that carried above the 
patter of applause from the members of the company, 
as D. W. stepped forward and shook hands with him 
warmly. "Thank you very much, Mr. Blue." And 
Monte knew that whether, like the others, he had failed, 
or whether it would be decided upon seeing the devel- 
oped film that he would do — 
at least he had had his chance 
and had done his best. 

As to what followed no 
doubt you know ; how as 
Danton he proved so amaz- 
ingly fine that Mr. Griffith 
kept adding and adding to the 
story, making his part more 
important ; how at the end of 
a few weeks he was — next to 
the master director himself — 
the idol of the Griffith studio; 
and how finally, on the open- 
ing night, when the picture 
was first publicly shown, he 
flashed on the screen in one of 
the most intense and winning 
characterizations that has ever 
been seen, bringing from the 
audience applause and cheers 
second only to what was ac- 
_ corded the Gish sisters them- 
selves, and you can imagine what they got. 

It was Monte Blue's night — in one way more his than 
Mr. Griffith's or the Gish sisters', for they have had so 
many big opportunities in the past and have lived up 
to them so magnificently, that one is no longer sur- 
prised at their achievements. But it was Monte Blue's 
first really big chance, and he swept through it gloriously. 

It was the night after the New York opening of 
"Orphans of the Storm" over one of the little side 
tables at the Algonquin that I asked him to tell me 
about this Monte Blue person, where he came from and 
how he ever happened to become an actor. And he 
obliged, pausing every little while to blush furiously and 
protest, "Oh, let's talk about something else ; it's terrible 
talking about me all the time." And when the little old 
lady at the next table said in a hoarse whisper that could 
have been heard across the room, "I will stare at him; 
guess I paid two dollars and twenty cents to do it last 
night," I was afraid that he would balk at the whole 
proceeding, but he never even heard her. 

"You know," he was saying, in that boyish, half-em- 
barrassed way of his, "I almost sort of wish that folks 
wouldn't keep telling me how they liked my acting in 
that scene where Danton realizes he's in love with Hcn- 
riette, where he says good-by to her. Gee, that wasn't 
acting ! Why, when I looked down and saw those beau- 
tiful eyes of Lillian Gish looking up into mine — you 
know, you wouldn't have to be an actor to— well, you 
know what I mean." 

And from that minute I liked him even better than 
I ever had before. 






84 



An Old Friend Becomes an Idol 



"But what scene would you like to have people praise 
you for?" I asked when the complexities of ordering 
our dinner were out of the way. He tried to evade 
answering that by telling me that he felt foolish 
talking about himself, but I kept at it until I got an 
answer. 

"The scene where I speak before the Tribunal — you 
know where the subtitle comes— 'The world's greatest 
orator delivering his greatest oration.' Whew — but 
we worked over that! It's awfully hard to put over 
speech-making in pictures. And that reminds me of the 
day Mr. Griffith gave me my start. 

"He put me in pictures back in nineteen fifteen, sort 
of by accident," he went on. "He was supervising 
Christy Cabanne's first production — 'The Absentee,' it 
was — and they were making a mob scene where some 
I. W. W.'s were supposed to incite a crowd of strikers 
to riot. Mr. Griffith said Cabanne didn't have enough 
extras to make the scene effective so he went around 
the studio and rounded up all of us who were working 
there and put us in the picture. One man was sup- 
posed to stand up on a soapbox and make a speech urg- 
ing us on to violence but Mr. Griffith wasn't satisfied 
with the way he did it, so he gave every one else a trial 
and when most of the actors had fallen down on it he 
told me I could try if I wanted to. It just happened that 
up in the lumber camps where I'd worked a while before 
I'd heard a lot of I. W. W. speeches, and naturally I re- 
membered some of the talk and the way they got it 
off and so when I got up on the box I sailed in and 
urged that crowd on like fury. Well, I got the part 
and when I finished Mr. Griffith accused me of being 
a real I. W. W. ; said I'd done it too well for just pre- 
tending. I had quite a job to convince him that he was 
mistaken. 

"They put me on a two-day guarantee then — that 
means I was to draw two days' salary, ten dollars, every 
week whether there was any work for me or not, and 
if I worked more than two days I was to be paid extra 
for it at the regular rate. Say, I was tickled ! I hadn't 
been working in that studio by accident; no, sir, I was 
there with every intention of busting into the acting 
game. 

"People talk about it being hard to break into the 
movies nowadays, but say, it wasn't any cinch years 
ago. I hung around the studios for weeks until I got 
on to the fact that the assistant casting directors had 
their favorites and always hired them whether they 
were the right type or not. But I kept thinking if I 
could only get inside that gate, somehow I'd break into 
acting. So one day when a man came rushing out and 
said he wanted some men to help the studio carpen- 
ters, I jumped at the chance. And don't tell the fans 
that I reluctantly consented to do menial labor just in 
order to see the inside of the studio. That wasn't the 
reason. The dollar and a half a day looked mighty 
good to me! And I'd gladly swing a pickax again if 
I needed the money. 

"After a while they started me playing heavies and 
for months I just about lived in a long, black beard, and 
the dastardly deeds I've done to some of our best hero- 
ines would make your hair curl. The rest of the time 
I was a stunt man. I doubled for the leading men in all 
the most dangerous stunts, and when I think of the 
weeks that I lay in the hospital recovering from injuries 
I got I wonder why I ever did it. I even fractured my 
skull and for a while my eyes were crossed, but a good 
surgeon fixed that up. 

"Finally Mr. De Mille rescued me from playing vil- 
lains and doing stunts. I was standing around back of 
him watching him direct a scene for 'We Can't Have 
Everything' — I never left the studio so long as there 



was any one to watch — and he kiddingly asked me if 
1 was too proud to play extra. 

"Course I wasn't, so he put me in a hospital scene 
where I was supposed to be a soldier with his arms shot 
off. In going through the scene Kathlyn Williams 
worked up a wonderful bit of business — she called at- 
tention to my not having any arms by lighting a cigarette 
for me, and then she looked at a picture of my sweet- 
heart and looked at me and our eyes filled with tears. 

"That finished my career as a heavy ; from then on 
I was 'sympathy' man, the poor boob with a heart of 
gold. It is the sort of part I like to play. I don't care 
anything about trick clothes and fancy settings and this 
society stuff. When you play with wonderful people as 
I've done the chief thing in acting is playing up to the 
other fellow. You can't be thinking of yourself — you've 
just got to respond to every bit of feeling the other 
fellow puts into the scene." 

He drawled on easily, his self-consciousness dropping 
away from him as he talked of the people who had be- 
friended him and of his work. But he would lose in- 
terest in talking of himself and wander away to other 
things. He ignored my questions and asked, "Don't 
you think Lon Chaney's a marvel?" 

And that tells you perhaps better than anything else 
could what his ambitions are. They are all toward doing 
big characters on the screen, not characters such as Lon 
Chaney does, for Monte Blue's great gift is the opposite 
of Chaney's repellent fascination; it is the gift of warm- 
hearted sympathy, a gift of reaching out from the 
screen and enlisting your unquestioning support. 

There is nothing adroit, nothing subtle, nothing slv 
about Monte Blue. He is just big and substantial, and 
if you were a stranger lost in New York you would 
probably go right up to him and tell him your troubles. 

A man with less than his six feet two of rangy 
strength wouldn't dare to be so sweet in his manner, 
or so graceful in his movements. Mr. Griffith says that 
he has more bodily grace than any one else of his size 
on the screen — and by that he doesn't mean the grace 
of a dancer, he means the expressive grace of an ani- 
mal. But, incidentally, Monte Blue is a wonderful 
dancer. 

He used to be a great kidder, and he danced around 
the studio a lot, but a change has come over him. The 
big things that he has done have given him a tremendous 
sense of responsibility toward the achievements he is 
capable of. He has three great idols — Mr. Griffith as 
a director (and Monte Blue wants to be a director one 
of these days, by the way), Lon Chaney as an actor, 
and — for all other things — Abraham Lincoln. 

His Lincoln-worship dates from the time when he 
was down south making "The Kentuckians." His was 
the leading role, and yet the director told him very little 
about the part. "You're a boy from the mountains who 
gets educated, goes to the Legislature and sort of tears 
things up," was about all the director gave him to work 
on. Monte Blue wandered about the town where they 
were working — it was Frankfort, Kentucky — worrying 
about his part until he came to a monument of Lincoln. 
There he stopped and the great idea came to him of 
making this mountain-boy he played a counterpart of 
Lincoln. So, it was the soul of Lincoln, as he saw it, 
that he put into that part. 

If this were fiction, it would naturally follow that in 
that part he created a furor. He did nothing of the 
sort. When that picture played on Broadway — and 
played to not particularly crowded houses, one film man 
met another film man on Broadway and remarked, 
"What's the matter with the public? There's Monte 
Blue, one of the finest and most likable actors on the 
Continued on page 103 



Continued from page 53 
do you suppose was the most radi- 
antly beautiful person there?" 

"That's easy; Betty Blythe," I told 
her. 

"No ; Mary Alden. I hadn't even 
heard that she had come East to make 
a picture and when I saw her I was 
completely bowled over. She looks 
about seventeen with the wisdom of 
seventy, and I never saw any one 
look so thoroughly alive as she does. 

And now just as there seems to be 
an interesting crowd of people here, 
Elsie Ferguson is threatening to go 
West. Her play is going to close 
soon and then she is going to Cali- 
fornia to make pictures again." 

"That may be just a rumor," I 
volunteered. "I've heard the Famous 
Players Studios on Long Island were 
going to be opened up soon and that 
Elsie Ferguson and Alice Brady were 
to make their pictures there." 

"Oh, I hope so," Fanny chimed in. 



Over the Teacups 

"Did you ever hear of any one so 
plucky as Alice Brady? First she 
had an automobile accident when she 
was out on tour in 'Drifting' and 
then just after she'd made a big hit 
in it here in New York, she got ap- 
pendicitis and had to stop. The last 
three or four performances she went 
on in spite of her physician's orders. 

"I dropped in to see her after the 
matinee one afternoon and . she 
seemed like Alice in Languorland. 
She hated giving up her part in 
'Drifting,' but she and Robert War- 
wick are to do the play later in pic- 
tures, so she hasn't said farewell to 
the part of Cassic Cook forever. This 
is her last engagement on the speak- 
ing stage for three years; Famous 
Players want her to devote herself 
entirely to pictures from now on." 

Fanny sighed so mournfully that 
I tried to think of something to cheer 
her up. 

"What do you hear from Colleen 
Moore? I asked. 



"Oh, she is having a wonderful 
time. She says that Winifred West- 
over Hart is becoming the most popu- 
lar hostess in Hollywood. Every one 
goes to her house to tea. Carmel 
Myers, and Bessie Love and Pauline 
Starke and Ruth Clifford and Colleen 
all go horseback riding together in 
the afternoons and then go over to 
Winifred's to tea. They are all bet- 
ting on who will be the next one of 
the girls in the old Fine Arts Com- 
pany to get married. Colleen is bet- 
ting on Pauline Starke, Pauline is 
betting on Bessie Love, but the rest 
of them all bet on Colleen." 

"And how about you?" I asked, 
convinced that if there were any truth 
in the rumor about Colleen's impend- 
ing engagement to a prominent First 
National official Fanny would have 
heard about it. 

"I'm not betting," Fanny remarked 
with a great deal of unnatural dig- 
nity. "It might start a rumor, and 
you know how I'd hate that." 



The Screen in Review 



that women are people — and that as 
far as brutality (and nobility) go, it's 
pretty much fifty-fifty. But if you 
are an ardent feminist and like to hear 
the demon man cursed good and 
proper, here is your chance. The pic- 
ture has an excellent cast, including 
Florence Vidor, Tully Marshall, and 
Theodore Roberts. 

"The Last Payment." 
This is the first modern story I 
have seen filmed by the Germans and 
after seeing it, I would suggest that 
they stick to the more picturesque 
period in history — the merrie Eng- 
land of "Deception," or Du Barry's 
France. Pola Negri is badly out of 
place in this stereotyped story of "a 
fool there was." She is just as fear- 
fully and wonderfully in earnest as 
ever, but her background won't sup- 
port her — the same story has been 
done so much better over here — and 
even then, it wasn't worth doing. 

"My Boy." 

Ever since "The Kid" there has 
been clanger of reducing Jackie 
Coogan to the level of that most de- 
testable little pest, the "stage kiddie," 



Continued from page 63 

as the result of too much attention 
for one so young. But thus far he 
has resisted any such attempt with 
all the energy he showed in the Chap- 
plin masterpiece. "My Boy" spills 
over occasionally with sentiment but 
Jackie doesn't spill with it. He goes 
through Ellis Island, he escapes from 
an organ grinder, he travels happily 
with Captain Bill, his pal, and 
through it all he keeps his warning 
look which dares you to coodle him. 
I have great hopes for Jackie. With 
each picture he grows more and more 
a regular feller. 

"Three Live Ghosts." 

This was a play which depended so 
utterly on its clever spoken lines that 
it seems a bit bare and lost in the 
silent drama. Take the character of 
the "drunken lady" — the female Old 
Soak, for instance — where is it with- 
out the glorious cracked voice that 
Berl Mercer gave it? There is the 
plot, it is true, which brings back the 
three war pals into London, where 
they are officially dead. But some- 
how the complications aren't so funny 
without the dialogue to keep them 
rolling. Cyril Chadwick, as Spoofy, 



is as quaintly foolish as he was on the 
stage, and Anna Q. Nilsson is orna- 
mental as usual. As a matter of 
screen direction, however, the suc- 
cessful stage drama hasn't given 
George Fitzmaurice half a chance. 

"Flower of the North." 

Henry B. Walthall and Pauline 
Stark wander here through the Cana- 
dian background of a typical North- 
ern romance. It is straight James 
Oliver Curwood, and I must confess 
that I never could get very far with 
this writer in novel form. He seems 
even more stereotyped on the screen. 
However, if the action happens to 
bore you, too, you can always look at 
the beautiful Canadian scenery. 

"Rent Free." 
Mostly Wally Reid being bullied 
by a heartless landlady. He is an 
artist, of course, and like all screen 
artists, not at all depressed because 
he can't pay the rent. He is driven 
to the roof, where he meets the in- 
evitable pretty girl fin the person of 
Lila Lee). Then follows the usual 
fluffy incidents which make up 
cream-puff romances of this type. 



IF A STAR IS WELL DRESSED 



The greatest obstacle to sucess is 
out of her way. Madame Frances, 
world famous designer, is a powerful 
factor in the world of the screen, for 



her designs have been many stars' 
satin steps to popularity. Next month 
Louise Williams will tell you many 
of her experiences, and through them 



you may learn how you can profit 
by what Madame Frances has taught 
many of our famous stars about 
dressing. 



86 



The Indiscretions of a Star 



Continued from page 22 



from home that night. I cleared out 
and went in the cafe, joined up with 
the crowd I'd planned to meet, and 
there I stayed. I refused to go home. 

"I started walking along the street, 
alone, when the cafe closed, trying, 
my darnedest to figure out some way 
of getting through the night. 

"I was considering hunting up a 
park bench, when a car whizzed past 
me, and then slammed around a cor- 
ner and skidded into the curb. One 
axle crumpled up as it hit, and it 
slued around into a lamp-post and 
stayed there. I ran, of course — I was 
grateful for having somewhere to go. 

"And then, when I saw the man 
who jumped out, swearing, I was 
even more grateful. For it was Lee 
Norton." 

CHAPTER IV. 

We arrived at the farmhouse where 
Barry Stevens was to work just then, 
and while he got into his make-up 
and changed his clothes I wandered 
around the place. The director had 
done wonders with the house — it had 
been a rickety, tumble-down struc- 
ture, and he had braced it up, put 
potted plants and shrubs around, and 
had his men paint it white. There 
were curtains at the windows, and 
smoke came out of the chimney. 

I sat down on the front porch and 
talked with the girl who played the 
ingenue — a little thing with yellow 
curls that cried "Peroxide !" and a 
pasty-looking little face. She wasn't 
pretty — she had a receding chin and 
her complexion wasn't good. Yet 
she screens beautifully, and is never 
out of an engagement ! Such are the 
ways of the movies. 

"You came with Barry Stevens, 
didn't you?" she said presently. 

I admitted that I had, wondering 
what emotion it was that narrowed 
her eyes that way. 

"Well, I don't get him at all !" she 
burst forth, after a moment's thought. 
"I've heard a lot about him — that he 
was simply irresistible, and that — 
well, you know how crazy women are 
about him. And the things they tell ! 
Yet men all like him so awfully well 
that be can't be a heart smasher, pure 
and simple — and, anyway, he simply 
isn't old enough to have done all the 
things they say he has ! 

"But I thought — well. I sort of 
thought maybe he'd fall for me. And 
he hasn't, at all — he's acted like a 
kid in Sunday school. He doesn't 
play around with the other girls, 
either — he's no keener about collect- 
ing scalps than Bill Hart, I'll swear! 
What's the matter; do I get him all 
wrong ?" 

Gently, but firmly, I tried to show 
her that she did ; that Barry, cut out 



to be a lady killer though he was, 
was only the victim of his own in- 
discretions. She listened a while, and 
then, as the director called her, rose 
with a skeptical little smile. 

"Maybe so," she ejaculated, drop- 
ping the sweater that she'd had 
around her thin shoulders and reach- 
ing for her powder puff, "but I 
doubt it. Why, that boy was run- 
ning around with Nadine Malory 
when I plaved extra parts at Essa- 
nay !" 

I could only wish that she knew 
the story of his association with Na- 
dine as I was hearing it from Barry 
himself. 

He joined me a moment later, his 
tanned skin yellowed with powder, 
his lips rouged. 

"Clown's make-up," he remarked 
disgustedly, as he laid his mirror and 
powder box on the step beside him. 

"Meanwhile, what about Nadine?" 
I reminded him. 

. "We left her in my apartment, 
didn't we?" he laughed. "Well, I 
helped Norton get his car braced up 
a bit, and when he saw . that he 
couldn't go on in it he raved. 

" 'I'm on my way to an important 
engagement,' he told me. 'I've got 
a print here that I have to deliver to 
a chap who's to meet me at the rail- 
way station — he's taking it East for 
me. and a renewal of my contract 
really hangs on its getting to New 
York as soon as possible. Say, why 
can't we run up to your apartment — 
it's near here, isn't it? — and phone 
for a taxi?' 

"I give you my word that I fairly 
shivered. That was the last thing on 
earth that I wanted. 

" 'My phone's out of order,' I an- 
swered, trying to think faster than 
his suspicions could work. 'Why not 
take a taxi?' 

" 'We'd wait an hour to hail one, 
at this time of night,' he retorted dis- 
gustedly. 'And there isn't a garage 
within a mile — I'll never make that 
train at this rate.' 

"I never felt more helpless in my 
life. I knew only too well that. if any- 
thing happened that he didn't get to 
the train, he'd probably suggest that 
he stay the rest of the night with me. 

"Well, we stood there for about 
five minutes, hoping a car would go 
by. None did. Then a milk wagon 
came careering along, everv bottle in 
it rattling. Norton hailed it and ex- 
plained what he wanted. He'd pay 
the driver well if he could take that 
wagon long enough to make a dash 
for the railway station. 

"But the driver wouldn't have 
anything to do with us. He was on 
his way somewhere or other — where- 
ever it is that milkmen go at that 
hour of the morning — and he'd let 



nothing stop him. He hung out of 
the side of his cart and argued with 
Norton, while I stood there by the 
street lamp, looking at him — and all 
I could think of was that he was one 
of the queerest-looking chaps I'd ever 
laid eyes on. He wasn't just homely 
— he was grotesque. No part of him 
seemed to have been designed to go 
with any other part of him. He 
looked like a cut-out puzzle put to- 
gether wrong. 

"And there stood Norton, his cans 
of film under his arm, raving and 
tearing his hair and offering fabu- 
lous wealth if he could have that milk 
wagon for fifteen minutes. 

"But money wouldn't tempt the 
driver. Norton, getting wilder and 
wilder, began offering other things. 
He'd have his car fixed and give that 
to the driver — he'd give him a better 
job than he had with the milk com- 
pany. Finally, nearly out of his 
head, he cried, 'I'll give you a job in 
the movies.' 

" 'D'you mean that ?' demanded the 
man seriously. 

" 'Sure !' exclaimed Norton. 'This 
chap here'll be a witness that I do.' 

" 'Jump in !' cried the driver, mov- 
ing over. 

"I wish you could have seen 'em 
go down that street. The horse, 
lashed into a frenzy, simply streaked 
it, and the cart swung from side to 
side till I thought it would fly loose 
altogether. 

"They made the train. The driver 
went to work for Norton two days 
later, just being himself. Norton was 
wild when he saw what he was in 
for, but when the picture was re- 
leased the fans went mad over that 
driver's face. They thought he was 
looking like that on purpose ! 

"To-day he's one of the biggest 
comedians in the business — draws 
down a star-size salary, and the com- 
panies fight for him. He's a riot." 

"And what did you do with the 
rest of the night?" I demanded. 

"Oh, it was just about morning 
then. I found an all-night restaurant 
and chummed up with the fellow who 
ran it — got a lot of stuff from him 
that I'm using in the picture I'm 
making now, incidentally. And I 
had the best little alibi in the world 
when my manager called me up the 
next day and told me he'd met Na- 
dine coming out of my apartment at 
nine o'clock that morning." 

CHAPTER V. 

"And what happened to Nadine 
after that?" I demanded, as Barry 
paused for breath. "Did Norton 
hear about her staying at your apart- 
ment all night?" 

"He did, and he didn't care. She 
went back to his studio and helped 



The Indiscretions of a Star 



him get a new picture under way and 
all that, but he made it perfectly clear 
that she meant nothing in his young 
life. So she came to me again, sim- 
ply desperate. She wanted to kill 
herself and took to taking dope — 
yes, actually, she did. I was scared 
green about her. My enthusiasm 
over her had waned by that time — 
any woman who becomes a burden 
to a man can't expect him to love 
her. Not that Nadine wanted me to ; 
all she wanted to do was sit and talk 
to me about Norton. She'd sit in my 
living room and talk about him by 
the hour, and I'd sit there and fidget, 
knowing that the scandal sheets 
would hear about our being together 
every evening and talk about it, and 
that my manager would blow me up 
the next day — he did that regularly 
every morning. My reputation for 
being a nice young man was all gone 
blooey by that time, anyway. 

"Then old Mort Blenker got in- 
terested in her. And you know what 
he is — he didn't give her a minute's 
peace till she said she'd make a pic- 
ture for him. 

"She was pretty much a wreck by 
that time — drugs had got her. He 
sent her to a sanitarium for a while, 
and got her braced up, and then had 
her go to work. 

"And you know the picture they 
made, don't you?" And he told me 
the name of it. I can't tell it to you, 
or you'd know who Nadine -is. 

"The biggest success of her ca- 
reer," I commented. 

"Exactly. She did it when she 
was wretchedly unhappy ; she'd sit in 
my living room nights and cry — and 
my manager would sit there, chap- 
eroning me and fidgeting for fear of 
what people would say — funny to 
think of, isn't it? And she'd sob out, 
'My heart is breaking — I'm so un- 
happy ' and go on and tell me 

how she loved Norton, and all that 
sort of thing. Gay for me ! 

"And then she'd go to the studio 
the next day, and make scenes that 
were simply alive with fun — the crit- 
ics called her 'the spirit of mirth in- 
carnate' when that picture was re- 
leased. She was really marvelous. 

"She hoped that the picture would 
win Norton back to her, but it didn't. 

"So, when Nadine found that she 
couldn't win him back, she signed a 
contract with Blenker. And you 
know the kind of pictures she made 
— not exactly slapstick comedies, but 
light, funny five-reelers that delighted 
the fans. She made a big reputation, 
and Blenker did everything he could 
to make it bigger. He was in love 
with her himself, by that time. And 
she couldn't see him at all. 

"She'd recovered from her ten- 
dency to use me as a safety valve, but 



our names were indissolubly linked, 
nevertheless. I couldn't ask a girl to 
a dance but what she d say, 'Oh, 
aren't you taking Nadine Malory?' 

"She used to hurry home from 
work and go to bed and read all eve- 
ning — never went anywhere. It was 
then that she acquired her education 
— she's one of the best-read women 
you could ask to meet, now. 

"There was just one stumbling- 
block — she still succumbed to the 
drug habit occasionally. Gosh, how 
sorry I used to be for her then. 
Blenker would send her off to a cure 
somewhere, and spend thousands of 
dollars hushing up the stories about 
her that got out — though every one 
who knew her was so darned sorry 
for her, when it happened, that they 
wouldn't have let the public know the 
truth for worlds. So they'd give out 
stories from Blenker's office, saying 
that she was resting and reading sto- 
ries at her bungalow in the moun- 
tains, or something like that, and 
after a while she'd come back and go 
to work again." 

"And, meanwhile, what about 
you?" I asked. 

"Meanwhile, I was playing around 
with a lot of people, trying to live 
down my giddy reputation, and find- 
ing, to my surprise, that people — 
women, that is — seemed to like me 
better because of it. I knew Norma 
Talmadge pretty well, of course — 
what a gorgeous girl she is ! And the 
Gishes — I'd had a big-brother feel- 
ing for Dorothy since the days when 
she was in Biograph pictures — I'll 
never forget the first time I met her. 
She was playing the part of a mes- 
senger boy, and they were taking 
some stuff out in the street, so, of 
course, there was a mob. Dorothy 
was holding a cigarette so awk- 
wardly that any one could see that 
she'd never held one before, and was 
so embarrassed over her costume that 
she blushed so you could see it 
through her make-up. She and I 
were laughing over it the other day. 

"And I was finding out things 
about pictures. For instance, I 
couldn't go anywhere with a girl 
without having every one think she 
and I were engaged. It was ghastly. 
Let me take a girl and her mother 
for a ride in my car in the evening, 
and the scandal mongers eliminated 
the mother and gossiped about us for 
days. A man can stand that sort of 
thing, of course — but it's a wonder' 
that anybody ever stays married in 
the motion-picture world, when you 
consider the amount of gossip that 
starts from nothing and grows with 
every telling! 

"Then quite suddenly life began to 
move for Nadine. Blenker was of- 
fering to give her her own company 



87 

and a big director and all that sort 
of thing — she had tne world at her 
feet — and one evening when I was 
getting cleaned up a bit to run over 
to the athletic club and get Tony 
Moreno to hunt up some excitement 
with me, she appeared on the scene. 

" 'Barry, come with me !' she said. 
'You've got to help me — I'm going 
back to Lee.' 

"I tried to tell her what that would 
mean — that she was giving up Blen- 
ker's backing and influence and all 
that sort of thing, and going to a 
dinky company that would never do 
anything better than a cheap imita- 
tion of what some one else had done. 

" 'But I want to go !' she insisted. 
'I've got to go. I don't care what 
kind of pictures Lee's making — that 
girl has left him now, you know.' 

"She went on telling me that she 
could really help Lee, and all that, 
so finally I drove her down to his 
studio. He was sitting in his dinky 
little office, with a strip of film of 
his late idol tacked up on the wall 
and her photographs stuck all around 
on his desk. 

" 'I've come back, Lee,' she said. 
Not another word — no recrimina- 
tions, no finding fault with him. 

"He swung around and looked at 
her, so amazed he couldn't speak. 
And he looked — well, he looked glad 
— just swept away with gladness. He 
held out his arms to her — and then 
he saw me. 

" 'You dirty dog !' he cried. 'You 
took her away from me in the first 
place. Get out of here before I shoot 
you.' 

"Well, I thought of the hours and 
hours that I'd sat, listening to her 
tale of woe, with my manager wring- 
ing his hands because of my wrecked 
reputation and everybody talking 
scandal about us, and doubled up 
with mirth. 

"That's all of that. I was well 
entangled in another — shall we still 
call them indiscretions? It was more 
my fault than the Nadine episode, 
and I was glad to be free. But when 
they made a corking good comedy, 
and cleaned up a fortune on it, just 
after that, I didn't dare send her a 
telegram of congratulation. And 
when I meet Blenker nowadays, I 
want to wring his hand in sympathy. 
He was slaughtered to make a Ro- 
man holiday, too. But, then, that's 
the way with the movies, isn't it ?" 

"Was it the way with the next af- 
fair you stepped into?" I asked. 

"Not exactly — that came so near 
being tragic that I still get gooseflesh 
thinking of it," he answered. "I'll 
tell you about it on the way home. 
And it has a sequel in the present, 30 
you ought to find it interesting." 

TO BE CONTINUED. 



88 

Continued from page 44 
"Tell me, aren't you afraid of re- 
peating yourself? Aren't you afraid 
of using the same gestures over and 
over, afraid of using the same facial 
play every time some one dies, for 
example ?" 

The Talmadge brow wrinkled in a 
puzzled frown. 

"No, that's no problem," she re- 
plied slowly. "When I cry over my 
lover or shriek at the villain, or argue 
with my screen husband, I do it as I 
feel at the moment, without thinking 
of how I have clone it before. If I 
do it the same way, I don't worry, 
because I am a believer in the per- 
sonality idea." 

"What is the personality idea ?" 
"Well, it's the notion that people 
come to a Chaplin picture to see 
Charlie do the things he does best. 
And people come to see me do the 
things they think I do best. Some 
folks love to see me shipwrecked on 
desert isles, consequently I've done 
pictures with that theme no less than 
five times since I have been in a posi- 
tion to choose my own stories. I have 
been saved five times, and I have 
registered extreme joy at the thought 
each time. And yet there has been 
no fear of repetition. The costumes 
vary each time, just as the settings 
vary, and my position is, of course, 
different. What remains is me. and 



Beauty and the Bean 

my personality — my individual meth- 
od of interpretation. And if I repeat 
that over and over, all is well, because 
people come just to see me repeat 
the sort of situations they have seen 
me in — and for some strange reason, 
have enjoyed my work in before. 
And there you are." 

As she stated it, there was no trace 
of the ego. Rather it seemed a de- 
tached discussion of personalities, 
and Norma Talmadge's in particular. 
She appreciates her ability and her 
worth, but there is nothing of the 
upstage or the aloof in her manner, 
nothing of the assumed glacial mien 
affected by so many of our stellar 
aristocracy. 

The mention of Chaplin in her con- 
versation interested me, because to 
me he is by far the most fascinating 
figure in the fluttering photos to-day. 

"Yes, I love his work," said 
Norma. "I should like nothing better 
than to play opposite him in a big 
drama. He wants to put Art on the 
screen. I hope he will." 

"Will the box office ever team up 
with Art?" I asked. 

"It has in the past," she flashed. 
"The Birth of a Nation' and the 
more recent 'Miracle Man' are ex- 
amples. Was anything ever more 
artistic than either of those? 'The 
Miracle Man' made two million dol- 
lars for its sponsors, and is still mak- 



ing money. Of course," she added 
practically, "there is always a risk 
in attempting to make money on an 
artistic production. I can be reason- 
ably sure that a 'Sign on the Door' 
sort of play will make a financially 
big movie, and I'm not taking any 
chances to speak of when I produce 
it. But who can be sure that the 
public will get excited over a faith 
picture like the Tucker masterpiece? 

"I try to make my stories as artistic 
as possible, but so far I am too inter- 
ested in being happy and well and 
free from worry to take any great 
chances with Art. I'll take whatever 
credit you'll give me for doing 'The 
Passion Flower.' That was no 
Pollyanna story. I think the fans 
will like 'Smilin' Through.' We're 
working hard enough to please them ! 
But don't tie me up too definitely 
with this Art for Art's sake idea. At 
least not until there's a drop in the 
notoriously high cost of living!" 

After which, if you will not agree 
with me that Norma is a beauty with 
brains, I'll vote for De Mille for 
secretary of the interior. 

To meet a supremely attractive per- 
sonality never works a hardship, but 
when the possessor of the personality 
talks, rather than chatters, the duty 
of transcribing her sentiments and 
views to the printed page becomes 
nothing less than a linotypical holiday. 



The Eight Most Handsome Men 



fine Greek head and sculptural fea- 
tures, and the passionate chivalrv of 
a don." 

Boyish Cullen Landis. 

Young America — pep, personality, 
and a devil-may-care smile — are what 
Cullen Landis typifies to the fans 
who elected him to a place of honor 
among the eight most handsome men 
on the screen. 

"Mr. Landis' youth had much to 
do with my selection of him," one 
correspondent writes — and many 
echo her sentiments — "but isn't 
healthy, clean youth a beauty in it- 
self ?" 

Apparently it is to the majority of 
the fans, for it was what moved 
many of them to vote Richard Bar- 
thelmess and Cullen Landis among 
the handsomest. 

Radiant Richard Dix. 

"Oh, please choose handsome 
Richard Dix," wrote Edith Lee. of 
Indianapolis, Indiana. "He did won- 
derful work in 'Dangerous Curve 
Ahend' and he is young and unmar- 
ried." But it wasn't Edith's plea, 
but votes, that won him a place. 

"A clean, exuberant young man," 
many call him, and, "Although he has 



Continued from page 74 

no classic beauty," Lucy Garrison, of 
Sacramento, California, added, "his 
genial smile and winning personality 
are much more than actual beauty of 
feature." 

Companionable Elliott Dexter. 

"It is too hard to pick out the hand- 
some actors," according to J. W. 
Blaine, of Evansville, Indiana, "with- 
out falling back on the old saying, 
'Handsome is as handsome does.' 
And with that in mind Elliott Dexter 
is a sure winner. I think he is the 
most friendly of all actors." 

And Mrs. Leila Haigh agrees with 
him to the extent of saying, "No 
matter what his part, Elliott Dexter 
plays it magnetically. I go to see him 
rather than the stars who are fea- 
tured. Here is hoping he is made a 
star soon." 

And, of Course 

But we cannot quote any one's 
tribute to Eugene O'Brien, for al- 
most all who cast a vote for him said 
merely, "And, of course, Eugene 
O'Brien." 

Only Ruth J. Warrenly, who wrote 
from an obscure post office in Ne- 
braska, shed any light on the sub- 



ject. "Though I haven't seen any of 
his pictures for years — only two, in 
fact, since he stopped playing oppo- 
site Norma Talmadge — I still re- 
member him as being awfully good 
looking. But every one tells me that 
his present vehicles are so bad — and 
the same applies to Antonio Moreno 
— that I never go to see them." 

Looking Ahead. 

These are the handsome favorites 
of to-day — of to-morrow one cannot 
be sure. There may come other satel- 
lites whose rise will be as rapid as 
that of Rudolph Valentino or the 
less-sensational Richard Dix. But in 
the list are many favorites who have 
reigned long, and it is safe to assume 
they will not readily be supplanted. 
Thomas Meighan has been a favorite 
even since the days when he played 
opposite Billie Burke, and Wally 
Reid began to be adored long ago 
when as the fighting blacksmith in 
"The Birth of a Nation" he van- 
quished all comers. But one never 
can tell. To-day's child wonder may 
be to-morrow's hero. Wesley Barry 
may be the handsome film favorite of 
the future ! 



Do Marriage and Art Mix? 



Continued from page 33 



tionship. If a star and director are 
in sympathy, they produce a good 
picture. If there is friction, the re- 
sult is bad. I think I should like 
a nice director for a husband if I 
marry. (Be sure and put in that 
last phrase.) Then there should be 
complete harmony. He would un- 
derstand if I had to appear in a pic- 
ture clad in black lace tights, and 
wouldn't be jealous. If I married a 
banker, I am afraid he would not 
understand." 

One of the very happy marriages 
of the film world is that between 
Priscilla Dean and Wheeler Oakman. 

"I don't find life so self-centered 
and lonely," said Miss Dean. "My 
husband and I have similar tastes 
along all lines, not only artistic but 
in other ways. We love the same 
sports, including golf and horseback 
riding, and our social tastes are the 
same. We love entertaining our 
friends at home. Our chums are 
Anita Stewart and her husband, Ru- 
dolph Cameron ; Doris May and her 
husband, Wallace MacDonald; and 
Peggy O'Dare and her husband, Al- 
bert Pegg. They often drop in of an 
evening. Wheeler and I seldom go 
out in the evenings, but spend them 
in our own home." 

Anita Stewart isn't so sure that a 
star should be married, at least she 
shouldn't marry too young. 

"A girl misses a good deal in giv- 
ing up her freedom too early. But 
of course Rudey and I are very 
happy, and there certainly are com- 
pensations even about early mar- 
riages. You form a companionship 
young, and your interests are fused." 

Herbert Rawlinson is married to 
Roberta Arnold, stage star. Every 
chance he gets, he leaves Universal 
City and trots back to New York to 
see his wife. But he doesn't feel it 
would be right to ask her to give up 
her career. So they compromise on 
long telephone conversations Sunday 
mornings, and on daily letters. 

"Of course artists should marry!" 
exclaimed Rawlinson. "Roberta and 
I have been married nine years, and 
even despite our long separations we 
are entirely devoted to each other. 
And, oh, boy, aren't we happy when 
we can get a chance to be together ! 
We're such pals !" 

Charlie Chaplin, who was divorced 



from Mildred Harris, has a cryptic 
epigram to deliver on the subject of 
art and marriage: 

"Do love and art mix? In the 
right proportions, yes. But that's the 
dickens of it — to keep 'em mixed the 
right way !" 

If there ever was a devoted hus- 
band, it's Tom Mix. Over the Tom 
Mix home also the stork is hovering. 
His wife, you know, is Victoria 
Forde in professional life, though she 
retired from the stage when she mar- 
ried Tom four years ago. 

"It takes romance," said Mix, "to 
bring out one's most artistic qualities. 
Without love there can be no ro- 
mance. I suppose one could get the 
same inspiration by being in love with 
somebody else's wife, but it jazzes 
tilings up so that it's better to be in 
love with your own wife. Love has 
to be nourished and fostered by kind- 
ness and tact. Sometimes men say to 
me, when I bring Vicky home a new 
and expensive present, 'Gee, Tom, 
you're making it hard for the rest 
of us husbands !' But I figure a 
woman will keep on loving you and 
trying to please you if you give her 
the little attentions of life." 

Says Mahlon Hamilton, popular 
matinee idol, and a married man: 
"Personally, I think it well for a 
woman to remain in the home. It 
fosters domesticity, habits of thrift, 
and makes for genuine happiness. 
Yet if a woman has a great deal of 
talent, I think it only right that she 
have the chance to develop it. I do 
not think a husband should be self- 
ish." 

One of the latest romances is 
that between Dagmar Godowsky, 
daughter of the famous pianist, Leo- 
pold Godowsky, and Frank Mayo, 
Universal star. Miss Godowsky is 
anxious to return to the screen, she 
says, because, since her marriage she 
feels the awakening of new art im- 
pulses and inspiration. Mr. Mayo 
is rather inclined to wish to have 
her remain at home because he fears 
the separations sometimes inevitable 
in professional life, but he does not 
seriously object to his wife's going 
back to an artistic career. 

"I personally think that home life 
is happier for a woman's remaining 
in the home and making a career of 
domestic life ; yet I sympathize with 
my wife's ambitions, and I know we 
shall continue to be happy no matter 



what happens," said Mr. Mayo. "As 
for love and art mixing, of course they 
do. In fact, without real love there 
can be no inspiration to real art." 

"I don't know why love and art 
can't mix," said Bryant Washburn. 
"Just because a man plays different 
roles for a living is no reason why 
he should beat his wife. In. fact the 
successful artist has an opportunity 
to make his wife happy with many 
comforts and gifts. I think a real 
artist can also be a real lover. A 
lot of people think they are artists 
who are not, and it's the same with 
lovers." 

"When a career interferes with 
marriage or marriage with a career, 
there is but one solution — eliminate 
marriage. Providing, of course, that 
one is sure of one's own sincerity in 
believing that the career is uppermost. 
It's a serious decision, a very vital 
decision. One must be sure." 

That's what Constance Talmadge, 
reported on the verge of a separation 
from her husband, John Pialoglou, 
said. 

"He doesn't know anything about 
pictures, and I simply couldn't get in- 
terested in tobacco," explained Con- 
stance. "There wasn't anything 
really serious wrong between us. 
But whenever I had to go to work 
he'd protest. He couldn't seem to 
understand that I just couldn't for- 
sake my career. My work means so 
much to me." 

Rex Ingram proved he believed in 
artists marrying by wedding his lead- 
ing lad} - , Alice Terry. The noted 
director was very epigrammatic on 
the subject. "Love is the inspira- 
tion of art. Love is the reproduction 
of the species. Art is the expression 
of the human species." Figure it out 
for yourself. 

Richard Dix explained: "Matri- 
mony is a discipline. Some people 
don't like discipline." 

"I don't know," said Harry Myers, 
he cf the Boss fame in "A Connecti- 
cut Yankee in King Arthur's Court," 
"anything about this art and love 
thing. I'm happily married if that's 
what you mean. Maybe I'm not an 
artist. Maybe I'm just a misplaced 
piano tuner or automobile manufac- 
turer. I can tune a piano and I can 
build up an automobile as well as I 
can build up a characterization. My 
wife still likes me. and I never swear 
when the coffee's cold." 



Prize Winners in Our Fan Club Contest 



The letters entered in our recent 
"What's Your Fan Club Doing?" con- 
test have all been examined and passed 
upon by the judges of the contest and 
the prizes are herewith awarded to 



those lucky members: First prize — 
twenty-five dollars— to Opal Utter, 222 
F. Street, N. W., Miami, Oklahoma, of 
the "Six Peppy Fans" Club; second 
prize — fifteen dollars — to William J. 



Brown, 164 Rosetti Street, New Haven, 
Connecticut, of "The Best" Club, and 
the third prize — ten dollars — to Walter 
Moses, R. R. C, Box 267, Dixon, Illinois, 
of the "Ruth Roland" Club. 



90 



Continued from page 28 



der, sank down, down, down to the 
blackest pit of despair. She — Emily 
— was there — in the third row, cen- 
ter — with the sardonic Elmer Purvis. 
Since her confirmation of Purvis' 
boast, Joel had not seen her; had 
kept away. 

The futility of life assailed him. 
This hour, his hour of sweet triumph, 
turned into bitter pain! The finest 
girl he had ever known — the only one 
on earth that mattered 

"I reckon she just plain gave me 
the mitten," he muttered despond- 
ently. "And I sure did love her !" 

Gwendolyn St. Clair, wise-eyed 
and mature behind her grease paint, 
was giving the stage a last critical in- 
spection before the curtain rose. A 
thoughtful, suspicious glance fell 
upon the amateur. 

"Joel, you're sure you know your 
lines — you won't get stage fright?" 

"No'm." 

Almost sorrowfully, the leading 
woman looked him over. The suit he 
wore was a voluminous full-dress 
outfit, borrowed from the character 
man who, in the dim recesses of the 
past, had acquired it from a comedian. 
The character man was large of sta- 
ture and the comedian had been still 
more ample in his proportions. 

Upon the slender frame of Joel 
Matthews the garments hung with 
the withered fullness of a circus tent 
collapsing about the center pole. 
When he moved it was with a bil- 
lowing melancholy. To give the gar- 
ments the effect of livery Joel had 
carefully wrapped the buttons of the 
coat and vest with tinfoil. Upon his 
feet were yellow shoes. Protruding 
on either side of his face were flaring 
wedges of curly black crepe hair at- 
tached with spirit gum. And looking 
out between the flanges of stiff whis- 
kers and over a tight collar was a 
face so young, so unscarred by age 
that all of the make-up on earth could 
not have given it the appearance of 
venerability, despite its funereal 
mournfulness. 

"These tank towns stand for a 
lot," murmured Miss St. Clair, "but, 
son, you're tempting Providence." 

Toward the seasoned star, Joel 
turned the most dismal countenance 
she had ever looked upon. 

"I'm — I'm a man with a secret sor- 
row," he informed her. "And I want 
you to judge my work accordingly." 

Along about the middle of the third 
act Joel Matthews made his debut 
into the magic realm of the spoken 
drama. Gently shoved from behind 
by friendly hands with the whispered 
repetition of his lines still buzzing in 
his ears he advanced, like a ship un- 
der full sail with a moderate breeze, 



The Barnstormer 

to the center of the stage. For the 
space of ten seconds the stage was his 
and his alone. Presently the villain 
would enter. For the nonce Joel 
Matthews, actor, sustained — or at- 
tempted to sustain — the burden of 
the play. 

Opening his mouth he was sur- 
prised to find that he had no voice — 
that more than a hundred people were 
looking at him, waiting for words 
when he had no words to utter. 

From the wings he heard some one 
hissing something that he had heard 
somewhere before: "The master has 
been acting strange lately — — " 

Slowly, his mental and vocal 
paralysis passed. With an effort he 
was able to speak but the tones were 
thin, utterly unfamiliar to his own 
ears. 

"The master — the master has been 
acting strange lately. I wonder what 
— what the matter can be. If he is 
playing Lady Mary false — no — if 



What a Gay Place Is 
Hollywood ! 

Ethel Sands was entranced with 
the jovial good nature of every 
one she met when she first visited 
the film colony. And as she comes 
to know them better she finds that 
underneath the mask of gayety 
there is resolution as unyielding 
as steel. 

See Hollywood each month 
through her eyes. You will get — 
as she does — many shocks and few 
disappointments, several surprises 
and countless thrills. This month 
she takes you sightseeing with 
stars — next month she will take 
you right into their busy lives and 
make you feel what it is like to be 
a busy motion-picture star. 



Lady Mary is playing him false, then 
God forbid that " 

In the center of the house and 
three rows from the stage a husky 
figure rose up; a brazen voice broke 
in upon the sanctity of "Her Dark 
Past." 

"All right, fellers — let him have 
it !" 

With his own right arm Elmer 
Purvis cast the first tomato. It was 
a venerable vegetable, luscious, pulpy, 
and colorful after the type of its 
kind in old age. Elmer's eye was 
true and his aim was that of a Christy 
Matthewson in his palmy days. 

Across the broad white field of 
Joel's dress shirt the carmine projec- 
tile exploded with a dull, sickening 
sqush. From the back part of the 
auditorium a carrot came whirling. 
A cabbage, floating through space, 
plumped into the butler's stomach and 
the breath went out of him with a 
grunt. Over him, beside him, and 
against him the barrage rained. 



As suddenly as the storm had 
started, it ceased. Wild whistling 
and shouting shook the building. 
Above the din protesting voices were 
calling out : "Shame ! Shame ! Stop 
it ! Fair play !" 

The bewildered eyes of Joel Mat- 
thews stared downward ; fell upon the 
erect pose of Elmer Purvis. The 
Purvis arm drew back — something 
white splattered on Joel's chest — 
something that also smcllcd. An- 
other similar missile sped toward him. 
Mechanically, Joel reached out and 
caught it. The curtain dropped be- 
fore him and he looked down at the 
egg, aged but unbroken, that rested 
in his palm. 

On the street the next afternoon he 
tried to pull away from the soft, ar- 
resting hand that was laid on his 
arm. 

"Mr. Matthews — you must listen." 
Emily, with something that ap- 
proached maternal tenderness shining 
in her eyes, hung on. "Let me ex- 
plain. I tried to warn you. Elmer 
Purvis and his gang of rowdies 
planned to break up the show Friday. 
I tried to talk him out of it and he 
promised that he'd call off the scheme 
if I'd go with him. That's the only 
reason I went with him. I — I thought 
maybe I could save you some embar- 
rassment — but he lied " 

Pallid white gave way to a crimson 
tide in the face of Joel Matthews. 
His eyes were twin stars of blazing 
blue. 

"Oh, Emily " he gasped. "Oh, 

Emily " 

Then, before she could speak, he 
was gone — gone with a wild, loping, 
running stride that carried him 
straight back to his dressing room in 
the Opera House. When next she 
saw him dusk was falling. Clean of 
body, apparel, and conscience, Joel 
Matthews sauntered into the store, 
drew up his stool to the soda counter. 

"I caught him," he grinned, hap- 
pily. "He was down in the pool hall 
but I dragged him out in the street 
where I reckon fifty people saw us. 
I took it and smashed it right in his 
mouth and made him swaller it right 
down !" 

"You made him — who — what " 

"Elmer Purvis — the egg I caught 
—and saved. And Emily, I quit the 
show. D'ye know why? 'Cause if 
I was a real actor — I wouldn't put 
any girl or anything else on God's 
earth above my profession. That's 
what tells the tale. And I'd rather 
stay here and get a job than to make 
all the fame and fortune in the world. 
Are you glad?" 

Tears were in her eyes. And that, 
too, told the tale. 



A Fan's Adventures in Hollywood 



91 



Continued from page 47 
Dalton I like ever so well, she is so natural and unaf- 
fected." That's the way she went on, praising all the 
different stars. "Of course, there are a few I don't 
like," she said frankly. "One girl, for instance, that 
played in a picture with me before I starred had a con- 
tract to be featured after she finished that picture, and 
it made her so upstage the rest of us in that company 
were hardly good enough for her. Now, I don't care 
for players who become like that," but she broke off with : 

"Oh, have you seen Bebe Daniels yet? She is the 
cutest thing, and so pretty ! Her hair is so black and 
glossy, and she has such big brown eyes, and her skin 
is so white !" 

But I couldn't pay much attention to how pretty the 
stars were that she was telling me about — because all 
the time I was thinking of how very pretty Betty Comp- 
son was. All her features are perfect, but I vote for 
her eyes as being her best. They come nearer to re- 
minding one of stars than any pair of eyes I've ever 
seen. She has a way of looking right at you with her 
eyes wide open they remind you of blue gentians, • 
fringed by lashes that curl back and group together, 
and give a starry effect. She has a nice voice, too, very 
sweet and gentle. 

Betty Compson seems to be pretty well acquainted 
with every one in the film capital, and from what I've 
heard she seems to be a favorite with every one. Yet 
she told me she rarely gets time to attend or give parties, 
like some of the other film players do. 

"You see, I work pretty nearly all day, and at night 
I'm so tired I'm only too glad to go straight to bed. So 
I rarely get the chance to go anywhere or give parties 
or anything like that ; I'm always so busy." 

Of course, I couldn't be with Betty Compson very 
long without telling her how wonderful I thought she 
was in "The Miracle Man." She said she didn't like 
her work particularly in that film, though she realized it 
was a wonderful picture, and she thinks she didn't look 
a bit pretty in it. Can you imagine ? Fans, if you want 
to be sure of one star that isn't the least bit conceited, 
or hasn't any sort of a swelled head, you can just depend 
on Betty Compson. She is altogether unassuming and 
sweet and kind. You wouldn't be afraid to ask her 
anything. 

"If there's anything you want to know 
about me, just ask me," she offered. 
"Don't be afraid to ask me anything." 

"Well, is Betty Compson your real 
name?" I ventured, with a fan's 
curiosity over such knowledge. 
Those things seem so important. 

"No ; it's Lucine — Lucine 
Compson. When I was in 
comedies they changed it be- 
cause they thought 'Betty' 
was more suitable for com- 
edy purposes." 

Then I asked her if 
she liked to play vam- 
pires and rather wick- 
ed ladies. 




Another day out at one 

of the beaches, Mona 

Kingsley of Goldwyn 

Pictures, taught me to 

play beach craps. 



"Well, I don't mind playing them, but I don't like to 
appear bad all the time. In one of my recent pictures 
the director made me smoke cigarettes all through the 
play ; I didn't like that. I want to play different sorts 
of roles," she told me. "I don't want the public to always 
connect me in their minds with wicked characters." 

We were spinning along the drive by the beach, by 
now, at Santa Monica. It is a very beautiful drive 
with palatial residences on one side, and on the other a 
park and gardens overlooking the sand beach and ocean 
below. We rode to the end and then turned around, 
and our course was direct to the Ambassador, which is 
in the fashionable Wilshire district, near Hollywood. 

One of the many winning ways of Betty Compson 
is that she seems really to take an interest in you — in 
what you do and say. I don't know whether she really 
is interested or not. but you get that impression, anyhow 
— and it is very flattering to you. I know it was to me, 
when she kept praising me so for venturing all the way 
out to Hollywood by myself, and wanted to know 
whether I had written home yet, and had I assured my 
mother that I was all right, et cetera? You certainly 
appreciate any interest or concern any one might show 
for you when you are so far away from home and inti- 
mate friends, and it seemed nice and thoughtful to have 
a movie actress do that. 

Betty Compson believes that girls should break away 
for a little while from home ties so as to establish their 
own individuality and personality. 

"That is, if she ever wants to be somebody or get 
any place in the world," she said. "Of course, I don't 
mean running away from home or anything like that — I 
mean just going away on a trip for a while, so as to 
gain different ideas and confidence in one's self and 
independence. I did it, because at home I had no indi- 
viduality at all ; I could . just think only the way my 
mother thought; I had to go to her for everything, to 
decide for me and depended absolutely on her. 
Though I love my mother and she means everything in 
the world to me, I believe every one should learn to 
think for themselves. So when I was sixteen years old 
my cousin and I went on the stage. I was frightened 
at first, but afterward I shall never forget how impor- 
tant and self-confi- 
dent I felt." 

On our way to the 
Ambassador we had 
to pass Rogers' Avia- 
tion Field, which was 
once owned by Sid- 
ney Chaplin. The 
whirring sound of 
an aeroplane a t - 
tracted our atten- 



Continued on next page 




»> 



92 



A Fan's Adventures in Hollywood 



Continued from preceding page 

"That's something I'm especially 
fond of doing," said Betty. "I like 
flying. I come here ever so often 
and take flights. I happen to know 
the man who owns the field, and he 
lets me go up whenever I want to." 

I couldn't help being surprised! 
She seemed the last one in the world 
you'd expect to appreciate such a 
daring form of sport. Even some 
of the actors who are dare-devils 
when it comes to all other sports 
won't take any chances in the air. 
And here this little, gentle type of 
girl indulged in it often. "Yes, in- 
deed, I love it," she said, when she 
saw my look of surprise. 

"Oh, it must be great !" I enthused. 
"Doesn't it thrill you awfully when 
you get away up high?" 

"No; you'd be surprised, but it 
doesn't thrill you half as much as 
you expect. You don't realize the 
daring of it when, you're up there. 
Haven't you ever been up?" she 
asked me. 

"No, I haven't," I told her, "but 
I've always been anxious to find out 
what it's like." 

"Would you like to go up, really ?" 

"I would!" 

"Now?" We kept asking each 
other back and forth, not quite sure 
whether the other meant what she 
was saying. 

"Oh, yes !" I said. 

"Are you game? All right, then, 
we will," she said. 

I was so thrilled I couldn't believe 
she really meant it, but she stopped 
the car and we got out. We found 
Emory Rogers, the owner of the 
field and a well-known dare-devil of 
the air. He said surely we might go 
up, and told one of the assistants to 
get the best plane ready. We were 
led over to a little bungalow that 
served as the business offices. Pic- 
tures of several well-known movie 
stars adorned the walls — players who 
had taken flights in the Rogers 
planes. 

There was some flying apparel in 
one of the little rooms, and we were 
told to dress ourselves in it. Betty 
put on the whole oufit, but I just 
wore the leather jacket and helmet. 
We tried on all the different hats, 
trying to pick out some we liked. 
We didn't like any of them much. 

"They're not very flattering," 
Betty mentioned, when we took a 
look into one of the mirrors to see 
whether we had them on straight. 
But I thought Betty looked really 
cute in hers, with her reddish hair 
peeping out from under the earlaps. 

Miss Compson lost one of her life- 
insurance policies on account of her 
taste for flying — they considered her 
too bier a risk. But now she has al- 



most decided to take up flying seri- 
ously and learn to drive a plane her- 
self. 

Miss Compson and I sat in the 
front seat, which is quite deep, and 
the seat is so low you feel as if you 
were sitting in one of those low rac- 
ing cars with your feet straight in 
front of you. When there are two 
in a seat and they strap you in tight, 
you feel quite cozy. I figured if I 
became frightened I would just duck 
my head and wouldn't look over the 
edge. 

Then the engine started making 
such a loud noise we couldn't hear 
ourselves talk, and the propeller 
whirled around, throwing such a ter- 
rific wind on us that I thought it 
would blow my head right off. I 
shut my eyes on account of the wind, 
but when I began to feel the plane 
glide forward and Betty said, "Well, 
here we go," I opened them quick so 
I wouldn't miss anything. 

We were just gliding close to the 
ground like an ice boat, and then sud- 
denly the earth seemed to sink right 
away from under us and go down, 
down, down — so I looked up quick, 
and there were the clouds coming 
right down to meet us. Then the 
nose of the plane pointed upward, 
and we seemed to be climbing up, 
headed for the moon, or sun rather. 
It was a glorious sensation — I felt 
like a skyrocket. 

Finally the plane straightened out 
again — and then the noise of the en- 
gine suddenly stopped ! I think my 
heart must have stopped with it. I 
shut my eyes quick again, for I 
thought sure the plane was going to 
duck right down and make a dive 
right back to where we came from. 
I could see the headlines on the front 
page of the home-town paper — 
"Plainfield Girl Falls From Sky 
With Movie Star!" And I thought 
of all the fans that would envy me 
such an illustrious death, when the 
pilot's voice broke in on my reverie: 

"See, the plane can sail by itself 
up here." 

"How do you like it?" asked 
Betty. 

"Oh, it's grand !" I said, now that 
I was sure that nothing had gone 
wrong. "How far up are we?" 

"About eighteen hundred feet," 
said the pilot, and the engine started 
in with its deafening noise again, and 
we continued to climb higher. I 
guess it went up to about two thou- 
sand feet, and then we dipped and 
seemed to roller-coast all around the 
sky — we went up and down, up and 
down, and then straightened out for 
a change. 

I took that opportunity to survey 
our surroundings. There didn't 
seem to be anything much in our 



surroundings, but there seemed quite 
a bit of something beneath us. It 
looked like a big brown map all laid 
out in tiny little squares, with a big 
splash of blue on one side that I knew 
to be the Pacific Ocean. Tiny little 
white-and-green things were sprin- 
kled all over. I knew I lived in one 
of them. The long, white, winding 
ribbons were roads, because I could 
see the little black dots crawling 
along them. It didn't seem like the 
place we had just come from at all. 
In fact, you don't feel as if you were 
the one that was up so high — so you 
don't get scared at all. You just feel 
as if the earth went and shrunk right 
away from you into a little miniature 
map and left you suspended. 

We began to sink lower and lower. 
That sensation isn't half as nice as 
going up — it feels like going down 
in a fast elevator. The earth ap- 
peared as if one was looking through 
a magnifying glass at it. It grew 
larger and larger until we could dis- 
tinguish everything going on in the 
field below us. We saw several peo- 
ple running to one spot, and then our 
pilot pointed out a plane that had 
just fallen. The pilot, who was a 
Japanese and just learning, had 
made a mistake in landing properly, 
and had smashed the plane badly, but 
luckily escaped serious injury. We 
taxied along the field as we landed, 
and we could feel the bumps awfully 
when we hit the uneven places of 
the ground, because aeroplanes don't 
seem to be equipped with springs. 

Here I was down to earth again, 
and when I stepped out of that plane 
I felt more thrilled and elated than 
I ever did before. This had been 
more of a real adventure than any 
— not one that had been all arranged 
and looked forward to — therefore, it 
had all the more thrill to it because 
it was unexpected. Betty Compson 
and I felt as if we had been playing 
truant, for hadn't the press agents 
and every one else thought we had 
gone to have tea at the Ambassador, 
and, instead, we had been flying 
around over it? 

Well, I had always wanted to go 
up in an aeroplane, and now, sud- 
denly, out of a clear sky, the oppor- 
tunity had presented itself and was 
accepted.' However, I had never 
dreamed of going up in the sky with 
a star ! But I might have expected 
it, for, after all, that's where you 
find the real, bright, particular stars, 
isn't it? Betty Compson is a reel 
star, all right, and you couldn't hope 
to find one any brighter, I'm sure. 

TO BE CONTINUED. 



Advertising Section 



:s\>^ 



I -^ ? '^ n iX ^*N^ 



Of 



s 



ra§zl 



-^ 



<3 



LSE 



o^q& 



£>tate JBanlt of #bttacjel>&ia 



B. J. RE2PEH: 

This will acknowledge your <«■ 
posit of $20,000 with this hank 
which ws will hold as a guarantee 
that ths prizes awarded by the 
Judges to the winners of your puszle 
content will he paid. 

It le understood that the Cashier 
of thlo hank will serre as one of 
ths Judess of this pustle contest 
as a guarantee that B. J. Reefer 
will awerd theee prize*-. 

tour* wsry truly. 

B. C. KRAUSKOPr 
President 



How many objects 
inthis pictures 
BeginwlttiS ? 



Open to Everybody 

Send us a list of all objects beginning with "S" (saw, 
spoon, etc.) you can find on this picture. Largest and 
nearest correct list wins 1st Prize. 104 other cash prizes. 

Costs Nothing to Try! 

While this contest is for the purpose of introducing Reefer's 
Yeast Tablets, you do not have to purchase any to win a prize. 
Even if you do not order a single package of Reefer's Yeast 
Tablets, if you are awarded First Prize, you win $50.00. 

Win the $5,000 Prize! 

If you order one $1.00 package of Reefer's Yeast Tablets, you 
can win*$750 as First Prize. If you order two $1.00 packages of 
Reefer's Yeast Tablets, the First Prize brines you $1500. If you 
order five $1.00 packages, and your list is awarded First Prize, 
you win $5,000.00. 104 other generous prizes. See the prize 
list. Of course you will want to qualify for the biggest prizes. 

Beauty 

Health — Vim -Vigor 

The world is just waking up to Nature's 
greatest beauty and health secret. 
VITAMINES. Contained in most pleas- 
anr and convenient form in— 

Reefer's Yeast Tablets 

Embody all three necessary vitamines. Baker's yeast has only 
one. Agree with most delicate stomachs. Taste good. Help 
to build up vitality, strength, endurance, induce youthful, 
natural complexion. A food. Has the elements that enable 
your body to derive proper nourishment from the food you 
eat. Send today for Reefer's Yeast Tablets and qualify also 
for the biggest prizes. $50 or $5,000— which do you want? 

Start NOW-Win All You Can! 

Get Your List in early. Send in your order for Reefer's Yeast 
Tablets at the same time. Remember, an order for five pack- 
ages qualifies you for the $5000 prize. Get started now. 

El < OAAX^#i ) 9th and Spruce Sts. 
• %3* A&" "A %?A Philadelphia, Pa. 



A Great Big Puzzle Picture FREE on Request! 





105 Prizes 




Winning 


answers will receive 


prizes as follows: 




If no ItooeSl.00 


If two $1.00 


II fiveSl.flO 




Reefer's pkg. Reefer's 


pkgs. Reefer's 


pkgs. Reefer's 




Yeast Tablets Yeast Tabids 


Yeast Tablets 


Yeast Tablets 




are ordered is ordered 


are ordered 


are ordered 


1st prize 


$50 $750 


$1500 


$5000 


2nd prize 


35 373 


750 


2500 


3rd prize 


25 200 


400 


1250 


4th prize 


25 125 


250 


600 


5th prize 


25 75 


150 


400 


6th to 55th prizes each 2 4 


8 


25 


56th to 105th prizes each 1 2 


4 


10 




OBSERVE THESE RULES: 

!■ The contest is open to every man, woman, girl or boy living in America, except 
employees or relatives of employees of Is. J. Reefer, 9th and Spruce St3. There is do 
entrance fee of any kind. 

2. Yon must use only one side of paper. You must number your list of objects in 
regular order— 1, 2, 3, etc. Your full name and address must be written on each page in 
the upper right hand corner. Use a separate sheet for anything you may wish to write 
outside of your list of names and your name and address. 

3. English words only will be accepted asthey appear in the English dictionary. 
Obsolete words will not be counted. Both the singular and the plural of a word will 
not count; either one of them may be used. 

4. Compounds or words which are made op of two or more complete English words 
cannot be used. 

B. The same spelling of a word will be counted only once even though it is used for 
different articles or objects, or parts of them. Each article or object can be given only 
ander one name. 

6. Two or more people may co-operate In answering the puzzle. However, only 
one prize will be given to any one household. No prize will be awarded to more than 
one of any combination outside of the family where a number— two or more — have 
worked together. 

7. If a contestant sends more than one list under the same name, an assumed name, 
or a pre-married name then all lists of such contestant will be disqualified. If more 
than one list is sent by an v group or by any members of tho same group who have co-oper- 
ated in the preparation of such lists, then all listsof such contestants will he disqualified. 

8. All answers must be received through the mail by E. J. Reefer, 9tb and Spruce 
Streets, Philadelphia, Pa., and must be post - marked by Post Office closing time. 
April 10th, 1922. 

9. The first prize will be awarded for the answer containing the largest and most 
nearly correct list of the names of visible objects and articles beginning with t.ie letter 
"S" shown in the picture. No other consideration, such as neatness, style or hand* 
writing, will have any bearing in making the decision. 

10. The full amount of any of the prizes will be awarded to each contestant In tho 
event of a tie. 

11. The decision will be made by three judges entirely independent of and having 
no connection with E. J. Reefer. They will judge the answers submitted and 
award the prizes at the end of the contest. Participation in the contest carries with it 
the acceptance of the decision of the judges as final and conclusive. 

12. All answers will receive foil consideration whether or not "Reefer's Yeast 
Tablets" i3 purchased. At the close of the contest, when all lists have been graded, the 
names of the prize winners will be announced and the list of words will be sen* upon 
request to any participant who sends us a stamped, addressed envelope. 

Copyright 19t2, by E. J. Regtr 




OLIVE. — Companies always make a set 
of "stills" from each picture, but 
they are made only for the company's own 
use and for publication in newspapers or 
magazines. Therefore, you won't be able 
•to buy any from "The Sheik." You'll 
have to be satisfied with seeing it on the 
screen, and cutting pictures from it out 
of magazines. 

Estelle, Jr. — So you think Wallie Reid 
uses his hands too much? Hands are 
almost as necessary to an actor as his 
face, and the proper use of them is an 
art in itself. Of course, Wallie's eyebrows 
are a great help, but I'm afraid he'd have 
rather a hard time if he couldn't use his 
hands. Marshall Neilan was the director 
of "Bits of Life," and wrote one of the 
four stories that composed the picture. 
Otherwise he had nothing to do with it. 
I certainly hope you'll get a letter from 
Gloria Swanson "in her own handwrit- 
ing," but maybe she'll be too busy to write 
personally. She's a pretty busy person, 
you know. So long, Fourteen. 

Miss Wildfire. — Glad to know you! 
Mabel Normand starred in "The Slim 
Princess." She was Kalora, Hugh Thomp- 
son was Pike, Tully Marshall, Pafiova, 
Russ Powell, the Governor General, Mil- 
dred Lloyd, Jeneka, Harry Lorraine, the 
Detective, and Pomeroy Cannon, Counsel- 
lor General. Let's hear some more news 
from the ranch. 

A Savannah Fan. — You know, Anna 
Q. Xilsson is in Europe now making pic- 
tures for the Famous Players London 
company. % She has blond hair and blue 
eyes, and is five feet seven. The form of 
your letter was O. K. Write again any 
time. 

Molly. — Jacqueline Logan is the society 
girl in "Molly O." She has been on the 
screen about one year, going straight 
from the Ziegfield Follies to a leading 
role in the Allan Dwan production, "A 
Perfect Crime." Then she was leading 
lady for Thomas Meighan in "White and 
Unmarried." Her latest picture is "The 
Octave of Claudius," the Goldv.yn spe- 
cial. The dainty Jacqueline did such good 
work in this production that the Goldwyn 
officials handed her a long-term contract. 
To accomplish all this in a year is some 
record, even for a Follies girl. Nazimova's 
next picture will be "A Doll's House." 
the Ibsen play in which she appeared on 
the stage. 

Stella B. — You certainly rave about 
Norman Kerry ! This idol of yours was 
born in New York, is six feet two, weighs 
one hundred and eighty pounds, and has 
dark hair and hazel eyes. At present he 
is making pictures in London. Your other 



favorite, Harrison Ford, was married, but 
is divorced. His height is four inches less 
than Norman's, he weighs one hundred 
and sixty pounds, has brown hair and 
eyes. I can't send you his picture, as we 
have no pictures to send out. Write to him 
personally for it, inclosing a quarter. 

Mrs. Catherine T. — Your questions are 
answered in the reply to "Number 14" in 
this issue. Write personally for the pho- 



TIIE ORACLE will answer in 
these columns as many ques- 
tions of general interest concern- 
ing the movies as space will allow. 
Personal replies to a limited 
number of questions — such as will 
not require unusually long answers 
— will be sent if the request is ac- 
companied by a stamped enve- 
lope, with return address. Inquiries 
should be addressed to The Picture 
Oracle, Picture-Play Magazine, 79 
Seventh Avenue, New York City. 
The Oracle cannot give advice about 
becoming a movie actor or actress, 
since the only possible way of ever 
getting such a job is by direct 
personal application at a studio. 
Questions concerning scenario 
writing must be written on a 
separate sheet of paper. Those 
who wish the addresses of actors 
and actresses are urged to read 
the notice at the end of this 
department. 



tograph. Your surmise was correct — Miss 
de Barros is French. There's more about 
her in a reply to another of my corre- 
spondents. 

A Lover of Picture- Play.— I enjoyed 
your letter very much. Write as often 
as you like. They are pronounced Mee- 
an, accent on first syllable; Bar-thel-mess, 
accent on first syllable ; Ses-shu, and Hy- 
a-ka-wa, accent on third syllable and all 
the a's sounded as in "father." Thomas 
Meighan was born in 1884, is just six 
feet tall, and weighs one hundred and 
seventy pounds. Some of his pictures 
were "The Miracle Man." "Male and Fe- 
male," "Don't Change. Your Wife," "The 
Prince Chan." Frontier of the Stars." 
"The Easv Road," "White and Unmar- 
ried," and "A Prince There Was." Wal- 
lace Reid was born in St. Louis, Missouri. 
Bert Lytell is married to Evelyn Vaughn. 



Joe L. L. — Didn't you know that Charlie 
Chaplin was back in America again? He 
is busy on a new picture. William Dun- 
can has quit serials for a while and is 
making features for Vitagraph with Edith 
Johnson. "Steelheart" is one of them. 

Marilyn B. — Didn't you see the Octo- 
ber issue of the magazine? Your favorite 
player, Rubye de Remer, was interviewed 
in that issue by Doris Smith, and also had 
her picture in the rotogravure section as 
one of the eight beauties of the screen 
selected by the readers of Picture-Play. 
That ought to please you. If you want 
a copy of that issue send twenty-five cents 
in stamps to the Circulation Department, 
Street & Smith Corporation, 79 Seventh 
Avenue, New York City, and it will be 
mailed you. At present Rubye is in Eu- 
rope working in a picture for Famous 
Players. She is five feet six, weighs one 
hundred and twenty-two pounds, has 
blond hair and blue eyes. 

A Mr. and Mrs. Vernon Castle Fan. — 
"The Whirl of Life" was made in 1915. 
I hardly think it likely that it will be re- 
issued. Mrs. Castle's addresss is printed 
in this issue. You're no bother at all. 

Helene N. — I might have a hard time 
answering your questions satisfac- 
torily if you wrote in French. Your let- 
ter was clearly written; I understood it 
perfectly. David Wark Griffith was born 
in La Grange. Kentucky, in 1880. He was 
on the stage for two years, and entered 
motion pictures in 1908 as an actor. Then 
he took up directing with the old Bio- 
graph company, and introduced several 
innovations which changed the whole mo- 
tion-picture industry, including the close- 
up and the cut-back. In fact, Mr. Griffith 
has been the pioneer in practically every 
forward step in motion-picture art, and 
it is conceded that the industry owes more 
to him than to any other man. His great- 
est pictures were" "Birth of a Nation," 
which was produced about six years ago 
and revived a few months ago, "Intoler- 
ance," "Hearts of the World," "Broken 
Blossoms," " 'Way Down East," and "The 
Two Orphans." So you see, all those 
adjectives of praise you use are quite in 
order. 

Dorts D. — I'm beginning to think that 
girls like the villains better than the 
heroes. Your own particular favorite. 
Lowell Sherman, was his usual black 
movie character in "Molly O," Mabel 
Normand's latest picture. _ But he's re- 
formed, and at present is playing the 
hero in the stage play, "The Man's 
Name." I bet you'd rather have him a 
villain, wouldn't you? 

Continued on pa<;e 108 



Advertising Section 



Si 



The News Reel 

Continued from page 66 

"Well, Richard." answered father, 
"it's too bad, and I'm glad you're not 
an actor." 

Richard Dix and Claire Windsor 
will play the courting and the courted, 
respectively, in Micky Neilan's new 
picture "Fools First." Dix was sup- 
posed to be rather devoted to May 
Collins and here he is looking into the 
blue eyes of Miss Windsor — on the 
screen. Charles Chaplin, too, seems 
particularly partial to Miss Windsor 
and it's hard to blame him because the 
lady is one of the most attractive and 
gracious stars in the movie world. 
Off the screen she is quiet and unas- 
suming and immensely proud of Bill. 
Bill is her four-vear-old son. 



Among those present in movie di- 
vorce suits are Donald Crisp, Jacques 
Jaccard, both directors, and Spottis- 
woode Aitken, actor. Crisp and 
Jaccard were sued while Aitken was 
the plaintiff in his case. Also a 
camera man on the Sennett lot found 
himself a grass widower when his 
wife told the judge that he was "too 
crazy about the bathing girls to come 
home." 

Rex Ingram has finished "The 
Prisoner of Zenda." It was the last 
picture produced at the Metro studio 
before the works shut down for the 
winter. Ingram says he will make a 
• spectacular screen version of Victor 
Hugo's novel, "Toilers of the Sea." 
Balzac, Dumas, and Hugo, are cut- 
ting into the incomes of the Holly- 
wood writers. 

The French writers knew the 
technique of writing melodrama and 
the scenario editors are beginning to 
discover the classics, hitherto passed 
up as too highbrow for the movie 
fan. The movie fan, you know, is 
credited with the intelligence of a 
half-witted baby. When "The Three 
Musketeers" made a hit, a certain 
editor rushed one of his scouts to the 
library". "Go down and see if this 
guy Dumas wrote any other books." 

Dagmar Godowsky Mayo went to 
New York to see her father Leopold 
Godowsky, the pianist, before he went 
to Europe. Whereupon the rumors 
started. It is said that Miss Godow- 
sky wants to go on the stage. Her 
recently acquired husband, Frank 
Mayo, wants her to stay at home. 
When she left. Miss Godowsky 
promised to return, in a few weeks 
or so. 




You Will See 

Prettier teeth — safer teeth — -in a week 



We will send for the asking a new- 
method tooth paste. Modern authorities 
advise it. Leading dentists everywhere 
now urge its daily use. 

To millions of people it has brought 
whiter, safer, cleaner teeth. It will bring 
them to you and yours. See and feel the 
delightful results and judge what they 
mean to you. 

Removes the film 

It removes the film — that viscous film 
you feel. No old method ever did that 
effectively. 

Film clings to teeth, gets between the 
teeth and stays. It dims the teeth and 
leads to attacks on them. It is the cause 
of most tooth troubles. Those troubles 
have been constantly increasing, because 
old methods failed to combat film effectively. 



Film absorbs stains, making the teeth 
look dingy. Film is the basis of tartar. 
It holds food substance which ferments 
and forms acid. It holds the acid in con- 
tact with the teeth to cause decay. 

Germs breed by millions in it. They, 
with tartar, are the chief cause of pyor- 
rhea. Also of internal troubles. 

Ways to combat it 

Dental science has now found two 
effective film combatants. Able authori- 
ties have amply proved them. Now den- 
tists the world over are urging their adop- 
tion. 

These methods are combined in a den- 
tifrice called Pepsodent — a tooth paste 
which meets every modern requirement 
And a ten-day test is now supplied to 
everyone who asks. 



These effects will delight you 



Pepsodent removes the film. Then it 
leaves teeth highly polished, so film less 
easily adheres. 

It also multiplies the salivary flow — 
Nature's great tooth-protecting agent. It 
multiplies the starch digestant in the 
saliva — the factor which digests starch 
deposits that cling. It multiplies the al- 
kalinity of the saliva — the factor which 
neutralizes acids. 

Every application brings these five 



effects. The film is combated. Nature's 
forces are multiplied. The benefits are 
quickly apparent. 

Send the coupon for a 10-Day Tube. 
Note how clean the teeth feel after using. 
Mark the absence of the viscous film. See 
how teeth whiten as the filmcoats disappear.. 

Compare the new way with the old, 
then decide for yourself which is best. 
Cut out the coupon now. This is too im- 
portant to forget. 



The New-Day Dentifrice 

A scientific film combatant, whose every 
application brings five desired effects. Ap- 
proved by highest authorities, and now 
advised by leading dentists everywhere. 
All druggists supply the large tubes. 


674 

Ten-Day Tube Free 

THE PEPSODENT COMPANY 

Dept. 722, 1104 S. Wabash Ave., Chicago, 111. 
Mail 10-Day Tube of Pepsodent to 




ONLY ONE TUBE TO A FAMILY 



96 



Advertising Section 




You Needn't Have Gray 
Hair At Any Age 

The smart hat you choose won't make 
you seem any younger if your hair is 
gray, which it needn't be. Science has 
perfected a safe, sure and easy way to 
stop graying hair and bring back and 
keep the natural color. This you can learn 
for yourself by accepting our free offer. 

You take no risk, for the test is made 
on a single lock and results tell their own 
story. When you see how even and beau- 
tiful is the restored color and how easily 
accomplished, you will start at once to 
restore and beautify all your hair. 

A clear, colorless liquid 

Mary T. Goldman's Hair Color Restorer 
is a clear colorless liquid, clean and clear 
as water. Applied by combing — no skill 
or outside aid required. 

No danger of the streaking or discolor- 
ation, which is worse than gray hair. 
There is nothing to wash or rub off — no 
interference with shampooing. 

Beware of experiments 

If you try to restore your hair with 
some unknown product and it doesn't 
turn out well there is nothing to do. The 
streaked, discolored hair which is so mor- 
tifying will have to grow out again and 
this is a slow process. 

You take no risk when you use Mary 
T. Goldman's, which is a tested labora- 
tory product, every bottle efficient and 
reliable, results always the same, Re- 
member this when you are urged to try 
something just as good. 

Mail the coupon 

Don't accept any statement on faith, 
but judge for yourself" by results. Fill out 
the coupon carefully, and if possible en- 
close a lock of hair in your letter. Send no 
money — this test offer is absolutely free. 

When you have judged by this test, get 
a full-sized bottle from your druggist, or 
direct from us. 



Name 

Address 

Please mint your name and address plainly. 



Mary T. Goldman, 

1364 Goldman Bldg., St. Paul, Minn. 

Please send me your FREE trial bottle 
of Mary T. Goldman's Hair Color Re- 
storer. The natural color of my hair is 

black jet black dark brown 

medium brown.«.... light brown 



STRAIGHTEN YOUR TOES 
BANISH THAT BUNION 

3© 



ACFIELD'S 

I Perfection Toe Spring I 

I Worn at night, with auxiliary appliancu I 
| lor day use. f 

Removes the Actual Cause I 



| represented. Bend outline of font. 
I Use my Improved Instep Support for I 
I wenh nrchea. j 

| Full particulars and advice, free in I 
plain envelope. 

C. R. ACFIELD, Foot Specialties, (Estab. 190ft 

Marbridgc Building 
Dept. 256, 1 328 Broadway Hew York 



Tactory to Rider 

•Isaves (16 to 926 on the model 



you select from 44 Styles, colors 

and sizes of Ranger bicycles. Delivered 
free on approval, txpree * prepaid, direct 
from tho Makers for 30 Days Free Trial. 

We pay return causes If not satisfactory. 

■OMbnthstoRQr &■-■'»,:,,! 

**^eral year to pay plan. Any boy or 
efrl can save tho email monthly payments. 

T !*£*,* wheels, chains, parts and 
11*9 9 equipment at half usual prices. 
BIG RANGER CATALOG FREE, with mar. 
veloua itw prices, SO day trial offer and terms. 

ttvfr.'./i Cycle Company HfdS^nt 
FlSaUi) Pt Rioi, Chicago £55.J° - 




Where Do They Come From? 

Continued from page 25 



players received their first chance in 
the chorus, among them Elsie Fergu- 
son, Katherine MacDonalcl, Ethel 
Clayton, Irene Castle, and Mary 
MacLaren. And long before New 
York heard of her, Billie Burke was 
warbling popular ditties in European 
music halls. 

Douglas Fairbanks, though he has 
been associated" with theatricals from 
earliest boyhood — why, it's upon rec- 
ord that he played a small part in an 
early Augustus Thomas drama, "New 
Blood," at the Broadway Theater, 
Denver, as long ago as September 20, 
1897 — yet he once found time to serve 
a period as head of the order depart- 
ment of a Wall Street brokerage firm. 

Both Margaret Loomis and Carol 
Dempster were professional dancers, 
exponents of the art of Ruth St. 
Denis, who taught them their busi- 
ness, while Betty Compson once 
pulled the bow across a violin upon 
a vaudeville circuit. 

It wouldn't take two guesses for 
you to know that Tom Mix and Buck 
Jones followed cow-punching as a liv- 
ing before they became actors, so to 
speak, and Cullen Landis, first an 
usher in the Vendome Theater, Nash- 
ville, Tennessee, later route manager 
for the Nashville Tennessean and 
American, finally climbed the hill as 
stage carpenter, assistant camera 
man, assistant director, into the 
glories of leading mandom. 

Small wonder that Wallace Reid 
so frequently deplores a fate which 
has cast his lot with handsome heroics 
almost exclusively, for few of our 
stars have had a more varied cruise 
before sailing into filmdom's harbor. 
He has been successively a hotel 
clerk, an irrigation digger, newspaper 
reporter, magazine editor, and an ac- 
tor of the spoken word. He seems 
rather to have found himself now, 
however, though he frankly admits 
he has aspirations toward a director's 
career. 

More times than once have we mar- 
veled at the downright physical dar- 
ing of that late serial queen, Pearl 
White, who dashes into danger with 
the nonchalance of milady drinking 
tea. But her early circus training, 
swinging happily upon the trapeze, 
has probably inured her to any sense 
of fear. Another graduate of the 
"round top," one who was almost 
cradled in sawdust, is that premier 
fun maker, Ford Sterling, who used 
to cut comic capers as a clown with 
John Robinson's circus. And almost 
any idiot would know that Will 
Rogers spent several years in this 
same form of entertainment, first 
with Texas Jackie's Wild West Show 



and later with Worth Brothers' Cir- 
cus. Then came vaudeville, the Zieg- 
feld "Follies," and the cinema — the 
to-be-expected evolution. But not 
many people know that Herbert 
Rawlinson also took a flyer at the cir- 
cus as a means of livelihood when 
in his early teens. 

That delightful delineator of gentle 
matronly roles, Edythe Chapman, 
was a prominent stage leading woman 
for over twenty years, but before she 
appeared in public at all she taught 
elocution at the Lombard University, 
Galesburg, Illinois. And you should 
just hear the stories Jack Holt tells 
of the years he spent in the cheery 
climate of Alaska, first as a surveyor 
and later as a mail carrier. 

Douglas MacLean happens to be 
the offspring of a minister, so, in or- 
der to keep papa happy, he attended 
the Lewis School of Technology in 
Chicago, with the idea of becoming 
a mechanical engineer. But it quickly 
developed that as an engineer he was 
an excellent actor, so a course at a 
dramatic school, a season or two be- 
hind the footlights, and then the films 
is the story of what followed. 

Dorothy Gish, when she was an 
infant actress, had to undergo the 
painful experience of nightly listen- 
ing to Fiske O'Hara's tenor solos in 
various Irish dramas ; Virginia Pear- 
son was a Louisville librarian before 
the stage gathered her in; Mrs. Sid- 
ney Drew chatted pleasantly upon the 
lyceum platform as a Chautauqua en- 
tertainer; Madge Kennedy mapped 
out a career with palette and brush, 
studying at the Art Students' 
League; Wanda Hawley spent sev- 
eral years as a professional pianist; 
Eileen Percy served an apprentice- 
ship both as child actress and model ; 
J. Warren Kerrigan almost achieved 
an atelier in Paris, as against a studio 
in California; Robert Sellable was 
for half a dozen years stage manager 
for John Drew ; Richard Barthelmess 
hoped to find his niche in the literary 
world ; and Eugene O'Brien was 
saved the fate of administering pills, 
his family planning a doctor's career 
for him. 

Taken all in all, at least nine tenths 
of our screen family formerly flour- 
ished in fields far removed from 
those in which they to-day find them- 
selves. Who knows, and it's a per- 
fectly likely possibility, the freckle- 
faced office boy of this morning may 
be the screen king of to-night, and 
the dainty Cordelia, who yells, "Ham 
and" in the restaurant around the 
corner, may enchant us upon the sil- 
ver sheet in the near future. 



Advertising- Section 



97 



Romances of Famous Film 
Folk 

Continued from page 59 

transmitter. 'Why, yes,' said ma, 'it 
is a nice day !' 'Aren't you going to 
congratulate us ?' we asked anxiously. 
'Yes, thanks, he's very well,' an- 
swered mother. We looked at each 
other. But finally mother managed 
to say, 'Yes, yes, father is here ! 
Come right over!' And then we 
tumbled that we were to lie low for 
a while !" 

Mr. Durning has directed his wife 
in one picture only. That was while 
both were with Edison. 

"It was the last picture Edison ever 
made. I guess we broke 'em !" ex- 
plained Rerney. "We had an awful 
time on that picture, anyway. It was 
in the wintertime and very cold. The 
ducks we used in the picture froze to 
death in the Japanese garden ! There 
was a queer kind of a stork which 
we used, too. It was an expensive 
bird from the zoo, and as it was the 
first picture I ever directed I couldn't 
afford to have it die." 

Durning is just a big, rollicking, 
joyous kid — except when his work is 
involved. Then he's as solemn and 
serious and puckery-browed as a 
clergyman. 

Both are lovers of animals, and 
they have two dogs, one a big police 
clog which takes a nip out of any- 
body who comes near him, except 
Shirley, so that even the servants can- 
not feed him. Shirley was just plan- 
ning a trip to New York while I was 
out there, and she was awfully afraid 
he'd fade away and die during her 
absence. I took one look at him, he 
growled, and I felt that he could fade 
if he wanted to for all of me. 

Miss Mason was to go alone to 
New York because Berney was di- 
recting pictures for Fox and couldn't 
leave. Though both have traveled 
back and forth across the continent, 
they've never traveled together. 

"My ambition is to travel on a 
train with Berney," said his wife. 
Though she is a very devoted daugh- 
ter, she is not so enthusiastic about 
traveling with her mother, she said, 
because her mother will be telling 
her every clay a lot of things she's 
not to do. 

"I've got all her don'ts now," said 
Shirley, who was telling me about 
her trip before Berney left us. 

"I'll add another," suggested her 
husband. 

"Oh, Berney, don't!" adjured his 
wife. 

"Yes, I will, too. I'm your hus- 
band, am I not ? Well, then, just don't 
remember any of the don'ts !" 

And, between you and me, I don't 
think she will. 



W L. DOUGLAS 

$7=22 &$822 SHOES 



FOR MEN AND WOMEN 



YOU CAN ALWAYS 
SAVE MONEY BY WEARING 

WL. DOUGLAS SHOES 

SOLD DIRECT FROM FACTORY 

TO YOU AT ONE PROFIT 



STAMPING THE RETAIL PRICE 
AT THE FACTORY 



ALSO MANY STYLES AT 



$5AQ &$622 




WL. DOUGLAS PRODUCT IS GUARANTEED 

BY MORE THAN FORTY YEARS 

EXPERIENCE IN MAKING FINE SHOES 

W. L. Douglas shoes are made of the 
best and finest selected leathers the 
market affords. We employ the high- 
est paid, skilled shoemakers, all work- 
ing with an honest determination to 
make the best shoes for the price that 
money can buy. 

When you need shoes look for a\V.L. 
Douglas store. We own 107 stores lo- 
cated in the principal cities. You will 
find in our stores many kindsand styles 
of high-class, fine shoes that we believe 
are better shoe values for the money 
than you can buy elsewhere. 

Our $7.00 and $8.00 shoes are excep- 
tionally good values. There is one point 
we wish to impress upon you that is 
worth dollars for you to remember. 
W. L. Douglas shoes are put into all 
of our stores at factory cost. We do not 
make one cent of profit until the shoes 
are sold to you. When you buy shoes 
at any one of our stores you pay only 
one small retail profit. 

No matter where you live, shoe dealers 
can supply you with W.L.Douglas shoes. 
They cost no more in San Francisco 
than they do in New York. Insist upon 
having W. L, Douglas shoes with the 
name and retail price stamped on the 
sole. Do not take a substitute and pay 
one or two extra profits. Order direct 
from the factory and save money. 194 




SHOES 

f*4.00«*4.50 



W.L. Douglas name 
and portrait Is ibe 
best known sboe 
Trade Mark in tbe 
world. It stands for 
thehighest standard 
of quality at the low- 
est possible cost. 
The Intrinsic value 
of a Trade Mark lies 
in giving to the con- 
sumer the equiva- 
lent of tbe price 
paid for the goods. 



Ontnloc: Free. 




President 
W. L. Douglas Shoe Co., 
Spark St.. Brockton, Mass. 




WATER-WAVE 

YOUR HAIR 



Water-Maid Wavers ' 

Produce a natural, beautiful ripple 
wave that remains in straightest 
II MUM JlHHf 17/ * ia ' r a wc °k or more, even in damp 
yy)ttiUU(Iwj/0 weather or when perspiring. If the 
~ /Tr\ hair is fluffy only use the wavers once 

| ( I V» after every shampoo. 

Send for Water Wavers (patented) today— stop 
burning hair with hot irons or twisting with 
curlers which breaks the hair. Absolutely san- 
itary—universally successful— endorsed by soci- 
cty'sleaders. Ifyourdealerdoesn't handle them 
send S2 for set of 6 mailed with full directions. 

WATER- MAID WAVER CO. 
1 1 7- B West Seventh St. Cincinnati, Ohio 




As a lover of rare perfumes, you will be 
charmed by tho indescribable fragrance of 
Kieger's new creation— 

Honolulu Bouquet 

Perfume $1. 00 per oz. Toilet water, 4 oz. 
Sl.Ot. Talcum, 25c. At druggists or de- 
partmeit stores. 

Send 25c (silver or stamps )for generous 
I trial bottle. Made by tho originator of — 




FlbwerBrops 






Flower Drops is the iim-t exquisite perfume 
overproduced. Made without alcohol. Bottle 
[with long glass stopper, containing enousrh 
Ifor6 months. Lilac or Oabapple S1.E0; Lilv 
jof the Valley, Rose or Violet $2.00. At drug- 
gists or by mail. Send 20c stamps for 
miniature bottle. Send $1.00 for Souvenir Box of five 
25c bottles— 5 different odors. 



PaulRiegerCo. (Since is: j) 146 RntSt.Su. Francisco 



iSelrdibr Miniature 




Corns? 



—just 
say 

Blue - jay 

to your druggist 

Stops Pain Instantly 

The simplest way to end a corn is 
Blue-jay. A touch stops the pain in- 
stantlj'. Then the corn loosens and 
comes out. Made in two forms — a 
colorless, clear liquid (one drop does 
it!) and in extra thin plasters. Use 
whichever form you prefer, plasters 
or the liquid — the action is the same. 
Safe, gentle. Made in a world-famed 
laboratory. Sold by all druggists. 

Free: Write Bauer & Black. Chicago. Dept. 5 
for valuable book, "Correct Care of the Feet." 



98 



Advertising Section 




WARNING ! Say "Bayer" when you buy Aspirin. 

Unless you see the name "Bayer" on tablets, you are 
not getting genuine Aspirin prescribed by physicians 
over 22 years and proved safe by millions for 



Colds 

Toothache 

Earache 



Headache 
Neuralgia 
Lumbago 



Rheumatism 
Neuritis 
Pain, Pain 



Accept only "Bayer" package which contains proper directions. 

Handy "Bayer" boxes of 12 tablets — Also bottles of 24 and 100 — Druggists. 
Aspirin is the trade mark of Bayer Manufacture of MonoacetlcacUlester of Sallcylicacld 



TJEWEL10YRXASE 




|? USH your name and address and we will tell ' 
,x you HOW you can get this handsome 7- jewel 
10-year puaranteeri K°ld-fil!ed Bracelet Watch | 

ABSOLUTELY FREE 
Remember with our plan it WON'T cost you a | 
cent. Bracelet Watch comes to you in an elabo- 
rate velvet box. WRITE at once for FREE I 
Watch Plan. 

HOME SUPPLY CO. 
116 NnsHau St., Dept. 80, New York 





Personal Appearance 

is now more than ever the key-note of success. 
Bow-IjOffsred anil Knock- Kneed men ami 
women* both young and old, will be crlad to 
hear that I have now ready r«»r market my new 
appliance, which will successfully straighten. 
within a short time, bow-legged ness and knock- 
kneed legs, safely, quickly and permanently, 
without pain, operation or discomfort. Will not 
interfere with your daily work, being worn at 
night My new "Lim-Straitner," Model 18. U. S. 
Patent, is easy to adjust; its result will save 
you soon from further humiliation, and improve 
your personal appearance lOO^r. 

Write today for my free copyrighted physio- 
logical and anatomical book which tells you 
how to .correct bow and knock-kneed legs with- 
out any obligation on your part. Enclose a 
dime for postage. 

M. TRILETY, SPECIALIST, 106 L 

Ackerman Bide. Binghamton, N. Y. 



Free to Writers! 

A WONDERFUL BOOK-rc.id ftbest It I 
Tells bow easily Stories and Plays arc con- 
cci%'Cd, written, perfected. Sold. How many 
•who don't DREAM they can write, suddenly 
i find it out How the Scenario Kings and tho 
I Story Queens live and work. How bright men 
I and women, without any special experience, 
I learn to their own amazement that their sim- 
I plest Ideas mav furnish brilliant plots for Plays 
| and Stories. How one's own Imagination may 

grovide an endless gold-mine of Ideas that 
ring Happy Success and Handsome Cash 
I Royalties. How new writers get their names 
| into print. How to tell if you ARE a writer. 
How to develop your "story fancy," weave 
clever word-pictures and unique, thrilling, 
realistic plots. How your friends may l>e your worst judges. How 
I to avoid discouragement and the pitfalls of Failure. How to win! 
This surprising hook is absolutely free. No charge, Noohliga- 
1 tion. Your copy is waiting fur y uu. Write for it wow. Justaddrcss 

' AUTH O RS' PRE SS . PepL 215, AUBURN, NEW YORK 

■ $500 Prize Contest 

The Lester Park-Edward Whiteside photoplay, 
"Empty Arms." inspired the song "Empty Arms." 
A third verse is wanted, and to the writer of the best 
one submitted a prize of $500.00 cush will he paid. 
This contest is open to everybody. You simply 
write tho words for a third verse — it Is not necessary 
that you see the photoplay before doing so. Send 
us your name and address and we shall send you 
a copy of the words of the song, the rules of the 
contest and a short synopsis of this photoplay. It 
will cost you nothing to enter the contest 

"EMPTY ARMS'* CONTEST EDITOR 
WORLD M. P. CORPORATION 

245 W. 47th St., Pept. 693, New York, N. Y. 



Music Lessons 



UNDER MASTER TEACHERS 



pE At^H Ogie 



A Complete Conservatory Course 

D TkM '1 Wonderful home study music lessons under 
Dy lVia.ll great American and European teachers. 
Endorsed by Padcrcwski. Master teachers guide and coacb 
you. Lessons a marvel of simplicity and completeness. 

A ■ ■ W L ini ul ,, , gulf- Writetellingus course 

Any InStrUmeM you are interested in- 
Piano. Harmony, Voice. Public School Music. Violin, Cornet, 
Mandolin, Guitar, Banjo, or Reed Organ— and we will send 
our Free Catalog with details of course you want.Send now. 

UNIVERSITY EXTENSION CONSERVATORY 
55!) Sicgel-Myers Bldg. Chicago, Illinois 



Camera Land's "See-me" Side 
of Life 

Continued from page 57 
stars disport themselves near the 
water. Some of them, go in. Here 
you can usually see more of your 
favorite than anywhere else, except 
in a ball gown! If you drop clown 
to Crystal Pier on a bright, Septem- 
ber, Saturday afternoon you will 
usually find Owen Moore, Lew Cody, 
Doug MacLean, and Bert Lytell 
playing medicine ball on the sand. 
Under the big umbrellas, if you are 
a good peeker, you will discover 
Eileen Percy, Lottie Pickford, Wal- 
ly Reid, "Snowy" Baker, Tony 
Moreno, and Wanda Hawley. 

Tia Juana is less of a see-me place 
than any other popular gathering 
spot. Sometimes it is a please-don't- 
see-me place. It is one "location" 
where the stars are not crazy about 
being discovered, yet many of them 
dash down over a quiet week-end to 
watch the ponies run and to have a 
try at the roulette or faro tables, 
with perhaps a snappy little dance 
in the big casino. 

"Oh, my dear, please don't tell a 
soul you saw me here !" is the ordi- 
nary salutation at Tia Juana. 

Pauline Frederick's petit round- 
ups on her rodeo field provide other 
see-me afternoons. At these the 
fairest flowers of stardom appear in 
their gayest sport costumes to watch 
the gyrations of Will Rogers, 
"Lefty" Flynn. Tom Mix, and Roy 
Stewart. In the limousines parked 
about the edge of the field you will 
usually find Bessie Love, Katherine 
MacDonald, Enid Bennett, Blanche 
Sweet, Dorothy Dalton, Mildred 
Harris, Harold Lloyd, Gareth 
Hughes, and Eric von Stroheim. 

And new I must blanket my busy 
little typewriter and go out to meet 
a certain star at one of those merry, 
merry inns I have so obligingly men- 
tioned ! 

rit:iuui[iiin]iitniuHiii]u;:iiiii:iiii]iiiiiiiuiir!:iiiiiiiiiiiiiJiLEuii[iiuui]i]iuiiiiii]iuti:nii;n:iiii!Tiitiiitiiini]]iiiitinini[n[fiiunK 
APPEARING IN PERSON— 
Just as the speaking drama has 
a quiet interlude between acts, 
the silent drama now has a noisy 
interlude between reels — when 
the star comes out and meets her 
audience face to face. 

Many of them are doing it 
now — and it is a brand-new ex- 
perience for most of them. 
It's always interesting — some- 
times amusing — and frequently 
exasperating as Emma-Lindsay 
Squier found out when she went 
on a personal-appearance tour 
with Louise Fazenda. 

She will tell you about their ex- 
periences — and those of some of 
the other stars in an early num- 
ber of "Picture-Play." Don't 
miss it. 
i;;iiaiiiiiiii;;;i:i;;!T!ii:ii;i!iiiUii!iiiHi;iTTi;i:TiMiiii;iiiiii;r;iTiinim»':Tiii;i:TtiiTirniiiiiiiiTiiiimiiinnm ni ii miu i im i miui iiu u* 



Advertising Section 



99 



Scheherazade Tells a Story 



Continued from page 48 



famous. Mr. Hart was looking for 
a Spanish type, and for some reason 
or other decided that I was it. He 
asked me to do the vamping senorita 
in his next picture. I didn't want 
to, but Mr. Ince was rather enthusi- 
astic, too, and at the last minute my 
next Fine Arts picture failed to start 
on time, so I was loaned to the Ince 
branch, and lured Bill Hart in a Mex- 
ican-border affair. Louise Glaum, 
still camping on the old vamp ground, 
was my rival in the same picture. 

"I had a shawl-and-comb part, ro- 
mantic, dashing, picturesque — the 
kind, you know, that always figures 
extensively on the posters in front 
of the theater. It landed me in 'type' 
parts, and I guess I landed in it. 
And from then on I was a marked 
woman. I didn't want to be a c'.ar- 
acter actress. I wanted to play c! >ssy 
parts with lots of emotional stuff. 

"When Doug Fairbanks put on 
Bret Harte's story — called in the pic- 
tures 'The Half-breed' — he insisted 
upon my playing the exotic passion 
flower, another fandango lady. I de- 
clined with thanks, and arranged to 
support Bill Desmond in a society 
comedy that he was beginning in a 
few days. Then he was taken ill, 
his director left for the East, and I 
was — well, we call it 'resting' some- 
times, and other times 'at liberty.' 
No matter what you call it the eco- 
nomics are the same. You don't meet 
the cashier socially or any other way. 
Mr. Fairbanks soon found out from 
Mr. Desmond about it, and again in- 
sisted upon my doing the Harte lady, 
and so, with fate shoving me into it, 
I played the part." 

She talks whimsically, in a fairy- 
tale manner. In a fascinating man- 
ner, I thought. Beauty, after all, is 
an undeniable magnet. Women of 
such potent lure need say nothing 
of consequence when they discourse, 
need utter no words of wisdom. If a 
Titian canvas had a Victrola attach- 
ment you would hardly pay much at- 
tention to it. 

But I interrupt. Miss Rubens, I 
trust, will pardon me. 

"After doing the overseas charac- 
terizations for Fairbanks and Hart, I 
was fairly definitely established as a 
'furriner.' People wrote me from 
Mexico and Algeria and Morocco and 
places the names of which I would 
not dare attempt to pronounce cor- 
rectly — everywhere, it seemed, out- 
side the two-cent-stamp limit — claim- 
ing relationship, friendship, what not. 

"To escape the role fate had thrust 
upon me I went East, away from my 
Triangle starring contract, and made 
half a dozen independent affairs — so- 



ciety dramas, yes; but," her hands 
went up in horror, "paper-covered 
drama, all of it. You would never 
realize how bad it was while you were 
acting in it, but suggestive subtitles, 
'catchy' advertising lines, and lurid 
captions can ruin any halfway sexy 
picture. It's funny — sad — how dif- 
ferent they can make the finished pic- 
ture look. Deliver me from any 
more experiences like that." 

It seemed strange to hear this trop- 
ical-looking, sloe-eyed, oval-faced Sa- 
hara girl talk of "subtitles" and 
"box-office captions" and such things. 
She should have been reclining at 
ease Upon a purple-swathed couch 
mounted on a marble d?!s, with black 
men serving her, and silken drapes 
and woven tapestries formirur a 'tack- 
ground of befitting splendor . Cleo- 
patra, Saptfw, SalammoD, all the 
seduction of the Continent and of 
the Orient were here, I felt. Her 
tapering fingers, her gleaming teeth, 
shining whitely in contrast with her 
red lips and olive skin. 

"About the time I had finished my 
independent contract, Frank Borzage 
was looking all over New York and 
outlying territory for his 'Humor- 
esque' girl. He had to find a Semitic 
type of considerable beauty, he told 
me, and he was kind enough to 
choose me. My contract had not yet 
expired, but, depending upon old 
Felix P. Fate to help me, I signed 
with Mr. Borzage and Cosmopolitan 
Productions. Then I hoped for a 
way out of my dilemma. And fate 
came through ! 

"At the psychological moment, 
three days before Mr. Borzage ex- 
pected to start shooting, the concern 
for which I was working called off 
operations, for reasons known only 
to themselves and best left to every 
one else's imagination, and there I 
was, a free agent — able to work in 
the picture I wanted. 'Humoresque!' 

"You know what came of that, of 
course. Dear old Vera Gordon 
walked off with the honors, but the 
play was such a countrywide success 
that every one in it or even remotely 
connected with it benefited im- 
mensely. 

"After 'Humoresque' I signed a 
lovely 'know-all-men-by-these-pres- 
ents' contract with Cosmopolitan, 
and I've been in New York ever 
since. In fact, I've just finished 
doing 'Find the Woman,' and two 
of filmdom's finest supported me — 
Norman Kerry and Harry Ford. 
And I believe the Ibaiiez . story, 
'Enemies of Women,' will be next." 

"Find the Woman" and you'll see 
what I saw — Scheherazade! 



Do You Want 
A Bigger Salary? 

It doesn't matter what you are Today 
or what you were Yesterday. Tomorrow 
is your bright, clear day of Opportunity. 
Nothing can keep you down if you really 
make up your mind to go up. 

Maybe you've gotten a bad start. Perhaps 
you haven't had a decent raise in years. Or 
perhaps you are one of those thousands who 
have had their wages cut — or thrown out of 
a job. But you aren't going to curl up and 
quit, are you? Right now, when trained men 
are in such demand, you've the best chance 
you ever had to get out of the rut and do 
something worth while. 

But you're "too old to start over," you 
say? Nonsense! When some of the big 
men of this country were your age, they 
weren't earning half what you are get- 
ting today. But they didn't quit! They 
worked! They studied! They learned 
to do some one thing well. 

At 3S, Henry Ford was working in the me- 
chanical department of the Edison Electric 
Light & Power Company. At 38, John R. 
Patterson, who founded the National Cash 
Register Company, was the pruprietor of a 
small and none too successful country store. 
At 25, George Eastman, president of the 
Eastman Kodak Company, was a bookkeeper 
in a savings bank. At 22, Edison was a 
roaming telegraph operator — out of a job, too 
poor, when he arrived in New York, to buy 
his own breakfast! 

Forget what you are today and decide 
on what you want to be. No man has 
failed until he admits it to himself. And 
no real man ever admits it. Why, man, in 
just one hour a day — in the spare time 
you will never miss — you can fit yourself 
for a better job and a bigger salary. 

This is all we ask: Without cost, with- 
out obligating yourself in any way, put 
it up to us to prove how we can help 
you. Just mark and mail this coupon. 

TEAR OUT HERE 

INTERNATIONAL CORRESPONDENCE SCHOOLS 
mix 4578-B SCKANTON. PA. 

Without cost or obligation, please explain how I can 

fualify for the position, or in the subject before which 
have marked an X in the list below: — 

□ BUSINESS MANAQ-M'T 



□ ELEC. ENGINEER 

3 Electric Lighting & Bya. 

3 Electric Wiring 

3 Telegraph Engineer 

J Telephone Work 

3 MECHANICAL ENGB. 

3 Mechanical Draftsman 

3 Machine Shop Practice 

3 Toolmaker 

3 Gas Engine Operating 

3 CIVIL ENGINEER 

3 Surveying and Mapping 

3 MINE FOB'N or ENGB. 

3 STATIONARY ENCllt. 

J Marine Engineer 

3 ARCHITECT 

3 Contractor and Builder 

3 Architectural Draftsman 

3 Concrete Builder 

J Structural Engineer 

3 PLUMBING & HEAT'G 

3 Sheet Metal Worker 

3 Text. Overseer or Supt 

3 CHEMIST 

3 Pharmacy 

Name- 



D SALESMANSHIP 

□ ADVERTISING 
u Railroad Positions 
Q ILLUSTRATING 

BShow Card & Sign Pig. 
Cartooning 
8 Private Secretary 
Business Correspondent 
KOOKKEEPER 
B Stenographer & Typist 
Cert. Pub. Accountant 
TRAFFIC MANAGER 
B Railway Accountant 
Commercial Law 
§(!OOD ENGLI8H ' ■ 
Com. School Subjects 
CIVIL SERVICE 

□ Railway Mail Clerk 

□ AUTOMOBILES 
Q Mathematics 
Q Navigation 
D Agriculture 
D Poultry 
D Airplane Engines 



Id Spanish 
I D Banking 



Street 

Address- 



City- 
Occupatfon- 



Persona residing in Canada should fiend this coupon to the 

International Correspondence Schools Canadian, Limited, 

Montreal, Canada. 



Reduce Your Flesh in Spots 

Arms, Legs, Bust, Double Chin 

In fact the entire body or any part without dieting 
by wearing DR. WALTER'S 

Famous Medicated Reducing 

RUBBER GARMENTS 

For Men and Women 
Anklets for Reducing and 
Shaping- the Ankles, $7 00 
per pair. Extra high, $9.00. 
Semi ankle measurement 
when ordering:. 
Bust Kcducer, $6.00 
Chin Reducer. $2.50 
Send for Illus- 
trated Booklet 

Dr. Jeanne G. A. Walter 
353 Fifth Aveoue :: New York 





100 



Advertising Section 



N j/lre Yon A 
: \fedetarian? 



NATURE places in fruits and vegetables 
certain elements which help to keep 
the human body healthy. Those who 
eat an abundance of such foods seldom 
suffer from indigestion, sour stomach, bil- 
iousness, constipation, headaches, and the 
endless train of distressing symptoms 
which such disorders cause. 

You may not always be able to choose 
your diet carefully or to avail yourself of 
the benefits of a scientifically-selected 
variety of foods, but you can give your 
system the benefit of the same vegetable 
laxative properties contained in vegetable 
foods. 

Nature's Remedy ( Nt Tablets ) is made 
entirely of concentrated vegetable ingre- 
dients which arc therapeutically the same 
as Nature furnishes in the most healthful 
of foods. That is why millions of persons 
use this pure, mild, natural aid to health 
in preference to anything else. 

Nature's Remedy ( N? Tablets) does more 
than a laxative. It tones the stomach, 
increases the assimilation and elimination, 
helps to cleanse, purify and enrich the 
blood by aiding nature to re-establish the 
vigorous and harmonious functioning 
which makes the body feel like new. 



All Drngguti Sell 
The Dainty 

25c. Box 

of 
N? Tablet! 



Used for over 
30 years 





Chips off the Old Block 



*R JUNIORS — Little N?s 

One-third of regular dose. 
Made of same ingredients, 
then candy - coated. For 
children and adults. Have you tried them? 
Send a 2c. stamp for postage on liberal 
sample in the attractive blue and yellow 
box. A. H. LEWIS MEDICINE CO., 
Dept. P, St. Louis, Mo. 



J*- ' Face Powder *»V 



Not like Lablache, pas da lout, do I find other 

powders toi my complexion. 

Because, ma cherie, Lablache is so refined, 

clinging and invisible — so 

delicately fragrant. 

I adore it, and must 

have it always. 

Refuse Substitutes 



They may be danger- 
ous. Flesh. White, 
Pink or Cream. 50C a 
box of druggists or by 
mail. Over two million 
boxes sold annually. 

Send 10c for a 
sample box. 

BEN. LEW 00. 

*>Ve«cn I'erjumerm. Depl. 48 

125 Kingston St., Boston. Ma: 





32 Photos of Movie Stars 



reproduced in balf-tono. 
On cardboard suitable 
for framing. Albuckle. 
Bara, Chaplin, Pick- 

fords, Anita Stewart. 
Pearl White, etc. Both 
male and female STARS 
are all here in CLASSY 
POSES. By mail post- 
paid 15 cents. Stamps 
or Coin. Ardee Pub- 
lishing Co., Dept. 500, 
Stamford, Conn. 



Cinderella Lives Again 



Continued from page 49 



she insinuated, always finds some- 
thing for idle hands to do. Constance 
should be named Kiki or Marie or 
something less prim and staid than 
Constance. She is a demurely coquet- 
tish, mildly pepperish ingenue, with 
a typical ingenoodle on her shoulders. 
I asked her how she enjoyed the 
heavier parts that were coming her 
way. She used to do frothy comedy. 
you know. Now she does things that 
have heft, punch, and that vague 
thing that professionals call "per- 
sonality." 

"Well," said Constance. "I like 
these part's, and I don't." 

As Ring Lardner has said, there's 
a diplomatic answer to any question : 
"Yes and no." Constance had read 
Ring's tip. I am sure. 

"I like the emotional opportunities 
they give me," she said, "but I prefer 
doing light, frolicking comedies that 
make the people who see them happy. 
I claim to be no Pollyanna, but I do 
think that pictures are made for the 
amusement of all — women and chil- 

| dren " "First?" I suggested. 

i "And everybody," protested Con- 

i stance. 

"Then," I interposed, "you don't 
care for Theodore Dreiser or Henrik 

i Ibsen or August Strindberg or any 

■ of the other unhappy chaps?" 

"Let's not bunch them," she smiled 
diplomatically. "I like some of them 
— and some of them I can't stand. 
But I can choose my own course, you 

! see. I can do light or heavy, and I 

I much prefer the former. Although," 



she added with a touch of inconsis- 
tency, "I rather like to do big scenes 
like the hypnotic ones in 'Becky.' 

"Acting is a game. If you have 
a good part, it's as if you were win- 
ning the game ; when you draw a 
wishy-washy role, you're losing. Of 
course, the trick is to be a good win- 
ner and a graceful loser." 

Not mature, this Binney girl ac- 
tress still impresses with a definite 
poise and assurance. She must be 
older than she looks, for to my untu- 
tored eye she seemed a bare seven- 
teen. She is probably in her early 
twenties. 

"The family was shocked," she 
told me, "when I went in the chorus 
of a Princess show. Then when I 
was handed a minor principal role — 
the dancing maid — they weren't quite 
so shocked, and when Miss Crothers 
gave me the lead in '39 East.' oppo- 
site Henry Hull, all opposition to a 
stage career vanished into thin air." 

"And now," I surmised, "no one 
is particularly unhappy about your 
having achieved celluloid stardom?" 

"That has been rather nice, in 
every way," she replied. 

But, you see, her rise from a danc- 
ing girl to a twinkling star was made 
in the approved Cinderella or Phoe- 
nix-rising-from-the-ashes manner. 
It's good to find a Cinderella occa- 
sionally in these prosaic days. The 
Cinderella motif is by far the more 
ingenuous one, furnishing a much 
more inspiring and happy ending to 
just such a chronicle as this. 



Emotionalized Modes 

Continued from page 69 



tipped fox, and a close velvet hat 
trimmed with gold and red pheas- 
ants' tails. 

You can follow her general idea 
in dressing according to moods, if 
you live up to the clothes which ex- 
press the moods. But you must be 
sure that you are not a person 
who dresses to fit one mood and 
then changes the mood before it is 
time to change the dress. Vivacity 
must last if it is to inspire a bright 
gown. 

And if you like this idea of choos- 
ing your costumes, but cannot afford 
to have many, let the frocks which 
you do purchase be rather simple, 
and let your accessories carry out the 
mood. For instance, in the last cos- 
tume described. Miss Windsor could 
easily do this. The dark fur collar 
and cuffs could be detachable, and 
could be changed for white ones 
when the wearer was in a festive 



mood. Much can be done by chang- 
ing one's hat — as you can see by 
studying the different effects of the 
hat worn with the suit and the one 
worn with the crimer-trimmed coat. 

One's shoes must fit the mood. 
also. High-heeled sandal pumps do 
not fit an outdoor mood — unless 
"outdoor" means riding in a limou- 
sine. Nor do flat-heeled street pumps 
and silk-and-wool stockings fit a but- 
terfly mood. 

But the girl or woman who is will- 
ing to study her own temperament, 
and take the trouble to see that her 
costumes match her various moods, 
will be beautifully dressed, even 
though her dress allowance is a very 
small one. And she will have the 
delight of knowing that, interested 
as other women are in her effective 
costuming, they won't know how she 
does it! 



Advertising Section 



101 



Doctor Giggle and Mr. Hide 

Continued from page 34 

absurd things in Pathe comedies. 
And it was like pulling teeth to make 
him talk. 

"I never do know what to say," he 
said softly, as he hunched himself up 
to the wooden table. "Things suit 
me, in general, and I'm satisfied with 
the world. What do you want me 
to say?" 

It was evident that he wouldn't 
talk about himself. I asked what he 
thought of Bebe Daniels' rise. He 
discovered her. 

"Bebe is a clever kid," he re- 
marked. She has every one of us 
rooting for her. She's a great lit- 
tle pal." 

When Lloyd had the accident with 
a too-genuine comedy bomb during 
the making of a picture with the lus- 
trous Bebe, she nursed him for 
weeks. He retained his eyesight for- 
tunately, but he lost two lingers from 
his right hand. 

Any one who would expect him 
to resemble the screen Lloyd would 
be distinctly disappointed. There is 
nothing humorous about the offstage 
Harold, little savoring of the co- 
median, nothing smacking of the ac- 
tor. He is quiet to the point of reti- 
cence, diffident to the point of shy- 
ness. His modesty is appalling, but 
genuinely sincere. He refuses to 
make public appearances, because he 
believes the people enjoy his com- 
edies more than they would enjoy 
him. And perhaps his psychology is 
correct. 

Questions are poor things to at- 
tack players with, for two reasons: 
if they are not retiring, reticent 
creatures, they leap at the question, 
tear it to pieces, and answer it for 
minutes at a stretch, while if, as in 
the case of Harold Lloyd they are not 
loquacious individuals, questions 
warn them to watch their tongues 
the more closely. So I tried some- 
thing else. 

"I hear," I said untruthfully, "that 
you are going into straight comedy." 

"Wrong," he said. "I'm sticking 
to slapstick-with-a-reason. Comedy 
with a kick, in other words. The 
people seem to like me in that, so 
why change?" 

When we returned from luncheon, 
almost all the way in silence, and 
Lloyd joined his troupe again, I was 
all the more strongly impressed with 
the dual personality of the man. 
Once on the set, he snapped into ac- 
tion, assumed the gayest sort of man- 
ner, accomplished the most insane 
postures. It was his camera self : 
Doctor Giggle, perhaps. And the 
regular Lloyd is surely a Mr. Hide ! 



I Teach You Piano 
In Half Usual Time 



To persons who have not previously heard 
of my method, this may seem a pretty bold 
statement. But I will gladly convince you of 
its accuracy by referring you to any number 
of my graduates in any part of the world. 



There isn't a state in the 
Union that doesn't contain 
many players of the piano 
or organ who obtained their 
training from me by mail. 
1 have far more students than 
were ever before taught by 
0118 man. lnvesticate by 
writing lor my 64-pagG free 
booklet. "How to Learn 
Piano or Organ." 

My way of teaching piano 
or organ is entirely differ- 
ent from all others. Out of 
every four hours of study, 
one hour is spent entirely 
away from the keyboard— 
learning something about 
Harmony and The Laws 
of Music. This is an awful 
shook to most teachers of 
the "old school." who still 
think that learning piano Is 
solely a problem of "fiiiKcr 
O'lnnastilcs." When you 

do go to the keyboard, you 
accomplish twice as much. 
because you understand 
what you arc doino. With- 
in four lessons I enable 
you to play an interest inn 
piece not only in the original 
key, but in other keys as 
well. 

I make use of every pos- 
sible scientific help— many of 
which are entirely unknown 
to the average teacher. My 
patented invention, the COL- 
OBOTONE, sweeps away 
playing difficulties that have 
troubled students for gen- 
erations. By its use. Trans- 
position — usually a "night- 
maro"' to students — becomes 
easy and fascinating. With 
my fifth lesson I introduce 

another Important and ex- 
clusive invention. QUINN- 
PKX. Quinn-Dex is a sim- 
ple, hand -operated moving 
picture device, which en- 
ables you to see. right before 
your eyes, every movement of 
my hands at the keyboard. 
You actually see the lingers 
move. Instead of having to 
reproduce your teacher's lin- 
ger movements from MEM- 
OltY — which cannot be 
always accurate — you have 
the correct models before 
you during every minute 
of practice. The COLOR- 
OTONE and QUIXX-DEX 
save you months and years 
of wasted effort. They can 
be obtained only from me, 
and there is nothing else, 
anywhere, even remotely like 
them. 

Men and women who have 
failed by other methods 
have quickly and easily at- 
tained success when studying 
with me. In all essential 




DR. QUINN AT HIS PIANO 

From the Famous Sketch by Schneider, Exhibited at the 
St. Louis Exposition 

ways you are in closer touch with me than if you 
were studying by the oral method — yet my lessons cost 
you only 13 cents each— ami they include all the many 
recent developments In scientific teaching. For the 
student of moderate means, this method of studying 
is far superior to all others, and even for the wealthiest 
students there is nothing better at any price. You 
may be certain that your progress is at all times in 
accord With the best musical thought of the present day, 
and this makes all the difference in the world. 

My course is endorsed by distinguished musicians, 
who would not recommend any course that did not 
maintain the highest musical standards. It is for 
beginners or experienced players, old or young. You 
advance as rapidly or as slowly as you wish. -MI 
necessary music is supplied without extra charge. A 
diploma is granted. Write today, without cost or 
obligation for 64-page free booklet. "How to Learn 
Piano or Organ." 



FREE BOOK 



HowTo 

L»ea.ri\ 
Piarvo 



Marcus Lucius Quiim Conservatory of Music 

Studio I*P 44, 598 Columbia Road. Boston. 25. Mass. 



~FREE BOOK COUPON - 

QUINN CONSERVATORY, Studio PP44 
598 Columbia Road, Boston, 25, Mass. 
Please send me, without cost or obligation, your 
free booklet. "How to Learn Piano or Organ," and 
full particulars of your Course and special reduced 
Tuition offer. 

Name 

Address 




Mailed in plain 
wrapper. Table 



SEXUAL KNOWLEDGE- 

320 PAGES, ILLUSTRATED, CLOTH 
By Winfield Scott Hall, M.D., Ph.D. 

SEX FACTS MADE PLAIN 

What every young man and 

Every young woman should know 

What every young husband and 
Every young wife should know 

What every parent should know 

nti request. 



ntetlts and eommendath 



AMERICAN PUB CO., 436 Winston Bldg.. Philadelphia 



UHA'/iKlHUilKM 




That Yon Bee Everybody 
Wearing Ts the 

Greatest Hit in Years 

Wear It On Your Little Finger 

Snappy- Stylish — Full of Color 

Cut sltOWS actual size — made in 
sterling silver, preen sold finish, set 
with 1!' irreen and blue brilliants- Worn 
from 5th Ave. to Frisco— Get yours now, 
beat your friends to it -money back if 
not satisfied. Stnte fin-rer size & t y aa 
and the rinjj is yours for Sp^.VU 

THE MANGAN COMPANY ORB ystom£; r. i. 




G 



Your 
skin can 
be quickly 
cleared of Pim- 
ples, Blackheads, 
Acne Eruptions on the 
face or body, Enlarged 

Pores, Oily or Shiny Skin. $1,000 
Cold Cash says I can clear your 
■kin of the above blemishes. 

_ -»«-= ,<«-» WRITE TODAY for my FREE 
I#|K ST Booklet- "A CLEAR-TONE 
AVA^AWSKIN"— telling how I cured 

myself after being afflicted for fifteen years. 

E. S. GIVENS, 237 Chemical Bldg-.KansasCily.Mo. 



Ladies LetCuticura 

Keep Your Skin 

Fresh and Young 

Soap, Ointment.Talcum. 25c. everywhere. Forsanrplea 

address: Cuticurr. Laboratories, Dept.D, Maiden, "asE. 



102 



Advertising Section 



Mr. Wang of Chinatown 



MU 



Continued from page 72 



iraci 



1 



Every 

i W6mans 

T>epilatorif 



isf 



■ 



//a/r Remover 

Qenuine — Original 

BY actual test genuine DeMiracle 
is the safest and surest. When 
you use it you are not experiment- 
ing with a new and untried depila- 
tory, because it has been in use for 
over 20 years, and is the only depila- 
tory that has ever been endorsed by 
Physicians, Surgeons, Dermatolo- 
gists, Medical Journals and Promi- 
nent Magazines. 

De Miracle is the most cleanly, be- 
cause there is no mussy mixture to 
apply or wash off. You simply wet 
the hair with this nice De Miracle 
sanitary liquid and it is gone. De 
Miracle alonedevitalizes hair .which 
is the only common-sense way to 
remove it from face, neck, arms, 
underarms or limbs. Try DeMiracle 
just once, and if you are not con- 
vinced that it is the perfect hair 
remover return it to us with the 
DeMiracle guarantee and we will 
refund your money. Write for 
free book. 

Three sizes: COc, S1.00. $2.00 
At all toilet counters, or direct 
from us, in plain wrapper. 



Xttflli 



iraei 



Dept. H-32, Park Ave. and 129th St. 
New York 




FRECKLES 

Don't Hide Them With a 
Veil; Remove Them With 
Othine — Double Strength 

There's no longer the slightest need 
of feeling ashamed of your freckles, 
f^flf as Othine double strength-is guar- 
anteed to remove these homely spo'ts. 
-imply get an ounce of Othine double 
strength- from any druggist and apply a 
little of it night and morning and you should 
soon see that even the worst freckles have begun 
to disappear, while the lighter ones have vaniancd 
entirely. It is seldom that more than an ounce is 
needed to completely clear the skin and gain a beauti- 
ful clear comp.exion. 

Be sure to ask for the double strength Othine. as this is 
sold under guarantee of money back if it fails to 
remove freckles. 



Secrets of Beauty 
Parlors Revealed 



Formerly Closely Guarded Secrets, Now Yours 

We make you expert fn all branches, such as muscle strap 
mud pack, dvelng, marcel, skin work, manicuring, etc. 
Knrn * 10 lo $75 a neck. No experience necessary. Study at 
home In spnre ttmo. Earn while yon learn. Authorized 
dlplomn. Monev-hack guarantee. <lrt FKKK bonk. Orients! 
System of lleoulj Culture, Dept. 84, lOOttllivcraey HlnM'lilcogo 



den street into the semblance of a 
plaza ; dark alleyways between nar- 
row buildings breathed hints of mys- 
tery and chop suey ; inscrutable-eyed 
Chinamen grouped themselves 
around doorways, watching us with 
passive interest, and occasionally a 
Chinese woman, clad in white jacket 
and trousers, her long hair swinging 
in a single braid, slup-slupped from a 
lighted doorway into a gloomy alley- 
way and was swallowed up in the 
darkness like a white moth in thick 
smoke. 

But James Wang himself seemed 
strangely out of keeping with his sur- 
roundings. He was dressed as would 
be any Occidental tired business man 
on a hot night. His shirt was collar- 
less, and his sleeves were rolled up 
to the elbows, his feet were shoved 
carelessly into house slippers of am- 
ple size, but they were not Chinese 
slippers, I noticed. 

He welcomed us with an easy cor- 
diality and called for chairs to be 
brought to us. His voice has none 
of the inflection of the Chinese, his 
vocabulary is an extensive one, and 
it is only occasionally that a slight 
slip of grammar or the clipped end- 
ing of a word betrays the fact that 
America is not his birthplace. 

His kindly yellow face, however, is 
strictly Chinese in its aspect of pro- 
found calmness. His hair is thick 
and black, and his thumb nails, I 
noticed, were fully half an inch long. 

"I am lazy, these days," he said, 
leaning back in his chair once more. 
"I should be working at the Ince 
studio, but it is too hot. I don't 

have to work, and so " He 

waved his hand in unspoken conclu- 
sion, and the group of Chinamen 
near by whispered sibilantly to each 
other. They were doubtless remark- 
ing to each other in pure Cantonese: 
"Gosh, the luck of some people !" 

"You have been in pictures quite 
a while, Mr. Wang?" I queried, and 
he stroked his hair with a gesture 
which seemed habitual to him. 

"Yes, a long time," he answered. 
"I was in some of the first motion 
pictures made in Chicago and New 
York many years ago. I have been 
in this country for forty years," he 
volunteered further. 

"I went to college in Chicago, and 
after that I went on a lecture tour 
in which I used stereopticon slides 
showing life in China. Then I got 
into motion-picture work, and I have 
stayed with it ever since." 

James Wang is the man who 
helped Griffith make the perfect 
presentation of the Chinese quarter 
in Limehouse in "Broken Blossoms." 



He also took the part of the Bud- 
dhist high priest who sent the Yel- 
low Man to America to convert the 
heathen Christian. He was one of 
the technical directors for "The Red 
Lantern," and interpreted the com- 
mands of the„di rec tor to the mob of 
five hundred coolies who stormed the 
palace in the Boxer revolution scene. 

"But most of all," he said smiling 
widely, "I am a villain. I have 
played in many serials, the last one 
with Tony Moreno, 'The Unforeseen 
Hand.' I was also with William 
Duncan, and I played with Louise 
Glaum in 'The Lone Wolf's Daugh- 
ter.' " 

A Chinese dog trotted out of an 
alleyway and sniffed the air suspi- 
ciously. That he didn't like the 
Christian smell I am sure, for he 
barked vigorously and continuously, 
and the Celestials listening in on our 
conversation spoke to him in terms 
of rebuke, but he barked on. We 
didn't look or smell to him like or- 
thodox Chinese. Then James Wang 
hurled at the Oriental cur a series 
of virulent singsong syllables, and 
the dog subsided without a single 
woof and trotted away in a subdued 
manner, which left no room for 
doubt as to what a great man Wang 
is in his own section of the city. 

However, it is not in acting or 
even directing that James Wang has 
made himself so very valuable to 
the cinema industry. It is through 
him that Oriental types are secured 
for pictures, whether the actors 
wanted are Chinese babies, half 
grown girls, or old men. He knows 
them all, knows where to find them, 
and the proper price which each 
should ask for his services. He is 
also invaluable as a criterion of 
Chinese customs and manners, and 
the director who appeals to Wang 
for assistance in an Oriental feature 
is sure of expert advice. 

We were ready to agree with 
Chinatown that James Wang was 
some potentate, but it takes a female 
of the species to destroy illusions. 

The white-jacketed woman who 
had been swallowed up in the alley- 
way suddenly reappeared. She 
flitted behind James Wang's chair 
and. in passing, tweaked his ear and 
gave his thick hair a playful tug. 

"Hello, Jimmy !" she said famil- 
iarly. The Chinese group offstage 
chattered at one another in horror. 

James Wang may be and most 
certainly is an important factor in 
studio life and a mighty mandarin in 
Chinatown, but his dignity is not in- 
vulnerable — as it took a woman to 
discover. 



Advertising Section 



103 




Phyllis Havar, Lovely Comedy Star, uxct and neommcnda Maybeliino 

BEAUTIFIES EYES INSTANTLY 

More than all else, well defined eyebrows and luxuriant 
lashes create the beauty and expression of your face. The 
Blight darkening:, the accentuation of line and shadow, id 
the secret, distantly and unfailingly the eyes 
appear larger, deeper and more brilliant. 
"MAYBELLINE" makes scant eye* 
brows and lashes appear naturally 
long and luxurious. Used regularly 
by beautiful girls and women every- 
where. Unlike other preparations, 
will not spread or smear on tho face. Per- 
fectly harmless. Each dainty box contains 
KRror and brush for opDlyinir. Two shades. 
rovm fgr&londrs, filaek for Brunettes. 
75c AT TOUR DEALER'S or direct from 
us. Acecpton]yR«nuino"MAYBELLINE" 
and your satisfaction Is assured. 

MAVBELL LABORATORIES 
4305»47 Grand Blvd. CHICAGO 




Don't Wear 
a Truss 

Brooks' Appliance, the 

modern scientific invention.the 
wonderful new discovery that, 
relieves rupture, will be sent 
on trial. No obnoxious springs! 
or pads. 

Brooks' Rupture Appliance 

Has automatic Air Cushions. Binds and 
draws the broken parts together as you would 
a broken limb. No salves. No lies. Durable, 
cheap. Sent on trial to prove it. Protected by 
U. S. patents. Catalog and measure blanks 
mai'ed free. Send name and address today. 
Brooks Appliance Co., 215-1) State St, Marshall, Mich. 




MR. C. E. BROOKS 




Bypsy Dream 



and Modern Fortune Teller 

Have our DREAM Book at your 
bedside to interpret your dreams 
and conduct the business of the 
day according- 
ly. Know thy 
future. Will 

you be successful in 

I,ove, Marriage, Health* 

or Business. 

Tellsfortunesby Cards 

Teacup, Palmistrv.etc. 

Gives I^ucky and Uu- 

lucky days. Tell your friends'l 

Fortunes. By mall. 10 Cents.! 
UNIVERSAL DISTKIBUTOR8 

Dept. 439, Stamford, Conn, 





IT IS TO LAUGH! 

She's all dolled up and looks like she has a hlack eye. 
HER MAKE-UP RAN. Can't happen if you use Wm. 
J. Brandt's Bed Fox Llnuid C0L-Y-BR0W. For eye- 
brows and eyelashes. WILL NOT RUN. Colors: Black 
and Brown. By mail $1.00. 
11(11! SPi:il\I,TV CO.. Ilepl. E. 24 K. 21, t ST.. NEW VOKK 




PLAYS 



Large List New | 
VtiudevllleActs, 

stiiKe MOnOloga ' -.— . -, 

New Minstrel OneniiiRl'lioriises 
anil Finales, Blackface After- 
pieces and Crossfire, 3Iusical 
Comedies and Kevues, Musical 
Headings Novelty Entertain- 
ments, Wigs, Beards, Grease 
Paints and other Make -up 
ILLUSTRATED CATALOGUE 
WHITE NOW. 
1. 8. DLM90S & I0„ 623 So. Wabiub, Dept, 52 CHICAGO 



An Old Friend Becomes an 
Idol 

Continued from page 84 

screen and he doesn't draw half the 
people this society stuff does. Why, 
some of his pictures are almost fail- 
ures." 

He was right then, but the public 
is beginning to change. Monte Blue's 
popularity began to jump when he I 
played the lead in Alan Dwan's "The 
Perfect Crime ;" his part stood out 
through the tawdry artificiality of 
"The Affairs of Anatol," and he 
brought a fine note of sincerity to 
Mae Murray's "Peacock Alley." 

You can find out more about 
Monte Blue from the people who 
have played with him than you can 
from himself. He is a big man who 
rather bowls you over with his sin- 
cerity and earnestness — but he sim- 
j ply cannot display his inmost 
' thoughts and characteristics to a pry- 
j ing interviewer. He would never 
tell, for instance, of the little theater 
in Thomasville, Georgia, that was 
about to close because of poor busi- 
ness when Monte Blue and the rest of 
the company making "My Old Ken- 
tucky Home" arrived on the scene a 
few weeks ago. He looked up the 
theater owner, got him to advertise 
in all the papers of the locality, and 
marshaled all the principals in his 
company to make personal appear- 
ances at the theater one night. The 
theater which was supposed to hold 
seven hundred and fifty people, held 
one thousand that night, and there 
was a thousand dollars in the treas- 
ury. And Thomasville now thanks 
Monte Blue that they still have 
movies. 

No interview with Monte Blue 
would be complete without his most- 
quoted remark. 

"Have you ever been on the 
stage?" interviewers are always ask- 
ing him. 

"Sure," he replies as though glad 
at last to be on familiar ground. 
"Why I drove the stage from Opal 
to Big Pine, Wyoming." 

And I know of no better conclu- 
sion than the farewell Mr. Griffith 
gave him when he had finished his 
part in "Orphans of the Storm." 

Mounting to the platform of the 
guillotine, Mr. Griffith took up his 
megaphone and called to the hundreds 
of actors and workmen gathered on 
the set. "Let's give three big cheers 
for Monte Blue, one hundred per 
cent man and a good all-round actor. 
And folks" — he raised one arm to 
hold back the great demonstration 
which he knew was all ready to burst 
forth, just long enough to add. "you 
know that's some combination !" 




Dr. Lawton's Guaranteed 

FAT REDUCER 

FOR MEN AND WOMEN 

Will Show Reduction Taking Place 

in 11 Days or Money Refunded 

Results conic usually in three or four days, but if 
you ii» not sec positive reduction taking place in 
11 days (the full trial period) return the Reducer 
at once together with the instruction book that ac- 
companied it and your $5 will be refunded. Dr. 
Lawton, shown in picture, reduced from 211 to 
1~*'2 pounds in a very short time. The Reducer is 
not electrical; made of soft rubber and weighs but 
a few ounces. Whether you are 10 or 100 pounds 
overweight you can reduce any part you wish 
quickly, safely and permanently by using Reducer 
a few minutes night and morning. By a gentle 
manipulation the Reducer breaks down and dis- 
integrates fatty tissue which becomes waste matter 
and is carried out of the system through the organs 
of elimination, thereby the blood circulation is Im- 
proved. For years Dr. Lawton's Fat Reducer lias 
been successfully sold and is used by thousands. 
It is ENDORSED RY PHYSICIANS and its use 
requires no dieting, starving, medicines or exercise. 
Sold generally by druggists everywhere or will be 
sent direct to your home in plain wrapper upon 
receipt of $5 plus *J0c to cover cost of Parcel Post 
and Insurance. ($5.20 in nil.) 

Send for your Fat Reducer today. Remember it 
is guaranteed. 

DR. THOMAS LAWTON 
120 W. 70th St. Dept. 186 New York 



La Goutte - a - Goutte 
RESTORES Ha E GRAY HAIR 

Gray, faded, streaked 
or lifeless hair restored 
to nny shade in one 
application. Does not 
discolor scalp, fade, nor 
rub off on the pillow. 
Males a fatting, rich, 
lovely color. No after 
shampoo necessary. 
You can apply it in the 
privacy of your own 
home in a few minutes. 

Anyone of 32 shades given from ONE package. 

$1.67 postpaid. Order direct, or 

Send me a Little Lock oi Your 
Hair-F 11 color It Without Charge 

Cut it close to head and say what color you wish. 
I have helped thousands of ladies with dandruff, 
oily or dry scalps, falling hair, getting bald. etc. 
Write fully. No charge for frank opinion. 
"SECRETS of BEAUTY," my new booklet, 
mailed free on request, 

L. PIERRE VALLIGNY, Room 98, No. 34 West 58th St., New York 





If You Can Tell it from a 

6ENU1NS DaAMONDSoidirbacK 

■To pr-ivo onrb!i:c-wliito MEXICAN DIAMOND cannot be told from 
la R10NU1NK DIAMOND anil h:ia t-amu DAZ/XINlJ KAINIIOW 

■ FiltU, we wi'l noncl aci-lectcil 1 canit (wm in ladies Solitaire Rinir, 
DfRat. price $5.2Ci for Call Prtco to Introduca. S2.63. or in Rents 

■ Heavy Tooth l^khcr l:irn: a'.-.t.. \\i<-<- ^ij.ino I'm- S3. 25. Ourfinest 
I lL'l: RoM Killed motintiniM. RUAUANTi.KH :M YEARS. FEND NO 

■ MONEY. Just maH poHtcardort!ii::;i.]. K.at.r Size. Wo will mail at 
■once. Whon rinfT arnvi*a deposit $'.'.6U for Ladies rinfr or $3.25 for 
If Rent* with postman. Ifnotpleasi-dr- turn in iidnya for money back 
■less handling chars cs. Write for Freo catalog. Accnta Wanted 

IMEXICAN DIAMOND IMPORTING CO.. Depl.CD.lasCnjces.N.MeK. 

H (Exclusive controllers Mexican Diamonds) 



104 



Advertising Section 




Hose Supporter 



Equipped with our famous 
Oblong ALL-Rubber Button 

clasps, hold the stockings 
in place securely — and 
without injury to the most 
delicate silk fabric. 

Make sure that Veloel 
Grip SEW-ONS ate 
on your favorite corset 

Velvet Grip Hose Supporters 
for All the Family 

Are Sold Everywhere 
Made by tbe George Frost Company. Boston 



o4 e Dancer f s Charm 

lies in graceful freedom of beautiful 
shoulders and arms. In wearinc this 
season's sheer waists and low gowns 
your charm also is enhanced by 
natural freedom of arms. 

DEL-A-TONE 

is a well-known scientific preparation 
for removing hair from neck, face 
and under-arms. 

It is safe and sure, leaving the 
ekin clear, firm and perfectly 
emooth. Easy to apply. 
Druggists sell Dclatone, or an 
original 1 oz. jar will be mailed 
to any address on receipt of ft. 

SHEFFIELD PflARNACAL CO. 

DepL N, 339S.W»b.sb Ave.,CMcigt> 



Easy to Play 

Easy to Pay 



Saxophone Book Free 



Tells when to use Sax- 

opbonc— buikI> , i-i nc.v 
tettes or in rvxular 
band; how to tmnt» 
pose cello part* fn 
crchenira and many 
Other things yo 
would liko to 
know. 



■ Ea<=i 



True-Tone 

Saxophone 



iest of n II v/i nd instruments 
to play undone of the must beau- 
tilul. You can learn the Bcale 
in an hour's practice and play 
popular music in a fewwteks. 
You can take your place in a 
band within 90 flays, if you so 
desire. Unrivalled for home 
entertainment, church, lodjreor 
school. In bit; demand for or- 
chestra dance music. Tbe por- 
trait above is of Donald Chirk, 
Soloist with tiie famous Paul White- 
man 'b Orchestra. 



I tiucscher Instrument 
without paying one cent in advance, and try 
it six days in your own home, without obliga- 
tion. If perfectly satisfied, pay for it on easy payments to 
suit your convenience. Mention the instrument interested 
tn and a complete catalog will he mailed free. 

BUESCHER BAND INSTRUMENT CO. 

Makers of Everything In Band and Orchestra Instruments 

2434 BUESCHER BLOCK ELKHART, INDIANA 




What the Fans Think 



Continued from page 70 



judge," I should like to ask her if she 
happens to know that it has been recently 
ascertained — scientifically — that the aver- 
age intelligence of the American public is 
that of a thirteen-year-old? That is why 
the exhibitors in the trade papers report 
the trashiest of serials as drawing packed 
houses, and pictures which might be the 
redeemers of the screen, such as'*Brokcn 
Blossoms" and Tourneur's "Blue Bird" — 
which all critics praise — as financial fail- 
ures. 

In her last paragraph Mrs. Scott says: 
"The best critics are not trying to uplift 
public taste, but simply to express their 
honest opinion." 

Most critics, especially the best ones, 
are too modest to avow patronizingly 
iheir educative mission. But all criticism 
should be helpful, not only to the artist, 
but also to the audience. A critic can, I 
admit, do no more than point the way — 
theatergoers must do the rest. A writer 
who takes "Stella Maris" and says of 
it that "Mary Pickford's fans will never 
again be satisfied with any picture of 
hers in which she is not given an oppor- 
tunity to act" is, to my mind, really aim- 
ing to uplift popular taste. 

Maurice Castleton. 
St. Louis, Missouri. 

Two Opinions About the Ideal Girl. 

May I offer some comments on "Is 
Our Ideal Girl in the Movies," appearing 
in the February number of your excel- 
lent magazine? I can quite agree with 
Mr.' Stanlaws that there surely is no 
one star who embodies all of our ideals. 
One also may be pretty safe in assuming 
that few. if any, American girls embody 
all of them. 

Mr. Stanlaws is quoted : "To me the 
one star on the screen who carries the 
air of refinement is Elsie Ferguson." 
And in this I disagree with him. Has he 
observed Ethel Clayton ? She is surely 
the gentlest, the most refined girl on the 
screen. 

While no single star embodies all the 
traits and characteristics and qualities of 
our "ideal" American girl, nearly every 
one of them can be found almost as pre- 
dominant in different stars. Take Ethel 
Clayton for gentility and refinement : 
Madge Kennedy for simplicity, original- 
ity, and sinccritv : Helenc Chadwic'c for 
youth ; Dorothy Dalton for vitality; Gloria 
Swanson for conscious power — right royal 
is she! — Alice Brady for suffering (she 
registers pain with more pathos than any 
other) ; Mac Marsh for sympathetic un- 
derstanding; Wanda Hawley for irrcspon- 
sibilitv; Bebe Daniels for sauciness; Lil- 
lian Gish for sweet constancy, and Betty 
Compson for beauty. 

A movie fan might go right down his 
list of favorites, naming every one for 
the quality that attracted him — and he 
would probably get such an ideal girl as 
has not yet been nroduccd. 

In concluding I would suggest that the 
"Tfect ideal ^'oiild be one of nature's 
crudest tragedies. What would be done 
with bc>-? I. W. B. 

106 West Forty-seventh Street, New 
York Citv. 



What an uncomplimentary and critical 
narrative Mr. Penrhyn Stanlaws gives 
forth in his declaration of the ideal Amer- 
ican girl as reported by Barbara Little in 
your February issue ! 

In the first place, to he ideal would be 
perfection itself, and we do not expect to 



find absolute perfection very often on the 
screen or anywhere else. 

Xow I think that we can all have our 
ideals whether we arc rich or poor ; but as 
for being ideal, I would hate to believe that 
airy one in this generation had reached 
that stage. 

While it is perfectly true that schools 
and colleges do their utmost to produce 
line women, they do not create personal- 
ity. That is partly a gift, and partly the 
result of effort on the part of the indi- 
vidual. Whether she is a princess or a 
street gamin she can have attractive qual- 
ities. Environment cannot suppress per- 
sonal growth. And as for being reserved, 
that is not characteristic of the American 
girl. Her manner is free and unreserved, 
like the code of her country. That is 
why is she is loved so well. Reserve is 
a typical English trail, not American. 

And how does Mr. Stanlaws account 
for the fact that Lillian Gish has sweet- 
ness, tenderness, and mercy, when he 
admits no personal acquaintance with her, 
and yet declares that it is a girl's person- 
ality that makes her ideal, and not her 
outward appearance ? 

On the whole, 1 am sure that a great 
many will agree with me in saying that 
the ideal American girl, in a reasonable 
sense, is in the movies, and is just as 
charming there as in any other branch 
of life. 

Mr. Stanlaws' ideal American girl 
would make a charming cover for a 
magazine, but, practically speaking, I fear 
she would be a failure at life. 

It may he l>cst to mention the fact 
that I am an American and was born 
and brought up in the State of Massa- 
chusetts. An American Fan. 

Wcstmount, Quebec, Canada. 

Three Cheers for Valentino! 

I have just read in your January Pic- 
ture-Pi.ay a criticism about Rudolph 
Valentino's acting in "The Sheik." and 
I think it is unjust to Mr. Valentino. 
I think he was perfect in the role of 
"The Sheik." and I am one of the many 
that had no fault to find with him. He 
was the ideal man for that role, and 
played the part as only Rudolph Valen- 
tino could. Believe me. I am here to 
tell you that I saw "The Sheik" three 
times while it was in this town. 

Come on, every one, be truth ful ! You 
know he is the best actor yet, and I say 
may fame be his for many years to 
come. A Rcdolph Valentino Fan. 

Wilmington, Delaware. 

The Star and Author Again. 

Under the heading "Tastes in Heroes 
Differ" in the January issue of your very in- 
teresting magazine, a correspondent from 
Connecticut says, "It is my opinion that 
the star's name is a bigger drawing card 
than (he author's. I wonder how many 
thousands of people will go to see 'The 
Conquest of Canaan,' not because the 
title appeals to them, nor because it is 
by -a well-known author, but simply be- 
cause Thomas Meighan is in it, and they 
are sure to enjov seeing him — so big and 
strong and smiling." 

I admit that in all probability the 
argument of this correspondent is cor- 
rect to a great extent ; but, on the other 
hand, there are also thousands of per- 
sons like myself who enjoy the works of 
certain authors and, in consequence, are 
eager to see their favorite books filmed. 

Continued on page 106 



Advertising Section 



105 



CLASSIFIED ADVERTISING 



Agents and Help Wanted 

BE A DETECTIVE. Excellent opportunity, 
(rood pay, travel. Write C. T. Ludwig. 4,'iG 
Westover Building. Kansas City, Mo. 

MEN — Age 17 to 55. Experience unneces- 
sary. Travel : make secret investigations, re- 
ports. Salaries : expenses. American Foreign 
Detective Agency, 114, St. Louis. 

$10.00 WORTH of finest toilet soaps, per- 
fumes, toilet waters, spices, etc., absolutely 
free to agents on our refund plan. Lncassian 
Co., Dept. 427. St. Louis. Mo. 

SHIRT MANUFACTURER wants agents to 
sell work and dress shirts direct to wearer. 
Big values. Exclusive patterns. Free samples. 
Madison Mills. 503 Broadway, New York. 

DETECTIVES EARN BIG MONEY. Travel. 
Excellent opportunity. Experience unneces- 
sary. Particulars free. Write, American 
Detective System, 10G8 Broadway, N. Y. 

WE START YOU IN BUSINESS, furnishing 
everything; men and women $30 to SI 00 
weekly operating our "Specialty Candv Fac- 
tories" anywhere. Booklet free. W. ilillyer 
Ragsdale. Drawer 29, East Orange, N. .1. 

BIG MONEY AND FAST SALES. Every 
owner buys gold initials for his auto. You 
charge |1.50, make $1.35. Ten orders daily 
easy. Write for particulars and free samples. 
American Monogram Co., Dept. 170. East 
Orange. N. J. 

AGENTS, $00 to $200 a Week. Free Sam- 
ples. Gold Sign Letters for Store and Office 
Windows. Any one can do it. Big demand. 
Liberal offer to general agents. Metallic Let- 
ter Co., 431T N. Clark St., Chicago. 



SELL vest-pocket windshield cleaner : chem- 
ical-felt works wonders ; one rub keeps glass 
clear 24 hours. Smoote sold 2000 in 4 days. 
Security Mfg. Co., Dept. 504, Toledo. Ohio. 

THOSE OUT OF EMPLOYMENT or wish- 
ing to increase present income, communicate 
with Chautauqua Commercial Agencv, James- 
town, N. Y. 

BE A RAILWAY TRAFFIC INSPECTOR! 
$110 to $250 monthly, expenses paid after 3 
months' spare-time study. Splendid oppor- 
tunities. Position guaranteed or money re- 
funded. Write for Free Booklet CN-28, Stand. 
Business Training Inst., Buffalo, N. Y'. 

BE A DETECTIVE or Finger Print Expert. 
Excellent opportunities. Write Wagner, 180 
East 70th, New York. 

AGENTS WANTED to advertise our goods 
and distribute Free Samples to consumers. 
90 cents per hour. Write for full particulars. 
American Products Co., 5729 American Bldg., 
Cincinnati, Ohio. 

MEN, WOMEN : $40.00 TO $150.00 Weekly. 
Become writers of Advertising, booklets, cir- 
culars, folders, letters. Previous experience 
unnecessary. Splendid income while learning. 
Prepare in short time. Write for full partic- 
ulars. Applied Arts Institute, Dept. 127, 
Witherspoon Bldg., Philadelphia. 

$138-$192 MONTH. Become Railway Mail 
Clerks. List positions free. Write today 
sure. Franklin Institute, Dept. B-2, Roches- 
ter. N. Y. 

FIREMEN, Brakemen. Baggagemen, Elec- 
tric Motormen, conductors, Sleeping car and 
train porters (colored i. Railroads every- 
where $140-$200. 915 Railway Bureau, East 
St. Louis. 111. 

START Little Mail Order Busines any- 
where. Home employment evenings. Every- 
thing furnished. Send 10 cents for Mail 
Order Samples and Instructions. Charles 
Williams, 72 Cortlandt Street, New York. 

Help Wanted — Female 



$0 — $18 a dozen decorating pillow tops at 
home, experience unnecessary: particulars for 
stamp. Tapestry Paint Co.. 110, LaGrange, 
Ind. 

WOMEN— GIRLS. Become Millinery De- 
signers. Earn $125 month. Sample lessons 
free. Write immediately. Franklin Institute, 
Dept. A-822. Rochester, N. Y. 



Shorthand 



SHORTHAND— Best practical system, learn 
in 5 hours : speed with easy practice. Proof 
lessons, brochure free. King Institute. EB-26, 
Station F. New York. 



Songs, Poems, Etc. 



Stammering 



ST-STU-T-T-TERINO And Stammering 
Cured at Home. Instructive booklet free. 
Walter McDonnell. 80 Potomac Bank Build- 
ing, Washington, D. C. 

Short Stories and Photoplays 

FREE to writers — a wonderful little book 
of money-making hints, suggestions, ideas ; 
the A B C of successful Story and Movie 
writing. Absolutely Free. .lust address 
Authors' Tress. Dept. 89. Auburn. N. Y. 

WRITE News Hems and Short Stories for 
pay in spare time. Copyright Book and plans 
tree. Press Reporting Syndicate (400). St. 
Louis. Mo. 

WRITE PHOTOPLAYS: $25— $300 paid 
any one for suitable ideas. Experience un- 
necessary : complete outline Free. Producers 
League. 439 St. Louis. 



WRITERS! Stories, Poems. Plays, etc.. are 
wanted for publication. Literary Bureau, 175, 
Hannibal Mo. 

PHOTOPLAYS WANTED for California 
Producers; also Stories. Submit manuscripts, 
or. if a beginner, write for Free Plot Chart 
and Details. Harvard Company. 500. San 
Francisco. 

AMBITIOUS WRITERS of Photoplays, 
Short Stories, songs. poems. newspaper 
articles, send today for Free helpful book- 
let. "Successful Writing." Writer's Digest, 
SG05 Butler Bldg., Cincinnati. 



WRITERS: MANUSCRIPTS REVISED; 
markets suggested. $1 per thousand words. 
Author's Bureau, West Webster, N. Y. 

AUTHORS: FREE BOOK on Photoplay 
writing anil marketing. Successful Photo- 
plays. Box 43, Des Moines, la. 



Farm Lands 



LANDSEEKERS! Opportunity awaits you 
in Michigan. 20, 40. 80 acre tracts only $15 
to $35 per acre. Very easy terms. Investi- 
gate. Write today for Free booklet. Swigart 
Land Co., N-12G5, First Natl. Bank Bldg., 
Chicago. 



Patents and Lawyers 

INVENTORS desiring to secure patents 
should write for our guidebook "How To Get 
Your Patent." Send sketch or description for 
our opinion of its patentable nature. Ran- 
dolph & Co., Dept. 412, Washington. D. C. 

PATENTS. Highest references. Rates rea- 
sonable. Best results. Promptness assured. 
Booklet free. Watson E. Coleman. Patent 
Lawyer. 024 F Street. Washington. D. C. 

PATENTS. Trademark. Copyright, fore- 
most word free. Correspondence solicited. 
Results procured. Charges reasonable. Write 
Metzger, Washington. 

INVENTIONS WANTED. Cash or Royalty 
for ideas. Adam Fisher Mfg. Co., 223. St. 
Louis. Mo. 

INVENTORS: If you have an invention 
and don't want to spend unnecessary money 
in securing a patent, write to Inventors & En- 
gineers Consulting Co.. P. O. Box 344. Wash- 
ington. D. C. 



PATENTS. Write for Record of Invention 
Blank and free guide book. Send model or 
sketch and description for free opinion of its 
patentable nature. Highest references. 

Prompt Attention. Reasonable Terms. Victor 
J. Evans & Co. 707 Ninth. Washington. D. C. 



WRITE A SONG POEM. Love, Mother, 
Home, Comic or any subject. I compose mu- 
sic and guarantee publication. Send words 
today. Edward Trent. 025 Reaper Block, 
Chicago. 

HAVE YOU SONG POEMS? I have best 
proposition. Ray Ilibbeler. D102, 4040 Dick- 
ens Ave., Chicago. 

SONGWRITERS! Learn of the public's 
demand for songs suitable for dancing and 
the opportunities greatly changed conditions 
offer new writers, obtainable only in our 
"Songwriters Manual & Guide" sent free. 
Submit your ideas for songs at once for free 
criticism and advice. We revise poems, com- 
pose music, secure copyright and facilitate 
free publication or outright sale of songs. 
Knickerbocker Studios, 304 Gaiety Bldg.. New 
York. 

WRITE THE WORDS FOR A SONG — We 
revise poems, compose music and guarantee 
to secure publication on royalty basis by a 
New York music publisher. Our Chief Com- 
poser and Lyric Editor is a song-writer of 
national reputation and has written many 
big song-hits. Millions of copies of his songs 
have been sold. You can write the words for 
a song if you try. Do so now. Submit poems 
to us on any subject. Send today. Do not 
delay. Broadway Composing Studios. 159C 
Fitzgerald Building. New York City. . 

WRITE the words for a song. Submit 
your song-poems to us. We have the best 
proposition. Investigate our plan before you 
sign a contract. Our Chief of Staff wrote 
the Greatest Ballad Success of All Time. 
Millions of copies of his songs have been 
sold. Bell Studios. 1490 Broadway, Dept. 
700, New York. 

WANTED — Original Ideas for songs. Send 
for our free booklet, "Mow You Can Write 
The Words For a Song." Leo Friedman, 
"Composer To The American People." com- 
poser of such songs as "Meet Me Tonight in 
Dreamland." "Let Me Call You Sweetheart." 
Dreaming of Old Erin." etc.. is our chief com- 
poser. The sales of his songs have run into 
the millions. Submit ideas or song poems for 
free criticism anil advice, on any subject. 
We compose music, secure copyright, and 
print. The Seton Music Company. Suite 109. 
920 S. Michigan Ave., Chicago, Illinois. 



Automobiles 

AUTOMOBILE Owners. Garagemen. Me- 
chanics. Repairmen, send for free copy of our 
current issue. It contains helpful, instructive 
information on overhauling, ignition trou- 
bles, wiring, carburetors, storage batteries, 
etc. Over 120 pages, illustrated. Send for 
free copy today. Automobile Digest, 530 But- 
ler Bldg., Cincinnati. 

AUTO OWNERS WANTED to use and in- 
troduce our new 0.000 and 10.000 Mile Guar- 
anteed Cord and Fabric Tires. Make big 
money, part or full time. Free Tires for your 
car. Write quick for special ageuts offer and 
low wholesale prices. It will pay you to 
answer this little adv. now. Reliable Tire 
& Rubber Co., 35th St. & Michigan Ave., Dept. 
350, Chicago, III. 

Personal 



YOUR HOROSCOPE covering full year 35 
cents. Includes extensive reading, valuable 
daily guide, large pictorial chart, and special 
forecasts for each month. Scientific, com- 
plete. Try it! Money back if dissatisfied, 
(live birthdate. Address C. Daniels. Flatbusli 
Station. Box 32, Brooklyn, N. Y. 

A'STROLOGY. Send dime and birth in- 
formation for reliable scientific test to Plato, 
oldest astrologer. Box 102. Buffalo, N. Y. One 
year's future one dollar. 



DO You want success? To win friends 
and be happy? Wonderful results. "Suc- 
cess" key and Personality sketch for 10c and 
birthdate. Thomson-IIeywood. 300 Chronicle 
Bldg.. San Francisco. 



ASTROLOGY— Stars tell Life's Story. Send 
birth date and dime for trial reading. Eddy, 
Westport St., 33 — 74. Kansas City. Missouri. 



N24$396 



N°l$2§* 



NQ2$3-t8 N°3$457 



^GETTHIS WONDERFUL RING. IF YOU CAN TELL IT FROM A GENUINE DIAMOND SEND IT BACK% 

These amazing, beautiful CORODITE diamonds positively match genuine diamonds in every way — same glitter, 
flash and dazzling play of living rainbow fira. They, alone, stand the diamond tests, including the terrific 
j acid test. Kvun lifetime iltainonci experts need nil their experience to see any dtfEoMMS, That's why people who can take 
r Corodite diamonds and are proud of them. _ Provo this yourself. Solo Importers of Genuine Corodito Diamonds. 

All 1 carat size nnd the mountings arc beauties of thi 



I Wear a Corpdite Diamond 10 DAYS FREE 

Make thin test- You risk nothing. Wear a Genuine Corcdito 
and a diamond side by aldo on the sam_ finger for 10 days. If 
| yuu or your friends ran tell the difference, return the Corodite. 
' uiwon'tbeoiitasinclc penny. If you decide to keep the rinsr, 
a price printed here is all you pay. No installment catches. 
) Itemi'mbcr, only Corodites h:ive exactly the same cutting, as 
I genuine stones. Don't be deceived. Choose your ring now. 
Ho. 1 — Ladies' Tiffany Style 14K Gold S. Ring . . . . $2.84 
No, 2 Gents' Heavy Belehor 14K Gold S. Ring . . . S3.4S 
Ho- 3— Gontfc' Massive Hci-tpon Platinum Finished . . $4.27 
j ND.4 — Ladles' Carved Platinum Finished $3.96 



tatestnnd mn«t f-isnionable <I--s»j:h. Kith it GOLD 
WHITE PLATINUM finish and hear an UNQUALIFIED 20-YEAR 
GUARANTEE. Handsomo silk nnd Velvet lined art leather cose 
free with each rinjt. 

9FNn Nil MAN FY Keep your money right at home. Just 
OCnU nU inunCI Sl .„,| your name, nddn-sH ami numlx-r of 
ring wanted and size as shown by strin of paper fitting end to 
end ar»und tinker joint. Your ring will come by return mail. 
When ring arrives deposit amount shown with postman. If you 
decide not to keep ring after 10 days' wear, send it back and 
your money will bo immediately returned. Could a Fairer, 
Squnrer offer be made? SEND TODAY. 



E. RICH WINE CO., 333 South Dearborn Street, Dept. 92, Chicago, III. 



Win $2,000 




Solve This Puzzle — Win The Prize — Costs Nothing to Try 

Find the objects beginning with "B" in this picture. None are 
hidden. Largest and nearest correct list takes the First Prize. 



■THE PRIZES: 



Winniftg answers will receive prizes •■ t ollowi : 



If so sub. If 3 raea. If 6 mot. If 1 jr'« 

•eriptioa aubs'pt'n subs'pt'n euba'pt'n 

It taken Is taken ia taken la taken 

(Cost 11.26) (Cost 12.60) (CostS6) 



l«t Prize 


$50 


$500 $1000 $2000 


2nd Prize 


20 


250 


500 


1000 


3rd Prize 


10 


125 


250 


500 


4th Prize 


10 


60 


125 


250 


5th Prize 


10 


40 


75 


150 


6th Prize 


6 


25 


50 


100 


7th Prize 


6 


20 


40 


80 


8th Prize 


6 


15 


30 


60 


9th Price 


2 


10 


20 


40 


10th to 15th 


2' 


10 


20 

in Tin 


40 



Open to Everybody BSSSA 

all the objects in this picture beginning with the 
letter "B" such as baby, bonnet, bill. Win one of 
the 15 cash prizes. It's easy. Somebody's going 
to win First Prize. Why not your 

How You Can Win S2000 

Look at the wonderful prize list. If your list is 
awarded First Prize and you have subscribed to 
Woman's Weekly for three months, you get $500. 
If your answer wins First Prize and you have 
taken a six month's subscription, you get $1,000. 
But if you have taken a year's subscription, the 
First Prize would bring you $2,000. Only new or re- 
newal subscriptions sent in during the contest period 
qualify. 

t*£xt Rncv HIaiv Send fn 70Dr Hat right away. 
WW *>uav XIUfT Send a year's subscription 
(either for yourself or someone else) at the same time. 
Qualify for the $2,000 prize. 



IAny man, woman or child, living in 
America who is not an employe or 
related to an employe of Woman's 
Weekly, may submit an answer. 
There is no entrance fee. 

2 All answers must be received not 
later than office closing time, 
March 20, 1922. 

3 Write lists of words on one side of 
paper and number all words (1, 2, 
8, etc.). Write full name and address 
on each page in the upper right hand 
corner. If you have anything else to 
write, uae separate sheet. 

4 Only words that appear in the 
English dictionary will be counted. 
Do not use obsolete words. Where 
the plural of a word is used, the singu- 
lar will not be counted, and vice versa. 
5 Words of the same spelling will be 
counted only once, even though 



used to designate different objects or 
articles. An object or article can be 
named only once, 



6 Do not use compound words, nor 
words formed by the combination 
of two or more complete English 
words, where each word ia in itself 
an object. 

7 The answer having the largest and 
nearest correct list of names of 
visible objects and articles shown in 
the picture that begin with the letter 
"B* r will be awarded first prize, etc. 
Neatness, style, or handwriting have 
no bearing on the decision of prizes. 

8 Candidates may co-operate in ans- 
wering the puzzle, but only one 
prize will be swarded to any one 
household; nor will prizes be awarded 
to more than one of any group of per- 
sons where two or more have been 
working together. 
I If a contestant sends more than 



assumed name, or a pre - married 
name, then all lists of such contest- 
ants will be disqualified. If more than 
(Extra enlarged copies off Punt* Picture sent fr— on wqu— t.) 

— Copyright 1922 by Wimam Wttth ~~ " ' ~ 



one list is sent by any group who have 
co-operated in the preparation of 
such lists, then all lists of such con- 
testants will be disqualified. 
IA Three independent judges, hav* 
JL" ing no connection with Woman's 
Weekly, will judge the answers sub- 
mitted end award the prizes at the 
end of the contest, and contestants 
agree to accept the decision of the 
judges as final and conclusive. 

UTn case of tie foi any prize of- 
fered , f ul I amountof such pri ze wi 1 \ 
be awarded to each tying contestant. 
t O All answers will receive the same 
*« consideration regardleaa of 
whether or not a subscription for 
Woman's Weekly is sent in. 
| o The announcement of the win- 



ners will be printed in Woman's 
Weekly as soon as possible after the 
close of the contest. 



WOMAN'S WEEKLY, 43 1 S. Dearborn St., Dept. 1452 Chicago 



What the Fans Think 

Continued from page 104 

Some time ago I went to see "The Wise 
Fool" solely because the story came from 
the pen of Sir Gilbert Parker, and not 
because James Kirkwood — then unknown 
to me — was the star. Things Canadian, 
or French-Canadian, have always held a 
strong interest for me, and I looked for- 
ward to a delightful evening's entertain- 
ment ; but when I left the theater, it was 
in a most disgusted frame of mind and 
with a solemn promise to myself that 
no power on earth should ever again 
get me to sit through another Kirkwood 
picture. A few weeks later, however, 
1 went, though under protest, to see "The 
Great Impersonation," and within fifteen 
minutes I was mentally apologizing to 
the star for the things that I had thought 
and said in the interim in regard to his 
ability to act. 

When "The Conquest of Canaan" was 
shown here not long ago, I lost no time 
in seeing that, too, for Booth Tarking- 
ton has given me many amusing and un- 
forgetable hours; and I might say, with 
all impunity, that the "hours" I spent 
in the theater witnessing this sorry re- 
lease are unforgetable, too, because it will 
take time and a good many excellent 
pictures to efface the awful remembrance 
of it from my memory. If I had not 
felt that night, as I have felt for the 
last three or four years, that Mr. 
Meighan is capable of work much better, 
broader, and of a higher stamp than any- 
thing that he has yet done, "Canaan" 
would have successfully damned him for- 
ever in my estimation ; but now I shall 
still continue to see his pictures. 

Megan Ward. 

Box 28, Oakland Station, Pittsburgh, 
Pennsylvania. 

My! What an Experience! 

Ethel Sands? I used to envy her, but 
not any more. Emma-Lindsay Squier? 
My favorite scribe — but after all she's 
nothing but a poor calloused interviewer 
who hasn't a single thrill left in all her 
thirty-two vertebrae ! Grace Kingsley, 
Harriet Underhill — Fanny the Fan — de- 
licious little person — what have they on 
me? Nothing! And I wouldn't change 
places with any of them ! 

For with mine own two eyes I have 
seen the ethereal Lillian and gazed and 
gasped and gazed at the adorable Doro- 
thy, and thrilled as only a fan can thrill 
at her first glimpse of a real honest- 
to-gosh movie star! 

That's why I wouldn't change places 
with any of the aforementioned. 

It happened at the first showing of "The 
Two Orphans" in tny hitherto despised 
home town, w : th the great D. W. there 
himself, and the "Two Orphans" both in 
the abstract and concrete, as it were. 

During the intermission Mr. Griffith 
made a short speech. I hate to confess 
it, but a little disillusionment set in. To 
me he seemed very, very theatrical, and I 
could hardly suppress a giggle when _ he 
commenced in a deep, sonorous voice, 
"Ladies and Gentlemen" — drawlingly — "it 
gives me gr-r-r-eat pleasure" — et cetera. 

But Lillian and Dorothy, when they 
walked upon the stage at the end of the 
performance were all that I wanted them 
to be. They came on hand in hand, 
shyly — Lillian leading her sister — and. oh, 
absolutely adorable, both of them ! Sim- 
ple little frocks, set off by enormous col- 
lars and cuffs, flat natent-leather slip- 
pers — movie stars? Rather not! Two 
boarding-school misses ! 

Lillian gave the credit for her success 





GLORIA SWANSON 
Cecil B. DcMUle Artcraft I'laucr 



WALLACE KI.II> 
Paramount Star 



Hermo "Hair-Lustr" 

(Keeps the Hair Dressed) 

For Men, Women and Children 

The hair will stay dressed after Hermo "HAIR- 
LUSTR" has been applied. No more mussy. untidy 
looking hair. Adds a charming sheen and luster, insur- 
ing the life and beauty of the hair. Dress it in any 
of the prevailing styles, and it will stay that way. 
Gives the hair that soft, glossy, well groomed appear- 
ance so becoming to the stars of the stage anil screen. 
Guaranteed harmless, oreaseless and stainless. 

50c and $1.00 

$1 size contains six months* supply 

Dafnty women love Hermo 's feel and look. Careful men arc 

never without its nicl to smart iipjionrnnce. Dress yoi.r hair as it 
looks hi-st: if the finishing touch is a few diojis of Hermo 
" HA1K-LUSTR " it will always keep it perfectly In place 
through work and play. Your hair is bound to excite admiration. 

Wc will send it direct prepaid upon receipt of price. Use it 5 
days; if dissatisfied, return it. Remember, your money back if 
dUsatigJied. 

HERMO CO., 542 E. 63rd St.. Dept. 82. CHICAGO 




Makes More Than 

$200/^A DAY 




DAZZLING 
BRILLIANT 
SPARKLING 



DIA-GEMS 



WEAR ONE 15 DAYS FREE 

x Yonr money back if yon can tell it from a 

^diamond. DIA-GEMS arc guaranteed ah' 

^solutely perfect, like blue-white di;;- 

^monds. They stand all diamond tests. 

t Brilliancyftunrantecdeverlastinrr. 

Set in Solid Gold Kings. You 

t i^W friends will think it is an eX' 

M^Wpervivc blue -white dia- 

1 ' ''^^- mond. Make the test 

on your own hand 

for 1 6 days free 

DIA-GEMS are 

full of fiery 

Select ^(kSKJV MtoB?/**^i i, SSSV B Porkle 
rini:. f:i"-^'^K^# W J0/f' .'?/^t^S^Sh. O r d e 
linger Fize^jSSSga^JiTjJj^^f^J^^^. yours 
and address. 
We'll send 
OIA-GEM about 
one carat by parcel 
post. Deposit only 
$4.00with postmaster. It 
isonlyadeposit.nota pay- 
ment. Wear our valuable DIA< 
GEMrinjrl5days. Youassume 
no rink. If satisfied, pay only S2.00 n 
month for six months Your money back 
if not satisfied. 
DIA-GEM CO., Oiv.571 .World Bide., H.Y. 



for six drawings a week — more than $SO,000 
a year! Briggs, Smith, Darling, and many 
others get immense incomes from simple car- 
tooning and illustrating ideas. 

These men and more than 60 others of 
America's leading illustrators and cartoonists 
comprise the Federal Staff. 

If yon have talent for drawing, capitalize 
your ability. Make it earn big money for 
you. Be successful by learning drawing from 
artists who have achieved fame and fortune. 

SEND FOR OTJB FREE BOOKLET— "A 
Road to Bigger Things." Rend of opportuni- 
ties in the art world. Learn how you can 
quality. Your name, address and age together 
with (>e in stamps to cover postage, will bring 
this book. 

FEDERAL. SCHOOLS, Inc., 
422 Federal Schools Building, MINNEAPOLIS. MINN. 



Advertising Skction 

1 to Mr. Griffith, very prettily, while Doro- 
i thy stood by, her hand stroked by her 
I sister, shy, and head down. At the con- 
clusion of Lillian's little speech she 
(Dorothy) fairly dragged her off with 
that funny little walk of hers we see on 
the screen. I, for one, clapped until my 
hands stung! 

Home? I should say not! We dashed 
wildly down to the stage door, where wc 
found a perfect mob of girls, waiting 
patiently. And then — there they were — 
outside — and I was walking right beside 
Dorothy, with Lillian in front ! Oh, 
fans ! ain't it a grand and glorious feel- 
ing? I'm so glad I'm still at the crush- 
able age ! 

Lillian, in an enormous fur dolman 
of some sort, was walking before us, 
with a big chap whom we knew to be 
the minister she knew as a child, on one 
side, and a mere infant in long trousers, 
on the other. Who he was I don't know, 
but 1 could cheerfully have annihilated 
him at the time. 

Dorothy, in a short squirrel cape, be- 
side vie (cross my heart!) with a lady, 
whose arm she was clutching desperately. 
The girls had her completely surrounded, 
while Lillian was marching freely on 
ahead. Of Lillian they were all some- 
what in awe, and merely gazed ador- 
ingly — but Dorothy, she of the funny 
grimace and pigeon-toed feet — they fairly 
mobbed her! 

"Goodness !" she laughed. "I feel like 
the Pied Piper!" 

And I, to Lillian, "Please, Li — I mean 
Miss Gish — may 1 look at you?" Per- 
fectly idiotic, but I simply had to see 
her, and it was dark. The big gentleman 
laughed and said. "Come right ahead ! 
I know how you feel.'' And 1 came, and 
stared adoringly, and the complimentary 
words that should have come gushing 
forth just stuck, and I felt like two pen- 
nies out for a walk ! At last I managed. 
"Oh, Lillian, it's so perfectly wonderful 
to see you!" in what I'm sure was a calf 
voice. But she understood, and laughed 
and asked how I liked the picture and 
— oh, what's the use ! It happened three 
weeks ago, but I'm not rational yet ! 

How do they look? Why, Lillian is 
her exact screen self, with wonderful 
eyes and the ct ceteras. But Dorothy is 
not chubby. She's slender, and not the 
Dorothy of the screen. Perhaps it was 
the absence of her wig. 

We marched them up to thei: hotel, 
where they said "Good night," and we 
managed to staff r home. I adore them 
madly. 

The picture itself? Why — good, of 
course. All D. W.'s pictures are that. 
Monte Blue is perfectly splendid, and my 
young sister lost her heart to the hand- 
some Joseph (who. by the way, all pre- 
dictions to the contrary, is not one iota 
as good looking as our own Wally). The 
picture doesn't and can't come up to 
" 'Way Down East." 

I saw that one three times. I wouldn't 
see the "Two Orphans" again — even with 
a complimentary ticket. It hasn't the 
heart interest of the former picture — and 
for me it has too much history. 

But Lillian Gish! That girl! Bern- 
hardt? Mild! 

This is much too long, I know, but 
something like that happens just once in 
a lifetime, and, knowing that it would 
interest me, I pass it on to you. "Fan"- 
atically, 

A. S. Prushone. 

43 South Governor Street, Hartford, 
Connecticut. 




On Trial 

YOU may now have any musical instru- 
ment for a week's trial at our risk in 
your home. No obligation to buy. 
Return the instrument at our expense at 
the end of a week if you decide not to keep 
it. The trial will not cost you a penny. 

Monthly Payments 

A few cents a day will pay. Complete musical out- 
fit comes wich most instruments — velvet lined case, 
all accessories, self-instructor, etc., all at direct 
factory price — everything you need at practically 
the cost of the instrument alone. 
Wurlitzer instruments are known all over the world 
for artistic quality. Used by the greatest musicians, 
bands, and orchestras. Wurlitzer h*>s made the 
finest musical instruments for over 2C0 years. 

Send for New Book on Musical 
Instruments — No Charge 

Every known instrument illustrated, many in full 
colors. All details and complete descriptions, A 
veritable musical encyclopedia — absolutely free) 
Wurlitzer has stores in over thirty cities. But no 
matter where you live, Wurlitzer is no farther than 
your nearest mail box. Send the coupon todayl 




I The Rudolph Wurlitzer Co., Dept. 1754 

i 1 17 E. 4th Street. Cincinnati 12) W. 42nd Street. New York = 

j 700 W. Jackson Blvd., Chicago 215 Stockton St., San Francisco = 

; Send me your new catalog with illustrations in color - 

I and fall descriptions of all musical instruments, also z 

i details of the Wurlitzer Free Trial Easy Payment - 

' Plan. No obligation. r 



s Address a 



CStatc musical imiru/nsnt in whioMiouara inUmUd.t" 
Copviahtfd.wjj. The Rudolph WurlitscrCn. 



108 



Advertising Section 



HOW I INCREASED 
MY ARM ey 2 INCHES 



\V b o n a 
youngster, I was 
a thin frail boy 
who showed little 
promise of be- 
ing anything but 
a weakling. I 
always ended my 
robust compan- 
ions and wished 

that I could be 
like them, but I 
had bean told 
the old story 
that strong men 
are burn, not 
made. What a 
terrible fulsehood 
tills is. Ami to 
think of the 
thousands o f 
people who have 
been robbed of 
their ambition 
by these fake 
teachings. When 
1 entered High 
School I was 
fonuuate enough 
to meet an in- 
structor, w b o 
w a s willing to 
work witii mo 
and who staried 
me on ray road 
to success. By 
fuit.ifuhy f o 1 - 
lowing bis teach- 
ings a u d by 
hard w o r I;, 1 
gradually d c - 
veloped myself io 
have an avenue 
sized bod y so 
that 1 at least 
need not be 
ashamed. M y 
a r m me'stire I 
10 in-'ies In cir- 
cumference n n d 
my whole body 
h a d deestloued 
into fair p r o- 
portions. 




;i,rJ l:. L!KU,.K.U.\.\ 



The Secret Discovered 

I Ml so pleased with these results that 1 de- 
cided to make this ray life study so I bought all 
the hooks I could obtain on "human rnatomy" and 
tested various forms of exercise to see what their 

effects would be on ray body, i finally discovered 

the real secret of progressive exercise and I want to 
say tight here that never was a man more happy 
than I. I knew at once ray fondest hopes were 
realized. I could feel real vim and tttgOT tnrilling 
niy veins and was soon able to accomplish foaki of 
siren-: th which I bad thought Impossible. 

Friends who met Die on the street began to 
look at me in astonishment. The hoys started to 
call me the strong man and you can imagine how 
deligllted this made me. 

The Result 

As I mentioned before, ray biceps measured 
but 10 Inches before I made this discovery. Today 
they are ex <t'y 16 1/2 inches. This is not only 
far beyond th t of the average strong man of to- 
day but is conclusive proof to me that my secret 
method far surpasses that of any other system. 

numerous demands were soon made of me to 
appeir in public displaying my wonderful develop- 
ment and iisi perform the numerous strength tests 
which 1 was ab'e to accomplish. After traveling 
throughout the country as the headliner In the 
various theatrical houses, I decided to Income a 
public benefactor and impart this knowledge to 
others. Today my pupils run Into the thousands 
and 1 receive letters dally from other men who have 
Bprung Into prominence like myself by following my 
guidance and Instructions. 

What This Means to You 

You t>o can h-:w t'l'.i powerful phvsitiue and 
abounding health if you wiyh it. I don't care bow- 
weak you are. I will broaden your shoulders, 
deepen your chest and give you the s-mc powerful 
arms and lees which I have developed for ravself 
and thousands Of others. Don't take my word for 
it, make me prove it. 

Send for my new book 

"Muscular Development 

It tells the secret, ami is handsomely illustrated 
with 26 full-page photographs of myself and some 
of the world's best athletes whom I have trained, 
also full particulars of my snlendld offer to yon. 

The valuable book and -Vend id offer will he sent 
you on receipt of on'y 10 rents, to cover wrapntog 
and matting- The sooner you get started on the road 
to health and strength, the easier it will be to 
reach perfect manhood. Don't drag along one 
day longer — mail the coupon today. 

EARLE E. LIEDERMAN 

Dept. 1404, 305 Broadway, New York 

EARLE E. LIEDERMAN 

Dept. 1404, 305 Broadway, N. Y. City 

Dear Sir: — I enclose herewith 10 cents for which 
you are to send me. without any obligation on my 
part whatever, a copy of your latest boo';. "Muscu- 
lar Development" (Please write or print plainly.) 

Name 

Address 

City State 



» 



The Picture Oracle 

Continued from p:ige 94 

Number 510. — That was not Creighton 
Hale in the picture you saw, although he 
appears in '"The Two Orphans." Your 
questions about the girl have already been 
answered. Are you related to "Number 
14?" Your writing is similar. 

Mutt. — Your question is rather vague. 
i When some people say "a few facts" they 
I mean it that way, but when others say it 
they expect a book. The rest of your 
I note was so reasonable, though, you prob- 
[ ably meant it literally. Well, to begin — 
Miss Brady is the daughter of William 
A. Brady, and was born in New York City 
and educated at a convent in New Jersey. 
Before entering pictures she was on the 
stage for several years, playing singing 
and comedy roles. Since playing on the 
screen she has appeared in two plays on 
the stage, "Forever After" -and "Anna As- 
cends." I suppose she will continue to flit 
back and forth between her two loves. 
Some of her latest pictures are "Little 
Italy," "The Land of Hope," and "Hush 
Money." Alice is live feet seven inches, 
weighs one hundred and eight pounds, 
has dark complexion, dark hair and eyes. 
1 promise to give Miss Brady your love 
if I see her. 

Sylvester C. — Edna Murphy played the 
heroine in the Fox serial "Fantomas" and 
Johnny Walker was the hero. In "Helio- 
trope" Fred Burton was Heliotrope Harry 
llasdock, Julia Swayne Gordon was his 
wife, Josephine llasdock, William B. 
Mack played "Spike" Foley, Diana Allen 
was Alice Hale, Wilfred Lytcll, Jimmie 
Andrews, William II. Tookcr, Governor 
Mercer, Betty Hilburn, Mabel Andrews, 
Clayton White, George Andreivs, and Ben 
Hendricks, Sol Goldman. 

Cowiioy. — Ernst Lubilsch was not Jose 
Navarro in "Gypsy Blood." This role 
was played by Harry Licdtke. Mr. Lu- 
bitsch played the part of the hunchback 
clown in another of his productions, "One 
Arabian Xight," which also starred Pola 
\egri. 




'.NU1NE DIAMONDS 
GUARANTEED 

Oar Diamonds are distinc- > 
tive in fiery brilliancy, blue 
white s perfect cut. Sent ]' 
prepaid for your inspec- I 
tion, on / 

CHARGE ACCOUNT 

Send for FREE \ 

Catalog 

A wonderful book. Every-1 
thing fully explained. There\ 
arc over 2000 illustrations of \ 
Diamond-set Solid Gold and A 
Platinum Jewelry, Watches,* 
Wrist Watches, Pearls, MesbV 
Bags, Silverware, etc., at \ 

REDUCED PRICES 

The Diamond Rinpillustratedisonly^ 
one of a multitude shown in our larjwT* 
Catalog, from which you can make selections. Exqui- 
site Diamonds, from $25 up to as much as you wish to 
pay. Liberty Bonds Accepted at Par. 

THE NATIONAL JEWELERS 

Dcpi.ll aHJ 108 N. State St. 
CHICAGO, ILL. 

I BROS & CO. ieS8 STORES IN LEADING CITIES 



I 



oiSdcn ffutru/ncniL 

die "Music Pals of die Nation" easily and quickly enable you to 
play the music of the day. Delight your friends, increase your pop- 
ularity, income ant! pleasure by paying for social affairs, concert*, 
entertainment*. etc. Organize a Gibson Orchestra; we help; you re- 
ceive commission on sales. Small payment, then $5.00 a month pay* 
for a Gibson ; brings you wliolrvwnc ycar-'round entertainment and 
profit. Gibsons are the recognized world standard. Guaranteed fur life. 

&o&AiMr Pjiu 

Liberal al- 
lowance on 
old instrument 
in exchange for 

Gibson 
MwdoSn, 
Km&ta, 
MndMtlfah 

Mtn-io-bitt. 

Cuit«. 

lUrpCuiur. 

Ctllu-bjnj^ * 

Cuitjr.tunjo. 

today lor Ore book, 

. free Ilia! dftcf. MM* 

Uilivni you prefer 

Gibson Mandolin- 
Guitar Co. 





W'^T^f^W V ''''w«-|r X ; 



Watch for ME 

On the Screen! 



o 

k 

1.1 

h 



i 



outside influences, and 
own high ideals. 



I'm the new First National animated 
trademark You bet I stand for live 
pictures — pictures that will entertain and fasci- 
nate you 

And I stand for the pictures of independent 

artists, stars and directors, producing pictures 

in their own studios who are unhampered by 

who are free to make pictures according to their 



Associated First National Pictures, Inc., is a nation wide organization of 
independent theatre owners which fosters the production of finer photoplays 
and which is devoted to the constant betterment of screen entertainment. 

It accepts for exhibition purposes the pictures of independent artists 
Strictly on their merit as the best in screen entertainment 

Associated First National Pictures, Inc. 



o 



I 

i 
•a 



Advertising Section 



1C9 



KuriouS Kid. — I've written "Charles 
Ray is married to Clara Grant" dozens of 
times, but 1 suppose you missed seeing 
it. He was born in Jacksonville, Illinois, 
in 1891. Winifred Westover was Eugene 
O'Brien's leading lady in "Is Life Worth 
Living?" Louise Huff was starred in a 
series of World Film pictures after being 
featured with Jack Picklord in a scries 
of Paramount pictures a few years ago. 
She married and retired from the screen, 
then played on the stage, for a while. 
"Disraeli" marks her return to motion 
pictures, and Louise expects to keep right 
on working in them. She is Richard Bar- 
thelmess' leading lady in "All At Sea." 
Bcbe Daniels weighs one hundred and 
twenty pounds. Surely, write again. 

Margie C. — You have some list of fa- 
vorites! I agree with you on all of them. 
Stuart Holmes is still in pictures ; so is 
Wyndham Standing. These two players 
do not appear very often, however, I 
suppose that's why you thought they 
had completely retired. Bobby Vernon is 
the correct name for the Christie comedy 
boy with the dimples. You will like 
Mac Murray more than ever in her new 
picture, "Peacock Alley;" another of your 
favorites, Monte Blue, is her leading man. 

Curious. — William S. Hart is not en- 
gaged to Jane Novak ; he is married to 
Winifred Westover! Surprised? Every- 
body else was, too. Jane and William 
were engaged and people expected they'd 
get married almost any time. Suddenly 
the engagement was broken and Bill 
admitted sadly that he was sorry, but 
there wasn't going to be any wedding. 
Then just as suddenly he married Wini- 
fred Westover, who played with him in 
pictures a few years ago. Miss Westover 
is a pretty blonde, five feet three inches 
tall, weights one hundred and twenty- 
eight pounds and has dark-blue eyes. She 
played leading roles with the Selznick 
companv, appearing in "Bucking the Ti- 
ger," "The Fighter," and "Is Life Worth 
Living?" 

De Nouvilt.e. — Your patience is reward- 
ed! I must say you're very good-natured 
about the delay in your answers. Gordon 
Mullen was Chick Larrabee and Otto 
Hoffman was Lucius Owen in "Crooked 
Straight." Connor Moore and Sandy 
Martin are not listed in my cast of "The 
Tiger Man." Let me hear from you again. 

Pete the Pest. — You're awfully hard 
on yourself. You don't impress me as that 
kind of a person at all. Ruth Roland was 
born in San Francisco, California, in 1893, 
and began her stage career at the mature 
age of three. She has been acting ever 
since, and expects to keep right on making 
serials. Her latest release is "White 
Eagle," and she is working on another 
called "The Timber Queen." Yes, Ben 
Turpin toured the country in a series of 
personal appearances. Too bad you 
missed him in you town. I shall look for 
another letter soon. 

Stella Maris.— Yes, "Over the Hill" 
and "The Old Nest" were both fine pic- 
tures. Your questions about Elaine Ham- 
merstein have been answered. Send a 
stamped envelope for the casts you want. 
They are too long to print here. 

Pecgy. — Johnny Hines was born July 
25. 1805; Bobby Vernon in 1807, Irving 
Cummings in 1888, and Gareth Hughes in 
1897. Bryant Washburn made one pic- 
ture with his own company in Europe 
called "The Road to London," but is 
working for Goldwyn now in "Hungry 
Hearts." He is married to Mabel Chi- 
dester. 




Pearls as Beautiful as 
Graced the Queens of Old 

Beautiful Genuine Indestructible LaTausca Pearls with all the loveliness of 
nature's priceless gems— now free for 10 days' wear— Just send the coupon. 
La Tausca Pearls are the closest rival of the genuine pearl ever discovered. 
They have that fiery irridescent opalescent sheen found only in the most priceless 
gems. La Tausca Pearls are so exquisite in refinement and beauty that they are 
actually incalculable in value — appropriate forall occasions — deeply appreciatedby the most 
discriminating — in perfectharmony with the tastes of those who fully appreciate the genuine. 



10 Days 
Free Wear 



Wfiifi/L* l~ PEARLS i^^/:'. 



Send No 
Money 



For over 20 years La Tausca Pearls have stood every test for permanence of 
coating and brilliancy of lustre— not affected by perspiration, body heat, climate or 
boiling water — a marvelous achievement in the art of pearl making. 



Send Only the Coupon 



»* Standard 

Jewelry Company 

We'll send you in a beautiful grey velvet cabinet, this beautiful strinE ♦ »<o vu 1 _ t/ , r»».»» n 
(18 or 24 inches Ionglof Genuine Indestructible LaTausca Pearls. They ♦* dB4 ' i chicaSn III 

come to you with all their oriental tints and coloring, mounted with a ♦* _ . „„ *" "„ f. V 1 u«-i 

solid gold sprinB-rine clasp stamped-LaTausca. After you have .♦ G f nu ? n o L^-ea Pearls re del 
carefully made an examination and decided that you have a won- »* scribed in this advertisement. I agree 
derful bargain and want to keep them— you can pay for them in # * to pay on arrival 54.S5 and balance at 
small monthly payments. If for any reason you don't wish to J* the rate of $3.00 per month until your 
keep them, send them back at our expense. Send now for ♦ *.£RS e i nl ,P, r ! ce .°. f SSr 6 l? p ,2 8 SlPS or 
your LaTausca Pearls while this liberal trial offer lasts. / A'SVSSWff'fc^SSS'.'ftB 
Wear them 10 days— decide then whether you want to keep 
them or not. Send the coupon today —Sure. 4 



;ep them, I 
efun ' 



Standard Jewelry Co. / 

3842 W. Lake, Dept B, Chicago, III. 



,* return same and you will refund my deposit 

of J4.85. 
Name 



Street or R.F.D. , 



City Stole 

Put X in Box Below: Length of Pearls Wanted 
D 18 Inches Long D 24 Inches Long 



Your Figure 

Has Charm Only as You Are Fully Developed 
BEAUTY OF FORM 

can bo cultivated just the same as flowers 
are made to blossom with proper care. 
Woman, by nature refined and delicate, 
craves the natural beauty of her sex. How 
wonderful to be a perfect woman ! 

Bust Pads and Ruffles 

never look natur.il or feel riRht. They are really harmful 
and retard development. Ton should add to your physical 
beauty by enlarging your bust-form to Us natural size. This 
is easy to accomplish with the NATIONAL, a new scien- 
tific appliance that briiiBs delightful results. 

FREE BEAUTY BOOK 

1 If you Wfeo n beautiful, womanly figure, . write for a copy 
(if the treatise by I>r. C. S. Carr. formerly published in 
the Physical Culture Magazine, entitled: "The Bust— How 
It May Be Developed." Of this method Or. Carr states: 

"Indeed, it will brim: about a develop- 
. •''' ment of the busts quite astonishing." 

This valuable information explaining the causes of non -development, together with photographic proof showing 
as much as five inches enlargement by this method, will be sent FREE, to every woman who writes quickly. 
Those desiring hook sent sealed, enclose 4c postage. 

THE OLIVE COMPANY Dept. 265 CLARINDA, IOWA 




110 




STRONGFORT 
The Perfect Man 



Man/Are YOU 
100% Alive/ 



Or are you sutisdcd to 
drift along half dead— half 
alive — always getting on 
the nerves of those with 
whom you associate — over- 
lookinR half of the beauti- 
ful things around you — 
ashamed to acknowledge 
that you are a miserable 
failure — a physical and 
mental wreck V Then you 
are indeed only 50% man 
— a man to he looked Mown 
on— despised— discarded. 

But perhaps you "don't 
know that you can he re- 
stored — that you flagging 
powers - can he revived— 
Unit you can "come back." 

To you I say — Chan up 
and confide hi me. I will 
show you how you can 
measure to 100% manhood 
and make your life worth 
while. 

When Marriage 
Means Misery 

Marriage always means 
misery to the unfit. Ask 
yourself — before you pro- 
nose to some pure, inno- 
cent girl— whether you are 
fit to be her husband and 
the father of her children, 
and whether your offspring 
will be healthy youngsters, 
a joy and blessing to you 
both — or sickly, defective 
little ones — a constant re- 
proach to you as long as 
you live. What you are 
your children are bound 
to be and your weaknesses 
will bo increased as you pass them along to your 
children who may live to curse you for their inheri- 
tance of woe. This Is the inflexible law of 
Heredity You cannot avoid it. You dare not 
overlook it. THINK now before it is too late and 
resolve to 

Make Yourself Fit for Matrimony 

You are not fit if you are weak, sickly and 
under-developed. You dare not marry and ruin 
somo trusting girl's life If Youthful Errors. Bad 
Habits or Excesses have sapped your vitality and 
left you a mere apology for a real man. Don't 
think you can save yourself with dope and drugs. 
Such unnatural materials can nover remove the 
cause of your weaknesses and will surely harni 
you. The only way you can be restored is through 
Nature's basic Laws. She will never fall you If 
you will sit at her feet and learn her ways. 

STRONGFORTISM 

The Modern Science of Health Promotion 

Strong fort-ism— Nature's First Assistant, has lifted 
thousands of weak, ailing, discouraged men out of 
the bog of despair and placed them on the Straight 
Road to Health, Happiness and Prosperity. Strong - 
fortism has restored the manhood they thought lost 
forover and has given them renewed confidence, 
vitality, success and fitted them for the joys of life. 

Send for My Free Book 

The experience and research of a lifetime are con- 
tained in my wonderfully instructive book. '•Pro- 
motion and Conservation of Health. Strength, and 
Mental Energy." It will tell you frankly how you 
can make yourself over into a vigorous specimen of 
vital manhood. It will teach you how to fit your- 
self to be a Father and be a credit to your Wife 
and family. Just mark the subjects on the free 
consultation coupon on which you want special con- 
fidential information and send to me with a ten- 
cent piece (one dime) to help pay postage, etc. It's 
a man-builder and a life-saver. Send for my free 
book Right Now— To-day. 

LIONEL STRONGFORT 

Physical and Health Specialist 
Dopt.782, Founded 189S. Newark, New Jersey 

FREE CONSULTATION COUPON 

Mr. Lionel Stronnfort. Dcpt. 782. Newark. N. J.: 
— Please send me your book, "Promotion and Con- 
servation of Health!, Strength and Mental Energy/' 
for postago on which I enclose a ten-cent piece (one 
dimo). Send me information on the items marked 
(X), I understand that this does not obligate me. 



..Colds 
.Catarrh 

. .Asthma 
.Obesity 

. .Headache 
.Thinness 
. Rupture 
.Lumbago 
.Neuritis 
.Neuralgia 
.Flat Chest 
.Deformity 

(Describe) 
. Insomnia 
.Short Wind 
.Flat Feet 
.Stomach 

Disorders 
.Constipation 



.Biliousness 
.Torpid Liver 
.Indigestion 
.Nervousness 
.Poor Memory 
. Rheumatism 
.Falling Hair 
.Weak Eyes 
.Bad Habits 
.Gastritis 
.Heart 

Weakness 
.Poor 

Circulation 
. I in potency 
.Despondency 
.Vital 

Depletion 



..Great 

Strength 
. . Hay Fever 
..Pimples and 

Blackheads 
..Lung 

Troubles 
..Round 

Shoulders 
. .Increased 

Height 
..Stoop 

Shoulders 
. -Muscular 

Development 
..Successful 

Marriage 
..Weak Back 



Name , 

Age Occupation., 

Street 

City ....■ State.. 



Advertising Section 

-Miss C. R. J.— Harry Morey and Earlc 
Williams are still on the screen. Mr. 
Morey has the lead in the Selznick spe- 
cial, "A Man's Home" and Earle Wil- 
liams is starring in Vitagraph produc- 
tions. "It Can Be Done,'' "Bring Him In," 
and "Lucky Carson," are his latest pic- 
tures. Edith Johnson was born in 1895. 
The Market Booklet contains the names 
and addresses of producers in the market 
for screen stories. Have you wiltcn any 
scenarios? The book wouldn't be of any 
use to you unless you had a story to sell. 

M. V. — Your questions about Rudolph 
Valentino have been answered. His next 
picture wil be "Beyond the Rocks," the 
Elinor Glyn story starring Gloria Swan- 
son. Bobby Agnew is Harrison Eord's 
brother in "The Wonderful Thing." They 
are not related. Casson Ferguson was 
Pauline Frederick's son in "Madame X." 
Lillian Gish is two years older than Dor- 
othy and is not married. She has golden 
hair and blue eyes. You seem to have 
all the latest pictures in Omaha. Have 
you many theaters there? 

Guinevere. — Aren't you a lucky fan, 
bathing at the same beach as Richard 
Barthelmess and Mary Hay! I bet you 
didn't do much swimming. Mary and 
Richard were married about a year and 
a half ago during the filming of "'Way 
Down East." Mary is not in pictures at 
present. Sorry I can't help you with the 
Leah Baird picture — you didn't give me 
enough information. Beatrice Dominguez 
was the Spanish dancer in "The Four 
Horsemen." Alice Terry recently mar- 
ried Rex Ingram, director of "The Four 
Horsemen." She has the role of Flavia 
in Mr. Ingram's latest special for Metro, 
"The Prisoner of Zcnda." 

The Many Lillian Lorraine Ad- 
mirers. — I can't tell you everything your 
favorite has been doing since the long- 
ago "Neal of the Navy" without taking 
up the whole magazine, but here is the 
most dramatic part of her history. She 
was the reigning favorite of the Ziegfeld 
Frolic and a famous beauty. One night 
at a party she tripped and fell downstairs, 
injuring her back so severely that at first 
she was not expected to live, and later 
it was said she would always be paralyzed. 
She sajs that surgeons cured her, but 
they say it was sheer grit that made her 
recover. Recently she opened in "The 
Blue Kitten" in New York, and many of 
her old screen friends were there to give 
her an ovation. She devotes much time 
and money now to helping other paralytic 
cases. 

Peaches. — Elmo Lincoln and Louise 
Lorraine played together in one of the 
Tarzan serials. Louise is now working 
on the Universal serial, "With Stanley in 
Africa," opposite George Walsh. Yes, 
she used to he in Century comedies. Of 
course you can ask for photographs with- 
out sending money, but you stand a bet- 
ter chance of getting them if you inclose 
a quarter. 

Helen D. — I have no record of a Faith 
Miller. Are you sure this is the right 
name? Wally Reid's latest picture is "The 
World's Champion," based on the stage 
play, "The Champion." Rubye de Remer 
was married, but isn't now. 

Jane R. — James Kirkwood was born in 
Grand Rapids, Michigan. At present he 
is playing the title role in the Famous 
Players London production, "The Man 
From Home." That lovely blonde, Anna 
Q. Nilsson is in the cast. Kirkwood was 
on the stage eighteen years before enter- 
ing motion pictures. He is married to 
Gertrude Robinson. 



Have A Clear, Rosy, 
Velvety Complexion 

ALL THE WORLD ADMIRES 
A PERFECT COMPLEXION 




Don'tdoubt — because I give you a guarantee which 
dispels doubt. I refer you to women who testify to 
the most astonishing and gratifying results. Tour com- 
plexion may be of the muddiest, it may be hide- 
ously disfigured with pimples, blackheads, whiteheads, 
red spots, enlarged pores, wrinkles and other blem- 
ishes. You may have tried a dozen remedies. I do not 
make an exception of any of these blemishes. I can 
give you a complexion, soft, clear, velvety beyond your 
fondest dream. And I do It in a few days. My state- 
ments are sober, serious, conscientious promises. I 
want you to believe, for I know what my wonderful 
treatment will do. 

YOU HAVE NEVER HEARD OF ANOTHER METHOD 
LIKE MINE. SCIENTIFIC — DIFFERENT. 

My method is absolutely different. It has to be to 
warrant my statements. You know that. I get away 
from all known metbods of cosmetics, lotions, salves, 
soaps, ointments, plasters, bandages, masks, vapor 
sprays, massage, rollers, or other implements. There is 
nothing to take. No diet, fasting or any interference 
whatsoever with your accustomed way of life. My 
treatment is absolutely safe. It cannot injure the most 
delicate skin. It is pleasant, even delightful. No messy, 
greasy, inconvenient applications. Only a few minutes 
a day required. Yet, results arc astounding, 

I want to tell you in detail about this wonderful 
treatment. So send for my booklet. It is free. You are 
not obligated. Send no money. Just get the facts, the 
indisputable proofs. This is the one method that has 
restored to beauty the complexions of tens of thou- 
sands of women. Don't say your case is an exception. 
Yon have my unqualified promise. You have notbine 
to lose — everything to gain. Mail Coupon today! 

DOROTHY RAY 
14 E. J ackson Blvd. Suit e si, CHICAGO, ILL. 

5 Dorothy Ray, £ 

I 14 E. Jackson Blvd., Suite si. Chicago, III. S 

I Free and without obligation send me your I 
booklet "Complexion Beautiful" telling of your ■ 
_ scientific, harmless method of cleansing and I 
■ beautifying the complexion. « 

I Name J 

I Street I 

| City State 5 



DIAMONDSaW 

watches! 

One Year to Pay M 



DIAMOND PRICES SMASHED,™ 
To Less Than Cash Prices {M $ 4— ■' 

Amazing money-savingj^ 
prices on finest Quality Con- J 
uine Diamonds, Watches f 
and Jewelry. DIAMOND RINGS , 
814.86 and op. Wrist Watches I 
$19.65 up. Men's Elgin SQQ75 1 
and Waltbam Watches 4UUP 

Get De Luxe Catalog Free. 

Explains easiest credit Terms and 
Money Back Guarantee fully. Ex- 
amine Diamonds first if you 
wish. One whole year to pay. 
Get this Beautiful Bargain Cata- 
log. NOW. 



Use Your Credit 

No Delay— Ho Red Tapi 



ICLLPIM 0. f* ft 122 West Madison St. 
■»■■■— ■** « wW«Dept.Bi44, Chicago, III. 

Hoarly 1-4 century earn* location 



Advertising Section 



111 



Buddie.— I've forwarded your letter to 
Gertrude Olmstead. The addresses you 
want are printed this month. 

Helen K. — Another Helen. There are 
a lot of you this month. Xo, Richard Tal- 
madge is not related to the Talmadge 
girls. His real name is Sylvester Maz- 
zetti, and for several years he was an 
acrobat at the Hippodrome in New York. 
Then he doubled in serials and features — 
doing the dangerous stuff, y'know — and 
in "The Unknown" he makes his debut 
as a star, giving the fans their first chance 
to see his face. 



Addresses of Players 

Asked for by readers whose letters are 
answered by The Oracle this month: 

Carlyle Blaekwell and Percy Marmont at 
the Lambs' Club,. New York City. 

Charles Chaplin at the Chaplin Studios, 
14^0 Laiirea Avenue, Hollywood. California. 

Violet de Barros care of Walton Agency, 
245 West Forty-seventh Street, New York 
City. 

William II. Nazareth at the Maslercraft 
Studios, Filmland City. Medford, Massachu- 
setts. 

Blanche Sweet at the J. D. Hampton Stu- 
dio. Hollywood, California. 

Wesley Barry, Clara Horton. and Marshall 
Neilan at the Hollywood Studios, Hollywood, 
California. 

Gaston Glass. Clyde Fillmore. Mahlon Ham- 
ilton. Robert Warwick. Gloria Hope. Mitchell 
Lewis. Marguerite Snow, and ZaSu Pitts care 
of Willis & Inglis. Wright and Collender 
Building. Los Angeles. California. 

Vincent Coleman at the Green Room Club, 
KID West Forty-seventh Street. New York 
City. 

Jewel Carmen care of Roland West. 200 
West Forty-second Street. New York City. 

Address 1'riscilla Dean. House Peters, Matt 
Moore. Virginia Valli. George Ilackathornc. 
Mary I'revost. Miss Dul'ont. "Hoot" Gib- 
son, Eddy Polo, Myrtle I.ind. and Art Accord 
at Universal City. California. 

Rudolph Valentino, Wallace Rcid. Gloria 
Swanson. Betty Compson. Lois Wilson. Lila 
Lee. Agnes Ayres. Leatrice Joy, Belie Daniels. 
May MacAvoy. Wanda Hawley. and Mary 
Miles Minter at the Lasky Studios, Vine 
Street. Hollywood. 

Corinne Griffith and Alice Joyce at the Vi- 
tagraph Company. 40!) Fifth Avenue, New 
York City. 

Alice Calhoun, Jean Paige, Earle Williams, 
Pauline Starke. Larry Scnion. William Dun- 
can, and Edith Johnson at the Vitagraph 
Studios. Los Angeles. California. 

Mary Pickford. Douglas Fairbanks, and 
Jack Pickford at the Mary Pickford Studio, 
Hollywood, California. 

Douglas MacLean. Lloyd Hughes. Madge 
Bellamy. Florence Vidor. Tally Marshall. Tom 
Moore, and Edith Roberts at the Thomas II. 
Ince Studios. Culver City. California. 

Jenny Hasselquist. Swedish Biograph Com- 
pany. 2S West Fortv-sixth Street. New Y'ork 
City. 

Zena Keefe. Eugene O'Brien. Diana Allen, 
Elaine Hammerstein. and Faire Dinner at the 
Silznick Studio. 318 East Forty-eighth Street, 
New York City. 

Colleen Moore. Helen Ferguson. Richard 
Dix. Cnllen Landis. Helene Chndwick. Ralph 
Graves. James Rennie, Claire Windsor, and 
Jacqueline Logan at the Goldwyn Studios, 
Culver City. California. 

Anita Stewart and Shannon Day at the 
Louis B. Mayer Studios. Los Angeles, Cal- 
ifornia. 

Violet Mersereau. William Fnrnitm. . Pearl 
White, and Peggy Shaw at the Fox Film Cor- 
poration. Tenth Avenue at Fifty-fifth Street, 
New York City. 

Elsie Fergus'on. Alice Brady, and Pola Negri 
at the Famous Players-Lasky Corporation. 
48~> Fifth Avenue. New York City. Also Nor- 
man Kerry, Anna Q. Nilsson, and James Kirk- 
wood. 

Lillian and Dorothy Gish. Joseph Schild- 
krout. Monte Blue and Creighton Hale at the 
D. W. Griffith Studio. Orienta Point. Mamar- 
oneck. New York. 

Clara Kimball Young at the ITorry Garson 
Studios. Edendale. California. 

Johnny Walker. Maurice Flynn. Shirley 
Mason. Estelle Taylor. Tom Douglas, Tom 
Mix. Buck Jones, and William Russell at the 
Fox Studios, Western Avenue, Hollywood, 
California. 

Marguerite Clayton. Lucy Fox. and Charles 
Hutchinson at the George Seitz Studio, 1040 
Park Avenue. New Y'ork Citv. 

Ruth Roland. Harold Lloyd. Snub Pollard, 
and Mildred Davis at the Hal Eoach Studios, 
Culver City. California. 



How the Shape of My Nose 
Delayed Success 



By EDITH NELSON 

I HAD tried so long to get into 
the movies. My Dramatic 
Course had been completed 
and I was ready to pursue 
my ambitions. But each direc- 
tor had turned me away be- 
cause of the shape of my nose. 
Each told me I had beautiful 
eyes, mouth and hair and 
would photograph well — but 
my nose was a "pug" nose — 
and they were seeking beauty. 
Again and again I met the 
same fate. I began to analyze 
myself. I had personality and 
charm. I had friends. I was 
fairly well educated, and I had 
spent ten months studying Dra- 
matic Art. In amateur theatri- 
cals my work was commended, 
and I just knew that I could suc- 
ceed in motion pictures if only 
given an opportunity. I began to 
wonder why I could not secure em- 
ployment as hundreds of other girls 
were doing. 

JPINALLY, late one afternoon, after an- 
other "disappointment," I stopped to 
watch a studio photographer who was tak- 
ing some still pictures of Miss B , a 

well-known star. Extreme care was taken 
in arranging the desired poses. "Look up, 
and over there," said the photographer, 
pointing to an object at my right, "a pro- 
file ." "Oh. yes, yes," said Miss B , 

instantly following the suggestion by as- 
suming a pose in which she looked more 
charming than ever. I watched, I won- 
dered, the camera clicked. As Miss B 

walked away, I carefully studied her fea- 
tures, her lips, her eyes, her nose . "She 

has the most beautiful nose I have ever 
seen," I said, half audibly. "Yes. but I re- 
member," said Miss B 's Maid, who 

was standing near me, "when she had a 
'pug' nose, and she was only an extra girl, 
but look at her now. How beauti f til she is." 

JN a flash my hopes soared. I pressed 
my new-made acquaintance for further 
comment. Gradually the story was un- 
folded to me. Miss B had had her 

nose reshaped — yes, actually corrected — 
actually made over, and how wonderful, 
how beautiful it was now. This change 
perhaps had been the turning point in her 
career! It must also lie the way of my 
success! "How did she accomplish it?" 
I asked feverishly of my friend. I was 
informed that M. Triletv. a face specialist 
of Binghamton, New York, had accom- 
plished this for Miss B in the privacy 

of her home! 



T THANKED my informant and turned back 
1 to my home, determined that the means of 
overcoming the obstacle that had hindered my 
progress was now open for me. I was bub- 
bling over with hope and joy. I lost no time 
in writing M. Trilety for information. I re- 
ceived full particulars. The treatment was so 
simple, the cost so reasonable, that I decided 
to purchase it at once. I did. I could hardlv 
wait to begin treatment. At last it arrived. 




To make my story short — in five weeks my 
nose was corrected and I easily secured a 
regular position with a producing company. 
I am now climbing fast — and I am happy. 

ATTENTION to your personal appearance 
is nowadays essential if you expect to 
Succeed in life. Y'ou must "look your best" 
at all times. Your nose may be a hump, a 
hook, a pug. flat. long, pointed, broken, but 
the appliance of M. Trilety can correct it. 
His latest and newest nose shaper. "TRA- 
DOS." Model :!"., 1". S. Patent, with six ad- 
justable pressure regulators and made of light 
polished metal, corrects now ill-shaped noses 
without operation, quickly, safely and per- 
manently (diseased cases excepted!. Is pleas- 
ant and does not interfere with one's daily 
occupation; being worn at night. 

CLIP the coupon below, insert your name 
and address plainly, and send It today to 
M. Triletv. Binghamton, N. Y.. for the free 
booklet which tells you how to correct ill- 
shaped noses. Y'our money refunded if you 
are not satisfied, is his guaranty. 



I 



M. TRILETY, 

1 763 Ackerman Bid r., Binghamton, N. Y. 

Dear Sir : Please send me without obli- 
gation your booklet which tells how to 
correct ill-shaped noses. 



Name 



Street Address 

Town 

State .... 



Also For Rule at Kiker-Begeman, Lingett's, and other First Class Drug Stores. 



Advertising Section 



€Dire 




JL J.V "JTlCCc JLrlllllCr OCl Monogram Design 




A wonderful, exclusive bargain for Straus & Schram customers. A dinner set which combines the 
exquisite Bluebird design, that emblem of happiness, with the distinctive monogram, all woven to- 
gether with a harmonious floral pattern in pink, green and lavender. Lovely biue border on each 
piece. Popular Colonial shape. Each piece is fired in the glaze and guaranteed not to check or craze. 
That splendid Old English finish is applied to the clay before firing and gives that indestructible, 
snow-white glaze. 



Your initial on Every Piece FREE 

Yes, we will furnish yon this set with your choice of any initial in the distinctive Bhaded 
Puritan letter on every one of the 110 pieces— and no rxtra charge! This wonderful dinner 
Bet is yours for only $1.00 down and $2.70 a month; $2-1.90 in all. Satisfaction guaranteed. 



OO 

«■■■»■■»■■■■■■■■.»» 

Down 

X5K3KX Eas y Payments gs AC TS^,*^ i ^ 2 , Pw * to 



NOTICE* ESjsLJ. 

first Quality, standard pat- 
tarn. Replacements may 
be secured from us for 
three years. 



this set for SO df^j s us.c in your own 
home. Our guarantee protects you. If not satisfied after 
SO days, return the set at our expense and we will refund 
your ?1. plus any freight or express charges you paid. 



f satis- 
fied, pay 
balance 
of rock -bottom price on small monthly payments. Almost 
a ysar to pay! We trust boneot people anywhere in the 
TJ. S. No discount for cash; nothing extra for credit. No 
C. O. D. Easy terms on everything in our bargain catalog. 



This splendid set consists of; 



Straus & Schram, Dept. 1 764 W . 35th St., Chicago | 

Enclosed find SI. 00. Ship special advertised 110-Pi-ce Blnehlrd I 

Mnnofrrnm Dinner .~?et. No. G6702A. I am to have K.1 days' free B 

trial. HI keep the set 1 will pay $2.70 monthly, $29.90 In all. ■ 

If not satisfied. I am terehirn the set within 30 daws and you I 

are to refund my money and any express charges X paid. ';' 

State Initial desired. {One letter only) | 

Name I 



Cut Price-Send Now 



Street, R. F. D. 
or Box No 



Skipping 
Point 



: I 

Post ! 

Office State , 

If You Only Want Catalog, Put X In Box B«1ow: 

O Furni lure, Sieves, Jewelry L) Men's. Women's, Children's Clothing ". 



Rock bottom prices now. 
Lowest since before the 
war. So send coupon at 
once with only $1 and we 
will ship this complete 110- 
Piece Bluebird Monogram 
Dinner Set at once to you on 
30 days trial. Money re- 
funded if not satisfied. 



Free Bargain 
Catalog 

Shows thousands of bar- 
gains infurniture, jewelry, 
carpets, rugs, curtains, 
silverware, stoves, talking 
machines, porch and lawn 
furniture, women's, men's 
and children's wearing ap- 
parel. Send coupon today. 



12 dinner plates, 9 in. 
12 breakfast plates, 

7 in. 
12 coupe soups, 7M In. 
22 fruit saucers. 6& in. 
12 cupB. 
12 saucers. 

12 oatmeal dishes, 6in. 
12 bread and butter 
plates, 6 in. 

1 platter, UK In. 

1 platter, IZH in. 

1 gravy boat. 



1 gravy boat stand. 
1 covered vegetable 

cli-ih. (2 pieces). 
1 oval open vegetable 

dish, .-' ■' in. 
1 round vegetable 

dish, 8% in. 
1 bowl, 1 pint. 
1 sugar bowl and 

cover, 2 pieces. 
1 cream pitcher. 
1 pickle dish. 
1 butter dish, V/- in. 



This set is one that will add tone and beauty to 
any dining room. With ordinary care it will last 
a lifetime. Weight packed, about 100 pounds. 

Order bv No. G6702A. Send $1.00 with 
order. S2.70 monthly. Price of 110 pieces. 
$29.90. No C. O. D. No discount for cash. 



Straus & Schram, w. 35th St, Dept. 1754, Chicago, 111. 



Advertising Section 




The Romantic History 
of the Motion Picture 

PHOTOPLAY Magazine will begin the serial publication 
of a romantic history of the motion picture in its April 
number. Step by step, with a sympathetic but unbiased 
and authentic vision, the progress of the picture, from the 
remote and obscure beginnings to the tremendous institution 
of today, will be traced. 

This history of the pictures will be told in the living affairs 
and movements of the men and women who have made the 
pictures and who have been made by the pictures. 

It will relate their obscure beginnings, their struggles, triumphs, 
loves and marriages — hundreds of facts which have never 
before been printed. 

It is a romance transcending fiction; a tale of more wealth and 
color than a Klondyke or a Kimberly ; more daring than the 
Spanish Main- — more splendor than a Rome, and as much 
humanity as the heart of the world contains. 

Seeking the writer most effectively equipped by a combination 
of experience and craftsmanship, Photoplay has commissioned 
Terry Ramsaye to perform this work, which has now been in 
progress nearly a year. Mr. Ramsaye is among the most 
authoritative of the writers on the motion picture — young 
enough to have the viewpoint of today; old enough to have had 
an intimate personal contact with the motion picture through 
the period of its greatest and most significant development. 

^Begins in the April Issue of 

PHOTOPLAY 

"OUT MARCH 15TH" 

Photoplay will hereafter be published on the 15th of every month. 



Advertising Section 



The Woman Who Wished 
She Could Play the Piano 



And How She Found an Easy Way to 
Turn Her Wish Into a Fact 



A YEAR or so ago this woman didn't know one note from 
another. To-day she plays the piano — entirely by note — 
better than many who have been playing for years. Here she 
tells how she learned and why it was so easy. Thousands of 
others, from school children to men and women of 50 to 60, have 
also learned music in the same easy way. A new method that 
makes singing or any instrument amazingly simple to master. 



FROM the time I was a chill I have 
always had a yearning and longing 
to play the piano. 
Often I have felt that I would gladly 
give up half of my life if some kind fairy 
would only turn my wish into a fact. 
You see I had begun to think I was too 
old to learn, that only some sort of fairy 
story magic could give me the ability to 
play. I was 35 years old — and the mother 
of a small family — before I knew one 
note from another. 

Until I learned to play, hearing music 
— especially the piano — always gave me 
almost as much pain as pleasure. My 
enjoyment of it was always somewhat 
soured by envy and regret — envy of those 
who couid entertain and charm with their 
playing, regret because I myself had to be 
a mere listener. And I suppose it is that 
way with every one who has to be satis- 
fied with hearing music instead of play- 
ing it. 

Again and again, parties and other so- 
cial gatherings have been all but spoiled 
for me. I could enjoy myself until some 
one suggested music or singing; then I 
felt "left out" — a lonesome wall flower 
— a mere looker-on instead of part of 
the party. I was missing half the fun. 
It was often almost as bad when callers 
came. It is so much easier to entertain 
people — particularly if you don't know 
them well — if one can turn to the piano 
to fill the gaps when conversation lags. 
But until recently our piano was only 
a piece of furniture. We bought it three 
years ago, simply to have it in the house 
while waiting for 
our two little girls 
to reach the age 
for beginning les- 
sons — for I was 
determined that 
they should never 
be denied the full 
enjoyment of mu- 
sic the way I had 
beon. But as it 
turned out, I 
learned to play be- 
fore my girls did — 
in fact, I myself 
am now their 
teacher. 

The way I have 
suddenly blos- 
somed out in mu- 
sic (almost over 
night, you might 
say) has been a 
big surprise to all 
who know me, and 
to myself as well. 
My friends seem 
to think it must be 



Thousands Write 
LiKe This: 



. I am delighted to tell you 
how I am getting on with my 
lessons. Everything is so 
plain. 1 had been going to a 
teacher for about two months 
and could not seem to learn 
a thing. But how quick I 
understand your lessons." — 
Kliza Logan. Philadelphia, Pa. 



received many cnmnlimonts 
upon my playing.' -Lester 
Plettncr. Porestvillu, Wi: 



Our little girl has been 
elected organist of the Junior 
Epworth League of M. E. 
Church, Foutli, after taking 
your lessons-nnd at the age 
of 12 years. That Is speak- 
Ing well for your school."— 
J. G. Castle, Pulton, Mo, 



Have learned more about 
music and playing in tho four 
lessons received from you 
Ulan 1 expected to learn in 
six months. "— U. S. Whitman. 
Washington.- D, C. 



"I am getting nlong hotter 
than I over did with a teacher 
right with m -."—Edna Brown. 
Springfield. Moss. 



that I had a previously un- 
discovered genius for the 
piano. But if there was any 
genius about it, it wasn't on 
my part, but in the lessons I 
took — a new and simplified 
method that makes it re- 
markably easy for any one 
to add music or singing to 
their daily lives. Any one 
anywhere can now learn to 
play any instrument or learn 
to sing just as easily as I 
did. All the hard part, all the big ex- 
pense, all the old difficulties, have been 
swept away by this simple new method. 

I learned entirely by home study — in 
my spare time — from fascinating Print- 
and-Picture lessons that make everything 
so simple and easy that one 
simply can't go wrong on 
them. I call it a short-cut 
way to learn — it is so much 
simpler and so entirely dif- 
ferent from the old and 
hard-to-understand meth- 
ods. I know that I made 
better and faster progress 
than I ever could by bother- 
ing with a private teacher 
or joining a class. In fact, 
while I don't like to brag, 
within six months after I 
took my first lesson, my 
playing was better than that 
of many of my friends who 
had studied two or three 
years under private teachers 
— not because I was any 
more apt than they, but simply because 
the wonderful -Print-and-Picture lessons 
sent me by the U. S. School of Music 
were so easy to understand. 

Then they wore so Interesting that study 
and practice were more like a pastime than 
a task or duty. And so convenient ; you can 
study and practice just as it happens handv, 
Instead of tying yourself down to set hours. 
And no strangers around to embarrass you 
or make you nervous. 

Within a year after I took my first les- 
son I began teaching my two little girls to 
play — using exactly the same lessons I my- 
self had studied. And I notice that both of 
them seem to be getting along better than 
any of their playmates who have private 
teachers. In addition, I am saving the money 
it would cost to have a private teacher — I 
figure it would cost at least $3 to $5 a lesson 
to have a teacher whose instruction could 
compare with that contained in the printed 
lesson from the U. S. School. Yet. from the 
first lesson to the last, the total cost of 
learning the way I did averaged only a few 
cents a lesson. 

My only regret is that I didn't know of 
this really wonderful method years before. 
The ability to play is such a great comfort. 
No matter bow much I am alone. I never 
gi't lonesome — I can always turn to my 
piano for amusement. I am never at a loss 
for a way to entertain callers. I no longer 
feel that I am "out of it" at social gather- 




For Beginners or 


Advanced Pupils 


Piano 


Hawaiian 


Organ 


Guitar 


Violin 


Harmony 


Drums and 


and 


Traps 


Composition 


Banjo 


Sight Singing 


Mandolin 


Guitar 


Clarinet 


Ukulele 


Cornet 


Harp 


Flute 


Piccolo 


Saxophone 


Trombone 


'Cello 


Tenor Banjo 


Voice and 


Speech Culture 


Automatic 


Finger Control 



tngs. Do you wonder that I so gladly recom- 
mend the method that has brought me so 
much pleasure and satisfaction? 



This woman's experience is by no means un- 
usual. Over 250,000 others — from school chil- 
dren to men and women of 50 and 00 — have 
learned to play their favorite 
instrument or learned to sing 
in the same way this woman 
did. Head the enthusiastic 
letters which you will find 
printed here — samples of the 
kind of letters we are receiv- 
ing in practically every mall. 
Largely through the recom- 
mendation of satisfied pupils, 
we have built up the largest 
school of music in the world. 
Whether for beginners or ad- 
vanced pupils, our method is a 
revolutionary improvement of 
the old and hard-to-learn 
methods used by private 
teachers, and our method is as 
thorough as it is simple and 
easy. We teach you in the 
only right way — teach you to 
play or sing entirely by note. 
No "trick" music, no "num- 
bers," no makeshifts of any 
kind. Yet it is a short-cut 
method, simply because every 
step is made so simple and 
clear, and the total cost averages a few cents 
a lesson, with your music and everything 
included. 

When learning to play or sing is so easy, 
why continue to confine your enjoyment of 
music to mere listening? Why not at least let 
us send you our free book, absorbingly inter- 
esting simply because it shows you how easy 
it is to turn your wish to play or sing into an 
actual fact? Just now we are making a spe- 
cial short-time offer that cuts the cost per les- 
son in two — send your name now, before this 
special offer is withdrawn. No obligation — 
simply use the coupon or send your name and 
address In a letter or on a postcard. Instru- 
ments supplied when needed, cash or credit. 

U. S. SCHOOL OF MUSIC, 

534 Brunswick Bld K .. New York City 

U. S. SCITOOI, OF MUSIC 

534 Brunswick Building, New York 

Please send me your free book. "Music Les- 
sons in Your Own Home." and particulars of 
your Special Offer. I am interested in the 
following course : 



fNatne of Instrument or Course) 

Name 

Please Write Plainly 

Address 

City State 





Brings This Seamless, Wool Face 




(h II Th e House of Hartman gives you the opportunity of a lifetime to get this 
*n| I magnificent, seamless, wool face, tapestry Brussels rug on the easiest terms 

T^tt IB a afc a smas ' lec ' P r 'C2. Only §1.00 to send now and we ship the rug 
I Use it 30 days on Free Trial, then if not satisfied, return it and we re- 
fund the $1.00 and pay transportation charges both ways. If you keep 
it, take nearly a year to pay — a little every month. 

SUPERB COLORING— Elegant Oriental Medallion Pattern 

Woven from Fine Wool Yarns 

One of the most artistic designs ever 

offeredinaseamless,woolfaceBrussels 

Rug. Closely woven from finest wool 
yarns— selected to give the best wearing quality. Examine 
the texture and weight — you can give it plenty of wear — 
it is made for service. Useithard. Note both the splendid 
durability and the handsome appearance of this rug. You 
will be delighted with the colors— tan, brown, green, red 
and blue, charmingly blending into soft, rich, harmonious 
shades. The pattern is of a rich, oriental effect with a 
medallion center and a pleasing border to match. An 
elegant design usually seen in only the most expensive 
rugs. Only by seeing this rug on the floor in your own home 
can you appreciate now elegant and durable it is and how 
it alone will beautify an entire room. Try it— at our risk. 
Order by No. 34DMA27. Price $26.75. 
Send $1.00 now. Balance $2.50 monthly. 

Bargain Price — and Nearly a Vear to Pay 

You take no risk Keep it or return it— but fret it now on the 30 days' free trial and eee how it looks 
Id your own home— then d ecide. Send only $1.00 and the coupon now while the offer holds good. 



368-Page Book 
FREE 



FREE 

Bargain Catalog 



Mailooapostalforthisgreatbook 
itwiUsavcyoumanydollars. Itwill 
giveyouthousandsof practical hints 
on how to make your home more 
beautiful and comfortable. 368 
pages— filled with stunningbargains 
in furniture, rugs, linoleum, stoves, 
ranges, silverware, watches, dishes, 
washing machines, sewing ma* 
chines, aluminum ware, phono- 
graphs, gas engines, cream 
separators, etc. Hundreds of 
articles to select from; 30 days' 




free trial on anythingsen t for- 
everything sold on Hartman's 
easy monthly payment plan. 

Postcard or letter brinqs it free. 

"Let Hartman Feather YOUR Nest" 



Fhartman 

I 

I 



FURNITURE & CARPET CO. 

Dept. 4330 Chicago, Illinois 

Enclosed find SI. Send the Rug No.34DMA27. lam to have 
30 days' free trial. If not satisfied, will shipit back and you 
will refund my SI and pay transportation charges both ways. 
If 1 kcepit.I will pay IB, 60 each month until full price.J2fi.75, 
is paid. Title remains with you until ftnai payment is made. 

Name 



HARTMAN 



FURNITURE & CARPET CO. I 
Dept. 4339 Chicago, III. I 

Copyright, 1922, by llartnuui'B, Cbicoiio. I 



Street Address 

It. F. D Box No- 
Town State.. 

State Your 

Occupation • Color.. 




"Beauty s 
^Palette 



6A7ATURE'S greatest triumph of beautiful coloring is the 
V flush of a perfect complexion. Dorin of Paris has stud- 
ied in Nature's atelier for more than a century, producing 
and improving dainty aids to beauty. Dorin rouges and 
powders have now been perfected so that when properly 
combined they reproduce exactly Nature's coloring — the 
exquisite tone of perfect health. 

You may choose from eight tints of powder and ten shades 
of rouge to effect your natural coloring. All these are sold 
in the standard Dorin packages. The same products are 
now offered in dainty gilt ormolu boxes fitted with mirrors 
and puffs. They have been named Dorind'or. 



Double Vanity Size 



Without exception, my gen- 
uine Dorin preparations, 
made especially for the 
women of America, have 
this label on the bottom of 
every box. Only Rouges 
and Poudres that bear the 
name F. R. Arnold & Co., 
New York, in addition to 
my own label, are genuinely 
guaranteed by me. 

Signed 



If you are not familiar with Dorin's 
products you can learn their charm 
by sending us 25 cents in stamps 
together with a description of your 
coloring — your hair, eyes and skin. 
In return we will mail two compactes, 
one of rouge and one h of powder. 



with a booklet telling the secret of 
correct blending. Or 10 cents will 
bring the booklet and samples of 
the rouge and powder in powder 
form. Address your letter to F. R. 
Arnold 6c Co., 1 1 West 22nd St., 
New York. 



vrm 



c, 



h 



OUi 



Paris, 26ieme mars, 1021 



Insist thai every box 
bear this label 



r Sbr/s 

^8>fri(xMfa(fii35opinc) 



To be genuine, Dorin'* product* made for the U. S. A. mutt always bear the name 
"F. R. ARNOLD & CO., fmporter*. "