You, too, - have the loveliest skin can - [PDF Document] (2024)

Positively DestroysSuperfluous Hair

and ROOTS,


,You, too,have theloveliestskin




Specialist.'i62 Fifth Ave. (46th St.)

A ...eil rounded orlll-freeof nil downy hnir-i anee - ity with the vtlgnefershort slee,·es. Zl P des,roysboth fine and coarse hair.

heel' waists no longer per­mit an underarm showingc\"cn a suggestion of un­sightly hair. ZIP destroysthe growth.

ZIP gently lift out the roots and in thi way destroys the growth·Ladie everywhere are recognizing that ordinary depilatories andshaving merely remove surface hai.r, leaving the roots to thriveand often cause the hair to grow faster and coal' er~but ZIPremove hair and roots in an entirely difTerent, yet ea y way, an Ide troys the growth.When in ew York don't neglect to call at my alon to I t megive you a FREE Demon Lration.Write for my FREE BOOK "Beauty' Greate t cret" whichexplain the three type of uperfluou hau·.

ZI P destroys the hairs thathow thru the silken sheen.

Bobbed hair demands thatthe nape of the neek hnvea perfeet hair line, well de.fined, frco from unsightlyhair. ZIP i most l1~ss­:uy for this.Madame Berthe, Dept. D. C.

562 Fifth Ave. (46th St.)New York City

City and "tate ...


Look in your mirror and ee if there is a tiny growth of downyhair at either ide of the upp I' lip. Perhaps unconsciou Iy, youhave permitted these tiny hair to grow until they are now largeand conspicuous, marring your good look.Remove them at once, off and out, roots and all, before theyenlarge the pore and before they become a . ubject of jest amongyour m n and women friends.For over seventeen year ZIP ha helped women hecome morebeautiful by painlessly desl1'oying uperfiuou hair on the lip, face,neck, forearm', lUlderarm and limb.ZIP is easily applied at home, pi a ingly fragrant, quickheffective,ahsolutely harmless. It leave the kin oft and moot . Guar­anteed.

At All Good Stores or By MailMail This Coupon Today I



Eleaso send me ~'(lur Free Book, I"Beauty's Greatest Secret." al 0 (I'ensample of VOUI' lVlllssagc and ('I an ins: ICream guaranteed not to grow hair.

Kame.. .. I

~• •

"Merry Christmas!"Sa:,'s Gloria. "I hope Santa WO,J't forgetto It'ave a copy of "Be).'omj the Rocks"ill your tocki"g on Christmas Eve."

Christmas will soon be lure. Jl7hysome friend happy with a presentfamous nO'lJel, at no cost to

not. of Elinory~urse1f?


"L"OR a single year's subscription to SCREENLAND, we will send to any address 'a beautiful copyr of "Beyond the Rocks," with four illustrations of Rodolph Valentino and Gloria 'Swanson, fromthe Paramount film adaptation of the novel. Or we will send you the novel and will send the twelveissues of SCREENLAND to the friend you wish to remember, with a beautiful Christmas card. Orwe will send both subscription and novel to the same address, as you prefer.



I enclose $2.50 for a ycar·s suhscription to SCREENLA D. which you will plcasc

FR.EEsend to .. _.............. in my namc. Thc

frce copy of "Beyond the Rocks" is to he sent to .: .

....._ _..•..........•.....-- _ _ -- .

My name is · · ·· ·..····..··..·..· ·..···· Address ..

City : State .

_______________~ 3e.-----

~• •

THE distressing factors of matri­monial problems have been blUhelyeliminated by free-love exponents. AI,.though their system is not yet per­fecte<l,.it is a step in advance of thelevel of society which retains divorceI~wyers like family physicians. ;Freelove is not so hypocritical as the bride'habit.

PERHAPS the screen of Tomorrowwill be enlisted to hel'p make peoplestay married and stop making familytrees like jungle thickets. The lovestory will then become propaganda.Scenario writers will be instructed tofeature the comforts and conveniencesof monogamy. Resourceful exhibitorswill attract crowds to their theatres bygiving free loges to golden-weddingcouples. It will all help. Too manygirls of Today are saving solitaires tomake sunbursts.

TomorrowA Remedy for Moral lilaFree Lo",e n. the Bride HabitMakinc People Stay MarriedThe Convenience of Monocamy


(Copyright, 1ll122)

o .E 01,1t of every four marriagesin Chicago, over a recent period, h;t,dits cO-relevant in the divorce court:S.Six out of every eight honeymoonersbecame' divorcees. In some caseslove languished, in others it flourishedoutside tl).e family. Sociologists o£~

fered theQries and from the very altar:s.where the ineffectual unions were' be­ing sQlepmized there rang forth ~Wf1,lJwarnings. .

. THE lJe:;t brains of Today are ep,.

gaged in advancing civilization by.condu.cting researches for cancer andtuberculosis cures. He who succeedswill be immortalized. But the man orwoman who consecrates a life toremedy moral ills of the race isthrown into jail with birth-contr:ol en­thusiasts.


Dept. 8M, 1104 S. Wabash Ave., Chi·cago, III,

Mall 1G-c1ay tube of Pepsodent to

search. bas found two ways to fight film.Able authorities have proved ·their ef­ficiency. A new-type tooth paste hasbeen perfected to comply with modemrequirements. The name is Pepsodent.These two film combatants are embodiedin it, to fieht the film twice daily.

Two other effec:bPepsodent also multiplies the starch

. dicestant in saliva. That is there to di­eest starch deposits which otherwise may icline and form acids. I

It multip6es the alkalinity of the I

saliva. That is Nature's neutralizer foracids whi~ cause decay. T'

Thus every use gives multiplied effect . HE movies, along with other socialto Nature's tooth-protecti~1l aeent~ in I forces that deflect the current of ....assthe mouth. Modem· authonties conSIder. . ••••that essentiaL I . consoence, are blamed for creatmg

impure standards. Which is an ab­surd arraignment. In frank expres-'sion, the screen is two hundred yearsbehind the unconventional novel. A.racy story is banned from the realmof the photoplay. Sermons invademore daring environs than probl.emdrama. .

The New-Day DentiFrice

Endorsed by modern authorities andnow advised by leading dentists near.Iy all the world over. All druggistsaupply the large tubes.

Millions employ itMillions of people now use Pepsodent,

lareely by dental advice. The results are'Attack it daily seen everywhere-in e6steniuc teeth.

Once see its effects and you will adoptCareful people have this film removed it too. You will always want the whiter,

twice yearly by their dentists. But the cleaner, safer teeth you ~ Make this I

need is for a dailv film combatant. test and watch the chances that it brines. I

N_ d_bl ;;;' -~-~d~~iW'1REG. U.S. -e _ 1JII show you by a ten-day testhow combatine film in this new waybeautifiies the teeth.

Now your teeth are coated with a vis­CODS film. You can feel it with yourtonpe. It clines to teeth, enters crev­ices and stays. It forms the basis offixed cloudy coats.

That film resists the tooth brush. Noordinary tooth paste can effectively com­bat it. That is why so many well-brushedteeth discolm and decay.

Keeps teeth dingyFilm absorbs stains. makine the teeth

look dincy. Film is the basis of tartar.It holds food substance which fermentsand forms acids. It holds the acids incontact with the teeth to cause decay.

Millions of eerms breed in it. They,with tartar, are the chief cause of pyor­rhea. Thus most tooth troubles are nowtraced to film. And, despite the toothbrush they have constantly increased.

The Price You PayFor dingy film on teeth·

ONLY ONE TUBE TO A FAMILY Entered a. HCOnd-claaa matter at the pod.oftlce at San Franc:IKo, California.

.Coming NEXT Month:





DDES Hollywood, the home of beautiful women, no single specimen of perfect 10f}elinessl Pen­rhyn Stanla'Ws, famous Paramount director, artist andconnoisseur of female beauty, dissects ruthlessly all thefamous stars of Hollywood, subjecting them to themerciless light of the perfect artist's ideal. You 'Willbe astonished at the imperfections he reveals in theforms and faces or the stars 'We haf}e all held beyond

reproach NEXT .month.

CJ Truth .Made Interestingl\lovies in Malaya

. In strange lands movies mean AmericaB, L G. Blochman

How About British Films?Will there be a Hollywood in England?

B, Sir Gilbert Parker

Confessions of a Star InterviewerAdventures of a scribe in Hokumland

Subjects In This. Number That you Will Enjoy:... Twelve Frolicsome Fotos Straight From Hollywood

Agnes Ayres JacquelineLo Prying paragraphs-"inside'~studio. talkColleen Moore Bebe Daniels FF to Movie MagnateInez Nadeau Julanne Johnston B, Patrick Tarsney

P~ Joyce Gloria Sw~n CJ For People Who ThinkEhnor Lynn _ Douglas FaIrbanks . ,Dorothy Manners Marion Morgan Dancers The Editor s Page

.. Th' Y TI7· d Ab B Tmth told in jest'J Ings QU'7 on er out, ut Tomorrow

Have Never Read .' Movies to make people stay married

- Are Unhap~y Marriages the Secret of CJ Stories in PicturesGe01~s? . . 24 . Eight pages of unusual camera "scoops"

How emotaonal stimulus spurs the great artist showing movie people and their antics .By Alma Whitaker .. C .. I C / . h S

The Spy System in the Movies 20 'J rl~Ica omment 0 t e creenAn expose of artistic oppression The Picture of the }\fonth

High Life in Hollywood 30 . Robin. Hood .What the stars do in play Little HIRts for Playgoers

I By Isabel Percival Fearless expression about picttires

So This Is Hollywood I 48A study of a studio from the roof tops

The Camera with Human Eyes .Astounding scientific progress you will soonsee in your theatre

Some More About DoublesSecrets of a Star's Wardrobe

Monkey Gland Movies ' .. How warmed-over pictures are recognized







Published Monllely by S eRE E N LAN D Pun LI SH I N G COM PAN YPMblication Office: 460 Fourth Street, San Francisco, California Ad",inistrative and Editorial Offices: Holl1Wood, California

Yearl, sahlicription price. $2.50 in. the United Stat"" aqd possessioila, Mexico and Canada; in foreillft countries" $J.SO. Siaele copses, 25 cents. Back num­bers, JO cents. Entered u. second-class matter April 15. 1922. at the postoftice at San Francisco. California, under the act of March 3. 1879. Prerioasl,.entered at the postollice at Los An!fdcs, California, as SenE......D Mapzinc. AUflUSl 21. 1920. New York, 120 Fifth Annuci Boston. Little Baildiar.l."icago. First National Bank BuildIng. Cop!rigbt 1922 by Scrccnland Pablishi". Co. All righta f'CSC:noed. Material ma,. be rq>nnted b,. creditiac SCuaiI­&AIle J(apziae. (Member Audit Bureaa of Cil'CU1ationa.) Addraa all commnnications to ScuuUJID PuaLlsUI.G Co.. HoII,.WOOII, CalifonUa.


~• • 0

•BIte Pride of~r·'


Pern B. Kyne's Great Stm,DirectaI '" FnmIt~

The story miJlions havewanted to see in motion,pictures. Made by the manwho made Humoresque.

The'cast includa Mm10rie Da....FC1fTeSi S~~~I J_h Dowlin&.Wamn UI4NI. Wilfyed Luau.O-Z. Nicholo, Ed......, BrGd,.Adde Fczrrinctan. .


When a 'ship loadown and ~ andwomen are tloatinR onwreck_the humanloul fa leen at iuworst - and beat.Don'c mill thisone. ._

Ed"""" SIae/don •~ oriciNd phocD-


MlsaSWUIIODweDttoParilforRowns and bathing lUlu for thUproduction deplctinR life arMUDteCarloandpolnuadjacent.lTom lhe ......d '" David LUk.



DirectaI '" Viaor FIemfncIc Is only natural thac the play In

which Allee Bradyocored her Rfest·tit IUCcns em the _akinR lUReshould allUme IUceao of an evenmore srrlkina quality In the laeRetemotional di.menllona of the .SCTeen.

lTom the l>la1'" Ha"" Fanl. Scma­rio f", MayZmet'Tumj>Mll.


'Orla~ence'. , -:til. Wallace Reid. .L • I ~AyresEl'MayMrA~

Booth Tarkington's greatestcomedy! William de Mille'sfinest production! Three stars!And millions of fans knOw theyhave a date. Here is an abso­lutdy perfect example 9f the new' ,type of picture.

Sa«n pia, '"CLARA BERANGER, ,

If it's a Pa·ramount Picture it's the in town6 ...,;..._.......__""'-------:__~ _

ABOUT, Britis'h

FI·LMS?. B.J' S ;·r· G; 1b e r t P /l r k e r

Celeb,ated British' Novelist 4f1d ScreetC Write'

To rpy mind. it is foUy to havetariff protection on pictures. TheUnited States has had a hig start, hasa great cinema-going public and hasimmense wealth which is at the dis­posal of the great ·film producers. Itscinema public is increasing; the Eng­lish cinema patronage is diminishing.This is not due to lack of interest infilms. People cannot afford to go tothe theatres as. they once did. Thereis always a great orgy of expenditureafter a great w."r ~ it lasted untilthe autumn of 1920, when it began todecline and has ever since.

TAXATION in' this country is farhiper than in the United States. andforeign trade has faIlen because until

. very lately the exchange was so bad

that we could not afford to buy of theUnited States. The. film industry islast to suffer from a trade slump andis the first to recover because theprices are'l~ than the theatre and the

. people must have amusem*nt whenthings look dark. I believe that theEnglish film industry will recoverslowly but surely. And I also thinkthat the British film producers will. ingood time, equal those in America,just as English actors, managers andthe English stage has nothing to fearfrom American competitors. .

I SEE a wonderful improvement inthe British films during the past two

.-years. America has accepted TheGlorious Advefllll". which is anundoubted masterpiece. It ranks ashigh' as almost any American film. TheimpCC?vement is most marked and. it

. encourages one' to believe that in a

very few years one will have reason toa~c1aim the prodigious success of theBritish film ,industry.

T HE British are not so successful incomic films. There are, perhaps,'noCharlie Chaplios or Will Rogers in the.British film wodd. But the Britishcomic stage at its best, is as good as theAmerican comic stage, and, after all,OIarlie Chapiin is British, and therecan be no Ilttle question that theBritish will film as high legitimatecomic films as the studios of America.There are Chendier and Don Lenoand Sir Harry Lauder as examples ofwhat the comic-sentimental stage canprodu~ .

The film industry in this country isin a bad way but it is solvent and it issafe. And I look to see, in anotheryear, all our film theatres overflowing.Briti~h audiences, .British films.


~• •

CJ How a Jealous Secret Service Honeycombsthe Studios with /1ISidjous Intrigue and Cor­rupts the Art of the Motion Picture.





the studios today are full of striving,earnest, capable directors, whose bestefforts are defeated at every turn by·what ~ey unequivocally designate asthis pernicious spy system. For ob­vious reasons, SCREENLAND will nameno names, but this· magazine has theevidence and will publish the facts asthey have come to it.

THE spy system pr~vails at most ofthe big studios in some guise or an­other-a deliberate system of cheappus~yfooting,anofficial attitude of dis­trust. And this official attitude natu­rally creates a counter attitude of re­venge, a counter-spy system, a "you­get-me-and-I -get-you" attitude, repletewith snarling vengefulness. "Big fleashave little. fleas upon their backs tobite 'em, little fleas have other fleas ­and so ad inifinitum."

And that is one of the most poig­nant, the most bitterly significantreasons why the third greatest indus­try in the United States today is in!>uch drastic violent need of that "har­mony apd co-operation" of which WillHays speaks so feelingly..

See a small group of studjo peopletalking together, watch the furtive

. glances, hear the cynical' warning"Camera!" given hy one of them, seethem all promptly turn to discoverwho may be listening in,. hungrilydrinking in any careless remark thatcan be magnified into a misdemeanor,make good "copy" -and get thewretched speaker in "bad."

Imagine any bOdy' of responsible



assistant director, or he maybe a cler)c with soi disantsecretarial duties. .

Theoretically he is employed'by that ever-mysterious·' "They,"meaning the powers that be, to reportupon extravagances and small leaks,a misguided effort on the part of pro­ducers to stem the tide of reckless ex­travagance in 'production that onceheld sway. This is the plausible jus­tification offered for the existence ofthe hired spy. It is a violent swingof the pendulum to the other extreme,and even when the spy keeps right­eously within' this province it fre­quenlly, generally, works to the detri­ment of the picture and most outrage­ously against the best efforts of thoserespgDsible for its making.

But the hired spy must justify hisheing. And in his zeal he is daily,hourly, on the lookout for somethingto report. To· report efficiency, tocarry tales of expeditious and success­ful effort is no part of the ~cheme. Heis the're to find fault, to nose out de­liquencies, to pry out mistakes, tomagni fy misdemeanors, no matterhow trifling, and, where his victimsare guiltless, it is but human that heshould bring his fertile imagi,ia.tion tobear-for where is the value of a spywho spies nothing, who has nothing torcport?

Directors and stars are naturallythe chief victim!> of sUj:h a system.And where two or three directors aregathered together this burning topicof the hired spy is bound to arise. For

-THERE is of spyingthroughout thc today thatharks back to Prussia undeJ:' theKaiser, both as an organized and un­organized sccret service of amateurand professional detectives, by whicheverybody is trying to "get" every­body clse and no one is safe frompetty tattle-bearing.

It is wholly vicious, unclean, creat­ing a .condition of jealousy, revenge,sneaking, underhand trouble-making;petty' spite work, and where is theman or wOqlan who can produce theirbest skill, attain their best achieve­ment under a condition which reeksof suspicion and distrust?

It has been said .that twelve menhave an opportunity to ruin a picture.The professional film spy, hired inmany cases by the producers, is thethirteenth man-the deadliest, slimi­est and most sinister factor of themall.

THIS hired professional sneak,whose duty it is to report any aridevery trifling or seeming delinquencythai: occurs on or off the lot, about anyand every person a~sociated with thescreening of a play, operates undermany guises. He may .bear the high­sounding, / authoritative. title of Pro­duction Superintendent, or he may be'the electrician in the sun arc. He maymasquerade under the guisc of an



people in anyether business working underthese conditions! What a device for'encouraging harmony, co-operation,team-work, for bringing out the finestand best of the talents employed!Everlastingly haunted by· this dread·and dirty word "espionage," alwaysfurtive, fearful, or belligerently furi­ous, according to temperament, andalways wanting to get even, alwayssuspecting each other of "laying forthem" and conspiring with the spy intattle-bearing.

Can the public conceive of anygreater handicap to an industry inwhich they are vi~ly interested?

Isn't it obvious that this funda­mental rottenness is the· basic causeof so many of -the imperfections ofartistry, direction, acting and produc-"tion generally?

PICTURE ~o yourself a director anda star who fondly imagine that thepicture they are working upon will be .their best. Picture them getting to­gether, as in one notable instance, andworking all night for four nights overthe script, flushed with enthusiasm,adding, improving, devising, originat­ing dozens of subtle or sensational sit­uations for the greater glory of theirwork. of themselves, and of thestudio.

And then find that some sneaking,dirty spy has reported that these twohad been carousing together by n.ight,and that when they paused to dis­cuss points on the lot, they were sus­pected of a new and scandalousintrigue.

Consider the director who has set hisheart on one certain star for a par­ticular role., because she has the par­ticular type of charm he thinks therole calls for, and then finds it hintedthat said star once presented him witha fancy silk shirt (and goodness knowswhat besides), so he probably has somevery illtitll4te reasons of his own forpicking on that particular girl!

Or consider the actress who, havingsat up with a dying mother all night

at ahos­pital, arrives on the lotfifteen minutes late, and finds herselfreported as being absent from herhome all night-probably on a riotousparty-and certainly not believed if"she is given an opportunity to ex­plain- -which is doubtful.

Again, there was a director who, inan unguarded moment, declared that"it·was no use trying to work for thisbunch; they were so damned stingy"-a remark that most directors havethought if not spoken at some time oranother. \Vhen this remark was dulyreported with embellishment to head­Quarters-and carefully coupled upwith a previous demand of his formore extras for a ballroom scene­<'oila, the spy found it Quite obviousthat the director was deliberatelywasting the firm's money and tryingto gc:t a few of his friends into .thatballroom scene.

It is all so unthinkably petty, sobase. so cheap, so utterly paltry.

Yet nearly every day responsiblemen are hauled up to the office to ex-

, plain some such ridiculous incident, to.refute some utterly paltry indictment.

THE new passion for economy,coupled with the new passion for per­sonal rectitude, form a wonderfulcombination for the activities of thespy. And the temporary lull in pro­duction has made every person fearfor his job, and created an army ofpeople on the outside looking hungrily·if'. for that job. Friends of these out-

. siders who happen to be on the insidenever lose an opportunity to knock theincumbent. But as· their own jobsoften depend on the good will of theincumbent, their knockS must be sly,underhand, below 'the surface and be­low the belt. So these again swellthe army of corrupt and sneaking spysystem-that system institute~ at thesource by the producers themselvesand spreading in ever-widening circlesout to the least important extra.

Noristhis merely true of theartists and directors, amongst whomthere is a natural and normal jealousyas obtairis in all professions in whichthe artistic temperament is ri fe, andthus offers fertile soil for the spy. Itaffects the cameraman, the carpenters,the electricians, the secretaries andoffice clerks, the very telephone girls.In the scenario department it reachesfri~htful dimensions. No one is trust­ed there. And not even the importedeminent authors are exempt. For theprofessional staff scenario writer re-

. sents the introduction of the eminentauthors, fears to see the level of thescreen play raised above their owncheap limitations; so woe betide the(-minent author or any other authorfrom the outside who has dared toinvade their precincts.

A HIGIILY favorite pastime of these.lf-appointed auiateur spies is to setdirectors and eminent authors andproducers against each other· by car­rying and magnifying any hint of di!?­approval that may be voiced or im­plied. The .author is told that thedirector is spOiling his play, the direc­tor is. told that the author. thinks heis spoiling his play, the producer istold that the author is bitterly dissat­isfied· with his treatment, or that thedirector is bitterly dissaisfied with theauthor, or that both are cussing theproducer. The staff scenario writer.with his worn-out public, his staleoverworked ideas, his co*cksure hide­bound "experience," has good reasonto fear the advent of outside· authors-and thus takes the spy system andall its dastardly ramifications· verythoroughly to his heart.. One very eminent author who cameWest was an early victim of ·this das­tardly and treacherous spy system. Asone famous director who was to have

. made his pictures vouched, this author


~• •

THERE was~__

of the Buddha, ~·t1l·bt:~';':,~~.lj.:..........been forgotten.and was espicture. Three I). dreding on the set at froday without the s rsA hasty signed by direct?signed by superinteneeded to fetch thdiscussions as to ~ "hire Buddha. Stm e· ' ionsas to cheapest tus fi - ';itt theone that charges/~ccnts Jess. In theend it took two hours out of a 'work­ing 'day of abOllt.five and a half hoursto go throu~h all ~e red tape and savea possible $5 C}.n that Buddha, whilethe expense of holdin~ those threehundred people .for two idle. hours raninto many hundreds of. dollal'S.

Or the case 0'£ the behind-the-scenesset, supposedly in .a Paris operahouse. A banquet was being given tothe brilliant actress on the stage. ' ES­limates, 'pared down by superinten­dent, called for building this scene on·the lot ~s being cheaper than tenting abig downtown theatre. When the 000-'quet scene was prepared, it lookedcheap, shoddy, obviously faked -

sistant go to. th

O:'-J'E perfectly appreciates that ecoa­nmy in the movies is a consummationdevoutly to be wished. But one canfind no sympathy for the parsimoniousand underhand methods adopted tocombat what was' once such shamefulextravagance. The spy system hasproved bitterly, rancidly unpopularand unfortunate in practice, no matterwhat good alibi its instigators have tooffer.

Picture to yourself a man who hasput his best effort intq filming the firstscenes of what he hopes will provehis masterpiece. The set is as nearlyperfect as the new passionate parsi­monv will allow. The estimates havel'alle"d for four days on this set, withfortv-two scenes. Then comes thehilit'that this is an extravagant esti­mate. He is wasting time. He spenthal f an hour talkinl{ to the star. He",vas gone fi fteen minutes to wash hishands. He had a couple of privatetelephone calls. And· that space isneeded for another company. He iscommanded to cut down his time byone and a hal f days. He and his as-

One actor, whospends most of hisleisure with peopleoutside 0'£ the pro­fession and k e p twhat the spies choseto regard as "high­brow" company, wasstigmatized as hold­ing his confreres incontempt, and quitea cabal was built upagainst him on th~t

score. Every triflingct, speech or reserve':-_iiillsi~f his which w a

on tpe lot was_mle4. 'as t h i

ful,bi~b .superiority omptex-whereas, actually .the fellow was mere-ly shy and 'incapablof. easy "mi~i~Y e' t otherwise h i

w 0 I' k . was peculiargood, and the public witlprobably lose an' oppor

tunity of enjoying a first-class actol;.b4::cause, forsooth, the spies consider.him too highbrow!

On the financial side, this spying ispeculiarly vexatious, as appertaininto the authority of the productiosuperintendent in quite a number ofcases. Here again the public sufferse... en more than the victims. It is onevery excellent reason why so manypictures fail of being worthy worksof art or, in even many cases, reason­able reproductions of the scenesinknded.

tj ''Tire hired profcsslOSOfllldillg title or Irl'tire SUit /Ire .....

ONE director's professional life wasnearly wrecked because the spies saidthat he was going behind the produc­er's back and trying to get 'the pro­ducer's' wi fe to interfere and supporthim in a trifling artistic controversy.Fortunately for him. he was able totrack this down and bring the issueto a head, wholly disproving any suchcomplicity. But the 'producer and hiswife were not on very friendly termsat the time, and the fact that the direc­tor was a friend of both made fine('a:)ital for t~e spies.

came teeming with new, subtle dra­matic and workably possible ideas.Hence his doom was sealed directly.t~e fearsome fact ·became ev'ident. Soafter the professional scenario writerallotted to him for technical aid andcontinuity had tried in vain to provethat none of' the author's ideas werescreenable, a campaign was started toblacken the author's character. Hewas whispered about as a degenerate,things too unthinkable and absolutelyunprintable were told of him-and heleft Hollywood in bitter dis~st with­cut ever. having made a single picture.Yet this man is a distinguished dra­matist, enjoying the highest socialstanding -- everywhere but in Holly­wood. Yet the writer, trying to trackdown the calumnies. could not find onetitle of evidence t'; support the scan­dal-nothing but the unsupported sup­posititious testimony of the spies.

This was a more grievous and dis­gusting case in point. But mostly thespy system reeks mainly with utterlypetty, paltry, trifling but soul-vexingmeanness.


cheap glass and china ware, cheapflowers, and the scene minus all th~se

ropes and devices which are part andparcel of behind-the-scenes at any im­portant theatre. 'Well, the directorwas furious; said it would blast hispicture. But superintendent insistedit would cost. $300 to hire downtowntheatre. They finally issued an ulti­matum; director would proceed to"shoot" or consider himse1 f fired.

111oila, he "shot." It was rotten-andin the end they hired the downtowntheatre anyway. That little argumenttMlded $3,000 to the cost of pro­duction.

-.,._........,...n't only the spying whiche uls of directors. It is this

ggerated passion for par­nigg*rdly saving of dimes

nse of hundreds of dollars.our most famous directors~ainst this astonishing. ill­

;nigg*rdliness every hour oforking day. Time, which is the

sence of the profession, iswas .i petty discussions, often in­vol* 0 more than $1.5o--just sothat th production superintendentmay a pear to be earning hismoney

HERE and there one finds a di,rec­tor who is resignedly trying to make.the best of his production superin­tendent. He makes concession afterconce. ion, always, as he be'l,ieves, tothe d toment of 'the picture. Hewants a certain girl to play a certainpart. ~ut she caUs for $750 a week.They make him accept some one lesssuitable at $500 a week. The picturecalls for a special location. Theymake .him put up with a made-overset on the ktt.. But aU these amiableconcessions leave the production su­perintendent nothing to criticise, withno economy fights to win with triumphover a recalitrant director, things runtoo smootJily to prove that he is anecesSjlry adjunct. Hence he is tempt­ed to Jirovoke the director still further,to invade his personal decorum, to r.e­port any small trumpery delinquenciesbe feels he has perceiv~. So whetherthe director protests or conttdes. be .gets it either way. If it isn't thedirector,. it's the star.

STARS have no special love for pro­duction. superintendents, believe me.

. If they are the kind without authority,they trot around and tabulate a hun­

. dred unconsidered trifles, report wild yexaggerated temperamental interludes,

magnify trifling disputes in furious in­subordination. And if they are the kind,,,ith authority, they take a sumptuousdelight in their privilege to hawl thestar out for being. say, "five minuteslate, or trying to introduce a friendinto a job, or flirting with an extraman, or anything else that offers theretistry of 110wer and autocracy onthe part of the superintendent.

Where the production superinten­dent is equipped with due authorityand works in the open, the rancor isless evident, less poignant. But whenhe is without authority and merelymakes his unsupported verbal reportsto the office, wields the fearful privi­lege of private indictment, and noneknow which is today's victim andwhose tomorrow's, nor, half the time,given opportunity to refute and ex­plain, the tension in that studio, thefurtive. insidious, incredible slate ofaffairs is undermining that very con­dition which the ,producers are mostanxious 'to obtain--<:o-olleration, har­mony, good feUowship, teamwork.

And the remedy. Well, as the direc­tors and stars concede, there was atime when tbey were an amateurs.\'.'hen the vogue for reckless extrava­gance pervaded every studio, when, incs·timating for a story, dil"ectors, un-'su,re of themselves an~ what they

. needed, called for everything in sightand discarded any su,perftuities with­out counting ~he cost. There was a,time w'hen scenes were shot over andover, extras 'kept around for unneces­sary days at a tjme. and eve,rybodyhad the "hang 'the ex­J~se" idea very nicelydeveloped.

But nowdays directorsare' expecienccd men ;actors are for the mostpar t experienced pro­fessi9nals. Reing nor-


mal, intelligent human beings, they,even as the producers, perfectly recog­nize the need for economy and -ef­ficiency. Estimates now are made out')y directors and their assistants withthe utmost care and consideration forl'conomy and efficiency. Directors.

. quite as much as producers, want to 'turn Ollt better films' at reasonableprices. They all have the good of theprofession at heart.

Obviously, therefore, to get the bestartistic and economic merit out ofthese experienced people is to concedetht:m the honor and credit of personalresponsibility, to treat and regard themas rcsJ.lOnsible persons, to reat} thehenefit of their best considered judg­ment. to concede them the JlOssessionof intelligence and conscientious,righteousness. And there remains noexcuse for the abominable, treacher­ous spy sys'tem, the petty overlording,the inexcusab'le and 'trumpery parsi­.mony, which, in its way, is more detri­mental to the profe sion than thefonner ,reckless extravagance and per­sonaJ irresponsibi:li·ty.

Either extreme is thoroughly bad,but the treachery and insidious­ness engendered by ,the spy systemis utterlv abhorrent to aU Americanprinciples.


q"Why. snicker if Charlie Chaplin dallies with Peggy Hopkins Joyce?Jrho knows but tharthe exuberant and experienced Peggy andher emotional complexes may be just what Charlii's art needs?"

PI.otogropl. b.v MelbOllrne Spllrr.

•UNHAPPY rarnages the


fJ "ScTI!m artists rise to ~igher planes of Pr.of~ssionalg/~,.y afl"r ~ devastating love-trag~dy.· III foci, ro.",onlic suffering seemseven beller as all arllontc thall romallllC bltss. You WIll be Stl rpnsed when yOH read IhlS sharp analysIs of movie marrioges.

ELINOR GLYN, who insists thatshe stands for monogamy, said whilsthere, that the screen artists should notbe subjected to the same legal restnc­tions as mere citizens. Their tempera­ments demand more elasticity - awider range in the matter of heartthrobs. How can they possibly giveus faithful emotional presentations ofthwarted and suffering lovers, for in­stance, if they have n~t loved, beenthwarted and tried again a ·few times?And life is so short-.:..-fancy makingthem wait a whole year before launch­ing upon another essential emotionalexperiment.

Or how can they. even give us faith­ful presentations 0.£ domestic bliss,if, after one or two unsuccessful at-


By Alma Whitaker

tempts, they are not allowed to seekand find the one soul-affinity who iscertainly waiting for them in .theworld .somewher~if we are to be-'lieve our very nicest romanticists?

So why carp, if, for inst~ce, Char­lie Chaplin, whose latest pictures sho.wa marked relapse, dallies with PeggyHopkins Joyce? Why snicker? Whoknows but what the exuberant and ex­perienced Peggy and her emotionalcomplexesmay be just what Charlie'sart really needed? Who knows butwhat Charlie,' a totally different kindof a millionaire, may prove to be the

. identical 'cellist to draw that finemusic from Peggy's heart-strings,which we can't help feeling lies dor-'mant within her great soul?

BuT'obvious it is that both Charlieand Peggy 'stand in urgent need of anew great soul-inspiring emotionalromance-even' if it ends in more suf­fering for either or both. In fact,romantic suffering seems even betteras an art tonk than romantic bliss.Already we have noted how manyscreen artists have risen to higherplanes of professional glory after adevastating love-tragedy.

Recall the experiences of RichardWalton Tully, who may now be ac­counted a denizen of Screenland, bothas promoter and author. Don't youremember how he reached the besttriumphs of his dramatic successes un­der the spell of marital unhappiness?


tj "Could Gloria SW<UISOIt havc reached her pro,w ,placein filmdom, alld ;'fCidl'fttally purchased a $200,000house at Beverly Hills if she had Hot IuJd a sumptu-ously IUfluJppy marriogc!" Pb,,'ogr./1" ".~ Keyes.

EDITH LYLE, wife of Fred Gage',is in that play too-playing the vamppart. Edith would give us to under­stand that she exercised the greatestrestraint'and caution before marryingFrederick. And she proclaims the re­sult a pleasant success. But mark you,

tj "Metro alld I,cr professional developnumt demalld·/luJt Viola Dana, pensive sod widow, take allothrr"l""ge."

CLARA KIM­BALL YOUNG'Spapa took a newand drastic plungein the sea of famenot so long ago,married, in the faceof family opposi­tion, the widow ofHerman Whitaker.Went through allthe anguish of theheir to the earl­dom mar r yin gsome untitledcharmer, fought

present is that she for his romantic rights like a regularfeeds him so well young princeling against the verbotenthat he is putting of a queen-mother-and he got a newon weight. contract right away and now sails

But, taking the merrily on to greater fame and for­tune.

same c 0 ril pan y ,there is dear· old . Or take Mr. and ;Mrs. Fred Niblo-

Enid Bennett.. Enid got just so far inHerbert Standing.

pictures and then seemed to halt inNow Herbert has her rise to fame. Then some horridhad two wives and Australian paper published a divorce,e i g h t children- story. Both denied it indignantly­n eve r a scandal and just to spite the reporter, startedany w her e, and to fall in love with each other ·all overHerbert a I w·a y s .. again. It worked beautifully _ andsatisfactorily boss the· Niblo fortunes are responding toin his own house- the romantic anguished treatment-hold. Ve r y well, and incidentally Enid ·is starring inthen. Does some Thompson Buchanan's new problem·great pro due e r comedy; The Sporting Thing to Do­make a fat and de- which is rather an appropriate title,moralizing contract don't you think? And that play is allwit h Herbert to about married folks _ with hecticp I a y the lead in interfudes.some heetic dramain which .a sea­soned old fellow ofseventy kicks over

the traces, marries afew Peggy Joyces, andgenerally portrays a fa­

mous American millionaire type thatconstantly gets its ,name in the papers?No, sir. Herbert is .doomed to com­paratively' minorparts, by no neamscommensurate withhis great talents­all because the fel­low has wallowedin hap p y domes­ticity.

THAT is one thing that concerns us

about Guy Bates Post. Both Guy andMrs. Guy appear to be so blissfullypleased with each other. But per­haps Mrs. Guy was cut out for thewife of a genius, perhaps she knowshow to keep him uncomfortably, dis­turbingly in love. But all. we know at

Then when he espoused the secondMrs. Tully,· when that amaZing andpapa-thriiling new infant arrived,when serene domesticity' appeared tohold sway, behold Richard lapsing in­to comparative mediocrity. Well, wedon't hear very much about Richard'saffairs .just now, domestically speak-

. ing, so we have yet to discover whatsort of a film reputation, what kind offilm laurels Richard will add to hisdiadem. But, for Art's sake, we can'thelp hoping that Mrs. Tully willworry him just a trifle, just enough toprevent hiin being smug and stodgily.contented, even if she has to makehim fall in love with her all overagain and keep him harassed withthose lover's uncertainties that goadgeniuses on to glory.


WILLARD MACK, who has madenumerous dashes .to affiliate withthe films, although he. is primariiy."legitiD)ate," has perhaps made thesame mistake, His marriage to PaulineFiederick and the subsequent anguishserved Pauline better than it did Wil­lard. The last scenario I saw of his,

. being filmed at Laskys, notwithstand­ing the fact that his fourth wife wason that very·day reported to be leavinghim, gave no signs of staggeringlynew-fired genius. r begin to despairof Willard in filmdom, although theremay yet be a chance for him in the"Iegitimate" if he can recapture Mrs.Beatrice Beebe Mack and induce herto restore comfortable marital rela­tions.

It is Father gratifying to discoverthat· although success of a real daz­zling nature-in Screenland-almostseems to demand romantic and maritalanguish of some kind, those· incurablyaddicted to domestic serenity and con­tent can· usually reap a· good measureof success on the stage.

f BeautifulGIRLS

IHoUywood----:-CC1here fnlt~e love-. liPless is a tlntu Ott tlte HUlrket. it\ R£".d Alma Whitaker's startlill!} ,.

\sto.ry iPl SqUo:F.NLAND for JaPluary.()" sale Dece",ber '-st. .L ~. j

~ ~

TOM MIX never ~lIy attai~ anysatisfactory recogniti9D until his do­mesticated heart had been broken atleast once. But since the advent ofthe second Mrs. Mix and Tom Junior,Tom is,probably getting· all the essen­tial anguish out of Junior's infantilecomplaints. But if Tom insists uPonbeing too happy in his domesticity~hewill han' to take $erond place to Rill



Yes, sir; and Winifred will be billedin DIOnster headlines as Natcha Ram­bova again and bust sOme producer'streasury, too.

YOU see, these stage actors andactresses ·get a good deal of theirtemperamental· emotion direct fromthe audience-the quality of the· ap-·plause, the favor or disfavor of thepublic night after night keeps them inthat harassed state of uncertain joyor temporary torture, which. thescreen people can only get intimately,personally, in their own affairs.

That is why, as Elinor says, wemustn't judge the screen people· byordinary staodards. They are calleduwn to act all these emotional·thrillsbefore a mere director, a couple ofelectricians, the property-man, the

Hart and other bronco busters and musician and possibly a cynicalgun wielders of screen f=une. lounger or· two. How could they

When one comes to the question of Possibly keep keyed up to concertKid McCoy, one. appreciates that one pitch.if they weren't having lots ofcan ov~rdo the thing.· It is all the thrillful emotional hopes and violentdifference between a couple of good

let 0' d h I bo If· anguished chagrins on the side? Posi-coc al san.a woe tt e 0 moon- tively no genius could stand it!.shine whisky at a sitting~ As it is, hehas stunted his growth-fameishly But on the stage, behil.ld the foot-speaking-by going to reckless ex- lights, night after night, headache,tremes. But he doesn't necessarily stomach-ache, sick baby, tooth-achey

husband, overdue bills, or that "worldblast ~y theory- as any doctor will is mine feeling,". the legitimate actorconcede, a little iron and quinine is a

comes in direct and throbbing contactfine tonic, but a steady diet of it"is by .

..with the whole. dashed public-ccm-no means nourishing. .cert pitch is· the very breath of· his

life. Any violerit romance off the stageis more liable to prove that little morethan a little that is so much too muchfor him-not a tonic at all. But forthe poor, dumb movie· aotor---dearHeaven send .him .personal real-lifethrobs of passion or gobs of anguish.or he dies! Unhappy riJarriages mustbe the secret of unaitu.

VIOLA DANA is an honest-~o­goodn~sod widow who whispers theconfidence from '·'pensive lips, and inher eyes the sha~s of o)(r tears"­according to a poetic interviewer.Viola has done rather well on thatheart-sorrow, but alas, time heals allwounds. It is becoming most desir­able that Viola should take anotherplunge, .preferably a very unhappy,tragic one. The Metro and her pro­fessional development d e man d· it.

. Otherwise Viola is going to remain inthe second line, no "greatest directorin the world" is going to select her toplaya tremendous dramatic lead. Whois there who would dare to say thatGloria Swanson could have reachedher proud place in filmdol1h-3Dd in­cidentally purchased a $200,000 houseat Beverly Hills-if she had not hada sumptuously unhappy marriage, andso rumor hath it, stands prepared totake another risk.' Even Gloria'smamma contributed to the Swansoneclat in this important particular.

We cited the case of Valentino inour last article-but since then Ro­dolph is piling anguish upon anguish,emotion upon emotion. .Partings, re­unions, long anguished shipboardgood-byes, passionate cancellation ofbride's voyage-all triumphantly c0­

incident with sumptuous ·rival bids forhis dra~tic services, demands forhigher pay and more publicity,. per­fectly gorgeous staggering fights be­tween producers for his affiliation. If·Rodolph can only keep it up we canfpresee an ebullient publicity agent.designating him the "highest-paidactor in the world bar none" beforethe new year se~ in.

Edith says she "believes in divorce,". which mental reservation may account

for the continued loverness of Fred­erick, who also adds absence in theEast to his charms.

But you will observe that the pub­licity on this play boasts of the num­ber of happy ~rried couples takingpart in it. So far, so good. But, yousee, it is a "speakie:' not a "DIOvie."Do you, oh, do you suppose that suchan array ·of domestic bliss could bringfame and fortune on the screen. EvenEnid had to take her spurious mis­reported anguish back to the stage toturn it to profitable account.


GIRLS who longfor screen f a m eshould p a use toconsider the plightof Colleen Moore,who is more on thesveldt order thanb u x 0 m. Colleenweighed jus t g8pounds when shebegan work in aGoldwyn pictur~

under direction ofR u per t Hughes.

The early scenes showedher a pathetic waif. Laterin the story she was. toappear in better cir­


"You must weigh 115 pounds fortht: next sequence," said Mr: Hughes.

"When do we begin shooting them?"asked Colleen.

"In six days," said the director.

hotel he recounted his experience forthe clerk, and removed his hat to mophis heated brow.

"Oh, look, Mr. Bosworth!" criedthat individual. "It turned your hair!Look in the m~rror!"

The actor looked - his hair wassnow-white!

Later,in his room, he chuckled and. removed. the white wig that he wears

in "The Strangers' Banquet," which,because of the late hour, he had not

removed at the stu­dio. 'And now thebefuddled clerk iswondering w hatkind of dye Bos­worth used to re­store the naturalshade.

around oncet?" \VhatWell-Hall is' a gen-

ON his way home from the studiothe other morning, Hobart Bosworthwas held up. But he developed anoverwhelming desire to be away fromthere, stepped on the accelerator anddepat;ted hastily. Upon reachmg his

you take herdid Hal do?t.leman.

KALLA PASHA, the villain whoappears in so many Mack' Sennettcomedies, is a beskirted Amazon inso' many pictures that his admirersare all mixed. Just the other. dayhe got a letter from the PhilippineIslands. It was addressed: "DearMadame:"!

... This is the first photograph of the \lew VI/lel/til/tl family group.It was taken on the C'i'C of the bride's departure for Europe, onthe steamship Olympil', with her parel/ts. From left to right:Valentino, Mrs. Richard Hud\lut, Willi/red HU(i"ut and RichardHud\l\lt. I"t..rHalionoJ Photo.



HAL ROACH, the com­edy producer, all deckedout in nautical white withthat spic-and-span air ofhis, was awaiting some friends in aCatalina Island dance hall when apoor, mou.sey-Iooking little individualgrabbed his coat-tail and begged, withthe voice of a drowning man: :'Mywife ain't danced all evenin'. Will

RAYMOND HATTON, whoseparts usually require ragged costumes,gives all his old clothes to the Salva­tion Army, according to. his pressagent.

"But that isn't half of it," Hattonsaid when his eye fell upon this item."That's where I buy most" of 'em!"

SAID Bradley King's little niece oneSunday at dinner, when the butcherhad sent a particularly tough. fowl:"Aw, Auntie, thiswon't s wallowdown my neck­it'll just chew:'

IT took the prop­e r t y department.two days to con­coct a solution thatwould "pop" con­vincingly when putinto "d u m my"champagne bottles.Director G e 0 r g eFitzmaurice' 'd e­manded that thatparticular scene inK i c kIn shouldhave a thoroughlyIi fe-like substitute.The secret is jeal­ously guarded.

Cf Have you a/ways wantedto know just what they talkabout in Hollywood?


~• •

... Hollywood got a thrill out of the com­j"g of Pola Negri.

... Ra)'IHolld. HattoH gives well-dressed3'0"''9 Im'1I a wardrobe tip.

, PI'D'D by C/ S. B ..II.

HOLLYWOOD got as much of ananticipatory thrill out of the comingof Pola Negri as Keokuk or Kokomoever did out of the advertised per­sonal appearance of Bonnie Delaneor Mervin Gill. All that Hollywoodknew of Pola was the word thatCharlie Chaplin, brought back fromEurope that she was "the goods." Herfirst picture will be Robert Hicl1ens'Bella DonNa.

-----CONNIE TALMADGE is to doThe Merry Widow for those who liketheir drama unspoken. At least, that'sthe word that comes through the airfrom Europe, where Connie and Nor­ma are touring.

T HE Pickford family has its trou­bles. Yea, verily. Ma Pickford putup something like $200,000 to make apicture for Jack. Some jack forJack!

fill a bale of scandal sheets. Needlessto state, the truth was sadly missingin practically all the weird yarns. In­timate friends of the great Westerncharacter say that previous to theseparation and the birth of WilliamS. Junior, Bill turned over just abouthis entire fortune to be held in trustfor his wife and heir.

RICHARD DIX, whiledoing a part in a Goldwynpicture in London, wasobliged to cancel passageon a London-Paris planebecause- of sudden pro­fessional demands. Hedidn't care so much un­til learning, a few hourslater, that the plane hadfallen and the pilot andseveral passengers hadperished. It is certainlytough to miss out on a finebit of, publicity like that.

MARY PICKFORD re­fused to buy the' screenrights to Dorothy Ve,.,WNof HaddON Hall for $8000,last, year. Now she hasjust J,>aid $so,ooo to MadgeKen~y, who had intend-ed ~ng it. '

BILL HART'S matri­monial crash has been thechief topic of conversationamong,the chair rockers ofthe Dirt Dishers Associa­tion, and there have beenenough versions of thewhys ~nd wherefores to

THE jights ~uped around the setvibrated in G-sbarp, spoiling the music, 'played by acertain girl violinist. Sothe young lady resorted tothe resourcefulness that isthe saving sense in picture­making. She tuned her Astring to G, sharp. Thelights and ,the violin vi­brated in unison: The musicwas satisfactory. And thenthe work went on.

IN directors' circles there'is a laugh at the expenseof a well-known producerwho fired a new directorbecause he didn't like thefirst results of his workin the projection room. Afew hours later he saw

more of this director's film,which reversed the producer's,

opinion of the man. And the nextday he re-hired him at a doubledsalary.

SAFETY FIRST reached a highlydeveloped stage in The Impossible.Mrs. Bellew when Director SamWood used ripe bananas for a bull's,horns. .

Miss Moore assures us that shefilled the order.

THE trouble with changing fromone company to another is that a newpress agent equips a star with an en­tirely different "past," according toGareth Hughes. A ,few weeks ago, itwas reported that, being a Welshman,he had never spoken a word of Eng­lish until 14 years of age. In a follow­ing newsy note he was credited withappearing in Shakespearean leads at,the age of' 14. Of course, it may havebeen a stock company that was put­ting on dialect stuff.

CLARENCE BURTON, one of thebest villains who ever throttled aninnocent maiden, came to the Para­mount studios at sunrise one recentmorning to perfect a new "hardboiled" make-up.' He spent two hoursat it. At nine o'clock he appeared onthe stage and Director Paul Powellhed a bandana handkerchief around

IS _ w~lp)(:teIy dbtin g=th~._perb make-up.

"'\That's the idea?~' spluttered "Bur­ton.

"You're a bandit," explained thedirector.

tj Colleen Moore, who weighs 98 pounds,tried to gain seventeen pounds in oneweek, becaf4se the director u'anled herto look happy. Photo bJ' C/are,ue S ... 8HII.

•tj The slll.g-filling one-piece balhi1lg

suit for women, so plentiful Oil

beaches where the movie starsfrolic, a'ill SOOIJ be passe, if ViolaDa1la is accepted as all arbiter ofa/hletic fashion. "The loose taf­feta SUIt wilh trunks //lakes aIIIore comfortable and oracefuloarlll('1I.I," sire sa)'s.

International Photo.

just couldn't make his. feet behave.The wrathful director looked around

for 'him who had produced the rattlingtune when Tom interjected, "It's thatdarn radiophone."

The r"etdio was part of the scene andsomebody had hooked up the thingand it had caught the jaZz from somebroadcasting station.

It recalls the time the· parrot hol­lered "cut" in the middle of one ofTom Meighan's important scenes,thereby stopping it and nearly hav­ing its precious neck wrung by thedirector.

THE stars, of course, are gratifiedto receive so many requests from"fan" ad m ire r s for photographs.However, Buster K eat 0 n decidedthere was something wrong in Den­mark when he received this letterfrom the Philippine Islands: Pleasesend me your favorite photo. You aremy one best actorand I want the pic~

ture to annoy my friends." Busterdoesn't know whether the youth waskidding or whether it was a mistakein the choice of words.

Another letter Patsy Ruth Millerreceived from a. Japanese admirerstated: "I s~w your honorable pic­ture the other day in my best friend."

"QDIET, quiet; thisis an emotional scene,put it all in your eyes,your face!". instructed aLasky director. And TomMoore was about to obey,

when' a voice started singingthe latest jazz melody and Tom

DID you know that RaymondHatton once sold tamales on thestreets of Klamath Falls, Oregon?It happened several years agowhen the barnstorming com­pany playing' The Squaw Manwas left stranded by its man­ager absconding with the pay­roll. Hatton had money in SanFrancisco, but had to make aileal with a tamale man to peddlehis goods for four hours-in order toget money with which .to wire. formoney.

WALLIE-REID, in stiff collar andheavy clothes, was making some ex­teriors for (larena before a Holly­wood mansion. Wiping his perspir­ing brow, he exclaimed, "I'd give fivedollars if I could stand in a cool rainfor one minute."

Just then a man sprin­kling the lawn next doorcraned his neck to watch'an . aeroplane overhead.The wide spray from the.nozzle of the hose coveredeverything on the placeexcept the mortgage. Itcovered Wallie. The oldman was horrified to dis­cover he had given thestar a ducking and dumb­founded when Vol a II i er u she d up' and shookhands ~ith him. He's stiilwondering where the five­dollar bill in his handcame from.

JACK HOLT, visiting the racesat Tijuana, Mexico, in which onlythree horses were running, noticedan elderly man placing bets on all .the horses and asked the reasQn.

"Huh!" responded the old man,"I own of the horses in thisrace and my two sons are ridingthe others."

THERE IS a new custom in well­regulated Hollywood families. Itwas introduced by the Bill Harts.When Wm. S. Junior was born, weare informed, legal representatives ofboth father and mother were present!

HORROR reigned among Bull Mon­tana's old cronnies, Spike Robinson,Battling Savage, Gaspipe Rooney andPigiron Dalton, when the news leakedout that Bun is taking dancing lessons.

"Pretty soon," said Spike mourn­fully, "he'll quit eatin' with a knifeand drinkin' his coffee from a saucer.He may even some day be a gentle­man. Oh. what a bum world!"

J~LANNEJOHNSTON, the cleverand ambitious dancer ~n .\1anslaughter,was urging a director to include herin a cast that was being chosen. "Iwant a heavy part," she demand.ed.

"Okey," promptly agreed Mr. Di­rector. "Shooting" began a few dayslater, and Miss Johnston foun.d thatshe had been rewarded with a part

. that was "heavy" indeed. She ap­peared as a peasant woman, and wasobliged to carry a fi fty-pound burdenon her head.

• Hollywood is the mecca of world celebrities and straNge indeed is the con­glomeration of folk u.ho frolic together in the gay world of the studios. YON

will know what happens every if YON read--

_____ife in HOLLYWOODBy Isab,el Percival

4 Tu ellSl of Gimmc, ca tlwlo,lca, ill witte' Mr. Gad Mrs. R.,erl HtI{/MS coIloboratro aN.uolti€Ja IIIe f~ directed. cal tile s"ulio_'co cal U1IaicIa Mrs. HtI{/MS tNS bostess.

HoUlChapIi"Y llc/d;o"ed

ComplimentingMiss M cA'DoyA MERRY PartY

. spent several ofthe late summer'weeks a~ the

Wm.. De Mille yacht at Catalina andin surrounding waters. Prominentamong the guests was Otartie Otaplin.Miss Peggy Joyce of Paris was afigure at a week-end party and laterwas the guest of honor at a c!iunerdance· given by Mr. QapJin at theAmbassador Hold Cocoanut. Grove.

Returning from his vacation, thecomedian occupied himself in plansfor his new home, being built at

.Beverly Hills, near the foothills es­tate of Mr. and Mrs. Douglas Fair­twUs: The new Chaplin home willbe· a rambling type of structureadapted to the rolliug landscape andthe grounds will contain many uniquefeatures that will be an attraction tovisitors.

Will Miss A HOLLYWOODJoyce Star? BOUND parl)'

conducted by Mrs.Oliver Morosco <Selma Paley) wasjoined at New York by Miss PeggyJoyce of Paris. Since her arrival. MissJoyce has made a wide acquaintanceamong .picture people and has taken ahouse for the winter in Los Angeles.

,At present, Miss Joyce is· interestingscreenland as a prospective movie star•.

Stars Ai" THRONGS are at­Outdoor tracted nighdy toConcerls the HollyWood Bowl to

attftld concerts of thePhilbarinonic Symphony Orchestra..Notable among these gatherings arewell-known players and screen cde­brities. Wallace Reid recendy ad­dressed. the audience. Prograo;as weresold OIl the grounds by Miss AgnesAyres, Miss Leatrice Joy, Miss LilaLee, and Miss Lois Wilson cbapel'­OIled by Mrs. William -de Mille.

'I N celebrationof the birth­

day of MissMay McAvoy, a number of themost popular young motion pictureactresses~. who call their'clique OurOub, recendy gave a charming din­ner and theatre party. After diningin one of the smart down-town res­tal1lants.they went to see Be Carcftll,Dearie,. a snappy new musical comedywhich opened at the Mason OperaHouse. starring Evelyn BurrowsFontain and written by Victor ~bert­

zinger, well-known composer and di­rector, and' Aaron Hoffman.

The .party included Mis~ McAvoy,Miss Lois Wilson. Mil'S Hetel! Fel­guson, Mrs. Lloyd Hughes, MissMildred Davis, Miss Virginia FdX,Miss Bola V., Miss Gertrude Olm­stead and Miss Laura La ·Plant.

CJ At Catalina. Choplin in Ihe center, William Wrigley, owner of theisland, at the extreme right. . '

q The athletic Ruth Rolmld was Qne of amerry yacht tarty Ihot S~etlt happy hOflr.fon the crystal waters of Avalon bay.


MAN BLYSTONEhave gone to Europe,

where Mr. Blystone will direct a pic­ture. Prior to their departure theywere entertained by Mr. and Mrs. RexBeach and by the Conrad Nagles.

TheBlystones inEurope'

Stars Frolic VISITORS toLike Mermaids beauti ful

A val 0 n Bay atCatalina'Island do not suspect whentheir steamer approaches the landingthat some of the tanned girl swim­mers frolicking 'like mermaids aboutthe anchored yachts,' are motion pic­ture stars. Miss Ruth Roland, serialqueen, spent her vacation at Catalinaas a guest of the Arthur Sanger yachtparty. The Ruth Roland jazz orches­tra was aboard the yacht and enteringsteamers and yachts were playfullyserenaded by the orchestra, led byMiss Roland's contralto voice de­livered across the water through adire~tor's megaphone.

pictured opposite her is Miss Helene>Chadwick, who plays the femininelead. Mr. Hughes is at the extremeright margin of the picture, while hisassistant, James Flood, is immediatelyabove. Gaston Glass, leading mao,wearing the straw hat, stands at theback of the table with J~mes Mescall,camera man.

Others in the group are Miss KateLester, ,David Imboden, members ofthe cast, and a visitor or two.

Harris and Mrs IrvingW right of Santa, Bar­bara. Mr. a' n d Mrs.Charles Ray were alsohosts of the evening, asw e..r e Mr. and Mrs.Tully Marshall, and alarge par t y were theguests of Fred Niblo.

11"illia", AHUSKYHart Jr. b a byArrives son, of Mr.

and Mrs.William S. Hart ar­rived 0 nth e 6 tho fSeptember at the homeo f h,i S" grandmother,Mrs. O. 's. Westover,Santa Monica. Mrs.Hart, who before hermarriage aye a rag 0

was Miss Win i fr e d\Vestover, has been theattractive star of 'manybig productions; Mrs.Hart is expecting to re­main with her motherfor an indefinite stay.

Gi1.'es 1\ ARS. RU­Studio IV! PER TTea HUG H E S,

who is now inChina' tor a three months' visit"instituted an enjoyable custom

, of afternoon tea at the Gold­wyn studio, during the making ofGim",e, the story of which she andMr. Hughes were, co-authors. Mrs.Hughes presided at the tea urn and

Give FirstNight Party

Houuparly A MERRY .co­i" ~~Quntains' terie formed

by Mr. and Mrs.Douglas McLean, Mr. and Mrs. KingVidor, Mr. and Mrs. Hartley Man­ners (Laurette Taylor) and Mr. andMrs. William Seiter motored up toArrowhead Lake in the San Bernar­dino mountains recently, where theyenjoyed a rollicking week-end party.Games of tennis, swimming,' hikingand dancing were their chief diver­sions. Mr. and Mrs. Manners have re­cently come West from New Yorkand are domiciled at the Eeverly HillsHotel. Mr. Seiter was formerly a di­rector of Mr. McLean.

THE openingperformance of

Thompson Bu~a-

nan's new play, The Sporting Thingto Do, in which Miss Enid Bennett(Mrs.'Fred Niblo) is starred, was theinspiration of a number of theatreparties in society and the motionpicture colony. Among those in theboxes as guests of Mr. and Mrs.

, B~chaoan were Mr. and Mrs. Mon­tague Glass, who came up from Coro­nado, where they have been spendingthe summer, for the occasion; Mr.and Mrs. Frank E. Woods, Mr. .and,Mrs. Peter B. Kyne, Mr. and Mrs.Rob Wagner, Mr. and Mrs. Elmer


~• •

for the East seeps into one's· con- try" in the British Straits Settlementssciouness not through one sense alone, of Malacca and Penang; Kuala Lum­but through three. And Singapore pur, Ipoh, and Taiping in the Britishbecomes a memory' picture not alone Protected Federated Malay States ;through the colorful scarfs 'and sa- and in Johore Bharu, capital of the1"ongs of the Malays. the sight. of bare independent state of Johore. . Thebrown and black skin, but thT9ugh the number of shows outside the Straits

. cries of Chinese hawkers and' the rum- Settlements is small beca,.sse the popu­ble of· Hindu oxcarts, the smell of lation of the peninsula is sparse. drains and exotic cooking; Into years ago the country was largelya seeming chaos of- Asiatics-Chinese covered with trackless jungle and peo­and Japanese; ~chinese from Suma- pled .by warring tribes who at fre­tra; Javanese; Malays from the penin- quent intervals, under the guidance ofsuia ; Singhalese. from Ceylon; Tamils, .. chiefs on elephants, would go forth toPunjabis, Sihks and Bengalese from carve each other up. Today the chiefs

.India; Buginese and Makassarese put their elephants out to pasture andfrom Celebes; Burmehe, Arabs Turks, seek their excitement in the less haz­dozens of other recognized races and "rdouS pastime of going to the movies.scores of indescribable hybrids---;-into I

. this seeming chaos of half a millon F you are an European, you will missOrientals there has come a handful of Part of the excitement which the nativefive thousand white men to trade and audience finds in a film. In Singaporeto rule. And they have brought with the whites attend fairly well-appointedthem the motiO?l picture. theatres. Paying $1.50 Straits (75

T .. cents United States currency), youHERE are ten picture shows' in are entitled to a chair' such as you

Singapore, half as many film e.x- might find in a New York or Sanchang~, and -a brace of conscientious _ Francisco picture house. The audience_censors. The five exchanges import about you is lar~ely white, with a goodAmerican pictures' almost exclusively.. sprinkling of high-class and proSper­Two of them-Universal and Famous 00'5 natives. For all you can see, thePlayers Lasky-ihJport their own pro- coolie class, the half-naked Indian la­ductions. Pathc occasionally brings borers and the small clerks do notin an European film, and the Australa- attend the movies. Then a Wild Westsia and Middle East -exchanges bring picture is Rashed on the screen. Billin what they can get, usually Ameri- Hart pursues the villain through lonelycan pictures. Outside of SingapOre ravines and amid great douds of dust.ther:e are ten more theatres "up coun- Somewhere, quite near you it seems,


tJ Liberty Hall is a tHovie theatreIllat caters to the natives of Singa­pore. Second-class patrOlls sc.e thereversed image of the picture' fromhehind the screm for one-tenth tileprice that is paid by OCCllpants ofthe first-class sectioll.

fJ Tile movies are threatening tlu superiority and prestige of tile whiman in Asia. Perhaps that is 'why, in Singapore, the strictes censorship in the world is exercised to check the rising tide of. color. ;

DO\VN at the extreme southerntip of the continent of Asia. one de­,,-ee north of the Equator, tht" MalayPeninsula points a lon~ crooked fingerat a littie palm-fringed island. Whenthe United States was still a Britishcolony the total population of thisisland was contained in a fishing vil­lage of o~~ hundred and fifty souls­Mohammedan souls. Today, with theUnited States grown up and havingcolonial troubles of her own, this fish­ing village lias evolved into 3: 'greatmetropolis swarming. with all theraces of Asia and' Europe. the world­important port of Singapore. Busyout of all proportion to the combinedlassitude of the tropics and the Ori.;ent, Singapore is the t1"ade center forChina, Japan and Siam to the north;the Dutch East Indies on three sid~;

Europe and India to the weS~. and. America on both east and west..(Si~gapore is about epuidis~t fromNew York and San Francisco.)

To this ~trategic spot the commer­cial peoples of the world have Rocked-black, brown, yellow, and white.Add to this miXed trading populationthe Rood of cheap labor from over­populat~ neighboring countries, putthem all . in the teemin~

streets of Singapore, sweating side byside under the tropical sun,' and youhave a weak picture of the most cos­mopolitan city in the world.' To havea real pict~re you must have seen itJotirsc1 f-and heard it, and smelled it.



~ Do:;cr'S of lhesc walking restaurants are br:oughl O!J

bamboo poles StLSteJUled across 'he 'shOfl1ders of aChinaman and set at busiNess "igh"y ill front of lhenative 'healrcs ·of Si"gatore. The sole pro­prietor, m_ger-coo#t, '(£'Oi'er a"d cashier here isshOWN sloo';1Ig 10 filllhc posi,jolJ of chief dishwasher.

screen, for to them it shows scenes ofhome. To the natives it is rather un­intellible, for they know nothing ofthe places and people shown, and ifthey do understand English they cannot read the titles which appear onthe screen backward. The reel is overand the lights flash on. This is apolice regulation, as continual dark­ness offers too much of a temptationfor light-fingered individuals who upto a few years ago used to collect con­siderable involuntary. tribute fromfellow spectators, particularly fromChinese women who wear ornaments,often valuable, in the back of theirhair. The next picture is a serial.Immediately the first· scene comes up,a murmur runs over_the house. Thespectators settle down for som~ realenjoyment. There is nothing more

you hear )'elling and shouts of en­couragement as the hero spurs hishorse up the last hill. Within reachof his man, Bill lassoes his adversary,and, as the "illain falls to the ground,:l mighty shout of approval g~ upfrom fi~e hundred lusty throats.Where? On the other side of thescreen, where the lower-class nativesare watching the reversed image ofthe same picture for one-tenth theprice you have paid!

IF you are of an adventureSome na­ture and don't mind strong smells,come with me to the native side of thescreen. The entrance to the MalayPart of the theatre is surrounded bynight baz;larmen, who seek to sellstrange eatables and stranger drink­ables to the yellow and brown moviefans as they approachthe box office. Smokingoil flares borne by thesetraveling restaurateurscast an u n nat u r a 1orange light over thescene. In its waveringg low the heaps oftropical fruit piled onthe portable stands ofthe merchants orspread on the groundseem to be continuallychanging shape. The

. pyramids of·p u r piemaftgosteeu appear togrow larger andsmaller, and the shad­ows crawl in and outlike worms between thenobs and corrugationsoft h e evil-smelling­but - delicious dwrWu(a taste for wbich, likethat for r 0 que for tcheese, must be either in­herited or cultivated). Alight behind a row of bot­tles containing colored co­coanut milk give the effectof a drugstore window. Ifyou are thirsty you can buy beveragesof pinks and greens that would shamethe gaudiest of our circus soda pop..I f it is solid nou.rishment that youseek, you can purchase a bowl of ricewith the necessary garnishment ofspices and gravies for a few cents, andbits of cooked meats impaled on bam­boo sticks come at one copper perstick.· I f you are neither hungry northirsty, we'll go right in.

THE air inside is blue with smokeand heavy with the rare combined per­fume of bad tobacco and perspiration.The lights flash off and a news weekly

·,is shown. This!ftl is appreciated bythe whites on the other side of the

~THERE is earnest conversation go­ing on among the spectators through­out the show. Neighbors speculate onthe outcome of the reel, or on the nextmove of the villain. The city coolieexplains things to the coolie just downfrom the rubber estates, who is seeinghis first picture. When the hero is indanger he received shouts of warningand words of advice from the crowd.Much of this side talk is unintelligible,as might t;.e expected with the greatmixture of races and tongues, butenough is in Malay, the liftgtItJ fraftcaof this part of the world, for the resi­dent to make out the trend of the

. spectators' emotions. These blackand brown and yellow people are nomere patrons of a cinematographexhibition. They are living in thestory, characters in the picture. They

get into the spirit ofthe photoplay just asthe small boy playingIndian becomes part ofanother age. As thebackyard ceases to ex­ist for the youngsterand the neighbor's catbecomes a tiger, so doesthe theatre with itsrank atmosphere andhard wooden benchesdissolve for the Otin­ese, Malay, Indian, andArab who have paidtheir fifteen cents towatch - nay, .to takepart in-the s c r e e nplay. And this· child­like naivety with whichthe nat i v e conductshimself has set the cen­sor working overtime.

SINGAPORE boastsof the strictest film censor­ship in the world. Not onlymust every reel of film besubjected to close inspec­tion, but every bit of ad-vertising matter, .. cop y n

delectable to this type of crowd than and pictures for newspaPerS, stills anda few reels of hair-rasing episodes posters for lobby displays, three-sheetwith as much blood-and-thunder as stands, dodgers-anything that is inthe Censor· will allow. Society drama any way connected with the showing

of a pictur~must receive the censor'srequires a kpowledge of ~estem cus- official chop before it can be subjectedtoms an~ the way~ ~f whIte women, to to public gaze. Lucky, indeed, is thesay nothlDg 0.£ being able t~ catch t~e film that reaches the projector moresubtlety of the backwards titles. It IS . than sixty per cent intact, and for a·dry stuff, this business of drinking tea film to be entirely banned is so com­and calling people up on the telephone. mon as to be unworthy of specialWhat is far better is this serial sort mention. The gentlemen who wieldof .thing, ·with-lots of action, every- ·the shears at Singapore to keep thething aboveboard and no ~planation morals of the Straits Settlements innt'eded. ')This is the sort of picture proper order are Captain T. M. Hus­that the baggage porter and the street sey and W. H. Lamb, respected mem­car conductor can understand, and bers of the Straits police department,they show their appreciation all ·the with practical authority over theway through. morals of the Malay States, although·



MURDERS are of coarse taboo inany form-from strancling to shoot­ing. Shooting, in fact, is never tol­erated unless it is done by officers ofthe· law. The mere appearance of :arevolver may put 'a scene in a preca-

rions poslbon. Suicide is nevershown, nor masking. The spectacleof a man being bound and gagged isnever permitted, and consequently thethrilling rescue with its untying andungagging must~sObe cut out. Hand­to-hand fights are permitted as' longas they are on the square and fists.are the only weapons used. As soonas one of the combatants attempts touse any sOrt of a weapon-be it onlya chair-the scene is clipped. Nor isthe victor permitted to kick his pros­trate opponent or do anything un­sportsmanlike.

The .attitude of the censor towardscenes of violence is rather hard onthe 'serial Although serials are a fa­vorite fare of ·the native, they areruthlessly pared until often less thanhalf the original length surviv~.

"Serials are our particular bane,"said Capt. Hussey. ""The native seesthese deeds of bravado performedweek after week and doesn't see theman brought to justice until the lastepisode, at which time he has forgot­ten the connectioo" and loses the moralinfluence absolutely."

. THE two ~rs, although power­ful, are not absolute. The film ex­changes have the right of appeal to acouncil composed of representativesof the most important races of the

"~ Singapore cosmopolis. . If these inter-4 The eyes Gild 11K Tps Grc ..01 11K only national gmtlemen find that the film

fCGltlres l/wl GllrGCI GIl c-.oliofUJI re- is nOt likely to be detrimental to theirs,onse 0 .. the scru... Thc appeal of Ihc • • th 00' •stars is _tI1~~ed in G fascinating (U- respective constituents, e. ~ec:tionticlc-- .' of the censors may be overruled. This

Wb A · seldom happens.Men 0 re Easy to Love In the matter of women the censor

by Eaaice lIanhaIl has another set of regulations. Ani.. SatUNLAND for" IGIIfUIry. ·0.. sale excess of nudity must not be allowed,

December /it'st.· although the bathing girls are thoughtto be sufticientlv covered. Love

sor found that the amber piece was . scenes are "passed 1f within the properth!rteen feet long and depicted a man bounds. No cave-man stuff or kisses~g ~oul. means to open a safe. lasting longer than five or six secondsBndges t~ lasted three days, the can be shown. Likewise there must bedefense pattin, up ~ eloquent ~-. no mistreating.of women-no abduc-.ment on the m~cy of native . tion of innocent heroines and no wife­operators who reqwre twe!ve feet to beating. In this c:onnection film men.thread the cogs of the projector. On f S· deligb tell ' fthe last da f th trial th rt ad- 0 Ingapore . t to a story ~• :y 0 e. , e ~. the censor barring a poster of a gtrlJoumed to the Umves:sat s Pf!J~ ,riding a plioping horSe. An explana-room, where .m' question. was lion of the ruling was asked. .~wn. The .magtstrate .found Bridges "The girl has a tCrrified look in hergutl!>, of trymg to decetve the censor, eyes," the censor is reported to havebut lna..~chas~ offense ~as large- said. ""She Ioois as if she were flee­Iy technl~, let him down ~th a $25 i~ from a...,..."fine. If It .had been a ~rder that This strict supervision of the film'stook place m, the first thirteen feet, portrayal of the treatment of Wome:l

the .~tence would have probably is ostensibly for the benefit and pro­been hfe! tectioa of white women living in the

coloQy. If the native sees a whitewomen mistreated 00 the sc:reen: bewill lose respect for the species andbe tempted to follow suit, ·says thecensor. Doubtless he is correct. Butthe RaJ motive, I believe, which liesbehind not (COfIIUcwtl 011 JlGge i9)

tbe native the proper method of open­ing a window with a jimmy or of pick­ing a lock with a pieCe of wire isbound to get the sheats. This pointin the censorship regulations brought

,Mr. Ralph Bridges, Famous PlayersLdskey's Singapore man, into theclutches of the law a week after therecent opening of the Straits branchof that company. Capt. Hussey ar­rest~ Bridges for trying to slip thir­teen fee~ of safe robbery past his

. censorial eye.A Paramount picture, The Egg

CrGte Wallop, was the cause ·of thetrouble. Capt. Hussey claimed that atth~ pre-view the second reel startedwith an indistinct amber picture of aroom with a safe in it, lasting abouttwo seconds, and· followed immediate-,Iy by blue scenes. Whet\ the reelswere sent for the official chop, the c:en-

an additional censor at Kuala Lumpurn:serves ~.right to do further cuttingto meet local conditions. Withoutdoubt. these gentlemen do more dam­age to motion picture films than anyother men in the worl~xcludingna­tive operators, but including the Jap­anese censor. In Japan, the hoi poUoiis conttded to have at least someslight degree' of mature intelligmce,

. but not so in Malaya. The alleged. tendency of the native to draw hisideas of the proper Conduct of lifefrom the screen constitutes one ofwhat Captain Hussey terms Singa­pore's "unique conditions."

"OUR stringent ttnSorship is made'absolutely by unique conditions," Cap-'tain Hussey told me. . "Not only mustwe make sure tha~ the films shown.arefit for people who are like children,but we must see that they are not of­fensive from a cosmopolitan point ofview. We must look at each picturethrough the ethic:al eyes of the Mo­hammedan, Hindu, Buddhist, Taoist,and Confucianist. Were we for the Malay alone, or for theaiinese alone, it would not be so diffi­MIlt. But we must consider the pub­lic of a hundred different. races, eachone of which might be wron~y af­fected by different parts of the pic­ture...

It'is the effect of the motion pic­ture in relation to crime that Singa­pore censors worry most about. Inprinciple they are undoubtedly ri,mt.The uneducated natives see episodeson the screen in which Occidentals.whom he is taught to regard as thelast word in human perfectioo, c0m­

mitting larceny, murder, robbery.adultery, a~ult and battery, and all

,the other offenses against .the TenCocnmanctmmts. Common Law andthe Napoleonic Code. He immediate­ly comes to the more or less logic:alconc:lusion that if these handsomemovie actors can do this sort of thing,why1hen c:ertainly he, Abdullah Ham­med, seller of new and secood-handSGrOflgs~ can do likewise. The c:oose­qaeoees 00 the screen he doesn't quiteunderstand. He sees the man in anew striped suit, perhaps, but i~­much as stripes are an ac:apted pat­tern of everyday dress, the 'only re­ac:tioo 00 s.eein~. the villain attiredthus would be a feeling of admiratiooand envy.. He loses sight of any nen­a1ty in the details ~f the crime. Thathe was actually stimul;ated to crimeby the movie is shown by a COIilpari- .SOlI of Singapore police records beforeand after the censor began to deletefelonious sc:eaes.

AT presesit~ all *04," o,ullfllliscenes are cat. Any film which shows

3f ....:;..:../~ :.......:...~ ~ ~~__.....;........

'The PICTURE 'of the Month


- ...Doug

~E crash of splintering lan'ces o~gleaming armor . . . the wavingplumes, the scarfs of fair ladies, andthe bithesome ~pirit of Robin Hood'smerry men leaping through SherwoodForest-all are immortalized for usby Douglas Fairbanks in his sumptu­ous screen version of Robin Hood.

Our Doug has not changed-he isthe same nimble, frolicking' swash­buckler-a roistering blade-but hehas risen to heights undreamed-ofbefore.

No one will think of Robin Hoodhereafter other than as Douglas Fair­banks. He has breathed life and alusty spirit ·into a character of OldRomance. .

Little John and Friar Tuck are withus; too, and Enid Bennett as FairLady Marian - beautiful beyond allwords. . Above them towers themightv character of Richard, the Lionaearted - \\'allace Beery's greatestcontribution to the art of characteracting. The Jousts and Tour~aments,

the King's great banquet halls and yelittle Towne' of Nottingham are re­produced in gorgeous proportions witha scenic investiture that is stupendousin magnitude and artistic in every de­tail. A pageant from out the chroniclesof history has been unrolled by AlanDwan before our eyes, lavish in itssplendor, accurate in its presentation.

Fairhanks has reconstmcted the age

, THIS page is dedi­cated to the ten millio1tpeople who do not goto the movies. The oneproduction s e I e c tedhere each month musts"rpass as an artisticachievement the "malhokllm a"d insincerityof motion pict"res.

of Merrie Old England. France,Spain and Italy have already claimedhis efforts and we only hope thatAmerican Indian legends may offerhim a story worthy of his genius.

SCREENLAND is justly proud of thisopportunity, through a special ar­rangement with Mr. Fairbanks, ofpresenting to the American public forthe first time a critical analysis of thisstriking production. As the first mag­azine to herald Chaplin's masterpiece,The Kid, we now present its logicalsuccessor in motion-picture annals.The movies may at last be said to havegrown' fairly out of their infancy.They have given us Robin Hood-thegreatest motion picture of our time.



.:Little HINTSfor


'J COLD print beggars Ihe bea'IlIY illwhich this cross-eut of old Frenchcourt-life is laid, with the duch*ess deLangeais. imlllortali::ed by Balzac.flirting and leamillg the lessons oflove. An oClllar operetta of gold alld·ivory drawing-rooms, the palace ofVersailles, masked emotiollS andladylike gelltlemen. But the playmoves wi~k a certain fluid grace andall ·its Freneh paslry omateness can­not que,lch the glowing fibre of Nor­ma Talmadge. But, of course, thelIaughty duch*ess is remade illto amoral duch*ess. How conld Mrs.Schenck be otherwise?



LORNA DOONE-First ,NatiollC!1

'J CRESTING the wave of the cos­tllme romallce, comes this Ince pic­tllre ill which there is a kei'll 1I0te ofdramatic vitality bet/eath glamorousbemdy, as of a sword slreathed :withvelvet. Maurice Tourneur is all in­fJetliolls craftsman whose work hasgrown in depth and meaning sincehis first arlistic thollgh inarliCfllateill/empts. He Iras Ihe artist's concep­tion of shading alld delicacy of touch-the majorit), of the scelles arc per­fect gellls of Ihe photographer's skill.Madge Bellamy gives to the role ofthe !.lentle Lorna a poignancy allCicharm of illusion that.. fi"el), re­strailled, hcr.Je IJO saccharille sellti­lIIentalil)'. She is setti"g a highstandard for herself.

DMAR KHAYYAN-Ferdillatld Pill­ne),-:Earle Prodflction

'J OMAR KHAYYAN ",ay have bcella jolly old philosopher, but as a"highbrow" filttl the Persian poet'sRubaiyat makes prett~,. gory rOlllallce.. We may say at ollce that· artistically,

scenically, poetically, the film is a glit­tering SlU·ceSS. Bnt the cOlltinnity isvague and blood flows more freelythall Ihe stor)'. Daggers alld a varietyof medieval meatchoppers are ac­cOfmt·i,lg for sotllebody's hasty demiseI'1Jery few feet. The modem gun filmis a nursery rhyme by comparison. Itdoes, however, make the concession of



'J AND slim QS to plot. Ob~i~usl3' cOlwictedto show Irene Castle in a series' 0/ clrarm­ing poses. No altempt is madc to ta.r herdramatic powers, mId for that we ar.e grate­ful. As it is, Miss Castle trIoves 'gracefullythrough tire pictllre, ·disportit,.Q herself in a~'ariety of lovel)' clothes alld .i/lcidently sav­illg Irer father's honor. .A worth.,; pastimewith our film heroines, bllt M.iss- Castle de­serves better justice.


'J A RED-BLOODED yarn of tire North 1J.Jith all the elements that James Oliver Cur­wood kllows how to f/m1or his stories in order to lIIeet witll popldar appeal. Mys­terious murders atld a strand of black hair is the motif of this one. The success ofthe' productioll lies 1Il0re in its heautiful scenic effects, S1'perbl~' pllotographed ill its/Iatural locale, thml in the story, which is illogically dcveloptrd.

The men will like this. .A lid the- ladie-s 1IIa)' enjoy Lew Cody in tllC role of hcroillstead of his willkillg a wickcd e~'e at tire l~'ely Alma Rubens.


TO HAVE AND TO HOLD-Paramoullt '

'J WHEN George Fitzmaurice setsabollt to direct a picture the re- •sults are certain to be entertain­ment of tire best. I II this illstance,a story packed with more thrillsand surprises than the bloodiestse-rial is preseHted so e.rcellelltl)'that yOtl will miss a rcal screentreat if ~IOU fail to see it.

Bert Lytell, Belt)' CompsOII,Theodore Kosloff, Ra)'lIIond Hat­ton and a galaxy of other well­kn01t'n players cont"ib,lte to thepla)"s lavis~ completeness. Cap­taill Percy (Lyte/l) is certaillly OllCof Ihe most valiant lovers of fic­tion, and )'OU will rejoice to secthis old-time favorite brought tdthe playhouse. Our great il1ol/dcris that nobod). has attemptcd it be­fore. P/r.oto-play pay-dirt mllststill await lucky pro.rpectors in tI,cl*terary yesterdays. To Have andTo Hold is the sort of a picturethat will hring jaded playgoershack to the theatre where tl,ev/rave so often beell disappointedwith sill~., tiresollle o~Jer-(".rploited




.. PETER B. KYNE'S poplllar story retains all itsvigorous sweep alld atmospheric fidelit)1 in itstranscriptiol~ to the screen 'lIIder the baton ofRaoul Walsh. No pink tea fight or dancing duel,but a dalldy, picture of the Northwest, with ourfriends, Nan. of the Sawdust Pill', the grim oldLaird alld his stalwart son, ste/,pi"g out as appeal­ingly as they did ill th.: book. A high-water mark,ai,JolI!! the season's melodramas, witll lofirialllCooper and Ralph Grcrves h1111JOtlly interestillg.


t) A MECHANICAL sob stor).', the sort old critics were~ 'Ollt to call all onion play alld aptly applied to this be­calise of its ollioll (fit emotioll. The theme of the storyis-the author, ~1.'110 hides /IIost cOllvellielltly ullder the11011I de pl.,l1/e of "/ofr. X," SIIOU'S it plai"I)., e'lOlIgh-thata home iSII't'a' home ,,·ithollt children, alld pictures thejoy tI,(' ~'iddies-bless them-call brillg to olle.


t) A MOOlii ~alf love for a statuesqlle beauty may sometimes prO'l'e a fatal thi"g.Especially wh('n true love appears 0" the SCl'lIe with the aforemelltioned beautydoing ti,e same. The resultillg entanglements which almost threaten the loverwith destruction go to make an amusillg sto'ry. The ,titles are quite good andaid the story cOllsidembl),. Owen Moore demollstra'tes very ably that tlJe courseof tT'lle lo~'e is 1I0t, alu·a).'s a s/llooth olle.


THE PlLGRIM-Fir# Natiollal

t) T HIS is worth standing i,Jline to see. Charles Chaplin, asa'J escaped convict who dons aclergyman's robes a"d precipi­tates himself i,Jto three reels ofhilarious situations. He is athis best. His pantomimic ser- 'mon about Dcrvid and Goliath isone of the funniest screenepisodes of the )'ear, alld a cer­tain incident concerlling a plum­pudding and a derby hat sendsthe spectators -into hysterics.No pathos i,J this picture. AllfrOlJk. farce.

BOW-W01V-Sellm:tt-First ,Natiollal

tj BO\V-WOW mark; the retllm of LouiseFazenda, iJcc~'ltpanied bv that good old teamof farceurs, John Henry, Jr., and Tedd~'. InLouise's carica~ures there is alwa~'s a rOfmd ofmerriment, with !J chuckle for C'i'ery spit-curl.Though Jonn- Henry has grO'Wlt considerablysince 'hose days when ilu old tcam cut flpcapers, he is as' cunning as C'lJer. And whocould questioll Teddy's sense of humor?

PINK GODS-ParallJo~lJt.,

tj THE melodramatic alld tragic qllali­tics of this Cynthia Stockley storyprodllce a photoplay replete with' S/IS­

pellse but tinged with gloom. JamesKirkwood, Debe Danieds and AnnaJ. Nilsson lead ti,e cast and artisticscelles of South African diamondmines, amf 'f,,' fllrr of fIr illS forwomell put the piece well above theaverage of screeII prodllctions. Ifyou have a propel/sit). for happy pic­tllres yOIl will not especially enjo). thediamol/d killg's fOtICY for cutting openKaffirs wh.o .r.vallow diamonds,


tj WALLACE RE,IQ:is called IIpon todo almost er ery sort of screen por­trayal except the olle to 'H.'hich he isconspiwously suited - the yo/mg,scampi~h, riel, man's son.. As Clar­ence, he is ~l/rdene'd ~fJitJ/ tile task ofbringillg good will to an entire hOlue­IIold, which is a step further "aginnature," as David Harmll wOllld putit, tlrall the past pictures ill which Irepiously gave comfort e.rclusively 10thc hearts of stricken maids.

The fUflal enjoyable attelltioll 10.fuch detail as characterisation tllat isfOfmd in other William De Mille pic­lures is fOlllld ill this one. Asidefrom a miscast Wallie, it is good.


tj I¥JIO are Ihey'l Thc sllldio <'osll~mers never get thcse dressfOr/lis mi.l·rd, althOtlgh none of Iltc1ll arc ill Otly way marked toshow Iltc slar whose figure Ihe)' r"presellt. Movie fails who kllowrach slar 01 a glimps( cau 110 dOllbt recognize the st1lffed d1lmmiesas (Iefl 10 righl) KalJrlyu Williams, Agnes Ayrrs, Sylvia Ashton,Gloria..')'wallsllll, Belly CompsOIl alld .A-fayme Kelso.


Some More about

DOUBLES.f) Dummies Save Hollywood

Movie Queens Many Hoursof Valuable Time.

Ashtoll, t h ,.character act­

res s. is sOIll/,timescalled 1/POII to appear11/ a special yarmcllt ill a fewhours' notice. Thc garmcllt ;sdelivered to her dressing-roomwith,01lt her ever appearing fora fitting.


tj Frocks that weredestroyed iu a floodscene werc dupli­cated in one dayfor Gloria Swan­son, while the starcon tin u e d 'withother parts of thepictuTe ill whichthe s e particularfrocks were /lot re­·quired.

tj Mrs. Ethel Chaffi'l, chief de­signer for the Paramolmtwardrobe depaTtme,It, drap­ing a IIcgJigee au Ihe BebeDallie/s fo·r1ll.

(fHow the third dimensionhas at last been projected onthe screen-the Utopiandream of color photographyis now'a realized fact.

One strip of film is used, but the twoimages are "recorded" simultaneously,one above the other.Th~ fiim negative used is especially

.panchromatized (made senstitive tocolors), but particularly to reds andgreens. The film is then developed inthe usual way and a perfect negativeobtained.

The film, coated on both sides witha positive emulsion, is then placed inthe printer. The images made withthe red separations are printed on oneside of this positive film and the im­ages made with the green separationsof color are printed on the other sideof the film,-in reverse. The result isa color film that is almost perfect.

A pre-view of the film was held be­fore a large and enthusiastic audienceat the Ambassador Theatre, Los An­geles. In order to restore the colormethod of capturing sterescopic, spe­cial glasses were worn by the specta­tors. The glasses were of the famil­iar horn-rimmed variety, containingone green and one red lens to cor­,respond 'with the complementarylenses of the camera. When these~lasses were removed, the screen ap­peared to be a confusiQn of brilliantcolor, reminiscent of a futurist pastel,and the action of the principals wasalmost indistinguishable.

Movie CameraConquers WorldOf Color

of a projector shown through a devel-oped film. -

Th~ Power of Love, now finished,is the first of a series of 'pictures to bephotographed completely in stereo­scopic by Perfect Pictures, a LosAngeles producing organization.

A LL of theintricate

shades and t-ones,from the blueand

lavender tints in shadows to the vividsplashes of color in a spring landscapeor an unusual tapestry, will soon ap­pear in exact likeness on the screen,according to Dr. Mees and Mr. ~p­staff of the Eastman Kodak ResearchLaboratories. These men announce acolor film that registers color in anatural manner-the result of yearsof expensive and painstaking expep­mentation and research.

For the process of attaining naturalcoior in films as produced; by theKodak color process, a special camera.

.with two lenses is necessary. This isthe only· difference between the colorcamera and the regular cinemato­graphic camera. Two "shots" aremade at the same time of the sameobject; a green-colored screen isplaced before one of the lenses and ared-colored screen before' the other.

C)he CAMERAwith


Stereoscopic 0 ELI E F andPhotography I'perspective,just.Accomplished as seen with tJ1e

. human vision,. isperfected in a new motion icture .photography process invented by H. K.Fairall. The process is employed in asix-reel picture just released, in whichthe awe-inspiring distanc~ of Yo­semite's mountain grandeur present animage as real as glimpsing the actualscenery through a window.

The astounding result is obtained byprojecting on the screen two super­imposed positive films simultaneously.Each film has been photographed in thesame camera, at the same exposure,but through different lenses. The twolenses of the stereoscopic camera areseparated at a distance equivalent tothe position of the human eyes.

Each eye, as the law of optics de­monstrates, sees a single picture of itsown. One eye cannot see the pictureviewed by the other. This is the prin­ciple embodied in the Fairall process.Red and blue lenses are used. Thesecomplementary colors create stereo­scopic 'quality and register on the filma perfect focus at any camera range­foreground or background-exactlyas the eye registers depth.

An added advantage in this novdfilming method is the complete lack ofdistortion which is noticed by a thea­ter-goer when seated too far to oneside of the screen. From any angle,the projection is perfect. In this way, .front corner seats in a theatre will be­come just as desirable as the centerloges, because the image squares it­self to the individual as though hewere glancing over the cameraman'sshoulder instead of watching the rays


By L. F. Fowler

C]f Exposing the secretsof the cutting room.


right film. New titles with uniqueborder designs are printed and in­serted and' prints are made from theold negative. Sometimes, to pad itout, we add stock scenes, with newsituations and incidents. Of course,we cannot re-take the star. Thesefresh scenes are star-less ones. Butwe splice it all together and you'dbe surprised how neat some of the

. jobs tum out."Of "course, anyone who has any

knowledge of pictures can at oncesee that it is old stuff. The sets arerickety, the lighting poor, and theactors are often crudely directed andcostumed. These things all dependon how many years ago it was made.Every year shows a sharp advancein the quality of pictures, you know.

"There is one way that the wiseexhibitor can always tell <;l 'warmed­over' print. They are almost invari­ably 'rainy.' A rainy print is onethat is made from a negative that isscratched and streaked from passingmany times through a printing ma­chine. This causes fine white linesthat dance vertically ~p and downthe screen. This is our biggesthandicap in selling revised pictures."

AFTER my talk with the film doc­tor I began to realize that the re­issuing of old prints, disguised as newones, is one of the cheapest, greediestphases of the movie industry. Ifproducers must revive old produc­tions, let them frankly take their oldstories and reproduce them in a mod­ern way, under modem conditions.But let them be advertised as "re­vivals." Will H. Hays' biggest jobis to re-establish the confidence ofpeople in motion pictures. The menwho make the movies can assist himby leaving ·their old films in theirfiles in their film libraries, where theybelong.

As an example of what I mean, letme quote from an advertisem*nt in


... When this pic­ture was .",ade,three years ago,Valelltino wasplaying 0 II e 0 f11 is first par t swit h Universal.H f! '/.(lQS a minorcharacter. Toda)·his flame ishlazoned fro tI,the billboards illletters threeillches high.


, ... How stale m()Vit's arc "warmed' over" aud foisted 01110 thepublic as new films.

1914. They buy all stuff that c~n ~revised and doctored.. Then It ISgiven a new name and sent again onits round of the theatres.

"HERE is how we do' it," the filmdoctor told me. . "We find an oldfeature film. The buyer is especiallywatchful for scenes of players whohave made big reputations-repqta­tions like Valentino's-on which wecan cash in. SometiO)es, ~f course,the exhibitor sees the value of the'old film. In some cases, big pro­ducers have reclaimed their own filmat little expense and thrust it upoathe market.

"There is nothing complicated aboutreviving a dead production. It costsonly a' few dollars, once we get the

BRING:NG dead pictures to life isthe task of the "film doctor." From amess of old films, thrown into the Qis­card because they are too poor for. thebig exchanges to use, he patches, re­hashes and builds up a strange con­glomeration that is re-titled andsometimes freshened with a few newscenes. Then it is peddled to thelittle theatres and ignorant patrons 'arehoaxed into paying money to see it.

I made the acquaintance of'a filmdoctor not long ago. He "told me thedark secrets of the cutting rooms.From this man I learned that com­panies are formed' for the sole pur­pose of "warming over" pictures.Their buyers comb film libraries­can after can of old film, some of itmade and exhibited as far back as



fJ Tlaese "stills" are enlargemenls from bits of film. tV11.,'1/ /lac pic/tire was first made,' Valen/illo was 1101 of sltffi­denl impor.tance /0 appear in stills by himself. I-Vitla lais later popularit').., the producers co-starred him, i,~ theiradvertising, and /he enlargements were made.

It. F~DtUtlC Comecbr"'A!tlhMore 'lhrU1i Than Any SerIal,~T1QD or die 8I«atStut In tlie~iltWorld





ture his name with that of Williamsthen? No; they featured Valentino'sname on the revival of the piece to'cash in on his present-day reputation.The playgoer goes to the theatre ad­vertising this feature' expecting t~ seeValentino in a big role. No doubt,Mr. Playgoer' wonders when Valen­tino joined forces with this particularorganization. He might remark to hisneighbor, "I didn't know that Valen­tino was with so-and-so. I thoughthe was with Paramount." Then afterhe has seen the performance he soonunderstands, and curses because hewas fool enough to be swindled.

ANOTHER example of a "revival"is of a cer- ( Continued on page 71)


fJ Another re-issue. IIIthis rehuilt m 0 vie,Va[c1lliIlO p I a ').. e d avery minor part. Thereleasing company hasfeatured h i 111 111 i t Il

Ihe original sla,..

driving him away from the theatresof motion pictures.

THE picture-wise public, whose in­tellenge has increased with the prog­ress of the motion picture industry,can recall when Wallace Reid andLillian Gish played together. It hasbeen some eight years ago since TheFatal Marriage was produced at theold Triangle Studio, 4500 SunsetBoulevard, Hollywood, California.

Think of it, eight years ago-I914.Compare the productions of todaywith those of eight years ago andwhat have you? A rather poor prod­uct, don't you think.

SOME' time ago one of the promi­nent producing units of the industry,one who has made goodpictures and one of thefew to remain after thesifting of the past fewyears, rehashed a screenplay which they .namedThe Rogue's Romance,featuring, when it wasfirst rei e a sed, EarleWilliams. It might havebeen a' good "number,"as to that I can not sav,but when they decidedto wish it on the publica g a i n they advertisedEarle W ill i a m s and ­Rodolph Val e n tin 0 .

Now, surely, at the time'when this film was pro­duced, Valentino couldnot have had a patt thatwould have j uSlified hisbeing featured. I f hedid, why didn't they f('a-

me June 24, 1922, edition of one ofthe trade journals for exhibitors.This advertisem*nt bore the seal of aprominent producing and distributingorganization. It goes on to say:

"A colossal array of BOX-OFFICEnames. Imagine what you can dowith such names as Griffith and Reidand Gish and Cabanne. Im­agine what you get with the talentsof these great artists merged into onebig box-office attraction. Im­agine, Mr. Showman, how you canexploit these names. "

This big producing and distribut­ing company has probably purchasedthe negative of this old film and intheir laboratories have made it over,photograplting new titles and splicingthem in, perhaps tinted a few scenesand generally doctoring the produc­tion up so that it can be resold, rentedor exchanged. And then they try to .attract the exhibitor-of the smallerhouses, of course---with the thoughtof big box-office receipts, not stoppingto realize that they are killing theconfidence it has taken years to es­tablish and making the playgoer goelsewhere for his entertainment..

BOTH the exhibitor and the' dis- .tributor, no doubt, wonder why thepatrons of motion picture theatres areceasing to show interest in the pic­tures. "They go to the new bigspectacular offerings, famous stageplays and novels that are done in pic­tures, but they do not seem interestedin our program pictures. Featuressometimes get them/' etc. This iswhat the showmen complain, andthey wonder why they can not filltheir houses with pleased audiences.And yet they will try to force a re­vised film on the unsuspecting publicbecause they can get it cheap, cashingin on the big box-office receipts. Whatthey are actually doing is insultingthe intelligence of the playgoer and


of a

t] True Experiences 01Told Her e lor' the

ceeded in' interviewing Mabel Nor­mand. In the middle of it she is al­ways galloping out after somebodyelse. You just feel that you havemade the impression of your younglife on Mabel and that somethingserious is going to result, when Mabelsuddenly leaves you flat.

Betty Compson always gives you theglad hand of a professional politician;then pulls the heavy intellectual stuffon you. No, she doesn't care forJ. M. Barrie: at which point you areexpected to faint from the effects ofher breathless daring. Betty is asweet, nice girl, though.

Barbara Le Marr gives you a rav­ishing smile and a long snaky hand­shake. I always want to say: "Go on;let's see if you could do it agin,missus." Barbara always preserves along, slim mysticism. Her specialstunt is looking sveldt, dark and mys­~erious.

GUY BATES' POST looks at youwith a mixture of contempt andappeal in the .midst of a long speechfull of broad, English "aa" sounds."I'm sure you can understand me?"he says mournfully, with an "Ah-genius-is-so-Ionely" air. .

Laurette Taylor seems the 'soul ofcordiality, but she has a bad temperand an interview with her is about

'like playing .baseball with T. N. T.Nevertheless, she has brains and canreally talk.

Theda Bara 'is a. wonderful talker;somewhat posey, and you have thefeeling that she is away off the otherside of a curtain-her real self-andthat you are only seeing a ThedaBara set out there for the purpose.Nevertheless, she has an interestingand rather thrilling personality.


GRIFFITH is the in­terview expert of theworld. He believes inthem thoroughly. Hewill stop the, biggestscene in the biggestpicture he ever madeto talk to a scared re­porter from a countryvillage pap e r . It isfunny to see theprocess. The reporteris a I way s so panic­stricken that he can­not make articulate re­sults with his mouth.Griffith is attentive andkind to them, but theyare always frightenedto the point ofparalysis.

Nobody ever suc-

The only way a motionpicture interviewer could get

to Bob was to pretend to be some:'thing else. .

Mavbe it's because he is Irish,too;. but Mack Sennett is anotherone who shies at interviews. "Oh,

what's the use?" he groans whenwhen they tell hint an interviewer isafter him. "What is there to tell?They'll ask me a lot of dumb-bellquestion's to which there isn't anyanswer. All there is to making pic­tures is just to make the pictures." ,

But when they once get hini cor­nered and finally get him interested,Sennett is a charming talker. He has

real ideas, a b r 0 a dsweep of vision, pene­trating analysis and aquaint fund of com­monsense

tj A long speecJ~ /tdl of broad, English "aa"sounds is Glly Bates ,Post's interviewstyle. He sal'S it mournfully 'l.t.'ilh an "ah,genius is so 10l/ely" air.

tj "Barbara Le Mar's special slulIl islookillg sveldt, dark a,~d mysterious,She alu.'a~'s gives yOll a long, snakyhandshake," £.'""s Photo.

DEAR old Bobbie Harron was·the only actor I ever ,knew who,realized the damphoolishness of a mo­tion picture interview. Bob flatly andfirmly r.efused to be interviewed, '

He said that if his future dependedupon answering foolish. questionsfrom gal journalists, he would give upacting and take to insurance agent-ing .' or something.



a Newspaper ReporterFirst Time.




amusing, but of late he has encoun­tered an idea that "I advertise thenewspapers; the newspapers can't ad­vertise me." I would like to thinkthat Douglas is due for a grand littlejolt; but he probably isn't. Whathe says is more or less true.

, Tom Ince is scared sick of inter­viewers. He simply runs out onthem without apology or remorse.

He never shows his to the papers. Whenyou get to know him andget inside his painful bash­fulness, h e has qui c k ,abrupt, stri~ing ideas.

A N interview with Rupert .Hughes is simply a mono-'logue. You just sit thereand wait until he gasps forbreath. But he is a brilliant,witty talker. You just sitthere until you have enoughstory, then you walk out.Rupert would just as soontalk about infantry tatics as'music, about painting asabout football.

For the rest, they aremostly a collection of dumb­bells from whom it is im­possible to get any coherentideas; who simply repeatthe old 'wheezes about mo­tion pictures in their in­fancy, the paths to cinemaglory through suffering, etc.

tj "Rex Ingram is queer. He is sodarn casual. He looks you over asthough '-:V0u didn't matter 1II-uch­hardl~, cllo"gh to be disagreeable to-which is mqrc or less true."

Hoover Photo.

out. I think I got them allstarted on 'this line of talk.

MARY 'PICKFORD js the be­loved of gal interviewers who,dazzled by her pollyanimations;have supplied her with the mostimpossible virtues and, intellectualchampionships. As a matter offact, Mary is a girl of sound busi­ness judgment and sweet disposi­tion, but she is not intellectual. Shehas given a thousand reasons whyshe sticks to these wishy-washyPollyanna stories: the real reasonis that Mary thinks Pollyanna isgr'eat literature.

Doug Fairbanks is enteTtainin~ and

.. "Lal/,r.:llc Ta.\'lor seems the soul ot, cordiality btl1she has a bad temper and interviewmg her is abo,,'like playing baseball with TNT."

Gloria Swanson is uninteresting andwithout ideas; but, she carries thesituation off with good clothes andthe manner: "My-Gawd-what-I-could­say-if-I-were-interested."

REX INGRAM is a queer bird tointerview. He is so darn casual. ' Helooks you over with faint interest andgoes on smoking his pipe-as thoughyou didn't matter much - hardlyenough to be disagreeable to-whichis more or less true.

Dorothy Dalton is ill-mannered andruthless-until she gets interested;then'she can be a good fellow. As amatter of fact, she is one of the fewwomen in films who havebeen well educated.. Mostof these "well-read" womenare a bluff. Some of. themdo not even take the troubleto give that impression. Iam the reason most of themare well read. Some timeback I developed a few ideasthat I felt that the worldneeded, but no one wouldbuy them, or even listen tothe m. So I generouslypassed them around amongthe movie girls. I wouldcall to see one of them andall I could get out of herwas some, school-girl gabbleabout her press notices andhow she suffered for her art.When writing the interviewI would slip her the gleam­ing thought about the prob­able end of the white racesat the hands of rising Islam.That is what she would findshe had been talking aboutwhen the interview came


~• •

By Patrick Tarsney

q What made the big men 0/Here is the story 0/ theirindiscretions. Between lureness acumen a new art was

Lasky, a young Californian, who hadbegun his professional career as acornet player and who in 1914 hadassociated himself with C. B. DeMille, the playwriting son of a play­writing father. That Lasky had plentyof nerve is evidenced not only by thefact that he once played a cornet inpublic, but that he was one of thegold-seekers who rushed into Alaska.He did not become stoop-shoulderedcarrying gold out, but he did makesome money by producing vaudeville \acts.. Thomas H. Inee, who, like Lasky, isin his ~arly forties, went on the stagewhen he was a. boy. His father, JohnE. Ince, was a good actor, but a betterletter writer. Some of the communi­cations which the elder Ince was inthe habit of writing to the newspaperswere. classics in their way. YoungInce became an able song and danceartist. John B. Ritchie, who gave himone'of his first jobs, is now his scen­ario editor. Back in the eighteenths:entury, William Ince, an ancestor ofThomas H., was a furniture designerand cabinet maker whose work wasoften mistaken for that of Chippen­dale. His descendant's pet antipathyis a wooden actor.

LIKE Adolph Zukor and MarcusLoew, WilIiam Fox entered picturesby way of the old-fashioned penny ar­cade. His first two real theatres wer.ethe Dewey and the Gotham in Four­teenth street, New York. Tom Shar­key, the retired pugilist, who conducteda saloon in the same block, was inthe habit of buyin~ a ticket by theweek. William Fox's chief adviser is


But all the pro­ducers h a v e notbuilt something. outof nothing. At leastone of them was a'c1ergyman, otherswere bankers, some

. were day laborers,still others were lawyers, others phy­sicians and still others successful busi­ness men in various lines before theyturned to pictures.

. ARCHIMEDES, who said that ifsomebody would only give him a placeon which to stand, he would move theworld with his lever, at least had thelever to start with. Adolph Zukor,president of the Famous Players­Lasky Corporation, had no lever. Hemoved his world with a broom. Hisfirst job was sweep'ing out a fur storein New York. It was not long beforehe had a fur store of his own in Chi­cago. Not until H)03 did he andMarcus Loew start the' penny arcades,out of which they got enough moneyto lease a chain of theatres.

Marcus Loew, always a showman,preferred the distributin~ to the pro­ducin~ end of the business and in1916 Zukor joined forces with Jesse L.

tJ .Mars1lall Nl!ila/~ was a chauffeur al/dhis· stolid was ill frollt of a cafe op­!,osite tlu: Ale.ralldria H aIel ill Los

:::~;;;::::::~Angeles, 'wlrere several fancy ban­quet- have since beell givell ill his

I honor. His wife, Blal/clle Sweet, was,('arid fam.olls as The Biograph Girl

"I AM not ashamed to confessthat twenty-five years ago I was ahired laborer, mending rails, at workon a flatboat-just what might hap­pen to a poor man's son."

No, it is not one of those got-rich­quick moving pictures producersspeaking. It is Abraham Lincoln. Hewas big enough to know that whatcounts is not a man starts, butwhere he finishes. He was not one ofthese self-made men who is ashamedof his architect. People who reproachmoving picture producers for not hav­ing been born in the purple shouldremember that if a certain Astor hadnot been a peddler and a certain Van­derbilt a ferryman there would notbe so much money in those familiestoday.

Some of the producers who careleast for money and most for art havehad pasts in which a dime looked asbig as a dollar.


«j Carl Laemmle, ran a clothing storein Oshkosh, J,viscoluin, until he ac­cumulated a fortfme of four thofi­sand dollars. He went to Chicago andbought a movie tlleatre. Now liereigns as king of U";versal City.-, 1

Hollywood's Play World?pasts - a strange tale 0//or adventu re and busi-born.


«j .Jesse Lask)', wl,e'l a boy, would prac­tice for 1I0urs on tile front porcil oflIis home, the shrill blasts of lIis cor­tlet ringing down tl'e street. "Someday," he reasoned, Sousa will cometo town and he will give me a chanceto play ill his band." Wile" tlris storyis told, nowadays, Lasky's associatessay: "Hie arc glad that SOfua nevercame."

That, by the way, is the way thatKalem was named-for Kleine, Longand Marion, the two latter being menwith whom George Kleine in 1907founded the Kalem company.

ALLAN A. LOWNES 'is anotheralumnus of the College of the Cityof New York and was a hat manufac­turer before going into pictures. Vic­tor' Kremer was one of the largestpublishers of sheet music in the coun­try, and Samuel S. Hutchinson, whowas educated at TIlinois W ~sleyan.

where he ( Conti1Uud Ott pay I' 03)


Charles Eyton, general manager ofthe Lasky plant and husband of Kath­Iyn Williams, the actress, was oncetreasurer of the Morosco Theatre inLos Angeles and an excellent boxingreferee as well.

George, who brought to thiscountry Quo Vadis, Cleopatra andother foreign films and who has pro­duced many of his own, is a Bachelor.of Arts of the. College of the City ofNew York. He got his degree almostforty years ago and has been in themoving picture business since 18c)6.Prior to that time he was an opticianand a manufacturer of optical andprojection apparatus with head­quarters in Chicago. It was in'that city that the one-time power-ful Essanay was founded. Thepartners were Gilbert M. Ander­son. better known as "BronchoBilly," ,and George Spoor, whohad the lunch room privilege in aChicago railroad station. Essanayare the initials of their names.

Winfield R. Sheehan, once a NewYork reporter, and later secretary toPolice Commissioner Waldo.

Carl Laemmle ran a clothing storein Oshkosh, Wis" until he accumu­lated a fortune of four thousand dol­lars. He took this to Chicago andopened a moving picture theatre. Thenhe opened an exchange and then heorganized the independent producers .into the old Imp company, whose bat­tles with the General Film Company,then called the trust, are a matter of (moving picture history. Since 1912he has reigned at Universal City,where in that year he bought landmuch cheaper than he could buy itnow. His nephew, Edward Laemmle,is a director.

MARSHALL NEILAN was achauffeur and his stand was in frontof McKee's restaurant, which is justacross the street from the AlexandriaHotel in Los Angeles, in which hotelseveral very fancy banquets have beengiven in honor of the producer. Hecame into the moving picture businessas an actor of small parts and hasplayed leads with Mary Pickford,whose own beginnings were humbleenough, but who has risen to be. notonly the most popular. star with thepublic but with moving picture 'peo­pIe themselves.

Oliver Morosco was an acrobat.His real name is Mitchell, and whenhe was a youngster he was adopted byWaIter Morosco, at that time a theat­rical power on the Pacific Coast. Hehas named his son Walter in honorof the man who, by adopting him,.gavehim his first chance.


~ Her' is _ aerial view 0/ one 0/ theworld's greatest studios, c.overin!!. Gsixty-acre expDllse, where mterestJngpeople Gre ,lIGiiltg living sculpture ofhuman emotions. This descriptroecu1ick 0/ Gshow place 0/ movielDntlwill delight you.

THE yo~g man with the dirtyface twisted around in the front co*ck­pit and motioned us to look over theside. Southern Cali fomia was pass­ing in review below. It was the firstreal proof for me that the earth r~

volves, thoUgh it was giving the lie toall standard geographies by travelingfrom south to north. We'had climbedinto the air from a field in south­western Hoilywood and· had hungmotionless there while some onepushed the mountains into the. dis­t;mce and dragged Culver qty underus for inspection. . ..

The splotches. of motor oil, beateninto his skin by the propeller blast,enhanced the friendly, 'reassuring ex­pression on the pil~t's face' as he ..grinned at us and shouted somethingthat was drowned by the roar of themotor and the singing of 'the wind in,the wires. Noticing our perplexity,he changed it to sudden fright bystopping .the motor and cutting usadrift from our moorings, while hetried again to be heard.

"What' was that? Oh, yes, Gold­W}"D's"~ Thtre in orderly. array waswhat I had always regarded as a hugefilm ·plant. Huge? It looked like' theLilliputian illustrations in. Gulliver'stravels. How could a Six-foot hero

. ever get 'into one of those tiny stages,let alone having room to thwart themachinations of the villain with theumbrageous mustache. But thebuildings grew with alarming rapjdityas we came down in graceful spiralcurves. Objects assumed tJteir realproportions and we could make outpeople scurrying here and there. At

. closer range it looked like a child'splayhouse built on an elaborate' scale.

A RED interurban scooted along theside of the lot with excursionists whowould return from the beach thatnight full of peanuts, salt water andpleasan,t memories, oblivious to thefact that a mere board fence had sep­arated them from the burning sandsof an A frican desert town throughwhich petticoated sheiks rode with

. menacing weapons glittering in thesun; oblivious to the fact that in oneof the big glass buildings a motherwas learning the pang of filial neglect,in another a wife was confrontingthe woman who had ruined her home,while irrascible directors, seeing these

scenes enacted, were grasping theirnoses significantly between thumb andferefinger and exclaiming: "Lousy!"

The white buildings of the Gold­wyn plant, for the most part, are rein-

forced concrete, built to withstand fireand the tremblers resulting when MissCalifornia, in sheer exuberance at herown beauty, shakes a lascivious shoul­der and kicks up her heels. From the

48:....- ~ ""'_.....

CP/10IO by 11'111. Cross.

air they blind like jewels in a settingof green malachite - for every openspace at the Goldwyn Studios is car­peted with grass and bedecked withfragrant flowers. It is only from the

air one c-an realize the 1>lace is not ahodge-podge of big buildings, erectedat random on the sixty-acre tract,where interesting people are makingliving sculpture of human emotions.

S our plane. weaved back andforth in gigantic figure eights, I no­ticed below' a wooden-roofed struc­ture resembling a superior make ofincubator up whose sides crept scarlet


value. There are two miles of cementwalks and drives, with ten acres oflawns and flowers. There are 42

buildings altogether, 100' individualdressing rooms, 75 offices, 22 busydepartments, with numerous sub­departments and branches. Duringthe past year there were built Italian,Russian, Southern, Alaskan, Spanish,French, Western America and NewYork "tenderloin" street settings at acost of $200,000. Fifty temporarysettings are built weekly. At thecommissary 2500 persons are fedeach week. An average of 3960 tele­phone caIls are handled daily by twooperators on 62 connections and eightoutside trunJ< lines. during II workinghours. This average of six callsa minute. These statistics were gliblyrecited by the genial press representa­tive of the' studio .after we had landedin an adjacent field and made a

tour. of the lot. He hadmany other interesting fig­ures at the tip of tongue.If you, gentle reader, arenot already tired of thequotation of staggering.sums of money, be in­formed that the amountexpended by Mr. Goldwynto assemble a dazzling ar­ray of eminent authors at.his Culver City studios, ifscraped together in a lumpsum, would be sufficient tomake John D. RockefeIlergive up all his oil weIls and

. take daily baths in MarshallField's window; it· wouldalmost make Lady Godivahave her hair bobbed andrace Paul Revere aroundthe Beverly Hills speedway.

WE climbed into our planeagain and started back towardHoIlywood with new admira­

tion for the business and constructivegenius of the men who are guiding thedestinies of the screen. The huge filmplant we had just visited dropped·away behind us. In the distance wecould see the undulating surf o·f thePacific, the breakers appearing afarlike a summer fur at a woman'sthroat. The mountains, wreathed inthe purple of the twilight, crept si­lently nearer. A bank of fog comingin from the sea looked like a billowyfield of cotton. The sun, a great ball·of fire, dropped suddenly into theocean. The whole horizon- seemedaplaze for a moment, but soon theconflagration died, leaving in theWestern sky a rich rose glow thatdeepened, deepened, and was gone.The jolting of the plane as we landedand roIled roughly along the groundto a stop roused us from our reverie.

little hospital, like a great dice rolledsportively out of the sturdy storeroom or shaken from the administra­tion building dice box.

This plastic human clay from whichare moulded the figures on the screenarrives through a. great arched gate­way, guarded day and night by ,grim­visaged, marble,- hearted watchmenwho wouldn't turn their heads to lookif Elijah came back to earth to,repeatthe first baIloon ·ascension recorded in .history. The players are housed inwhat looks like the outer wall of a·mediaeval castle, but in reality is onlya two-decked row of dressing rooms.The aerial onlooker catches thesparkle of a sequin frock and flash­ing jewels and hopes for a conscious,upward glance, but a snooping .air­plane is too common a thing even forpassing notice.

There are yet two features of the

overhead trip too important to passunremarked ; the Goldwyn tree andshrub nursery quite noticeable bystage NO.3, and the place where amotley assortment of film scraps arepieced together int~ a play of absorb­ing interest. Between the first stageand the palace of the governors is thebuilding accommodating the cuttingand projecting rooms.

WHILE an aerial visit gives one theproper perspective to realize that afilm studio is laid out on a definite,orderly plan, and is not the curiousjumble of buildings it appears at closerange, it fails to convey a true concep­tion of the magnitude of the .fourthlargest industry.

Goldwyn's covers 60 acres of valu­able real estate. Its permanent build­ings exceed a half million doIlars in

fJ "Huge? It looked like tile Lilliputiall illustroHoflsill Gulliver's Travels. How could a six-foot herorver get into one of tllose titly stages . . .!"

BUT that long Noah'sArk opening its doors re­luctantly toward the stages?Just the cornucopia from.which directors may requi­sition anything under thesun as "props." By twos,yes, and tens, they go outto the various sets, seldomto return to the ark withtheir original lustre andgentility. It's a grueling lifethese studio "props" lead.

Two little kiosks, the powerhouse and sub-station, creep close tothe stern yet sheltering lee of the ark,away from the three great glass stagesthat sap the inexhaustible vitality oftheir little neighbors with the greedof hungry live beasts of the sun.

The army of employees, who from'our plane looked like· ants scurryingabout on the ground, must be fed. Thecommissary department takes care ofthis in a regularly inspected, sanitarydining room-one of the best in film­land. Even the publicity department,unselfish herald of the screen's ex­alted, has a private stairway that givesits personnel an even break with therest of the lot in noon's mad rush for"vittles."

Opposite the cominissary. sadlysuggestive of the risks players take tothriIl blase skeptics in upholsteredtheatre seats, stands the cube of the

ladders, red as the flames againstwhich they were designed. It was the

'''dark'' stage, where conspiracies arehatched against fortunes - and thesun. The development of artificiallight in motion pictures has made glassstages obsolete, although from the air,glittering in the sU,nlight, they lookmuch more attractive than theirwooden brothers. I t is the electriclight now, and not the random raysof old Sol, that makes the wild f uncul­tivated actress blossom as the Bur­banked lily of perfection.

At the right end of the "dark"stage we spied a long shed fiIled with,helplessly lost doors and windows tilt­ing toward the Oriental viIlage-thatexotic little settlement with its mys-

. tcry of empty, coaxing casem*nts andits lure of silent, uncurtained door­\~·ays. The village is con verted onthe hazard of the need, from thefrowsy Near East to thedrowsy far Eastern Orient.Between the "dark" stage,with its murky secrets, andthe taIl square tower crown­ing the mill, where a bat­talion of trained artificersmanufactured everythingfrom period furniture tocobwebs, lie two glassstages.


CAUGHT • the

THREE SISTERS, ALL STARS., For the first time since they were

little girls, Viola Dalla, Shirley Ma­son alld Edna FIMgrath, E"glishfilm star, are reunited, WMn MissFIMgrath reaches Hollywood to visither two star sisters. The proudmale at the right of the picture isEmil Flugrath, enjoying the gloryof distinguished parentage.

PORPOISES ACT IN THE 'MOVIES., A striking scene of a school of playful porpoises was filmed from deck .when

E. Mason Hoppu, Goldwyn director, and company, were cruising in a chartered5hip 011 the SoutMrn Califomm coast. Ti,e 'porpoise 'scene was embraced illthe picture.

tj Two Score of Strange, Thrilling, Sad and Funny Movie/and IncidentsNabbed by Screen/and's Keen-Eyed Cameramen During the Month.

A DISTINGUISHED FOURSOME., Four of, America's greatest au­

thors assemble Oil 'a Hollvwoodcourse to fare together in 'he an­cient game. Left to right: SamwlG. Blythe, novelist and political es­sayist;, HMgIJ Wiley, creator ,of TheWildcat stories; Harry Leon WilSON,author of Merton of the Movies,alld George A de, celebrated hu-morist. Ke)'IIO'U ''''''0.


• B~t the waves spoiled it all. "Ittakes an iron constitution to catchswordfish," said Peggy HopkilfSJoyce as the ~median landed/herat sea on another craft, bou"d forshore. "I guess I am a poorsport," she decided, as Charlie,put­tered back to sea alone in I/islaunch. Keyllo.e ''''''0.



• The fomONS AlimonyQub of LtCtllow SI,eelJail, .New. York Cil"; ass e s criticism OMDorolh, Philli,· latestjI",. The star is seatedill lite frOllt row withSheriff Knott.




• Somelimes movie sl,mls gowrong. In the Vitag,o~h

senoJ, Hidden Dangers, arough rider 'Was SIIpposed10 swing leOIJ Poige frOtHtl,e g,oNnd 10 his saddle ashe swept ~osl. B'd hemissed his /irost. Aside froma mONthf.1 of dlUi mid aIn» b,..ises. Ihe aclress 'WtJSunhurt. . Ke:JslD"e PhD'D.


• Jot Rya. lite serial star,'WGI 011 10ctlliOll 'W1teJl llIeSOIIllteTII ColijoNl'" deerseason opelled. So Ites'eIII 0 few 1t000'S to gela bUck GIld Ihe trophy'WtJS .sed in Ihe picture.


• "'Y011 IIIt1Sl kneel belorelite Shinlo deities tIIHl askforgiveness 01 '0111' fore­lallie,s lor o"eam.g asa villain ill The Cheat."J 0 , 0 ". lold HayabWa1I11te" Ite a"d Itis wife,Tn,i Odi, visiled Iheirhome/GIld. B.,· Hoyo­iltJ'WG reached San FrtJn­dsco without laMlIg be­lore Ihe gods of his an­cestors. 111'er"IIIiD"tIl PhD'D.


~ 1. Do" g I a s FairlHutks'·Robin . Hood /J tlOflg#tlyhighl ill ftdl arHf.Or ,.",­bles fro,,. a P/Jr/Jpet i,,'o aIlUHJI. The setlsGliolUJl ft! /J Ihrilkr 0. Ihe scre",.:Tlais .,,1UIUIl «slill" .C_9hlthe aclor en route.

POLA NEGRI IN AMERICA• Her pass/lort gave her "a,ne /IS

Countess Apollonia Domb~b, b,,'fcllow /lasscltf/crs Oft tlu: Majestichew she was Pola Negri, 0" her .u.'G~' 10 Holl)"Wood to star illAmerica" Paramount /lictures.

. r..,c,..,u"",1 PIuI'".

SEES HIS STORY FILMED1II Sir Hall CGiu, /J'dlwr of The Christian., is

tm interested spectator WM" SCCftt:S of his,wvt.'l arc mGtle by M/J"rice To"rUMr, Gold­wyn director, in E"glaHtl. Mae BNSci. ii thelady wil', Iht" teacup.


• Duke Kahanamoku, world swimmer, instructs prelty LuraAnson ill the Hawaiian "crawl" slrokefor water scenes ill /J Gloria Swa"SOtl/lidHre.



• The Wallie Reids ofHollywood ado pte d ababy sister for Billie,their son, and this is thefirst of thc entirefamily.

RETURNS WEDDING GIFT• When his intended ninth wife jilted him.

Kid McCoy slldly retll,."ed the brOl,:;egladiator his fellow p//J)'ers at the Goldwynst.dio hlld givcn him or a we .


THE JEALOUS R./VALS• Walter Long and Dick Suther-·

land, noted seret'll vilJains. askBetty Compson to decide the 1IJost ha"dsome. Suther­land has the biggest hands i"Hollywood and ·he's never donea· dav's work with tlu'm in hislife. - He was /J whisky sales­man beforc prohibition. Thelow c r p" 0 t 0 sllows Betty'shands beside thc··doi"ty S.i1aer­I/Jnd digits.

STAR AT PALM BEACH• Bob Leonard (hflSband of Mile M.rr./JY!,

Htlgh Dill,n/Jn (hflSb/JHd of M/J/or,eR/Jmbe/JfI), Lconc Morgan, Mae M.rr/JY,the movie star, /J"d Marjorie R/J1IJbe/Jl4,famous actress, spetad /J few sunny hoursat Florida's fashionable se/J resort.

K~:rd,"'~ Photo.

SAVED BY A .TAILOR• Eme;,'t Torrance, villain in Broken 9Jai.ns.

is faad witl. IIII'. a'lIIo):ing stunt of ialhngoff a cliff. Tile Goldwyn lailor. IIelps out·by making a pair' of dUOlmies who will"double" wllilc Ernest resls in tile shade.


4) Johnny' eoulpn. for­"ler . clUJmp bantalll­wei·ght". ,,~ ~fIlfdscientists Wilh l&is ["':­::/ing ability to resistb e i H 9 lifted. T Ii cstrongest of men·luiltetried and failed. Butwhen Theda Ba'ratried it, JOIIIIIIY re­laxed 'w i t h t II I'. rJ!­"UJrk: "At· last I amswept -off ~y feet."Tile picture W(IS lakClion the s tea m.s hipOlympic. .

f:jKc;)'sloNC Photo.

HOW "GAGS" ARE MADE4) Tile upper picture shows II

prop man ,nakiflg a mud­hole ready for Jack Holt.who criticallv SU'rperviusIhe task.. The lower pictllreshows Ihe star landing illthe ,,,,,ul tllith all ihe ~ayspontan'eity in the world!

LEANNING TO LAUGH r.-! BOMBAYfJ A Chaplin film. The Kid. attracts Ihrongs of natives. Afler

all, Ihe universal language must be laughter.1 N'crllt,tiONtU PI,oto.



IS OUR PUBLIC FICKLE!.'Ellen Terry, Englond's mosl belwed

aclress, finds Ihol her admirers ore asplentiful as in Ihe do)'s of her tlClivecareer. This ,iclllre shows. her beingu.llCflcd fr01H Ihe grouHds, ai "ValmerCasll" wllCre she ,ar'icilG'ed ill a gtJr-'den fele as The Old Woman Who Livedin a Shoe. Will our mtn'ie slars be as,o,ular in Iheir old age!

l""r"alio,,.J PlIoto.

A STUDY FROM LIFE• Walter Hiers belin.·ed in being realistic w~n Ire

",ade 'II' for a blockftICt' ,arl. He hired a model


CARPENTIER LEARNS TO ACT• To JlrlYvC hc is an aclor as well as Ihi" Frell ..h boxing challl,ioH, Georges

Carpentier asS1lmes- four differcnl characters ill his new filln venl.rc,A Gypsy Cavalier. Hcrc Ihfl' arc. l"t..r"tJtio".J PlIoto.

FIRST AID IN INmANA• ","/tnt'he retllrffed'from 'his Holiy:

wood visil. George 'Ade W!'ole ano'riginol screc" slo11';' signifieo''',I=,t!ftlilled Back 'Home and Broke.II U'/IS ,rom"ly, acce,'ed b,Paramount, so Ihe:''S'I~r, ThQ~S,Meighan, orad 'his .direclor. 'AIGreen. 1tUItle ,0 jotlTffe, 1o' I~bumorist's l"diG_ 1a0HU 1o Mgetlogether" 0" Ihe HeW ,


• Notoriety resulling from Ihe dialhof her friend. Direclor Win. D.Toylor. obliged Mabel Normand If)ICllVe, her work for a long ~es"

Ru.terole", she ril;,rws' fromEnrope. bt..r'-;oNl Plooto.


4IJ Alfred Hertz, former directorof ti,e. Metropolitan Opera Com­pany•. 'colldtu:ls outdoor COII­cerls 01 Ihe ""iqfle H oll)'UloodBowl. Mr. alld Mrs. He"':;have established their home inth~ movie colony.

PtICt'ic Prell Plroto.


4IJ An mr/,Iolle' eng i n eand propeller, InoicnledOil ';0 Ira,u/,ortableframe, gives the stonnelects for lhe direc­lors. L i g h t n i n g isachieved by scrat~ingthe Hegative lilm -wilha tift. Flashe's'" ofligillning glare are ac­complished by an elec­trician 01· the switch­board. T II e y , II benlaking il thunder iNthe /,ictures nerl:

WHAT CIVILIZATION DOES TO UStJ The u·hile _II in lhe center. of this

fI",lSUm grou" (abwe)is Director R. A.W.aIsh. T.ILe.bllp other white men Hearthe righl trUJrgill of the .,holo areGeorge Seigmann and Antonio Moreno.They hmle jusl finished a swimmiltg. race wilh T aIliti's bul swimmers andhave /,rwen themselves masters inStaINiHa turd steed. The lower /,iet.rcshou·s Walsh's CO'H/'tUJy 01 'WOrk ill theSouth Seas /,rod"cing Pa 'sions of the~.

AT THE CIRCUS.. The giant and the midgets

enlertain DOllg alld Charlieon circus day 01 Hollywood.

J nternoliolUll Photo.


~• •

• Jack Holt, the hard­knuckled western geit­tieman, and his mother

• You t(Jould believe thediminutive May Mc~

Avo\', in h" school­girl' dress, almost ofa*ge to cross the streetsalone.


«j Screenland, at last, has secured conclusive proof that thestars are not immortal, like the gods of Olympus, but that

-they have mothers and fathers just the same as the rest ofus. Six Paramount stars posed with their immediate ances­tors to enable us to offer the testimony on this page.

• The day that AgnesAyres' mother visitedher daughter' at thestudio.

• Gloria Swallson andII e r father" Ca~tQilJLasetb 51CltJtlSOtl



tj The conclusion of Charlie Chaplin's own remarkablechronicle of his triumphant return to H ollY'IIJOoJ.

an old American and he is all chokedup at the thought of my going backwhile he has to stay on in England.We are going back to his .land. We.cannot talk much.

We go to the boat. Sonny is thereto see me off. Sonny is Hetty'sbrother..

There is luncheon with my friendsand there are crowds of reporters. Ican't be annoyed. There is nothingfor m~ to say. I can't .even think.We talk, small talk, joke talk.

Sonny is very matter of fact. 1look at him and wonder if he hasever known. He has always beenso vague with me. Has alwaysmet me in a joking way.

He leans over and whispers: "Ithought you might like this." Itis a package. 1 almost know with­out asking that it is a picture ofHetty. 1 am amazed. He under­stood all the time. Was alwaysalive to the situation. How Eng­land covers up her feelings.

EVERYBODY is off the boatbut the passengers. My friendsstand on the dock and wave tome: 1 see everything in their

Geraghty is along. Tom is

t r·a in. A so r t of em­barrassed sen timentalitamong my nends. Tom

THE train is about to pull out andeverything is excitement. Every oneseems emotional and there ~ a tense­ness in the very atmosphere.

"Love to Alf and Amy," many ofthem whisper, those who know mymanager and his wife. I tell themthat 1 am coming back, perhaps, nextsummer. 1ltere is applause. "Don'tforget," they shout. I don't' think 1could forget.

The trip to Southampton is not en­joyable. There is a sadness on the

tj A sweel lillie girl abll1d eighty~ars old spied him on the boaL"Oh, Mr. Chaplin," she gur­g/,d, "I have bee.. looking foryou allover. Please adopt tHelilte you did Jackie Coogan.We c0f4/d smash windows to­gether and have lots of fun:'The little girl and Charlie/",tChed . logelher nexl dav."She 'U'Os the life of Ihe party;"he wriles.

feel very sad about them.

IAM off in the' morning for South­ampton, miserable and depressed.Crowds--the same crowds that sawme come-are there. But they seema bit more desirable. I am leayingthem. nere are so many things Iwish I had done. It is pleasant to begetting this applause on. my (xit.

I do not doubt its sincerity. DOW.'

It -is just as .fine and as boisterous asit was when I arrived. They wereglad to see me come and are sorry Iam going

I .feel despondent and sad. Iwant to hug all of them to me.There is something so wistfulabout London, about theirkin d, gentle appreciation.They smile tenderly as I lookthis way, that way, over there-on every side it is the same.They are all my friends andI am leaving them. .

Will 1 sign this? A few. ex­cited ones are shoving auto­graph books at me, but mostof- them are under restraint,almost in repose. They feelthe parting. They sense it,but are sending me away witha smile.

My car is full of friendsgoing with me to Southamp­ton. They mea n little atthe moment. The crowd hasme. Old, old friends tumup, friends that I have beentoo busy to see. Faithful old.friends who are content justto get a glimpse before 1leave.

There~s Freddy Whittaker, anold musIc-hall artist with whomI' once played: Just acq~int-'ances, most of them, but theyall knew me, and had all shared,in spirit, my success. All of themare at the station and all of them·understand. They know that mylife has been ful. every minute Ihave been here. There had beenso much to do.

They knew and understood, yet they~ad come determined just to ~ee me,


As the boat was pulling out hermother comes toward us and the childintroduces us with perfect :formalityand without any embamassment. She'is a fine, Cultured person.

"Come along, dear, we must godown to the second class. We cannotstay here. .

I make an appointment. to lunchwith the .little gi~ on the day'after themorrow -and am already loOking for­ward to it.

I' spend the greater part of the sec­ond day in reading books by FrankHarris, Waldo Frank, Oaude M:cKayand M a j 0 r Douglas' "EconomicDemocracy."

The next day I met Miss Taylor, afamous' 'moving picture. actress ofEn~land, and Mr. Heyworth, who ·isa director of prominence in GreatBritain. Miss Tay'or, though ~si­

rive, shy and' retiring, has a great bitof charm.·

They are making their first trip ~o

America, and we soon became good,friends. We discuss the characteristicsof the American people, contrastingtheir youthful, frank abruptnes~ withthe quiet, shy and reserved Britisher.

glowing faces-loyalty, love,~~ .. make people cry my~f.. It must bea few tears. TIlere is a lump in my niie to ad 'cryie' parts, but I don'tthroat. 1 smile just as bant u I aft· like to w:atch Jhcm." . .to keep them from seeing. I even "And you want me to adopt you1"smile at the reporters. TIley're dam ."Only in the pictures, like Jadcie.nice fellows. I wish I knew them bet- I would like 'to break windows.ter. After all, it's their job to askquestions and they have been metdy S . .fdoing their job with me. HE has dark hair and a beauti ul

Just doing their jobs as they~ it. profile of the Spanish type, with aThat spirit would make the world if it delicately formed nose and a cupid'suniversal. " bow sort of mouth. Her eyes are

England never IooIred more lovely. sensitive, dark and shining, dancing'Why didn't I go here? Why didn't I with life and. laughter. As we talk Ido this and that? 11iere is so. much notice as she gets serious she growsthat I missed. I must come bade tender and full'Of childish love.again. Will they be glad to see me? . ··You like smashing windows; youAs glad as I'am to see them? I hope must be Spanish," I tell her.

M "Ob, no, not Spanish', I'm Jewish,"so. y cheek is damp. I tum awayand blot out the sadness. I am not . she answers.going to look back again. "That accoUnts for your genius."

A sweet little girl about 8 years of . "Oh, do you think Jew~sh people areage; full of laughing childhood, is rom-' <:lever?" she asks, toward me with a bubbling voice.·· "Of course, all ~t geniuses hadHer v.ery look commands me not to Jewish blood in theaL No; I am nottry to escape. I don't think I want to Jewish," as she is ~bQut to put thatescape from her. question, "but I am .sure there must be

·'Oh, Mr. Otapli.n," gurgled the some somewhere in me. I hope so."little girl, "I've been looking for you .'all over the boat. PleaSe'adopt me as ''0 .you did Jackie Coogan. We could H, I am. so glad you think themsmash windows together and have lots clever. You must meet my motl.ter.of fun. I love your plays.". .. She's brilliant and an elocutionist. She

She takes my hand and. looks up recites beautifully and is so clever atinto my iace. "They are so clever and .. ~ything" And I am sure you wouldbeautiful. Won't y~u teach me· ftke hke my father. He loves me so muchyou taught him? He's so much like . and I think he admi~me some, too."you. Oh, if I could only be like him." She chatters on as we walk around.

And, with a rapt look on her little Then suddenly: "You look tired.face, she prattles on, leaving me very Please tell me and I will run away."few opportunities to get in a word,though I prefer to listen rather thantalk.

I wave good-bye to my friends andthen walk along with her, going upand looking back at the crowd over..the rail. .

REPORTERS are here. They sCentsomething •interesting in Illy affairwith the little girl. I answer an ques­tions. Then ~ phot~pher. We arephot~p,hed. And the movie menare getting action pictures. We arelooking back at my friends on shore.

TIle little girl asks: "Are they allactors and in the- movies? Why areyou so sad?' Don't you like leavingEngland? Th~re will be ~ manyfriends in America to meet you. Why,you should be so happy because youhave friends allover the world." .

I tell her that it is just the parting­that the thought of leaving' is alwayssad. Liie is always "Good-bye." Andhere I feel -it is good-bye to newfriends, that my Old ones are inAmerica.

We walk around the deck and shediscusses the merits of my pictures.

"Do you like drama?" I ask."No, I like to laugh, but l love to

I find myself l1UlI)ing wild as I tellthem of this land. I explain trainholdups, advertising signs, BroadwayTtgbts, blatant theaters, ticket -speada- .tors, subways, the automat and its bigsister the cafeteria. It has a greateffect.on my friends ~ at times Ialmost detect nnbelief. I find myselfwanting to show the whole thing tothem and to watch their reactio,ns.

AT the luncheon next day the littlegirl is the soul of the party. We dis­cuss everything from art to ambitions.At one moment she is full of musicallaughter and the next she is excitedlydiscussing some happening ~ship. Her stories are always interest­ing. How do children see so muchmore than grownups?

She has a great time. I must visither. father; he is so much like me. Hehas the same temperament and, is sucha great daddy. He is so good to her.And she rattles on without stopping.

Then again she thinks I may betired. "Sit back. now." And she putsa pillow behind my heac! and bids merest. .. These moments' with her make da}'1\

'.aboard pass quickly and pleasantly:Carl Robinson and I are strolling

around the top deck the. next day inan effort to get away from every ODe, .and I notice some one looking up atthe wire running between the funnelsof the ship. Perched'on the ·wire isa little bird and I am wondering how .it got there arid if it had been there ..since we left England.

The other watcher notices .us. Heturns and smiles. "The little birdmust think this is the promised

I KNEW at Once that 'he was some­body. Those thoughts belong only topoets. Lat~r in the evening he joinsus at my invitation and I learn he isEasthope Martin, the composer andpianist. He had been through the war

. and it had left its ~tamp on t1iis finesensitive soul. He had been gassed.I could not imagine such a man in the

.trench~. He is very frail of body,and as he talks I always imagine hisbig soul at the,bursting point with apent-up yearning. .

There is the inevitable concert on .the last night of the voyage We areoff the banks of Newfound1and midst of a fog. F~oms must bekept blowing at intervals, hence theeffect on the col1cert, particularly thevocal part, is obvious:

We land at 7 in lite morning. of. avery windy day and it is II before wecan get away. Reporters and cameramen fill the air during all that timeand I am rather glad, because it showsMiss Taylor (Co,dillwd Oil page 64)


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Editors' PAGEMyron Zobel, Editor S;l. MacDoweU, Managing Editor

THIS issu~ of SCREENLAND is six­teen pages thicker than preceding is­sues and at least twice longer in itsabundance. of Hot From Hollywoodfeature stories and articles. Regularreaders will recognize that .YourOwn Page and The Editor'sPage have been combined. It isone of the innovations which isbringing to them a meatier, morebountifully, illustrated magazine.SCREENLAND is no longer satis­fied with being better than anyother movie magazine, and manyYour Own Page letters havestated. It is determined to bebigger, too.

NEW ;eaders may not yetrealize that SCREENLAND is theonly national screen' magazinemade where the movies aremade. The name of Hollywoodhas been plal;ed on the cover toinform them. Others haverealized the truth Hollywoodis Scree"land and Screenlandis Hollywood, and among them isD. D. J. of 27 Queen street, Forfar,Scotland, who writes: "SCREENLANDis all the more interesting to me be­cause it emanates from Hollywood,capital of motion picturedom."

. THERE are other readers who havemade the same comment. One ofthem, closer than Scotland, came fromR. S. of Santa Monica Boulevard,right here in Hollywood. "The factthat I am located in the heart ofHollywood," he informs us, "provesto me thatScREENLAND is the best filmmagazine today."

WARMED-OVER stories are nobetter. than the.warmed-over movies,whic;:h . you may have already readabout on page 42 of this issue. YetMiss M. M. of Indianapolis has writ­ten us a letter saying that. she wants~o see fictionized photoplays in everyIssue.

WE. are sure that Miss M. M. willjoin us in a preference for hot fromthe studios stories after reading thisand following issues. Because Holly­wood is alive with fascinating stories,most of which are waiting to be told.They are the actual life stories thatare ground out by the wheels of thegreat movie industry. They grind out


Some of the thines that willmake you Clad when you buy

SCREENJ...AND for JanuaryOut December First

"1 a·'" afraid 1 a'" not going ttl II'"....\·sclf rcal pO/,ular," said Pcnrh.\·" Stal/­late's, the famous artist, 'directar a"d flatcdconnoisseu,. of fe",i"iflc beaut)', fI1lrt>R he:crfJtc- .


What's wrong with Gloria Swanson'sfigure? Mary Pickford's head? BettyBlythe's hips? Bebe Daniels' lips? PolaNegri's face? Nazimova's eyes? AgnesAyres' feet? Marion Davies' brow, andViola Dana's lips? In the most rutltlcss anddaring beauty survey ever printed, Mr.Stanlaws mcrcilcssly exposes the flaws ofall the· great stars in his sensational illus­trated article in

SCREENLAND for JanuaryOut Dccember First

You can't afford to miss thisl

MEN WHO ARE EASY TO LOVEThe secret of male attractiveness is ex­

plained by Eunice Marshall in a scrutiniz­ing survey of screen idols-Valentino,Wallace Reid, Richar~ Dix, Conrad Nageland others.


Is it ow;t or grit or pluck or lflck that hasput the hig screen authors where they aretoday? You will find the answer in theirpasts, entertainingly revealed hy PatrickTarsney.

THE CITY OF BEAUTIFUL GIRLSDrugged into indifference hy a surfeit of

beauty, men have come to admire homelywomen! This new, startling story aboutHollywood by Alma Whitaker will thrillyou.Afld .. uqre af othcr compelling fCall/rel .i/oic"will gi"e yo.. facts abol/t H all.\'Wood fl,at )'0" hr.'c''''''cr read before.

comedy, tragedy, life dramas evenmore enthralling than the tales theyproject. on the silver sheet. The storyof Hollywood is the modern tale' of athousand and one nights-ribbons of

raw human emotion, mystery,the conflict of passions, themight of men; the lure of women.

ON the wheels of the movie in-. dustry there are many cogs, Toproperly function, they mustmesh with other cogs. This de­mands organization. Organiza­tion is now permeating everysphere of movie enterprise. Eventhe projectionist in your theatreis a member of an associationwhich is placing his technique ona higher standard.

ORGANIZATION will bringstability and confidence, and con-

. fidence will inspire individual ef­fort-better movies. The movieshave been like the three directorswho own a very fine still. When

they leave it at night, they lock thedoor securely with three padlocks,Each partner carries ,a key, so theplace cannot. be disturbed again untilall three of them are present, Theyare not well organized. .

WE notice the new slogan ofthe national organization of photo­engravers-"Your story in picturesleaves nothing unsaid." Everyone hasobserved that a good picture is ofteninore comprehensive than pages ofwords. So the thought led to an.eight-page section of movies pictures-nothing but pictures, and we namedit Caught in the Act! You will find itmaking its initial bow this month, onpage 51. That's how that happened,

NEARLY everybody is'interested inmarriage-their own or someone'selse. One of the keenest-yes, anddaring--observations we have everread on the subject was contributedthis month in an article from AlmaWhitaker, who wrote Marriage in theMovies for SCREENLAND for' Novem­ber. In some way, Miss Whitaker lefta lot of worth-while ideas out of thefirst article, so she decided to write asequel. The sequel, 'by a happy fate', isis better. than its sponsor. . So, 4reUn~ppy. Marriages the Secret ofGe"JlCs? IS on page 24, and you'll missa treat is you don't read it,

Is Your Life StoryWorth $500 or $20001

Day Laborer to'Movie Magnate

(Continued from page, 47)was president of the Interstate Ora­torical Association, is one of theseveral producers whose e.'tperiencewith banks has been not only fromthe outside but from the inside. Heworked in a Chicago bank beforehe organized a film service com­pany, from which he progressedto the presidency of the AmericanFilm Company.

Paul Brunet, president of Pathe,is another banker, and for morethan twenty years was active infinancial circles in Paris, where, he'was born. Frank Godsol, who ~as

large interests in the Goldwyn.organization, has also had extensivefinancial experience in ihis countryand in France. Samuel Goldwyn,whose real name is Goldfish, startedin the glove business when he waSthirteen years old.

Lewis J. Selznick was in .thejewelry ,bu~!ness in Pittsburg be­fore he went to New York and gotinto the pictures in an organizationin which Carl Laemmle and PatPowers were then the leadingfigures.

JOSEPH M. SCHENCK, whoproduces the pictures in which hiswife, Norma Talmadge, stars, andwho is also responsible for the ap­pearance on the screen of Con­stance Talmadge and Buster Kea­ton, is one of the Schenck Broth­~rs whose vast amusem*nt parkfills a large part of New Jerseyacross the Hudson River from OneHundred and Twenty-fifth street,New York. On that river theSchenck Brothers are almost aswell known as are the Smith Broth­'ers, who at Poughkeepsie make theco gh drops.

Mack Sennett came to picturesfrom the stage and is one of themany well-known figures in the pic­ture' busiriess who began' their pro­fessional screen ,careers with theold Biograph company. He has

'heel! in UoS Angeles since '1912,when' he came here with the com­pany which he and Charles Kesseland Charles Bauman had organizedand which they called the Keystone.

Hal E. Roach, who p-rodu~es the .Harold' Lloyd and the Snub PoL­lard pictures, also was an actor andbegan his screen career as an extrawith Universal. His star, Harold

at the same time.(Contin~ed on page 68)

M OTION picture producers payas high as $2000, and rarely

offer less than $500, for acceptable;creen stories. And yet their demandsfor stories can not be supplied.

In the last few months newspapersand film companies have offeredmore than $.')0,000 in scenario con­test pritts, all to secure new storie!;and encourage new screen writers.

And your life probably holds manyincidents which would form the basisror stories worth telling-and selling.

These People DidA CALJFOR~IA 8<'hool teacher;' a Chicago

L'- _Iety matron; n PennSY"'anla ncws­papcr reporter; an underpaid omce man InUtah; a prisoner In the Arizona StatcPenitentiary are a few of the many whohave sold their stories at handsome prices.become studio stair writers or won big sumsIn' scenario conteatL

They studied screen writing to get awayfrom routine work. Not one was a recog­nized aqthor. Not one was a master ofliterary skill. All were discovered by aphotoplay corporation whleh searched fornndeveloped screen writing talent through anovel questionnaire test. You have the sameoppOrtunity, that they had. and grasped.

The Palmer QueatioDDaireNo Coat-No Obligatio.

H H. V AN LOAN. the well-known scen-• arlat. Is responsible for the In"enUon

of the novel questionnaire which has and Isuncovertng hIdden photodramatlBta In allwalks of lite. '• With Malcolm McLean. formerly Instruc­tor In Short-story writing at ~orthweatemUniversity he hit upon the Idea of adapt­Ing t ....s which were .....d In the Unitedstat('S ArmY. and applyln« them to tba­search for story-telling ability.

Phenomenal result. ha"e been obtained.The, ,lIrst prtze of $1',000 and eight. othersIn the Chicago Dally News contt's" and allthree prlzea. amounting to 15.000. In theJ. Parker Read, Jr.. competition. wt'reawarded to new writers trained by thePalmer Photoplay Corporation. which Is

,. conducting tha- March by means of thePalmer Questlon,nalre.

Tht-sc facta have been conclus,vely proved(1) many people who do not at all suspeettheir ability can write Ret-narl"", and II)this free Questionnaire does prove to themiln or woman wh.. sends for It whetherhe or she has ability enough to wnrrant

,Copyright, 19~2, Pnlmer Photonlay• . Cc!rwratlo!' Hollywood. Calif.

Highly useful. thla selt-ezamlnatlon a­Intensely inte.....llng as welL Yon apply ItIn your own home. We hold your recordabsolutely eonCldential. tell you franklywhat your teat shows. and gh'e r.,.....,nafor our opinion. '

We Offer$1,000 and Royalties

THB Palmcr Photoplay Corporation nowproduces photoplaya as well as Instructs,

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So. for the Clnt lime photoplaywrlghtawill share In the suece.. of the screenstories of their own creation.

In addition. one hundred sixty companiesIn Los Angeles alone are searehlng for bet­t"r screen stories for ..hlch tlley will paygenerously. We act as the grt-ateet aa·lesoullet for screen atorles of all kinds,

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MY TRIP ABR·OAD(COIII.wd fro. ,age 60)

and Mr. Hepworth a glimpse of what the~, and we~ Max's new book ~r as he talks with. her mamma, hisAmerican is like. We anaDge to meet on humor. There is a cootroveGY wife. ~er prisoner ~ding twothat night at Sam GoldWyn's for whether to call it "Sense:of HUmor" wi,thered hands of an old 'ady. MothcI"dinner. _or "Psycllo'" of Humor." We taI1c w.s wri~en. allover 'her, th~

, about my trip. Oaude McKay asks ~ther said a word. I felt brutal atGOOD-BYS here are rather joyous, if I met Shaw. "Too bad:' he sal?; witnessing their emotion. .because we are aU getting off in the "you would like him -and he would All of thelia old. Children, widows, .same land and there will be an ~r- have enjoyed you." plOthers-yoUth crossed ~t of facestwlity to see each other again. I # by' lines of suffering and life's pm~

My little friend comes 'to me excit-, AM interested in Oaude. "Howdo' a1tics. Tragedy and' sadness, andedty and gives me a ~t, a silver you write your poetry?" "ean you always i~ is in the faces of the women.stamp box. "I hope th3t when you make yourself write?" "Do you pre": that the suffering is more plainly writ­write your first letter you will take a pare'?" I try to discuss his race. ten. The men suffer in body-thes~p from here and mail it to~. "What is their futUre ?" "You women in soul.Good-by." , they __or He shrugs his shoulde£.S. .n,e men loOk resigned. Their spPit

She shakes hands." We are real I TeaIize he is a poet an aristocrat. is gone. What is it that happens be-lovers aDd must be careful. She telk, I dine the next evening _ith W~do hind these gray walls that kills some not to Qverwork. "Don't fOrgd Frank and Marguerite Naum&rg aDd come and see us; you must meet We discuss her new system. She bas T ,',dadd Good by rL-rl- " a school that develnnc, dUldren ~I--- HE devotion of the prisoners isy. -, 'VI14ll Ie. -r.- 0UUUfS

She curtsi~ and is gone. I go to the lines of personality. It is a study almost childish in its e,agemess as theymy cabin to 'wait until we can land. in individuality. She is struggIiDg sit with their children, talking ~There is a tiny knode. She c3mes in. , alone, but is getting wonderful results. their wives; 'here and there a lover

..Otarlie, I couldti't kiss you out We talk far into the' morning on with his ~eetheart-allof them havetherein front of all thoIse people. everything, including the fourtli 'di- written a compelling story in the book~_by, dear. Take care of your- mension. of life. But love is in this room, lovexlf." ,This is real love. She kisses Next day Frank Hams calls and unashamed. Why are sinners alwaysmy cheek and then runs out on deck. w~ decide to take a trip to Sing Sing ,loved? Why do sinners make such

,Esthope Martin is with ~ that night '~er. Frank is very sad and wist-: wonderful lovers? Perhaps it is com:at Goldwyt)'s party. He plays one of ' ful. He is anxioUs to get away fr'om ~tion, as they, c311 it. ·Lnve is

,his ,Own compositions and holds us New York 'and devote time to his ~ by every eye here.speUbound. He is very graleful for ,autobiography before it is too late.- He . Otildren' are playing around theour sincere applause and quite retir- has so much to say that he wants to floor. Their laughter is like a beOe­ing and unassuming, though he' is the write it while it is keen. . diction. This' has another improve­hit of the eveni~. I trj to teD him that consciousness ment, this room. There are no lOnger

, of age is a sign of keenness. That bars to separate ,loved ones. H~FOLLOWING, the dumer, I~ age doesn't bother the mind. nature improves, but the tragedy re-

Wed~ George 'Meredith and a mains just as cb'amatic.the Endish movie folk on a .sight- wonderful book he had written. And The cells where they sleep are old­seei~ t,-ip, enjoying their amazement then. in his oid.age Meredith had re- fashioned, built by a monster orat the wonders of aNew York night. wntten it. He said it was so much maniac. No architect could do such"What do you think of it?" I asked .better rewritt~, but Ile had taken a thing for human beings. .~ ~re

,them. from it'all the red blood. It was 61d,' built Of hate, i-ran,ce :a,n.d stun;dity."Thrilling," says H......worth. "1--- -m~ r'

-r withered like himself. You can't See I ~derstand they U! building a newlike .it. There is somethig eleCtrical things as they were. Meredith· h:ad, priSon, more sane, With far more un­in the air. It is a driving force. You become old. Harris says he d~1 derstanding of human needs. Untilmust do things." \\ ant the same experience. then these poqr wretches 'must endure

We go to ~ cafe, where the e1i~ of A" 'these awful cells. I'd gO mad there~New. York are gathered, and, dance LL this on ~ way to Sing Sing. I .'until midnight. 'I bid 'them good-by, Frank is a wonderful convetsation- NOTICE quite a bit of freedom. Ahoping to meet th~ later when they Like his f~d, Oscar Wilde, number, of prisoners are strollingcome to Los Angeles. . That, sallie ~arm and brilliancy fof aroWid the~, while oth'ers are

'I dine at Max Eastman's the next wit, ever ready for argument. WJ,1at .at wdrk. The honor system is a 'greatnight and meet McKay,' 'the negro , a fund of linowl~he has. what a thing; gives a man a chance to holdpoet. He is quite handsome, a fuU- biography his should be. If it is just self-respect. _blooded Jamaican negro, not more half as good as Wilde's it will be They have heard that I am coming.than 25 years of age. I can readily sufficient. And most of them seem to know me.see why he has been termed an Afri- Sing Sing. The biR gray stone I aD) ,embainssed. What can I say?can prince. He has just 'that ..wmer. buildings seem to IDe mce an outcry How can I approach them? I wave

I have read a number of 'his poems. against civilization. This hUge gray my hand merely, "Hello, folks." ,He is a true aristocrat, with the sen- monster with its thousands of starjng I decide to discard conversation. Besitiveness of a poet and the humor of eyes. We are in the visiting room. myself. Be ~ic. Cut-up. I twista phil~pher, and quite shy., In fact, YOUIlJt men in gray shirts. Thank God, my cane and juggle my hat. I kick uphe is rather supersensitive,·but with a the hideous humanity. It is not so my.leg in back. I am on comic-ground.dignity and manner that seem to hold stark.. ,That's the thin§. ,him aloof. '.There is a mite of a baby holding No sentiment, no slopping over, no

There are many other, friends her daddy's hand and playing with his morals-. (Co..ti..ued 0.. page 66)


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BUT the prison marked him. Thebuoyancy and spirit that must havegone with those Irish eyes is nomore. Those same eyes are nowwistful, where they once were gay.

He hasn't been forgotten. Ourvisit has helped. There may be abit of hope left to him.

We ~o to the solitary confine­ment cell. where troublemakers arekept. "This young man tried toescape, got out on the roof. Wewent after him," says the warden.

"Yes, it was quite a movie stunt,"

(Coftti,ttced 0" page 6;)

man with a pipe in his mottth,walking briskly, and at his side awarden. The keeper announcesshortly: "The next for th.e chair."

How awful! Looking straightin front of him and coming towardus, I saw his face. Tragic an.d ap­palling. I will see it for a longtime.

We visit the industries. Thereis something ironical about theirlocation with. the mountains for abackground, but the effect is good;they can get a sense of freedom.A good system here, with the war­dens tolerant. They seem to un­derstand. I whisper to one.

"Is Jim Larkin here?" He is inthe boot department and we go tosee him for'a moment. There is arule against it, but on this occasionthe rule is waived.

Larkin struts up. Large, aboutsix feet two inches, a fine strappingIrishman. Introduced, he talkstimidly.

He can't stay; musn't leave hiswork. Is happy. Only worriedabout his wife and children in Ire­land. Anxious about them, other­wise fit.

There are four more years forhim. He seems deserted even byhis party, though there is an effortbeing made to have his sentencerepealed. After all, he is no ordi­nary criminal. Just a political one.

He asks about my reception inEngland. "Glad to meet you, but Imust get back."

. Frank tells him he will help to~et his· release. He smiles, gripsFrank's hand hard, "Thanks."Harris tells me he is a culturedinan and a fine writer.


WE 'must be sensible. I am .not ahero worshiper of criminals andbad men. Society must be pro­tected. Weare greater in numberthan the criminals and have theupper hand. We must keep it. Butwe can at least treat them intelli­gently, for after all crime is theoutcome of society.

The doctor tells me that but afew of them are criminals fromheredity; that the majority hadbeen forced into crime by circum­stances or had committed it in pas­sion. I notice a lot of evil-lookingmen, but also some splendid ones.I earnestly believe that society canprotect itsel f intelligently, hu­manely. I would abolish prisons.Call them hospitals and treat theprisoners as patients.

It is a problem that I make nopretense' of solving.

The death house. It is hideous.A plain, bare room, rather largeand ~ith a white door, not green,as I have been told. The chair­a plain wooden armchair and asingle wire coming down ovec it.This is an instrument to snuff outlife. It is too simple. It is noteven dramatic. Just cold bloodedand matter .of fact.

Some one is telling me how theywatch the prisoner after he isstrapped in the chair. Good God,how can they calmly plan with suchexactness? And they have killedas many as seven in one day. Imust get out.

Two men were walking up an~down in a bare yard, one a short

they are fed up With that. Whatis there in common between US?Our viewpoints are entirely differ­ent. They're in-I'm out.

They show me a cup presentedby Sir Thomas L;pton inscribed:"We have all made mistakes."

"How 'do we know but whatsome of you haven't?" I ask hu­morously. It makes a hit. Theywant me to talk... "Brother criminals and fellowsinners: Christ said, 'Let him whois without sin cast the first stone,though I have compromised andthrown many a pie. But I cannotcast the first ston¢." Some got it.Others never will.

..Y-ehlE-.,.VItaI a.­........:.-:...-:..::Cr:t:.*..-...H_W...._......._-::rt:·D



::~_...._WIM.. Floil Flit..-....0_.._1...........­•. T...... U-...............­........­•. It...._..D_

Aae , ••••000000000.",.· , , ,;

~Iftet a~ ..

-----------------------.... _.YA__-__

.It. LIONEL STItOllllFOItT. 111ft. tlIO II..... II, ".""- ...... _ r_ -. 'TaOMOTION Al\'D CONU't­

V.\TIOS 0'" REALm. IITIlEll1GT1I Al\'D IIZNTAL IN·.:ltGy." r.. __ kit I __ ••Ie C__I."'4....1 .. IPIldaI ..., aft Mlbjf(ota (X) bIIow•.-It.... olllIpJloa.'.:c.Jfl..~..........Nu"......._ty..HNII_.. It.ot..... t. .......­..............TH.II.E.... 'We-··~I..._ala...--..F.aIo0...--...

You can't conceal your phrs,Icat defeeta and aUmenta. ~ 011have lost Ihe pep aDd power 0 1

rnl manh-S-you have over·mwn )'our balance iD the Bankof'lile-your vim. visor and ~.jty are· slowly bat ......,.,. ebb".caway. Yoar wife. )'oar frieadaand acquaintances see )'oUr weak·DeSS ill yoar altered f.ce aDd fie'are. )'oar farrift look.. )'ouralouehy step. your lack 01. eHIlI7aDd ambitioa. They' haft Y­IMBed a, a man 011 the down·erad~,inc. sliding awa)' froman that', worth. while iD life.What are you going to doabout ItT

SHy...." ........ y..Don't fool· )'ourself aD)' Ioacer

with t.... false id.... that' ,..'11 be:aU r~ht =".-ain ··art~r awhile..··You won't !t"t better-)'ou'D "etworse, il )'oD let )'oundf drift..I.oak at roar real 'imace iD tbemirror. Take atoc:Ic 01. )'_If andof the facta.· Realize. .. otbersdo. I,ow I.r below par you haftbnno. ("omrare wh.t you AR~

,,·jtb what Y"" WERE,,~ makeup )'oar miod to mend be·fore it is too bte. NothiD. aDd DO...e can do il but PiUs,

IITlt01l8FOIIT powders. an the d~t'. d_ inT1lo ......oct ••• lhe j>h.,rmocopia. C1n't make you a

\1.\:1: :Il:oill. 'T'~ tTP TO YOU. V..... ""d you alone.,';11' d". il. il l· "'IJ.L ·.au il. BRAC.F. UP and

R Your Pep _d Power~,~~.,r:..~...~' Olo~·~~~'4t~ ..........UllN ••,41 "'11)' ..elwr n.. ('Ilt Ilb • eanIiDfrtUlu the Wt)' 1t1.1I crt 11k hOMan ClI'PhL_: dfldl 'be III'alA.....n louoIJ: IdU h"da''''', ........,,1 __....kll. :II ,,"III '" to or do anJ1bhte ...ria wblle: tal·I,.. aU 1'1 and joy and~ OU\ fit lite.'_"'1 I 01_ '0 1__ ~: """" ~ __ ...~......I __Ir In I'" "'- ., t". rnl'. ......,..-.,.t"et 'A _ ••ntl IH -.e Ihow ,.. ._ 1ft, fIlU't' • .,.•~ ,ttl AI ttMw: 11.,. ..., 'M' h..- ahk'd tbcIaRaDck·of nnlft" Ik. .nh.... .u.'IIW'aE'''' ..... .nd "t !douab0« u.. '"""""'..... .U....... .... ltNll"._mrtnK h.'~" "".tlant' h.... like ..1"""~'1I. rGlmd Ulf'lr I1t'eb.

ResistWeakness and Ill·Health !.


My Trip Abroad Within You Is the Power

HichlaDd Falls, N. Y.

GET A CLOSE UP VIEW01 , roach H_ A.naI,-.Ia. VItal80IeeeN Pol. aIIC1 To.... PenDnalJty SIteteIoedf ... "lee. Oh'e BIrtJa-. - ~

. Dept. 511" CIlnntde Bl4. Baa~ Cal.


s. E., Book HiD,

Service For Writers:-every week, while it is stilt news, before the mar:kets arc flooded._a of new magazl_ and their editorial nqulrementa.~ of play, dory, poetry, and other prize competJ~-newa of cbaJlges In editorial requlrementa, pollclea, etc._Del stimulating arttcles _ fiction technique, valuable articles OR ~pyl'ight and

.author's· eommon-Iaw rl.;hts, etc., arOdes by authora on the genesIB. CODOOPtion.development, writing, and ~enlng of short stories publfBbed In current issues of TheSatunbu- Evening Post. Scribner'lI. Pictorial Review, Everybody's, The Red Book.and otber magaslnes.

_ real Rl'Vlce for autho.... EvCf'Y~ $3.60 a year; $.15 a copy,


So E., Book Hill,

..... for picbIre plap...... 1ty m

-.r~..... r.r-.-;. .......Bal.....t Idea. ID a_ form at onee for 0....

I...,., examhoatlon and advlee. Previous ex-l"'rlenec nJlllCOeDalY. .

ThIs III Dot a acbool..We have DO course.plan, book, system or other inatl'aetlon mM­ter to eell you. A IIlrteu,. bona Me lOUViecfor th...., wbo would turn their~_ 1ntA>iloUa.... An Inter.-atlnl: Booklet.

--nor ..........!>' ...............Sent f....., for the aaklul:

BRISTOL PHOTOPlAY STUDIOSSollIe en-I.. ........ --.. ... w.... N. Y.

-or the knack, or the akill, or the talent, or the genius-that willenable you to write stories. Not in text-boob on fiction techniquenor in correspondence courses in writing-but within you lies thepower.. ,,-

The Editor Council recognizes this. Its course is au actual writing course.You are not given facts ·about the short story to memorize, or half-truths, orpreposterous statements about plot and action, or futile exercises-you aregiven personal instruction that teaches you how to use your own power,how to develop your own technique, how to write your. own stories.

The Editor Council shows you how to get ideas-your idea~ow to de­velop .them. andl how to ·write stories. It win help you to work them over,to make the best of your ideas, and it wiD familiarize you with the marketsfor your work. The course is an actual writing course. :The coustruetiveservice-the criticisms, lesson-letters, and individual teaching 'of a personalinstructor who is ·a competent, successful. critie-autbor-hclp you to use theCouncil properly. . . .

Every atadeDt who perseveres with ~ Council learns to write and ~his stories.

There never waa a better time to make up your mind dellnltely to succeed as .:writer of llction. The markets are openinc and edJtors are deeply brterested in thework of new authonL There fa a cJeclded lDOYement, growing continoally, a_y fromthe story·or concocted Plot interest to the story of character reaction. The Council.foresaw this trend. and its methocla and Rrrice are belplng studeDts to write the .DeW fiction. .

The Editor Council oael'll a Kajor Course, an Abridged Course, and a Short Coursein Fiction Writing, aDd a Short Course in Photoplay Writing. the fees for wblch are

. PtG, ,$50, $Z5 and $15~vely.

A folder of Information .-rn be £ent to you on request.

(CofttiJllUd f,.om page 66)

AND as the train rushes me backI am living again this vacation ofmine. Its every moment now seemsworiderful The petty annoyanceswere but seasoning. I nen beginto ~. reporters. They are reriJar

. fellows intent OIl their job.

And going over .it alt. it has beenso worth while and the job aeadof me looks worth while. If I canbring smiles to .the tired -eyes inKensington and Whitedtapd, if Ihave absorbed and understood thevirtues and problems of those sim­pler people I have .met~d if I havegathered the least bit of inspiration

(CoJl'Uawa 011 page 14)

NEXT day everything is bus~,

getting ready for the trip back toLos Angeles. I sneak out in theexcitement and go to a matinee to

see Marie Dora 1n "Lilies of theField," and that n~t to "TheHero," a splendid play. A ·youngactor, Robert Ames, I believe, givesthe finest performance I have everseen in America.

We are on the way. I am rush­ing back with the swiftness of theTwentieth Century Limited. Thereis a wire from my studio manager."When win I be bac1c for work?"I 'wire him that I am rnshing and~xions to get there. There is abrief .stop in Chicago and then weare on again. . •

~_j...:iiiWL---llae--youngster. He is embar­rassed. We try to relieve it.

I<'Vhatever he's done, he's damhandsome," I tell the warden. Ithelps. "Better luck next time," IteU him. He laughs. "Thanks,pleased to meet you, Charlie....

He is just 19, handsome andhealthy. .'What a pity. The great­est tragedy of aU. He is a forger

'" here with murderers.

We leave and I look back at the·prison just once. Why are prisonsand graveyards built in such beauti­ful places?


tures that he might utilize for mov­ing pictures the submarine appara­tus invented by his father. He andhis brother, George, and theirfather have made it possible to

.:shoot undersea stuff almost as easi­ly as stuff can be shot on dry land.

•THE name of Amedee J , VanBeuren ··was very well known inthe East before the beat:e( of thename became a moving pict~pro­

ducer by engaging the late SyDrew. and Mrs. Drew. The VanBeurens own miles and miles ofbillboards and upon every one ofthem appears the name Van Beu­ren. L. Lawrence Weber is aproducer who spent a great deal ofmoney in billboard advertising. Hespent it when he was a theatricalmanager in New York. Burlesquewas his first field and when he pro­duced pictures starring Mme. Pe­trova his partner was Bobby North,who had been a comedian in bur­lesque and musical comedy. An­other moving picture executive whohas had theatrical experience isRobert Priest, who introduced theCaptain Scott Antarctic films to thiscountry. He' once .managed thedancers Pavlowa and Mordkin, andat one time was connected with theWinter Garden in New York. Be­iore he went into theatricals he wasin the dry goods business.

Jacques Bergh, who producespictures for children, is believed tobe the only Doctor of Philosophywho ever managed an opera com­pany. He was educated at Munich.Warren Doane was educated at theLong Beach Business College andtaught school before going intopictures.

Max Linder, the French come­dian, who has produced his ownpictures, attended the BordeauxConservatory, where he won oneprize for tragedy and then turnedaround and won another for com­edy. In 1903 he left the stage toappear in the first screen comedyevt:r filmed. It was called The Out­ing of a Schoolboy. When the greatwar came along Linder,.. who wasfree from further IQilitary service,volunteered just the same andserved a year in the trenches andwould have served longer had henot been gassed. He produced com­edies for Pathe at about the sametime that Jesse D. Hampton beganto produce screen dramas, whichalso were released through Pathe.

( Continued on page iO)

Day Laborer to" Movie Magnate(Continued from page 63)

ROACH is from Chicago, as isC910nel William N. Se!jg! who hasbeen in pictures since 1896 and whoproduced not only the first big se­rial, The Adventures of Kathlyn.but the first feature picture, TheSpoilers, whicli still is a moneymaker. Also he has financed sev­eral scientific expeditions to distantlands and has invented more thanforty appliances used in moving pic­ture photography. He owns theSelig studio and zoo, which coversthirty-five acres of Los Angeles'real estate~ He loves animals andwas the first producer to put theminto pictures. Also he was the firstto use cowboys. He makes travelpictures, as does C. L. Chester, andChester, who once was a photog­rapher, has himself accompaniedmany of the expeditions he has sentin quest of wild subjects.

Sam Rork, who organized theKatherine MacDonald company,had seen beautiful women before~e saw· his star; for years ago hewas manager of the original Flora­dora company, whose famous 5e.'t­

tette may have' been equaled sincebut has not been surpassed. Forei~hteen Years Rork was asso"ciatedwith the late A. M. Palmer, whosecompanies, while they might nothave contained so much beauty asdid Floradora, were a lit.tle strongeron intellectual acting.

CLARENCE J. HARRIS, presi-'dent of the All-Story Films Cor­poration, is an ordained clergyman.He left the pulpit that he mightwrite scenarios for Fox and Gau-

. mont, and quit 'Yritiilg scenariosthat he might produce for himself.

Arthur S. Kane, although trainedas a writer, did not" write after heentered pictures. He is the headof the cC?rporation that pr04uces

..Charles Ray's pictures, and it washe who organized both Realart andthe Associated Exhibitors, who arenot exhibitors at all, but producers.He is a college man, who, once' up­on ·a time, was city editor of theTopeka Capital. .Whitman Bennett~as once a dramatic editor in NewYork. In that capacity he wrotewhat he thought of the stage workof Lionel Barrymore, who has sincebecome his star. He liked him thenand he likes him now.

J. Ernest Williamson, of under­sea photography fame, was once inthe newspaper business. He was acartoonist, but quit drawing pic-

VU can now'-wearand own areally' fine strando~enujneFrench


.."~re"Ia: =t:rl:r..:r :F_~whleb Hila In our 0 .... retail __ for":''C =--=..~ .....hIeTboaoando of women ban of..... wlobod

tbe7 eouId' doid beautltal _10 likethese .nd heno Ia JOur _rtunit~et="f..=.c\'lJ:.Y~~nt ~

cilia _ are wum by tbe I..dusnf sodety .Dd f.m01lfl tereen stan.They are mre to proYe a ebarmiDCadomment to thole lfekfnc atmear- -

.nn co~ble to Sew T....t·. ao-ealled "Four H1uI-

~~ .:,.; ::"edol=~u;g.;r:nd",:: .::'aJIn a beau"'nl ulnt box. TheM! nre PrIacIIIa Pearlo....n on I)' be bnuel.t 'rom 1I!L Order a atnnd of.h_ lfOlllllne French PrIori"" Pearlo from US 1fldaJ.Tfln win be • aenutlon &mon. JOur aequaintanres. •


..... dollor WJI~- ... ~""iiii-.""iI..siili".-'~=_.. _...:="", ......s::;:.--._-=:'~L::.::.rr::-.:.n:."':: ...............- ..-' .=::-e-........~..~::.:= • :::;-.H. w·. BROUT COMPANY &.-S-=~

lID .......... _ 'flit III :;::"'- .~DtabUsbed ItOI -:="::~..-....

Tluse C".t>/d..TU"lboou ar.. th.. rUlllt of tit..

"'ost car..fNI wori of Carl Grejlor;y Dr.T. (YCo"or Sloan... P..tu Milne H ..leA· a"dl"e: KINmt>lo. a"d Willia", Lord Wrillht. WITHTHE.•COOPEIlATIOM OF William DeMiII... CecilDe.~.I1... R ..r r"f1I'am. D. W. 6rif/illo. FraNiBor:4/1e. TIo"",as f"e<". Ernut LHbitsclo AJ<D THBADnc£ AJ<D AMI_TAMCB or Lillie" a"d Doroth..,Gish. C.o'!u" Moore. Mabd Balli". Mae MNr.ra:>,. S. Hart. Rlltlt Rolland. also ArcllRut!u of Fa",olls Pla.yus Co",t>atly.

FORTUNESI·H-. YOU T.l.,..? /I you 6eli__. FIND OUT NOWI N•• , __ ...- ""...;-,.. .oer,. )'ear - __

aCf_. ",." a~. n.. --noU1riten. tlirector.. be.tI.. ,lie petit........ 0' """ovapla.n anti pro­iecton.

KNOW YOUR OPPORTUNITYr,,_. TexJ:books will enable you to determinewbether tbere Is an oDportunlt~"for YOU InMotion P1etunos-for just what part of thework you are best adapted. and bow to getIn touch with YOUr best opportunity.

Used as Supplementary Te"ts InHew York Institute of Pbotograpby.

141 W. 36th St., Hew·York. SEND YOUR ORDER TODAY

;;>RoroPLAT WBfD!IIG ••••• P~REEN ACTING •• .'. • • • • l:S.OTIOK PlC'I'1JJlE niaECTlHG • • • aMOTIOH PICTURE PRQfECTIOH • • $5~OTIt!H Plcrtr1lE PHOTOGRAPHY ..._asll ""t1o. Ordu-:-:-or s".t C. O. D. if t>rrlur..d.GUARAHTEED-'--If not satisfactory return~~:.s::. tI..e days aud your money will

FALIC PUBUSHING CO.. IDC.Dept. in. lea w.... St•• Hew Vedl

The lines, proportions and coloringof most of the lamps you see in thesedays of commercialism are the workof designing departments of largefactories. They are the fruits ofa deep knowledge of whatmakes a "popular seller." But80me people, the DecoratiyeArb League committee feltsure, would like a lamp,designed purely with aneye to good taste, alamp of artistic pro­portions and har­monious. tones, aI amp embodyingg r ace, symmetryand beauty ratherthan the long ex­perience 0 f the"salesman-designer" of what seems most indemand in retail stores. Hence this exquisitelittle lamp you see pictured, "Aurora" as it,has been named by an artist, because of thepurity of its Greek lines and tones.

A Labor of LoveFor the delicate work of designing a lamp

that should be a real work of art inlttead of amere unit in .a factory's production, and yetshould be a practical and useful artele of home- .furnishing, the League enlisted the enthusi­astic co-operation of a group of talented art­ists~ne .a famous architect skilled in thepractical requirements of interior deCorating,oDe ~ painter and genius in eolor-effeets, andone a brilliant sculptress. a student of the'great Rodin in Paris.

They caught the spirit of the League's ideaand the d~igning of a lamp that would raisethe artistic standards of home-lighting be­came to them a true labor of love.Model after model was made,studied and abandoned, until atlast a design emerged with whichnot, one of the three could finda· fault.

ever you place it "Aurora" will addtaste and refinement besides fur­

nishing, with its tiltable shade,a thoroughly practical and mel­

low light wherever required.In the exclusive Fifth

Avenue type of shops, wherelamps that are also works

of art are shown,' theequal of this fascinat­

ing little "Aurora," iffound would C08t youfrom $15 to $26­perhaps more. Yet

the price of this 1lamp is but

$3.50 .Think of It! 1

Only .the Decorative Arts League couldbring out such a lamp at such a price.. Andonly as a means of widening its circle of use- 1fulness conld even the League make such anoffer. But with"each purchase of this beauti-ful little lamp goes a "Corresponding Member-ship" in the League. This coats you nothing Iand entails no obligations of any kind. It sim-ply means that your name is registered on the ILeague's books as one interested in things ofreal beauty and art for home decoration, 80that as artists who work with' the League Icreate new ideas they can be offered to you

direct withOU=~:ce~=ers.. IINo matter how many other lamps you have in

your house, you will always find a place just suit­ed for ~is dainty, charming litt1'e ~A1II'9ra" 16inches high, shade 10,," inches in diameter; base

. and cap east in solid Medallium, shaft 1of seamless brass, choice of twocolor schemes-rich s tat u a I' ybrom.e ,with brass-bound parch-ment shade of, a neutral browntone. or ivory white with golden Iyellow shade. Inside of shades is

tinted old rose to give a mellow light."AURORA" Shade holder permits adjustment to ~y angle';

Every Detail Perfect $150 push~utton socket, six feet of lamp cora, and 12-pieee attachment plug.

One style of ornamentation after another was You wilt rarely, if ever. get such a ....lue again.tried out, only to yield in the end to the perfect Send no money-unply sign an~.mail the coupon,simplicity of the classic Greek lines. Even such then pay the postman $3.50 plus' the amount ofa small detail as the exact contour of the base was parcel-post stamps on the package. Shipping weight Iworked over and over again until it should blend only 5 lbs., so postage even' to furthest point isin one continuous "stream" with the lines of the insignificant. If )'ou should not find the lamp allI d h ft Th we say of it, or aH you expeeted of it, send it back

Ben er sa. e graceful curves of the shaft 'in five' days and your money will be refunded in 1itself, simple as they seem in the finished model, fulL Clip the Coupon now, and mall to 'were the results of dozens of trials. The shape, De • A t- 175 ruth A R Y" R Tthe exact size. and the soft coloring of the shade . coratiye rts ..e. -.e; .. .... .. .

were the product of many experiments. Decoratiye Arts L-gae. 175 A_. IInr T..It. R.T. 1The result is a masterpiece of Greek simplicity Yo. _y ... _. at tIoo lIl_lIor'_ opooIal pdoo. _ ·'A..........

and balance. Not a thing could be added or taken Lamp. aa4 I will~ tho _tmaa Pole PIa- tho~ wit.. '4..

.away without marring the general effect--not the :i'~~=uo~.:T-r-''''':-ba~..'D.w1 .... 4a7s ,

, ~ixty-fourth 'of an inch difference in any mould- ~=ae:b ~~~ ~-=,1Ior~:''':: 1mg or curve but would be harmful. And yet wl'th 1Il_1oenIdp b to - IIlO aotld.. "'tiler ... - later. aa4 b to..tan .. o1rliptiea· of aay 1dB4. If oimp\T nPoton. 1IUl· as _all the attention to artistic effect the practical ~t04 ba Il-.riac of realq utiatic ... t1lbIp r. 1IoiD. 4_· .'knowledge of an experienced interior decorator

, =:U~e~~:t..::::~ i:f ~~~:m~~"i~n6ie:J:hw~~ :::~~.~.:~ ..::=.=~.~~"~~~~ :... '.1any style of furnishing, it 'adapts itself to boudoir Addr_ ..

or foyer-hall, to library or living room. And wher- CitF •• , , State ..








in !Jesigning This Exquisite Lamp



A subtle and dangerous malady which is UDdenaiDiDg thevitality of the Americaa Natioa




(Co"ti"'Ned /,om page 68)

Hampton and his brother, Benja­min B. Hampton, are alumni ofKnox College and .both of· themwere in the newspaper and maga­zine businesses before going intopictur4$. Ben Hampton"s great4$tmagazine success was with theB,oooway Magazi"e, which hebought and rechristened, first,Ha1l,!'to,,'s B,oadway and thenHamptOfl·s. Theodore Dreiser andthe late Harris Merton Lyon werehis chief aides. Also he was inthe advertising business and was avice-president of the American To­bacco Company.

Ar. CHRISTIE, who was born inLondon ,Ont., mahe his first ac­quaintance with the stage as a stagehand, and his brother, Charlie, whonow. divid4$ his time between mov­ing pictur4$ and selling real 4$tatewith Billy Sunday's son, George,was in the advertising bUsiness inCanada. Morris Kohn is anothergraduate of the penny arcade andB. A. Rolfe, a graduate of vaude­ville, where he once produced actsin association with Jesse Lasky.

Arthur D. Jenkins, producerwith Nathan Woody of PinnaclePictures, was· a banker. He wasin that business in Indianapolis, aswas Nathan Woody. Another pro­ducer who comes from Indianapolisis Arthur F. Beck, who producesthe pictures in which his wife, LeahBaird, stars. Beck, who got intothe moving picture business as soonas there was any moving picturebusiness to get into, bad been thetreasurer of a carnival company.

W. E. Shallenberger, presiden~ ofthe Arrow Filin Corporation, gotinto pictures by furnishing thefinancial backing for a film ex­change in Chicago. Gifford SlaterWheeler got in as an actor. He wasgraduated from Syracuse Univer­sity and from Yale before he wet.rtto work for Universal, which hasbeen the springboard for so manymen and women who now arcpromineDt in pictures. He was acaptain in the A. E. F. and waswounded. in action.

Lucien Wheeler, who has pro­duced serials, was once a UnitedStates Secret Service man and inthat capacity was bodyguard forPresident Roosevelt and PresideatTaft. He should have been an ef­ficient guard, because when he wasa stucknt at Notre Dame Univer-

(COfIti".,ed 0fI page 72)



.............................................................................. :. ....

AcJdrCS6 ~ .


110 W. 40th St.. Studio 133. New VorIc. N. V.

Dear Sir: I desire to ianstipte yoar method,without obfiption of any kind. (Print _ andaddre... plainly.)

N_ .

Usomethinc tbe matter" witb. tbem, tlaouP repeated, examiDatiolD fail 10 s..... tbat aD)' puticuIar or­

eaD is weak or diseased. How often do we hearof people radDac their br:ains, tryiac to discOYerthe reason of their failure in busi-. in a pr0­fession, r.....e. or an, nnclenakinc- Tbey.onIdcin anythine to lay finger on the stumbfinc-blockof tbeir liTes-tbe door tbat loeb out tbeir am­bitious, tile wall tbat broeb tbeir procress. Tbeanswer is: Lack of Nern Fortt. In sbort. Nen-eForee means Life Foce:e--B.-ain Force-VitalForce-Orpnic Fore:e--D,namie Force-PersonalMagnetism--Manliuess and Womanliness.. No man WITH Nerye Force has eYer stoad ina bread line.

:No mau WITH Nene Force has eYer beendo.n and out. .

No man WITH Nene Force has eyer aclmo.l­ed~ bimself "licked."

No man WITH Nern Force bas CTer failed toattain snccess.

This, of coarse, applies to .omen as .ell asmen.

And, on tile olber band. WITHOUT NerftForte no persou of either sex ill auy .aIk oflife bas eYer n:acbed the lop. bas eY~r achieYedsuccess, or bas eYer gotteu tile fullest enjo,mentfrom life itself. WITHOUT an abundanl supplyof Nen-e Forte our liyes are wroaely adjnsted..e fail 10 ntilize our fnll powers. and we cbeatourselns of our birtbright of beaJtb and rieor.

"A sound mind in a sound body" depends uponsound Denes. And to lie a WINNER. eYen ina small way. demands. pst 0/ till-NERVEFORCE.

If your NERVES ban reacbed any of thetbree staaa of depletion, yon oucJot to take ipa­mediate steps to cktermine tbe cause and to learn.bat to do to baiId up. your Nerft Force.

I baye made: a life stud;' of tile mental ·andpb,sical ebarxleristies of Der\'OUS people. bariuetreated more cases of uNenes" dnriDc the past25 yea... tban any otber JDaJI in the world (onr9O,lIOO). Ify instruction is ciftll by mail oaIy.No drncs or cIrastie trea~ of all)' kina areemployed. My metbod is remarbtlly simple,tboroacld:r scientific. and always efrectiTe.

Is...... aaree to send )'011 fnrtber iaformatioDrqardiDc my system of treatment FREE and

. witbont all)' obfiptioa 08 your part. Enrytlaiftcis eon6dential aDd sent sealed ia a plaia etndope.

Yon should read m,. 64-..... book. "NERVEFORCE.- Tbe c.a of tbU beoIt is oaI:r 25 ceats(coin or stamps). Tbe book is not an adnn"ment of all)' __ I may ba_ to .er. TJUsis prond by the fxl tbat wee corporations UTeboncbt and an: bu:riac book from me by thebnndrcds and tbousands foe cirenlati_ aDlCIDCllIeir c:u>plo,--Eaiciene:r. Pltysicians recam­IDeIId tile book to Ibeir patients-Healtb. lIinistersrecomllllelld it from tbe pn}pit-Nene Cootrol.Happine'ss. NeTer llefore lias so creat a malI5 ofTalaabIe information been presented ia so few.ords. It will enable YOll to 1lIIderstaDcI :r­Nene5, yoar Mind, ,our ~us, and yoarBocI:r for the lint time..

Read tile book at my risk, tbat is, if it does notmeet .ith yoar fnlJest expectations, I sball refuudyour money PLUS your outlay for postage. 111,adTertisem*nts baTe been appearine in this andot~ .stand:ird mapzi..... for 1II0!"e than 20 years.nis .IS .ample eridence of my mteeril)" and reo5pODSlbilJt)'•

Minute" lik; the inteDseness of oar Natures innerytbiDc we do. It is makinc·us tile most pr....cremin Dation on eartb. bat it is also wreclDncoar people. Our crowded insane .,Imus pr.....eit. I&dXaI __ ........e·it..

llIillions of people Ia:ne snb-1lOfIIIal Nen-e Foree.and eoaatyIIently from· eDdJess orpnic andp""'" troubles. .hicb make tlleir lifts miser.ahIe.

WIla1 is meaat by uNenesl" ~ uNerns"' ismeant Nene Exbaustioa (Neurasthenia). Jack ofNene Fan:c WIIat is Nene Foree?

We ....t as well ask UWhat is electricity1­We do _ blow. It is the seeret of Nature. We.40 kno. tbat it is tbe Tital fortt of life, a mys­terious enerc:r tbat 80ws from the DerYOUS sys­tem and ciTes life and enefU to enry TitaI organ.SeTer the nene .... leads to all)' orpn andtbat orpn will cease actiq.

Tbe woaderful orpn .e term tile Nen-oas Sys­tem consists of countless millious of cells. TbeseeeJJs are resenoirs .bich ston: Nen-e Fon:e.. Tbe_t stored repraeats oar Nen-e CapitaLEnry organ .orb incessantly to keep the sapplyof Nen-e Force in these cells at a hip lneJ, forLife itself cIepeIIds more upon Nene Fone tban011 the foad we eat or eyen tbe air .e breatlle.

If we tmduI:r tax tile nenes tIIr...... OYerWork.• orry. exeitement. or crief. if .e snbject themnscaJar system to exeessi..-e strain. or. in auywa,. c:onsame _e Ner:e Forte tun tile organsprodatt, tile natural resnlt must lie Nerft Bank­rnpt~. ia other words, Nern Exbaustion, N~t.beDia. or uNeI"YC:L"

Tbere is bat one malady more terrible tbanNene Exbaustion-its tria. Insanity. Only thase.ho ban lUoaP a ~ of Nerft Ex-baustion can understand tile meaninc of tbisstatemenl. At first, tile Yietim is afraid lie willdie. and, as it criPs IWa deeper. lie is affllid liewill not die-so creat is his mental torture. Hebecomes panie-s&ricba and irraoIute. A sirkeD­inc SC1ISation of weakness and beI~_ Oftf·comes bim.. He~ obseseed witb tile tboaslafof self-destruction. .

"" alte. do we hear of people, rnnniDc fr_doctor. to doctor.~ rdid from am~

Paul von Boeckmann

A.'10",. al N,,",e Farce -.l scares al a'Ioerboob 0" Hetll,Io. Psycloalog,. Bre..Ioi"g, H,..gine 'n'" Iti,,"re" stobjects. Ch-cr. ..i/lioft 01lois .,Griaws boob """e bee- sol" ""rirall 'IoeIIUf Z, ,eors.

He is 'Ioe seU"fist .lta ex"tliu4 'lte ""'.re01 ,lie ..ystmows Psyc"".,,,,sic Force i"volve" i" 'Ioe Ca.'-Ab""" Feats. • J'roble..,..., IuuI bo~4 'lte '-<Ii"11 ¥nerllists alAraeric. _II Ewr~e lor _e ,,,.. 'ltin,7"""S• .... Irdl "'("0.'" al _ic" las bee­,..",isloe" ira rrcn' 01 ..PIt,sictll C.1­lure MGlla::i,,~:'

UNERVES"-We hear it e-nrywbere. The plIys­ciom tells b patient_utI's ,oar Nen-a.- Seasi­tin and Irich-ali -e .omen ~PJaiD of theirUNerYa." Yon see~ of uNen-es- C'I'UT­.Xre-in the street. in the ears. in the tbeatre. inbusi-. and especiaIl, in ,our bome--ricbt in )'0lIl"

own family.We Americans are a nation of nern>us people.

nis is kno.n the world .....er_ Our own Nen-eSpecialists admit it. It is cansed by our ulIiJe.a-

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. pay the return postage eharges. Ifyonk~It, pay bargain price at the end of 30 daysfree trial and it is yoars. Mail coupon todayt.


Eliftor Glyn

How YOU Can WriteStories and Photoplays

By ELINOR GLYNAuthor of "Three Weeks," "Beyond the Rocks,"

"The Great JJorneftt," Etc., Etc.

FOR years the mistaken idea pre-vailed that writing was a "gift"

miraculously placed in the hands 'ofthe chosen few. People said you hadto be an Emotional Genius with longhair' and strange ways. Many' vowedit was no use to try unless you'd beentouched by the Magic Wand of theMu·se. They discouraged and oftenscoffed at attempts of ambitious pe0-ple to express th,emselves. '

These mistaken ideas have recentlybeen proved 'to be"bunk." People knowbetter now. The entireworld is now learningthe T RUT H aboutwriting. People every­where are finding outthat writers are no dif­ferent from the rest ofthe world. They havenot h i n g "up theirsleeve"; no mysteriousmagic to make themsuccessful. They areplain, ordinary people.They have s imp I ylearned the principlesof writing and have in­telligentlyapplied them.

Of course, we still believe in genius, andnot everyone can be a Shakespeare or aMilton. But the people who are turning outthe thousands and ,thousands of storiesand photoplays of to-day for which millionsof dollars are being paid ARE NOTGENIUSES.

You can accept my advice because' mil­lions of copies of my stories have been soldin Europe and America. My book, "ThreeWeeks," has been read throughout the civ­ilized world and translated i11to every for­eign language, except Spanish, a"d thou­sands of copies are still sold every year. My,;tories, no\'els, and articles have appeared inthe foremost European and American mag­azines. For Famous Players-Lasky Corpor­ation, greatest motion picture producers inthe world, I have written and personallysupervised such photoplays as, "The GreatMoment," starring Gloria Swanson, and"Beyond the Rocks," starring Miss Swan­son and featuring Rodolph Valentino. Ihave received thousands and thousands ofdollars in royalties. I do not say this toboast, but merely to prove that you can besuccessful' w,ithout being a genius.

Many people tbink they can't write because tbeylack "imagination" or the ability to constroct out­of·tbe-ordinary plots. Notbinll: could be furtherfrom the trutb. The really successful autbors-­tbose wbo make fortunes witb tbeir pens--aretbose, wbo write in a simple manner about plain,ordinary evcnts ,of every-day life--tbings withwhich everyone is familiar. Tbis is the real secretof success-a secret within tbe 'reach of all, foretJcryo"e is familiar with some kind of life.

Every beart bas its story. Every life bas experi­ences worth passing on. There are just as manystories of human interest right in your own Yidn·ity, stories for wbich some editor will pay goodmoney, as there are in Greenwich village or tbeSoutb Sea Islands. And editors will welcome astory or pbotoplay from you just as quickly asfrom any well·known writer if your story is goodenough. They are ea~r and anxious for the workof ~w writers, witb all their blithe, vivacious,youtbful ideas. They will pay you well for yourideas, too. Big money is paid for stories andscenarios t&day-a good deal billllCr money tbanis paid in salaries.

Tbe tn:1n who clerked in a st';re last year ismaking morc m0DeT tbis year .rth his pen than hewould have made In tbe store: in a life·time. Tbe:young woman wbo earned ei,bteen dollars a weeklast summer at stenography Just sold a pbotoplay

for $500.00. The man who wrotetbe serial story no. appearingin one: of America's leadingmagazines hadn't tbougbt ofwritins until about three yearsa_he not did even knowthat he could. Now bis nameappears almost every month inthe best magazines. Yo.. do,,',tn"", ...hether so.. CCl" fIIri'eor "0' "",il ;yon 'r;y.

I believe ti.cre are: tbousandsof people who can write mucbbetter storieS and, plays thanmauy we now read iu maga­zines aud scc: on tbe screen. Ibelieve tbousands of peoplecan make mOney in tblS ab­sorbing profession aad at the:same time greatly improve pres­ent-day fiction witb tbeir fresh,true-t&life ideas. I believe themotion picture businn5 espe­cially needs, new writcrs witbnew anll:les. J believe tbis SOfirmly that J baYe decided togive some simple: instroctionswbicb may be tbe means ofbringing snceess 'to many whohave not as yet put peu to pa­per. J am goiug to sbow YOUbow easy it is wben you knOwhow~

Just fill out the coupon below. Mail it to my pub­Iisbers, The Autbors' Prrss, Auburn, N. Y. Theywill send You. ABSOLUTELY FREE, a hand­some little book called "rite Short.c.., '0 S ..uess­/,,1 Wri,i",,:' Tbis boo~ was written to belp aJ12spiring people who want to become writers. whowant to improve: their condition. who want tomake money iu tbeir spare: time_ Witbin its pagesare: many surprises for doubting .beginne:rs; it iscrowded witb things that gratify your expectations-good news that is dear to the beart of all tboseaspiring to write; illustrations that entbuse, storiesof success; new bope, encoura~ment, helps, hints-things you've long wanted to know.

"rite Shor,-CN' '0 S ..uess/NI W";;i"g" tells howmany suddenly realize they can write after years'of doubt and indec:ision. How story and playwriters began. How many rose to fame and for­tune:. How simple plots aad ordiuary incidentsbecome successful stories and plays wben correctlybandIed. How new writers ~t tbeir names intoprint. How one's imagination properly direc:tedmay bring glory aud greatness. How to WIN.

This book and all its secrets are YOURS. Youmay bave: a copy ABSOLUTELY FREE. Youneed not send a penny_ You need not feci obligated.You need not besitate for ANY reason. The bookwill be mailed to you without any cbarge whatever.

Get your pencil-fill out the coupon below. Mailit to Tbe Autbors' Press before 70U sleep t&nigbt.This little act may be the turmug 'point of yourwhole career. Wbo kuows?

THE AUTHORs' Puss. Dept. ISS, Auburn, N. Y.Send me ABSOLUTELY FREE "rite S/,or,.c.,'0 S.cccss/NI Wri,i"g:' This does not oblipte me

in any way. (Print your name: aad address plainlyia pencil.)

Name ,..

Address ., .••.•..••.•••••••.•••••••••••.....••

City au'" State _ .

DAY LABORER toMOVIE MAGNATE( Cofttiftued from page 70)

sity he was a football player. Sowas Allan Dwan, who also has pro-­duced many pictures.

William L Sherrill, president ofthe :Frohman Amusem*nt Corpora­tion, was in the life insurance busi­ness before coming to the conclu­sion that it would be good policy togo -into pictures. He was born inAlabama, and John C. Ragland,who once was manager of a min­strel troupe, was born in Virginia. ..

Matthias Radin, president of Ra­din Pictures, Inc., was born inSweden and educated in New YorkCity, where for several years hepracticed law. L. E. Miller, thepresident of Radiosoul Films, Inc.,is another who left the court roomfor the projecting room.

CYRUS J. WIllIAMS was areal estate operator in Los Angeles'before he became a producer, andbefore he became a real estateoperator he was a manufacturer ofmachinery. He produced the pic­tures in, which Tom Santschi firststarred. Another producer ofwesterns is Jack Weinberg, presi­dent of the Canyon Pictures Cor­poration. Before he went in forthe wild and woolly, Weinberg rana moving picture theatre in Hous­ton street, New York City. H. A.Spanuth. president of the Common­wealth Pictures Corporation, wasonce in the advertising business. Hewas one of the pioneers in the workof persuading legitimate actors thattheir prestige would not suffer ifthey went into pictures. So longago as 1912 he worked upon thelate Nat Goodwin and got him tostar in Oliver Twist. H. J. Rey­nolds, president of the Renco FilmCompany, another pioneer, was inthe distributing end of pictures be­fore he became a producer.

Andres Randolf, president of theFrontier Features, Inc., anotherproduc~r of westerns, was born inDenmark and did not come to thiscountry until after he had met, andvanquished many of the leadingfencers of Europe. Al Jennings,who also has produced westerns,received a training that was not soacademic. He robbed trains.

PAUL GERSON, president of thePaul Gerson Pictures Corporation,was an actor and a teacher of act­ing. William A. Brady 'was anactor, but most of his success has

(Contifttlt'd Oft page 73)


DAY LABORER toMOVIE MAGNATE(Cofttiftved from page 72)

been won as a theatrical manager.His wife is Grace George, and hisdaughter is Alice Brady. He man­aged James J. Corbett when "Gen­tleman Jim" was the champion ofthe world.

A great believer in advertising isWilliam A. Brady, but his faith isno stronger than that of George B.Van Cleve, his felfow director inthe producers' division of the Na­tional Association· of the MotionPicture Industry. Before becomingaffiliated with the Cosmopolitanpictures, ~hich are owned by Wil­liani Randolph Hearst, V~ Clevewas an advertisinK agent who han­dled accounts which amounted tofive million dollars a vear. Theo~

dore C. Deitrich, befo·re becominga producer, worked on Mr. Hearst'snewspapers in Chicago, San Fran­ciSC9 and New York.

Edward A. MacManus workedon the New York World, on Col­l;er's Weekly and on McClure'sMagazifte. He once· was a starathlete. H. Y. Romayne was alawyer and so was E. D. Ulrich.Thomas A. Baker, a' son of thefounder of Bakersfield, Cal., wasonce sheriff of Kern County, inwhich Bakersfield is situated. Heought to be able to keep his actorsin order. Another is C. C.Pettijohn, and Lewis Roach wasa manufacturer of aircraft.

CLARENCE WOLF, pre~identof the Betzwood Film Company, isa member of the banking firm ofWolf BrQthers and Company ofPhiladelphia, Jesse James Gold­burg was a lawyer without a horse,and John W. Grey, president ofSupreme Pictures, was once adver­tising manager for Un.iversal. J.Stuart Blackton, head of Vita­b'1!1ph, which he organized in 1900,was a newspaper writer and artist.He'was born in England and went

. to school at Eton. Adolf Philippwas a star on the stage before hebecame a moving picture producer,and Guy Empey was a newspaperman, a soldier in the regular army

. and a sailor in the United StatesNavy before he wrote Over the Topand formed his own producingcompany. Harry Garson, who pro­duces the pictures in which ClaraKimball Young stars and who ownsone of the most homelike studios inLos Angeles, was a moving pictureexhibitor in Detroit.



the American Beautyin her best picture


PLACED on the auction block in the mar­riage mart by her own mother, a beautiful

Southern girl faces a life of unhappiness, whena strange accident brings her the man sheloves and happiness. This is the fascinatingstory by George Kibbe Turner which ran in the Saturday Evening Post.Perhaps you read it. If so, you won't miss the picture. If not, see itby all means.

It is the famous beauty's finest production, made with the lavishnessthat B. P. Schulberg instills into his pictures, and with the artistry andcare of Director Tom Forman. '}Jlis is one of the new series of finer pro­ductions in which Miss MacDonald now is starring and is her latest and best.

The class of pictures for whiCh First National stands. Watch for itstrademark on the screen at your theatre.

Ask Your Theatre Owner If HeHas a First National Franchise

$ $ for Photoplay IdeasPlou accepted any form: revIsed. erIUeJzed,;,opyrlghted, marketed. AdvIce free. UnIversalScenario Corporation, tal Western KataalLife Bldg., Los Ancel"", CaJlfornlL

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You Were Never a Great Hand. at WritingBut you have splendid ideaa for scenariO& Don't worry about putting them into wonk.We put your Ideas into seenario form. neaUy typed. Just the lUnd of IICripts atudioreaders reach under the pile for.Marketing SuggestloM. ~11ed CrItJcI--.



(CO1ItiJlued trom page 67)

Subscription B1.anJ(In YOUR MAGAZINE it is a' sign

that your swbscri,tioJlllas ertiretl


e (McClure SD,diak.)


.' "When sllaD. all men's goodBe each man's rule; and universal peaceShine like a sllaft of light across the

lane, " .And like a layer of beams athwart the


,I TURN again to the newspaper.My holiday is over. I re,Oect ondisarmament. I wonder what winbe the answer. I hope and am in­clined to believe that it will be forgood. Was it Tennyson who wrote:

What a beautifnl thought.' Canthose who go to Washington makeit more than a thought?

The conductor is calling:"Los Angeles.""Bye."

My Trip Abroad

So that there will be DO break in yoursubscription

from those greater personages whowere kind to me, then this has beena wonderful trip, and somehow Iam eager to get to work andbegin paying for it.

I notice a newspaper headline asI write. It tens of the confereOc:efor disarmament. Is it prophetic?Does it mean that war will neverstride through the world again? Isit a gleam of intelligence cominginto the world? .

We are arriving in Ogden, Utah,as I write. There is a telegram ask­ing me to dine with Qaire Sheri­¢in on my arrival in Los Angeles.The prospect is most alluring. Andthat wire, with several others, con­vinces me that I am getting home.



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TEN DAYS' FREE TRIALYou take no chance-if it is' ring in ~ny jewelry store fornot satisfactory at the end of less than' $65.00, your 'de­ten days, or if you can dupli- posit will be refunded t~ yon..,cate this genuine diamond.' .

. . SEND ONLY t2-00and the ring goes' to you in accompanies ~ch ring. Af.­a handsome gift box, charges ter ten-day trial paybaJanc:e.,paid. A legal guarantee $4.65 a m 0 nth _ :teDbond as to quality and value months. Price· QJl!y $48.50.~PREE ROYAL BARGAIN BULLETINIllustrates and describes o~r 800 special offersin Diamonds, Watches and Jewelry whic.b weare making this month from our 12,000,000 stock.

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Arthur Armstrong


6321 HollywoOd 'Blvd.Los Angeles, California

Professio"al Pholograthy a Stecial1r


8nbmlt manaacrlpts (accompanied by 8laIaaPf'dreturn en..elope) Or write for Terms ..,4Free Market Report.

ABBOTT-STANLEY COMPANY'555' Hollywood Boule"ard, Doll,.wood, Cal.(Authors' Repre.entaUv_NOT A SCHOOL)

Pro I es s.i 0 na l PhotosParalta Studios

, ,

542 So. Sprinc

.. Over the Bookstore"

A beautiful portrait ofyour favorite star.A ftII1 a""'tle .... 'K.....OIIe • s I. ,_ "'" .,..ata b,.MELBOURNE SPURR

rHcn'OGllAPHE&4;eU Hollywood Bl..d. Hollywood. Cal.

Protralture Artists

7th at Grand Ave.


Los Angeles, CaL

Sykes .. EdwardsStudio

Telephone Holly 2712

Armstrong and CarletonHollywood Indian Grill6600 Hollywood Boulevard

The Wealth of tile Indonesia(Java, Sumatra,

Ball, celebes,Florea, Bonteo)


Brocades,Leather Work,Hom,Tortoise

TIt. _k .......... 11'_ PreleMiMaI ~.-To make It easy· for them to accumulate aportion of their carnlngs. without ml..lnll' whatthey put away. and with substantial tncome reotUMla upoa evcl'7thlD& ao accumulated.


SAVINGS COMHD.QAL TRUSTtACh"...... Dill Strert..

''T h e Ban k 0 f Cap I t 1\ I • n dPersonal Bervlce" Sarplua $1..4;51._

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On Hollywood'sRIALTO

WINDOW-SHOPPING along the Bou­levard is a favorite pastime with Holly­wood folk. The fascination of the smartlittle 5hops that line screenland's main thor­oughfare mingles pleasantly with the hopeof encountering Gloria Swanson or Wal­lace Reid or other great folk of filmdom.

Will you stroll with us up HollywoodBoulevard?

Every other shop, almost, is a photogra­pher's, y.ou see. There's a reason, as thebreakfast-food ads remark so pertinently."That's where my money goes," mournsthe film star, as he makes another appoint­ment with the photographer, every fortnightor so. With fan mail demands for photo­graphs coming in at 'the rate of a hundredo r m 0 r e 'da i I y, thepopular star must be conetinually pho- tographed.We will stop to admirethenewpho- graphs ofC1aireWind- sbr and her

. ado r a b I e chubby sonin Melbounne Spurr;s stu-dio window. before pass-ing up street to press ourinquisitive noses againstthe pane of the Evansstudio. A few s t e p s, andwe come to the attractivedisplay win,- dow of theHoover stu- . d i 0, wherethe r e are some beau-tiful miniatures shown. The Sykes Ed­wards and ParaIta studios are also patron­ized by film folk.

Some of the beautiful, Batiks that youwill see in the star's homes, if you areprivile.ged in having, the entree to them,arc purchased right here in this artisticshop. ]avartam, it is ealled. Here the Con­noisseurs gloat over gorgeous brasses andtortoise shell from fa·r-off Java, and richbrocades from Sumatra.

Beauty parlors are as frequent as pho­tographers' studios, you notice. Perhapsthat is' why Hollywood is filled with somany lovely ladies. Probably, however. itis an effect; not a cause. At any rate. theLorrainc-Audigier Shoppc is a favorite first­aid-to-beauty establishment with screenactresses.

Our walk has given us a keen appetite,so let's stop off at Armstrong's for a bite.The usual noon-hour crush 'of studio folkis on. but we may be fortunate enough toget in, to enjoy the excellent cuisine andsec our fa,·orite ~tar, in all his "war-paint,"snatching a hasty noonday bite.

Holly 2S6O6039 Hollywood Blvd.

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D<oJoeta TIu..;..p..t t_ W_W:Brltlsb Depot: %7 Charterhouae SQuare,

London. "French Depot: 5 Rue de 1& Pals, Paria.Germsn Depot: J. Prochownlk, Berlin..

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When I say that I can teach you piano 0 ..... Please send mo;,·in 'l1'art"r the usual timc, do not tbink 0 out cost or obh~hon,that tbis is too good to be true. Mod. • your free ~klet, Howcrn inventions and improved methods ~ to., Learn Plano ,or Or·have accomplished just as lP"eat won. ~ gan. free .sample lessons".ders in other branches of educa. ~ ./ and full particulars of yourtion. You at least owe it to ~ method.yourself to iJlv"$tigal". Send Ncoupon or postcard at once, ame _ .before the oller of free / .sample lessons is with- . Address .

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Monkey..Gland Movies(ContiNued from page 43)

tain organization calling them­selves the "Herald Productions,"·which evidently purchased· thenegative of that rather old prod~c­tion titled An Adventuress, whIchfeatured Julian Eltinge. These pe0­ple probably had some new titlesmade, re-cut the picture. insertedthe new titles and advertised it asThe ~sle ·of Love, in big type.while underneath they printed insmaller type (as required by a fed­eral law) "Revised from AN Ad­veNturess," calling the exhibitors'attention to the fact that this pic- .ture was and is "A FantasticComedy With More Thrills ThanAny Serial, Introducing Two ofthe Biggest Stars in tIle Amuse­meNt World."

"INTRODUCING"! Why didn'~the people who had the film in thefirst place advertise it that way?Because Rodolph Valentino hadn'tmade a reputation fOT himself yetand the exhibitor or the distributorcould not cash iN on his name!

An old film of Mae Murray wasrecently released by the Universal.A feature exploited on billboardsand in other· advertising was thepresence of Valentino (then ahumble character actor) iIi a minorrole. Miss Murray, herself, adver­tised to inform the public that thispicture, The Delicious Little Devil,was not one of her recent produc­tions.

Yet exhibitors complain thatthe public is losing interest in mo­tion pictures. You certainly cannot b~ame the public. From theway "revised" films are floodingthe market, the cutting rooms insome of the film factories must beworking overtime.

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MARTIN PIPPIN THE APpLE ORCHARD, by Eleanor Farjeo:LA delightful imaginaltve bit of work which will be enjoyed as a relieffrom the' keenly penetrating novels of the realistic sc1iool. Light andpleasing. (Fred t Stokes.) I

CAPTAIN BLOOD, by Rafael Sabatini. is a ripping good story of thfold, glamorous days of Spain. Full ~f rmnaQce and co!or. Will holdfrom cover to cover. (Houghton-Mifflin Company.) .

'CHARLES REX, -by Ethel M. Dell. 'A story of romance and adven­ture of a different pattern, that will break the monotony of the day. Asgood as a Valentino-Glyn movie. (G. P. Putnam's Sons.)

ONE OF OURS, by Willa Cather. Abri11iant and powerful story of afin~, idealistic American boy who. is cheated out of life. Written withkeen and sympathetic insight and vividness, it should .easily find itselfamong the foremost books of the year. (Alfred A. Knofp.) .

HER UNWELCOME HUSBAND, by W. L. George. Despite thetitle, the book is a penetrating bit of psychology of an unusual womanwho has to cope with marital misfortune. Written in an interesting andeasy style. (Harper & Brothers.)

ADRIENNE TONER, b.y Anne Dougl~ Sedgwick, is a .book whicheasily places its author among the foremost women novelists. A fascinat­ing study of American women. (Houghton-MifBjn Company.)

NUMBE:R 8;', by Harrington Next. A fictionized guess at the futureof radio-activity. An Englishman discovers an elemental fOTce that en­ables him to travel thou$3nds 0"£ 'miles per minute. He uses it for whathe considerS the good 'of the world, but makes one serious mistake,rlestroys all evidence that would lead others to discovCT his secret, andsails .into -outer space. A little heavy, perhaps, but "ery much worth

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THE SCARLET TANAGER, by J. Aubrey Tyson. We meet the heroon page one at five o'clock in the afternoon and he docs Dot go to bedthat night until he reaches page 200. Then the telephone bell rings .andhe's up and·at'em again, and before he goes to bed this time he has Solvedthe mystery and won the giTi. A tremendous amount of action packedinto many pages and very little time, making one of the best secret-service

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25 Cal..

THE ~swer to this question wiUalso serve as an answer to theSingapore's censors' practice of de­leting all scenes of strikes, revolu­tions and other protests against es­tablished authority and the existingsocial order.

( Coflti"ued trom page 34).



"IN Asia the white man must belooked up to like a god," an Euro­pean banker traveling home fromShanghai once told me. "Other­wise it will be spoiled for us. Chinais already spoiled by-excuse me,your countrymen-the Americans.Why 1 have seen Americans whowould even sit down to the sametable with Chinese!" .

It is this principle, this effort tostop the Rising Tide of Color,which I believe is in the near back­ground of the censor's mind as hewatches the pre-view - uncon­scious~y, perhaps, but there handin hand with the idea of chedcingcrime.

Why was Broke,. Blossoms for­bidden to be shown in Singaporeand Hong' Kong, and why did ayoung tempest break loose amongthe whites after it (Was shown inIndia? Was it because the nativemight go home .and beat his wife,or strike the first white womanwho was gruff to him? Or was itbecause ·th.e film portrayed a su­perior Oriental in contrast with alow strata' of Occidental life­white trash-people who, althoughthey were white were capable ofbeing as wicked as the whiteT~ and Sahibs tell the Orientalhe mustn't be.?

only in this particular point in cen­sorship, but the entire system is theprotection of the idea which theBritish consider the keystone oftheir empire in the East-the su­periority and prestige of the whiteman.


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What Is the 'TITLE of 'This PICTURE?

Biograph Studios ••. 807 E. 175tb St., N. Y. C.Blac:kton Studios Brooklyn, N. Y.Estee Studios••.•. 124 W. 125th St.. N. Y. C.Fox Studios West 55th St., N. Y. C.D. W. Griflitb Studios.... Mamaronec:k. N. Y.International Film... :.2478 2d Ave.• N. Y. C.Harry Levy Prod•. 230 W. 38th SL. N. Y. C.Lincula Studio.•..•....•.•••Grantwood. N. J.Mirror SbJdios. Gle.ndale, Long Island, N. Y.Pathe 1900 Park Ave.,·N. Y. C.Selzniek Studios ....•...••..••Fort Lee, N. J.Talmadee Studios, 318 East 48th SL. N. Y. C.Vitqraph Studios.•E. 15th St. Brooklyn. N. Y.



Astra Studios ..•.••.••••.••••Glendale, Calif.Balboa Studio••..•••• East Long Beach. Calif.Belasco Studios, 833 Market St., San FranciscoCbester Bennet Prod ; ....•

· .•.......••.• Brunton Studio, HollywoodBlue Ribbon Comedies..•.......•.••.•.•.

· ••.••......•. 1438 Gower St., HolI,.oodBrunton Studio, 5300 .Melrose An., HollywoodBerwilla Studios .

. .••• . 5821 Santa Monica Blvd., HollywoodCentury Film Corp .

.••.••••.. . 6100 Sunset Blyd., HollywoodC. L Chester Productions .••..••.••••.••

· ••.•. " ....•. 1438 Gower SL, HollywoodCbristie Comedies ......•.•....•.•...•..•

.. . . . .•• ... .6101 Snnset BI..d., HollywoodIrving Cummings Prod .•.. 1729 Highland AYe.Doubledav Prod... : .......•...•.••..•...

.•. . Sunset and Bronson Ave., Hollywood .

Earle Ferdinand Prod ............•..•.......••.... . Hollywood Studios, Hollywood

\Vm. Fox West Coast Studio...........•..•...• . 1417 N. Wes!em Aye., Hollywood

Fine Arts Studios .· ••.••••.••4500 Sunset Blvd~ Hollywood

J. L Frothingham Prod.••..••Brunton StudioGarson Studios.. 1845 Glendale Blyd., GlendaleGoJdwyn Stndio.••.....••.•....•.Culver CityGre3t Western Produdng Co..•..•..••.•

.•..•...••• . 6100 Sunset Blyd.. DollywoodThos H. Inc:e Prod .••.••...•.....CutYer CityLasky Studios.•..•..••.•.....•. 1520 Vine SLLois B. Mayer Studi<lS ..

· ••....•. 3800 Mission Road, Los AngelesMetro. Studio .

· . Romaine and Cabuenga Ave., HollywoodMorasco Productions ..•... 3800 Mission Road

Bud Osborne Productions•...6514 Romaine St.Padfie Studios Corp ..•.••..San Mateo, Calif.Padfie Film Co....•.....••..•••.CuiYer CityMary Pickford Co _...•..•.

· ....••..•.• :Brunton Stndios, HoII,.oodR·D Film Corp••.. Balboa Studios, Long BeachRealart Studio, 201 N. Occidental. Los AngelesRobertson-Cole Prod.................•...

••.....•• Melrose and Gowe.r, Hollywoo<lWill Ro,..,rs Prod ....• : .

· ',' . Hollywood Studios. 6642 S. M. Blvd.Russe1·Griever·Russe11. ..•• . 6070 Sunset B1Yd.Hal E. Roach Studio....•...•..•.Culver CityMome R. Seblank Prod......... •6050 SunsetCbas. R. SeelillC Prod .......•.•.••.•...

.••.••••••..•• 1240 S. Olive, Los Angeles

Selig-Rork.••.3800 Mission Road, Los AngelesUniYersaJ Studio.•...... Universal City, Calif.King Vidor Prod .••. Inee Studios, Culver CityVltagraph Studio, 1708 Talmad~ Los AngelesCyrus J. Williams Co , ...•

. •...•.. 5544 Hollywood BIYd., HolI,.oodCyrus J. Williams Co .

. •........ 4811 Fountain Aye., HollywoodWilnat Films. Inc........• ; .•. : ...•.....• . . . ...••.•• 1329 Gordon St., Los AngelesBen Wilson Productions..•.•. Berwilla Studios

... ... .. ...•.. ~ .$100• •• . . . • • • • •• . • • 50............... 25............... 10

Here· is your. chance to earn yourChristmas-gift money. Non-subscn"b­iog contestants for the title contestmay win: .

First Prize~d"

Third "Foarth "

If you send in with your answer onedollar for a six-month trial subscrip­tion to SCREENLAND,. you maywin:

................$10 First Prize

........... , 5 ~d "

........ 2 Third

................ 1 Fourth "

SET YOUR BRAIN A-WORKING!You have a good line! What does this picture, posed by S~nn'on Day,

suggest to you? Write out yOUT suggestions for a clever title to this 'picture-as many as you choose, on separate sheets of paper-and mail them in tothe contest editor. Be sure your name and addTess are on each sheet. En­velopes should contain nothing but your address and your titles, unless youwish to compete for the GRAND PRIZES, headed by a 6rst prize of $100.To be eligible for these big, worth-while prizes. enclose a one-dollar bill· ormoney-order or your personal check with your title suggestions..

The titles to the pictuTe shown above may be original, or may be quotedfrom some well-known author. It should not contain more than 20 words."Brevity is the soul of wit.» Make your titles short and snappy.

The. contest will appcaT in four more issues of SCREENLAND ~nd willclose on May 1. 1923. The winning titles will be selected by members ofSCREENLAND'S staff and their decision will be final. The winners will beannounced as soon as possible after the closing of the contest and checks willbe mailed to the winners simultaneously with the announcement of the award.If duplic.ates are received for any winning answer, both contestants will receivefull prizes.

Members of SCREENLAND'S staff are not eligible for this contest.

~~;-~.;;;;;;-C";N;-ES7;;';;R-:-- -, Every contestant who sendsHoll,.ood, California. I in a subsc.ription to this contestThis subscription, for the next six issues of

SCREENLAND, for whicb I enclose one dollar, en· I will .receive an autographed pho­titles me to competc for the grand prize oller in I tograph of the lovcly model forSCREENLAND. The titles I submit for the photo-graph of Shannon Day are enclosed herewith. the title picture, Miss. Shannon

I Day, as reproduced above. At-Name tach your dollaT to your titleAddress I and send it in TODAY, with theCity State I attached coupon.


"CLASSIFIED January 1_cINe

- .- ~ber30


ASTROLOGY-Stars tell Llle's story. selldblrthdate and dime lor trial reading. Eddy.Westport St.. 33-'l9A, Kansas City. MissourL


ALL' MEN. women. boys, girls,' over 1'1wiDIDg to accept Government poslUona, $135. I

(traVeling or stationary) ·write. Mr. Ozment.-10. St. Louis, Mo. .

BB A DETECTIVE. EsceUent opporl,:",lty,pod pay. traveL Write C. T. Ludwig. IliOWc:.tover Bldg•• Kansas City. Mo.,.

lIEN WANTED to make Secret Investlga­Uoas and reports. Experience unn~ry.Write 3. Ganor. Former Gov't DetecUve. 145.St. Louis. Mo.


. PLAYS. musfcal comedlcs and revueil. mln­IItreI m1lllle, blacldace skits. vaudevUle acts,moooIop. dlalop. recltaUons, entertaln­meats. muskal reaellngs,· stage handboolta,make-up goods. Big catalog· free. T. S.Denlaon " Co.. 623 S. Wabash. Dept. 8!,.~


BOUND voIumea 01 SCREENLAND now/ ready. Price $5.00 per volume. Each volume

IDCludes every copy published lrom Septem~ber. 1128, to 3uly. 1922.' Address SubllcrlptlonDepartment, SCREENLAND. Hollywood,~I~ .

TO READERS 01 these classilled columns,SCRBENLAND o1rers a speclal trial sub­IK"rIptlon otrer 01 seven months lor $1.00.Thle otrer to new subscribers only. sendlitamps or money onler to Dept. C., Screen­land. 6540 HollYWood Blvd•• Hollywood, CallI.


PATB!II'TS-8eud lor lree book. Contalnavaluable Inlormatlon lor Inventors. sendaketch or your InvenUon lor FREE OPIN­ION 01 Its patentable asture. Prompt service.(Twenty years elqlerience.) Talbert &: Tal­bert, 411 Talbert Bldg•• Waahlngton. D. C.


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WHY NOT have Health. JIapphieas, 8uc­_, Beud. tor the TH01JOlI'l'-WAT.·ll'Uth EdItion. AgflDls wanted. The Thought­Way BuDders. Dept. B54S. New London,CoDn.

EXCHANGE Jolly letters with new IriendLLots lun! Enclose stamp. Eva Moore. Box908. 3ackllOnvllle. Florida.

YOUR FUTURE FORETOLD: send dime.blrtbdate lor truthtul, reliable. convincingtrtal reading. Huel Hause. BOx Zl6, Lo.Angeles. CallI.

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PHOTOPLAYS WANTED FOR CALIFOR­NIA ·T·RODUCERS; alao Stories lor publica­tion. (Manuscripts. aoJd on co~mlsslon.)Submit manuacriptL or It a beglnne.... writelor Free Plot Chart and Details. HarvanlCompany. ~.~an ~nc!aco.

FREE to wrltcJ'8--ll wonderful little book1'1 money-making hints. suggestions, Ideas;the ABC of isuccesslul StOry and Photoplaywriti.n~. Absolutely Free. .lust address Au­thors' Press, Dept. 156. Auburn, N. Y. .

PHOTOPLAY8, Scenarios In demand torproducers. Send manuscripts Im~edlateIY.(Sold on commission.) Beginners write lorInt·tructlonll. Hollywood Co., Station C 1333,Los AngeleL


PICTURES. Zee Beautiful GIrl PlclureL10 wonderful poses, $1.00.' 18 specials, $2.00.Real "Taken lrom Llle" photographs. YoUrmonel' refunded It dlsaatlsfted. Balrart Co.•1008 S~ LoulL Missouri. . .

PORTRAIT agents and othel'lll. Get bigprofits. Sell Perry Photo MedaUioDL Youcharge n.98; 'make 4~ profit; $10 dally"asy. Big. "xc!uslve line. 4-day l!ervlce.Perry Photo Noveltl' CorPOraUon. SecUon 35.·360 Bowery. New York.


SONGWRITERS! Learn 01 the public'. de­maud tor aongs nltable tor. lIancllll: andthe opportUnities sre&Uy changed condltioDsotrer new writei'll, obtainable only In our"Songwriters lIIaDUai &: GuIde" seDt free.SUbmIt your llJeas for songs at once tor treecrltlclllm and advice.. We reviae poelDll, com..:pose mualc. secure COPYrlKht and lacllllatetree publication or outriKht _Ie 01 1IDnga.Knickerbocker Stuell.. U8 Gaiety BuUlllng.New York.. . .

SONG WRITERS! A proper start: maymean your success. I have an exceptionalpropoaltlon. Write to-day 'lor psrtlculal'lll.Howard Simon. %2 \V~t ,Adams Ave•• De­troit, Mlch~

WRITE the words tor a song. We com­pose music. Submit· your poems to us atone<'!. New Tork Melody Corp.. 438 Plts­gerald Bldg•• New York.

SONG WRITERS-If yoU bave song poem",'or melodies write me Imml'dlately. I haveabsolutely the best proposltlolT to otre~ you.Ray HIbbler, DI6'l. 40-10 Dickens Ave..CJi;cago.· .


MAKE $19 per 100. stamping nsmes on keyeheckL Scnd 25c for sample 'and lDatrue­tlons. X Keytag Co., Cohoes, ..N. Y.


WlLL you exchange letters and make newfr'endli? You'll have Iota ollun! 'Betty Lee,4264 Broadway, New York City. Stamp ap-preciated. .

TYPING. Stories. etc.. ma..ketecJ. CharlCIIB. McCrary. 140.Natlonal Road. E1mgrove,W.Va.

BIG MONEY In writing. pbotoplayl'. stories;pot'mll, songs. Send t"CIay for FREE COpy

. WRITER'S BULLETIN. ·Iull of helplul ad­vice. how to write. where to' sell. ED­W ARD·S. PTJBLlSHER, 638 Butler Builellng,Cincinnati. O. .

FREE to write~ wondl'rful little book01 money-'mnltlng hlnta. suggestiona, Ideas;

. the ABC 01 sU~811ful Story and Photoplaywriting. AbIoOlutely Free. .lUBt addre£ll AU­tors' PreE8. Dept. 156, Auburn. N •.Y.


ACROBATIC, Clowning, Contortlo_Ea."meUiod lIIufltrated lnatructioDL Advancedground Acrobatics. Complete course Includ­Ing apparatus drawings. $2.00. "3Ingle"Hammond. Adrian. MIch.

WOMEN - Are yOU Interested In yourhealth. CIrcular tree. National SpecSaIUes,32 S. Union Sq., N. Y. C.-

MEN. learn the new method of sbavlng.saves time. no. brush or _po Results goar­antP.ed. 50 cents. .3. Gaub. Pittsburg. Aspin­wall, Pa.

CORRESPONDENCE CoUrlM""'. IlI1 schools.sent on approval. We save you hall coat 01'more. Authorised distributors lor 30 con......We buv used course. tor cash. lI'hle Cata~logoe. . Economl' Educator 8ervlce. 1'" D,Broadway, New Tom.

ao LBTTBR HEADs or Envelopes $I.•Other PrlnUng. samples, stamps. R.~.Parle, 110.




Remember, you don't even haveto buy the machine until you getit and have used it on 10 days'free trial w that you can see foryourself how new it is and bowwell it writes. You must be satis­fied or else the entire tr.Insadioowill not' ci>st you a single penny.

10 Daya'- FreeTrial '

use of and the profits from themachine.

You don't even have to scrimpand save 10 pay cash. Instead,you pay ouly a little each monthin amounts so conveniently smallthat you will hardly notice them.while all the time you are pay­ing you will be enjoying the

$3 Pub It'inYour Home

four-row single-shift keyboard-thoroughly tested-guaranteedfor five years.

From Factoryto You

Yes. only $3 brings you this gen­uine Rebuilt Standard VisibleUnderwood direct from our fac­tory, and then only small month­ly payments' while you are usingit make it yours; or, if con­venient, pay cash. Either way,there is a big. very much worth­while saving, too. Genuine, newUnderwood parts wherever thewcar come5-genuine standard,


Rebuilt like new. E"ery typewrit­er Is railory rebuilt by typewriterexpert&. New enamel-Dcw nick­elln\f-new lettering-new platen_ew key rlDlf.-new parts wher­ever noeded-maklng .It Impossi­ble tor you to tell It from a brandnew Underwood. An up-to-datemachine wllb two-eolor' ribbon.bad< spacer. etencll device. auto­matic ribbon reverse. tabulator.ete. In addltJon. we furnish FREE_terproof cover and a apeeiaITouch TJ',pcwrJter Instruction.Book. You C&Il leara to operateIbe Underwood In one day.

Actualphoto ofone of ourrebuiltUnderwoodTypewriters


'..," l"i'Me.'1 -.di: direct '" :I"" frOM ...iii" -ur. f.a.r~ (1"'- __e)_IIe_tI-".. ':#-Vt:r relntildi"t1 ,,_ ia 1M _14

Now is the time when every dollar savedcountS. Let us 'save you many dollars. Don'tdelay. Get this wonderful easy payment bar­gain offer now, so yon can scnd for andbe sure of getting your Underwood at a bigsaving~nour easy tenns or fot: cash.


ZM9 sw.-- .......... ewe..-. ID..............._._.A_.

I SHIPMAN-WARD MFG. CO.. a·up. m....sw.-a ........._ ......- ...A_

I 8eJld by retura maD.BarcaJo Oller No. un fit astandard Vl8lbJe WrltJnc Underwood. TbIa.._

I an order &114I d_ not obllcate me to 1IaJ'.

l NaMe ~ __ .

I SIred .".I It.. F. D. N ..

p-I Of~ SI.U .

82~ ~~,;",...- ~ _

Introducing the,


The Mineralava TrialTube is merely an intro­ductory size that will en­able you to prove to yourown satisfaction thewonderful merits ofMineralava.

Use the treatments,asdirected and you will,like millions of others,buy the reCTular size bot­tle with brush for apply­ing. The regular sizebottle of Mineralava..­$2.00-contains eighteenfull treatments, sligh~ly

more than 10 cents atreatment.

Afteru ingMineralavait is pleasant and benefi­cial to apply fineralavaFace Finish, a perfe~t

kin food and tonic andan ideal base for powder.Its price is $1.50 a bottle.

Go to your Druggist or De­parJment store. Ask for Min­cralava in the Trial Tube. If~'our Drug or Departlll!:ntStore does not have it, fill outthe coupon below and we ,,,illat once forwardto you yourtrial tube ofMineralavaandsee that yourdealer is sup­plied to fin yourf u t u rerequire­ments.

~ly Den){'r's Name i~ .

Name., , , ..•.. '

Slreet . ' , , , .....•. , , , ..

Town, . , , , , , , .. , ..... Slale, ,

Scott's Preparalions. Inc.251 West 19lh Slreet, New York City.

Enclosed find 050e for which send me nML."I;ERALAVA Trial Tube. .



"e have letters fromthousands of womenfrom homes in everypart of the UnitedStates and from thefamous beauties of thestage and screen testi­fying of their own accordthat Mineralava hassmootheclawaywrinkles,has causcd blackheadsand pimples to disap­pear; has eradicated

crows' feet; cured oily anddry skin; closed enlargedpores and made the rough skinsmooth; vitalized sagging facemuscles and has proven the,greatest aid to Beauty theyhave ever known.

You can get a trial tube ofMineralava for 50 cents. It ismerely an introductory sizethat will enable you to proveto your own sati faction thewonderfulmeri ts of Mineralava.You will then, we are sure, wantthe $2 bottle, and if after thefull eighteen treatments you donot find that it has done all andmore th8.n we claim for it, yonI'dealer has our authority to paybackyourmone:v. Scott's Prep­arations. Inc.;251 W.19th St.,N.Y.

Lines and wrinkles, sagging mus­cles, oily and dry skin, sallow­ness, coal' e texture, pimples,blackheads, enlarged pores, , allare due to"SKIN MALNUTRITION"

'Billie 'Burke

";',: ,~ Read what "Skin Mal-- ;.: '...~ " nutrition" i, and how

'.~ . 1\11 ERALAVA is thejl) O'reat corrective for it

,< ,~o"0 I. • '

0:. use of the women of the world• who desire Beauty.

c& ] t is applied to the face with

~a soft brush. It dr~'s within a

Q few minutes into a dainty, fra-grant mask. You can feel the

.D medical ingredients gently pen­etrating the pore. ,withdrawing

- aU foreign matter; leaving the• skin pure and clean.


Themild,throbbingsensationunderneath the mask wiU as­

:: sure you, by actual demon tra­tion, how the newly timulated

GJ blood is tingling through the

~tiny veins and tissues, br,inging

, new Beauty through new vital-.• ity and new birth.

. . Wa h off the mask in clear

. cold water and apply Mineral-ava Face Finish, a delightfulskin tonic and a perfect basefor powder.

Mineralava comes in a bottlewith a soft brush forapplying, at$2.00. Eachbottle contains eighteentreatments, or a triflemore than 10 cents atreatment. The Minera­lava Face Finish is $1.50.

What is'l.linemlava?As its Dame implies, Mineral­Lava is Nature's own remedyfor skin blemishes, blackheads,pimples. oily and dry skin,sagging lIluscles, crows' feet,lines of fatigue and wrinkles.

,Discove~ed years ago by Mrs.M. G. Scott, the famousBeauty Specialist, it was testedand tried by the chemists ofEurope and America whoadded to the natural up-build­ing qualities certain mineralsof effective medicinal power.

As thousands of satisfiedusers of Mineralava testify,volunt.arily, it has become'to­day the per:'ect product for the

"AY01l1IlJul app(ara1IU ltal really Hult todo with agt. TJu i11!.)ression of youth in a'!.Q0111all'JJa~t is mal!Y tlu lua/tlt. a11dfrnh­fUJI a'ld vitality of fur ski,l. Rtalbtauty can,iot bt had by cOf1trillg hltmislus alld im:ur- ,0 0

JatiollS W1'Jlt cosputie;. It can 0111y bt had in.o ?latural way, by buildillg 1lp tIlt paJutskinJrombouath. lHy grtatestaid in auom­piishi11K tIl is has hun !If illtrala-:ta, tIlt C011­

stmlt ondJa1"thJllluu of foil iclt has k! pt 1IIyski1t in o stat! ofradiantlua!tll, so that today1IIy C01ltour is aJ firm and 1IIY Jact aJ color-

e fill alldJreslz. aJ wlun 1 was a young g1',l."Sig,ud /7.

/" /e-/!{:",

AWell Nourished Skinneuer·Ages




'Q~ .,


All skin ills of the human faceand neck are due to lack of vi­tality, insufficient blood circu­lation and lack of propernouri hment.

To surgeons and skin special­ists this condition is known asBkin malnlltrition, and it isthis condition for whichMineralava is the only specific.

It is the sole remedy whichcorrects these condi tions andprevents their recurrence. Itnot only corrects the blemishesyou can see; it works con­stantly and invisibly on the un-der skin, nourishing it to a ripeand lovely texture so that it isready, as the old skin flakesaway. to take its place--new­born and beautiful.

Sir Era. mus Wil on, M. D.,F.R. S., famous skin speciali t,tells us how the human skin ismade up of two layers-theouter the Epidermis, the innerthe D~nnis. Day by day theouter skin imperceptibly flakesaway, but aU the time the un­der or bab~' skin grows on,ready to take its place. Keepthe uader skin weU nourishedand in robu t health and it willhave the vitality to throw off.throu"h the pores, the poi onsand impurities which di figureit and destroy its health.

If you have s'.in malnutri­tion there is one perfect remedy,Mineralavl\.' !,,



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While this Special Offer Lasts

Get the Burlington Watch Book :- write today. Find out aboutthis great special offer which is being made for only limited time.You will know a great dea~ more about watch buying when youread this book. You will be able to "steer clear" of the over,priced watches which are no better. Write for Watch Book andour special offer TODAY 1....... 11 .. 111 .. 111 .. 11 .. 11 11 : ' 111'111'"'1'11'"'11'11'"'"'11'11111111""

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Please send me (without obligations and prepaid) your free boole onwatches with full explanation of your ~1.00 down olfer on theBurlington Watch. .

Name. _

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You, too, - have the loveliest skin can - [PDF Document] (2024)


How to train ChatGPT to read PDF? ›

Some of the possible methods include: Supplying ChatGPT With a URL: Open your PDF with your browser, copy the URL, and paste it to ChatGPT incorporating the command you need. Copying the Text From the PDF: Another handy method is to copy the PDF's text and paste it into the chat. Add specific commands and you're done.

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Forgot document or permissions password
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May 15, 2024

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ChatGPT - Extract text from PDF. OCR PDF is a versatile tool specializing in OCR on PDF documents. Seamlessly convert PDFs to editable text with its PDF to OCR feature, enhancing document accessibility and editing capabilities. Ideal for businesses and researchers.

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Can I make ChatGPT read a PDF? No, not directly. But if you transform your PDF into text data first, then yes, ChatGPT will analyze it.

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#1 Simplest Method: Export ChatGPT Chat as PDF
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Can I upload PDFs to ChatGPT? ›

Of course, you probably already know this. However, with its latest update, ChatGPT now allows users to upload documents, PDFs, and spreadsheets directly into the platform for analysis. This breakthrough feature promises to save businesses countless hours in data processing and content creation.

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How to remove password from PDF?
  1. 1Drag & Drop a PDF file into the box (or upload a file by clicking the “+Add file” button). ...
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Yes, ChatGPT can summarize PDF files using its PDF summarization feature, which is available in ChatGPT Plus. Can I give ChatGPT a PDF? Yes, you can provide ChatGPT with a PDF document for summarization. Simply drag and drop the PDF document into ChatGPT, and it will be ready for summarization.

Can ChatGPT turn PDF into Excel? ›

ChatGPT - PDF Data Extraction to Excel. Extracts PDF data to Excel by uploading PDF.

Can ChatGPT read a picture? ›

Image understanding is powered by multimodal GPT-3.5 and GPT-4. These models apply their language reasoning skills to a wide range of images, such as photographs, screenshots, and documents containing both text and images.

Can ChatGPT convert PDF to Word? ›

ChatGPT - PDF to WORD (docx) Converter. Enhance your document handling with our Python-powered PDF to DOCX Converter. It seamlessly translates PDFs to editable Word formats with smart repair mechanisms, ensuring accurate conversions and easy document management.

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It works by analyzing patterns in large amounts of language data to understand context and respond relevantly. While ChatGPT has many applications and advantages like diversity and scalability, limitations include potential bias, lack of common sense, and inability to reason complexly.

Can AI extract data from PDF? ›

Google Cloud Document AI is a cloud-based service that uses OCR and NLP (natural language processing) algorithms to extract text and data from scanned documents, including PDF files. It can extract metadata such as dates, names, and addresses, and output the data in a structured format.

How to get ChatGPT to summarize a PDF? ›

Once your PDF file is uploaded, you can instruct ChatGPT to summarize the document. Simply ask a question or provide a command like, "Please summarize the PDF," or you can be more specific with your request, such as "Summarize the key findings in the PDF."

How to get ChatGPT to analyze a document? ›

Alongside memory, it's good to remember that ChatGPT can also use existing file-upload capabilities to analyze text and images. You just drag and drop a file into the chat window, such as a PDF or a JPEG, add a prompt if you like, and ChatGPT will start to produce some text output based on what you've uploaded.

Can GPT-4 read PDF? ›

GPT-4 can now process PDFs and various other files selecting the optimal model. : r/OpenAI.

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Tool That Helps You Input Files and Long Text Into ChatGPT.
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