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Around the world... front romantic Venice to the mys-
tery and wonder of old China. Do you want beautiful
women? To Gamble? To Trade? Want Money? Want a
Good Fight? With wealth, beauty and love... if you win?

The proud princess whose

guarded pagoda was stormed by
whispers and sighs... teaching a
stranger how to really love.

The cunning and trickery of
the East.. .an adventurer's blun-
dering luck . . . matching wits for
the world's treasures in trade.

The clash of mighty armies.. .a
hero's sword slashing his way. . .
and then, with his beloved safe
in his arms, across the bridge
that even today in Peiping is
called the Marco Polo Bridge.

PRESENTS

GARY COOPER

•/ WITH ' INTRODUCING

BASIL RATHBONE SiGRID GUR1E

ERNEST TRUEX • GEORGE BARBfER • • • ^covered by Samuel Gold-

AlAN HALE-BINNIE BARNES ^Jul. ȣ%,* JT^

And a Cast of Five Thousand citing in her fresh talent . . .

Directed by ARCHIE MAYO • Screenplay by ROBERT E. SHERWOOD

fie/eased thru United Artists

Samuel >f!otilwyn creates a
mighty cavalcade of splendor
and excitement in the world's
most romantic adventure.

"r>~^ — Smile really attract others?

ick You may not be in for serious trouble- your teeth. Circulation quickens in

"Does my

WONDERFUL, isn't it-the quick
magic a smile can work when it
reveals brilliant and sparkling teeth!
Shocking, isn't it — the disappointment
that follows a smile that reveals dull
and dingy teeth — tragic evidence of
"pink tooth brush" disregarded.

"Pink Tooth Brush" may

rob you of loveliness

"Pink tooth brush" is only a warning—

but when you see it, see your dentist!

You may not be in for serious trouble—
but let your dentist decide. Usually, how-
ever, it only means gums that have
grown tender under our modern soft
foods— gums that need more work and,
as your dentist may advise, "gums that
need the help of Ipana and massage."
_ Ipana, with massage, is especially de-
signed to help promote healthy gums—
as well as keep the teeth bright and
sparkling. Massage a little extra Ipana
into your gums every time you brush

your teeth. Circulation quickens in the
gum tissues— your gums become firmer,
more resistant, more immune to trouble.
Change to Ipana and massage, today.
Help keep your gums firmer, stronger—
your smile brilliant, sparkling, attractive—
with Ipana and massage!
# * #
DOUBLE DUTY— For more effective mas-
sage and more thorough cleansing, ask
your druggist for Rubberset's Double
Duty Tooth Brush.

pan

When Answering Advertisements Please Mention January HOLLYWOOD

HI

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Accept No Substitutes! Always Insist on the Advertised Brand!

<WC1B 361402

DEC 16 1937

JANUARY, 1938
Vol. 26^No.T5L

Q

W

D 0 D

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W.H.FAWCETT

Publisher

LLEWELLYN MILLER, Editor

Table of Contents

EXCLUSIVE FEATURE STORIES

Open Season on Talent by Winifred Aydelotte 12

Ten Ways to Avoid Matrimony (George Sanders) by Melissa Dodd 15

The First Crooner (Jimmy Durante) by Peggy Ballard 18

Hollywood's News Test by Whitney Williams 22

What Every Dog Should Know by Sonia Lee 24

Turn Up the Clock by Edward Churchill 26

It's Your Move (Rosalind Russell) by Jessie Henderson 28

The Harried Chest (Robert Taylor) by Alma Whitaker 29

The Customer Is Always Right by Emily Norris 31

"Spankings Soothe the Soul" (Bette Davis) by Ruth Rankin 33

East Meets West (Anna May Wong) by Louise Leung 40

Hollywood's Ten Commandments by Virginia Delane 42

Men Who Boss the Stars (David O. Selznick) by Lupton A. Wilkinson 44

This Dolly Haas Everything by E. J. Smithson 48

She Won in a Walk (Lana Turner) by Elmer Sunfield 50

Hollywood High Flyer (Walter Pidgeon) by Ed Jonesboy 52

PICTORIAL SPECIALS

Alice Faye 1 9

Carole Lombard and Fred MacMurray 23

That Awful Moment (Edward Everett Horton) 27

Shirley Temple 30

Ray Bolger Dance Shots 32

How to Behave on Christmas 34

That Fatal Errol 41

Olivia De Havilland and George Brent 43

Hollywood at the Circus 66

EVERY MONTH IN HOLLYWOOD

Hollywood Newsreel by Whitney Williams 6

Hollywood Radio Beam by Gordon W. Fawcett 14

Beauty Department by Ann Vernon 16

Fashions " 36

Movie Crossword „ 56

Reviews In Brief ~ 57

42-

RALPH DAIGH, Managing Editor

CHARLES RHODES, Staff Photographer

HOLLYWOOD Magazine is published monthly by Fawcett Publications, Inc., 1100 West Broadway, Louisville, K.v. Entered as second class matter at the post office at Louisville,
Ky., under the act of March 3, 1879, with additional entry at Greenwich, Conn. Copyright 1937 by Fawcett Publications, Inc. W. H. Fawcett, Publisher; C. W. Fuller, Advertising
Director. General offices, Fawcett Building. Greenwich, Conn. Trademark registered in U. S. Patent Office. Subscription rate 50 cents a year in United States and possessions
and Canada; foreign subscription $1.00. Single issues five cents. Advertising forms close on the 20th of third month preceding date of issue. Printed in U. S. A. Member Audit
Bureau of Circulations. Send all remittances and correspondence concerning subscriptions to Fawcett Building, Greenwich. Conn. Advertising offices: New York, 1501 Broadway;
Chicago, 360 N. Michigan Ave.; San Francisco, Simpson-Reilly, 1014' Russ Building; Los Angeles, Simpson-Reilly, Garfield Bldg. Editorial offices, 1501 Broadway, New York City.

Illlllll IIMIISriH!

By WHITNEY WILLIAMS

Si There's a small restaurant on the out-
skirts of Hollywood where a movie
star is treated, not like a celebrity — not
at all like a celebrity.

JOAN BLONDELL dropped by for
luncheon, and, not finding anything to
her liking on the menu, ordered good old
reliable ham and eggs.

"You'll have to order what's on there,"
the owner told her, inelegantly.

"But I don't want anything on there,"
Joan protested. "I want . . ."

"No use eating here, then," the man
cut in, and walked away.

All right, what would YOU have done?

■ CHARLES BUTTERWORTH is as
droll off the screen as on, it seems.

At a party not long ago, a producer-
friend offered to throw a banquet for the
comedian, as a goodwill gesture. They
parted long past the midnight hour, as the
affair was a festive one.

At exactly five-thirty in the morning
— THAT morning — the producer was
rousted from his bed by a telegraph boy,
who insisted that he had orders to de-
liver his message personally. The tele-
gram read:

"Have not heard from you regarding
my party. Am deeply hurt. (Signed)
Butterworth."

Oh, these comedians!

H Height of something or other:
JOAN CRAWFORD wai ting-
quite unnoticed — while her husband,
FRANCHOT TONE, signed the auto-
graph books of three youthful fans. A
few moments later, the trio nearly died
of chagrin and disappointment when they
learned the identity of Tone's companion.

■ FREDDIE BARTHOLOMEW,
JACKIE COOPER and MICKEY

ROONEY were discussing the whys and
wherefors of movie fame. Spoke Mickey,
one of our best juvenile actors, gravely:

"I had to wait until I was five for a
break in pictures."

Practically an old man, to hear him ex-
plain the harrowing situation.

Here's a story that should be re-
peated. It concerns AL JOLSON and
admirably bears out the truth of the as-
sertion that Al is one of the most thought-
ful souls in the film capital.

Dropping by a florist shop, the Mammy-
singer wandered about through the field
of blossoms until he came to a certain
large blooming plant.

"I want twelve of those, just like that

one," he told the delighted clerk, and
gave him twelve names and addresses,
the names of either the mother or the wife
of twelve studio workers whom he par-
ticularly liked. And the price? Just
$35.00 a plant, totalling $420.00 to make
a dozen ladies, whom Al had never met,
happy.

| The Hal Roach lot resounds with
piercing and pungent yodelling
these days. Reason: Laurel and Hardy
are about to embark upon their new
comedy, Swiss Cheese, and they're re-
hearsing for their roles. But everybody
else on the lot is going about with hunted
looks in their eyes. They just can't take
it.

■ If you think all the young glamour
gals go about starving themselves,
you have another guess a-comin'. Some
do, of course, to retain those divinely-
slender figures, but list to a luncheon we
saw ANN SHERIDAN order . . . and
without blinking an eyelid, too.

Billy Gilbert, famous for his sneezing and stut-
tering on the screen, said "I do," without any
mishaps whatever at his wedding to pretty Ella
McKenzie. The ceremony was performed in the
home of Director W. S. Van Dyke

Ann consumed a rich, creamy soup;
a ham steak enough for three, with a
double order of mashed potatoes and thick
gravy; countless slices of raisin bread;
finished the mashed potatoes and gravy
of a table companion who was on a diet;
and ended this simple little repast with a
huge chocolate nut sundae.

And, quoth Ann, this luncheon was very
similar to that she devoured so lustily
every noonday.

Ann, though, isn't the only large eater
of the colony. JOAN FONTAINE told
us her mother orders double of everything
for her, so enormous is her appetite — ■
Joan's only a growing girl, you see!—
and she always eats before retiring for
the night.

■ JOAN and OLIVIA DE
HAVILLAND'S mother — yes, Joan
and Olivia are sisters — gets excited every
time she sees a picture star, whether on
the street, in a restaurant or at the studio.

"But, mother," the girls declare, su-
periorly, "WE are in pictures, too. Stars
aren't any different from us."

"Pshaw," comes back Mrs. de Havilland,
fondly and smilingly, "you're only my two
darling little brats." And then will nearly
wrench her neck to catch a glimpse of
some passing star.

Even in the far reaches of the South
Seas the natives are playing tourists
for suckers.

RAY MALA, the Eskimo actor whom
you probably saw and admired in Last
of the Pagans, bought a whole raft of
pearls when he was in Tahiti last year
on location. Several natives sidled up
to him, and in hushed tones inquired if
he would like to purchase a few choice
specimen pearls they had smuggled while
diving for a syndicate.

Ray was charmed . . . there, before him,
was the opportunity to avail himself, for
a paltry few hundred dollars, of rare
jewels worth many thousands of dollars.
WOULD he? So, to everybody's satis-
faction, the pearls exchanged hands, and
Ray became the proud owner of a goodly
number of very valuable pearls.

Not long ago, Ray took these pearls to
a jeweler to have made up into a neck-
lace for his wife. The jeweler examined
them carefully, then spoke quietly . . .
"These are Japanese pearls, worth at the
most $50. Are you sure you want them
made up in the expensive fashion you've
outlined to me?"

Now, Ray is wearing that hang-dog look
about town . . . and do you wonder?

GENE AUTRY.

a'« ma -james «,

fiM AUTRY °n

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LEO CARRILLO

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CAB CALLOWAY

KMWffffl

KAY THOMPSON

KggoW

TED LEWIS

Featuring TED LEWIS and his ORCHESTRA
CAB CALLOWAY and his COTTON CLUB ORCHESTRA
KAYTHOMPSONandherRADIO CHOIR- JOE DiMAGGIO
HENRY ARMETTA • LUIS ALBERNI • MAX TERHUNE
SMILEY BURNETTE • LOUIS PRIMA AND HIS BAND
AND ... Introducing That Singing Cowboy Star

GENE AUTRY

Directed by CHARLES F. RIESNER ■ Original screen play

by HARRY SAUBER • Adapted from Ihe musical revue "Manhattan

Merry-Go-Round" by FRANK HUMMERT

Associate Producer HARRY SAUBER

JOE DiMAGGiO

HENRY ARMETTA

HIT TUNES . . .
"Round Up Time in Reno"
"Have You Ever Been In Heaven?"
"Mama, I Wanna Make Rhythm"
"I Owe You"
"All Over Nothing At AH"

LUIS ALBERNI

/

PICTURES

CREATE HAPPY HOURS

When Answering Advertisements Please Mention January HOLLYWOOD

"What's the use of Christmas?" ponders Marie Wilson. "Snow men melt, you lose all your best
gift handkerchiefs, you eat the candy and then you haven't any left. You can't win." Jane
Wyman takes a happier view of the matter. Miss Wilson's melancholy comedy will be seen next
in Warners' Without Warning. Miss Wyman is making Larger Than Life for the same company

My gosh, even the simple natives are
crooked!

B Oddity: JANE DARWELL, the
character actress who raises a few
turkeys on her ranch, promised friends
some particularly fancy ones for their
Thanksgiving dinner . . . but long before
the holiday Jane had adopted them as
pets and couldn't bear to think of chop-
ping off their heads. So, she had to buy
the promised gobblers at the butcher's.
(Note: You should see Jane as she walks
about the yard. Nine turkeys insist upon
following at her very heels.)

LIFE IN THE HOLLYWOODS:

■ MADGE EVANS returned to Holly-
wood from New York with eight
trunks filled with clothes purchased in
eastern shops ... at a pajama party the
night following her arrival, she modeled
every costume for benefit of all her girl
friends . . . several days after Stella Dallas
was released, ANNE SHIRLEY received
a long distance call from San Francisco
... a man wanted her to settle a bet . . .
did she, or didn't she, play the very young
girl in the picture? ... he didn't think

she did, she was so young-looking on
the screen . . . MAURICE CHEVALIER
still has a bank account in a Hollywood
bank . . . now that he's taken up polo,
BRUCE CABOT is coming in for some
good-natured ribbing . . . thus far, he's
received — collect — three horses . . . but
don't be alarmed . . . two were saw-
horses and the other a clothes-horse . . .
PAT O'BRIEN has devised a novel way
of watching his new home in Del Mar go
up . . . since he's too busy at the studio
to make the more than hundred-mile trip
very often, he's arranged with the con-
tractor to photograph each day's progress,
and send him the film . . . well, that's
ONE way . . . ANN GILLIS, youthful
heroine of The Adventures of Tom
Sawyer, collects autographs . . . but who
doesn't, these days? . . . CAROLE
LOMBARD is just as enthusiastic with
her candid camera . . . WILLIAM
KEIGHLEY, the director, talks with his
sweetie-pie, BEVERLY ROBERTS, over
short-wave radio — of all things! — when-
ever he goes on location away from the
studio . . . JASCHA HEIFETZ will collect
$20,000 a week EVERY week for the pic-
ture he'll make for SAMUEL GOLDWYN
. . . bet he'll hope and pray for overtime

... the ROBERT YOUNGS still haven't
found a name for their new baby . . .
meanwhile, they call her Peanuts . . . it's
to BETTE DAVIS' credit that she refused
to kick a dog for one of the scenes in
Jezebel . . . what dog-lover WOULD,
though, for that matter, even for a pic-
ture? . . . JUNE COLLYER, spouse of
STUART ERWIN, always accompanies
her young son to school each morning,
and at noon calls for him.

B So you think stars are their own
bosses, eh? They are . . . sometimes.
But not when they have business man-
agers.

TYRONE POWER saw a shiny new car
he wanted, and was about to close the
deal. There was one hitch. . . .

His manager refused to allow him
money for its purchase. (What us artists
must go through!)

| Here's a situation that gets funnier
the more you think about it.

A fan sent JOE PENNER a present, but
instead of the inevitable duck it turned
out to be a fighting cock.

Not knowing exactly what to do with
it, the comedian presented the fowl to his
friend, JACK OAKIE, who, in turn, made
a gift of it to MACK GORDON, the song
writer, after being picked and clawed one
entire afternoon.

Proud as Punch of his new acquisition,
Gordon put it down cellar until he could
build a coop for it. But here's the joker
. . . when the coop finally was constructed
and Mack started to go down cellar to get
his new pet, he was immediately attacked!

Now, Mack doesn't dare go into the
cellar, nor can he entice any of his more
courageous friends to venture into the
bowels of his home in quest of the chick.
Nor will his man-servant — ordinarily a
hardy soul — put foot below the first floor.
What is particularly sad is the fact that
several cases of rare wines are below, of
a vintage fairly screaming to be sampled.

Not knowing what else to do, every day
Mack throws down feed for the cock, but
not even a million dollars could persuade
him to descend into that cellar. Mean-
while, the cock struts back and forth and
completely rules the cellar, even daring
Mack and all his pals to come down all
at once to get him. It's a situation that
happens once in a lifetime.

B It's good to see HELEN TWELVE-
TREES once more on the screen. In
Holly w ood Round-Up, with BUCK
JONES, she plays the role of an almost-
forgotten star who tries to come back in
a western film. It's particularly interest-
ing to note that Helen actually is portray-
ing herself . . . she might be that very
actress. For Helen HAS almost been for-
gotten through having remained away
from pictures so long, and IS trying to
come back as Buck's leading lady.

B When CLARA BOW opened her IT
CAFE in Hollywood, she wanted to
act as her own hostess and greet the cus-
tomers as they arrived. She envisioned
for herself a new role, and nothing would
have pleased her more than the oppor-

8

tunily to welcome old friends again.
Hollywood, however, as funny a place
as ever you've heard, wouldn't have it. It
censured her roundly, declared she was
trying to be a Hollywood hostess and that
she was cheapening herself. So adverse
was the criticism, and so cruel, that Clara,
after a night or two, withdrew . . . and
now appears on the scene only twice a
week. And then, only for a brief dinner.
Hollywood, it would seem, just won't al-
low Clara to lead her own life.

■ While hubby-HERBIE KAY, the or-
chestra leader, is conducting his or-
chestra at a Hollywood night spot,
DOROTHY LAMOUR goes out of an eve-
ning without him. But don't be alarmed,
gentle readers . . . there's no man in the
case. Rather, she tucks at least four or
five under her wing and makes a round
of the clubs well escorted.

CUPID REPORTS THAT:

B ANDREA LEEDS now no longer
favors JON HALL as a companion
but has turned her smiles upon JACK
DUNN, the skater . . . WENDY BARRIE
that certain way about BRIAN AHERNE
... and MARY CARLISLE dividing her
time between BILLY BAKEWELL and
JAMES BLAKELEY . . . lucky pups . . .
you should see MARIE WILSON take it
big when Director NICK GRINDE calls
her "Ma" ... it won't be long now before
SHIRLEY ROSS is MRS. EDDIE ANDER-
SON . . . young but oh my— JUDY GAR-
LAND and MICKEY ROONEY have fallen

What's the use of being a star if you don't have
a yacht? So sea-going Shirley Temple loosens
the main sheet and runs before the wind over
the turbulent waters of her swimming pool dur-
ing her vacation between Heidi and Rebecca
of Sunnybrook Farm at Twentieth Century-Fox

Is Your Skin Treatment

MRYFORYOU?

IF YOUR PRESENT METHOD LEAVES YOU WITH
BLACKHEADS, COARSE PORES, DRY SKIN, THEN IT'S
TIME TO SWITCH TO A PENETRATING FACE CREAM!

Let me ask you a perfectly frank question.
What results do you expect from your way of
skin cleansing, and do you get them?

First, you expect a clear, fresh skin, don't
you? If your skin seems to have a dingy cast,
or if blackheads grow in the corners of your
skin, your cleansing method has simply failed
to remove dirt hidden in your pores.

Then too, you'd like to have a soft skin.
But how does your face feel when you smile
or talk? Does it seem dry; does it feel a little
tight? If it does then your treatment is not re-
supplying your skin with essential oils that
help give it a soft, baby-like texture.

And of course you want a smooth skin. But
if, when you pass your fingertips over your
face, you feel tiny little bumps, then you can-
not say your skin is smooth. Those little
bumps often come from specks of waxy dirt
which your cleansing method has failed to
dislodge from your pores.

So let's be honest with ourselves. If you
are not getting the results you pay your good
money to get, then your skin treatment is not
lucky for you.

How a Penetrating Cream Works

Women who use Lady Esther Face Cream are
amazed at the improvement in their skin, even
after a few applications. That's because this
cream penetrates the dirt that clogs the pores.

Lady Esther Face Cream loosens black-
heads, floats out the stubborn dirt that laughs
at your surface cleanser.

At the same time, this cream re-supplies
your skin with a fine oil to help keep it soft
and smooth.

Try, Don't Buy
I do not want you to buy my cream to prove
what I say. I want you to see what it will do
for your skin, at my expense. So I simply ask
that you let me send you a trial supply of my
Face Cream free and postpaid. I want you to
see and feel — at my expense — how your com-
plexion responds to this new kind of penetrat-
ing cream.

I'll also send you all ten shades of my Lady
Esther Face Powder free, so you can see
which is your most flattering color — see how
Lady Esther Face Cream and Face Powder
work together to give you perfect skin smooth-
ness. Mail me the coupon today.

{You can paste this on a penny postcard)
Lady Esther, 7130 West 65th Street, Chicago, Illinois

Please send me by return mail your seven-day supply of Lady Esther Four Pur-
pose Face Cream; also ten shades of your Face Powder.

Name-
City

-Address-
- State

(If you live in Canada, write Lady Esther, Toronto, Ont.)

(38)

L.

When Answering Advertisements Please Mention January HOLLYWOOD

S€L€ CT

FAY W RAY *

APPEARING IN

'lT HAPPENED IN HOLLYWOOD*

A COLUMBIA PICTURE

rill thrill to the charm of this lovely silver-
rare. And there's an additional thrill in an
offer your dealer is now making. . . With the
Quantity Saving of $4.75, you can now own
a 60-piece Service for only $29.75. And you
receive* the $5.00 value tarnish-proof Wood
Chest, and a beautiful $2.50 Pierced Pastry
Server — ABSOLUTELY FREE! Ask your dealer
about the PALM SPRINGS CHEST.

W ROGERS®

MADE BYOflEIDA LTD.

Copyright 1937 Oneida I^d.

Errol Flynn turns on that Irish fascination triple strength for the benefit of the camera and the

amusement of Gloria Blondell, sister of Joan and also under contract to Warners. Flynn is dressed

in one of his Robin Hood costumes

in love . . . JUNE LANG playing the field
. . . one night it's PAT DE CICCO . . j.
then, A. C. BLUMENTHAL, and a certain
darkhaired polo player . . . GINGER
ROGERS' finding LEE BOWMAN'S wit a
boon to boredom . . . newest combine is
GLORIA BLONDELL, JOAN'S sister, and
MAURICE MURPHY . . . it's BUSTER
KEATON now for LONA ANDRE, and
ROCHELLE HUDSON can't seem to make
up her mind between JIMMY YOUNG,
son of the food merchant, and the San
Francisco financier, JAMES FLOOD . . .
wonder why ROCHELLE doesn't go out
more with picture boys? . . . two ex's to-
gether, but not from each other —
CONSTANCE WORTH (she was MRS.
GEORGE BRENT) and VIC ORSATTI
(formerly JUNE LANG, INC.) doing the
night spots together . . . GLENDA
FARRELL still can't decide about DREW
EBERSON . . . SANDRA STORME the
newest catch, with all the film lads and
TOWNSEND NETCHER and A. C.
BLUMENTHAL in pursuit . . . wonder
when LILY PONS and ANDRE
KOSTELANETZ will tie the knot ... or
have they?

■ GARY COOPER went hunting with
two friends and a stranger. When
they returned in the evening, the wives
met them and the stranger turned to Gary
... "I didn't get your name."

"You dope," quoth the stranger's wife,
to him, later . . . "that was GARY
COOPER." "Well," came back our
stranger, "he didn't know me, either."

So, you see, stars aren't always recog-
nized.

@j HAROLD LLOYD is a pushover for
street peddlers. He'll stand and watch
a salesman demonstrating some food prod-
uct or gadget to prepare food, by the hour.
At the Pomona County Fair, not so long
ago, he and his wife spent more than fifty
minutes standing before a man demon-
strating how to peel and mould apples and
carrots in fancy figures, while a huge
crowd gathered round and stared at them
in awe.

B SALLY EILERS has discovered prob-
ably the world's most trusting fan.
The other day she received a letter re-
questing ten photographs of herself. En-
closed was a signed blank check, "to
cover any expense involved."

■ JUVENILE FOLLIES: SHIRLEY

TEMPLE has reached the point of

admiration for long words, and is apt to

either confuse them or coin them herself.

While studying the array of live stock
on the Rebecca of Sunnybrook Farm set,
someone pointed out a remarkably fine
rooster. Shirley considered him approv-
ingly for a moment, then remarked:

"That's a real roostercrat."

Honest!!!

B| And now it's the editorial dress!

OLIVIA DE HAVILLAND has taken
pieces of film from all her pictures and
had them reproduced on a dress. It's an
odd effect . . . but it's handy one way.
If Olivia ever gets lost while wearing the
garment, all she has to do is show it to
someone . . . and they'll immediately find
her for herself. (If you get what we mean.)

H Probably no actor in Hollywood en-
joys posing for stills. But now we'll
have to change the tense of that statement.

Accept No Substitutes! Always Insist on the Advertised Brand!

Jane Withers smiles over the top of the minia-
ture piano which she will present to the clever
winner of her "Miss Santa Claus" contest.
Second prize is the pretty little radio, and third
is the Jane Withers doll. The hoop, Jane is
keeping for herself. Because of the great num-
ber of answers, winners will not be announced
until next month's issue

For OUR GANG simply dotes on it . . .
now.

THE GANG, it seems, was summoned to
the studio to make some Thanksgiving
pictures for publicity purposes. 'Aw,"
they grumped, "it's nuthin' but a lotta
hooey . . . prop turkeys and no fun."

But a surprise awaited them. The pic-
tures were to be made in color. And as
color picks up as black-and-white does
not, real food had to be used.

Presto, chango . . . roasted brown tur-
keys made their appearance, with cran-
berry sauce and pies and all the wotnots
that accompany a turkey dinner! The kids
have been clamoring for more publicity
pictures ever since.

■ A letter from MAUREEN
O'SULLIVAN, now in England play-
ing the leading feminine role in A Yank
At Oxford, discloses that she and hus-
band-JOHN FARROW are living in a
small cottage in the town of Denham, only
a few minutes' walk from the studio . . .
and the house was built in 1561.

Further . . . the entire troupe uses
elaborate trailers for dressing rooms. And,
one day, while motoring through the coun-
try at a leisurely pace, she chanced to look
behind and there were fifteen or sixteen
people on bicycles following her. When

they saw she noticed them, all — as of one
accord — waved to her.

E£ W. S. VAN DYKE, the director, de-
lights in baiting people. NELSON
EDDY is his latest victim.

A certain woman writer for an im-
portant syndicate wrote something about
the two that neither particularly liked.
They got together, and agreed that neither
would henceforth have anything to do
with this individual, and they'd make
things as tough as possible for her.

Came the day she arrived on the set.
"I won't work with that women here,"
EDDY declared. He stalked away for a
few moments, then returned.

There, chatting and laughing uproari-
ously, sat VAN DYKE and the writer, the
best of friends. EDDY, now, trusts NO
ONE.

M LITTLE LOOK-SEES: HAROLD
LLOYD is taking unto himself new
fame, as The Great Clayton. In the event
this title means nothing to you . . . LLOYD
has turned mind-reader — for social pur-
poses, of course — but it's reported that his
talent along this line is positively amaz-
ing.

CONSTANCE BENNETT has gone into
the cosmetics business, and you'll probably
be using her product yourself before long.
Her brand is shortly to go on the market
in every prominent city of the United
States.

OLIVER HARDY, of LAUREL and
HARDY, can't play Bridge unless there's
a platter — yes, platter — of sandwiches by
his side. Whenever he enters a game at
the club, a waiter always hovers near to
see that the platter is never empty.

FRANCES LANGFORD has started a
"friendship garden" along the side of her
new Brentwood home. It will be used
exclusively for flowers and plants given
her by her friends. Already, there are
more than fifty different varieties of rare
plants.

FRED ASTAIRE has copyrighted the
Drum Dance he has devised for Damsel
In Distress. More than twenty drums of
rather mammoth proportions are used in
this sequence, and 'tis reported it is one of
the most novel dancing numbers ever
viewed.

Norma Shearer, just beginning to appear in
public again, greets Dolores Del Rio and
Gregory Ratoff before a Philharmonic concert

As usual, Cecil De Mille does as much acting
as anyone in the cast of the film he Is producing.
Here he is in full action, testing the steel of a
sword to be used by Fredric March in his role
of the colorful pirate, La Fitte, in The
Buccaneer. He borrowed the 19th century tail
coat from his star to help him get in the proper
swash-buckling mood

H Because she failed to heed the warn-
ing of a studio make-up artist, LILY
PONS found herself immersed in trouble.

For several of the scenes in her latest
picture, Lily had to wear body make-up.
A new type of make-up was used, one on
which water had no effect. A special re-
mover was required to divest the wearer
of this make-up. Moreover, water turned
the make-up into a hard cake, and almost
impossible to remove.

Well, sir, Lily forgot all about this, and
when the day's work was done dashed to
her dressing room and under the shower.
And therein lies our tale.

Three women labored over Lily for more
than an hour, in an effort to remove the
cakey substance that covered almost her
entire body. Lily, at last reports, had put
herself completely in the hands of her
make-up artist.

■ Shades of CECIL B. DE MILLE . . .
bathtubs have come into their own
again. You'll see MIRIAM HOPKINS in
one, in Women Have a Way and GLADYS
SWARTHOUT, too, in Romance in the
Dark. Miriam spent three days completely
immersed — well, all but her head — and
what a time . . . The set was closed to visi-
tors— even studio executives — but it's ru-
mored on good authority that more than
one mere male, among the working crew,
swooned [Continued on page 63]

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Year in and year out the hunt
goes on for talent, but no
hunter's license is needed,
and there are no wild life
havens for the pursued actor

By WINIFRED AYDELOTTE

Name-

Address.

Johnny DeSylva, talent scout for Universal, just before he turned away from his clay's duties and
explained why studios hire men to scour the country for new faces

I Have you a nickel?

Do you want a screen test?

Walk, don't run, to the nearest telephone
(if you live in Hollywood), call Hemp-
stead 3131 and ask for Johnny DeSylva.
He is the talent scout at Universal Studios,
and, at the drop of a nickel, he will give
you an audition.

If you live elsewhere, don't come to
Hollywood to telephone. Use your nickel
to call the Little Theatre in your town,
take any part you can get, be patient, and,
if you have anything on the ball, you'll be
discovered. For the talent scouts, like the
poor, we have always with us. There is
not a city, town or hamlet in the United
States which has not felt the invasion of
these eagle-eyed scouts, looking for Dur-
bins and Hepburns for the cinema.

■ And why? "WHY are talent scouts,"
asks the puzzled public, ''when all the
world flocks to Hollywood? Why don't
the producers look right under their
noses?"

Johnny DeSylva answers this question
and with authority. Johnny started in the
show business as lobby boy and actor for
the Shuberts at the age of ten. (His parents
thought he was in school.) When he was
eighteen, he was the youngest company
manager on Broadway. Then he covered
acts for the Shuberts, later becoming an
agent. He quit that to manage his own
stock company. Then he came to Holly-
wood and produced condensed versions of

musical shows at the Million Dollar
Theater and started the Sunday night
vaudeville concerts at the Ebell Theater,
where Judy Garland (then named
Gumm) , Ray Mayer, Fuzzy Knight and
others were discovered. Johnny is only
thirty-two now, and there's not much
about the show business he doesn't know.

■ "I'll tell you the WHY of talent
scouts," he said. "Persons with that
rare thing called talent usually lack one
quality — the ability to sell themselves.
Hollywood is filled with youngsters who,
confident that their faces won't turn a
camera green around the gills, think they
are great movie finds. They swarm all
over the place. They sell themselves. They
yell. They get in your hair. And the more
they yell, the less they have for the screen.
Just let a person say to me, 'I'm great,' and
I know he isn't. But the ones who really
have talent are quiet about it. And they
are the ones who have to be discovered.
Although the casting offices are open to
the public, it is once in a lifetime that a
potential screen player will walk up to
the window. The phonies, yes. But the
others haven't the nerve.

"The other reason for scouts is this: no-
body can tell how a person will photo-
graph. Mabel Jones comes to Hollywood,
perhaps, because all her friends tell her
she is beautiful and her snapshots are
swell. But the chances are she will photo-
graph like an old hag. The movie camera's

12

Accept No Substitutes! Always Insist on the Advertised Brand!

eye is a baleful thing. Or, suppose she is
one of those people who photograph
like a million. Her picture simply shrieks
that she is a find. You can't tell, just by
looking at her and talking to her, whether
she has what it takes. Maybe, behind that
attractive manner of hers is an emotional
blank; perhaps that lovely musical voice
cf hers can't read lines; maybe there is no
feeling behind her deeply tragic eyes. We
have to see a girl in action and see what
the camera does to her, even if she AP-
PARENTLY has everything, before we
can tell. That is why I advise aspirants
to appear in Little Theatres. Scouts can
then spot them in action, and if they can
act, the only other question to be an-
swered is — will they photograph? And
that's our job — to give all possibilities a
chance at a screen test."

| Hollywood is swarming with girls
whose friends have said, "You ought
to be in the movies. You look just like
Claudette Colbert."

In the first place, Hollywood wants no
carbon copies of stars; in the second place,
the carbon copies probably won't photo-
graph like the originals. So you're stymied
both ways.

Scouts very seldom miss a Little Theatre
or a Federal production anywhere in the
United States. They also cover school
plays and night clubs. The screen possi-
bility is a needle in a haystack, but don't
be discouraged. Be a good, quiet little
needle and you'll be found.

Once a week DeSylva gives the hopefuls
who have telephoned him an audition.

DeSylva takes those who go over well
to Rufus LeMaire, who is the head of the
talent department at Universal. Mr. Le-
Maire has each one read a scene from a
play. If that goes off well, the innocent is
sent to "Speed" Margolies, who gives him
a screen test. And a screen test is a gosh-
awful ordeal. LeMaire and the producers
look at the test and if it doesn't give them
a pain, the victim is sent to Madame Ko-
pelle, the dramatic coach, who has charge
of the mi-mi-mi's and gestures. After six
weeks of training, the by-this-time
probability is grandly entrusted with an
infinitesimal part in a picture, and if he
doesn't draw down upon the studio's head
an avalanche of yelps, he gets a bigger
part next time until, as tempus fugits, he
becomes a Gable or a Garbo.

B I went to an audition one afternoon.
It was held at the Trocadero. In the
black and white and silver emptiness of
the place, each try-outer went through his
stuff with only the supercritical other try-
outers, and DeSylva, as audience. This,
also, is known as an ordeal. (It is an or-
deal for DeSylva, too.)

There were the usual be-curled blonde
nine year olds throwing their skinny little
pipestem legs about in acrobatic or tap
dances; there was the tall young man with
the bi-focal glasses and no chin who sang,
in a soft, lullabye voice full of air, "The
Road to Mandalay;" there was a girl who
lifted her face from the microphone like a
howling dog and backed Martha Raye
right off the map so far as the noise went;
there was the young man in dirty white

flannels and sweat shirt who did raucous
jazz versions of negro folk classics; there
was the woman who took her pince nez,
clasped her hands before her in Juliet's
balcony attitude, adopted a painful prop
smile and hit a high note that was a cross
between C sharp and the Chinese scale
and held it, too, until she burst into tears
and ran out.

The predominate type was the twenty-
year-old girl who, too utterly, utterly
jazzy, fell into the "get-hot" stance the
minute she faced the microphone, her back
swayed as though she were in the last
stages of pernicious anemia; her elbows
stuck angularly out at the sides; her knees
bent, her shoulders hunched and curved
forward, and who yelped her song out
with fortissimo on the high notes and
sotto voce on all others.

There were, also, the short stout man
who could really sing but whose face would
make a clock turn to the wall; the beauti-
ful damsel who couldn't sing; the girl who
did a Beatrice Lillie; the girl who had
nothing but conviction. Out of the entire
afternoon's group, DeSylva snared two
possibilities. And this was a typical group
of those who felt they were screen finds!
Who had come to Hollywood confidently
expecting to break into pictures! Who
had dropped their nickels into the tele-
phone and said to Johnny DeSylva, "I'm
great!" And through it all he sat, suffer-
ing mightily but not showing it. No won-
der he pleads, "Don't come to Hollywood."
No wonder he says, "The ones who have
talent don't tell anyone about it" Yet, be-
cause he is a good talent scout and there-
fore eternally optimistic, he will never
refuse anybody an audition. But it is a
fact that scouts find more real screen pos-
sibilities in America's Little Theatres and
Federal Theatres, no matter where or how
small, than among the hundreds of ap-
parent possibilities right under their noses
here in Hollywood! And how those boys
do get around!

| Johnny's bitterest cross is the parents,
the parents who think their children
are geniuses, or who want their children
to have a career which they themselves
were denied, the parents whose motives
are mercenary. The cinemammas and
cinepapas!

"Every time I find a girl I think is
screen material. I pray she won't have a
mother," says DeSylva. "So does the
studio, and I can't tell you how many girls
we would have signed up if they hadn't
had the kind of mothers they had. Parents
can cause more trouble in a studio with
directors, with cameramen, with other
parents, with children. One mother
brought her sixteen-year-old daughter to
an audition and when she thought the
girl didn't sing as well as she should have,
she spanked her right there before every-
body. What I didn't tell her! The girl
really was swell and I would have given
her a screen test if she had not had that
mother.

"The worst experience I ever had with
a parent, however, was with the father of
a fifteen-year-old girl. After the girl did
a tap dance for me, the father forced her
to do a complete strip tease act. Only she

didn't get that far. We threw him out
. . . hard. Parents are the bane of Holly-
wood and you can bet your bottom dollar
that the parents who are admitted to the
studios are all pretty decent."

E Talent scouts do not announce their
presence if they can help it. And so
you and you and you in all the country's
Little Theatres have probably been
weighed without your knowledge and
found wanting. But don't be discouraged.
Keep working, studying, enlarging your
scope, and if the scouts passed you by
this year, they may pick you up next year.

From the entire United States, talent
scouts find an average of only ten real
possibilities a week. Their goal is genius,
any age, either sex; they are happy to find
ability.

They are traveling salesmen with fame
to sell and their route is the world. If you
can sing, don't let that one talent blind
you to the lack of others. Learn to dance,
too. Learn to act by acting. Study lan-
guages; study people and see what makes
them tick; read biographies and plays.
Go to every picture and play you can.
Don't rest on one laurel, especially if it
is that enviable one — beauty. Beauty is
cheap in Hollywood. Work, perfect your-
self, get ready for the fame salesman, for
you can't tell when they will call.

Did you enjoy this story? Then you will
be interested in "Etiquette for Fans" which
tells what to do and what not to do when
you come to Hollywood and meet a star.
It's another inside story for next month's
HOLLYWOOD Magazine.

Vivian Coe, winner of five beauty contests, ready
to go into her tap dance in The Goldwyn Follies

13

I'll

I'LL DO IT IF IT

says Joan Crawford . . .

a dramatic statement,
says you . . .

a dramatic star, says we . . .

a dramatic story, says
all . . .

Read it in the January issue of

MOTION PICTURE
now on sale at your newsstand.
Get your copy now because you
won't want to miss this or any of
the other dramatic stories about
your screen favorites in

MOTION PICTURE

MOTION PICTURE was the first
fan magazine and remains firsf
in revealing the interesting inci-
dents in the lives of Hollywood's
glamour people to its fans.

CENTS

.roll III

By GORDON W.

FAWCETT

B Motion picture producers, who just
a short time ago were battling the
advancement of radio, are now figuring
out ways and means of cashing in on its
popularity. Metro-Goldwyn-Mayer has
just completed a deal with General Foods
and for the next 36 weeks -radio fans
should be able to dial in on a program
put on by some of the best picture per-
sonalities of the day. Bill Bacher, the
genius behind the Hollywood Hotel pro-
gram has been engaged to produce the
General Foods M-G-M program which
makes it doubly sure that it will be a pro-
gram well worth listening to.

Warner Brothers' Studio is looking for
a similar set-up. Most naturally their
program would be built around Dick
Powell whom they jerked off the Holly-
wood Hotel hour some eight months ago.

Twentieth Century-Fox is capitalizing
on radio in a great big way. All of their
players are open for radio programs but
if they are to "go on the air" the adver-
tiser must pay plenty for their services —
and one-half of the salary goes into the
studio coffers. Paramount, United Artists,
Universal, in fact all of the studios are be-
coming very much radio minded.

H Jack Oakie gave a party for the radio
press immediately after the inaugra-
tion of his Oakie College last October.
Oakie's program this year is to carry con-
tinuity from week to week. Stu Erwin
will be the star footballer of Oakie Col-
lege as well as being a very able stooge for
Oakie's gags.

| Hollywood will be originating over
90% of the personality programs on
the major networks by the middle of No-
vember. Rudy Vallee, Fred Allen and
Phil Baker will shift back east, however,
as soon as current picture obligations are
fulfilled. Eddie Cantor will also etherize
his program from New York, but for only
a few weeks early next year. As it is
now, the following big names are all com-
ing to you direct from Hollywood: Jack
Benny, Fred Allen, Burns and Allen, Jack
Haley, Ben Bernie, Sid Skolsky, George
Fisher (subbing for Walter Winchell) Bing
Crosby, Bob Burns, Lany Ross, Chas.
Butterworth, Amos 'n' Andy, Jimmy Fidler,
Chase & Sanborn Coffee Program, Irene
Rich, Tyrone Power, Rudy Vallee Variety
Hour, Hollywood Hotel, Ken Murray, Joe
Penner, Al Jolson, Lux Radio Theatre,
Alice Faye, Jack Oakie, Eddie Cantor and
Jeanette MacDonald.

23 The premiere of Woodbury's Holly-
wood Playhouse Program, starring
Tyrone Power was a brilliant one. Power
has a guest star each week in front of the
mike, and plenty of famous friends in the
audience. Darryl Zanuck, Tyrone's boss,
was on hand to give the opening program
a touch of brilliance. Zanuck had for-
gotten his promise to appear with Power
and when the studio got in touch with him
he had just fifteen minutes to get to the
studio from his ranch in Encino. That
probably explains his showing up in blue
dungaree's, boots, and a turtle neck
sweater topped off by a plaid sport coat.

H The sound effect technician of the
Lux Theatre is supposed to have the
largest library of "effects" in the world.
But in a recent Radio Theatre produc-
tion he had to stop and think. One of
the background sounds of the production
was a swinging gate, a little bit rusty. First
of all he looked for a rusty gate in Holly-
wood to get an idea of the sound. None
was to be found. Then calling on a boy-
hood memory of what such a gate was like
he tried every possible combination of
equipment in his "library." None of it
sounded like a real gate. So eventually
he just went ahead and built a gate,
using some old hinges. Oddly enough it
sounded just like a rusty gate — that is,
the third one he built, did.

H One topnotch radio comic is threat-
ened with having his long time con-
tract cancelled if he doesn't show up for
rehearsals. His sponsors have agreed to
give him one and only one more chance
. . . Bob Burns revealed on a recent broad-
cast that if he has no oil handy he uses
lard to keep his bazooka in tip-top shape
. . . Sidney Skolsky, the most recent news-
paper columnist to turn to radio, suffers
terrifically from "mike fright." The studio
has a big lounge chair for Sidney to relax
in during his broadcast . . . Hollywood,
known for the unusual, held a party re-
cently with one of its hosts missing. Lead-
ing radio and screen celebrities, radio
executives and friends gathered in Sardi's
Blue room to give Jack Haley a big send-
off for his first radio show. Jack Benny,
one of the hosts had to stay in Palm
Springs under doctor's care with a bad
cold . . . On a recent Lux program Barbara
Stanwyck had to portray by voice alone
the same character at the age of 19, 24, 30,
36, and 40 years . . . Col. Ezra Simpson, in
my opinion will be a big radio name in the
near future . . . [Continued on page 62]

14

Accept No Substitutes! Always Insist on the Advertised Brand!

10 WAYS TO AVOID MATRIMONY

George Sanders does not claim to be a Don Juan or a more

than normally pursued young man, but here is how he

learned about the single life the hard way

By MELISSA DODD

■ "Ten ways to avoid
matrimony . . ." rumi-
nated George Sanders, his six
feet three of height outlined
against the stone chimney in
the living room, has gray-
green eyes humorous, "I won-
der if there's anything a man
needs to know more in these
expensive days than how not
to get married? Well, I know
ten ways.

"I learned them in Finland,
Denmark, Germany, France,
England and South America.
Unintentionally, mind you."

He ran a hand across thick
brown hair in a rueful ges-
ture. He is, of course, the
hero of The Life of A Lancer
Spy, a picture in which he
plays no less than four
(please count 'em!) roles. He
was the film husband, a
meanie, of Madeleine Carroll
in Lloyd's of London, and
subsequently had parts in
Slave Ship and Love Is News.

In short, Sanders — -you pro-
nounce it "Sahnders," for it's as English
as Piccadilly Circus — -is the new discovery
at 20th Century-Fox Studios. They don't
understand why the personable young
man hasn't been marched to the altar long
before this. But Sanders understands, all
right.

Not that he's a woman hater; he simply
isn't a woman seeker. He just reads and
smokes his pipe and sails a boat and works
at the studio. His big ambition is to
snaffle 20 hours' sleep a day but, failing
this, he snaffles as much as he can. He
even lives in solitude at the top of a gosh-
awful hill on a road called, aptly, Hermit's
Glen.

B "In avoiding matrimony," continued
the hermit of Hermit's Glen, his raffish
look belying the modulated accents, "a
man generally has to be skillful. But I
wasn't. My single blessedness, if it's that,
comes from following rules I didn't know
existed. Like that time about the silver
box.

"And a good thing! For if a man marries
too early, he's likely to marry the wrong
woman.

"Meanwhile, you behold in me an ex-
pert. An inadvertent expert. From my
own sad experiences and those of my
friends I've gleaned ten rules on how

George Sanders shows of what stern stuff he

is made in The Life of a Lancer Spy by resisting

the allure of Dolores Del Rio at this moment in

the adventure film

to strew the banana peel in the path of ro-
mance.

"Curbstones did it in Denmark. A
silver box in Venezuela. A hat in
Paris."

He slanted an eyebrow from the corner
where he'd dropped into a big chair. The
knotty pine living room of this neat, camp-
like house among eucalyptus trees and
terraces of blue-purple flowers has com-
fortable chairs all about, and plenty of
end tables with books on them; a man's
room, with a free outlook from many win-
dows down the tumbled green hillside. A
bachelor is safe here from at least the
damsels who are overweight; they'd be
out of breath before the slope was half way
conquered, let alone the hermit on top of
it.

| Don't toss an overabundance of solici-
tude, however, at the hermit in ques-
tion. He's around 200 completely athletic
pounds; former interscholastic boxing"
champion during his English college ca-
reer, after he and his British parents
escaped the revolution in Russia where

he happened to have been
born; an expert swimmer,
holder of the British
Humane Society Medal for
rescuing a man from the
Thames; and, with time out
for tobacco growing in Brazil,
a London stage, radio and
cinema hit.

"Curbstones," the hermit
was recalling gloomily; "they
have nice, high curbs in some
of the towns of Denmark, and
I was tired of walking, so I
sat down on one. She said
people didn't do such things.
I grew stubborn, and sat, any-
way. I like to sit on curb-
stones. She walked off, and
I never could even get her by
telephone afterward. Be
highly individualistic (she
called it conspicuous!) in
conservative company. That's
rule No. 1 for the wedding-
ring dodger.

"Then — I prefer to sail a
boat alone or with a couple
of fellows, no woman tottering
about the deck. And I like raw onions. If
a lady needs a gas mask to listen to
your tender chatter (have you any idea
how harsh 'gas mask' sounds in Finnish?),
or if you never meet girls under glam-
orous circumstances, the spell of the sea,
you know, or the moonlight and what-
not— Well, there you are. Or here I
am.

Si 'A fourth way to make an orange
blossom curl up, as I realized from
watching a friend's effort, is to launch the
topic of hard times plus an endorsement
of the economic equality of the sexes
when the waiter presents the dinner check.
My word, that'll work like a charm; she
never spoke to him again. Still another
method, which unfolded on the Riviera,
is to ignore the little amenities. By the
time a second friend of mine hadn't done
enough hand-kissing and bowing from the
waist to suit his lady love — finis! With
fireworks."

Sanders puffed thoughtfully at his pipe.
"A truly infallible way to scramble the
bridal bouquet and make utter hash of the
nuptials, though, is to get going about the
superiority of the male. Once in England
I barely mentioned that man seemed in-
tended by nature to be the boss, because
where are your [Continued on page 47]

15

GIFTS FOR A NEW YEAR OF BEAUTY

By ANN VERXON

W When you give Christmas presents,
why not give the kind that will help
your friends to keep their New Year's
Beauty Resolutions — instead of giving
potted plants that vanish as fast as the
Christmas turkey, or books that will
never be read? It's much easier for a
gal to make firm resolutions about being
better groomed, on January 1, if she has
a lovely new manicure set, a fresh and
complete box of cosmetics, a huge bottle
of 'hand lotion or fragrant bath luxuries.
. . . Hollywood stars — who know so well
the psychological and practical value of

fine toilet preparations — like to give and
to get cosmetics, as you can see by these
photos of Betty Grable and Heather
Angel. ... So I'd advise you to "follow
the stars," and do your shopping at your
cosmetic counter, giving particular at-
tention to the items pictured on these
pages. ... If you are timid about select-
ing cosmetics for someone else, settle on
the Marvelous Eye-Matched Make-up
kit, made by Richard Hudnut. Contains
five cosmetics keyed to the color of the
eyes. . . . Quaintly named "Manicure
Caddy" is Glazo's inexpensive but neat

16

wooden case of polished sycamore, hold-
ing manicure essentials. A box that
spells nail beauty. ... To a gal who
likes to dabble in amateur theatricals,
give Elizabeth Arden's Student Make-up
Box, containing the same things used to
glamorize many a movie star. . . . Yard-
ley's new Bond Street Compact and Lip-
stick, gold and white in decor, would be
an ideal gift for a bride-to-be. . . . Any
woman, including this beauty editor,
would appreciate either of these Boyer
sets, one of Body Talc and Pine Needle
Bath Oil, the other of Face Powder, Rouge
and Lipstick. . . . Houbigant's new en-
semble of hand-processed rouge and pow-
der in feather-light cases of jade or tor-
toise shell is a gift to treasure. So is the
Houbigant Christmas-boxed bottle of Eau
Florale Concentree in Verbena, Honey-
suckle, Sweet Pea, Magnolia and Gar-
denia. ... To someone you want to
impress as well as please, give Bourjois'
"Evening in Paris" Gift Set encased in
a taffeta-lined blue and silver box. Holds
cologne, perfume and atomizer, talcum
and a vanity. . . . For the housewife who

has to baby her hands, a de luxe Imperial
bottle of Campana's trusty Italian Balm. . . .
Packard's smart Lektrolite, a flameless, wind-
proof, odorless cigaret lighter, in ivory com-
position will appeal to the girl who smokes,
for it helps keep her fingers whiter. . . . For
Pappy, a Pro-phy-lac-tic shaving set con-
taining boiwl, brush and lotion. ... If she is
planning a trip, give her Coty's "En Route"
Kit and that will send her on her way smiling.
. . . For your young sister who never has
enough lipsticks — Tattoo's five South Sea
shades in the new fifty -five cent size. . . .
Betty Grable is going to give Max Factor's
star-autographed set of cosmetics — and so
might you!

7

Head your list with "I resolve to be more
beautiful in 1938" ... If you want expert
help in keeping your resolution, write to
Ann Vernon, HOLLYWOOD'S beauty editor.
Her advice is free. Address Ann Vernon,
HOLLYWOOD MAGAZINE, 1501 Broadway,
New York, and be sure to enclose return post-
age (a three cent U. S. stamp, please . . .)

I. Marvelous Eye-Matched Make-
up set intrigues Heather Angel
Glazo's "Manicure Caddy"
costs much less than two dollars
Elizabeth Arden tempts stage-
struck gals with make-up set
Regal and lovely are Yardley's
Bond Street compact, lipstick

5. Boyer offers gay cosmetics
and a "pour le bain" set

6. Two Houbigant honies, Eau Flo-
rale, hand-made powder, rouge

7. For harmony in perfume, give

Bourjois' Evening in Paris set

8. A pretty and practical present,
de luxe size of Italian Balm

9. To light your cigaret neatly,
use smart, ivory Lektrolite

10. Good mornings for Dad in this
Pro-phy-lac-tic shaving set

11. Coty's "En Route" Kit holds
all you need for travel beauty
Drop these Tattoo Lipsticks
in the toe of her stocking!

13. For Hollywood glamour there's
Max Factor's set of cosmetics

PHOTO BY BERT ANDERSON

THE FIRST CROONER

Some men are brave, some men are fool-
hardy, and some men just don't care what
happens. Jimmy Durante seems to be all
three, because he insists upon telling the
world that he started the crooning industry

By PEGGY BALLARD

H "Down with Bing Crosby! Down with
Dick Powell! And the same to Rudy
Vallee!" Says Jimmy Durante, who ad-
mits that they're nice people, but who
wants the world to know that he is the
only and original first crooner.

It took a broken microphone to start
him crooning and Jimmy the Schnozzle
will still be at it as long as there's a mike
left to shatter. For Jimmy the bombastic,
the erratic, the mad minstrel of the stage
and celluloids has followed his notorious
nose back to Hollywood, prepared to show

18

bk

these other crooners just what is a
apple.

"What makes those warblers think
they're crooners from way back?" he asks.
"I'm a modest man, but I must confess
that I'm the first crooner."

Q It was 15 years ago when it all started.
Jimmy was packing them into a New
York night club. He wrestled chords on
a piano with the left hand and sang and
gave them the gestures with the right.
He was asked to do a benefit at a club. "I

might have got a bit excited," he remem-
bers. "At any rate I broke the micro-
phone— was I mortified?"

They hauled him into court to try to
make him pay $150 for the fractured mike.

"I'm no wild man," Jimmy told the
judge, "My voice couldn't even bruise a
mike. I'm a crooner."

"Prove it or pay up," ordered his Honor.

That's when the vocal acrobatics got
under way. Jimmy crooned.

"Case dismissed," said the judge, but
Jimmy had learned caution and he
crooned from that time on, his dulcet tones
growing dulceter and dulceter.

E "Where was Vallee then?" he shouts.
"Up in Maine with an orchestra.

"Where was Crosby? Crosby was only
a cymbal-beater. What have they got that
I haven't got? What has Dick Powell?
And Tony Martin? And Kenny Baker?

"Curly hair? So's mine! Even the fringe.

"Soulful eyes? Can't I look as moon-
struck as the rest of them? Couldn't I
wear a uniform like Powell does? Yet
they always make me a comedian — a soul-
ful soul like myself. Am I humiliated?

"When I think of the anguished hours I
have spent to perfect my cadences and
cadenzas I know I'm the first crooner.

"Here I have spent hours wearing spats
and heavy woolens to protect my hercu-
lean strength and save for posterity and
the boxoffice the Durante ditties and
dithyrambs.

"Oh, the tortures I've gone through to
develop these massive muscles, this
singer's chest, my volume control — ■

"Do you realize that I am doomed to a
garterless life? My sox must hang at half-
mast, always mourning, so that no im-
peded circulation will affect my famous
tonal qualities.

"Can my public imagine the hours I
spend gargling every morning to limber
up the larynx so the lyrics come out like
lullabies?

"Is it any wonder that when I was on
the radio recently all of my mail was ad-
dressed to Jimmy Durante, the Apollo of
the Aerials?" he sighed.

"Some jealous music critics say that
it's the nasal qualities that make crooners.
Think of me, then, the longer the nose the
more the nasal qualities!"

■ Calmer after his outburst, Jimmy
went back on the set at Columbia
studio to rehearse for his new song which
he has written himself and which he will
sing in College Follies oj 1938.

It's called "Doing the Strutaway in My
Cutaway" and ought to give anybody a
runaway from the blues.

"Did I ever tell you about the time I
was down on one knee behind the set do-
ing a mammy song? One of the producers
came by and watched.

" 'Give it both knees, Durante,' says
he, 'and Jolson goes.'" That was real
recognition, but Jimmy's still mortified.

"Down with the other gurglers and
warblers and hummers who call them-
selves crooners! I did it first!" he cries,
and that is his message to the world at
this moment.

But what we want to know is: Will he
take the consequences?

HOLLYWOOD

a

He

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Every day a million men spread its fame. Every hour thousands more look,
listen, secretly yearn. Don't disappoint him! Get him a Packard Lektro-Shaver!

E. Lapis shaver with silver monogram plate. $25.

A. Embossed, gray shaver with silver monogram
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td., 34 Adelaide
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ALICE FAYE

JANUARY, 1938

wears grace-fully the frills and furbelows of the roaring nineties in
one of the most spectacular films of the new year, In Old Chicago

19

ti

H1R1ER BROS! CHRISTMAS FRE8RI1

S w&lffi~t

LAaudMtl

COLBERT

BOYER

THE SK.\SO\S HOST K X « 1 T ! > «. S « II K K N K V K > T

The show that gave Paris a new sensation, thrilled London, and captured New York . . . now in
the full glory of the screen's mighty magic . . . with a great cast of supporting stars including

BASIL R4THB0M
ANITA LOUISE

MELVILLE COOPER

ISABEL JEANS

MORRIS CARNOVSKY • VICTOR KILIAN • An ANATOLE LITVAK Production
Screen play by Casey Robinson • Adapted from the play by Jacques Deval • English
Version by Robert E. Sherwood • Music by Max Steiner • A Warner Bros. Picture

It's on the way to your favorite theatre now — the grandest
love and laughter picture of this or any other year! . . . A
glorious Christmas treat for a hundred million movie-goers.

) THE WHOLE WIDE WORLD!

iV

'uim/wi ema.

/i#7Katice<

/

^

JO

m

/ i

■v>

«-

'Yesterday is done! Tomorrow — who knows?
. . . Tonight's our night!"

Ready for a gala night in Paris! . . . with 4 billion

francs in the bank— and not a sou they could call

their own!

The runaway lovers take to the roof in one of
the amusing and amazing scenes in "Tovarich."

r

"TOVARICH" is full of big moments -an<

here's one as Charles Boyer comes face to faci

with that suave villain . . . Basil Rathbone.

<v

1

miiu:i: ins: ckistiis pke.se.it to tie ividle hi ke world!

7

COLBERT

BOYER

T II K N 8 A N O N'N HOST BXCITINCJ s I II K K * V. V K X T

v nhntv it.ni gnvo Purl w lonu n, thrilled London, nml c roil Now York . . . now

i hill „lm v of Ilia «clW« mighty mnglc . . . with a (tronl com oi Mipporling slnrs includii

BASIL RATH BONE
AiVITA LOUISE

« !■: I \ I I I i: COOPER • ISABEL JEANS

MORIUSCAnNQVSKY • VICTOR K 11.1 AN • An ANATOL.K UTVAK Production
Screen plu) l>) Cmoj Rolilnion • Adnntoil Irom lha piny l»> Jnrquoi Devnl • Ennli»h
VeMmi li) Rolieri E, Sherwood • Muilc l>v Mux Slolnei ■ A Warner Droa, Picture

.

fr

I

<yj'i

^

j for a gala night in Pa
francs in the bank— and not <

X/

^

MM

\MmJmM

W

It's on the wax '» your favorite theatre now -the itrauile.it
love and laughter picture of this or nay nther year! ... .-1
glorious Christmas treat for a hundred million movie-goers.

HOLLYWOOD'S NEWS TEST

Maybe yon know all about Hollywood, and again
maybe yon don't. The best way to find out is to
take our news test. You won't get a diploma or
a degree if yon pass, but yon will have some fun

By WHITNEY WILLIAMS

| Viewed as a whole, 1937 has been an
extraordinarily profitable year ... its
benefits many, wounds and setbacks few.
From fifth, the film industry progressed
up the ladder, and is now the four mighti-
est industries in the United States.

Musicals hit an all-high mark for num-
ber and popularity . . . color, too, finally
came into its own in such films as A Star
Is Born and Vogues of 1938. All branches
of the moving picture industry became
unionized, and the Screen Actors Guild,
after a bitter struggle, came into exist-
ence.

As our own stars trekked to England to

make pictures for the British cousins, so
did foreign stars and personalities arrive
on our shores to compete for first-place
honors. Stars, likewise, entered radio,
either as guest artists or heading their own
air programs, and just as many radio stel-
lar lights made film debuts.

Stars turned sport-minded with hither-
to-unsuspected zeal, and a goodly number
entered business on rather a lavish scale
in a wide variety of fields. New person-
alities by the score suddenly emerged from
obscurity and down-to-earth film produc-
tions without number made their appear-
ance, to please every type of a\idience.

22

ii.i.rsTr.vruiN by charles beck

Romance, too, reaped rich rewards with
more than a score of prominent marriages.
It is to be particularly noted that divorces
of name-couples seem to be on the de-
cline, for only a scant few reached the
courts.

How much of interest transpired may be
gleaned only through a study of indivi-
dual events . . . and that is what we have
devised for you in the following question-
naire. In each of the fifty questions, you
will find some incident, some picture or
personality that highlighted the year 1937.

Now, for grading yourself. . . .

Although there are five answers ap-
pended to each question, only one is the
correct one. You'll find it on page 62.

The perfect score is 100, counting two
points for the correct answer to each ques-
tion. If you can average 90 points or bet-
ter, then, you may lord it over your
fellows; with a score of 80 to 90 you may
still pat yourself on the back; and even a
70 to 80 grade proves that you keep up
with picture hews. If you score under
70, then you don't know your Holly-
wood.

We're off. . . .

1. If you lived in Hollywood, and en-
gaged in its daily controversies, the char-
acter name you'd hear repeated the most
would be: (1) Man Mountain Dean; (2)
Jimmy Walker; (3) Scarlett O'Hara; (4)
Annie Laurie; (5) Heidi.

2. Carole Lombard: (1) Secretly
eloped to Yuma with Clark Gable;
(2) signed a new Paramount con-
tract calling for $150,000 a picture; (3)
socked Director William Wellman in the
eye and stalked off the set of Nothing
Sacred; (4) was runner-up in the finals
of the Los Angeles Tennis Club Tourna-
ment; (5) announced her retirement next
year.

3. Constantly having studio contract

trouble, declared she had made

enough money, anyway, and planned to
retire from the screen: (1) Bette Davis;
(2) Kay Francis; (3) Joan Blondell; (4)
Mae West; (5) Jean Arthur.

4. Rumor still has it that (1)
Katharine Hepburn and Howard Hughes;
(2) the Countess di Frasso and Cary
Grant; (3) Benita Hume and Ronald Col-
man; (4) Margot Grahame and Ray
Hallor; (5) Rochelle Hudson and Johnny
Downs, will wed.

5. During the filming of one of the
scenes in The Perfect Specimen, Errol
Flynn was: (1) Forced to dive off a 100-
foot precipice; (2) knocked out. cold as a
cucumber; [Continued on page 60]

HOLLYWOOD

ISN'T LOVE WONDERFUL?

JANUARY, 1938

In Paramount'* True Conieuion, Carole Lombard and Fred MacMurray are so much
affected by the tender passion that they just can't keep their hands off each other!

WHAT EVERY DOG SHOULD KNOW

By SOMA LEE

An ill-mannered dog usually has an inconsistent
owner ... here are some of the rules the stars
follow to make life easy for dog owners

■ We'll take your word for it! Yours
is the most enchanting dog in three
counties. He's smart as a whip, and a
lot of company. He's the George Gorgeous
of cannie society. But does he know what
every dog should know?

Judy Garland — still in her brief teens,
but well on the way to stardom by benefit
of Metro-Goldwyn-Mayer and her singu-
lar talents — puckered up her adorable,
elfin face in deep thought.

"You know," she said, "I've just about
decided that my pup bosses me around.
He's master of the house and no mistake.
Something has to be done about it. I have
practically no influence with him!"

So we journeyed out to the See-Are

kennels, Comedian Charles Ruggles' ca-
nine heaven, where a dog can start in kin-
dergarten and graduate from college in
less than ten weeks.

The Kennels are home and school and
hospital combined. Prompted by an un-
derstanding and love of dogs, Charles
Ruggles departed far from his screen in-
terests in organizing this establishment.
There are twenty-two persons on the
kennel staff, including a dietitian, nurses,
a veterinarian, handlers and trainers. The
pens are large, the runs, where the dogs
exercised daily, are enormous. Every pet
is watched as carefully as if it were in the
loving care of its owner.

They specialize both in the commercial
training of dogs — that is in making them
ideal pets, and in training dogs for picture
work — a long process, for picture dogs do
not depend on the voice of the trainer, but
on movement, silent command.

"What," we asked Max Weatherwax,
famous as a trainer of movie dogs and

the pets of movie stars, "should every dog

know?"

"Let's get one thing straight to begin

with," he replied. "An owner must be

trained as scrupulously as his pet. He

must understand the psychology of his
dog, first of all. Temperament, breed, dis-
position must all be considered in direct
relation to type of training and its dura-
tion. I never dismiss a dog from a course
until the owner works with me during the
last week of training, for at least an hour
each day. A badly behaved dog is
a reflection on the owner — not on the
dog!

"Every dog should be scrupulously
house-clean," he ticked off as item No. 1.
"It's simple to house-break a dog if done
right. Put him out after feeding. During
puppyhood, watch him, and at the first
suspicious move, put him outside. If your
dog has an accident, shake him by the
scruff of the neck and scold. Don't let
yourself get angry when your dog does
the wrong thing. Patience is the essen-
tial quality which the successful dog
owner must possess. If your dog is un-
usually aggressive, a very light spanking
with a newspaper may be justified. Severe
punishment of animals is not even ex-
cusable.

Don't forget — to your dog you are the
essence of perfection, a combination of
every virtue. Don't disappoint him and
destroy his devotion.

Above, Judy Garland,
brilliant little M-G-M star,
in the middle of the "paws
down" lesson with Gypsy.
Who wears the leash in
your home? Gypsy has a
triumphant look, but it's
no joke to Judy who knows
that a dog without man-
ners can upset a household

24

■ '"A dog's elementary education consists of breaking him to
the leash, teaching him to heel at command, to sit down and
stay put, to lie down and to come when called."

With Gypsy, a perfectly trained miniature French poodle, he
illustrated to Judy precisely how a dog can go to school in his
own home.

Weatherwax believes in tailoring the training to the tempera-
ment of the dog. With very aggressive dogs he recommends a
thrice daily training period, which may last half an hour. With
more sensitive dogs he advises a lighter schedule — twice or even
once a day lessons, no longer than fifteen minutes. He reiterates
that all periods be followed by a word of approbation, by the re-
ward of a tidbit, and by a romp.

"Your dog should be trained to be obedient," Weatherwax
pointed out. "A well-behaved pup answers his owner's call
instantly. It's simple to train him to do that. Attach a long
string to his leash, let him run for a few minutes, and then call
'come,' tugging at the string at the same time.
After two or three hundred times, he will know
instantly what 'come' means. Never expect too
much from your pet. Dogs take at least twenty-
four hours to thoroughly digest instruction.

"To teach a dog to heel, that is walk at your
side, hold him on your left side, pull his leash
short, and repeat the command 'heel,' holding
him back gently at the same time. In effect, the
leash is your clutch. Eventually he will learn to
walk at your side through the heaviest traffic
without a leash.

"Reward your dog for lessons learned and com-
mands smartly performed. Give him a tid-bit,
pet him. Dogs are like people. They work bet-
ter when properly admired.

"Teaching a dog to sit down is fairly simple.
Put your right hand on his hind quarters, and
push down, repeating constantly 'sit.' Hold his
chin in your left hand, so he won't wiggle.'

"Don't let your dog dawdle during lesson-time.
Be gentle, patient, but very firm. He'll try to play,
to divert you, but during school periods be posi-
tive and unyielding. [Continued on page 51]

Above, Judy and Max
Weatherwax, trainer at
Charles Ruggles Ken-
nels are !n conference
with the problem of
teaching Gypsy how to
sit down when told

It takes persistence
and understanding, but
Gypsy is getting the
idea of helping to
carry small packages

It's no fun taking your
pooch for a walk if he
stumbles all over your
feet. Here is the first
position in teaching
him to "heel" properly

25

Turn Up the Clock

We put our trusty Time Machine to work,
whirled through ten years to 1948, and
look what Uncle Ed saw in Hollywood !

By EDWARD CHURCHILL

H So you children want to know about
motion pictures, eh? Very well. We'll
go for a walk around Hollywood and I'll
tell you all about 'em. Junior, get your
hat on. Sue, we'll start on ahead. It's
really too bad about you youngsters,
never having seen even an epic, let alone
a colossal release. They used to make
pictures right here in this town. They
showed 'em on screens in theatres. What's
that, Sue? T-h-e-a-t-r-e-s. Those big
buildings you have at home in Des Moines
with the "For Rent" signs on 'em. Ten
years ago, in 1938, they had talking
pictures. Some people said it was a form
of entertainment.

Here we are on Hollywood Boulevard.
This was known as the street of the stars.
The stars were the big shots. They played
the leading roles. Right here on Holly-
wood Boulevard — what's that, Junior?
The big crowd over there at the corner
of Vine street? You mean that line of
women that runs clear around the block?
That's on account of Robert Taylor. Dr.
Robert Taylor to you. He realized his
dream. When he was in Broadway
Melody of 1938 he issued a publicity
statement that he'd like to be a doc-
tor. And dawgone if he didn't up and
doit!

Well, you can bet the producers, par-

ticularly Metro - Goldwyn - Mayer, who
had him under contract, were upset.
They said:

"Bob, you can't leave us like this.
We're paying you a pretty good salary.
Several thousands of dollars a week.
You've got a nice home, and a fine
future."

Bob thought it over, and he stuck right
to his guns.

"What do I care for money?" he said,
snapping his fingers. "What do I want
with a big home and lots of servants.
I guess a fellow's entitled to live his own
life. I want to be a doctor, and I'm going
to be a doctor."

There were some who said at the time
that Magnificent Obsession, which was
about a surgeon, had gone to his head.
But he started right in to study, went to
medical school, and after a while he was
graduated. That line of women you see
is the result. He's making more money
this way than he did before. What's that,
Sue? Why are there so many men in
the line? Heh! Heh! Just about that
time, Claudette Colbert announced that
she'd like to be a nurse. And the same
thing happened. Nobody could talk her
out of it, not even Paramount, and she
tore up her contract. She went through
a nursing course very rapidly, because

she'd always wanted to be a nurse. Right
away, Doctor Bob, as we call him now,
gave her a job. There's some in Holly-
wood who say Doctor Bob had an eye
to the box office — I mean getting business
from both sexes — when he hired her.
But it's never been proved.

■ Oh! Oh! Look out there, Sue. That
was a narrow escape! You've got to
watch out for the horses here. Some're
wild and some're tame. Why? Well, you
couldn't expect a small place like Holly-
wood to tame all the horses, could you?
Bing Crosby started that. At first, raising
horses was just a small hobby with him.
What, Sue? Oh. C-r-o-s-b-y. The coun-
try gentleman. He used to be an actor,
too.

He crooned. C-r-o-o-n-e-d. It was
right before Pennies From Heaven that
he got the horses, and right after Double
Or Nothing that the horses got him. Right
away, Clark Gable got a horse. Then
Barbara Stanwyck started raising them
with Marian Marx, wife of one of the
four Marx Brothers. No, not Karl Marx.
He was an economist. Hollywood never
heard of economy. Fred Astaire was next
to go. Just about the time Jack Oakie
went to the dogs.

"My ambition's to raise Afghan hounds,"
said Oakie.

All the big shots at RKO got into a
huddle and tried to persuade him to stay
in motion pictures, but he remained
adamant. He raised dogs and raised dogs,
and pretty soon the strain became inter-
national. The Afghans joined the canine
melting pot. On every corner were dogs.
Soon Oakie's dogs began dating Charlie
Ruggles' dogs — he'd quit pictures to raise
dogs, too — anyway, you'll learn about
that in biology. Back to the horses.
Gable, having one horse, thought it looked
lonesome, so he got some more, and pretty
soon he got so interested that when the
studio called him, he replied:

"I'm sorry, gentuhlmen, but a haws is a
haws — man's noblest friend. Mah hawses
come fuhst!"

■ Spence Tracy was always a good
friend of Gable, so when that news
went around the lot, Spence said:
"Cuhnel Gable's right, suhs!"
Paul Kelly raised horses. Joel McCrea
gave up the screen for his cows. Retired
to his thousand-acre ranch. Why not
chickens, instead of horses and cows? My
dear children, Hollywood always does
things in a big way. So you see why all
these people are riding the range up and
down this broad thoroughfare, and why
there are so few automobiles.

Oh, hello, Bob. Children, excuse Bob
and me just a minute. No, Bob, I don't
know a thing. Not a thing. The town's
so quiet. You see, Leslie Howard, Fred
MacMurray, George Raft, and several
others are still traveling. They left on
world tours five years ago, after an-
nouncing that they were through with
pictures, and nobody's seen 'em since.
Why don't you drop up to John Beal's
commercial art studio? Maybe he knows
something. That's okay, Bob. I'll be
seeing you. [Continued on page 54]

26

HOLLYWOOD

THAT AWFUL MOMENT

when they break the news that there
isn't any Santa Claus emotions run riot.
Edward Everett Horton took time out
from the new Lily Pons picture. Hitting
a \ e w High, to demonstrate the
proper way to take the tough news

a \±°*

IfcaV'

u«W

*rt *>PpOSe

\ *of>

je<

« «*V

*****

JANUARY. 1938

27

For the first time, Rosalind Russell uses her own hammer
on her own front door to hang up her own Christmas wreath

IT'S YOUR MOVE

profound sigh. Every householder who
has gone through the papering-painting-
remodeling experience will recognize that
sigh.

"They'd put it on upside down," Rosa-
lind explained in the resigned tone of one
who's merely a pawn of fate, as who that
builds a home isn't? "The lace loops
only look like wheat from that angle.
Of course the paper had to be scraped off,
new paper ordered, the job done over.
That took another week."

■ This is the first time Rosalind Russell,
newly ordained star and Hollywood
Bachelor Girl No. 1, has owned a home;
and her experiences in acquiring it are
meat for every other prospective home
owner to chew upon. She has lived in
apartments, rented houses, even purchased
real estate, but recently an actual home
which she could actually call hers was
suddenly the one thing she wanted. Rosa-
lind thought it would be jolly to buy a
house and rebuild it nearer to the heart's
desire, a project she discovered to be much
more difficult than building it anew from
the ground up.

It was jolly, all right!

After months of dickering and delay, in-
evitable and otherwise, from everybody
concerned, Rosalind gathered together on
a recent morning the housekeeper, the
personal maid, and the garage man. "Next
Tuesday we move into the new place
whether it's done or not," she decreed,
"even if there's no furniture except a bed
and a table for each of us." As it hap-
pened, that's about all each of them had
for a while, with the merry bang-bang of
the carpenters' hammers resounding
through the halls by day and the aroma
of fresh paint filling the house by night.

"I realized that if we didn't move in, the
place would never be done," Rosalind
said, "I'm thoroughly in favor of every
house builder, particularly every house
remodeler, keeping as close to the job as
possible if you want things to turn out the
way you've planned." She added with a
business-like nod: "Also a householder
ought to know just what materials go into
a new place and just how the workmen
ought to do their work, and whether
they're doing it. Or, anyway, pretending
to know."

She never had a house of her own, and she
thought it would be easy until she found
out about home-owning from Holly wood

By JESSIE HEX OEStSOX

■ Up the stairs went Rosalind Russell —
the new stairs in the new house — with
her gaze on the wallpaper that showed be-
yond the open door of her bedroom. The
men had hung the paper only that after-
noon. Something was wrong with it!

"I had ordered a French design in light
blue with loops of lace all over," she ex-
plained to me, her black eyes agleam
at recollection of the horror and fun which

moving-out and moving-in entails, "and
this had sheaves of wheat! 'Well, it's
pretty,' I thought as I came up the stairs,
'but not exactly — ' The pattern I picked
was perhaps a little on the feminine side."
Her red lips gave a deprecatory twist; she
doesn't go in for silly fluffy ruffles effects
. . . "but — stacks of wheat! In a bedroom!"
She leaned back on the deep rose couch
in her M-G-M dressing room, and gave a

■ Her laughter is good to hear. Lady-
like, you understand, for she went to
finishing school and wears brown orchids
in the evening and has the gracious aris-
tocracy of New England for a background,
but laughter that makes the listener laugh,
too, even before knowing the joke.

"I'd rush over each day and inspect
what had been done. The materials, for
instance. I pretended to know the differ-
ent kinds and grades of woods. 'That
doesn't look like Grade-A pine to me,' I'd
say, looking at it like this." She narrowed
her eyes critically and assumed a brisk air.
People are constantly being astonished by
the streak of business ability that goes
with the beauty of Rosalind Russell. She
doesn't intend to work any sharp practice
on other people, but by the same token
she doesn't [Continued on page 64]

28

Many a kind heart beats beneath
a home-grown chest- pro tecto r

Bv ALMA WIIITAKEH

When a bunch of reporters, jealous
of Robert Taylor's admiring feminine
legions, taunted him into saying he would
bare his bosom for public exhibition "of
the hair that grows thereon," screen
idols began inspecting their chests anx-
iously.

Especially, don't you know, as he-man
authors Ernest Hemingway and Max
Eastman had likewise been indulging a
hairy-chest controversy.

All of Hollywood is involved in the
argument.

Because, you see, such indubitably he-
men as Errol Flynn, Victor McLaglen,
Tyrone Power. Charles Boyer, Leslie

THE HARRIED CHEST

Xo matter what is revealed to the
eyes of a waiting world, if and
when Robert Taylor takes up the
challenge of the inquiring re-
porters, this story springs to his
defense by saying "So what?"

Howard, Mischa Auer, Andy Devine, yea,
and even Buck Jones, can boast the
merest trace of downy chest adorn-
ment.

Still Gary Cooper, Joel McCrea, David
Niven, Randolph Scott, Fred MacMurray,
Clark Gable, Dick Powell, Pat O'Brien,
Edward G. Robinson, John Boles and
John Beal are prepared to match Robert
Taylor's hairy bosom any day. Cary
Grant has enough to pinch.

Peter Lorre seems to be tops in the
field with a regular doormat, even su-
perior to the Tarzans, Johnny Weismuller
and Glenn Morris. Both Laurel and Hardy
play him a close second, and so does
Woolsey (the while Wheeler hangs his
head). Don Ameche, Brian Donlevy and
Tony Martin can make a pretty good
showing.

So far so good. But hairy evidence can
be pretty unreliable. For instance, this
famous Lou Gehrig, "iron man" of base-
ball, who has just come to Hollywood for
immortalization on the screen, hasn't a
hair on his bosom. Yet Roland Young,
who rather specializes in masculine
timidity on the screen, can boast a mar-
velous doggy array. In fact, so evident
is Roland Young's that when he took that
shower in Topper, the Hayes office in-
sisted upon the cameras being so arranged
that no brush would be visible. And
wasn't it Tony Moreno who had to shave
his chest for Bohemian Girl? Certainly
Doug Fairbanks had to shave his for the

And many a muscle-man gets
sunburned on the chest

Thief of Bagdad. Other distinctly hairy
guys are Eddie Cantor, Joe Penner,
Parkyakarkus, and Eric Blore. (Eric, oh
dear, who shines so conspicuously in
cringing roles!)

Voila, sisters, draw your own conclu-
sions. Nevertheless, so firm is tradition,
that you'll be well-advised to assume that
your gentlemen friends have hairy chests.
There is even a firm in Hollywood that
undertakes to supply chest toupees for
such males as must play tough-guy roles.
The subject teems with interest, since
there are blond and brunette bosoms,
curly and straight-haired bosoms, downy
or wiry bosoms, spotty or carpetted
bosoms. And they all love to show 'em
at the beach, which is why trunks came
in and bathing suits went out.

/^ypu.(^e\^9^)i^jksu^_

SHIRLEY TEMPLE

America's top ranking star brings Heidi, beloved of generations of
children, fo the screen as her contribution to the holiday season

30

HOLLYWOOD

THE CUSTOMER'S ALWAYS RIGHT

Even when the man behind the counter is a
famous movie star, the long established
custom gives the unknown buyer the break

By EMILY > O H It I S

J It was a very nice bathroom, full of
glittery fixtures and a pale green
enameled tub, and in the center of the
room stood Loretta Young saying that it
was just about the best looking bathroom
she had ever seen. Loretta was trying to
impress a woman who stared at the glit-
tery fixtures doubtfully.

"And easy to clean," Loretta added,
digging into her memory for things she'd
heard a rental agent say, "rounded corners
and — and so on."

The woman said the bathroom was
beautiful. The entire apartment was too
beautiful for words and she'd love to live
in an apartment house owned by, of all
people, Loretta Young. But— and the
woman's lip began to quiver — eighty dol-
lars, the price Miss Young had mentioned,
was more than she could pay. Oh, the
place was worth it; only — quiver, quiver —
it was more than she could afford.

"Seventy, then," suggested Loretta, big
blue eyes full of sympathy.

The woman leaped at the offer. Before
you could say, bam! she had started to
move in. Loretta, who buys apartment
houses at auctions and had met this
prospective tenant by chance when she
strolled into her newest acquisition, went
to the manager in high glee. "I rented
that vacancy," she chortled, "for seventy
dollars!"

"Awk!" cried the manager. So Loretta 's
first dip into the rental business is going
to be her last, for while she still buys

houses at auction she now leaves the rent-
ing of them to professional and less soft-
hearted agents. The normal rent of that
apartment was one hundred dollars.

"Well, the customer's always right,"
Loretta quoted ruefully.

[ Nowhere else in the world is the cus-
tomer so right, and so always right,
as in those Hollywood business places
owned by stars. The stars as a rule even
spend considerable time personally super-
vising their enterprises. Perhaps because
they don't really have to do it, these film
celebrities go to extraordinary lengths to
please the patrons of the shops, cafes, gas
stations, which they've acquired. Or per-
haps, with everybody pouring out adula-
tion for the screen idols, the screen idols
get a kick from realizing that in their role
of business proprietors it's up to them to
pour out a little adulation in return.

Anyway, the position of star and fans
is completely reversed the moment the
star enters the booterie, bakery or beanery
which he or she has purchased. The cus-
tomer is so right that sometimes it sur-
prises even the customer.

[ It surprised the customer who in Kent
Taylor's new eating place asked for
"diablo sauce." Kent Taylor, liking the
cornfed beef he got in "Bill's Steak House"
on Beverly Boulevard, recently bought
the place.

"Diablo sauce?" repeated Kent, who had
dropped in for a T-bone, "I never heard
of it."

The customer admitted mournfully that
he guessed nobody north of Buenos Aires
ever had, but it was swell. They took
pequenos and a handful of green and
white peppers — [Continued on page 46]

How would you like to aslt Loretta
Young to reduce your rent? Here
she is in her role of landlady

JANUARY, 1938

Or complain to Binnie Barnes that
the people upstairs make too much
noise? She's a landlady, too

But if its feed and hay you need,
go directly to Joel McCrea, and
he'll see that you get rapid service!

31

AL V

MUST COME DOWN

Ray Bolger, long-legged, rubber-
jointed dancer with a face that
combines the engaging expressions
of a hopeful mackerel and a worried
parrot, is one of the shining high-
lights of M-G-M's Rosalie. Be-
tween takes with Eleanor Powell and
Nelson Eddy, who are co-starred in
the musical film, Bolger decided to
prove that he has a serious side, and
made these experiments to show
that Newton was right about the
law of gravity. All he has had in
response to his scientific investiga-
tions in gravity, so far, is plenty of
loud long laughter from all sides

''SPANKINGS SOOTHE THE SOUL"
-SAYS BETTE DAVIS

who believes that one of the best
eivilizing influences in America
today is the good old invitation
to see the good old woodshed

By H I Til R\\KI\

| In her latest picture. That Certain
Woman, Bette Davis plays the mother
of a four-year-old boy; her first mother
role on the screen.

A discussion of the picture, one recent
afternoon, and of her experience at play-
ing mother, led naturally to a hypothetical
child of her own. If or when there is
ever a little Bette Davis Nelson, or
Harmon O. Nelson, Jr., or both, Bette is
prepared to take the situation in hand
with that intelligent directness for which
she is celebrated. . . .

We will now take a quick hurdle
over that old theory about the women
who have no children being the ones who
can tell you best how to bring 'em up.
But don't be too quick, because any theory
is liable to explode. The observations of
mothers are apt to be limited to their own
child or children, while theoretical

mothers have a much wider range. They
are not nearly so prejudiced. They have
had ample opportunity to witness, with
unbiased eye, the mistakes and successes
of their friends; which friends are, of
course, ambushed in droves hardly able
to contain themselves until the time when
Madame Now-If-J-Had-A-Child will be
practicing her theories. It is always a
matter of great astonishment to them, you
tell me why, when she turns out to be a
good mother.

It will no doubt be a matter of great
astonishment to you to discover most of
Bette's theories to be the sane-and-sen-
sible old-fashioned variety. Which is
perfectly logical. Any girl who had the
advantage of a good New England up-
bringing would hardly be expected to
advance ultra-modern ideologies.

This speaks well for Bette's own child-
hood— to any psychologist, even to ama-

teurs like most of us. If she had been
sternly sat upon, repressed, inhibited,
more than likely she would be one of the
most enthusiastic advocates of the new
school of child culture which says, in
effect, no impulse should be thwarted, no
child should be made to do anything he
doesn't want to do — and above all, no
spankings.

"No spankings, my eye!" Bette ex-
claims with her characteristic speak-
up manner. "There seems to be an
alternation-of-generations principle ap-
plied to child-rearing. One generation
wallops them, so the next is a bunch of
softies, and so on. Well, no generation
can afford to neglect the civilizing influ-
ence of a good spanking. Children are
natural little savages who will get away
with all they can. If they are not taught
discipline and [Continued on page 58]

33

w to Behave On Christmas

Here are some helpful hints which,
if carefully observed, will carry
you safely through the social
emergencies of the holiday season.
Every Christmas has its dark mo-
ments, and these favorite players
graciously demonstrate how to
rise courageously above them

joe E. Brown poses as "The spirit
of Christmas Morning" just
after the first tin horn sends its
joyous toot through the house
at 2 A. M.

When the life of the party insists upon

giving you some mistletoe, give up like a

lady and eat it . . . they say it's poisonous.

Demonstrated by Patsy Kelly

If your best girl buys you her idea of a
snappy hat, look on the bright side.
It's an opportunity for a clinch, any-
way. Brought to life by Burns and Allen

When your loved ones give
you an encyclopedia, charged
to your account in 12 easy
payments, there is nothing to
do except say, "I need a lot of
words, but I don't seem to
find them in this contract."
Posed by Eddie Cantor, who
is a pretty good Santa Claus

It is best to say nothing at all
when rich cousin Spobble says
that he is giving nothing but
cards this year. Edna May
Oliver shows how to be a per-
fect lady under these most
trying of holiday conditions

34

When you get back that calendar you
gave dear Cousin Muggle last De-
cember 25, remember that Christmas
comes only once a year. Posed by
Mary Boland with quiet despair

HOLLYWOOD

Better use some blunt instrument in-
stead of grandfather's shot-gun when
Uncle Yunk from Alaska brings that
out-siied Huskie to make apartment
life more interesting. It's Martha Raye
who is about to pick up the piano

Be careful not to say "What is
it?" when you unwrap that
hand-frizzled art-novelty. Pre-
tend you know just what to do
with it. Gracie Fields shows how
to be enthusiasticthough baffled

Have a wet
sponge in your pocket
ready for the little ones who
want to give you a Christmas
kiss after they have been work-
ing over the lollipops. Demon-
strated by Victor Moore all in
the spirit of holiday fun

Be sure to remove the cigar from
your mouth when you say, "Thank
you, that'll be fine for when I get
a pipe" when you unwrap the pipe-
rack. Posed by Joe Penner

Keep a firm grip on those
conflicting emotions when
Cousin Swack says that he was
bringing a case of champagne,
but he dropped it, so you'll
have to take the will for the
deed. That frozen mask be-
longs to comic Bert Lahr

Eric Blore shows how to
mingle just the proper amount
of delight with dignified re-
straint when you get pipe-
cleaners for your cigarettes

JANUARY, 1938

'Just what

wanted and needed
most" is always a good line
for nearly any gift that has you
guessing. Posed by Helen Broderick

35

Star Styles

v-

•

On these two pages are enough new ideas to make
your entire winter wardrobe sparkle. Left is Ann
Dvorak in a black velvet gown with picturesquely full
skirt worn in Republic's Manhattan M erry-Go-Round '.
The evening hat of ostrich tips couldn't be smarter.
Above, Helen Jepson, soon to be seen in The Gold-
wyn Follies, wears a heavy mesh veil underneath and
tossed back over her big skimmer. Simone Simon,
currently gracing Love and Hisses at Twentieth Cen-
tury-Fox, picked a Paddy-hat for tailored wear

Any kind of a fur hat is good, but monkey fur is a
favorite with Gloria Stuart who will be seen shortly in
Shirley Temple's next film, Rebecca of Sunnybrook Farm.
Left, dramatic Tamara Geva wears a stunning costume
of two-toned wool in Republic's Manhattan Merry-Go-
Round. Above, Movita, star of Monogram's Paradise
Isle, chooses a sheath of black velvet and a hat of
sequins for that informal but very important dinner

37

Season Jumpers

Best of all clothes are those little numbers
that adapt themselves to late autumn,
early spring and all of the days in be-
tween. Here are some good answers

HOLLYWOOD

When Frances Langford finished her part in Warners' Hollywood Hotel, she felt in holiday spirits and
picked for herself the perfect set of traveling clothes. Because she wanted to see the wild mountain
and desert country of the Southwest, she boarded a local American Airlines ship at 7:30 A. M. I. Her light-
weight tailored jacket of green plaid, worn with green skirt and accessories, is just heavy enough to keep
off the early morning chill of Southern California. 2. When she stepped off at Tucson, the desert air
was sharp, so she slipped on her Alaska sealskin coat and cinched it snugly around the middle with a
wide leather belt. 3. Before arriving in Dallas at 7:30 the same evening, Miss Langford changed to a
smart dress of dark green wool with separate coat trimmed in mink, a comfortable and smart costume
to go sight-seeing with friends. 4. At 2:00 A. M., she boarded the fast sleeper plane. Stewardess
Marjorie Markley is handing her a cup of hot Ovaltine before she puts on a dressing gown of yellow
non-crushable silk (5) and prepares for bed. The next morning at 11:55 she stepped off the plane in
New York in a brown and beige wool dress. She posed just long enough in the nippy winter sunshine to
let you see the detail of its trimming before slipping her fur coat on and getting into a heated car.

JANUARY, 1938

39

EAST MEETS WEST

Anna May Wong, back on the
screen after an absence of several
years, discusses her native land

By LOUISE LEUNG

■ Bombs over Shanghai have brought Anna
May Wong, Hollywood's only Chinese-
American star, back to the films.

The world's preoccupation with the Oriental
war led inevitably to a cycle of Chinese pictures
— and in Hollywood, "Chinese" and Anna May
are practically synonymous.

And so, after an absence of many years, Miss
Wong is back again. But it is a different Anna
May who has returned. During the time she
was away she studied, she traveled, she learned
to live. She forgot acting other people's lives for
a while — and took time to find herself.

Some women realize themselves in marriage,
others in motherhood, still others in a career.
But for Anna May it has been none of these. She
found herself in China, her country and her
people.

The change is well reflected in her attitude
toward Daughter of Shanghai, first of a series of
pictures she is making for Paramount under a
long term contract. The story deals with an
expose of the alien -smuggling racket. Anna May,
in the role of a San Francisco-born Chinese girl,
uncovers the ring with the aid of Philip Ahn,
distinguished Korean actor, who, incidentally,
was a schoolmate of Anna May's in a Los Angeles
junior high school.

"I like my part in this picture better than any
I've had before," she said. "Not because it gives
me better acting opportunities nor because the
character has exceptional appeal. It's just because
this picture gives the Chinese a break — we have
the sympathetic parts for a change! To me that
means a great deal."

■ We were sitting in her Hollywood apartment
on a late Sunday afternoon. The last of the

sun glinted on a Chinese tapestry that covered
one wall and picked out the colored bindings of
books — most of them about China — ranged on a
teak wood table.

I thought of the first time I had seen Anna
May — a big wide-eyed kid who offered to curl
my hair at a Chinese Girl Reserves meeting.
There had been many Anna Mays since then —
the indomitable extra who went knocking at
Hollywood's gates; the fledgling actress who determinedly
worked her way from seat-warming in casting offices to adorn-
ing the screen as its "lotus girl" in such pictures as China
Bound, Shanghai Express, and Chinese Parrot; the finished
artiste who played the gangster's moll in On the Spot; and
finally, the polished London-accented star, toast of European
capitals.

"Soon after I got to China last year, after that first round of
parties that were disappointingly just like parties in Paris or
London or Hollywood, I felt tranquil and at peace," she began.
"You know I had never been to China, but somehow it seemed
that I had always been homesick for it.

"A rhythm in the life there harmonized with something in me
that had been out of tune. I was no longer restless. It's hard

40

to explain — our Chinese expression 'being in harmony with
heaven and earth' — is the essence of it.

"I made the trip not to see as much as I could of China, but
to feel as much as I could. The experience surpassed all my
expectations. I wanted to find out if my interpretations of China
were truly Chinese.

"I always had a weakness for Chinese art," she said, her eyes
on a Ming vase that bloomed with fragrant tube roses, "but I
thought it was exaggerated. I found that it wasn't. The trees
look like they do in a Chinese painting. Even the ruins are alive
in Peiping, not dead like the ruins in Rome. If I could ever leave
my work, I'd choose Peiping for my home.

Her first visit to her ancestral home, Toishan, in Kwantung
province, was a fascinating experience. [Continued on page 55]

"Now what did I do with that bi
the little woman asked me to mail?

"Ah, here it is! But no stamp. Of
course, there wouldn't be a stamp!"

"I had a stamp once, and I remember
putting it away carefully . . . somewhere"

THE FATAL ERROL

Even though he is the star of a series of RKO-ftadio short
comedies. Leon Errol has human weaknesses like the
rest of us as shown by this gripping minute movie of a
man working up to a great deal of unpopularity at home

"It must be somewhere! Why do things
like this always have to happen to ME?"

"I'm a busy man, working my fingers
to the bone trying to make a living"

"And she expects me to waste all morning try-
ing to mail a letter! Well, this'll show her!"

HOL L V W O O » * X

10 COMMANDMENTS

A star has many problems and not the least of them
is keeping firmly in mind the rules of the game

By VIRGINIA DELANE

| "It's the world's last wilderness —
Hollywood," said Fredric March.
"The Glamour Jungle where you can
get lost more quickly than a subway
guide can in the Rockies.

"Frankly, it took me two years in
this place before I found myself. I'm
not speaking of physical orientation.
I mean the mental adjustments that
are necessary here. What you really
need is a set of rules — Golden Rules
marked 'Exclusive for Hollywood' —
to steer a course by."

We were sitting on the set of
The Buccaneer. Freddy was a little
pale from the heat of 105 arc
lamps.

This was Freddy's thirty-fifth
starring part. All hits and no strikes.
If anyone knows Hollywood's unique
Commandments it is this same Mr.
March.

So paste them in your hat if you're
planning a screen career. Learn them
by rote because they spell all the
difference between success and
failure.

"The first one," said Freddy, "re-
lates to the business of making
headway. The other nine have to do
with hanging on once you've arrived
—which is the most difficult job of
all.

"And the First Commandment is:
THOU SHALT NOT COME TO
HOLLYWOOD 'COLD.' Not," he
added, "unless you want a cold
shoulder turned on you!"

I followed his gaze to where a kid
was standing awkwardly in the back-
ground. A bewildered "extra," ob-
viously without training. "He's from
Oklahoma. Never set foot on a stage
before. That is what I mean by com-
ing here 'cold,' " said Freddy thought-
fully. "This town can be pretty cruel
to a chap like that. What he should
have done was to find out first if he
had talent. Joined a little theatre

group. Then, with some acting experience behind him, he ought
to have contacted a studio scout through the local picture ex-
hibitor. He'd have a start that way at least."

But having made the start — that's when the confusing and con-
tradictory advice from well-meaning friends begin: "You MUST
give yourself a build-up!" "DON'T try to create an Impression!"
"You OUGHT to be SEEN at the Right Places!" "DON'T go out
at ALL!"

To which Freddy gives that deprecating little shrug of his and

says something
"Bunk!"

that sounds like

In the shadow of the cameras which
have made him a star, Fredric March
turns wise eyes at the code which
helps him keep h i s balance on
his fantastic pinnacle of fame

| "That's where the Second Com-
mandment comes in," he assures
you solemnly. THOU SHALT MIND
THINE OWN BUSINESS— and tell
the other fellow to mind his! You
can't please everybody. The only
complete satisfaction comes in being
honest with yourself. Live your own
life — and put cotton in your ears
when the doodadlers start giving you
advice.

■ "Number Three Commandment
is this: NEVER STOP STRIV-
ING. Ina Claire, one of the greatest
stars on Broadway, is still taking pos-
ture lessons. And look at Joan Craw-
ford. The other day I heard her sing
for the first time. She has a really
beautiful voice — and she told me she
practiced from two to five hours a
day when she wasn't working in a
picture.

■ "Now with No. Four," Freddy
looked at the tip of his cigarette

reflectively for an instant, "you might
say that's the most important of all.
DON'T LET THE PLACE GET YOU
DOWN. It's so easy to lose ambition
in Hollywood. To go soft. It's a semi-
tropical climate to begin with — and
you know that expresison of Lewis
Milestone's: 'In the tropics every day
is like every other day. You're going
to heck and you know it.'

"In Hollywood, every day is like
every other day. You're going to
heck — but you don't know it! You sit
back and think, 'Hmm, my last picture
was pretty good. I'm going right
along.' That's the minute you start
slipping.

| "Which brings us right up to the
Fifth Commandment. CHOOSE
YOUR FRIENDS CAREFULLY.
Then you won't get in with a crowd of unambitious hangers-on.
There's plenty of them here, Yes-men and the talkie-talk kind.
You can get in a rut with them before you realize it. That's why
those who stay to themselves are usually the most successful.

"Your Sixth Commandment is: REMEMBER THE WORLD
IS YOUR WORKSHOP. Never be yourself— in a picture! Each
part you play is distinct. Like living in somebody else's shoes,
so to speak. That was a comparatively simple thing to do, for
instance, in Mary of Scotland. In the [Continued on page 53]

42

HOLLYWOOD

OLIVIA de HAVILLAND and GEORGE BRENT

JANUARY, 1938

climbed to the top of a mountain in the Pacific North-
wBst f"1, this scene from Gold Is Where You Find
It, Technicolor film soon to be released by Warners

43

MEN WHO BOSS THE STARS

INCREDIBLE SELZNICK

| The only logical answer to David O.
Selznick's career is, "It's a lie!"

True, he started young, as well as broke
and under dramatic circumstances. Yet
he had to take time to batter his way into
the consciousness of Show-me Town,
which for two years let him knock on
doors and sent out word, "Go and get a
reputation." Then, when the portals
opened, he broke a world's record for
getting fired fast; bounced back and (it's
on the records, Mr. Ripley!) forced him-
self into attention as a producer of
Westerns.

Here are a very few examples of what
his remarkable genius for production and
casting has given to Hollywood, a town
long since cured of being skeptical con-
cerning Lewis J. Selznick's son. These
are reasons why moviedom says "Sir" to
"the man with the medals":

Brought Katharine Hepburn to Holly-
wood; produced A Bill of Divorcement,
which made her a star.

Prepared production plans for Little
Women, and cast Hepburn in that.

Launched William Powell in a career of
stardom, in Street of Chance.

Produced Sarah and Son, Ruth
Chatterton's best, and Honey, Nancy
Carroll's best.

Recognized Fred Astaire's screen pos-
sibilities, opened the negotiations which
brought him to Hollywood; produced
Fred's first picture, Dancing Lady.

Introduced Leslie Howard to the screen;
co-starred him with Myrna Loy in The
Animal Kingdom; bought the story, Of
Human Bondage, that was to lift Howard
(and Bette Davis) to cinema heights.

Discovered Freddie Bartholomew in a
world search for David Copperfield.

Produced a long string of Box-office
Champions for M-G-M, including Night
Flight, Viva Villa and A Tale of Two
Cities.

Snatched Janet Gaynor from virtual
retirement and startled the world with
her in A Star is Born.

Smashed long-standing admission
records with A Prisoner of Zenda.

Searched every state in the union and,
from 25,000 applicants, selected an Irish-
American boy, Tommy Kelly, from the
East Bronx, New York City, who will be
the nation's Christmas present in The
Adventures of Tom Sawyer.

Bought Gone With the Wind from the
proof sheets, before the book's sale started.

What's the use? The rest is mostly

a list of hits.
The long trail started at a place as busy
as Hollywood — the corner of Forty-
Second street and Broadway, New York.
It was a sad place for that particular
eighteen-year-old boy to stand. Right,

left and before him he could see new
signs where two years earlier the seven
biggest, brightest signs in the area had
blinked and heralded: LEWIS J.
SELZNICK.

The elder Selznick had been the king-
pin of the movie business. Over-ex-
pansion and one of those sudden slumps
in audience attendance (plus the bankers,
those jolly fellows) had crashed the
Selznick company. Creditors had re-
ceived home, fine furnishings, auto-
mobiles. Lewis Selznick, under that
strain had died.

| David stood on that busy corner with
just one dollar to his name — a dollar
and the offer of a job clerking. From
earliest school days the boy had studied
showmanship at his father's knee. Now
he made up his mind. Some day there'd

David Oliver Selznick is under forty but he is
one of the most important men in Hollywood.
At eighteen he spent his last dollar in a barber
shop, so his first picture was promoted, literally,
on nothing. Today he spends, and makes, millions

By LLPTON A. WILKINSON

be another Selznick company, not only
national but international.

David spent that dollar in a barber shop
and went to see a man who might still
listen to a Selznick talk showmanship.
A two thousand dollar loan was the
result and two of the quickest quickies
ever made. One starred Luis Angel Firpo,
the prizefighter, and was called Will He
Beat Dempsey? It was made in one day,
on a Manhattan roof. The second was the
result of neat ingenuity. David persuaded
Rudolph Valentino to review a beauty
parade. He photographed the contest
(and Valentino) from every possible
angle. Both pictures made money; David
went to Hollywood.

| There followed two bitter years on
Poverty Row, and plenty of trudging,
before Metro gave a chance to this young-
ster who insisted he was a movie producer.

The first day on Metro's lot found
young David in an argument with an
associate producer. M-G-M had bought
a book. The associate producer thought
the plot ought to be changed. David
thought the plot ought to be followed — he
still tries to keep his pictures true to their
author's stories.

"I guess I was impudent," Selznick
admits. He was fired.

The boy asked for two weeks' grace.
In that two weeks he bombarded ex-
ecutives with ideas until they agreed:
"We'll have to put this fellow to work,
or he'll run us crazy." They put him to
work, as assistant story editor. He never
let them forget he was really a producer,
and finally he drew the Tim McCoy
Westerns as his particular charge. He
cut costs, turned out popular pictures;
Paramount offered him his chance at
serious drama.

The rise at Paramount; equal success
as production head at RKO; marriage,
after his success was made, to Louis B.
Mayer's daughter; the time when all the
studios bid for his services and Metro
bid the highest; those years of happiness
and accomplishment comprise vital motion
picture history.

■ One of the noteworthy things about
Selznick is that he rates audience
intelligence far above what many wise-
acres and wise-crackers contend is the
fact; further, he believes that human
nature reacts to true emotion more
promptly than to cynicism or "smarti-
ness."

Before A Star Is Born was completed
he talked with me about why he had
faith in that picture.

"The only film concerning Hollywood
that ever made money," he said, was
What Price [Continued on page 49]

44

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(left) Mrs. Bailey skeet shooting at her home in Tuxedo
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When Answering Advertisements Please Mention January HOLLYWOOD

45

The Customer's Always Right

[Continued from page 31]

Kent, who had green and white peppers
in the kitchen, jumped into his car, rushed
to the market, and returned with the hot
brown berries called pequenos. Eftsoon he
and the cook and the patron were hover-
ing over the stove concocting the sauce
with earnest and delicate care. In due time
the customer pronounced it perfect and
smacked his lips in delight; which, after
all was the main thing to be accomplished.

"But it's an actor's job to please the
customers," Warner Baxter said, re-
calling the time he himself sold a certain
building lot, "the fact that an actor's a
success in pictures proves he's been able
to keep the customers satisfied. Acting is
simply selling personality, isn't it? Sales-
manship is acting, and vice versa, when
you come right down to it. Of course in
each case you must have something worth
while to sell."

Motoring one day to a subdivision he
had purchased, Baxter found a fellow
motorist bogged down there in a patch of
wet adobe mud. While Baxter obligingly
pulled him out, the man mentioned with
emphasis what he thought of the place.
'And I was looking for a house lot!" he
ended bitterly.

Baxter flung out an arm. "But the
view!" he exclaimed, "what a spot for a
house; a little adobe house," he expatiated
half in jest, "with the 'dobe mud all ready
for your bricks. A money-saver!"

Of course, the actor said, no home
builder ought to buy a lot that didn't suit
him; but look where a man could put in
a grand tennis court. The man's eyes
lighted. "If that end were graded," he
muttered, "but who'd want the lot as it
stands?"

"Nobody," Baxter agreed, "but they'll
grade it. I know the fellow who owns this
land. And they'll put in a paved road.
And a row of trees." Today the lot bears
one of the coziest homes ('dobe) and one
of the most contented householders in that
end of town. "It did need grading and
trees," Baxter excused himself when the
sales agent chided him for undue ex-
penditure.

IB It was one of his former fellow
countrymen who gave Jack LaRue
the most exacting half hour of his life the
other day. In slacks and short sleeved
sweater the actor was standing outside the
little blue and white cafe, "Casa Bella,"
which he has lately built opposite the
Republic Studios in Ventura Valley. It's
a place already famous for Italian food
and many nights find Mae West, Polly
Moran, Henry Fonda, Bill Powell, or other
connoisseurs out there, clamoring for
antipasto.

"Hey," grunted the man who drove up
and accosted LaRue, evidently under the
impression that Jack was an employe,
"I'm born in Italy and I want real Italian
food or I don't pay, see?"

Jack flashed him that LaRue smile. "I
was born in Italy, too," he confided. (He

came to this country at the age of five
months.)

"Then," the man growled, "don't try to
get by with spaghetti that's cooked an hour
ago — "

Jack registered horror. "An hour? Not
five minutes! You cook it, you serve it,
zowie! like that."

"And then throw it away," the man
sneered.

His belligerency was a challenge. "You'll
eat it — and like it," Jack retorted, and saw
that the man was by no means convinced.

"You're Italian — cook it yourself," the
tough customer shot back, "or I won't
touch it. Get going!"

"Yes, sir," answered Jack meekly, re-
pressing a grin. The man followed him to
the kitchen where Jack shouldered aside
the astonished chef and cooked that
spaghetti with an authentic Italian touch
that left the customer blissful. When the
man departed, Jack found a quarter tip
beneath the emptied plate. "Maybe you
think I didn't stick out my chest!" Jack
boasts.

U The customer — in one instance Di-
rector John Cromwell — was both right
and flabbergasted on the occasion when
he needed a load of hay immediately. Be-
cause of this and that, the supply of hay
for the fine horses and cattle at the Hidden
Valley ranch was low before anyone
noticed. Word ran through the Valley
that hay was wanted for Cromwell's
barns. Pronto.

In amazingly short order, up to the
front door of the ranch house lumbered
a truck. "A faYmer with a load of hay,"
the maid announced.

The director went to the door and
shouted at the driver, whose big hat alone
was visible behind the baled alfalfa: "Take
it round to the rear!"

"O. K.," the driver answered cheerily.

"Look out for those flower beds!" the
director proceeded, as the truck hastily
backed.

"O. K.," the driver answered, skimming
them.

When the hay had been stowed the
truckman presented himself at the back
door for his money. Cromwell discovered
that the truckman was his good friend.
Joel McCrea.

"Heard you were hollering for hay,"
Joel explained, "and my foreman was
busy, so I grabbed the truck and raced
over to be sure of making the sale."

B It's the customer that forced Ralph
Bellamy and Charlie Farrell to start
their Racquet Club at Palm Springs. The
two players had no intention of starting
a club; but the customers argued them
into a very lucrative concern.

Not so long ago, Bellamy and Farrell,
both long-legged six-footers, used to
climb over hotel fences in Palm Springs
to play tennis, because the hotels had the
only courts. Tired of this, they bought
some acres outside town and built a pair

of courts for themselves. They couldn't
play all the time, so they rented the courts
at 50 cents an hour. Farrell or Bellamy
had to be on hand to collect the 50 cents,
and people who had played only 35 min-
utes would say, "Gee, do we have to pay
for an hour?"

So they were obliged to hire a manager
to collect the half dollars and argue with
the patrons. Then they were obliged to
build more courts to get enough profit to
pay the manager. Now they also have a
swimming pool, a dining room, and a life
membership fee of $650. They have, in
short, a $100,000 investment, which both
agree they'd never have had except that
the customer, always right, forced them
to expand.

■ Naturally, the first customer to sign
up for a horse to be boarded at
Barbara Stanwyck's snappy new stables
(almost as soon as the stable building got
under way) was Robert Taylor. He de-
cided to rib Barbara by asking for special
oats, special veterinary services, imported
straw. Barbara, however, replied gently
that "the customer's always right — IF he
pays for what he demands!" In line with
his demands, she made out a tentative
sample bill which staggered Taylor.

But Bert Wheeler wasn't so lucky. When
he recently opened the Lone Palm, his
hotel at Palm Springs, a guest at one of
the bungalows insisted on all kinds of
special service for which, nevertheless,
no extra charge could be made. Such as
ordering four glasses of water at dinner
before he got one in a goblet whose color
he liked; or rejecting face towels if he
didn't approve their tint and texture; or
having different furniture moved into his
quarters.

Wheeler, motoring down for the week-
end, was told that the cantankerous guest
desired to see him the instant he arrived.
Nettled, Wheeler went out to the bunga-
low and, calling through the doorway,
asked what was wanted. "The houseboy
drew my bath for me a while ago," came
a voice from the living room. "Just step
into the bathroom and see if the water's
the right temperature, please."

"What!" said Wheeler.

"Test the temperature of my bath," the
voice commanded impatiently. "What kind
of a hotel is this? Can't a guest get any
service?"

Wheeler flung open the door — to be
confronted by Jack Oakie, grinning
widely. He had sworn the hotel employees
to secrecy regarding his identity, just for
a chance to rib Wheeler.

For patrons less impish than Oakie but
equally insistent, Francis X. Bushman
sometimes fashions sandwiches with his
own hands at his popular sandwich joint
in Hollywood. Binnie Barnes puts fresh
flowers daily in the lobby of the Holly-
wood apartment house she's bought, and
surprises tenants with lovely bouquets on
their birthdays. Norman Foster has been
known to motor home from his "Secret
Book Shop" in Beverly for one of his own
books to lend to a patron.

You can't tell a star it doesn't take talent
and tact to run a business enterprise!

46

IO Ways To Avoid Matrimony

[Continued from page 15]

women prize fighters or poets — half joking,
you see — "

He sighed and continued. "In the
Argentine, a guitar turned the trick; I
twanged it by mistake under her Auntie's
window, and I wasn't a very good twanger,
at that. In Venezuela, I admired a silver
box studded with emeralds, an heirloom,
and when the lady's papa said in the con-
ventional Spanish manner, 'It is yours,
Senor,' I took him at his word and popped
off with it in my pocket. Two years
later I found you're not supposed to inter-
pret this courtesy speech literally; you
should protest and return the gift. Then
I understood why the little senorita never
was home afterward when the English
barbarian called.

■ "In Germany I pulled the boner of
the world. The lady's name was
Augusta — and I called her Yvonne! Sev-
eral times, even when we were out with
her friends. At last Augusta said icily
that apparently I was thinking about
somebody else. Well, I was.

"Not that it did me the slightest good
to think of Yvonne, either. Because (in
Paris) Yvonne had asked what I thought of
her new hat, and like an idiot I'd told her.
'Terrible.' She half forgave me, but the
very next day right in the middle of a

conversation — I mean, she was doing the
talking, and very earnest about it — I
blurted out that her nose was shiny. Rule
Number 10: Tell the truth, and see how
far you get with Cupid. I never did
remain a bachelor more decisively than
that time. It's quite a language, the
French."

A dreamy expression settled upon the
Sanders countenance. "Yet it's not a bad
notion to be able, or compelled, to turn a
deaf ear to wedding bells now and then.
Once upon a time people got married, and
living wasn't dear, and they didn't get
around so much. . . . But now we face
the high cost of loving. Orchids. Dance
places. After marriage, food and rent and
clothes. The wrong girl's an expensive
mistake nowadays.

j "Yes, it's a pity for a man to marry
too soon." (The old hermit of Hermit's
Glen is getting on toward thirty, himself.)
"He ought to take a fling at waiting for
his ideal; I suppose every man has an
ideal wife in mind — I have; a demure
creature, red-haired, and who plays a
good game of golf. And I fancy the sad
experiences that have taught me these
ten rules on sidestepping Cupid were all
for the best."

Sanders passed a hand over his hair

again, somewhat distracted. "Sounds silly?
Hopeless? It isn't silly. As for being
hopeless —

"Nothing's hopeless, if you make up
your mind. For example, when I returned
to England from South America, with the
depression on and no job, my uncle (he's
a singer) said, 'Why don't you become
a singer?' I said 'A: because I haven't any
voice. B: because I know nothing about
music. C: because I don't like singers.'
To which my uncle replied: 'A: you can
develop a voice. B: you can learn about
music. And, C: singers aren't so bad
when you grow accustomed to them.' So
he took me in hand and in six months
I was a baritone!"

As a matter of fact, a mighty good bari-
tone. Heard by a producer, he was given
a singing role in a revue; thence moved
on to roles with Dennis King, Edna Best.
Noel Coward; and found himself vocal-
izing on the air. He was among the first
to sing for television, also. He admits
being a bit baffled by it all.

"But it proves," he added, the dreamy
look returning, "that nothing's unattain-
able, especially the impossible. Not even
an introduction to a redhead who plays,
incidentally, excellent golf."

"And who may have grown tired of
waiting for you," I suggested, "and be
married already."

Sanders gave me a wild look. "That
tears it!" he cried, "that would be my
dashed luck!"

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PORTRAIT BY A. J. SCHAFFR

THIS DOLLY HAAS EVERYTHING

Courage, determination and plenty of beauty and charm
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By E. .1

H Mark this down in your Hollywood
calendar of prophecies — the "Little
Red One" is here to stay!

The little red one being none other than
the titian-haired Dolly Haas, the Ham-
burg, Germany, importation signed re-
cently to a long-term contract by Co-
lumbia Studios, and scheduled for a star-
ring part in Paris On Broadway, musical
soon to go into production.

Ever since the day she first kicked up
her heels as a child ballet artist in the
Hamburg Opera Company, Dolly has lived
for the time when she'd be recognized
as an actress. There wasn't much chance

S M I T H S O X

of this coming to pass as a ballet dancer
and when she wasn't kicking in the bally
ballet she was kicking against fate — until
that eventful evening when she learned
that Erik Charrell, noted Berlin producer,
was in the audience and that he had com-
mented favorably on her work.

| Borrowing 50 marks from her
widowed mother who supported the
family by keeping lodgers, Dolly went to
Berlin, got an audience with Charrell —
and came home with a contract. After
Mama Haas, Dolly Haas and the Haas
boarders had celebrated the event in proper

Accept No Substitutes! Always Insist on the Advertised Brand!

German style. Dolly scooted back to Berlin
and into The Mikado. The Merry Widow
followed, and Dolly, acquired a few neat
tricks in the art of publicizing herself,
worked afternoons in a cabaret to which
she returned after The Merry Widow per-
formance to take part in a night show.
It was her cabaret work that attracted
attention and to it she credits her first
opportunity to play in motion pictures.
Her first film, believe it or not, was Dolly
Gets Ahead!

| Get ahead she did. A number of Ger-
man comedies came next, but afraid
of being typed she went to England to
appear in a picture titled Girls Will Be
Boys. John Brahm, director, quick to note
her dramatic possibilities, gave her the
Lillian Gish part in the remake of Broken
Blossoms.

It was at Director Brahm's insistence,
that Dolly came to Hollywood to try her
luck in American films. Columbia Studios
greeted her with a long-term contract,
saw to it that she got a top part in Paris
On Broadway, and believes that this Dolly
Haas everything it takes to make a good
box office draw.

M en Who Boss
the Stars

[Continued from page 44]

Hollywood? The reason was that it played
the town "straight" instead of gagging it.
Hollywood is a community of real drama
— struggle, triumph, disappointment, folly
and sacrifice — more thrilling than most
stories on the screen. The public would
rather have that genuine drama than the
smart cracks of writers who think them-
selves sophisticates."

| At Metro the young producer became
"the man with the medals," winning
almost every important award offered,
nationally and internationally, for fine
pictures. He left that studio because of
that old, never-forgotten dream, con-
ceived on Forty-second street and Broad-
way— to put the name Selznick at the
masthead of a world-famous motion
picture company. John Hay Whitney
and others offered him backing.

What a result! Four Selznick Inter-
national pictures, playing the Music Hall
in New York, grossed a total of $1,024,000
in that one theatre alone. The pictures
were Little Lord Fauntleroy, The Garden
of Allah, A Star is Born and A Prisoner
of Zenda.

If you really love B pictures, you will
never be a Selznick fan. He can't see the
idea of making one big one and selling
four skimpy ones on the reputation of
the smash.

He thinks that what you want is none
but the best, and that none but the best
is good enough for you. His name will
never be associated with anything except
the $1,000,000 stab or the $2,000,000 stab
at the finest possibilities of the screen.

I've an idea he'll go to his grave as
A-picture Selznick.

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WHEN YOU HAVE

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Did you enter the contest for Jane
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SHE WON IN A WALK

Most young players have to endure
hardships and rebuffs at the start of
a career, but there is one exception

| All that pretty, seventeen -year-old
Lana Turner had to do to convince
Producer Mervyn LeRoy out at Warner
Brothers Studios that she was top-notch
movie star material was to "walk right in,
turn around, and walk right out again."

As simple as all that!

This ambulation — to use a dollar word —
occurred in They Won't Forget, the motion
picture that marked Lana's screen debut.

Of course there was more to it than the
mere walk across the screen, but not so
much at that. If you've seen the picture
you may recall that Lana, in the role of
Mary Clay, had just
about become estab-
lished in the story By ELMER

when she was murdered. That small
amount of footage, however, was enough
to win plenty of verbal bouquets from the
Warner front office and her celluloid
demise lasted only long enough for the
aforementioned front office to find another
featured spot for her — which it did in
The Great Garrick where you'll find her
very much alive again and, unless twenty
Warner officials are completely wrong,
walking off with the show in every se-
quence in which she appears.

And, since we're talking about walking,

there's little room for anyone to deny but

that this lovely little

youngstar has ac-

SIJXFIELD quired the luckiest

50

Accept No Substitutes! Always Insist on the Advertised Brand!

habit in the world. For instance: Less
than seven months ago she walked out
of the side door of the Hollywood High
School and walked into a tiny lunchroom
near Sunset Boulevard.

She sat chatting with a schoolmate for a
while and then, in less time than a Holly-
wood "yes-man" can agree with his boss, a
trade paper publisher walked in and sat
down at a near-by table. He wasn't an offi-
cial talent scout, but he'd been around the
film factories long enough to recognize a
good bet when he saw one, and before
Lana scarcely knew what it was all about
he had her walking into the office of a
player's agent.

So enthused was this agent over his
young client and so fast did he work that
the next day Lana was among twenty
other girls to be tested for the role of
Mary Clay. As composed as a veteran
trooper, Lana walked in front of the cam-
era and then walked right into a fat movie
contract five minutes after Producer
LeRoy had seen the test! As simple as all
that!

"Up until the time I walked out of the
high school side door," says Lana, "I had

n.o thought of ever adopting acting as a
career. I had planned to be a fashion de-
signer and had selected my high school
studies toward that career — but I took a
walk, and here I am!"

Getting down to a few vital statistics,
Lana is five feet, four inches tall in her
stocking feet, and tips the scales at the
109 lb. mark. She's a tennis addict, de-
signs and makes her own clothes, and says
she's far too young and too busy to give
romance any thought. But she thinks
"Wayne Morris is just about the best actor
in pictures."

"Lana lives in Hollywood with her
mother, moving here from San Francisco
in 1936. Wallace, Idaho, is her birthplace,
and don't think for a single minute that
those hard-rock miners aren't proud of
her! A strict disciplinarian of herself, she
likewise knows that two pictures never
made an actress and that success comes
only through hard work.

Well, unless all predictions go over-
board, it's going to be a long movie Lana
that has no Turner — and here's hoping
this wholesome, unaffected youngstar
keeps on winning in a walk!

What Every Dog Should Know

[Continued from page 25]

■ "After a dog has learned to sit down,
it's easy to teach him to lie down.

From a sitting position, pull out his front
legs and repeat 'lie down.' After he has
learned the commands 'sit' and 'lie down'
add the words 'hold it.' That means that
he is not to move until you give the com-
mand. Watch him. If he makes a move,
put him back in his original position and
repeat the command. He'll get the idea.

"From a sitting position, a dog can be
taught to sit up by merely pulling up his
front feet. Coax him with a piece of
meat. Don't tire him out. Some dogs
have weaker loin muscles than others.
Your pup may have to be taught by sitting
up in a corner at first.

■ "Some dogs have the too-friendly
habit of jumping on strangers and

friends alike. If your dog is an offender,
break him by catching his front paws,
push him away from you, and at the same
time step on his hind leg. Hard enough
to be uncomfortable, but not to hurt him.
Repeat the command 'down — stay'."

I gather as I sit in on the discourse
and demonstration of any Tige's educa-
tion, that your dog can be taught to do
everything but drive a car in Los Angeles
traffic. To make him a joy forever isn't
really a big job.

Does your pet chew your goldheeled
evening slippers? Then tempt him with
another pair — and play hide-and-seek.
When you hide and the pooch makes a
move to chew, jump out at him then, and
scold. At the maximum cost of a dozen
slippers, Tige will catch on that slippers
are for you to wear and not for him to
eat!

Does he jump on your furniture? Catch
him at it — be a detective in your own
right — scold him and remove him. Don't

fail to be quite peeved about it, let your
hurt feelings show, and eventually Tige
will let your three hundred-dollar couch
alone!

■ Trained properly, Tige can be consid-
erable of a help around the house. He
ought to be able to bring in circulars and
newspapers from the front door-stoop
every day. To teach him to "fetch" — start
with a rubber ball, or any plaything he
particularly likes. Throw it, he'll go after
it, then repeat "come-fetch." He comes
arunning, if he's learned his first lessons
in obedience.

Eventually, Tige will learn the names
of objects, and a simple "fetch" will save
you at least one hundred steps a day.

| Personally, I don't believe a couple of
stories I have recently heard about dogs.
The Smiths assure me that they can't say
"car" or "candy" in their Blackie's hear-
ing. He goes crazy. They've taken to
spelling the words, but he's catching up
on that trick too.

Then there's my neighbor who tells me
that her dog helps the laundress hang
out the wash. It's odd, but the day I'm
home, willing and ready to observe the
miracle, never seems to be washday.

Life being what it is, not all dogs start
out with the same endowment of brains.
Now Gypsy does everything. I suspect
her of reciting Shakespeare in her lighter
and private moments. But every dog can
be taught the simple rudiments of dog-
knowledge.

But they can't absorb training through
their pores. You, as their owner, will
have to be school teacher — or your dog
will have you on a leash!

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HOLLYWOOD HIGH-FLYER

Walter Pidgeon is starting the second
flight toward the stars of Hollywood,
and it looks like a non-stop journey

By ED JOrVESBOY

■ After a number of trial take-offs it
begins to look as though Walter
Pidgeon is ready for a prolonged flight
in the rarefied atmosphere reserved for
stars.

"I've oeen around these parts for a long
time," says Walter. "As a matter-of-fact,
I came here from Broadway when the
movies were so young they couldn't talk.
It was a fantastic place then, this Holly-
wood. I came out here enticed by an
unbelievable salary and they wouldn't let
me earn any part of it for six months!
That was so amazing that I was just like
the movies — I couldn't talk, either! When
I did regain my voice I talked loud and
long to win a contract release, appeared
in a number of pictures for other com-
panies and then returned to Broadway
for stage work."

And that is where this six-foot, broad-
shouldered star with one of the best
speaking voices in the business would be
right now, except for the fact that his
work in Saratoga won him a long-term
contract. He has a real trouper's deep
and abiding love for the theatre and if
he can find time between all the pictures
he's scheduled for, he'll do a New York
play.

"Maybe it's pure vanity," he admits;
"maybe it's for the prestige it affords, or
maybe it's because every other actor out
here with stage experience wants and
hopes at some time or another to be able
to go back to the old acting grounds
and perform before a living audience.
But don't get me wrong. I like Hollywood
and everything about it. They used to
fill my ears with a lot of vicious gossip — ■
Hollywood, they said, is the double-cross-
roads of the world; Hollywood is the place
where, if you get up from the table and
if a knife is missing, it's probably in your
back — a dozen and one slurs like that I
heard — but I haven't found any of them
true."

It's a funny thing about Pidgeon. He
was cast in four musicals, did a swell job,
and then swore by all the cinematic
saints that he'd quit the screen if he had
to appear in another one. Know the
reason?

"I was afraid of being typed," he says. "I
wanted to be an actor and not a singer.
When musicals went out of fashion—
which they did — I knew I'd be out, too.
'Pidgeon is a nice guy,' I could hear them
say, 'but all he's ever done is musicals —
he can't act!' I thought too much of my

52

Accept No Substitutes! Always Insist on the Advertised Brand!

bread and butter, not to forget room and
board, to let that happen."

Well, time has proved that the "nice
guy" was smarter than his well-wishers
who tried hard to change his mind. He
DIDN'T appear in another musical and,
what's more, he never will. The boy who
was expelled from school because he out-
sang his voice instructor is a big man
now and in his own genial, affable way
is as stubborn as they come. He WON'T
appear in musicals!

Actor Pidgeon is Canadian born, at-
tended high school in St. John and
matriculated at the University of New
Brunswick where he won honors in
dramatics, football and hockey. Saw a bit
of the World War along with two of his
brothers. Came to the States at the con-
clusion of the war and started his theatri-
cal career with E. E. Clive, who was
running a theatre in Boston. He appeared

in a number of plays, had the critics
writing columns of praise about his work
— and then quit the stage to learn finance
in a Boston bank.

"I was doing pretty well for myself,"
declares Walter, "wringing the interest
out of first and second mortgages and
thought I was through with the stage
forever — but who should come along but
a fellow by the name of Fred Astaire
who persuaded me to get back to the
footlights. Fred seemed so shocked over
my mortgage-wringing duties that I began
to feel sorry for myself and almost before
I knew it I was touring the cities as Elsie
Janis' leading man. Then Broadway, then
England for a while, then Broadway, then
Hollywood again, and this time to stay,
for the length of that term contract
anyway."

He's really set to fly high — this Walter
Pidseon!

Hollywood's lO Commandments

[Continued from page 42]

biographies, I found out that the Bothwells
were big, brawny fellows. Except for
chance, they might have been kings them-
selves among those hard fighting clans.
So that fellow's shoes were pretty clearly
defined.

"So were Norman's in A Star Is Born.
He was a good-natured weakling.

"And there's no mistaking Jean La-
Fitte's boots — the seven league boots of
Louisiana's Robin Hood in The Buccaneer.
But the reporter chap in Nothing Sacred!"
Freddy grinned ruefully — "His shoes are
much like my own. You ought to avoid
playing yourself too much.

■ "NEVER BELIEVE YOUR PRESS
NOTICES" is the Seventh Command-
ment. "If they're good, you begin taking
yourself seriously. If they're bad, you do
the same thing. And that's the wrong
medicine for any actor."

B The Eighth Commandment, Freddy
says, is John Barrymore's contribu-
tion. BE NICE TO EVERYONE ON THE
WAY UP — Because you're bound to meet
them on the way down!

■ But it's the Ninth that is the most neg-
lected of all. THOU SHALT GET A

NEW PERSPECTIVE.

"Too much Hollywood and you get a
blind spot," said Freddy. "You need
fresh contacts, fresh interests. An actor
is always on parade here. That's bad. You
forget you have to learn to live and to
play. We've been afraid of that, Mrs.
March and I. So each year we take a
good-sized vacation that's entirely differ-
ent. One year it was Tahiti. Then New
York and England. And last spring we
took a fishing trip up in Oregon for a
month. This winter we're going to do a
play on Broadway. . . .

H "And then there is the Last Com-
mandment—the Tenth: RUN OFF
THY FIRST SCREEN TEST EVERY SIX
MONTHS.

"That," observed Mr. March, "is the best

way I know of keeping inoculated against
the Hollywood malady known as Ego!
It reduces any swelling of the head to
absolutely normal — seeing your first grop-
ing, gritty attempt in the movies."

These Commandments have stood one
brilliant actor in good stead in Holly-
wood, and, if you think them over, they
make very sound rules for any business!

When Mary Livingstone and Jack Benny arrived
at the preview of Eddie Cantor's Ali Baba Goes
To Town, the master of ceremonies halted them
for speeches over the air. Strangely enough,
neither one seems bothered by mike fright!
Notice the fashioning of Miss Livingstone's
silver fox collar. It swings around the sides
to make big warm pockets

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Turn Up The Clock

[Continued from page 26]

B Back again, children. That man?
Oh! I forgot to introduce you. That
was Bob Montgomery. He wanted to be
a columnist. And so he just told good
old M e t r o-G o 1 d w y n-M a y e r they
could make pictures with somebody else.
Fine fellow! And he gets the news. No-
body reads Walter Winchell, Ed Sullivan,
Louis Sobol or Jimmy Fidler any more.
That's right. I forgot about the column-
ists. They are all acting.

Isn't that pretty music, children? That's
coming from the Myrna Loy Studios,
children. Someday, if you ever want to
take lessons, I'll send you to her. Oh,
yes — she used to be in pictures, too. But
one day she announced that she wanted
to be a pianist. By this time, the pro-
ducers were all pretty sore about all this,
so they said:

"Okay, go and be a pianist." Of course,
you'll have to wait your turn on the
lessons. See those bald-headed men
standing in line?

| Who's the dame dancing down the
street? That's Luise Rainer. She
made a statement that her dream was to
become a dancer. Pretty soon she started
dancing. But there weren't any more
theatres for her to dance in. Even Fanchon
and Marco had folded shop. So she just
has to dance along, willy nilly. But she's
fulfilling that great longing, so I guess
she must be very, very happy.

No, I'm sorry! Really, I don't want a
dress! You'll just have to overlook her,
children. Who? Rosalind Russell, of
course. That's her dress shop. She gave
up her career to run a dress shop, in
accordance with her ambition. But pretty
soon everybody else had fulfilled their
ambitions to do something else beside be
motion picture stars, there weren't any
more pay checks, and she's had to hustle
ever since to get any business at all. You
see, when people gratify their ambitions,

At the opening of the new Waikiki Club, fa-
mous Hollywood personalities turned out to en-
joy the colorful South Seas atmosphere. Here is
Bert Wheeler in the process of being decorated
by his wife while blonde and beautiful Vivian
Peterson is ready to help if he puts up a fight

they usually have to make some sacri-
fices, and the pay checks were one of
these sacrifices. Want a book? There's
William Powell's book store over there.

What's the crowd? Let's go see. Well,
well, well! It's a lady sketch artist. Let
me get a closer look, if I can wade through
this mob. Can you imagine that! It's
Ginger Rogers! Well do I remember the
day when she and Fred Astaire went into
the executive offices at RKO to give their
ultimatum. That was the day Fred an-
nounced he was going to raise horses.

"And I'm going to sketch!" insisted
Ginger.

Nothing could sway her from this inner-
most desire, this ache which slowly was
eating out her heart. Her sketches were
very good, too. But not as good as
Ouspenskaya's? Every minute Ouspens-
kaya wasn't working in motion pictures
she had a pencil in her hand, according to
1937-38 press releases. Something of a
record, but uncomfortable at times, I
imagine.

| Then there was Bette Davis. You
never heard of her? She won what
was known as the Academy of Motion
Picture Arts and Sciences award for her
acting, and immediately felt nostalgia
creeping over her. It wasn't long before
she announced that she was going to her
little farm home in New England and that
was the last we ever heard of her.

Things like these have made Hollywood
what it is today. A horse-ridden, dog-
ridden, pretty much deserted community.
All because all the players really went out
and did what they wanted to do. Paul
Muni's sinking his roots deep in San
Fernando Valley. Ann Sothern's writing
a symphony. Helen Broderick's raising
flowers. Francis Lederer's lecturing on
peace. Gary Cooper's on a ranch. Melvyn
Douglas is travelling, too. Garbo's actu-
ally gone back to Sweden to live. Pat
O'Brien's gone to Ireland to spend the
rest of his days, as he always wished.
Ronald Colman's back in merrie olde En-
glande. Buck Jones is riding the range.
Wally Beery's flying mail and passengers.
Marlene Dietrich is back playing her vio-
lin in Germany, and Freddie Bartholomew
is writing for the radio.

Troupers all! And all gone!

§| Who's that man sitting on the corner,
clipping pieces of paper? That's the
smartest man in Hollywood, children.
Dick Powell. No, he isn't cutting paper
dolls. When he retired he announced that
his one ambition was to cut coupons off
bonds. He made a large and fancy collec-
tion of high quality issues for the purpose.
Many stars planned to retire and fulfill
their heart's desire by doing the same
thing.

But many got retired before they had
come anywhere near finishing their col-
lections. Cutting? A few are gratifying
the ambition, but in a different way,
children.

They're cutting lawns.

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East Meets West

[Continued from page 40]

Relatives from the entire village came to
admire their famous kinswoman. She
had to drink tea with all of them, and
since everyone surnamed "Wong" was her
"cousin," she thought she would drink all
the tea in China before she was through.

"Many of the women could not believe
I really existed. They had seen me on
the screen but they thought I was simply
a picture invented by a machine!

"I'll never forget the banquet they gave
for me. There were 43 courses, and to be
polite I had to eat liberally of all of
them."

In Nanking she was guest of honor at a
huge reception, attended by leading gov-
ernment officials. "They made speeches
that lasted for four hours, but instead of
the usual stereotyped 'welcome to our
city' speeches, they all took turns berat-
ing me for the roles I had played.

"Since I didn't speak Mandarin then, I
had to answer in English. I told them
that when a person is trying to get estab-
lished in a profession, he can't choose
parts. He has to take what is offered. I
said I had come to China to learn, and
that I hoped I would be able to interpret
our country in a better light. It all ended
with their apologizing to me!

| "Of course," she laughed, "when
Warner Oland went to China, he was
simply lauded to the skies. No one
thought of bringing up his evil past as a
Chinese villain in such pictures as
Daughter of the Dragon. Seriously
though, I can understand why the govern-
ment officials are so earnest about this
censorship idea — not because they are
hypersensitive, but because they are self-
conscious and want people to see their
best side, not their worst."

Anna May has discarded her entire
American wardrobe, which once won her
the designers' vote as the world's best-
dressed woman. Her closet is hung now
with rows of Chinese gowns, slit high on
the sides to reveal lace or pleated panta-
lettes. These latter are an invention of
her own, combining the old with the new
in Chinese fashions. Fans and parasols
match her gowns. She rarely wears a
hat, and uses capes to keep the flowing
line.

Her tailor was loaned her by Mrs.
Wellington Koo, wife of the ambassador.

"I used him so much, and recommended
him to so many of my friends who liked
what he had done for me, that Mrs. Koo
had to find herself another tailor. A
Chinese gown, with its simple lines, looks
quite easy to make, but it takes an expert
to keep it from hanging like a Mother
Hubbard."

The tailor was amazed when she
brought him a piece of old fabric she had
found in a Peiping shop and directed him
to make her a gown from it. "It's goo lo
(old fashioned)!" he exclaimed. "No one
wears such stuff."

But Anna May insisted, and soon style-
conscious Chinese women were copying
her, using the beautiful old designs and

fabrics they had previously scorned for
the Western ones.

H3 She has no permanent wave, "be-
cause Nature meant my hair to be
straight," and wears her long hair drawn
back in a knot from her heart-shaped
face, with bangs across the forehead.

Her father and several brothers and
sisters went to China in 1934 and were
still in Hongkong; she was much worried
over them. Her sister, Mary, who ap-
peared with her in Daughter of the
Dragon, was in Shanghai and Anna May
has had no word from her since the
bombing.

g| In China persons in the acting profes-
sion are socially not acceptable. The
fact that Anna May, in a foreign country,
had established an unchallenged position
as a foremost actress, could not be ignored
and she was welcomed everywhere,
officially and by social leaders.

"There's no glamor about acting in
China," she said. "It's all hard work. I
visited the school of Chinese drama where
anyone who wishes to act must go in train-
ing from the ages of 14 to 20. A two-
months' trial is given, and if the candidate
shows ability, he is allowed to remain.
Perhaps if there was such a training
school in Hollywood, we wouldn't have so
many actors!

She had always studied, I knew. If
anyone can claim to be self-made, she
can. Her educational advantages were few,
but she made up for the lack and rose far
above academic limitations. Between
scenes on The Thief of Bagdad, for ex-
ample, she had a tutor drill her in the fine
points of English grammar. Now she
speaks German fluently (result of starring
in German films), French, two Chinese
dialects. She has more than the education
of the average college graduate — she has
culture as well as book-learning. As
for her plan for the future? One
thing is certain — it will be something in-
teresting, and it will be something that
employs her western training as well as
her inherited Oriental culture.

Mamie Louise Leung, author of this story, is well
known on the Pacific coast as a newspaper
feature writer, having worked on big papers in
San Francisco and Los Angeles. Here she is
having luncheon with Anna May Wong in the
Paramount commissary

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MOVIE CROSSWORD

HORIZONTAL

1. Star of Wells Fargo; first name.

5. Humphrey Bogart is featured in Dead .

8. of the Nineties,

9. Chamber.

11. Last name of a girl in The Road Back.

12. She plays Heidi.

15. Actress in The Bride Wore Red.

16. Ed Munn in Stella Dallas; first name.

17. Lyric poem.

18. — ■ Take Romance stars Grace Moore.

19. Given name of a German character actor.

20. Verbal.

21. Give Your Heart.

22. Bit player named Dorothy.

23. Under Your with Lawrence Tibbett.

24. First name of comic Louis-Louis in Easy
Living.

25. The late Jean Harlow's double in Saratoga;
last name.

26. Comedian in Woman Wise; first name.

28. Surname of actor in We Have Our Moments.

29. Initials of Manuel in Captains Courageous.

31. Nickname of actor playing title role of Slim.

32. Hush!

33. Late husband of Billie Burke; nickname.

34. Singular nickname of famous columnist.

35. Last name of a sepia comedian in Super
Sleuth.

36. Slide.

37. Another name for a horse-opera.

39. News paragraph.

40. Spike.

41. Star of Ali Baba Goes to Town; first name.

43. Affirmative.

44. Period of time.

VERTICAL

1. Given name of girl in Easy Living.

2. In Chicago with Alice Faye and

Tyrone Power.

3. Swedish comedian in God's Country and the
Woman.

4. First name of star in It's Love I'm After.

5. Irish actress in The Life of Emile Zola; given
name.

6. Correlative of neither.

7. First name of former wife of John Barrymore.

8. Star in The Man Who Found Himself.

10. Award for merit.

1 1. Actor's part.

13. Given name of the producer of Topper.

14. Shout.

15. Piccadilly starred Bob Montgomery.

16. Screen name of Mrs. Bruce Cabot.

19. First name of gigolo in Woman Chases Man.

20. Not closed.

22. Gather up; Nip and , radio artists.

23. Dispatched.

24. She is accused in Back in Circulation.

25. Red co-starred Gable and Jean Harlow.

26. Chinese dog.

27. Mrs. Griswold in Under Cover of Night.

28. Creator of Silly Symphonies.

29. Lanky comedian in The Road Back; nickname.

30. of the Town featured George Murphy.

32. Husband's Secretary.

33. Run away.

35. First name of star in Dracula.

36. Mix.

38. Cravat.

39. Blonde lead in Artists and Models; given
name.

42. This precedes Olivia's surname.

56

Accept No Substitutes!

(Solution on page 63)

Always Insist on the Advertised Brand!

Reviews in Brief

CONQUEST (M-G-M)

Vivid, virile, driven by ruthless love
for power is the Napoleon brought to
the screen by Charles Boyer. The film,
designed as a starring picture for Greta
Garbo, does give her a colorful part, but
so vivid are many of the supporting parts
that her stardom is shared, so far as com-
ment and discussion goes, with several
members of her cast.

The story centers around the beautiful
young Marie, married to gentle proud
Count Walewski. She is ardently patriotic,
and looks to Napoleon to free her beloved
Poland from Russian rule. Instead, she
finds herself caught in an intrigue, which,
according to the film, continues to the end
of the Little Corporal's life.

It is a romantic tale, told against a back-
ground of violent action, played and di-
rected with keen imagination. Marie
Ospenskaya as the sharp tongued grand-
mother who gives Napoleon a word-lash-
ing, Reginald Owen as the dangerously
suave Tallyrand, Henry Stephenson as
Walewski and Dame May Whitty as Na-
poleon's mother build brilliant perform-
ances to throw the personalities of Garbo
and Boyer into high relief.

Some people will be a little troubled as
to how Marie managed to get to Elba in an
enormous ship, when Napoleon was hav-
ing trouble at getting even a row boat past
his alert guards, but few can deny that this
is one of the rousing historical films of the
season.

THE AWFUL TRUTH (Columbia)

| It was Jerry's awful lies which started
the whole thing. Unwisely Jerry
(Cary Grant) tried to make his wife
(Irene Dunne) think that he had been in
Florida by returning with a sun-lamp tan
picked up in a New York Turkish bath.
Naturally he was on the defensive. That
made him unduly sharp when she re-
turned in the middle of the morning in
evening clothes escorted by her handsome
singing teacher (Alexander D'Arcy).

Her escapade was innocent, but not in
the mind of guilty, jealous Jerry. Before
they knew quite how it happened they
were quarreling before the divorce court
judge about the custody of their pet puppy.
Mr. Smith.

The comedy becomes a romantic romp
when a solemnly enamoured gentleman
from the Southwest (Ralph Bellamy) be-
comes engaged to the bored divorcee, and
her ex-husband decides to wed into the
social register. His chances of making the
400 are wrecked when his resourceful
mate turns up, feigning drunkeness, and
with an assumed dance hall accent claims
to be his sister.

Fast, gay, clever, this is another comedy
hit for Columbia.

HEIDI (Twentieth Centry-Fox)

| Beloved by generations of children,

Heidi comes faithfully to life on the

screen with little Shirley Temple once

more proving that she is the perfect
heroine for tales too sentimental for the
average player to make convincing.

This story is perhaps the most exciting
in melodramatic situations of the Temple
films to date, and will enchant the young-
sters through the holiday season.

In it Shirley, appealing and pathetic
little orphan, is at the mercy of a curmud-
geon of a grandfather (Jean Hersholt),
who gradually forgets his surliness under
his granddaughter's cajolery, and who has
some tear-producing scenes when she is
taken from him.

Arthur Treacher as the butler in the
rich town house where Shirley has hard
going as a sunbeam for a while, Mary Nash
as the villainous governess, Marcia Mae
Jones as the crippled child who is coaxed
to walk by pure faith, Sidney Blackmer,
Delmar Watson, Helen Westley, Christian
Rub and a large cast of assorted players in
picturesque Swiss costume provide excel-
lent parts of the pattern.

The high-light of the whole sparkling
tale is a dream sequence in which Shirley
has a chance to dress in ruffles and pow-
dered wig, sing and dance.

LIVE, LOVE AND LEARN (M-G-M)

H Maybe the movie people are jealous
of Robert Benchley, and that is why
there never is enough of him in a film.
M-G-M, however, is taking a step in the
right direction in casting him in a part
that runs all the way through a neat
comedy-drama about how an artist must
be true to his own soul. A wonderful
part it is, too, and something you should
lie in wait for.

The story deals with Bob (Robert Mont-
gomery) who has no respect for anything
but his art, which he practices in a garret,
until he meets Julie (Rosalind Russell).
She tosses aside her wealthy relatives and
friends to share his ideals and his bean
soup.

Sudden success goes to his head a little.
So does one of Julie's vampish friends
(Helen Vinson) but before the end of the
film he wins the smiles of the loyal Oscar
(Robert Benchley) and Julie by returning
to his old endearing habit of cutting neck-
ties and suspenders off the more pompous
of his patrons.

Good lively fun, and worth catching.

ALI BABA GOES TO TOWN
(Twentieth Century-Fox)

£| No one was more surprised than hobo
Al Babson (Eddie Cantor) when he
tumbled off a freight train and woke up
to find himself Ali Baba with all of the
splendor of the legendary Oriental court
at his disposal including the Sultan
(Roland Young) and the lively Sultana
(Louise Hovick, otherwise known as
Gypsy Rose Lee).

The comedy flings bright barbed quips
at taxation, relief, inflation and a dozen
other current events, not sparing a few
prominent personalities. The action is

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furious, and the dialogue is the wittiest
Cantor has had in a long time.

Tony Martin, June Lang, John Carra-
dine, Virginia Field, Alan Dinehart, Doug-
las Dumbrille play supporting parts, there
are striking specialty numbers, the songs
are good enough to remember, and you
won't forget the costumes for a while.

DR. SYN (Gaumont-Brltish)

3 Under a curate's flat hat, George
Arliss appears the soul of benignity,
but as the film unreels he is discovered
as a retired pirate, engaged in a hearty
rum-smuggling trade in a peaceful little
English village. There are lots of good
chases before the young lovers are united
and the gentle pirate escapes the law to
seek refuge under some other disguise.

LOOK OUT, MR. MOTO
(Twentieth Century-Fox)

B This is the second in the "Mr. Moto"
series, and since it has more plot that
a 12 chapter serial and the action is much
the same, it is enough to say that Peter
Lorre plays the Japanese secret service
agent, Rochelle Hudson is a round-the-
world flier part of the time, and the villians
are trying to get the domain of a Rajah.

45 FATHERS (Twentieth Century-Fox)

H Lively Little Jane Withers is adopted

by her father's entire club, though

one member in particular who always is

asking for trouble provides a home for

her. Once in it, she sets to work to make
his life one excitement after another as
she saves him from shakedowns, law-
suits and an unfortunate marriage. Fine
for the Withers' fans.

RENFREW OF THE ROYAL MOUNTED
(Grand National)

£1 Fast riding and last minute rescues
are the big feature of this tale of coun-
terfeiters who operate in the Canadian
mountains and run hot money into the
United States. James Newill and Carol
Hughes have principle roles, and there are
four songs in the current style which de-
mands music with every action picture.

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66 Spankings Soothe the Soul"

[Continued from page 33]

control at home then the world will teach
them later, and it will be a much tougher
lesson.

"Personally, I should have been spanked
a lot more than I was. It would have
helped control a perfectly vile temper,"
said Bette, looking angelic. "I would lie
on the floor and kick and scream with
all my strength. If my father had been
around after I was ten years old (the
time when he and my mother were sepa-
rated) he would have done something
about it. Ham's father had a few sessions
in the woodshed with him; the result
is that he can be in a boiling rage and
you'd never know it. I have yet to see
him lose his temper.

"It is a very hard thing for one parent
alone, especially a mother, to bring up
children, and all the more credit to my
mother for doing as well by Bobbie
(Bette's sister) and me as she did.

"We learned independence at an early
age. Mother was working and could not
be with us very much of the time, so she
had to leave certain things to our judg-
ment and common sense — after giving us
a good groundwork in both.

S3 "I think children respond to routine
and responsibility. They do not en-
joy a lack of discipline. If you have never

been taught to do what you do not want
to do, when you get out in the world and
have to for the first time, how do you
cope with it? Must be pretty grim for
some of the present-day ultra progres-
sives.

"Bobbie and I traveled alone on the
train to see our father from the time we
were ten. At nineteen, I went to dramatic
school alone in New York. Mother said,
'If you can't take care of yourself now,
all my training has been for nothing.' I
got along very well, and all her training
had not been for nothing. But had I been
wrenched from the side of an all-shielding
protecting silver-cord sort of mother, I
would have been in a fine fog. Or from a
mother who had never required me to do
anything I didn't want to do, or had not
thwarted a few of my impulses of which
I had plenty of all kinds.

gg "I have one real theory about chil-
dren: treat them like grown-ups. A
child is a person without benefit of ex-
perience; but a person who has learned
all the fundamentals necessary to shape
his character by the time he is ten years
old.

"Children are much more intelligent
than the average person realizes. Adults
are too prone to be influenced by size. I

58

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have met children four feet tall who were
more interesting conversationalists than
some men six feet tall.

"Two mistakes I have most frequently-
observed among parents: the sin of
bribery, and the holy horror of telling
children they are attractive.

"There is no earthly reason why a child
should have to be bribed to eat his dinner
or take a bath. On the other hand, they
should be rewarded for extra duties such
as doing the dishes or raking the lawn, if
this has been agreed upon in the begin-
ning. An early realization of the value
of money seems to me very important

"Also, I see no reason why a child
shouldn't be brought up with an accurate
evaluation of his or her own appearance
so it will be taken for granted, and not
make them self-conscious, vain, or shy,
when they meet the world. There was
some kind of a phobia in the elder genera-
tion against paying compliments to a
child. My grandmother typified it per-
fectly when she always said: 'Now my
dear, if you act as well as you look, you'll
be all right.' Leaving me with the feeling
that there was some doubt about both,
but nothing much I could do about it.

"Mother was given to harmless flat-
tery, never carried too far. Just
enough to give us confidence. And that
seems to me one of the most important
qualities with which to arm your child.
The world will try to take it out of him
soon enough, so you can afford to bestow
an extra large endowment at home.
There has been an awful lot of loose talk
going around about the 'self-confidence of
youth.' It is simply a defense, in most
cases, to cover an alarming lack of it.

"Plenty of praise for children is my
platform. Not meaningless or unde-
served, but a lot of things could be
modestly praised that often go unnoticed.

"The same thing could go for school-
teachers too.

"And speaking of school: I have read a
lot of discussion pro and con about teach-
ing sex knowledge in school. Of course
the place for children to learn what is
called the facts of life, is right at home,
from their mothers and fathers. But if
actually there are parents who neglect
or evade this vitally important subject,
then it seems to me better that children
learn from a qualified person than get
distorted ideas from other children. When
they discover their facts this way, mother
is pretty apt to be regarded as a coward
afraid of the truth, or as a smug reac-
tionary left over from the bustle era. In
the end, she forfeits a lot of the respect of
her children.

■ "And that," exclaimed Mrs. Nelson,
triumphantly — reaching for the
afghan she is knitting somebody's baby,
"is quite enough to involve me in a con-
troversy with all the mothers in the land!"

"Ah, yes, but just a minute! They
grow up and go to high school. What
then?"

"That's another department," Bette
countered neatly. "They are no longer
children, at least not to hear them tell it.
Anyway, I'll say this much. The public
school system of tests is all wrong. That

has been one of my favorite peeves for
years. A thorough teacher shouldn't
need tests to know who is good and who
isn't. Lots of youngsters go all to pieces
and can't do a thing in an exam, when
they know the subject perfectly.

There was a short pause. "Oh, to be
a child again," I murmured, idly.

"Oh, go jump in the lake!' shrieked
Bette who had maintained a painfully
ladylike demeanor throughout this dis-
cussion. "Who said anything about being
a child again? I probably had a child-
hood far more happy than the average,
but I wouldn't go through that again for
anything on earth!" Even the planes and
prisms in her jewelled clip shot out in-
dignant sparks.

"Only a congenital idiot yearns for his
childhood, or an incurable adolescent, or
one who has made a complete mess of
adult life. So, of course, they are filled
with maundering escapist wishes back-
ward to a childhood which probably had
no discipline or responsibilities. Nobody
with a grain of sense wants to go back
to that chaotic time when the world was a
whirling frenzy of facts and ourselves
trying desperately to reach out and grab
a place for ourselves. When all was con-
fusion and bewilderment and impatience,
and things were much too slow and to-
morrow never came. When we didn't
know a doggone thing and made it harder
by thinking we knew it all. . . .

"No, thank you. Every interval in life
has its own compensations and nothing is
so deadly as to go back, even though it is
good to have pleasant memories of each
interval. But to live in the past is to ad-
mit you have no future.

"I would see to it that any child of mine
had a childhood as happy as I could pos-
sibly give, without neglecting the very
important fact that childhood is a prepa-
ration for a busy and useful life, and
not entirely for having fun."

With which the lady who talks the best
mother we have ever heard in a long
time folded up her baby-blanket, drank
her tea, and departed. A few minutes
later, I pried our six-year-old loose from
what was left of a chocolate cake — and
took Bette's advice on page 33.

In between shots of Having a Wonderful Time,

in which she is playing at Radio, Lucille Ball

has a good time working on her career as a

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[Continued from page 22]

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(3) bitten by a dog; (4) obliged to chin
himself fifty times; (5) kissed by Joan
Blondell exactly twenty-seven times.

6. Saratoga was notable for: (1)
Its acclaim as the finest musical of
the year; (2) the first screen appearance
of the Ritz Brothers; (3) the terrific fight
between Clark Gable and Spencer Tracy;

(4) being Jean Harlow's last picture; (5)
its rare color effects.

7. Attending an important preview,
Barbara Stanwyck: (1) Severely cut
her hand; (2) fell flat on her face
as she was getting out of her
car; (3) was unrecognized and handled
roughly by a policeman; (4) scored an
all-high autograph record by signing her
name 402 times; (5) playfully tripped
Robert Taylor.

8. As though pictures and radio didn't
keep him sufficiently busy, Bing Crosby:

(1) Plowed twenty acres on his Rancho
Santa Fe estate; (2) opened and person-
ally operated a new horse-racing track;
(3) took up the study of French; (4)
made a deal whereby he will sing at the
Metropolitan, in New York; (5) is writing
his memoirs.

9. It's a (1) separation; (2) new ranch
home; (3) baby girl; (4) round-the-
world tour; (5) racing stable, for the Gary
Coopers.

10. All the following were married in
1937, but can you tell which combination
is correct? (1) Parkyakarkas and Natalie
Cantor; (2) Tom Brown and Sally Breen;
(3) Mae Clarke and Anatole Litvak; (4)
Anne Shirley and John Howard Payne;

(5) Katherine de Mille and James Ellison.

11. The screen is all the more rich for
the screen debut of: (1) Katherine Cor-
nell; (2) Lynn Fontanne and Alfred
Lunt; (3) Leopold Stokowski; (4) Ma-
hatma Gandhi; (5) Queen Mother Marie
of Romania.

12. (1) San Francisco; (2) The Story
of Louis Pasteur; (3) Charge of the Light
Brigade; (4) The Great Ziegfeld; (5) The
Plough and the Stars, won the Academy
Award for the best production of 1936.

13. After all these years on the screen,
Robert Montgomery: (1) Is taking elocu-
tion lessons; (2) radically changed his
type in Night Fall; (3) plans to obtain
a quiet divorce in Paris; (4) will retire
within a year to his upper New York farm;
(5) has taken up knitting, to while away
the hours between scenes on the set.

14. (1) John Barrymore; (2) George
Brent; (3) Buddy West more; (4)
Humphrey Bogart; (5) Gene Markey, at-
tempted to have his marriage annulled.

15. May 1st will be remembered in
Hollywood because (1) Mae West finally
admitted her marriage to Frank Wallace;

(2) Henry Fonda and Leland Hayward,
wed to Fonda's former wife, engaged in
fistic argument at a prominent night spot;

(3) the studios went Guild Shop; (4) Lily
Pons gave a free concert at the Holly-
wood Bowl; (5) studio workers started
picketing the studios,

16. Twentieth Century-Fox announced
formally that Gypsy Rose Lee henceforth

would be known as Louise Hovick and
that she would: (1) Write the screen story
of her life in burlesque; (2) strip in
her first starring film; (3) not strip in
her first starring film; (4) act as techni-
cal expert for a picture based upon the
growth of burlesque; (5) do a series of
shorts showing the life of a strip-tease
artist.

17. Hollywood still is talking about

, so tremendous was its popular

appeal: (1) Heroes of the Alamo; (2)
West Bound Limited; (3) How to Undress
Before Your Husband; (4) The Cali-
fornian; (5) A Star Is Born.

18. Now that her daughter is growing
older, Marlene Dietrich: (1) Took out
American citizenship papers; (2) is per-
sonally teaching Maria French and Italian;
(3) insists that the girl wear slacks upon
every occasion; (4) gave her a car and
chauffeur all her own; (5) is having her
daughter coached in acting, so that she
may appear with her in her next picture.

19. Which of the following two couples
honeymooned to Hawaii on the S. S. Lur-
line at the same time: (1) Arline Judge-
Daniel Topping and Mary Astor-Manuel
del Campo; (2) Alice Faye-Tony Martin
and Bob Burns and his bride; (3) Luise
Rainer-Clifford Odets and Ann Harding-
Werner Janssen; (4) Jeanette Mac-
Do n a 1 d-Gene Raymond and Mary
Pickford-C h a r 1 e s Rogers; (5) Louise
Hovick-Robert Mizzy and Lyle Talbot-
Marguerite Cramer.

20. The life story of ap-
peared in several installments of the na-
tion's oldest weekly publication: (1) Cecil
B. de Mille; (2) Samuel Goldwyn; (3)
Jane Withers (4) Charles Chaplin; (5)
Greta Garbo.

21. Hollywood was stirred to the depths
by the: (1) Marriage of Oliver Hardy and
Kay Francis; (2) the combining of Metro-
Goldwyn-Mayer and Paramount Pictures;
(3) arrival of quintuplets to Joe E.
Brown's favorite mare; (4) Clark Gable
extortion and paternity case; (5) an-
nouncement that the Duke of Windsor will
make a picture in the film capital next
year.

22. If you were , you'd find

yourself a millionaire overnight: (1)
Richard Cromwell; (2) Robert Cummings;
(3) Leif Erikson; (4) Gordon Oliver; (5)
George Murphy.

23. The son of , made his

screen debut in Stella Dallas. (1) Jack
Holt; (2) Edward Arnold; (3) Wallace
Reid; (4) Erich von Stroheim; (5) John
Boles.

24. Ann Sothern has won renown for
her: (1) Impersonation of a cup and sau-
cer at play; (2) ability as a milliner; (3)
rare orchid plants; (4) knowing more
verses about "Frankie and Johnnie" than
any other girl in Hollywood; (5) regular
commuting across the continent to visit
hubby Roger Pryor.

25. Many of the stars are going in for:
(1) Piano lessons; (2) ranch homes; (3)
ventriloquism; (4) the abolition of un-
listed telephone numbers and having their

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names placed in the phone book, even as
you and I; (5) water-coloring.

26. recently opened a smart

night spot in Hollywood: (1) Marian
Nixon; (2) Richard Arlen; (3) Clara Bow;
(4) Billie Dove; (5) Neil Hamilton.

27. Fernand Gravet's striking resem-
blance to was especially noted

in his first American film, The King and
the Chorus Girl: (1) Charles Lindbergh;

(2) Anthony Eden; (3) Duke of Windsor;

(4) James Stewart; (5) Louis B. Mayer.

28. The wife of what male star, noted
equally on screen and radio, recently
made her film debut: (1) Jack Oakie; (2)
Jack Benny; (3) Joe Penner; (4) Eddie
Cantor; (5) Nelson Eddy.

29. Anthony Quinn has set up house-
keeping, with • — ■ ■ as his bride: (1)

Constance Worth; (2) Miriam Hopkins;

(3) Thelma Leeds; (4) Katherine deMille;

(5) Martha Raye.

30. The U. S. government has cracked
down on: (1) Stars who kept more than
two cars; (2) film personalities who in-
corporate themselves to cut down income
tax; (3) studios paying in excess of $250,-
000 to any one individual during the year;

(4) studios showing the American flag
in their color films; (5) mention of the
names Hitler, Mussolini and Stalin in pic-
ture dialogue.

31. Jean Muir announced she is through
with Hollywood and during the next year
will: (1) Devote herself to the New York
stage; (2) travel through India and the
Orient; (3) go on a concert singing tour
of South America; (4) retire to a small
cottage in the Adirondacks (5) affiliate
herself with the airplane business.

32. Much to the amazement of many,
Joan Bennett: (1) Will shortly produce
her own pictures; (2) dyed her blonde
tresses black; (3) has gained twenty-two
pounds and no longer can playing lead-
ing roles on the screen; (4) spent the sum-
mer acting in an eastern stock company,
at a salary of $25.00 per week; (5) insists
upon broiled owl every other Saturday
evening for dinner.

33. "Fight for Power" is: (1) A new
Hollywood game; (2) title of former
Colleen Moore picture; (3) battle-cry of
Hollywood maidens in their pursuit of a
certain romanitc young man; (4) ulti-
matum sent troops by Japanese Emperor;

(5) slogan of the present administration.

34. George Rector, the famous restau-
ranteur of former days in New York, went
to Hollywood to: (1) Open a new Rector's;
(2) play himself in Mae West's Every
Day's a Holiday; (3) consult with Darryl
Zanuck about the filming of his life story;
(4) bask in the California sunshine; (5)
be food-loving Edward Arnold's chef.

35. It strikes one as odd, but Freddie
Bartholomew, although he's only thirteen:
(1) Attempted to break his contract with
Metro-Goldwyn-Mayer; (2) wrote a series
of political articles which appeared on the
front page of The New York Times; (3)
has already saved more than a million
dollars; (4) assisted in the capture of a
bandit; (5) has been knighted by King
George VI of England.

36. She's such a pretty thing, it's not
at all strange that Sonja Henie: (1) Is the
recipient of a telephone call from Crown

Prince Olaf of Norway at least once a
week; (2) uses goats milk from her native
Norway for her complexion; (3) is the
first big-time athlete who ever ascended
to screen stardom, and remained there;

(4) receives two dozen orchids a day from
admirers; (5) was asked to skate at the
Presidential inauguration.

37. Hollywood wasn't at all surprised
when John Barrymore and Elaine Barrie:
(1) Appeared on the Broadway stage to-
gether; (2) took a second honeymoon trip
to Australia; (3) boasted that they would
blast each other's respective careers to ob-
livion; (4) returned to each other's arms
and decided to try marriage once more;

(5) announced they would act as Jack
Benny's stooges on the radio comedian's
air program.

38. Much to her delight, Alice Faye:
(1) Adopted two lovely baby girls; (2)
stepped into the leading role of In Old
Chicago; (3) discovered she is the cousin
of Frank Fay, her childhood favorite; (4)
was presented a span of reindeer; (5) rode
her own horse in the Caliente Handicap,
and won.

39. Paul Muni won the Academy
Award for his acting in: (1) The Life of
Emile Zola; (2) Captains Courageous; (3)
Big City; (4) The Story of Louis Pasteur;
(5) The Good Earth.

40. In Mr. Dodd Takes the Air, Kenny
Baker's was particularly mani-
fest: (1) Baldness; (2) proclivity to
squint; (3) operatic basso voice; (4)
Barrymore profile; (5) remarkable re-
semblance to Dick Powell.

41. returned to the screen,

with the same charm as of old: (1)
Florence Vidor; (2) Maurice Chevalier;
(3) Ramon Novarro; (4) Patsy Ruth
Miller; (5) Frank Fay.

42. Robert Taylor's rise to popularity
may best be compared to that scored by:

(1) Forbes-Robertson; (2) LeslieHoward;
(3) George Raft; (4) Rudolph Valentino;
(5) Bob Burns.

45. Walter Winchell scored heavily
with movie fans in: (1) Something to Sing
About; (2) Sing and Be Happy; (3)
Broadway Melody of 1938; (4) The Awful
Truth; (5) Wake Up and Live.

44. More wisecracks have been made

about Simone Simon's than have

been uttered about any other player on
the screen: (1) Cross eyes; (2) hysterical
acting; (3) lips; (4) alliterative name;
(5) large feet.

45. The son of accompanied

Hal Roach home from Europe, for the
purpose of studying American film pro-
ducing methods; then, left Hollywood al-
most immediately: (1) Noel Coward; (2)
Benito Mussolini; (3) Baron James de
Rothschild; (4) Lord Neville Chamber-
lain; (5) Mustapha Kemal Pasha.

46. — established Deanna

Durbin as one of the most promising
younger personalities of the screen: (1)
When Love Is Young; (2) Forty Naughty
Girls; (3) Champagne Waltz (4) 100 Men
and a Girl; (5) Varsity Show.

47. passed away the same

day as Jean Harlow: (1) Emmett Flynn;

(2) Monroe Owsley; (3) Colin Clive; (4)
George Gershwin; (5) Sir Guy Standing.

48. Cary Grant rose to new acting

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heights in

proved himself one of the leading figures
on the screen: (1) Music for Madame;

(2) Stage Door; (3) Love Is News; (4)
When You're In Love; (5) Make Way for
Tomorrow.

49. The separated, after more

than twenty years of wedded bliss: (1)
Frank Morgans; (2) Charles Winningers;
(3) Warner Olands; (4) John Boles; (5)
Ralph Morgans.

50. The stars will do anything to: (1)
Call Industry-Czar Will Hays by his first
name; (2) be seen at the Cocoanut Grove;

(3) be invited to dinner at the home of
any prominent producer; (4) take funny
candid camera poses of their friends; (5)
go up to see Mae West just ONE time.

ANSWERS TO QUESTIONNAIRE

1. Scarlett O'Hara.

2. Signed a new Paramount contract
calling for $150,000 a picture.

3. Jean Arthur.

4. Katharine Hepburn and Howard
Hughes.

5. Knocked out, cold as a cucumber.

6. Being Jean Harlow's last picture.

7. Was unrecognized and handled
roughly by a policeman.

8. Opened and personally operated a
new horse racing track.

9. Baby girl.

10. Anne Shirley and John Howard
Payne.

11. Leopold Stokowski.

12. The Great Ziegfeld.

13. Radically changed his type in Night
Must Fall.

14. George Brent.

15. Studio workers started picketing the
studios.

16. Not strip in her first starring film.

17. A Star Is Born.

18. Took out American citizenship
papers.

19. Jeanette MacDonald and Gene Ray-
mond, and Mary Pickford and Charles
Rogers.

20. Samuel Goldwyn, in The Saturday
Evening Post.

21. Clark Gable's extortion and parter-
nity case.

11. Robert Cummings. Some old stock of
his father's suddenly became active,
and netted Cummings a million dol-
lars.

23. Jack Holt . . . Tim.

24. Regular commuting across the conti-
nent to visit hubby Roger Pryor.

25. Ranch homes.

26. Clara Bow.

27. Duke of Windsor.

28. Jack Benny . . . Mary Livingston, in
This Way, Please.

29. Katherine de Mille.

30. Film personalities who incorporate
themselves to cut down income tax.

31. Devote herself to the New York stage.

32. Spent the summer acting in an east-
ern stock company, at a salary of
$25.00 per week.

33. Battle-cry of Hollywood maidens in
their pursuit of a certain romantic
young man . . . Tyrone Power, of
course, is the man.

35.

36.

37.
38.

39.

40.

41.

42.
43.
44.
45.
46.
47.
48.
49.
50.

Play himself in Mae West's Every
Day's a Holiday.

Attempted to break his contract with
Metro-Goldwyn-Mayer.
Is the first big-time athlete who ever
ascended to screen stardom, and re-
mained there.

Returned to each other's arms and de-
cided to try marriage once more.
Stepped into the leading feminine
role of In Old Chicago.
The Story of Louis Pasteur.
Remarkable resemblanceto Dick
Powell.

Ramon Novarro.
Rudolph Valentino.
Wake Up and Live.
Alliterative name.
Benito Mussolini.
100 Men and a Girl.
Monroe Owsley.
When You're in Love.
Warner Olands.

Take funny candid camera poses of
their friends.

Hollywood Radio

Beam

[Continued from page 14]

Virginia Verrill and Warren Hull, Show-
boat radio stars, were invited to a
"house warming" party. They bought
a radio in the host's name by merely
making the down payment, and until
said host reads this tipoff, he will not
know that he has eleven more payments
to make before the "gift" is his . . . Jack
Haley had to be nursemaid to his two
kiddies for one week because his wife
was in New York and the nursemaid was
sick . . . Ted Fio Rito's "3 Little Sugars"
are very much at home on Haley's pro-
gram because the initials of their last
names form the combination NBC, the
network from which the program ema-
nates . . . Tony Martin, handsome young
tenor on the Burns & Allen show and
his bride Alice Faye, have been asked
to move because they insisted in run-
ning the scales 24 hours a day . . .
Although Ray Noble never played foot-
ball the NBC band leader was a star soccer
player as a boy in England and has sev-
eral scars on his shins to prove it . . .
George Burns and Gracie Allen plan to
stop off at San Quentin, Alcatraz, Leaven-
worth, Folsom, and Sing Sing on their way
to New York for their vacation! . . . Much
of Kenny Baker's fan mail is addressed
to Jack Benny, because the listeners think
maybe Jack will have greater influence
in getting Kenny to sing their favorite
selection . . . funny thing about Lanny
Ross' new moustache. The day after his
wife returned from New York to rejoin
him in Hollywood, the cookie duster dis-
appeared . . . Although he has an even
temper, Raymond Paige generally breaks
about a half dozen batons per week dur-
ing Hollywood Mardi Gras rehearsals.
He's one of the most energetic musical
directors on the coast.

62

Accept No Substitutes! Always Insist on the Advertised Brand!

Hollywood Newsreel

[Continued from page 11]

completely away at sight of dainty Miriam
there in the tub.

As for Gladys . . . she slipped and fell,
and was forced to remain home a week,
due to injuries.

Hollywood IS perking up these days,
we're happy to relate.

■ Despite his plea of poor health, the
real reason, 'tis said, for W. C.

FIELDS leaving the radio program on
which he appeared with CHARLIE
MCCARTHY was because he couldn't
keep up with EDGAR BERGEN'S wise-
cracks and Charlie's ad libbing.

H Lots of excitement these days in the
JOAN BLONDELL-DICK POWELL
menage.

Joan arrived home from the studio one
evening, and a worried nurse promptly
greeted her.

"Normie," she announced, mentioning
the name of Joan's son and heir, "swore
today. He said 'hell,' once, and 'damn,'
twice. I had to spank him."

If she thought, though, that her words
disturbed LA BLONDELL, she had an-
other guess coming. Joan whooped.

"At last, a man," she shrieked.

The very next day, she gave orders that
Normie's wall-paper, which had pictured
rabbits at play, be ripped off, and a new
set of furniture be installed. What'd she
substitute? You'd be surprised ... or
mayhap you wouldn't.

Instead of nursery furniture, she fur-
nished Normie's room with good solid
pieces . . . and for wallpaper

Pictures of pirates and skulls and cross-
bones!

■ LOTS AND DOTS: ANNA STEN has
taken out her first American citizen-
ship papers . . . when you read this
WALLACE FORD will be enacting a
prominent role in the Broadway stage pro-
duction of Of Mice and Men . . . now
you can be surprised — EVELYN DAW,
whom you saw in Something to Sing
About, with JAMES CAGNEY, teaches a
Sunday School class EVERY Sunday, and
declares she gets an even greater boot out
of it than appearing in pictures . . .
TYRONE POWER still trying to figure out
how a gentleman in Mexico City managed
to get his telephone number ... he tele-
phoned Tyrone and then requested him to
write a letter to him at his home to con-
firm the conversation so he could win a bet
that he had talked with the actor . . .
SIDNEY BLACKMER has disposed of his
ancestral estate at Salisbury, North Caro-
lina, and purchased ranch property in
California . . . it's rumored on good au-
thority that MARIAN MARSH and AL
SCOTT, COLLEEN MOORE'S ex-baU and
chain, will wed soon . . . and as this is
being penned, JACKIE COOGAN and
BETTY GRABLE are supposed to be altar-
bound . . . always original, that's BILL
BOYD ... he presented his bride, GRACE
BRADLEY, with the exact duplicate of
his Hopalong Cassidy outfit, with ten-

gallon hat, boots and spurs 'n' ever'thin'
. . . and by the way, they're calling the
little woman TRIPALONG, now . . . Holly-
wood's the WILDEST place ... at a formal
party given by JEANETTE MAC-
DONALD and GENE RAYMOND, the
guests sat on the floor after dinner and
played — can you stand it! — JACK-
STRAWS!!! . . . SHIRLEY TEMPLE'S
parents allow her to endorse very few
products (they've probably turned down
profits that would amount to at least
$1,000,000) but there's one thing they
heartily do endorse . . . and for nothing!
. . . Shirley's picture is to be used in con-
junction with a national campaign among
school children to reduce automobile
tragedies ... if you see CAROLE
LOMBARD, ask her to tell you about the
time Director WESLEY RUGGLES placed
flashlight bulbs in all the sockets of her
room at Arrowhead, where they were
locationing . . . Carole's yell could be heard
in Hollywood, a mere hundred miles away
. . . nice gesture on LORETTA YOUNG'S
part ... in moving from her old dressing
room to a new one, she insisted that the old
stand be assigned MARJORIE WEAVER,
a coming starlet . . . Loretta felt that the
same luck might come to Marjorie . . .
LON CHANEY, JR., and ROBERT KENT
have gone into the rabbit and poultry
business together . . . and DICK POWELL
— well, well — is in back of a new safety
razor, built especially for mustaches . . .
while we're talking about investments.
ISABEL JEWELL is the proud and happy
owner of an auto camp, on the road be-
tween Los Angeles and San Francisco . . .
. . . . CESAR ROMERO and MRS.
ERNEST TRUEX created a sensation
when they performed a Rumba at
the Forty-Niner Ball ... the MAUCH
twins wear dinner jackets when they
go out in the evening, despite their
extreme youth . . . MAX FACTOR says
his make-up studio is besieged by "col-
lectors" clamoring for those tiny crepe-
paper sheets which feminine stars press
their lips on after being made up . . . the
sheets leave a perfect impression of the
stars' mouths.

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63

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use in hotels,

It's Your Move

[Continued from page 28]

intend to let other people work any sharp
practice on her. New England!

" 'Those cross-beams,' I'd say, 'isn't
there supposed to be a seal on them? First
grade or something?' They were the tim-
bers, or whatever their name is, that go
over the top of a window niche. 'Those
aren't cross-beams,' the boss carpenter
would say, topping my bluff. 'Well, that's
what we call them in the East,' I'd reply,
'where's the seal? And that moulding —
is that what I ordered?' And I'd climb a
step ladder to examine it.

"Does it sound as if I were persnickety?"
Rosalind inquired, "let me tell you, that's
the only way to be if you're in the movies
where you're apt to pay four prices for
everything.

[ She laughed again. "Possibly my
workmen were a special lot. I cer-
tainly did enjoy their tactics. One after-
noon I arrived unexpectedly to find they'd
knocked off for a snack." Rosalind, with
a few hours of leisure between sequences
of her latest film, The Four Marys, had
naturally hurried over to see what furi-
ous activity the new house could exhibit.
"All the laborers but one, an elderly car-
penter, were sitting idle and eating sand-
wiches.

" 'All right, boys,' I told them, 'since
you're loafing on my time, I'm going to
eat half of your sandwiches.' So I sat
down and ate with them.

"That one elderly carpenter, though!
He was the joy of my life.

"And he balked at building the bar! I
have a playroom where people can put
down their glasses anywhere without
leaving rings on anything that matters.
People are always laying their cigarettes
on the edge of a table, it's an easy enough
thing to do. When I had the carpets
cleaned and the table tops revarnished and
so on; because, while I don't give wild
parties or even big ones, in the course of
time rings and burns happen, so I knew in
my own house I wanted a playroom."

Rosalind herself doesn't drink, and she
smokes very little. "But this carpenter,
sweet old thing, didn't drink or smoke at
all. He told me that's what kept him so
strong; probably true. Anyway, he was
the only one I wanted to build the little
bar — and he wouldn't do it. 'I'm afraid
you'll have liquor there,' he said, 'and you
know, Miss Russell, liquor isn't going to
do you any good!

B Rosalind agreed that liquor and a
career don't mix. As a matter of fact,
she planned to serve quantities of soft
drinks in that playroom; she told him so
and showed him in a sketch the cupboards
under the bar where she meant to keep
the gingerale and soda pop.

"So at length he consented to build the
thing for me, but he kept shaking his
head. 'Going to look a lot like a regular
bar,' he'd complain. He was a dear. I
used to take soda pop to him and the other
workmen, and when the others had beer
they'd hide it from him and feel guilty."

JACK
DEMPSEY

w

ALTER WINCHELL first
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The magazine is as entertaining
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4MIAR1 --^

ISSUE

MOW ON
SALE

At all newsstands
..Its yours for 25c

Accept No Substitutes! Always Insist on the Advertised Brand!

There's as great a variety in carpenters,
Rosalind pointed out, as in home owners.
'"And I met all kinds, on both sides! I
met the home owner who demanded the
utterly impossible, and I met the work-
men who couldn't understand what I
meant.

" *A square arch on this side of the hall,'
I'd say, 'exactly like the arch on the other
side, and in the same position.' 'how big?'
they'd ask. 'Exactly like the other,' I'd
repeat. 'But whereabouts in the wall?' 'In
the same position, in the middle.' 'And
how high?' 'Exactly like the other.' 'Same
width?' . . . You know. On and on. And
then I demanded things that couldn't be
done, and they had the laugh on ME.

"But no one, not even his fellow work-
men, could account for the Temperamental
Painter. From confidences I've exchanged
with other householders, I realized he's a
not uncommon phenomenon but I was
surprised at the time. I took him over
the house, showed what I wanted done,
what color combinations. He said, 'Fine!'
and vanished. I mean, he quit in the
middle of an afternoon and with a wall
half painted. Walked away and never
came back. Do you suppose," she in-
quired anxiously, "he didn't approve of
the colors I'd selected?"

H Then there was the matter of car-
peting. Eight different carpet firm
representatives from hither and yon gave
their estimates on the number of square
yards required. The estimates roved from
190 yards to 300; quite a discrepancy when
you remember that each was estimating
on the same number of rooms, halls and
staircases — on precisely the same floor
space. When you consider, too, the con-
siderable cost per square yard!

Rosalind sat back with that amused
gleam in her black eyes and let them
talk. Something was haywire somewhere.
Might be graft, might be carelessness.
"But in any case," she observed, "none of
them dreamed for a moment that a movie
actress would get down and actually
measure the floor space — that was too ob-
vious an idea!"

When each had said his say, Rosalind
sent again for the representative who
seemed most eager to do the job, and who
was certain without argument that he
could furnish exactly the colors she
wanted; the house is done chiefly in her
favorite tones of tan and blue. "But your
estimate is wrong," she informed him, and
mentioned just the yardage she required.

"How do you know that's right?" the
salesman asked, a trifle dashed.

"How do you suppose?" Rosalind re-
torted, "because I got on my knees and
measured it with a tape measure, of
course."

She doesn't leave things to chance, nor
to others, when she can do them herself.
Rosalind's a girl who likes to be sure of
her facts.

And she likes to be able to get her money
back when she invests it, even when it's
invested in a home. People tell her if
she's happy in the new house, if it's a real
home, then never mind the cost; it's worth
any expense. Rosalind doesn't agree. She
doesn't want to sink so much money that

she can't rent the place for enough to
make a profit, if renting it ever appears
advisable.

By no means avaricious, deservedly fa-
mous for her generous charities, the New
Englander nevertheless knows the value
of dollars. She found it out while, against
the wishes of her New Haven, Connecticut,
family, she was scrimping along in New
York boarding houses, seeking her oppor-
tunity on the stage. She found out that
if you saved on lunches and busfare and
grease paint, and put by half a dollar here
and a dollar there, somehow at the end of
the week you had the rent.

| This practical side made her hesitate
before ripping out the staircase in the
new home and replacing it with the white
spindles and richly plain mahogany rail
that an Early American house demands;
a staircase with a bend in it, as New En-
gland as you please. It even made her
hesitate before installing the feature that
is her pride and joy; a built-in couch eight
feet long, in the library, a couch opposite
the fireplace in the corner, a couch from
which you may reach out a hand and touch
a book anywhere.

But with the couch and the staircase and
the rest of the improvements completed,
this householder's trouble were still not
over. Friends began to exclaim at the
cost of both the house and the old-fash-
ioned, informal garden beneath the tall,
old trees. What could more disturb a
householder's peace of mind? Rosalind
met the situation with characteristic
energy. She called to her home one eve-
ning the friend who had exclaimed most
loudly that Rosalind had been gypped in
the charges for reconstruction and
furnishing.

"I got out my account books and read
each item, and made him say whether or
not I could have had the things more
cheaply. I made him call people up and
compare notes. Finally, I made him ad-
mit the whole thing had been done as
economically as possible. It was a big
victory," Rosalind concluded with satis-
faction, "and added the final reassurance
to make me perfectly contented."

There's an attic — actually, an attic — in
the new house. It's to keep trunks in,
chiefly. So nice, a friend commented, to
have an attic in which to store your boxes
and trunks after you've unpacked them.
After you've settled down in the new
home, with your belongings —

"Unpacked?" Rosalind repeated with the
immense energy of one who loves her
home but is, still and all, a realist; "why,
I've never unpacked yet, not completely,
not anywhere! I certainly wouldn't" —
she's so utterly lacking in egotism, this
new star — "in Hollywood!"

IN NEXT MONTH'S HOLLYWOOD
Madeleine Carroll points out that Cleo-
patra Wasn't Pretty, but she has been
remembered through a good mtiny cen-
turies. From that fact the star draws
some amusing and amazing conclusions.

A cough drop's (£5
mission is a very

simple one. ^iJ^L
We believe that

BEECH-NUT

COUGH DROPS

BLACK OR MENTHOL

will soothe tired
membranes, relieve
"throat \ tickle"
caused by colds and
taste as pleasant
|Qj as any candy.

SECRETARIES, STENOGRAPHERS
and TYPISTS -*E32i

STENOTYPIST

Stenotypists win today's preferred
jobs and better pay. Stenotype's
machine speed, accuracy and ease
make your work faster, better,
easier — and you get the credit.
Progressive executives welcome
this machine way of taking dic-
tation. Stenotypyis easy to learn
— easy to write — easy to read.
You can now become a Stenotypist
in your spare time — at low cost and on convenient
terms. Write for interesting, free booklet, "Advantages to
You m Stenotypy," describing the many opportunities in
fctenotpy and telling how you may master it successfully.

THE STENOTYPE COMPANY

Dept. 130-ST, 4101 S. Michigan Ave., Chicago, 111.

ANY PHOTO ENLARGED

47

Size Sx lO inches
or smaller if desired.

Same price for fall leng-th
or bust form, groups, land
scapes, pet animals, etc.
or enlargements of an:
part of group picture. Safi

leu^nte°Lorieinal photo 3 for $1.00

SEND NO MONEY^^^K

(any sire) and within a week you will receive
your beautiful enlargement, guaranteed fade-
less. Pay postman 47c plus postage— or send 49c
with order and we pay postage. Big 16x20-
inch enlargement sent C. O. D. 78c plus post-
age or send 80c and we pay postage. Take advantage <.
offer now. Send your photos today. Specify size wante_

STANDARD ART STUDIOS
104 S. Jefferson St. Dept. 228-A, CHICAGO, ILLINOIS

amazing

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12 weeks training

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My Big Free Book tells you. how we train
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about your **Pay-Tuition-After-Graduation" Plan.
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When Answering Advertisements Please Mention January HOLLYWOOD

65

ONCE A YEAR

When the circns comes to (own. there
is only one big show for Holly-
wood, but the audience is as inter-
esting as what goes on in the rin

Rex Bell and Clara Bow take their baby to
see the daring young man at his work

66

£*f(ty

A PHOTO-FACTS
EDUCATION

:A !

Whether you are a college graduate or not, modem
day living demands you go on learning.

Perhaps you did not finish college, high school — or
grade school. No matter, you can still become an
educated person.

Real knowledge does not have to be gained in
school. You can learn from reading and from pic-
tures. History, economics, the cultural knowledge
that makes you respected, gains you friends, can be
absorbed from a revolutionary new type of maga-
zine, now on sale at all newsstands.

This magazine is called PHOTO-FACTS. It is filled
with intelligent information, so entertainingly pre-
sented the magazine will hold you spell-bound from
cover to cover. Facts of history, philosophy, an
entire education in world-wide travel are yours in
this magazine.

Incorporated in this magazine is the "Newsstand
University," a fascinating department on specific
cultural subjects. In the issue of PHOTO-FACTS
now on sale you will find a practical course on
economics, which explains what money really is, and
how to use it, by Professor Harold F. Clark of
Columbia University, and Dr. Carl Norcross.

PHOTO-FACTS, the pocketbook of knowledge, is on sale at all newsstands. If your local dealer is sold out send twenty-
five cents in stamps or coin to PHOTO-FACTS, circulation department, 22 West Putnam Ave., Greenwich, Conn.

NTED IN U. S. A

f

m*

Joan Crawford

takes time out from
herpartinM-G-Ms
"Mannequin" to play

the part of Mrs. Santa
Claus.JoanCrawfora
has smoked Luckies
for eight years, has
been kind enough to
tell us: "They always

stay on good terms
with my throat.

offer friends the ever-welcome gift g
rettes, remember two facts .
First, that among independent o
t i Qtrike has twke as many excm

tionofthe exclusive process

Samuel Goldwyn has endowed "THE HURRICANE" with
a magnificent cast of thousands, including Dorothy Lamour,
Jon Hall, Mary Astor, C. Aubrey Smith, Thomas Mitchell,
Raymond Massey, John Carradine and Jerome Cowan.
Directed by John Ford. From the novel by Charles Nordhofl
and James Norman Hall. Screenplay by Dudley Nichols.
Released thru United Artists

SIWI

I'd be a very Beautiful Woman

if I'd taken care of my teeth and gums"

Neglect, Wrong Care, Ignorance of the Ipana Technique

of Gum Massage -all can bring about

ir\

PINK
TOOTH BRUSH"

IPANA TOOTH PASTE

"Yes, dear lady, it's your

otun fault. You know that

—now. You used to have

teeth that glistened, they

tuere so white. And your

gums were firm and strong.

"Then, if you remember,

there was a day when your tooth brush showed

that first tinge of 'pink'— a warning that

comes sometimes to nearly all of us.

"But you said: 'It's nothing. Why, 1
imagine everyone notices the same thing
sooner or later.' And you let it go at that.

"Foolish you! That was a day important to
your teeth — important to your beauty. That
was the day you should have decided, 'I'm
going to see my dentist right now'!"

No Wise Woman
Ignores "Pink Tooth Brush"

IF you've noticed that warning tinge of
"pink" on your tooth brush— see your den-
tist at once. For only your dentist can tell you
when there's serious trouble ahead. Probably
he'll tell you that your gums are simply lazy
—that they need more work, more stimulation
to help keep them firm and strong.

Many a child in grade school could tell
you that often the food we eat is too soft, too
well-cooked to give gums the exercise they
need. Realize this— and you understand why
modern dentists so frequently advise the
Ipana Technique of gum massage.

For Ipana is especially designed not only
to clean teeth but, with massage, to help the
health of your gums as well. Each time you
brush your teeth, massage a little Ipana into
the gums, with forefinger or brush. This
arouses circulation in the gums— they tend
to become stronger, firmer. Teeth are brighter
—your smile sparkles with a new loveliness!

* * #

DOUBLE DUTY— Perfected with the aid of over
1,000 dentists, Rubberset's Double Duty
Tooth Brush is especially designed to make
gum massage easy and more effective.

When Answering Advertisements Please Mention February HOLLYWOOD

Through die doors of that workshop cease-
lessly flowed girls, girls, girls . . . each with
a dream and a hope beyond reaching.

Here is one shopgirl who Lives a drama so
amazing, so rich in deluxe living, that it
will fascinate and excite you. And
Jessie might nave heen you, or you, or you!

JOAN CRAWFORD
SPENCER TRACY

WITH

ALAN CURTIS • R

A FRANK BOR

A Metro -Gold

MORGAN

roauction.

Picture

Screenplay fjy#Law«ence Hazard
Directed by Ffe(NK BORZAGE
Produced by Joseph L. Mankiewicz

Accept No Substitutes! Always Insist on the Advertised Brand!

JAN -8 1938

FEBRUARY, 1938
Vol. 26 No. 13

^7 2.

:©C1B 365117

( \

0

— 1 1 1 1 I . ,. f ■>. , sj

innmmn

W.H. FAWCETT

Publisher

LLEWELLYN MILLER, Editor

Table of Contents

EXCLUSIVE FEATURE STORIES

Tommy on the Spot (Tommy Kelly) ..by Tom Fairchild 14

Robin Hood in Hollywood (Errol Flynn) by Jessie Henderson 19

It's Undeclared War! (Crawford-Tracy) by Ted Magee 22

Dollars Are Money But So Are Dimes by Winifred Aydelotte 25

Another Happy Ending (Sonja Henie) by E. J. Smithson 27

Barrymore Makes a True Confession .7. by Charles Darnton 28

How to Get Along with 50 Men (Virginia Bruce) by Terry Kelly 30

When a Fellow Needs Finesse (Douglas Fairbanks, Jr.) by Alma Whitaker 38

Tarzan Had It Easy (Eleanor Holm) by Melissa Dodd 42

It's Hard to Grow Up in Hollywood (Mary Brian) by Evelyn Warmoll 48

Frawley's on the War-Path by Scoop Conlon 52

The Rage of Paris (Danielle Darrieux) by Elmer Sunfield 55

Gag Salesman (Ken Murray) by Marvel Sleugair 61

PICTORIAL SPECIALS

Match This If You Can (Paul Hurst) 6

Yankee Squire (Robert Taylor) 26

When a Fan Needs a Friend (Joe E. Brown) 66

EVERY MONTH IN HOLLYWOOD

Hollywood Newsreel by Whitney Williams 8

Fashions 24

Beauty Department by Ann Vernon 34

Hollywood Radio Beam by Gordon W. Fawcett 50

Movie Crossword 54

Hollywood Cooking School (Grace Bradley) by Betty Crocker 59

Reviews in Brief by Llewellyn Miller 63

CONTEST

Jane Withers' Santa Claus Contest Winners 13

RALPH DAIGH, Managing Editor

CHARLES RHODES, Staff Photographer

HOLLYWOOD Magazine is published monthly by Fawcett Publications, Inc.. 1100 West Broadway, Louisville, Ky. Entered as second class matter at the post office at Louisville,
Ky., under the act of March 3, 1879, with additional entry at Greenwich, Conn. Copyright 1938 by Fawcett Publications, Inc. W. H. Fawcett, Publisher; Eliott Ode]],- Advertising
Director. General offices, Fawcett Building, Greenwich, Conn. Trademark registered in U. S. Patent Office. Subscription rate 50 cents a year in United States and possessions
and Canada; foreign subscription SI. 00. Single issues five cents. Advertising forms close on the 20th of third month preceding date of issue. Printed in U. S. A. Member Audit
Bureau of Circulations Send all remittances and correspondence concerning subscriptions to Fawcett Building. Greenwich. Conn. Advertising offices: New York, 1501 Broadway;
Chicago, 360 N. Michigan Ave.; San Francisco, Simpson-Reilly, loll Russ Building; Los Angeles, Simpson-Reilly, Garfleld Bldg. Editorial offices, 1501 Broadway, New York City.

Raw Throat?

Here's Quick Action!

Zonite Wins
Germ-KillingTest by 9.3 to1

If your throat is raw or dry with a coming
cold, don't waste precious time on reme-
dies that are ineffective or slow-acting. De-
lay may lead to a very serious illness. To
kill cold germs in your throat, use the
Zonite gargle. You will be pleased with
its quick effect.

Standard laboratory tests prove that Zonite is
9.3 times more active than any other -popular,
non-poisonous antiseptic!

HOW ZONITE ACTS — Gargle every 2 hours
with one teaspoon of Zonite to one-half
glass water. This Zonite treatment bene-
fits you in four ways: (l) Kills all kinds of
cold germs at contact! (2) Soothes the raw-
ness in your throat. (3) Relieves the pain
of swallowing. (4) Helps Nature by increas-
ing the normal flow of curative, health-
restoring body fluids. Zonite tastes like the
medicine it really is!

DESTROY COLD GERMS NOW— DON'T WAIT

Don't let cold germs knock you out. Get Zonite
at your druggist now! Keep it in your medicine
cabinet. Be prepared. Then at the first tickle or
sign of rawness in your throat, start gargling at
once. Use one teaspoon of Zonite to one-half
glass water. Gargle every 2 hours. We're confident
that Zonite's quick results will more than repay
you for your precaution.

Always gargle with Zonite at
the first sign of a cold

MATCH THIS IF YOU CAN

Paul Hurst in a gripping scene
from Columbia's No Time To Marry

I. At) was quiet in the station house

2. It looked like a fine time for the Sarge

3. To concentrate on that match trick

4. Hurry, before someone comes

5. Easy does it!

6. At last, a perfect work of art!

7. Oh, Wurra, Wurra and also Begorrah! 8. Why do things like this happen to ME?

Accept No Substitutes! Always Insist on the Advertised Brand!

GENTLEMEN obviously prefer...

BLONP*?

STlE-j

very nn

un» Pi£,ure

-safes:

CHESTEK *j

tOU-S A^°NG

*n fir*. cll It **+*

'Every Day's a Holiday" all right when you can see
the one and only Mae West herself in a roaring
comedy-romance- with-music set in the hail and
hearty days of New York's Gay 90's — a gala and

glittering picture featuring the antics of five of the
greatest screen comics of our time... a picture with the
dash of Mae's Schiaparelli gowns — it'll have your
boy-friend in hysterics and you in a gale of giggles.

When Answering Advertisements Please Mention February HOLLYWOOD

• The custom of throwing rice orig-
inated with the Hindus and Chinese.
Some Southern Europeans throw figs
— the Romans threw nuts at bridal
couples.* One custom, however, that
seems universal in America, among
women of all ages, is the desire for a
soft, smooth skin.

Have you ever tried Italian Balm
for skin protection and skin beauty ?
In a survey, coast to coast, 97.8%
of Italian Balm users said — "It over-
comes chapping more
quickly than anything
I ever used before."
Don't take any-
one's word for the
genuine goodness of
1 Italian Balm. Try it
1 yourself— FREE. Use
m. coupon below.

ill (^Authority: "Nuggets of Knowl-
Upl edge" — - Geo. W. Stimpson, Pub.,
Blue Ribbon Books.)

Carn/rcwiaJi

Costs Under % Cent a Day to Use

1w

CAMPANA SALES CO.

193 Lincolnway,

Batavia, Illinois
Gentlemen : I have never tried
Italian Balm. Please send me VAN-
ITY Bottle FREE and postpaid.

City.

_St a te-

la Canada., Campana, Ltd.. F-193 Caledonia Road. To

■:wnTivw»]»a:i4v«tim

By WHITNEY WILLIAMS

■ Funniest crack of the month is chalked
up to blonde and pretty Ena Gregory,
former wife of Director Al Rogell, during
the ceremony of her wedding to Dr. Frank
Nolan, popular man-about-Hollywood.

Ena was asked if she would "take this
man to be your lawful wedded husband?"
Came back Ena, all unconsciously: "... to
be my AWFUL wedded husband."

Great wonder of the month is that the
guests didn't explode. Marian Nixon
looked as though she would faint.

| Reverberations of John Montague's
fabled strength are caught in the story
of the golfer's set-to with Jack Oakie, at
a country club.

Jack and the man who recently has been
in the nation's headlines so prominently
started a fuss in the locker-room. Jack
was about to swing when Montague up
and tossed the comedian over a row of
lockers. Try that with more than two
hundred pounds of quivering weight,
sometime.

B Bing Crosby tells this one on him-
self. ...

His younger brother, Bob — the orchestra
leader — was sitting one night in a New
York hot spot, where all the celebrities,
regardless how small or unimportant,
were being introduced. Anxiously, he
awaited his turn, but the band struck up
without the master of ceremonies pre-
senting him to the crowd.

He turned to his table companions, and

remarked, sadly . . . "Bing must be slip-
ping."

9 Radio salaries paid movie stars are
rocketing to the skies, it would seem.
Spencer Tracy received $5,000 for his Lux
broadcast, and William Powell and Myrna
Loy are reputed to have turned down
$17,000 a week between them for thirteen
weeks. No particular reason was given
for their refusal to go on the air.

Still on the subject of radio . . . Claire
Trevor is receiving $1,500 a broadcast for
her role of sob sister with Edward G. Rob-
inson, on the latter's weekly program.
Ordinarily, a star under contract to a
studio must turn over part of the check
to that studio, for any stipend gained
through an ether appearance. Claire re-
fused to go on the air at all unless she
got the whole check . . . and the studio
finally agreed.

| Dorothy Lamour, despite her calm
and serious face, is one of the greatest
ribbers in the film colony. During the film-
ing of Hurricane, she nearly drove young
Mr. Jon Hall to distraction by refusing
to believe that he did his own high diving,
claiming he used a double.

Now, Mr. Hall is from Tahiti and prac-
tically was born in the water. He was so
incensed at the false accusation that at his
own expense he had frames taken from
the picture blown up to prove it really
was he who did the diving.

When young Peter isn't in school, he does what he can to help sister Toby Wing in her career.

Here he is holding the make-up kit while the actress gets ready for a scene in Mr. Soggs Steps

Qui in which she is featured with Stuart Erwin

Accept No Substitutes! Always Insist on the Advertised Brand;

Daintiness is IMPORTANT

This Beauty Bath Protects it...

STAR OF THE
20TH CENTURY-FOX PRODUCTION

"Second Honeymoon"

Ioretta Young

IT'S Lux Toilet Soap's ACTIVE lather that makes
it such a wonderful bath soap! It carries away from
the pores stale perspiration, every trace of dust and
dirt. Skin is left smooth, delicately fragrant. No risk
now of offending against daintiness — of spoiling ro-
mance! You feel refreshed, sure of being sweet from
top to toe — and you look it!

9 OUT OF 10 SCREEN STARS USE LUX TOILET SOAP

When Answering Advertisements Please Mention February HOLLYWOOD

Me CamuM.Jam:
"GIVE IN"

MIDOl ,

W:"GO ON !"

DON'T live in dated dread of periodic
functional pain, or let the calendar regu-
late your activities. For doctors have dis-
covered that severe or prolonged pain at
such times is not natural to most women.
And unless you have some organic dis-
order requiring a physician's or surgeon's
attention, Midol in all probability can
make your days of menstruation as care-
free as any other.

Midol is offered for this sole purpose.
It acts quickly. In all but unusual instan-
ces it brings definite relief. Two tablets
should see you through your worst day.
So, get Midol and "carry on". Druggists
have it on the counter. Handy purse-size
tin, 50^ — and well worth it when periodic
suffering must be relieved.

ON THE COUNTER AT DRUGSTORES

This is Eleanore Whitney's favorite chair for resting after a strenuous morning of dancing in
Paramount's Thrill of a Lifetime. It is known as a "between scenes couch", and is supposed to be

exceptionally restful

B Trader Horn, Jr. — a pet shop on Hol-
lywood Boulevard — rapidly is becom-
ing one of the favorite stopping places of
the film-famous. Or, we should say, the
window outside the shop. There's a young
chimpanzee inside, and he draws such
stars as Joan Blondell, Michael Whalen,
Richard Arlen and Charlie Farrell. Some
of the autograph-hounds are getting wise
to this, and constantly hover nearby.

H Probably the most startling announce-
ment to emanate from Hollywood
during the month was the report that
Greta Garbo and Leopold Stokowski
would wed. There was no truth to the
rumor, but nevertheless Garbo has been
deluged with mail from all parts of the
country, some for and many against such
a union. Anyway, even if it were a pub-
licity story — and we're not saying it was
— it made good reading.

LIFE IN THE HOLLYWOODS

H A feud started between Eleanor Holm,
swimming champion, and Glenn
Morris, world's decathlon champion, dur-
ing the filming of Tarzan's Revenge — in
which they co-star — when Glenn dumped
Eleanor unceremoniously — as per script—
into the mud. . . . Eleanor burned, and as
she left for the east upon the film's com-
pletion, remarked to a newspaper inter-
viewer, for publication. . . . "Glenn Morris
is just a dumb athlete . . . luckily, he has
only four lines to speak in the picture" . . .

THERE, Mr. Morris The Lane sisters,

Rosemary and Priscilla, have purchased
a house, and — of ALL things — are painting
the fence around it themselves. . . . Carole
Lombard has taken up Skeet shooting . . .
and speaking of guns . . . Humphrey
Bogart is the only film-gangster not fear-

ful of firearms, so tis said ... all the other
gangster-stars (and we're not mentioning
names) are scared to death of the guns
they handle, if you can believe all you
hear, and we don't. . . . Charlie McCarthy
and his pal, Edgar Bergen, now have taken
to riding milk wagons of a dawning. . . .
Joe Penner helped the soldiers at Saw-
telle celebrate Armistice Day — and forget
their pain — by putting on a one-man
show. . . . Fannie Brice's daughter, Frances,
is a dead-ringer for her famous mother . . .
and from certain angles, Constance Ben-
nett's stand-in looks exactly like the
star ... on the street, she's asked repeat-
edly for autographs. . . . Director William
Keighley brought Beverly Roberts a bear
cub when he returned from a six-weeks'
location trip in northern California . . .
both the Ernest Truexes and the Walter
Pidgeons celebrated their seventh year of
marital bliss recently ... it looked like
FAME ROW, at the big football game of
the season, in Los Angeles . . . sitting in
one row, and all with dark glasses on, were
Gary Grant, Phyllis Brooks, Charlie But-
terworth, Marian Marsh, Jimmy and
Harry Ritz, and Spencer Tracy . . . hottest
romance of the times is that of Cary and
Phyllis Brooks . . . Cary swears he'll marry
the gal, and it begins to look as though
Phyllis might say okey-dokey . . . despite
all rumors to varying effect, the Marian
Marsh-Al Scott engagement still is very
much on . . . rumors float, though, that
Steffi Duna and John Carroll soon will
part . . . asked what he wanted for Easter,
little Rex Larbo Bell, three-year-old son
of Clara Bow and Rex Bell, replied, "A
live baby to play with" . . . and Clara and
Rex announce that the youngster will get
his wish some time early in the Spring . . .
Wendy Barrie had the fright of her life
when a fuse blew out as she was having

10

Accept No Substitutes! Always Insist on the Advertised Brand!

a permanent wave . . . she broke all records
in getting out of the beauty shop ... in her
new picture, Little Miss Roughneck, Edith
Fellows introduces the most novel tap
dance to date . . . she does a hilarious
"Hair Curler" routine, executed all over
a beauty parlor while her hair is wrapped
in permanent wave curlers . . . Alfalfa,
crooning member of Our Gang, spit on a
1,500-watt electric globe, on the set, and
it blew up ... he was so terrified at the
explosion — did YOU ever hear a 1,500-
watt globe burst? — that he had to go
home . . . Johnny Downs and Eleanore
Whitney together again, after a spat that
WAS a spat.

| By mistake, Anita Louise turned her
car into a dead-end street, and before
she could back out the Hollywood Fire
Department swung in after her, respond-
ing to a call to a nearby garage fire.

Thoroughly frightened, the actress was
about to abandon her car when a husky
fireman climbed in beside her and el-
bowed her over. "Lady, you're in the
way," he said.

When they were clear of the fire zone
and her rescuer had relinquished the
wheel, he waved her on with the re-
mark . . . "Let this be a warning to you,
lady, to stop chasing fire engines." Anita
nearly has hysterics when she tells this
story on herself.

| Fred Keating, featured in Bing
Crosby's latest picture, The Badge of
Policeman O'Roon, tried to sell the studio
on using the title, The Badge of Policeman
O'Croon. All right, the studio didn't think
it so hot, either.

9 When she visited a friend's home near
the Cumnock School for Girls in Los
Angeles, Joan Crawford nearly was
mobbed by several hundred of the stu-
dents, who refused to allow her to depart
until she had affixed her signature on
more than two hundred books, envelops
and everything else the girls carried on
which might be written the star's name.
Even the husky chauffeur couldn't get
through to rescue his mistress.

fli Hollywood is going games-crazy,
along with the rest of the country.
Now that Handies and Knock-knock are
out, games that Grandmother used to play
are coming in.

Jean Arthur and her husband, Frank
Ross, are inveterate Russian Bank addicts,
while Constance Bennett and Gilbert
Roland can be glimpsed almost any night
deep in thought over a session of Ana-
grams. Ernest Truex is the spelling champ
and usually wins the Sunday Night Spell-
ing Bee at the Westside Tennis Club.

Barbara Stanwyck and Marian Marsh
prefer puzzles of a more intricate sort
and Joan Crawford and Franchot Tone
share Director Joe May's enthusiasm for
Chess. As we reported last month,
Jeanette MacDonald and Gene Raymond
play Jackstraws at their parties, and more
people are buying sets.

H When Ernest Truex arrived in Holly-
wood fresh from the New York stage
for his part in The Adventures of Marco

at drug, department, ten-cent stores

TO KEEP FRAGRANTLY DAINTY— BATHE WITH PERFUMED

CASHMERE BOUQUET SOAP

When Answering Advertisements Please Mention February HOLLYWOOD

11

She Was
Ashamed of
Her Skinny
Body!

But She
Added 7
Flattering
Pounds
With 1st
Bottle of
Kelpamalt
— Now
Looks
Fine,
Feel s
Great!

Read This

actual Letter

From Our Files

"Kelpamalt Company.

Sirs:

I am 5 ft. 5 in. tall. Before

I was married I weighed 110

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NAME

STREET

Polo, he was promptly talked into mem-
berships in three tennis clubs, with all the
de luxe trappings, racquets and all that
goes with the game. Immersed in his pic-
ture work, however, he didn't find time
to play even a single set until very re-
cently, months after he landed in the film
capital. After his first set, he sat down
on the court and with paper and pencil
figured what that one set had cost him.
Including initiation fees, dues and all other
expenses, it amounted to exactly $982.36!
How's YOUR tennis?

CUPID'S REPORT

■ Katharine Hepburn and Douglas Fair-
banks, Jr., working on adjoining sets
at RKO, are continuing the friendship that
started when they appeared together in
Morning Glory . . . they're seen together
frequently ... so, too, Norma Shearer
and David Niven . . . but it's not ro-
mance . . . Norma is interested only in
her children, and David still cares for
Merle Oberon . . . Michael Whalen finds
the charms of Cecilia Parker TOO en-
trancing . . . looks like Joan Marsh and
Charles Belden, the writer, will hum a
wedding march as soon as he's di-
vorced . . . while Lucille Ball — remem-
bered in Stage Door — declares she's far too
busy with her career to list to Director
Al Hall's plea of marriage . . . despite that,
they're seen together constantly . . . the
two who get around the most, romanti-
cally, are Lana Turner and Jon Hall . . .
Lana, besides going places with Jon, tours
a bit with Buddy Westmore, Tim Holt and
others . . . while Jon steps with Eleanor
Powell, the Countess di Frasso, Helen
Meinardi, the writer . . . and that isn't
all . . . it's just a matter of time now before
Suzanne Kaaren and Sidney Blackmer
merge into one . . . Virginia Bruce will
wed J. Walter Ruben, the director . . . an-
other bride, too, will be Gloria Dickson,
who marries Perc Westmore on June 8th
. . . Ginger Rogers glimpsed riding the
handlebars of Lee Bowman's bike . . . this
begins to look serious . . . June Lang still
faithful to A. C. Blumenthal . . . while
former-hubby Vic Orsatti trips the night
spots with one of June's dearest friends,
Virginia Field . . . Anna May Wong and
Philip Ahn attend the theatre together . . .
ask Rodin Rathbone, Basil's youngster,
what he thinks of Olivia de Havilland . . .
and if you'd like to see Olivia blush, repeat
the question about Rodin... when he's not
with Eleanore Whitney, Johnny Downs
seems to find Diane Lewis' blue eyes un-
usually interesting to gaze into . . . Judith
Allen taking time off from her suit against
the Dodge heiress to dine and dance with
Director Eddie Sutherland . . . and Rosa-
lind Russell suddenly has discovered that
Jimmy Stewart, on the same lot with her
for the past two years, is a swelegant fella
to know . . . Rudy says "No," but those
in the K-no say Mister Vallee is muchly
smitten with Gloria Youngblood, the
Indian maid . . . Gordon Oliver taking-
out Kay Stammers, the tennis gal, now . . .
it's a contest between Joseph M. Schenck,
the producer, and Director William Wyler
for the smiles of Mary Maguire, the Aus-
tralian cutie of the large, pool-like eyes . . .

Lola Lane finding Johnny Machio, actor's
agent, a gent with a smooth line . . . and
Rosina Lawrence that way about another
agent, Lew Golder.

J When you least expect it, up pops a
story about Constance Bennett's good-
ness. Here's the gal's latest good deed,
and it throws a new light upon the many
times-accused Bennett.

Learning that her young son's nurse-
maid, Lillian Rinbault, hadn't seen her
parents in England in nine years, Connie
gave the girl a six weeks' holiday abroad,
with all expenses paid. Top that, if you
can.

H Connie is starring in Merrily We Live,
a Hal Roach comedy, with Brian
Aherne . . . and that set is the most rol-
licking in town. Miss Bennett is letting
herself go for the first time in this fun-
fest, and you'll be seeing a new Constance,
very vital and very much alive. She's
progressed to the point that she's revelling
in the "double-take," and to watch her
do this comedy trick is sumpin. Lily Pons,
too, went into this, in her new picture.

| Alan Mowbray plays a butler who
fancies himself quite a tap dancer, in
this production. It's to be one of those in-
sane roles for which Mowbray is noted.
The first day on the set, as he was about
to go into a scene before the camera, he
held up his hand for attention.

"Ladies and gentlemen," he announced,
solemnly, "this is a very historic moment
in my life. It is the first scene I've ever
taken under contract to a studio." Then,
with a mock bow . . . "Let the picture pro-
ceed."

During the years he has been in Holly-
wood, Mowbray has always free-lanced,
stoutly refusing to sign with any one
studio for a term. Hal Roach finally pre-
vailed upon him to give up this lone wolf
idea, though, so now he's entering upon
a long-term contract for the first time in
his career.

Q Now in pictures again, Ken Murray,
the radio artist, is in a quandary.
He's constantly being confused with Feg
Murray, the cartoonist, and Lin Murray,
the studio dance director. But that isn't
all ... a fan has just written him that he
considers him the finest rider on the
screen.

At first, Ken couldn't get this. Then
. . . the meaning became quite clear, upon
re-reading the letter. The fan had taken
him for . . . KEN MAYNARD!

H In his library, Neil Hamilton has six
bound volumes of old theatre pro-
grams. And on each are certain notations,
jotted down by him when he saw the play
years ago.

When he was trying out for the stage,
Neil spent most of his money going to
the theatre, and studying both plays and
actors. It was his custom to write his
own critical reactions on the program of
that particular offering.

In going through one of the volumes
recently, he came upon the program of
[Continued on page 58]

12

Accept No Substitutes! Always Insist on the Advertised Brand!

Winners in the

« Santa Clans"

Contest !

Here is Jane Withers at the keyboard of the

piano which is the first prize in her Christmas

Contest, giving a holiday smile to the clever

winners

| There were so many thousands of
clever letters with so many good sug-
gestions of stories for Jane Withers to
play on the screen that the judges had
a hard time picking winners. They fin-
ished the task by wishing that prizes
could be given to every single entry!

The editor of Hollywood Magazine,
kthe judges and Jane, herself, all join in
saying, "Sorry you lost and thank you
for your interest" to those who did not
get prizes and in congratulating the lucky
winners.

| The first prize, a piano like the one
shown above goes to little Elsa Mer-
liti, 157 East York Street, Akron, Ohio.
The second prize, a radio, goes to Wini-
fred Larder, 442 Lake Ave., Lynhurst,
N. J. Consolation prizes for their ex-
cellent letters have been sent to: Dolores
Donovan, 715 McKewin Ave., Baltimore,
Md.; Katherine Lowery, 579 Lumiere St.,
Akron, Ohio; Lois Wallack, 2210 Mt.
Royal Terrace, Balto, Md.; Mary Strow-
bridge, Box 634, Chiloquin, Oregon; Jane
Rushin, 2793 Peachtree Rd., Atlanta, Ga.;
Betty Lou Lehman, 406 Batavia St.,
Toledo, Ohio; Mildred Russin, 92 Mercer
St., Wallington, N. J.; Dorothy Cravens,
320 Temple PI., Westfield, N. J.; Marjorie
Tucker, P. O. Box 933, Anaconda, Mon-
tana, and Irene Winters, 202 W. 11th St.,
Claremore, Okla.

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Tommy on the Spot

Tom Sawyer had a fighting chance to
play hookey, but Tom Kelly hasn't a
chance in the world at it, and you'll
have a hard time guessing the reason

By TOM FAIRCHILD

E| Tom Sawyer never played hookey
from school.

No matter how much, you and Mark
Twain may disagree, this is the unadul-
terated truth. For Tom Sawyer, 1937
movie edition, is a youngster named
Tommy Kelly, fresh from the Bronx, who
would rather be a Notre Dame football
hero than a film star.

Tommy Kelly didn't get a break when
his dad was forced to go on the WPA rolls.
Mr. Michael Kelly, you see, was officially
listed as a social case worker. But Tommy
will tell you that's a lot of bologna and a
smoke screen to boot. His pop, title or no
title, was a truant officer. And you never
caught his son playing hookey from school
to go fishing.

Here is trie famous
f e n c e-painting scene
from The Adventures of
Tom Sawyer with Tommy
Kelly promoting his first
victim, played by little
Philip Hurloc

Look at Tommy's freckled, honest Irish
face and you know instantly he would like
to be the living, spittin' image of the guy
whose role he plays. And you wonder
how Dave Selznick, the film producer,
managed to find Tommy in a Bronx
schoolhouse, when there are millions of
other kids in this meandering country of
ours.

Naturally, a man's first impulse would
be to search the hills of Missouri for Tom
Sawyer, and to pick a kid from the scene
of Mark Twain's classics. I don't know
whether Mr. Selznick tried that or not.
He did test hundreds of youngsters before
he got around to Tommy Kelly, and after
that it didn't matter. This polite little
city feller is aces. One look at him and

14

Accept No Substitutes! Always Insist on the Advertised Brand!

you know Tom Sawyer has been found.
Indubitably. Beyond question.

B Tommy was just one of the boys in
St. Raymond's school in east Bronx
one day last spring. This tousle-head
had one distinctive thing about him,
though. He was the pupil who opened
the door when somebody knocked, and
stood politely aside to let the visitor enter
the classroom.

That is exactly what he did when one
of Mr. Selznick's talent scouts walked into
the room last spring. The gentleman in
question had cast his orbs at a lot of typi-
cal American boys. In this very school he
had already picked out two candidates,
talked with them, and rejected them.

Then he got a squint at Tommy. That
was enough. The Father who accompa-
nied the talent scout beckoned Tommy to
join them. Thoroughly mystified — a state
which continued for many weeks to come
—Tommy followed them from the room.

"When I took a note home with me from
the Father, explaining what it was all
about, my folks still didn't believe it was
true," Tommy said. He was talking to
mc in one of the Selznick Hollywood offices
— talking fast and willingly. There must
have been a reason for all this coopera-
tion, but at the moment the answer wasn't
apparent.

"Of course, I hadn't gotten the role yet.
First they took me over to Brooklyn to
make a screen test. Boy, that was some-
thing. I wasn't really excited, I don't
think. Fact is, I got tired of waiting. Dad
and I got there at nine in the morning. It
was awfully cold. We waited in a hot room
until four that afternoon before I made
the test, and I wasn't scared. But a cold
draught kept blowing in, and I told dad
it was cold.

"By the time we got back home I had
lost my voice. I still don't think it was
because I was scared. It was that cold
draught. For three days I could hardly
whisper. One day, just after mother had
called the doctor, I tried to hum. It worked.
By this time I figured if I could hum, I
could talk, too. When the doctor arrived,
I began talking. Ma was pretty sore. She
thought this movie stuff had gone to my
head and I was acting like a prima don-
ner."

When Tommy talks like this, he gets
very animated. I wondered about this
extreme willingness to "give." And the
answer finally wiggled out. The publicity
office had told him the quickest way to
end an interview is to speak freely. And
on this particular occasion, Tommy was
awfully anxious to get over to the park in
Culver City where a bunch of the boys
were playing football.

So the two of us wandered over to the
park together, Tommy on his new bicycle
which had a glistening speedometer on it
and a tiny city license plate.

Over the handlebars he carried a foot-
ball helmet given to him by Al Howard,
a Notre Dame football star of 1928 or so,
and a brand new collegiate football. And
as we meandered along the street, the
rest of the story came out.

Tommy and his father came to Holly-

But were they?... its

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wood for further screen tests around
Easter time. But it was almost two
months later before he was definitely
slated for the role, and the picture went
into production.

Jackie Moran had been selected as
Huckleberry Finn, Ann Gillis as Becky
Thatcher, and May Robson as Aunt Polly.
When the picture actually got under way,
Mother Kelly moved out of the $28 a
month apartment in the Bronx and came
west with Tommy's 17 -year-old brother,
John, and his kid sister. Tommy, by the
way, is just 12. Two older brothers work
in the east.

After Director Norman Taurog got ac-
quainted with this very polite, very boyish
youngster, he felt sure that The Adven-
tures of Tom Sawyer was going to be a
very successful adventure for the Selz-
nick house as well. The final results sus-
tain his opinion. And Tommy has been
labeled a definite "find."

fl You can talk to a boy and like him,
you can make a successful movie ac-
tor of him, but the only way you can prove
whether he is a "real guy" or not, is to see
how he gets along with other youngsters
his own age. That's why Tommy and I
went over to the impromptu football game.

Most of the youngsters at the park were
from St. Augustine's school, where Tommy
is continuing his education. They were
not, as a whole, the parlor type of boys.
They played rough and had no respect for
fame.

Tommy's arrival precipitated a near riot.
Both "teams" began arguing who would
get Tommy. He tossed his new football
to them with a grin and unconcernedly
began changing shoes.

"One side — that gang over there — are
called the Dames," Tommy explained.
Then, when he saw a look of amusement
on my face, he hastily added, "That's no
sissy stuff. Both teams wanted to be called
Notre Dame. So they just split the word
up and now everybody is satisfied."

The Notres finally won the argument,
and Tommy went in to play end. He
worked hard and intently at the job. Some
day he would like to go to Notre Dame
and play end. After he gets out of school
he would like to be a baseball player.
Movies? Well, he's already in them, isn't
he? So what? The baseball field is a great
career in the eyes of this fair-skinned
youngster.

As it turned out, the football game was
something of a debacle. The Notres
knocked the you-know-what out of the
Dames. Tommy did neither very good nor
very bad in the game. He missed some
tackles that would make Knute Rockne
turn over in his grave. But he passed the
ball better than anyone else on the team,
and he was pretty good at catching it,
too.

The main thing was the way he got along
with his pals. Some of them were Italians
with names almost as long as some of the
Polish youngsters. A study of their line-
up would have given a definite Notre
Dame-ish touch to the proceedings. Two
Irishmen in all. The rest of them unpro-
nounceable.

16

Accept No Substitutes! Always Insist on the Advertised Brand!

When Tommy wants to he can out-
pleasantry Freddie Bartholomew, but he
can fight if necessary, just to prove that his
good manners are no indication of weak-
ness.

Out there on that football field Tommy
tackled hard, and this was a game with-
out a referee and troublesome rules. Occa-
sionally a stiff-arm resolved itself into a
slug. Then there would be an argument,
and almost a fight. Only the fact that the
game was more interesting than a slug-
fest prevented a fair-to-middling riot.
Tommy Kelly was just as much in the
middle of it as any other guy. The only
thing was that he never had a chip on
his shoulder. Besides, most of the boys
■were a year or two older and a touch
larger.

In this particular game, Tommy had
one chance for immortality. The Dames
were trying a pass. The ends moved out
fast. Tommy stepped back instead of
rushing the passes. It was a great move.
Out of the sky the pigskin moved straight
and sure for his outstretched arms. In
front of him was a wide open field, and a
twenty yard sprint for a cinch touchdown.
Perhaps Tommy saw all this at a glance,
and the thought may have been too much
for him. The ball came down, slithered
through his outbound arms, and rolled
away on the grass. To mix jargons a bit,
Tommy had, like Casey at the bat, struck
out.

Whatever happens to him on the foot-
ball fields of the future is something only
time can tell. His success as a film per-
sonality is already an accepted fact. And
because Tommy can't help being a regu-
lar guy with his pals, it seems equally cer-
tain that Tommy will be a success as a
human being.

If he should possibly slip a bit now and
then, his dad will brace him up. Michael
Kelly is no longer a truant officer. He
now wears a neat uniform and is ad-
dressed as Officer Kelly of the studio
police department. "Mike" has always
thought it more important to be a well-
liked person than a bank president. And
that will continue to go for his tousle-
haired kid just as much in the future as
it has in the past.

One of the most spectacular scenes in The
Goldwyn Follies is the "Water Nymph" number.
Here is Ballet Master George Balanchine in-
structing Vera Zorina, premiere ballerina, how
to handle her costume before the wind machines

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18

Accept No Substitutes! Always Insist on the Advertised Brand!

ROBIN HOOD IN

If the bold ondaw of Sherwood For-
est came to Hollywood, he might
have some difficulty in pursuing his
famous policy

By .JESSIE HENDERSON

■ "It's a bright, sunny afternoon such as we always
have in Southern California," said Errol Flynn, ignor-
ing a handful of clouds which as forerunners of the rainy
season floated near the hills, "and down the Boulevard
comes Robin Hood. He's blinking his eyes, because it's
forever drizzling in Sherwood Forest, England, where he
comes from, and he can't get used to daylight. But that
isn't all he can't get used to, in Hollywood."

Robin Hood in Hollywood! There's where the talk had
turned to what the doughty English champion of the un-
fortunate would do if he actually were in the cinema
capital instead of just in the film that Warner Brothers
has lately made of him. Errol Flynn considered the no-
tion, eyes smiling, as he dropped into the studio commis-
sary for a cup of coffee between the final indoor "takes"
of the picture.

It should have been a cup of sack or a flagon of nut
brown ale, if you wanted to stay historic, but you know
what studio workaday rules are. Robin Hood never
drank coffee. Eight hundred years ago, neither coffee
nor tea was known outside the Far East and people in
England, poor souls, had nothing to drink but liquor.

| Fresh from eight weeks on The Adventures oj Robin
Hood location at Chico in Northern California, Errol
was back with a tan as deep as the Sherwood outlaw ever
had, an equal ability to shinny up oak trees, and a four-
foot wildcat killed with his bow and arrow. After several
months of practice, Flynn's as good with a bow and arrow
as Cupid; better, because he doesn't miss so often. He
slew that wildcat, right out in the woods, with the first
arrow he'd ever aimed at anything but a stationary target.

"Immediately, the thing that gets him," Flynn mused,
thinking of Robin Hood in Hollywood, "is how to redis-
tribute the wealth. You know, Robin and his merrie men
took it away from the rich and gave it to the poor.

"Well, he goes up to a modest looking flivver with a girl
at the wheel in simple, unpretentious clothes — no brocade
or ermine — and he tries to shower her with gold and
jewels. Say, he tries to give her a scarfpin he's requisi-
tioned from some wealthy dialogue writer and a dollar
bill he took away from a realtor.

"So? So he finds it's Kay Francis, who has money
enough in the bank, outside which she's parked, to buy
Robin Hood and his entire collection of merrie men with
perhaps the Lord High Sheriff of Nottingham thrown in.
She doesn't want his gold and jewels. She says: 'Scat,
before I call a policeman.'

■ "Policemen are no novelty to that chap, but he de-
parts in great embarrassment and glimpses in the

distance a snowy-haired mendicant in ragged clothes
who looks as if he hadn't eaten in a fortnight. When
Robin tries to thrust his benevolence upon him, the
mendicant turns out to be Lionel Barrymore or Paul
Muni or some other aristocrat of the screen made up
for a picture role at heaven knows how much per
week, and the lines of starvation have just been put
on him by a make-up expert. [Continued on page 45]

HOLLYWOOD

Errol Flynn draws his long
bow and lets fly some
barbed shafts from his
imagination at Hollywood
as Robin Hood might see it

^^■■H^BBH

JUse'sew »#^3SiSiSw.'!a»3

J7"S STARS, ITS TUNES, IT'S LOVE, IT'S GIRLS,

IT'S THRILLS, IT'S FUN, IT'S GREAT

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Directed by
BUSBY BERKELEY

Screen Play by Jerry Wald. Maurice
Leo and Richard Macauley ■ Original
Story by Jerry Wald and Maurice Leo
Music and Lyrics by Dick Whiting and
Johnny Mercer • A First National Picture

IT'S STARS, ITS TUNES, ITS LOVE, ITS GIRLS, <k
ITS THRILLS, ITS FUN, ITS GREAT!

Can this be our sunny Joan? More than once during the making
of Mannequin she turned this hostile glance at Spencer Tracy

It's Undeclared War!

No formal declaration over was made, but the exchange
of bright barbed quips was fast and furious when the
stars let temperament get the better of diplomacy

By TED MACpKK

■ "You know I love you more than any-
thing in the world, don't you darling?"
Spencer Tracy pressed Joan Crawford
close to him and gazed fervently into her
eyes. The kiss that followed was one of
those things that makes Crawford ad-
mirers feel their hearts go flippety-flop
from coast to coast — and that's a pretty
big flop for the best of them.

22

"Okay, that's swell," Director Frank
Borzage said to everyone on the Manne-
quin set as he reached in his pocket for his
pipe and turned away for a smoke. But
those standing close to Joan and Spencer
suddenly found reason to think things were
about as okay as the middle of Shanghai.

Joan was still whispering to Spencer.
"Pretty good kissing you think, huh? I'm

probably the only one on the set who
doesn't think you're another Valentino."

Spencer was ready for that one, for he
replied, "Your lipstick looks all right but
it doesn't taste so good. Thank God there
aren't any retakes."

An unholy light sparkled in the Craw-
ford eyes. Ignoring his remarks she re-
joined, "Come along, dear. There's a sur-

HOLLYWOOD

prise awaiting you without." The two of
them walked off the set arm in arm, but
still their eyes had more daggers in them
than the whole Chinese army and the
Afghans thrown in for good measure. Joan
smiled mysteriously and said, "This, dar-
ling Spencer, is a tribute to your ego."

They swung around the corner and sud-
denly in front of them was Spencer's por-
table dressing room decorated with more
colored lights than a Hollywood premiere.

"Very pretty," he said humbly, his eyes
filling with non-existent mist, "and it
bears the deft touch of a Crawford interior
decorating scheme. Is it Christmas or do
you merely go crazy over reds and
greens?" he questioned.

What Spencer found inside the dressing
room was more to the point than anything
yet. Joan had had it decorated with huge
stars of glistening silver, and twenty or
thirty large photos of Tracy in various
poses.

"You love yourself so much," she whis-
pered gently, "that I thought this would
do you a world of good. Now you can re-
lax and see how very wonderful you really
are."

■ One day of this on a Hollywood set
is enough to make any movieland
gossip writer dull his pencil if not his wits.
This was war of the Hollywood kind, and
it was being done in the modern manner
— without open declaration.

From the very first of the picture,
Director Frank Borzage realized that all
was not quiet on the Mannequin front, on
the first day Spencer seemed a trifle cool
and aloof. That alone was enough to make
people buzz with comment. He was very
polite and formal, and the twinkle in his
eye hinted of mischief to come. Joan was
not slow to take her cue. By the end of
the first week, people visited the set with
avid ears, anxious to get in on what they
considered possibly the best Hollywood
feud in many months.

The first open break of relations was
made by Spencer himself. During a lull
in one of their love scenes, Spencer
brought out a large batch of photos. They
were of himself and Louise Rainer.
Haughtily, Joan refused to look. Instead,
she sent her maid for photos of Joan with
Clark Gable. The next half hour went by
with Tracy lauding Rainer to the skies and
Joan going overboard about Gable.

The next morning Joan was on the set
early and the company was ready to go at
nine o'clock. Cameras had been set up,
lights tilted to the right angle, and props
put in proper place. Joan was in make-up
and standing around with Borzage.

Five minutes later Spencer came breez-
ing in, wearing the proper clothes, for the
day's shooting schedule. He tossed his hat
in a corner and rushed for a mirror to see
if he was ready to shoot.

Joan complained to Borzage: "That man
Tracy is holding up the company again."

Spencer ignored the crack, but hastened
to the set. An hour later Spencer caught
Joan before the mirror primping up and
commented, "Don't bother combing your
hair, dearie. Nobody is going to look at it
anyway."

FEBRUARY, 1938

| One day, after a particularly tense
scene in a little peasant shack, Joan
remarked, "Mr. Borzage, can't you do
something with this man?"

"What's the trouble?" Borzage inquired.

"Well, he's trying to act like a movie
star," she said icily, with a strange smile
on her face. "I guess he's been reading
his publicity stuff again."

Spencer jutted his jaw out invitingly.
"That remark," he said, "is an obvious
display of temperament. Actresses who
are sure of themselves seldom bother to
be temperamental. Obviously, now that
she sings a little bit, she considers her-
self a prima donna."

| In the days that followed Mannequin
got more publicity than the publicity
department had hoped for in its fondest
dreams. These two stars daily were put-
ting on a show which was gathering reams
oc attention. Unconsciously, perhaps, they
were conducting their own publicity cam-
paign.

Even Borzage himself laughed openly
while they were doing a dance scene which
showed Spencer and Joan on the floor of a
night club. The scene called for Spencer
to dance with her and then suddenly walk
away with his face full in the camera.
Some technical trouble occurred, and
Spencer walked out of the scene showing
only his profile.

"We'll have to take it again," Borzage
said. "Next time be sure you look at the
camera."

Joan didn't miss the opportunity. "He
hasn't failed to have his face full in the

camera during this entire picture," she
said sweetly. "And this obviously is no
time for him to be breaking his record as
a camera-hogger."

Spence whipped back with a fairly ap-
propriate remark. "You know," he said to
everybody present, "it has been an amaz-
ing experience to work with a high class
thief. I never saw anyone steal as many
scenes as she has. Boy, is she cold-
hearted!"

| One of the biggest laughs came one
day after Spencer had shown up on
the set almost fifteen minutes late. He had
come in from playing polo and had been
so interested in his game that he had
forgotten what time it was. Joan had
shown no apparent interest in his arrival.

"Hm-m-m," thought Spencer, "the little
gal must be weakening. She didn't have
a crack to make. Well, I got away with
that one."

But he didn't. The next day when he
arrived on the set, an office boy presented
him with a large and important looking
package. When he opened it he found he
had been given a sun dial. The donor's
name was absent, but Joan's grin was a
fair admission of guilt.

"Turn on the lights," Spencer said, "and
make 'em real bright in this corner. I want
the dope who gave me this to tell me
what time it is."

H Two things usually distinguish the

Crawford set. Between the "takes"

there is always music from a phonograph,

and Joan [Continued on page 37]

And can this be our gentle Spencer. Yes, indeedy, just
in the middle of writing an ultimatum to his fellow player

23

Hollywood Star Styles

Lola Lane is wearing an in-between seasons
suit which is distinguished by a number of new
notes. The material is grege tweed in a diag-
onal weave, trimmed with dark brown Persian
lamb. The beret is of antelope and Persian

The very full skirt is cut in gores which em-
phasize fullness at the back. The jacket is the
new short length, wide-shouldered and close
fitted through the waist. The roomy bag is
made of the same tweed as the suit, even to
the covered handles

24

HOLLYWOOD

DOLLARS ARE MONEY

BU

SO ARE DIMES

Hollywood Boulevard is not very long,
but it is a street of striking contrasts as
the Misses Greenback and Dime dis-
covered when thev came to town

Bv WINIFRED AYDELOTTE

Illustrations by McGo

■ This is a parable that goes to prove a
most delightful fact: that whether you

possess a great deal of money or whether
your financial muscles ache from stretch-
ing to make ends meet, you can have a
heck of a good time in Hollywood. If your
pocketbook is slim, your chances of en-
joying yourself are still fat. If your
pocketbook is robust, the sky's the limit.
This, then, is the parable of the Dollar
and the Dime:

■ Gertrude Greenback dodges her two
bodyguards and roars down from

Santa Barbara to do a day's shopping and
go on a little spree of her own in Holly-
wood. The same day, Diana Dime, whose
lather is the proud but frayed editor of
the Burgville Weekly Clarion, lands in
Hollywood for the same two purposes.
The two girls never meet; nevertheless,
both do the same type of shopping, see
the same things, enjoy the same enter-
tainment.

Now, put on your gumshoes and come
along with me and we'll stalk them up
and down Hollywood boulevard. It has
everything but a shooting gallery! The
Main Street of the World!

The girls pass safely by those signs,
found at all entrances to the city, im-
ploring the unwary tourist to buy maps
for 50 cents showing the locations of the
motion picture stars' homes. These signs
are chaperoned by languid individuals
who, for a dollar more, will conduct you
personally on the tour. That is, if you
have a car. The girls have cars, but they
are wary. After parking them in an all-
day parking lot (10 cents), they proceed
on foot with us after them.

One of the most interesting shops in
Hollywood is The Indian Store, across the
street from the famous Hollywood Hotel.
Here are childrens' rings for 35 cents;
Navajo rugs for $125; bracelets inlaid with
turquoise for $75; copper bracelets for
$2.75 which are sold to arthritis sufferers;
beaded belts for $85 and moccasins,
painted idols and baskets. Most of these
articles are made by an extremely capable
but silent Indian named Homevantewa,
who, influenced by Hollywood's passion
for name changing, calls himself Homer
Vance. Gertrude Greenback buys a
Navajo rug, and Diana Dime invests in a
copper bracelet for Aunt Emily.

| They pass a fur shop featuring a lone
and elegant mink coat in its oh! so
exclusive window and which is flanked on
either side by a 35 cent Chop Suey restau-
rant and an expensive antique shop.
Gertrude stops next at the Biltmore
Florists and wires a small $15 corsage to
an engaged friend, while Diana buys a
lovely gardenia (10 cents) from the small
flower stand on the curb nearby.

Gertrude calls a cab to take her down
the boulevard to Reginald Denny's fas-
cinating hobby shop where miniature
airplanes, trains and automobiles with
real engines can be purchased by a fat
purse, and Diana goes into one of the three
5 and 10 cent stores to buy a game of
Jackstones for her small sister for a nickel.
It is in these stores that Harold Lloyd goes
crazy every Christmas, trying to buy
everything in sight. He loves 'em. Jacks,
by the way, is the latest Hollywood fad,
and the shrieks of laughter shaking the
stars' roofs these evenings are occasioned

by fast and furious games with the little
ball and bits of metal.

Opposite Sandra Shaw's shop, where
Gary Cooper's wife sells good-looking
slacks and play suits for a dollar, is a
brassiere factory. On the corner is an
elegant gas station, where gasoline sells
from 13-9/10 cents to 20 cents a gallon.
Opposite is a wagon heaped with oranges
. . . three dozen for a quarter.

Diana buys a shirt for her brother for
75 cents in the Army and Navy store, and
Gertrude orders a $25 creation for her
father from the London Shirt Shop.

| Hunger now overcomes the girls.
Gertrude goes to Sardi's and toys
with fresh Beluga Caviar, unsalted, $2.00;
some hearts of artichokes with anchovies,
$.85, and a casserole of mushrooms, $1.10.
Of .course, the food is delicious, and she
sees Jackie Coogan with Betty Grable;
Eddie Cantor, Kay Francis and Charles
Chaplin. But Diana goes to a place just
as interesting . . . one of the several five
and ten cent eating places. This particu-
lar one is called Bradley's. It has a bar
half a block long, behind which presides
the tallest liquor jerker in the world. He
is eight feet, six inches tall, and is named
Hank. For 15 cents, Diana gets an
Hawaiian Gin Fizz, and for a nickel she
has a smoked salmon sandwich and a
small pot of beans. Bradley's also serves
the best Mulligan stew in town — a large
wooden bowl of it for 10 cents, and what
they call a Gigantic, for 20 cents. This
consists of a pound of hamburger cooked
in pure olive oil, a half loaf of Italian
bread, and a basket of shoestring potatoes.
And it's all [Continued on page 40]

FEBRUARY, 1938

25

Yankee Squire

When Robert Taylor was in
England making A Yank at
Oxford, he lived in a fif-
teenth century farmhouse
near High Wycombe, Buck-
inghamshire, and, when he
was not busy at the studio,
enjoyed the life of a country
squire. Here are some of the
pictures he brought back.
At the top of the page you
see him in cap and gown
which he wears in his British
film. 1. One of the thorough-
breds from his rented stables
seems to be making a confi-
dential request. 2. What do
you want? An autograph?
3. Oh, you want a spot of
oats! 4. Hey, one at a time!
5. Off for an early ride be-
fore reporting to the studio

HOLLYWOOD

Another Happy Ending

She was going to practice only fifteen minutes,
but when the Ice Queen happens on a new
routine, she doesn't take orders from time

By E. J. SMITHSON

■ If you think Sonja Henie's life is a
bed of ice shavings; if you entertain

the quaint notion that this blonde, stream-
lined, very pretty One In A Million Nor-
wegian girl who recently skated her way
over Thin Ice straight into the hearts of
motion picture fans is satisfied with per-
fection— what we mean is, if you believe
that this naive, blue-eyed gjirl from the
fjords and fjields of the cold north coun-
try has only to strap on her skates, skim
out on the ice and without so much as a
second try go through all those amazing
routines with the grace and lightness of
a bird on the wing, you're very much in
error.

We've lent no attentive ear to the rumor
that Sonja cut her baby teeth on a pair of
skates. But it may be true. Neither have
we lent an attentive ear to the rumor that
Sonja was c jutting on the ijce-cjovered
fjords before she was able to walk from
papa to mama. For all we know that may
be true, too. Somehow we hope it is.

But despite her early introduction to the
slippery blades, and the years of practice
that followed, despite the fact that she can
walk and dance better with skates than
most girls can without, Sonja is still a
veritable slave to her art. She still takes
her skating as seriously as she did when
winning her Olympic medals. You saw
her float about the rink in intricate and
rhythmical patterns in One In A Million
and in Thin Ice — movements as lyrical as
poetry — and no doubt they seemed as easy
as falling off the proverbial log. The grace-
ful succession of hazardous cross-foot
spins, the sudden whirls, stops, inside
rockers, outside counters and so on and
on that won such applause looked easy
only because they were the result of a
precise co-ordination between brain and
muscles.

■ Sonja didn't say it in exactly those
words, but that's what she meant the

other day when we had the honor of be-
ing the only visitor ever permitted to
watch her rehearse a skating routine.
Happy Ending, her new picture, was only
three days in production.

"The first day," smiled Sonja, "they
called it Bread, Butter, and Rhythm. I
spent seven hours earning my bread and
butter, but getting no rhythm. The second
day the title was changed to Hot and
Happy — and after another seven hours on
my skates I was hot, but far from being
happy. Today I learned that the picture
is to be called Happy Ending, and I hope I
can say that to my skating numbers. But

I still have to practice,
watch."

You come and

| Stage 15, save for a light or two, was
as dark and as cold as a banker's
heart when we arrived. Sonja's mother,
a fine skater in her own right and to whom,
by the way, should go much of the credit
for her daughter's success, sat with us at
the edge of the small rink. Frances Deaner
of the 20th Century-Fox publicity de-
partment came in and joined us.

Suddenly a phonograph began wheezing
away at a dance number. Four young fel-
lows, with long black velvet capes over
their shoulders, came onto the rink and as
the phonograph record went 'round and
'round, they went 'round and 'round, too.
It was all very pretty, but not very ex-
citing. Miss Deaner called for three blan-
kets and before you could say Jack Rob-
inson, Jr., a prop boy had them wrapped
around us. And very handy to have, they
were too, for by that time Stage 15 was
colder than a banker's heart. No fooling!

Then Sonja, clad in an abbreviated
white silk costume, glided up to us, a
friendly little apparition all smiles and
enthusiasm.

"No more than fifteen minutes practice
today," Mama Henie cautioned her, "or
you'll be stiff when the cameras come to
shoot."

Sonja's answer to that was an "Okeh,
Mama," as she scooted away to circle the
rink in a limbering-up exercise that was
very pleasant to watch, indeed.

■ The four boys kept moving about
slowly, their long black capes billow-
ing out like sails. Harry Losee, the dance
director of the picture, came in wrapped
up in a fur overcoat. Mrs. Henie repeated
to him what she had said to Sonja about
the length of practice and Harry said,
"Okeh, Mrs. Henie," and went into a
huddle with Sonja who kept nodding her
pretty blonde head in what seemed to be
a friendly argument about what she was
supposed to do. The phonograph began
wheezing again. Losee said, "Let's go!"
and the practice began with Mama Henie
in the role of parental time-keeper. You
knew, without asking, that fifteen min-
utes to her meant exactly fifteen minutes
and no more. What we're driving at is
that, in her own quiet way, Mrs. Henie was
the boss of the situation so far as her
daughter's practice was concerned.

We forgot the cold as we watched Sonja
skate through a score of breath-taking
ice patterns. [Continued on page 33]

FEBRUARY, 1938

27

For the first time in several years, John Barrymore will have top billing when he and W. C. Fields shine forth as stars of Paramount's
Things Begin To Happen. At the left, the two great actors, overwhelmed with the dignity of their positions pose quietly for the
nice cameraman. But, on the right, professional jealousy drives them to a duel of grimaces at two inches . . . just a couple of
Mr. Hydes mesmerizing each other. Barrymore is seen currently in True Confession and Fields is in The Big Broadcast of 1938

BARRYMORE MAKES A TRUE CONFESSION

Admitting that he worried far more when he was a
star than lately, the brilliant aetor regards return
to stardom at Paramount with some mixed emotions

By CHARLES DARNTON

H They're dusting off his old throne for
that king of actors, John Barrymore.

This royal housecleaning is no state
secret. But only an esoteric few in Holly-
wood know the power behind the throne,
once abdicated much in the manner of
that other which has gone crashing down
into world history. For back of it all,
naturally enough, is a woman. No, not
the woman you may be quick to guess.
She who has wrought the inevitable
Restoration is none other than that rare
and lovely presence known as Carole
Lombard.

And here, my lords and ladies, is the
biggest-hearted story ever to come out
of ordinarily ungrateful Hollywood.

But to understand it fully we first
must go back to the turning point of
the career of The Actress Who Didn't
Forget. Fittingly, that time was marked
by Twentieth Century. It was then,
some two years ago, that Miss Lombard
told me:

"Playing with John Barrymore in
Twentieth Century taught me more about
acting than I had learned from all my
other work in motion pictures. It proved
to be the most valuable experience of

28

my whole life. Likewise it was the hap-
piest surprise. I had heard so much about
the Barrymore temperament and how
difficult he was to work with that I was
dreadfully afraid of him before we started
the picture. Then I was astounded to find
him a wonderful help. He was so gener-
ous that in some of the hectic scenes,
where he easily could have completely
submerged me, he played so that I had
even more than my share. I only hope
the day may come when I can do some-
thing to show my everlasting gratitude."

S That day came when Queen Carole,
reigning at Paramount, waxed wroth
at learning that ex-King John was earn-
ing his humble bread in B pictures — and
does Hollywood know its alphabet!
Straightway his sovereign champion lit-
erally went to the front for him — to the
front office, no less. There she laid down
the imperial law with such mandatory
thumpings upon the contractual mahog-
any that quaking ministers of state were
all but jolted out of their portfolios.

With what result? The immediate ef-
fect was that of making Mr. Barrymore
co-star with Miss Lombard in True Con-
fession. That picture completed, the studio

confessed itself so delighted with his per-
formance that it granted him similar
prominence with Gladys Swarthout and
Fred MacMurray in Romance in the Dark.

■ That still wasn't enough for La
Lombard. She wanted him to go it
alone. So back to the front office she
went, this time demanding that her erst-
while running-mate be restored to com-
plete and individual stardom.

Hence the feather -duster work on the
vacant throne.

"First I've heard about it," was Mr
Barrymore's seemingly indifferent re-
mark when I mentioned it to him. "Mis?
Lombard said nothing to me."

He calmly lighted a cigarette. There
was smoke, but not another word, out of
him. Could it possibly be that he was dead
to all sense of appreciation? Surely, he
did not remain speechless from emotion?
Yes! It took only a glance to see he was
hiding behind the smoke screen he had
raised. High time to come out of it.

"Wait a moment." His voice was a bit
on the husky side. "Good God, man, you
barge in and tell me a thing like this, then
expect me to take it as casually as I
might a passing \Continued on page 64 1

HOLLYWOOD

^

w^

For the moment, Fields seems to have
the upper hand. "Don't pull that pro-
file stuff on me," he cries in fury,
"I have no mean profile, myself!"

Center, "Speaking of manly beauty,"
continued the defiant Fields, "How
do you like me in a mustache?"

Right, Peace descends upon the
rivals as Barrymore takes Fields
into his confidence and explains
that being a profile is not difficult,
if you know how to turn sideways

FEBRUARY, 1938

Here is the raw material of the great
battle of the profiles, which will
rage throughout Things Begin to
Happen when W. C. Fields and John
Barrymore fight it out on the screen

%

HOW TO GET ALONG WITH 50 MEN

You are a social success if you can get along wish
one man, but when you can manage to keep fifty
friendly at the same time you're a social genius

By TERRY KELLY

■ The studio broke the news to Virginia

Bruce in a way that would frighten

even the most intrepid of young ladies.

"Virginia," an official said over the tele-
phone, "hold on to your chair for this one.
You are about to take up residence in
Utah, a lone woman against a bunch of
dangerous men. Your associates will in-
clude the Bad Man of Brimstone and at
least 49 other very mean fellows. Your
love interest will be a young chap named
Dennis O'Keefe."

The official was right about the first part
of it, and wrong about the last. But the
love interest can wait a bit while we see
how Virginia reacted to this blast of
orders.

First thing she did was to pack. Then
she went down to her library to read up
on how to win friends and influence
people. A lone lady against fifty bad gents
is a pretty tall order. Even Dale Carnegie
didn't anticipate that much of a situation.
But Virginia read some instructions, any-

Below, Virginia Bruce with some
of the fifty men who accom-
panied her to the Bad Man of
Brimstone location set. J. Walter

way, and put them down in her mind
marked, "Emergency Material. Keep
Aisles Clear."

■ And so she went to Utah, to a little
settlement named Kanab which is
about 100 miles east of the town of Virgin,
which is near the village of Hurricane,
which in turn looks to the city of St.
George (pop. 2,424) as the metropolis of
the area.
The town was all agog. Metro's bad men
were everywhere on the streets, and the
old retired sheriff, seated on the porch of
the Parry House, averred he hadn't seen
times like this since way back in the 80's
when they used to hold up the stage-
coach as regualar as it ever came to this
little western town.
The Parry House did not belong to the

growing-pains atmosphere of Kanab. It
was a colonial-type house with shade trees
like the kind they grow in the east. Dur-
ing the three weeks that Virginia dwelled
among her fifty bad men, the Parry House
was her citadel, whence she planned her
campaign.

"I thought about using some of Mr.
Carnegie's principles," Virginia confessed
later, "but I'm sure that the 'How to Win
Friends' author didn't have my situation
in mind.

"To understand this you must first get
a picture of some of my fifty bad men.
Wallace Beery, of course, was playing the
super-de-luxe bad one of them all. Lewis
Stone curbed anti-social tactics to the
more delicate art of small town graft, in
direct contrast to the gun-toting antics of
Bruce Cabot, Joseph Calleia, Guy Kibbee,
Guinn Williams, Cliff Edwards, Robert
Gleckler, and some of the other tougher
citizens of the cast.

"Of course, some of the principles of

Rubin, the director to whom she
is engaged, is seated second from
the left. Wallace Beery is on
the right, wrapped up in a blanket
after a scene in the icy river

30

S5^5*

This New Cream with
"Skin-Jftemm

/brings more direct aid to Skin Beauty

"Smooths lines out

marvelously — makes

texture seem finer,"

Mrs. Heury Latrobe Roosevelt, Jr.

Mrs. Roosevelt with her hunter, ISutmeg.

A. NEW KIND OF CREAM is bring-
ing new aid to women's skin!

Women who use it say its regular
use is giving a livelier look to skin;
that it is making texture seem finer;
that it keeps skin wonderfully soft
and smooth! . . . And the cream they
are talking about is Pond's new Cold
Cream with "skin-vitamin."

Essential to skin health

% ithin recent years, doctors have learned
that one of the vitamins has a special rela-
tion to skin health. When there is not
enough of this "skin -vitamin" in the diet,
the skin may suffer, become undernour-
ished, rough, dry, old looking!

Pond's tested this "skin-vitamin" in
Pond's Creams for over 3 years. In animal
tests, skin became rough, old looking when
the diet was lacking in "skin-vitamin."
But when Pond's "skin-vitamin" Cold
Cream was applied daily, it became
smooth, supple again — in 3 weeks! Then
women used the new Pond's Cold Cream

famous for her beauty here and abroad.
"Pond's new 'skin -vitamin' Cold Cream is
a great advance — a really scientific beauty
care. I'll never be afraid of sports or travei
drying my skin, with this new cream to put
the ' skin •vitamin' back into it."
{hlght) On her way to an embassy dinner in VS ashington.

with "skin-vitamin" in it. In 4 weeks they
reported pores looking liner, skin smoother,
richer looking.

Same jars, same labels, same price

Now every jar of Pond's Cold Cream you
buy contains this new cream with "skin-
vitamin" in it. You will find it in the same
jars, with the same labels, at the same price.
Use it the usual way. In a few weeks, see if
there is not a smoother appearing texture, a
new brighter look.

*gSft

TEST IT IN
9 TREATMENTS

Pond's. Dept.6-CO, Cliuton, Conn. Rush special
tube of Pond's "skin-vitamin" Cold Cream,
enough for 9 treatments, with samples of 2 other
Pond's "skin-vitamin" Creams and 5 different
shades of Pond's Face Powder. I enclose 10< to
cover postage and packing.

Name-
Street—
City —

-State-

Cupyrlfl-ht. 19:18. Pond's Extract Company

When Answering Advertisements Please Mention February HOLLYWOOD

31

\oull have
more fun when
the SKIN is clear

from WITHIN

NO MAN or woman wants to have a finger
poked at them or receive sympathy be-
cause of an unhealthy skin appearance.

Some skin troubles are tough to correct,
but we do know this— skin tissues like the
body itself must be fed from within.

To make the food we eat available for
strength and energy, there must be an
abundance of red-blood-cells.

Worry, overwork, undue strain, unbal-
anced diet, a cold, perhaps, as well as other
causes, "burn-up" your red-blood-cells faster
than the body renews.

S.S.S. Tonic builds these precious red cells.
It is a simple, internal remedy, tested for
generations and also proven by scientific
research.

It is worthy of a thorough trial by taking
a course of several bottles . . . the first bottle
usually demonstrates a marked improve-
ment.

Moreover, S.S.S. Tonic whets the appetite
and improves digestion ... a very important
step back to health.

You, too, will want to take S.S.S. Tonic to
regain and to maintain your red-blood-cells
... to restore lost weight ... to regain
energy ... to strengthen nerves . . . and to
give to your skin that natural health glow.

Take the S.S.S. Tonic treatment and
shortly you should be delighted with the
way you feel . . . and have your friends com-
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At all drug stores in two convenient sizes.
The large size at a saving in price. There is
no substitute for this time-tested remedy.
No ethical druggist will suggest something
-just as good." ©S.S.S. Co.

---

"Winning Friends" seemed to work well.
Almost any man likes to talk about him-
self. So I started them all talking about
themselves until I thought I would go
crazy and they would go to fighting. Did
you ever try to be a Good Listener with
fifty men doing the talking? I can think
of only one thing worse. Fifty women."

| Before she got through with it,
Virginia decided on one thing for cer-
tain. It would be far better, and easier,
to hand out fifty copies of the book to all
her bad men, and let them try its princi-
ples on her!

"I could give a lot of suggestions on
handling men that might sound good"
Virginia said thoughtfully. "For instance,
how does this sound: To get along with
many men, don't play favorites if you
can help it. Be a pal to all of them, and
leave out the Mae West stuff — it might
start a riot. A bit of verve is a lot safer
than too much curve. Be honest and
friendly with your fifty men, and you'll
find it easier than trying to get along with
fifty of your own sex."

H Up to this point the interview had
lacked a serious note, but this sounded
like the gorgeous Miss Bruce was giving
out with the 14 karat McCoy. She was
speaking with conviction.

"That sounded all right, didn't it?" she
said, by way of reading our thoughts.
"Well, I mean it, too. Don't tell Wally
Beery and the others, but you've got to
treat men like they are little boys. They
may appear to resent it, but down in their
hearts, bless them, they love it.

"That's what I did on the set every day.
I never missed being solicitous about a
person on the set, prop boys and all. And
I soon found all of them responding — all
except one certain large Bad Man. I'll get
around to him later. You might call this
flirting, but of course it wasn't. Long ago
I made up my mind to be interested in
other people and what they were think-
ing and doing. That determination has
grown With the years, and now is a
thorough-going, rousing curiosity.

"It's more fun to talk with men than
women because men, on the whole, have
a lot more to tell. At least, their talk is
more substantial and vital. I've always
liked men as friends, anyway.

"When I was a growing girl in Fargo,
I played boy's games as ardently as they
did. Why, I can remember how I even
used to lick my younger brother at box-
ing. Of course," she qualified with typical
Bruce honesty, "I was two years older
and quite a lot bigger. Dad used to get
out his watch and referee our boxing
matches in the front room. He'd put up
20 cents for the winner. I usually won by
the simple expedient of landing the first
sock.

"Anyway, I grew up liking and respect-
ing boys. When the flirtation age came
along, I saw to it that I always had a few
competitors around. I saw definite dis-
advantages in having a steady. The folks
never could understand how I kept the
boys in line. But, you see, I made a spe-
cialty out of getting along with them, and
it's something that I still find handy.

| "To get back to this trip. It is one
thing to know men individually, and
quite a different matter to be one lone
woman amid a cast of he-men, playing
in a six-gun western saga. I don't
believe it is an injustice to them to say
they would have just as soon been totally
without feminine representation. They
could cuss better, and more often, for in-
stance. And perhaps work faster.

"But they were good sports. I made it
a business to have a friendly word with
them all during the day, and that helped
a lot. As a matter of fact, when I became
ill during the Utah trip, my carefully
planned campaign paid big dividends. All
the big, bad boys came to see me.

| It's no secret now that Virginia got
along with 50 bad men — and got a 51st
man for herself.

Before starting to make Bad Man of
Brimstone, Virginia Bruce had known
J. Walter Ruben for nine years — ever so
casually. There wasn't the slightest ro-
mance, or even a close friendship, until
Ruben started in as director of this
western saga.

Up there in the romantic little town of
Kanab they played poker every night.
You could find them in the Parry House,
come twilight, betting matches with reck-
less abandon. Dennis O'Keefe, Joseph
Calleia, possibly Lewis Stone, Walter
Ruben and Virginia. A game of poker,
it was to the onlookers. A game of hearts
to Players Ruben and Bruce.

Virginia got to know him best at that
table. She found in him all the qualities
she liked in a man — jovial spirit, honesty,
friendliness, a touch of daring.

■ Now it's said that a man doesn't like
being treated like a boy. It's common
knowledge that Walter Ruben was vague-
ly annoyed by the way Virginia would
step up to him and pat him on the back.
Possibly because older people once patted
him condescendingly on the head when
he was a youngster wanting very much to
grow up. But, on the other hand, Virginia
began calling Director Ruben "Sonny,"
when she knew him better, and he loved
it!

When this story was written, the two of
them had announced their engagement,
with an early marriage in the offing. Vir-
ginia to date has not appeared with an
engagement ring, however. She is frank
to say why: "Sonny wanted to get me a
big,' square-cut diamond. For some women
this would be the perfect gift. But the
truth of it is, I don't care anything about
diamonds, and I'm Scotch enough to think
of the money involved. It could be used
to so much better advantage in other
ways."

When Virginia Bruce left on that loca-
tion trip with 50 Big Bad Men, she did
not dream that she would return with
a fiance and a totally different future. That
is serious business which must be treated
as such. We give you the story as it de-
veloped, thanks to Dale Carnegie, Fate,
and Virginia's own philosophy.

32

Accept No Substitutes! Always Insist on the Advertised Brand!

Another Happy
Ending

[Continued jrora page 27]

Once in a while she'd slip and go "boom"
only to bounce up like a rubber ball and
fly through the air like a little white cloud
in a hurry to get somewhere.

The allotted fifteen minutes were just
about up when, coming out of a spin.
Scnja gave a shrill scream of delight and
shouted at the top of her voice:

"Mama, Mama, I've got it! I've got it!"

And Mama, suddenly as excited as her
pretty daughter, came right back with
something in her native tongue that un-
doubtedly meant: "I'll say you have!"

Well, believe it or not, my fine skating
friends, what Sonja had, and right at
her little, educated toe-tips, so to speak,
was a figure she had not been able to do
in three long, impatient years of steady
practice! She did it again and again and
before we knew it we were shouting, too.
So was Harry Losee, the dance director.
So was Director Roy Del Ruth who hap-
pened in just when the blessed ice event
occurred.

The fifteen minutes merged into an hour
with Sonja still at it. Once, when Mrs.
Heine was particularly satisfied she yelled
"Print it!" as though the cameras were
turning. Harry Losee was off in a corner
crying his eyes out because it was all in
fun and practice. "Boy," he moaned from
the depths of his fur coat, "we'll never get
a shot like this for the picture!" Del Ruth,
watching wide-eyed, just smiled and
clapped his hands.

Another hour went by with Sonja's
bright blades still flashing, still making
those queer crunching sounds on the milk-
white rink. Mama Henie was leaning for-
ward, time forgotten, while she watched
like a hawk. Cesar Romero, also in the
picture, sneaked in with hot coffee. The
cups went untasted as we watched the
graceful figure whirl and spin.

■ It was five o'clock and we were still
wrapped up in our blankets, still held
spell-bound by what we saw, when Sonja
yelled — and this time more emphatically
than before: "I've got it!" And we said,
getting the jump on Mama Henie, "We'll
say you have!" The fifteen mintues of
practice had stretched to four hours and
we hadn't missed a minute. It's remark-
able how time flies, it's more remarkable
how Sonja Henie flies!

It was a happy ending to a happy day
for all of us.

It ought to prove a happy ending to
Happy Ending, the picture, too.

STARTING

a new department every month in HOLLY-
WOOD Magazine. Betty Crocker knows the
stars and how they run their homes. She
will give you the inside story of what they
cook on the maid's night out and how. Turn
to page 59 and read how Grace Bradley made
a success of "The Bride's First Biscuits".

Dear Mother,

The honeymoon is over!

ffe've had the na=?t •

Jane

Wti> vwoi&vS ura&UfcS Ua4 me. vweonfiif ca£t
4 ttftMafe »uu| -ttJtt A tbSd Ul u&dt
aJkd tfctw! $*e* %cQJp tcaS &> &hh\ Xt&$~

Wxi.djA — awa

2f

ou

untu ijtou\ Lmed"

mctm:

BANISH "TATTLE-TALE GRAY"
WITH FELS -NAPTHA SOAP!

P.S. You'll like the
new Fels-Naptiw
Soap Chips, too!

When Answering Advertisements Please Mention February HOLLYWOOD

33

die Torture I
Suffered"

An affliction I had to bear in
silence, it was so embarrassing!

IS THERE anything more painful than
Hemorrhoids, or, more frankly, Piles?

The suffering is well nigh inexpressible and
the sad part of it is that, on account of the
delicacy of the subject, many hesitate to seek
relief. Yet there is nothing more crushing or
more liable to serious outcome than a bad
case of Piles.

Yet blessed relief from Piles of all forms is
found today in the treatment supplied in Pazo
Ointment. Three-fold in effect, Pazo does the
things necessary.

3 Effects
First of all, it is soothing, which relieves sore-
ness and inflammation. Second, it is lubricating,
which makes passage easy and painless. Thitd,
it is astringent, which tends to reduce the
swollen blood vessels which are Piles.

Results!
Pazo comes in Collapsible Tube with Detach-
able Pile Pipe which permits application high
up in rectum where it reaches and thoroughly
covers affected parts. Pazo also now comes in
suppository form. Pazo Suppositories are Pazo
Ointment, simply in suppository form. Those
who prefer suppositories will find Pazo the
most satisfactory as well as the most economical.

Try It!
All drug stores sell Pazo, but a trial tube (with Pile Pipe)
will be sent on request. Mail coupon and enclose 10c
(coin or stamps)to help cover cost orpacking and postage.

MAIL!

GROVE LABORATORIES, INC.

Dept. 18-F, St. Louis, Mo.

Gentlemen: Please send trial tube Pazo. I enclose

10c to help cover packing and mailing.

Name

Address

City

.State.

This offer is good only in U. S. and Canada. Cana-
dian residents may write H. R. Madill & Co., 6'4
Wellington Street, West, Toronto, Ont.

Rear view of Lana Turner's Page
Boy Bob. Front view on page 35

Vicky Lester likes to keep her
coiffure in classically simple lines

BEAUTY A LA PAGE BOY

If you don't think Holly wood's inventive, just
look at the adaptations of the page-boy bob
studio hairdressers have thought up. This
bevy of Warner Brothers' beauties displays
four variations of the popular now fashion

By ANN VEBNON

B There's never been a hairstyle that
was such a natural for Hollywood as
the page-boy, principally because it is
dramatic and flattering and it demands
long hair. New York and Paris hair-
dressers have made many attempts in the
past ten years to popularize shorter hair,
but Hollywood has stubbornly insisted
on shoulder length locks for its glamour
girls.

And what the cinema dollies wear,
most of us copy. You may have your
own private prejudices against long hair,
just as lots of hairdressers have, but you
must admit, honestly, that it is more
feminine, it is more youthful, it is more
flattering — whether worn with or without
a hat.

Anita Louise, with her lovely face and
slender throat, can wear the page-boy
bob in its most simple form. She parts
her hair on the side, brushes it back
smoothly on top and fiat at the temples.
Then she arranges the ends in a gradu-
ated roll, smaller above the ears, larger
below the ears and at the back of the
head.

Vicky Lester, whose serene and clear-
cut features are made even more serene
and clear-cut by a severely simple hair-
style, varies her page-boy bob in two
ways. For daytime, she wears it off the
ears, with the roll smoothly and neatly
tucked under, and with a half-roll or
coxcomb effect on top of the head. For

evening, the same hairstyle is rearranged
in looser, fluffier fashion, the top-knot
combed out loosely into a soft dip-roll
that falls over one eyebrow.

Lana Turner's version of the page-boy
shows a style suitable for the girl with a
pert, young face. The hair is parted
high on one side and the front sections
drawn up to the crown of the head where
they are arranged in a cluster of flat
curls on one side, a sausage curl on the
other. The hair at the back is combed
straight down and turned under in a
plain roll that contrasts with the built-up
curls.

Lola Lane's coiffure has the same basic
lines, except that there is no part, and
the top-knot is arranged in a looser, fluf-
fier way, with a few feathery tendrils of
hair breaking the severity of the hair-
line at one side. The roll at the back is
broken up here and there, too, instead
of being restrained in a single, smooth
roll. These last two adaptations of the
page-boy style are reserved, of course, for
gals with smallish ears that are flat and
well-shaped and for those with good, clean
chin lines. If you haven't these marks
of beauty, let your hair conceal the
fact!

If you wear a long page-boy bob you
should be careful about the necklines of
your dresses and coats. They should be
as flat and simple as possible. No bunches
of flowers, lace or heavy necklaces, no

34

Accept No Substitutes! Always Insist on the Advertised Brand!

For gala evenings, try Lola Lane's
adaptation of the smart Page Boy

Wt'\

m *

Hair 'way up in front, 'way down
in back for pert Lana Turner

Anita Louise prefers the simplest
Page Boy variation for daytime

* I st STEP

Mixing takes a minute.

2nd STEP

Applying takes a minute.

J.HIS beauty-wise girl knows
that popularity goes hand-in-hand with a clear,
lovely, glowing complexion.

She protects and beautifies her skin with the new
Linit Magic Milk Mask. It costs her almost nothing,
yet keeps her face looking soft and smooth — lively
and vibrant. It's ever so easy to enjoy this marvelous
new home beauty treatment. While simple to apply,
it's almost magical in results!

*Simpty mix three tablespoons of Linit (the same Linit
that is so well known as a Beauty Bath) and one tea-
spoon of cold cream with enough milk to make a nice, firm
consistency. Apply it generously to the cleansed face and
neck. Relax during the twenty minutes it takes to set, then
rinse off with clear, tepid water.

H

3rd STEP
Resting for 20 minutes.

4th STEP

Rinsing off completely.

OW FIRM — how clean your skin will feel! The gentle
stimulation the mask gives your skin induces the facial

circulation to throw off sluggish waste matter and heightens

natural bloom. This is an

excellent "guide" to proper

make-up, as the bloom in-
dicates where your rouge

should be applied. The Linit

Mask also eliminates"shine"

and keeps your make-up

looking fresh for hours.

When Answering Advertisements Please Mention February HOLLYWOOD

Your grocer sells Linit
35

Jjeam

RAMOi

in

2WEEKSI

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bulky furs. These styles should be re-
stricted to the gals who like short hair
and persist in wearing it come what may.
i A small, simple hat, preferably one that
is brimless in back, is to be advised, too.
Another caution for the page-boy con-
scious girl. Take a good look in the
mirror at your neck. If it is too short
or too thick, modify the style so that it
does not make you look as if you had no
neck at all.

The girl who doesn't believe in sham-
pooing her hair often, in brushing it daily
and in keeping it neat as a pin will do well
to shun the page-boy completely. Why?
Because this is one hairstyle that looks
awful unless the hair is kept meticulously
groomed. First, if the hair has been per-
manently waved badly there is that frizzy
quality to the hair — instead of the desired
smooth, burnished effect. Second, if the
hair is not kept really clean and brushed
regularly, it is either oily, separating into
lank strands, or dry and wispy. Third, if
the ends are not kept curled under neatly,
the entire meaning of the coiffure is lost
and the hair looks limp instead of sculp-
tured.

With the emphasis on the lustre and
thickness of the hair as it is in the page-
boy coiffure, you must depend partially
on your shampoo, partially on your hair-
brush and arm muscles for the proper
effect. I can recommend without hesita-
tion a liquid shampoo that is noted for
turning dull, drab locks into silky ones —
and accomplishing this feat without any
waste of time or money. There is no film
of insoluble calcium and magnesium pre-
cipitates left on the hair to cloud its
natural gloss when you use this lightning-
quick shampoo. All that is necessary is to
massage a spoonful of the liquid into the
hair and scalp, then rinse away the mass
of lather with one clear water rinse —
warm or cool water reacting equally well.
I've tested this shampoo on red-heads,
brunettes and blondes — of the natural and
the synthetic varieties — and found that it
brings out the hidden beauty in each type
of hair coloring. Its action is not due to
mysterious ingredients or the addition of
artificial coloring, but to its super-cleans-
ing properties. Comes in three sizes, from
ten cents up.

Long hair is likely to lose its curl
quicker than short hair, because of the
extra weight and pull, so you can't be too
watchful of the state of your page-boy roll.
If you find it necessary to put up the ends
every day in order to keep it from looking
straggly, then don't neglect this task. Not
that it's much of a task when you use con-
venient, comfortable curlers! There is a
new rubber curler on the market that
merits both these adjectives — as well as
your consideration. It's made of flexible
but sturdy rubber — in an inconspicuous
brownish shade — and consists of a firm,
round piece of rubber (on which the
strand of hair is wound) with a rubber
flap that buttons onto one end to secure
the hair. When you have fastened a dozen
or more of these on your head, you'll find
that you can nap in comfort because they
are so soft. Cost a few pennies and can be
sterilized in boiling water without harm.

You can achieve any type curl you want

with these curlers, depending on how you
use them. To make loose, soft curls, take
large sections of hair on each curler and
see that the hair is moistened only slightly.
For smaller, tighter curls, apply more
water and wind less hair.

For the soft, feathery curl that lies
close to the head — rosebud curls, hair-
dressers call them — you need a few manip-
ulations with bob pins. Like this: Take
a small strand of. damp hair and roll it
into a neat circle, keeping the very ends
of the hair in the center of the circle. Then
slip a flat, (not curved) bob pin over this
flat coil of hair, and another bob pin across
the first one. If you're making a cluster of
these around your face, all you have to do
is to tie a colorful bandanna or a chiffon
hankie over them, and no one will know
that your hair is in the throes of being
curled.

There's a place for good bob pins in the
finished coiffure, too, if you want to keep it
trim and tidy every minute of the day.
There are some very fine ones (trade name
is yours on request) that get a tremendous
grip on hair because they're made from
high carbon metal, with a strong spring.
They come in three different shapes —
straight, curved and crimped — and then
there's a teeny little curl pin that looks as
though it were made for holding a baby's
curls in place. They all come in black
and brown, with a double coat of dull
enamel that helps to camouflage them in
your hair. Bob pins, remember, are utili-
tarian not ornamental! That is my state-
ment for the day.

Before I bring this hair forum to a close,
I want to remind you that the waveset
you use determines to a great extent the
well-groomed appearance of your hair.
There's no percentage in shampooing and
brushing your hair carefully, then using a
lotion that leaves a flaky deposit or one
that makes the hair look gummy! If you
like, I can send you the name of a wave-
set that commits none of these crimes
against hair beauty. It comes in a wide-
necked bottle that you can dunk your
comb into, to prevent waste and messiness.
If you look at this waveset through a
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purities— for every ounce is strained
through sixteen thicknesses of handker-
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out lumpiness or gluiness, because it
contains no gum or tragacanth. Can't dis-
color any shade of hair, from grandma's
silvery locks to baby's tow-colored ones,
and leaves the hair soft and silky. Thirty-
five cents a bottle, in case you're inter-
ested.

Don't brood about your beauty problems
. . . Tell Ann Vernon and let her worry.
She'll be delighted to advise you on all
skin, hair and figure difficulties. Send her
a snapshot, if you want a new hairstyle
or make-up analysis to bring out the
beauty in you. It's all free. Just enclose
a stamped (3c U. S. postage), addressed
envelope with your letter and address
Ann Vernon, HOLLYWOOD Magaiine,
1501 Broadway, New York City.

36

Accept No Substitutes! Always Insist on the Advertised Brand!

It's Undeclared War!

[Continued from page 23]

always has her afternoon tea. Before
the picture was over, she got Spencer
to indulge a little himself, and then talked
him into flipping for the honor of paying
for the tea. For one whole week Spencer
lost. Frequently, after losing the flip, he
would forget to order the tea. Joan did
not fail to take advantage of the situa-
tion.

"When Crawford buys tea, it's here to be
enjoyed," she said. "But when Tracy
buys the tea? Well — you've got to fight to
get it. And like his soul, it's icy instead
of hot."

After one of these daily tea parties,
Spencer changed his clothes to formal
morning wear as called for in the script.
He wore the striped trousers, the long-
tailed coat, and the other accouterments.

Spencer gazed at himself in the mirror,
smoothed out a wrinkle or two, and said
to Joan, "Pass the word to your friend
"Moose" Gable. He needn't come back to
the studio anymore."

Joan replied irrelevantly' — or was it ir-
reverently? "Spence, did you ever look at
a flea circus?"

■ The picture was practically completed
before the tip-off came. Time and
again these two ribbed each other, and
frequently both Spence and Joan fled
from the set in laughter, both of them
anxious to maintain a pretense of anger
and scorn. On the final day of shooting,
Joan let the world know the truth, how-
ever. She filled Spencer's room with
flowers, and laughed joyously with him
right after he had cracked, "Borzage, do
something with this girl. I think she has
ihe worst case of closeupitis I have ever
seen."

Then they both explained that rumors
of a feud between them had struck them
as a joke, in spite, or maybe because of
the furor it had caused in Hollywood.

Mannequin is the first picture in which
Joan Crawford and Spence Tracy have
appeared jointly. Up to this time, if the
truth must be known, La Crawford had
considered Tracy one of the finest actors
in Hollywood. And Spencer himself was
immensely pleased when he learned that
he was to appear at last in a film with Joan.

Their first formal meeting on the day
the picture began production, gave them
a cue for the "feud" which was to follow.
Joan naturally couldn't gush all over
Tracy, and he himself was a bit awed by
the situation. They both passed over this
difficult period with some first class rib-
bing, and the Mannequin war was on!

"There's an object lesson to all this,"
Spencer said when the truth finally got
out. "You have just had an actual demon-
stration on how rumor goes haywire and
builds feuds where only fun at first ex-
isted. In this case Joan and I deliberately
fostered the idea for the fun that was in
it. But just the same it shows how some
people trap themselves into difficulties
when they don't mean to."

So let the late, lamented "war" end,
with no casualties on either side.

How to win against

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(39)

When Answering Advertisements Please Mention February HOLLYWOOD

37

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Douglas Fairbanks, Jr., after a highly successful sojourn spent
in acting and producing in England, is back and appearing,
appropriately enough in Having a Wonderful Time at RKO-Radio

WHEN A FELLOW NEEDS FINESSE

A brilliant young actor turns an amused

smile on Hollywood's indiscriminate use

of the kiss as an habitual greeting

By ALMA WH1TAKER

■ Of course, they get paid for film kisses.
A really competent kiss in a romantic
sequence, according to my accountant-
analyst, rates about $3,000 from a Garbo
(Napoleon gets five good ones in Con-
quest) and slightly less from the Dietrichs,
Crawfords, Colberts, Hepburns, et al.
Professional male kisses come high, too.
The Gable, Taylor, Boyer, Marshall, Flynn
and Power varieties, form important gov-
ernment assets in income-tax returns.

For that matter, even a lusty smacker,
the kind Spencer Tracy gives Joan
Crawford in Mannequin, is no cut-rater.

Which makes it all the more remarkable
that off-screen kisses should be chucked
around with such careless abandon in the
film colony. I mean, one has to be posi-
tively repulsive to escape being kissed at a
Hollywood party.

I know one dramatic critic (married,
with three children) who blushfully ad-
mits to having been kissed by pretty well
every really classy screen siren except
Garbo. He's a bit wistful about having
his record thus incomplete, but hopes on.
Luckily, as he's a mere $100-a-weeker, he
doesn't have to record these as "income."

38

Accept No Substitutes! Always Insist on the Advertised Brand!

At that he needn't feel too uppity. Most
all the critics, editors, columnists, pub-
licity men, directors, producers and
lawyers, to say nothing of actors, men-
about-town, and the husbands of female
fan writers, receive a generous share.

Female scribes themselves do even
better. The charmers of both sexes kiss
them.

The most alarming orgies of kissing of
recent memory were the weddings of
Jeanette MacDonald and Gene Raymond,
of Mary Pickford and Buddy Rogers.
Everybody had a right to expect to be
kissed by brides and grooms, and every-
body was.

I watched Buddy, standing on the steps
at Pickfair, kiss forty-two dames within
fifteen minutes. Being statistical-minded,
I kept count. The dear chap smiled wearily
after every kiss, but his smile grew vaguer
and vaguer, as the lip-stick marks col-
lected on his cheeks.

But you can see how it is. If anyone
doesn't get kissed in Hollywood, it's a
debacle, a crisis, calling for exceptional
relief measures. Had Charlie Chaplin
omitted to kiss Mary, had Buddy omitted
to kiss Paulette, had Mary and Paulette
omitted to kiss each other, the whole
social structure of the film industry would
have been shaken!

■ There isn't any age limit. Hollywood's
kissing champion, with the longest

and largest record, is May Robson. May's
contention is that she is old enough to kiss
anyone she wants to. Where, for instance,
a younger siren might hesitate to kiss a
young unknown extra-man, or a third
assistant-director; May suffers from no
such inhibitions. They don't even have
to get in on the parties to be kissed by
May. I once watched her kiss four young
male nobodies in succession in the foyer
of the El Capitan Theatre — in, of course,
addition to the more illustrious males of
the screen, from Freddie Bartholomew to
Adolphe Menjou-

Sophie Tucker, newly come to Holly-
wood, embraced the custom forthwith.
When she entertained for an unusually
dignified British official recently (one of
those the - Empire - must - be-upheld-at-
all -costs fellows) he was probably flum-
moxed for the first time in his haughty
diplomatic career. The British are not,
in a general way, a kissful nation, but it's
amazing what Hollywood can do for them.

■ When Clara Bow and Rex Bell re-
turned from ranchical seclusion in

Nevada, to open their cafe in Hollywood,
they gave a party, all encompassing, posi-
tively no snobby exclusiveness. Rex came
oft lightest — he only had to kiss one sex.
Clara kissed all comers, well up into the
hundreds. We swayed in a sea of kisses
for hours.

■ Which brings us to Doug Fairbanks,
Jr. He is getting a touch epicurean

about kisses off-screen. He's the lovable
rascal, Rupert of Hentzau, in The Pris-
oner oj Zenda, and a nice struggleful
American boy in Having a Wonderful
Time. Of course, he had just emerged

It's Marvelous What a Change Can
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Science now knows that Vitamin B is abso-
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When Answering Advertisements Please Mention February HOLLYWOOD

39

THIS EFFECTIVE WAY
TO CHECK COLDS

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Since it is a recognized fact that most colds are
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FARRS FOR GRAY HAIR

from a swim in a very cold mountain lake
when he told me, "I'm 28. At that age
a man must do all things with finesse. I
need all the finesse I can muster for my
business affairs just now, and haven't
any left over for romance."

Romance, without finesse, can be a
wash-out. Doug has good reason to con-
serve his kissing. The dear boy's ex-
perience in that began at 13, when he ar-
rived for a Paramount picture and was
met at the train "with a frenzy of kiss-
ing." In 1927, individual kisses became
significant. Doug was 17, when the colony
jumped to romantic conclusions in con-
nection with Dolores Costello. In 1929, he
married Joan Crawford. Since their di-
vorce in 1933, Doug, Jr., has denied be-
ing engaged to Gertrude Lawrence, Elissa
Landi and Marlene Dietrich in turn, the
latter as recently as Feb. 1937. (After all,
Marlene still has her Rudolph of course.)

■ Hollywood is improving in finesse on
screen kisses rather notably, in his
opinion. The horizontal variety is hope-
lessly demoded. (Mae West made 'em
look silly). The luscious clinch is rap-
idly passing. In fact, in any number of
notable cases of screen love-making of
late, filmland has become almost subtle.
They have managed to make two swell
pictures "100 Men and a Girl and The Aw-
jul Truth minus even a hint of voluptuous
kissing anywhere. Spencer Tracy and

Luise Rainer give us some delightfully
playful love-scenes in Big City that sim-
ply reek of "finesse." And even Tyrone
Power's fond finale with Sonja Henie in
Thin Ice is gaily casual.

■ Now as I understand it, Doug, Jr.,
wants the reform to spread to off-
screen kisses. They mustn't be squan-
dered. Moreover, they mustn't be wet,
sloppy, peckish, roving-round-the-earish,
committal, or too dashed imprinting on the
part of the fair sex. There should be
definite rulings for the heavy lipstickers.
Suitable times, places and occasions should
be definitely established for the various
types of kisses.

In short, if Hollywood must kiss (and it
evidently must) it should become the
world's capital for finesse in the delicate
art. It should be clearly understood that
the kiss a studio press-agent bestows upon
a female fan columnist, for instance, is
strictly whimsical, the merest zephyr
touch, with a you-and-I-understand-each-
other tang. The all-encompassing host-
and-hostess kisses, the wedding party
kisses, the darling - how - wonderful -
you-look kisses, should be a soupcon
discriminating, crisp, brief, and com-
pletely non-pawful.

Temperatures should be nicely gauged
for all the formal varieties. Epicures
should be encouraged, gluttons shamed.
Gushers should be sternly barred.

Dollars Are Money But So Are Dimes

[Continued from page 25]

good, too. The place is just as modern as
the more expensive restaurants in Holly-
wood, featuring a vast amount of chro-
mium and leather.

Across the street are the offices of Dr.
Josif Ginsberg, who has a good many
dollars in the bank as a reward for re-
modeling faces. He is one of the most
famous plastic surgeons in the world. Next
door to him is a beauty culture school,
where the brave can go down the line at
the hands of students for 35 cents.

■ Both our heroines are fascinated with
Edward Bohlin's Saddle Shop. Here
on display is the silver and gold mounted
saddle Mr. Bohlin made for P. K. Wrigley
for $7,500. With its solid silver horn,
topped with a gold buffalo head, and its
heavy intricate mountings of silver and
gold, it looks like nothing but a large
jewel. Also on display is the late Fred
Thompson's show saddle, which cost
$4,500. A list of Mr. Bohlin's customers
reads like a morocco-bound Blue Book of
Who's Who in the World. He makes chaps
which range in price from $300 (these
are solid-silver trimmed) to $17.50, un-
trimmed. His silver-trimmed vests sell
for around $150, and silver-studded gloves
cost $100. Mr. Bohlin does not neglect
milady's boudoir, as proved by the silver
and gold hand telephone he made for Mae
West and which cost that beauty-loving
lady exactly $350. A tiny English-type
saddle of white lamb's wool c6vers the

hump in the handle, to protect Miss West's
heart line from the elaborate design
chased in low and high relief.

Gertrude orders one of these telephones,
with a pale chartreuse cord and dial to
match the color motif of her bedroom, and
Diana splurges mightily on a soft black
leather jacket for $14.95.

| At five o'clock, Gertrude has a 70 cent
cocktail at Clara Bow's very elaborate
and modern "It Cafe," where Miss Bow
herself, a red-headed whirlwind of hos-
pitality, presides; and Diana feels delight-
fully wicked as she has a champagne
cocktail for 25 cents at Margo's, another
five and dime eatery-drinkery.

■ Of course, there are hundreds of odd
shops and stores in Hollywood the
two girls missed. And there are lots of
price miracles they will learn about on
their next visit

There are, for example, the offices of all
the air transport, railroad and bus com-
panies for those who want to leave Cali-
fornia. (Who does?) And there are also
several trailer parks, three dollars a week
including lights and telephones, for those
who want to stay. (Who doesn't?) One
of the most amusing shops in Hollywood
is the one-chair barber shop where you
can get a haircut for 25 cents and where,
after the tonsorial interlude, the barber
will play Bach for you on his wheezy
pump organ. There are the Mexican shoe

40

Accept No Substitutes! Always Insist on the Advertised Brand!

shops where you may have made to order
those fascinating Huarrachas (sandals to
you), the leather cured in Mexico in
manure, for $2.75. (Odor free.) You may
buy a stunning new ensemble for $300 at
Magnin's, or buy a second cousin to it for
a dollar down and a dollar a week at
Columbia. You may dine in restaurants
whose cuisine represents the entire world,
including French, German, Swedish, Irish,
Russian, Mexican, Spanish, Chinese, Jap-
anese. You can buy cigarettes two pack-
ages for a quarter, or order your own
private blend, monogrammed, for about
five cents a puff.

There are pet stores, one of which
features in one window an amazingly
homely chimpanzee for $3,500, and in the
other a litter of puppies, half Scottie and
half indiscretion, for $1.50 per bark. Avo-
cadoes are on sale for ten cents each;
garages rent for $3 a month; there is an
office where, for $1 a month, you may
have your mail sent if you want to
impress somebody with a Hollywood
address; there are literally uncounted
dress shops featuring good-looking suits
for $14.95 and dresses for $5.95, and there
is Watson's, who makes Garbo's suits and
top coats and whose prices are in keeping
with their enviable reputation. There is
a fifteen cent movie house a few blocks
from the Chinese and Pantages theatres,
where premieres are offered for $5.50 top.

There is a sign board in Hollywood
where beautiful, living show girls pose
scantily, high above the motorists' craned
necks, turning huge leaves in a billboard
advertising book, and there are rooming
houses that offer "Beds — Clean — 20 cents."
Not far from Reginald Denny's famous
hobby shop is an old, dilapidated, white-
pillared house which was, in rapid suc-
cession, a little theatre, a Russian club
house, a rooming house, restaurant, and
headquarters for a feeble radical move-
ment, and which is now a wedding chapel
where you can promise to love, honor and
obey for $2.00.

■ At one end of the boulevard, in a
swank automobile showroom, is that
enormous white stream-lined roadster
seen in "Topper," on sale for $4,500, and
at the other end of the boulevard, you can
buy a palpitating miracle that will run
for $20. At the same extremes are man-
sions for $4,000 a month and $20 flats.
There is a cocktail bar exclusively for
Minneapolis people — although they won't
throw you out if you're from Des Moines
— called "The Fox and Hounds" where
you can enjoy good music with your 5,
10 and 15 cent drinks.

Across from the Hollywood Bowl is a
Pet Cemetery, where your dog or cat may
be buried or cremated with appropriate
dignity and reverence. Within honking
distance of the Pilgrimage Play theatre is
a night spot where I wouldn't go if I were
you.

Well, let's go home. Miss Greenback
has spent a lot of money. Miss Dime has
spent a little. But both are laden with
parcels, and both have had a fine time
covering the same territory.

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TARZAN HAD IT EAST

i mill in— i—i »«»■■■■ i m

JWBB9

^-a^H^^fc^'

She looks far too little and dainty to be much good at battling
crocodiles, but she did and came out winner in Tarzan'% Revenge

Eleanor Holm claims that the Tarzan of fiction
may have had a hard time, as hard times go in
the jungle, but that compared to an athlete's
life in the movies, he had it very soft indeed

By MELISSA DODD

B Tiny Eleanor Holm — she takes a size
9 dress — the women's backstroke
swimming champion of the world, daintily
nibbled a pomegranate salad and said that
Tarzan, lord of the jungle, had a snap.
"All he had to do was wrestle lions and
apes and elephants and boa constrictors
to develop his muscles. He never had to
train for the Olympic games!"

It was between scenes of Tarzan's Re-
venge, the first of a new series by Edgar
Rice Burroughs for which Principal Pro-
ductions had signed up Eleanor as Mrs.
Tarzan. Which is to say, she plays the
young girl with whom the Jungle Lord
(this time it's Glenn Morris, world's de-
cathlon champion of the latest Olympics
at Berlin) falls in love when he meets her,
strayed from an English safari, in the
depths of Africa. Of course it was not
Glenn Morris of whom she spoke, but the
original Burroughs character that was
reared by the apes and taught to swing
through trees.

"Swing through trees — pooh!" said
Eleanor, "he didn't swim six hundred
yards twice a day for a month in order to
swim one hundred later on. He didn't
keep in training, either."

She ducked her brown head with an
impish giggle. If you recall, it was charges
that Eleanor broke training which pre-
cipitated the famous row in mid-Atlantic
on the ship en route to the Berlin Olym-
pics; the row that resulted in this girl's
withdrawal from the Olympics over there.
It likewise resulted after a while in her
leaving the amateur status for the pro-
fessional— she gave paid swimming ex-

hibitions, for example, at the Great Lakes
Exposition in Cleveland last summer.

"I always had different ideas about
training from what other people held,"
she explained in passing. "I'd keep rigor-
ously to my diet all the rest of the week
but on Saturday night I'd have cake and
ice cream or a cocktail or anything I
wanted. It might not do for some, but it
was right for me; it kept me from the
danger of over-training.

"Still, we were speaking about Tarzan.
No danger of any coach telling him, to
watch each swimming stroke for form!
No trainer snatching good things to eat
from under his nose! Tarzan didn't have
to go a week at a time without fried scal-
lops or mashed potatoes with thick brown
gravy" — Eleanor rolled her bright hazel
eyes — "nor butterscotch eclairs.

"Nobody chased him to bed at 10 o'clock.
Nobody told him he must get nine hours
sleep or he wouldn't win a medal . . ."

Did you know Eleanor has a bucket
full of medals herself? Since she began
swimming as a Brooklyn babe of a couple
of years, she has hung up more than fifteen
backstroke records alone, in distances
ranging from 100 yards to 400 metres.
She entered her first Olympics at Am-
sterdam in 1928 at the age of 14 and,
competing against the world's fastest
swimmers in the 100-metre backstroke
event, won third place in the finals.

Four years later, at Los Angeles, she
took part in this same event and defeated
all rivals. Four years later still, she
qualified the third time for the Olympic
games but was prevented from entering

42

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them by the aforesaid tempest in a teapot
— or in a cocktail glass — aboard ship on
the way across.

B "Tarzan," she resumed, "didn't leap
out of a nice warm bed at 7 in the
morning, every morning, too, and be care-
ful what he ate for breakfast and then
dive into the pool and swim for three
or four hours. He didn't eat a careful lunch
and then dive into the pool again . . .
Mind you, I don't refer merely to my
own routine; this goes for every Olympic
swimming entrant. In a way, it goes for
any Olympic entrant, because trying to
get accepted as a contestant for those
games is tough!

"While Tarzan swung idly from tree to
tree or kicked lions in the face, the folks
that wanted to be in the Olympics were
working. Hard, agonizing work. Con-
scientious, relentless, day after day. Why,
Tarzan never developed his biceps on
schedule. Why, Tarzan would have gone
nuts!

"Tarzan couldn't have qualified as an
Olympic swimmer. His muscles were too
big. Why—"

Hold on, Miss Holm!

| She halted enthusiastic rush of words

and giggled again, like a little girl.

The snow white silk crepe she wore was

a little girl's dress, all but shoulders

which have to be size 16.

"What's that about swimming six hun-

Glenn Morris, the Tarzan of the movies,
has his troubles, too, and above is one of
them, a chimp by the name of Skippy

dred yards each day for a month in order
to. swim one hundred? And what's this
about Tarzan's great, splendid, multitu-
dinous muscles being too big?"

"If I'm training for a hundred-yard
race," Eleanor began her explanation, "I
swim long distances first, to build up my
strength, and then just before the race I
practice swimming as fast as I can for the

shorter distance. If I were going to swim
a long distance, I'd reverse the process;
start with the hundred yards and work
up.

"And about Tarzan's muscles. They
bulge." She extended a slim, round arm.
"You see? A swimmer's muscle must be
long and smooth, they can't stick out any-
where or they'll tie into knots. Tarzan,
fighting his lions and panthers! If he
wanted to be a first class swimmer, he
couldn't take any exercise but swimming.

"I can't play tennis or golf. I don't ride
or hike. I can't. I mean, no coach would
allow me to do anything but swim — and
swimming, at that, is supposed to exer-
cise every muscle in the body. Tarzan's
muscles would hold him back, he wouldn't
have correct form in his strokes."

■ Form, she insisted, is more important,
than strength. Naturally, she didn't
refer to figure, but to form. Tarzan, she
thought, would be too elemental a crea-
ture to have the patience to develop form
because his long suit was living, and
fighting, by instinct. The reason Eleanor's
the backstroke champion of the world is
because she used to have such a feeble
backstroke.

"All my other strokes were correct,"
she said. "But my backstroke was ter-
rible. So I concentrated on it, and that's
why it turned out to be the best stroke
I have. But, you know something? It's
form that put me ahead, not strength.

IMAGINE ME HAYING BAD BREATH!

WELL, SORT OF. JIM DID LIKE ME,

RUTH-REALLY. BUT NOW HE

DOESNT EVEN WANT ME AROUND!!

WISE TO YOURSELF, KID!]
TALK TO YOUR DENTIST
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r? f^

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Lots of times I've competed with girls who
were much stronger than I am, and they'd
probably have beaten me if they hadn't
got excited and just splashed and smashed
through with the one idea ot making speed.
"I never went into a race that I didn't
keep repeating to myself: 'Form — remem-
ber your stroke — form!' It's the economy
of effort, the right rhythm, that takes you
to the goal.

[ "Tarzan never heard of psychology,
either. I think psychology's impor-
tant in athletics."

Eleanor had psychology, sure enough.
It used to be a favorite trick with her
to stroll into a dressingroom a few min-
utes before a swimming event and say to
the other assembled contestants, with a
devilish glint of humor in her eye: "Any-
body got a cigarette?"

The girls who, like Eleanor, had been
in strict training for months, would gasp.
If the cigarette was forthcoming, Eleanor
would calmly smoke it. "They didn't stop
to think," she explained, "that one cigar-
ette wasn't going to make any difference.
It was just fun, but the psychological effect
was to make them think a girl who could
smoke immediately before a race was in-
vincible.

"Well, Tarzan didn't use psychology. He
used strangle holds."

■ They didn't use psychology, however,
to get Eleanor to swim fast in one

scene of Tarzan's Revenge. They used
crocodiles.

"Awrgh!" observed Eleanor, who isn't
crazy about crocodiles, "I had to swim
through this pool that was full of 'em.
Of course their mouths were wired, they
couldn't really open them, but even so . . .!
Say, I went through that pool the fastest
I ever swam. It's a pity somebody wasn't
holding a stop watch on me — I know I
broke every record in the world!

"I don't recall that Tarzan ever went
bathing in a crocodile pool. But then,"
she added with that good natured, im-
pish smile, "he didn't have Mr. Lederman
to think up things." D. Ross Lederman
is the director of the picture.

What Lederman didn't think up, the
scenarists did. As a matter of fact, size and
sex taken into consideration, Tarzan's
sweetheart has a rougher time in this
film than Tarzan himself.

"For another thing," as Eleanor went
on to complain, "Tarzan never had to
worry about his clothes. Now, they made
some lovely white frocks for me, a dozen
of them, but in two weeks this is the only
clean dress I've had on. If they push
me into that mud again today . . ."

■ The mud was something Tarzan man-
aged pretty well to avoid. His poor

sweetie — it was the scene where he began
to feel sentimental about her— got it in and
up to the neck.

Here lay a jungle swamp. A fire engine
with a steam pipe had pumped all night
long to make the water warm enough for
the "takes" and retakes. Into this steam
heated swamp they plunged Eleanor in
the pretty white dress; in vain her English
fiance tried to pull her to safety, then he

started for the camp to summon help.
"Seems to me for most of the film I'm in
either mud or water," Eleanor commented.

While she flounders in the goo, along
comes Tarzan with his ape-companion,
Skippy. The heroine makes Tarzan un-
derstand that she wants to get out. With
one superb gesture he hauls her forth
and stands her on a log. Thoroughly an-
noyed by the mishap, she's trying to brush
the mud off her skirt when Tarzan, think-
ing the skirt is something that annoys her,
yanks it off.

Furious, Eleanor slaps him. Tarzan's de-
lighted— he thinks that is a new game. He
slaps Eleanor, and back she flops into the
mud. "This goes on for some time."
Eleanor explained dryly, "till love dawns."

As a matter of fact, though she didn't
say so, the interchange of slap and shove
was not entirely acting; so say those studio
observers who watched the scene taken
several times. Glenn Morris, from Colo-
rado, is a quiet, church-going boy who
often attends Rotary Club meetings.
Eleanor Holm, from New York, has been
in the Ziegfeld Follies and is currently,
when not in pictures, an entertainer (and
a good one!) at night clubs.

The two temperaments clashed. After
a tender love scene, Glenn would stalk to
one side of the sound stage and read a
book. Eleanor would march firmly to the
other side and resume knitting an afghan.
They respected each other's Olympic at-
tainments, but — !

The situation was comically complicated
by Skippy, the phenomenally brainy
chimpanzee that has played a prominent
role in many a Tarzan picture. Skippy,
who doesn't particularly like men, con-
ceived an intense admiration for Eleanor
Holm. When they played in a scene to-
gether it was difficult to make him pay at-
tention to anyone else and, viewing the se-
quence where Tarzan slapped the lady
into the water, Skippy began to get mad
at Glenn Morris. By the time Tarzan en-
folded the heroine in a fond embrace to-
ward the picture's end, Skippy was danc-
ing with annoyance and jealousy. They
had to watch him.

"The Tarzan of fiction, never would
have lasted in the movies," Eleanor con-
tinued, giving Glenn Morris his due credit
for long hours in cold water and mud.
"All he had to do was wrestle lions. But
the movies take more than acting. They
take stamina!"

Crocodile pools, mud to the neck — she
said it. What's more, she proved it. Be-
cause when Eleanor struggled against a
band of savage African warriors and un-
intentionally knocked herself out by bang-
ing her head against a tree limb — she just
stood up after they'd put ice on her face
for ten minutes and went right on with
her struggle against the warriors. Tar-
zan's record hasn't anything better than
that.

NEXT MONTH
Read the surprising story of how Greta
Garbo was "nagged" out of two Holly-
wood homes. It is the funny inside on an
incident in the lives of two stars.

44

Accept No Substitutes! Always Insist on the Advertised Brand!

Robin Hood in Hollywood

[Continued from page 19]

"Naturally, Robin flees. He passes by
without a second glance at a damsel spar-
kling with jewelry and gleaming with soft
fabrics and furs, whose handsome big car
is drawn up at the curb. He doesn't
know it, but she's the kind of person he's
been seeking. For she's a down-and-out
extra who, because she has no work, is
decked forth in borrowed finery and a
borrowed hack so people will think she's
prosperous and give her a job.

B "This logic," Flynn added, "will all be
beyond Robin. He lived in the un-
complicated days when you either had a
castle or took in washing to pay taxes to
support someone who had. Or skedad-
dled off to the woods and joined the Hood
outfit."

For Robin Hood, as who doesn't re-
member, started life in possession of vasty
estates but, bilked out of them by Sir Guy
of Gisbourne (Basil Rathbone to you),
he went away, mad, into the depths of
Sherwood Forest and became an outlaw
with a price on his head. His friend King
Richard (Ian Hunter) was away on a
crusade or something, so wicked Prince
John (Claude Rains) planned to usurp
the throne, and things were in a pretty
howdy -do with people's estates getting
confiscated right and left.

But eftsoon Robin was joined by
brother-outlaws Little John (Alan Hale) ,
Will Scarlet (Patric Knowles) , Friar Tuck
(Eugene Pallette) and Much, the miller's
son (Herbert Mundin), together with
everybody else who felt annoyed at being
done out of their houses and lands. And
at once they formed a band which, despite
the efforts of the High Sheriff of Notting-
ham (Melville Cooper) and of the Bishop
(Montagu Love), succeeded in making
wealthy travelers "stand and deliver" the
coins and trinkets which the outlaws pro-
ceeded to distribute among the needy.

Meanwhile, Robin rescued Maid Marian
(Olivia De Havilland) from bad Sir Guy —
she became Mrs. Hood — and fixed up a
match between her attendant, Bess (Una
O'Connor) and the miller's son, beside
tipping off King Richard, who hurried
right home, confronted Prince John, and
grabbed back his crown in the nick of
time. Lawks, lawks, more fun!

[ "Disgruntled by his experiences on the
Boulevard," Flynn continued, his au-
thor's imagination going strong (he has
written three books, including the current
"Beam Ends"), "Robin drops in at a
tavern for a beaker of mead, but all they
sell is ice cream soda. While he's quaffing
a jumbo chocolate special he learns that

the lad upon the chair next to him is a
cowboy who rides in something called
movies but doesn't bring his horse into the
drugstore because he doesn't own a horse;
he only rides one. They're all talking
with reverence about a knight yclept Buck
the Jones.

"Mulling this over" — Flynn took an-
other draught of coffee— "Robin sallies
forth to watch an archery tournament
about which he's heard. He finds the
archers dressed in shorts, both men and
women. But if he's fascinated by them,
the lady archers are fascinated by him;
because antelope's a pretty expensive and
ritzy hat ornament this season, I'm told — "
(wife Lili Damita must have a new bon-
net)— "and Robin wears a Lincoln green
hat made entirely of antelope.

"You can see how confused he'd be by a
civilization where the women wear ante-
lope and the men wear scanties. Ponder-
ing, Robin addresses a youth in doublet
and hose — or slacks and sweater — as,
'Sirrah.' And finds it's a girl.

"I fancy this would be too much. He'd
go away from there."

■ Between mouthfuls of coffee Flynn
added that no doubt the outlaw'd be
aghast at the thought of girls going on a
diet to keep thin; girls were a buxom
armful in his day. He'd be all of a jitter,
too, over which fork and spoon, his chief
culinary utensils having been fingers.
"Very likely," Errol went on, thoroughly

WHAT FOOLS WIVES ARE

TO LET THEMSELVES GET

"MIDDLE-AGE" SKIN J

OURS PRETTY

WONDERFUL, TOO...

KEEPING YOURSELF

SO YOUNO AND

LOVELY I IP GIVE

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HAVE A COMPLETION

LIKE YOURS

~\

IM SURE VOU CAN
MADGE I FOR A LONG TIME
MV SKIN WAS SIMPLY AWFUL!
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"MIDDLE-AGE' SKIN ! THEN
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r

K

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When Answering Advertisements Please Mention February HOLLYWOOD

45

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CIH.DIES -"ONCE-OVEHS"

ELEANOR FISHER. ..Paramount PUyr

A

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awake now to the possibilities of a Hood
visit to the celluloid sector, "Robin might
decide to chuck philanthropy for the mo-
ment and go deer hunting. People would
inform him that a motorist on the edge of
Hollywood was hard put to it recently to
talk himself out of arrest when a stray
deer jumped from a park practically into
his lap as he drove along, and a cop
thought he'd tried to run it down.

"Shaking his astounded head, the great-
est deer hunter in merrie England might
thereupon make up his mind that at least
he'd go fishing. He asks for the nearest
river.

"Somebody mentions the Los Angeles
river and directs him to its banks. Behold
Robin on the sandy shore, bewildered
more than ever by a topsyturvy town
where deer are pets and not cutlets and
the girls wear men's pants. For he'd find
a river that contained nary a fish. It
wouldn't even contain any water.

" 'Certes,' he'd murmur, peering at the
arid stream bed, or maybe 'By my hali-
dome!' — for naturally in Sherwood he'd
never have learned about wet and dry
seasons in a subtropic zone — 'tis the only
river in the world, my faith upon't, where
a man could dive in any time and break
his noggin."

| "After a while the poor varlet, dodg-
ing traffic and scared to death by auto
horns more fierce and loud than e'er were
horns of hunter on a sunrise hill, might
chance upon one of the several polo fields
in the Hollywood vicinity. At first, he'd
think the game a kind of joust or tourney,
done with a wooden mallet instead of a
lance. But as the game increased in in-
tensity, the players dead serious after the
American sports fashion, he'd conclude it
was a genuine fight and with his zest for
righting wrongs he'd plunge into the
middle of it.

"Also with his flair for aiding the under-
dog, he would fling his efforts toward the
losing side. He snatches a horse, a mallet.
He shouts, 'Hola! Have at them!' He —
gadzooks, the caitiff must be reft of sense!
He's made a goal over Darryl Zanuck,
production head of 20th Century studios!!

" 'Oh! Oh!' shout all the other players,
horrified, 'you'll never get into the movies
that way! ! !'

"But Leslie Howard, a Warner actor,
happens to be on the opposing team.
'Come on over to us,' he invites. And that's
how Robin gets into a Warner picture!"

Ah, well.

BE Robin, at least his counterpart, Errol
Flynn, had quite a time on location.
So had Director William Keighley. Warner
Brothers transported some 350 people up
North to a 2,400-acre woodland full of
oaks; the nearest approach to Sherwood
Forest this side of England.

A nice idea, but no sooner had the
troupe arrived with their technicolor
cameras than prankish Dame Nature got
busy. From day to day, under the touch
of chill weather, the oak leaves began to
turn crimson.

Now, love scenes for the movies differ
from those in real life; for the movies, the
same scene that occupies five minutes on

the screen may require a week to film
when the picture is in production. Robin
faced the dilemma, in a technicolor film,
of starting to woo Maid Marian amid the
verdant surroundings of summer and end-
ing the scene — apparently a few minutes
afterward — against a back ground of late
autumn.

Lack-a-day! as Maid Marian herself
might well exclaim. What to do, what to
do?

What they did first was to hurry up
Robin's lovemaking. Oh, they slighted
nothing but they speeded production so
that nobody dawdled over anything. Then
Director Keighly, who saw that the
greensward likewise began to take on
autumn tints, sent an S. O. S. to Holly-
wood. From the vicinity of Warner's stu-
dios came, as fast as trucks could fetch
'em, tons of green branches and three
loads of fresh green sod. The branches
were nailed to the trees, the sod spread
beneath them.

Splendid. But sometimes the right tree
wasn't in the right place; the light didn't
hit it correctly. Technicians built forty
trees of plaster and set them where they'd
do the most good; these monarchs of the
forest were so lifelike, as they should be
at $500 apiece, that the troupe swears the
local woodpeckers bent their bills out of
shape trying to dent the synthetic bark.
All very well, but the rocks weren't ro-
mantic enough; the native product was
too small and scattered. So technicians
built plaster rocks, which they placed pic-
turesquely beneath the plaster trees.

Cameras turned for a sentimental inter-
lude between Robin and his lady fair.
"Prithee — " began Robin. Plunk! "Nay,
gentle (plunk, plunk!) sir," Marian bash-
fully gave answer. Plunk!

"What in blazes is that?" the Director
demanded.

"That" turned out to be acorns; the
same little acorns from which the big
oaks are accustomed to grow. Loosened
by a shower the night before, they were
dropping on the hollow plaster rocks with
the plop of drumbeats.

The assembled company climbed trees
and shook branches and swung violently
on limbs till the last acorn had been
jostled off. But in still another section of
the forest it later proved more feasible
simply to pick up several of the giant
plaster rocks and move them beyond
range of the acorn downpour. That's cir-
cumventing Nature with a vengeance!

H Too, there was the time "Robin Hood"
unexpectedy had to eat a big feast
immediately after he'd eaten a big break-
fast. The time "Maid Marian's" horse
ran away with her and one of the merrie
men (an Indian, incidentally) achieved
the honor of catching the steed and re-
trieving the lady. The time "Robin Hood,"
asleep, was locked in by a chambermaid
who thought the room empty, so — the
hotel having no room 'phones — he stepped
out on the porch roof, intending to go
through Alan Hale's quarters, but was
mistaken for a burglar by the guest whose
room he started to enter by mistake. And
the time Friar Eugene Pallette Tuck char-

46

Accept No Substitutes! Always Insist qn the Advertised Brand!

tered a plane and flew clear to San Fran-
cisco to eat some soft shell crabs; and ar-
rived at Fisherman's Wharf only to dis-
cover it wasn't the crab season!

■ Ah, well. Life's like that; especially
on location. Flynn pushed back his
coffee cup, prepared to leave.

"If Robin Hood came to Hollywood,"
said he, "it would be fine for Hollywood —
and for Robin. I'll bet the first thing
Hollywood taught him would be not to
throw beef bones under the table at the
Cocoanut Grove.

"And I'll bet the first thing he did for
Hollywood, he'd fix it so men wouldn't
have to wear stiff collars, evenings, but
could go to the Troc in sweaters and open-
neck shirts; he was always the friend of
the oppressed. And he'd fix it so every-
body— but everybody — got a gold statue
at the Academy dinner, and the extras
always got more closeups than the stars.
And I suppose the rich would get poorer
and the poor get richer because he'd go
out on the street corner and give his
favorite spiel — it went over big in his day
and age — about taking money from those
who had it and giving it to those who
hadn't. . . ."

Flynn's eyes twinkled. "Oh, Robin Hood
would have a whale of a time!"

Sure, you agreed. He'd either be pinched
or elected to Congress.

Marco Polo saw strange things in his travels. So did Gary Cooper when he played the story of
the famous travelling salesman for Samuel Goldwyn. Not the least strange of the sights was
Alan Hale all done up in tasteful plaits for his part of Kaidu, the wicked Tartar chieftain

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IT'S HARD TO GROW UP
IN HOLLYWOOD

Mary Brian's great success was built
upon her girlish charm, and now she is
finding it hard to live down her ••nasi/'

By EVELYN WARMOLL

| While most movie stars are sadly
bemoaning the fact that they are
growing old all too fast on the screen,
Mary Brian, fresh from a season of per-
sonal appearances, is back in Hollywood
to try again to gain recognition as a grown
up, mature, young woman.

Mary has been Hollywood's perpetual
"little girl" for ten years. She's frankly
tired of it. She wants to prove to pro-
ducers and a loyal following of movie fans
that she has outgrown co-eds and fairy
princesses and younger sisters. She wants
to play dramatic feminine leads. She
wants to emote. She wants to be recog-
nized as a dramatic actress. She is tired
of playing pretty young things who flit
hither and thither and seldom have a
dominant scene in the story which goes
on around them.

H It doesn't seem so very long ago that
Paramount announced that it was
starting a world wide search for a novice
to play the title role of its silent produc-
tion, Peter Pan. Mary Brian, just out from
Texas, was at the Los Angeles Paramount
theatre — dancing in the chorus — when

Albert Kaufman, brother-in-law of
Adolphe Zukor, saw her, talked with her
and sent her out to the Paramount lot for
a test for Peter Pan. Mary trembled as
she made the test for it was her first movie
experience, but next day Director Herbert
Brenon phoned to say that a contract
awaited her — not for Peter Pan but for
"Wendy." When she stepped out of the
dancing lineup and became Wendy, she
began a series of young girl parts which
lasted throughout her six and a half years
as a Paramount contract player.

She was pretty much the successor to
Mary Pickford and Mary Miles Minter as
Hollywood's sweetheart. No film debu-
tante was more sought after for party
lists than Mary.

"The sweetest kid in Hollywood" she
was called off-screen as well as on. No
college picture was quite complete with-
out Mary Brian as the fair young co-ed
who turned the heads of the gridiron
heroes, and finally arrived at her big
romantic scene either in the booth of some
campus ice cream parlor or under the
ever present sheltering oak in front of the
girls' dormitory.

48

Accept No Substitutes! Always Insist on the Advertised Brand!

When she wasn't decorating college
pictures, romantic dramas of Civil war
days claimed her for doll-like crinoline
girls who made exquisite pictures of
Mason-Dixon beauty, but never had much
opportunity to lead the parade when the
dramatic scenes began.

■ When the talkies came in Mary Brian
began intensive training for more
dramatic and dominant roles. She tucked
her collection of sunbonnets and middie
blouses gently but firmly in the garage
trunk, pinned up the curls that once hung
on the back of her neck, and tried every
way she knew to "grow up" in a hurry.
Other diminutive girls had been given
dramatic roles — Helen Hayes, Sylvia
Sydney, Elizabeth Bergner, dozens of
small girls had dominated dramatic pic-
tures. While Mary made no comparisons,
she yearned for just one chance to show
what she could do. But to Hollywood
she was still the "young sister type."

Finally Walter Huston's The Virginia!}
gave her a deviation from her usual cast
assignment and The Front Page offered
broader opportunities as did The Royal
Family but whenever a college picture
was being cast the first name on every
casting director's tongue was "Mary
Brian."

As often as she could afford to, Mary
shook her pretty head and announced that
she had her mind set on more dramatic

parts. During one of the waits between
pictures, Ken Murray induced her to
resume stage work and to return to her
dancing (which Hollywood never thought
of at all). For a year Mary alternated
between Broadway, road shows and pic-
tures that offered her at least some hope
of outgrowing the "little sister" roles.

Her personal appearances were huge
successes and she found that her fans
were just as eager for her to grow up as
she was. When fans saw her dance in
local theatres they wrote letters by the
score to variolas Hollywood producers
asking them to make Mary Brian a
dancing screen star.

| When the co-ed and little sister offers
continued unbroken Mary Brian went
to London for a British picture and one
day Hollywood was startled to hear that
"little Mary" was the star of the 1935
Chariot's Revue and "going over like a
house afire."

After an extended London season Mary
returned to Hollywood and played a
"heavy" in Spendthrift merely to get away
from the girlish type of role previously
given her. This was followed by two in-
dependent pictures which offered more or
less straight dramatic leads and other
personal appearances in which she was
supported by a dancing trio, Gordon,
Read and King and also by Arena and
Hines.

■ A few months ago Mary came back
to Hollywood again in search of
mature roles and was fairly successful in
Three Married Men and Killer at Large
but the recent summer season found her
ai the head of the casting office lists for
co-ed roles in a half dozen football pic-
tures and she began to wonder what she
could do to create a new "1938 model
Mary Brian."

"I'm afraid you just can't grow up in
Hollywood," says Mary. "I enjoy playing
girlish parts but I'm crossing my fingers
and hoping that the day soon comes when
I can play a dominant, dramatic part and
show them that Wendy has grown up.
I don't care whether I play a vamp, a
society girl or a French apache; I just
want a chance to assume a role that has
some depth and determination."

| Mary Brian lives with her mother
near Toluca Lake, a few miles north
of the Hollywood studio where she began
her screen career. At least once each year
she is reported "this-a and that-a" about
some currently popular young screen
Lochinvar but isn't taking romance too
seriously. After playing more than 50
girlish featured leads in as many feature
films Mary seems far more anxious to
play a dramatic role on the screen than
take a demure walk to the altar in a real
life romance.

C>

"

>

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V

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0L AinhIG WITHOL

wimoi/r

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When Answering Advertisements Please Mention February HOLLYWOOD 49

Skin Reveals
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By GORDON W. FAWCETT

H We went to a broadcast — and what a
party it was! No Hollywood "first
night" could have attracted so many stars
of the radio and screen. In case you're in-
terested, it's the new Good News oj 1938
program we are talking about. Heralded
in with all the fanfare of a new year,
the program got off to a grand start with
Louis B. Mayer, Hollywood's "Head Man,"
presenting the golden key of his studio to
C. M. Chester, Jr., head of the General
Foods. Blending the glamour of the screen
with the glamour of radio, all the leading
lights of Metro were there in tails and
trains with the exception of Buddy Ebsen,
Eleanor Powell and George Murphy who
explained that tails and trains would in-
terfere with their intricate dance routine.
The occasion brought to light the latest
Hollywood romance when Eleanor Powell
appeared at the show escorted by that
young man about town, Wayne Morris . . .
Judy Garland was there, thrilled to death
with her orchid corsage . . . Cliff Edwards,
Sophie Tucker, Ann Pennington and a
score of others rounded the show out into
top entertainment.

■ Gail Patrick appeared on Tyrone
Power's Panama Nocturne program

the other evening with three great big
orchids pinned on her shoulder. Right
after the show, she ran out the back door
and nobody got a chance to see her. A
heavy date with "Hubby" Bob Cobb was
the reason for the hasty exit.

■ Sid Skolsky has had over seven hun-
dred "movie boners" brought to his

attention since he has gone on the air. Fans
from all parts of the country send them in.

■ W. S. Hart, old time "silent" days film
actor, is quite a pal of Rudy Vallee.

Recently Vallee wanted "W. S." to go on
the air with him. W. S. was only too
glad to oblige, but when Vallee gave him
a check for his services, W. S. was quite
offended. What he did not understand
was that the sponsor pays the bills and
not Vallee himself. W. S. flatly refused,
but Vallee got around the old boy by giv-
ing the check to his sister up in Vermont.

■ Charlie McCarthy startled Hollywood
by riding down Hollywood Boulevard

seated beside Santa Claus when he opened
up the famous Santa Claus Lane in the
cinema capitol.

■ Don Ameche just proved to his pals
that his interests don't include just

radio and the screen. He's a sharpshooter
from 'way back. Just to show what he
could do, he recently won a national con-
test sponsored by the leading shooting
gallery owners throughout the country.

| Just to be sure that their boss' son

will never be a band leader, Ozzie

Nelson's gang sent the little tyke a full

set of miniature golf clubs with hand

books by the expert as to how the game
is played. As you know, Harriet Hilliard
and Ozzie recently purchased Charlie
Farrell's old home which borders the
Lakeside Golf Club's links.

■ The program hasn't any sponsor yet,
but Warner Brothers are looking to
General Motors to pay the bills on their
new talent hunt radio idea which will give
all listeners a chance at being in pictures
through their efforts on the air. The idea
is an outcome of a local program here in
Hollywood called, "Do You Want to Be an
Actor?" Sounds a lot like another Major
Bowes idea. Those who win a studio try-
out will be given round trip tickets home
in case they don't make the grade in
Hollywood.

H When we met Tyrone Power at the
station in Pasadena after his quite
hectic trip to New York, Ty was full of
news of the big city and showed all the
earmarks of taking his recent radio suc-
cess in stride. He was lucky enough to
obtain permission to sit on the players
bench at a recent Fordham football game.
His old pal, Jack Mulcahy was the "fixer"
who arranged the deal. It was his first
trip east since his screen successes, so Ty
visited the old barn he once lived in while
struggling to the top. From all reports,
he had little time to spend with his pals,
so intrigued he was with Janet Gaynor.
Understand he and Janet hit all the night
spots while they were there. Power tells
me that it was almost like being in Cali-
fornia, though, with so many screen per-
sonalities in New York now. "Retakes"
was the excuse for his rush trip home, so
you'll be hearing Tyrone from Hollywood
from now on.

■ Rudy Vallee caused quite a ripple out
here in Hollywood with his appear-
ance at the Cocoanut Grove. All his old
screen friends packed the place so that
standing room was all that could be had.
However, Hedy Lamarr had no trouble
in getting a table. Rudy was understood

The candid camera presents Jack Oalcie, caught

right in the middle of mid-term exams for

"Oalcie College."

50

Accept No Substitutes! Always Insist on the Advertised Brand!

to have told friends that she reminded him
of the late Fay Webb.

H Wendy Barrie is still thanking Mischa
Auer, Kent Taylor and Frank Jenks
for consenting to work late for many
nights on the set at Universal Pictures
Studios. Wendy, in the same picture with
them, could not have appeared in re-
hearsals for Jack Haley's Log Cabin Jam-
boree for two weeks had it not been for
their cooperative spirit . . . Warren Hull,
also on the Jamboree program has three
very enthusiastic supporters every Sat-
urday night. They are Paul, George and
John Warren Hull, Jr., 4, 5, and 7 years
of age, respectively. Dressed in their
Eaton suits, they quickly take seats down
front and never crack a smile except when
their famous father appears.

| Close on the heels of his radio suc-
cesses comes another enterprise for
Bob Burns and his far famed bazooka. Bob
has decided to put the bazooka on the
market in great lots. Probably by now
you have seen hundreds of them on sale
at leading department stores and toy
shops. Bob has made such a great thing
out of the bazooka that he is impressed by
it himself. For instance, he has the origi-
nal bazooka in his front room in a glass
case on display. Just recently, he received
his first check on royalties. It was for over
seven thousand dollars.

It's the spirit that counts, as well as music, so Bob Burns fixes an hypnotic glare on the microphone
when he and Bing Crosby join in a little cloS2 harmony on the NBC Kraft Music Hall program

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Here is the comedian, all done up in war paint to illustrate how he
has felt on more than one occasion during the Santa Anita racing season

FRAWLEY S ON THE WAR-PATH

Bill Frawlov. ordinarily a mild mannered man, can
be made to see red by one innocent little question

By SCOOP CONLON

H "Who do you like?"

Ordinarily, this is a fair question. It
might mean blondes or brunettes, Carole
Lombard or Claudette Colbert, day or
night, opera or jazz, Notre Dame or South-
ern California, champagne or beer.

But, when we innocently popped the
query to the amiable comedian, Bill
Frawley, during a round of golf at the
Lakeside Golf Club with Bing Crosby, he
gave us one of his famous "double-takes"
telling plainly that only a long friendship
kept him from tearing us limb from limb.

What's wrong with asking "who do you
like?" we demanded.

"Because," he shouted, "everywhere I
go, day and night, everybody I meet,
makes the same silly crack.

"Who do you like?" means only one
thing in Hollywood today.

Horses! horses! horses!

Mr. Frawley continued, warming to the
subject, in his righteous wrath.

"The blonde who manicures my nails,
the barber who cuts my hair and the boy
who shines my shoes; the studio gateman,
the supervisor and the props; the milk-
man, the mailman and the iceman; the
nurse in the dentist's office, the dentist
and the elevator boy; the waiter in the
Brown Derby, the corner traffic cop and

the bartender in the Knickerbocker; they
all lean over my shoulder to whisper in
my ear: 'who do you like?' "

"You know what's the matter with
Bill?" volunteered Bing.

"He is one of the best form handi-
cappers I know, but he has had so many
funny things happen to him lately that
he's getting a wee bit touchy on the sub-
ject of horse racing."

■ It seems that the redoubtable Mr.
Frawley hied out to Santa Anita one
day with some sure things and a pocket
full of money. He hit the first three races
right on the nose, including a long-shot
sleeper that he happened to know about.
Bill really figured HIS day was due. He
had just raked in a bundle of greenbacks
at the pay-off window, when one of those
pests — the stranger who only knows you
by sight — stepped up, slapped him fa-
miliarly on the back and said confiden-
tially, " 'Atta boy, Bill, you're sure
knockin' 'em over today. Say, who do you
like?"

Naturally, the comedian burned. So, he
picked out three anteaters whose owners
had to hunt for them with lanterns their
last time out, and gave them to the pest as
sure things.

52

Accept No Substitutes! Always Insist on the Advertised Brand!

Horses like Bad Luck, No Chance and
Humpty Dumpty!

Bill rightly figured the pest would lose
his shirt betting on those jallopies. You
can guess what happened. Bill's star spe-
cials ran out of the money, and the three
zebras he gave the nuisance came gallop-
ing home like Rosemont's nephews.

To add insult to injury, the pest hunts
up Bill to slap him on the back again and
shout: "Can you pick 'em, ol' boy, ol' boy?
You give me three winners. I'm $119.20
ahead. Who do you like tomorrow?"

Bill took the guy aside and gave him a
number to call that night. The number
was the warden at San Quentin.

According to Bing, Bill has never been
the same since.

■ "O. K. Crooner," retorted Bill, "but I
don't own race horses and forget to
bet on them when they come busting home
first."

Bing owns a sweet, two-year-old called
"Fight On" that won a race to pay $162.60
for a two-dollar ticket, and the Crooner
neglected to bet on the pony.

"Tell the boys the story about your
Filipino houseboy, Bill," retorted the
Crooner.

The comedian looked at Bing reproach-
fully, then chuckled.

"Well, that was funny. And, it's on me.
I'm talking to a pal on the phone about
how Bing was a sure thing to win the
Lakeside Golf Championship, and when

I'm through the Filipino starts serving my
breakfast with a grin on his pan from here
to Albuquerque.

"Hurro, Mista Flawley, big suplise to-
day. Big suplise. Jo-jo bet on gees-gees
you like."

"What's this?" I growl, reaching for
the black coffee and the aspirin.

"Sure, Mista Flawley, Jo-jo remember
you say gee-gee run like water buffalo.
Filipino boy he ride buffalo. Run good in
mud. Jo-jo he bet two dolla Water Buf-
falo, he win sixty-seven dolla."

With a roar of laughter, the gang sym-
pathized with the comedian. "But that
isn't the topper," he continued, "get this.

"Sure, Mista Flawley, Jo-jo bet all time
he hear you talk on telephone. Yes-day
he hear you say you sure like Bing, he
can't miss. Jo-jo he look in paper, Mr.
Bing in last race, he bet two-dolla, win
seventy-nine dolla.

"Jo-jo no bet chicken fight no more.
He bet gees-gees. Make Filipino boy very
happy.

"Who you like today, Mista Flawley?"

The comedian grinned ruefully as we
yelled, and confessed, "and I guess that is
as good a way to pick 'em as any."

H It appears that Bill Frawley is a great
fellow to pick "sleepers," but unfor-
tunately, fails to back his hunches. Like
many smart horse players, he likes favor-
ites. But, the less well-informed bettors,
particularly the fair sex, often clean up

on Bill's handicapping. Dixie Crosby,
Irene Dunne and Carole Lombard swear
by him.

"As long as you're poison to the bookies
— for somebody else — " we asked, "how
about picking a few nags for me?"

"Say, when the Crooner opens his Del
Mar track this summer," said Bill, "I'll give
you so many winners we'll take every-
thing at his layout but the judges' stand."

As Bill counted out $15 to pay off Mr.
Crosby for the latter's proficiency at golf,
much to his disgust, he added:

"Call me up any time, Gladstone 3813,
and I'll pick 'em for you. It may change
my luck."

We took the comedian at his word a few
days later, rang him on the phone, but a
Filipino voice answered:

"Hurro," it said, "Mista Flawley he no
feel so good. He very mad. He say man
who bet on horse race is big sucker. Just
— a minute, pliss! Mista Flawley, he say
if this Mista Conlon speaking, give him
message. Mista Flawley, he say ask 'WHO
DO YOU LIKE?" "

Bill Boyd — Hopalong Cassidy — and his
wife, Grace Bradley, have just purchased a
ranch at the foot of Mt. Whitney. These
newlyweds have land-fever, it would appear,
for this marks their third ranch since their
marriage only a few months ago. They plan
to commute between the ranch and Holly-
wood— pshaw, it's only a little matter of two
hundred and twenty miles.

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When Answering Advertisements Please Mention February HOLLYWOOD

53

■

WHATl I a difference

,r„f,;«\N

IN EYE MAKE-UP

DULL, "tired-looking" eyes ruin the most
perfect, "eye make-up." You can't hide
them with arched brows or mascara. But
when eyes become red, veined, tired-looking
due to late hours, reading, fatigue, exposure
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Especially soothing to those who wear
glasses. Fastest selling eye lotion of its kind.
Get the large economy bottle at any drug or
department store — money refunded if not
satisfied. Or get purse size at any 10c store.

EYE-GENE

Spats and Divorces!

At Reno so many women are get-
ting divorces because they have been
in misery for years! Many women,
too, have found new independence
and happiness after taking an old
physician's prescription called "Dr.
Pierce's Favorite Prescription,"
which stimulates the appetite and
this in turn increases the intake of
food, helping to build up the body.

Then, too, there is the dreaded "change
of life" period, called by physicians "meno-
pause." Women of any age who suffer
from periodic pains, headache, pains in
back, associated with functional disturb-
ances, would do well to try that vegetable
tonic, made without alcohol, and favorably
known for seventy years as Dr. Pierce's
Favorite Prescription.

Buy of your druggist today. New size,
tablets 50c. Liquid $1.00 and $1.35.

SORE SKIN

DUE TO IRRITATION

Smarting, tender skin
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applying Resinol
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RESINOL

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i z km i « *»t:m iia

14

19

23

28

31

39

47

51

55

40

43

20

34

16

24

xxxxxtfP

in

35

iHH

21

29

32

52

17

25

44

48

11

41

56

12

30

36

26

45

53

18

22

37

42

49

13

38

46

54

8

33

50

— ■~—

___

27

ACROSS

l.

6.

10.

11.

13.
14.
16.
18.
19.
21.
22.
23!
25.
26.
28.
30.
31.
32.
33.
34.
36.
39.

41.

42.
43.

46.

47.
48.
50.
51.
52.
53.
55.
56.

Star of First Lady.
A Girl With

Wallace Ford portrayed one in Swing It,

Sailor.

The reel McCoy.

Jack La .

She Asked for .

Attwater in Ebb Tide.
First name of star of Two Who Dared.
Color often used in Silly Symphonies.
Middle name of the famous David Griffith.

■: Them hive.

The Ritz (abbr.).

Give This Night.

What cowboy stars use to rope steers.
First name of one who was the butler in Heidi.

Thoroughbreds Cry.

Edward Arnold's birthplace (abbr.).
Judith Barrett's native state.

Sing and Happy.

Feminine lead in The Buccaneer.

Miss Hogan in The Westland Case.

He was Shirley's grandfather in Wee Willie

Winkie.

Initials of one co-starred with Joan Blondell

in Stand In.

, Love and Learn.

Wallace Beery celebrates birth on this April

date.

Robert Young's screen wife in / Met Him in

Paris.

She Had To ■ .

Pluto, Corky and Tuffy.

Zeppo Mark left screen to become one.

Initials of Norma Talmadge.

Some Blondes Dangerous.

First name of Mr. Bowman.

You're in the Army .

Her last name is Engels (poss.).
Olivia de Havilland and Joan Fontaine.

DOWN

1. Featured actor in The Prisoner of Zenda.

2. Dinner the Ritz.

3. Mrs. Walter Huston.

4. To make a sound like the Pathe rooster.

5. Players such as Paul Muni or Edward G.
Robinson.

6. It's Love After.

7. Shirley Deane's screen brother in Jones
Family series.

8. Micses McWade and Seddon portray these
relatives in Danger, Love At Work.

9. Racketeers.

12. Stars autograph photos with this.

15. Hero of Paid To Dance.

17. That funny "cry-baby" comedian.

18. Captain D'Omano in Conquest.
20. Nickname, of Miss Mackaiil.
24. ! the Octopus.

26. Heroes seldom do this in film fights.

27. Movies such as The Firefly.

29. Loretta Young was born here.

30. First name of Miss Pollard, comedienne.

33. McLean in The Wrong Road.

34. A star of Stage Doer.

35. He talks like th-th-th-this.

37. Initials of Mr. Lukas.

38. It is thrown instead of eaten in comedies.

40. Star of I'll Take Romance.

41. Boxes or stalls in movie theatres.

44. Remember Busch ?

45. First name of heroine in She Loved a Fireman
(abbr.).

47. You saw her in Something To Sing About.

49. Juanita Quigley is one.

52. Mr. Standcr's initials.

54. Shall Dance?

54

(Solution on page 57)

Accept No Substitutes! Always Insist on the Advertised Brand!

THE RAGE OF PARIS

Danielle Darrieux, just arrived from France to make her first
American picture for Universal, is drawing wide attention
for her work in an imported film, Meyerling, now being shown

Here are some of the reasons the
little Freneh star has been brought
across an ocean and a continent to
make pictures in another language

By ELMER SIMIi I 9»

| The big guns back of the lines were
booming along a 200-mile front when
war baby Danielle Darrieux was ushered
into the world in the spring of 1917 and
things have been booming ever since for
the sensational stage and screen star who
recently moved into Universal Studios
with her delightful accent, her 47 trunks
and her husband, Henry Decoin, to begin
work on The Rage of Paris, the first of a
series of ten pictures for which she is to
be paid a reputed $1,000,000 over a course
of five years.

For her age, which is twenty; for her
figure, which is dainty; for her appear-
ance, which is demure and unaffected, this
beauty from Bordeaux gives no indica-
tion of the intense, driving ambition that
has carried her so quickly to the top on
the Continent. An opportunist of the first
degree, it's always off with the old and on

with the new the moment her keen mind
has decided that such a move means
another definite step forward in the ad-
vancement of her career. She drives a
hard bargain does this slim, brown-eyed
French girl. That she knows the business
as well as the artistic side of movie making
is attested by the contract she signed with
Universal.

PI Danielle comes from a musical family,
her Algerian mother being a singer of
great renown throughout Europe. Her
father, a physician, was as well versed in
musical knowledge as he was in medical.
Danielle, herself, was good enough at the
piano when only four to play compositions
of the great French and German com-
posers. She hoped, as did her parents,
that some day she would be able to enter

" I'M IOO% FOR
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90

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emails

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When Answering Advertisements Please Mention February HOLLYWOOD

55

People with "go" are always the
most popular. Yet the secret of
abounding energy is often merely a
matter of keeping regular. For tired-
ness, headaches, sleeplessness, loss
of appetite, mental depression can
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eruptions, use cooling, antiseptic, liquid D.D.D.
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Stops the most intense itching in a hurry. A 35c trial
bottle, at drug stores, proves it — or money back.

D.D.D. PJu^eHJUxtlovL

OLD BOOKS
WANTED

We pay big cash prices for thousands of different titles.
We bought over 7,500 books in past twenty-one months,
paying as high as $500 for a single book. For example,
we will pay you cash for the following books as described
in our price list:

Pilgrim's Progress $4,000.00

Adventures of Tom Sawyer 200.00

Old Swimmin' Hole 75.00

Black Beauty 100.00

Treasure Island 50.00

Scarlet Letter 35.00

Venus and Adonis 5,000.00

Leaves of Grass 250.00

Snow-Bound 45.00

Uncle Tom's Cabin 100.00

Ben Hur 50.00

Last of the Mohicans 50.00

Moby Dick 100.00

Little Women 25.00

McGuffey Primer 100.00

Tamerlane & Other Poems 5,000.00

These are but a few of the many thousands of books
we want. DON'T SEND BOOKS until you have checked
our latest list giving full information. Don't delay — a
Bingle old school book, story book, bible, poetry, his-
tory, travel, almanacs, newspapers, letters, etc., may
bring you $25, $50, $100. $500 or even $5,000 cash for
certain books. Better investigate NOW. Send 10c to the
American Book Mart, 140 S. Dearborn St., Dept. 375,
Chicago, and we will send you latest list of old books
we want to buy and cash prices we will pay.

56 Accept No

the Paris Conservatory of Music and be-
come a concert artist. Music was to be
her career. Until she was fourteen years
old, her life was planned and charted so
that nothing could interfere with her
studies.

It was at fourteen that, in addition to
the piano she took lessons on the cello.

"If I couldn't get into the Conserva-
tory," Danielle says, "with one instrument,
I would with two. Like killing one bird
with two stones."

E But it was at fourteen that she sud-
denly covered up her piano, hung up
her big fiddle and her bow, and, in answer
to an ad in a French fan magazine, moved
from music into movies without so much
as a tiny stumble.

According to the ad,- production of the
screen version of the popular novel,
La Bal, was to be started at the Vandal
and Delac studio. The noted German
director, Thiele, was looking for a young
girl of about fourteen to play the leading
role. No previous screen experience was
necessary.

"I read the notice the second time,"
Danielle says, "then I went to my room,
washed my face and hands, put on a bright
new dress, came out without my parents
seeing me, got on a bus, got off at the
Champs Elysees studio entrance, walked
into the plush-carpeted office of Monsieur
Vandal and asked for a screen test. Just
like that. And I got it — and the job. Just
like that."

H The film was a hit — and so was the
fourteen-year-old Danielle. A con-
tract was quickly signed with the pro-
ducers. Just as quickly they put their
pretty young find into one film after
another.

"And they turned out to be what you
call in Hollywood the 'quickies'," smiled
the French star, "and so I decided to do
something about it. I told the producers
that I wanted to play serious, tragic parts,
that I was tired of comedy and that the
people would soon tire of me; but the
producers would only shake their heads,
smile a little sadly and ask if I was going
what you call in this country 'highbrow'
on them. And I would smile a little sadly,
too, shake my head, and say 'no,' and then
walk away. Over and over that would
happen and then I began to worry."

She not only began to worry, but like-
wise began to lose weight until, finally,
she became so ill while playing opposite
Jan Kiepura in a picture in Berlin that
she was carted off to a hospital to undergo
a serious throat operation. It wasn't until
the operation was over and pronounced a
success that she sent word to her parents
— and take Danielle's word for it, Papa
and Mama Darrieux "blew up high!"

"It was a crisis I wanted to meet alone,"
was the only explanation Daughter
Danielle gave them and, since by now they
were somewhat accustomed to her meet-
ing crises alone, they let it go at that.

Fully recovered, Danielle finished the
Kiepura film, the film that had almost
finished her. And then good pictures
came along, some of them written ex-

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A SLAVE TO HIS CARESSES

She wanted to erase the blight of her
youthful madness. But could she break the
ties of a mistaken passion when she found
true love?

Other Thrilling Confessions: MEN MADE ME
PAY!— OUR LOVE CAME TOO SOON— I WAS
HIS SECOND WIFE— BACKSTAGE HEART
BREAK—

Also — A Complete Book-length Novel

THE HUSBAND WE SHARED

IN FEBRUARY

pressly for her. All of them, as we like
to say it here, smash hits.

| And then, almost before she was pre-
pared for it, the French idol of the
screen was brought face to face with
another crisis that she had to meet alone.
Maybe that isn't exactly true. At any
rate she was brought face to face with
Henry Decoin, co-author with Henry
Koster of L'or Dans La Rue in which
Danielle was to play the leading feminine
role. One meeting led to another and
another until it finally occurred to Writer
Decoin that the best way to meet the
romantic crisis was to get married. Which
is precisely what happened — to the great
happiness of each.

After months of honeymooning
throughout Europe, Danielle returned to
the screen to play opposite Charles Boyer
in Mayerling, a tragic film that marked
her first definite departure from the
comedies and frothy romances she had
heretofore played. After Mayerling, in
which she literally took Europe by storm,
came another serious role in Un Mauvais
Garcon in which she played the part of a
woman lawyer. Then came Fort Arthur
in which she was cast as a Japanese girl,
then the French stage upon which her
histrionic arts and talents gained addi-
tional prestige.

H During all this foreign fanfare,
Universal Studios was setting the ma-
chinery in motion to bring La Darrieux
to Hollywood. The wheels really got into
high speed when the million dollar con-
tract was signed, sealed and delivered.
And whether you think so or not, a
million dollars is big money whether you
count it in liras, centimes, marks, or
buffalo nickles.

Danielle's first picture in Hollywood is
to be The Rage of Paris and according to
the men who receive big money for recog-
nizing talent when they see it, by the time
her second picture is finished Danielle is
going to be the rage of America.

Crossword Puzzle
Solution

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58

Hollywood Newsreel

[Continued from page 12]

a play titled, Spanish Lady. The remark
he had noted read . . . "William Powell.
Newcomer to Broadway. Looks good.
Should go over."

Yes, that William Powell was our Bill
Powell of the screen today.

JUVENILE FOLLIES

BS Bonita Granville is president of the
Chocolate Nut Sundae Club ... to
qualify, a person must be able to down
SIX sundaes, without blinking . . . Darla
Hood, leading lady of Our Gang, is very
perturbed . . . she's been left by the way-
side . . . reason for this base desertion of
the male members of the Gang is a cer-
tain new charmer in the Gang, Annabelle
Logan, Ella's niece, who's a honey . . .
Buckwheat, the little negro lad, however,
still remains faithful ... he follows Darla
about the lot with dog-like devotion . . .
Spanky wears a tailor-made dress suit;
with tails, no less, in Our Gang Follies of
1538 ... he and Oliver Hardy were be-
ing measured side by side, when this
roamer chanced to look in the tailor shop,
one of Hollywood's most exclusive . . .
life never palls at one of Jane Withers'
parties . . . she held an animal washing
contest most recently, supplying all the
animals from her own menagerie . . .
Shirley Temple displaying for all to see
an autographed photograph from Joan
Crawford ... it read, "To Shirley from
her devoted fan. Love. Joan Crawford"
. . . Alfalfa tests the new members of the
Boach studio by borrowing nickels . . .
the Mauch twins own Tuxedos, and when-
ever they go out of an evening always
wear them.

El Here's one of the nicest gestures we've
encountured in many a day. . . .

Hidden inside a bouquet of flowers,
which Walter Connolly presented his wife
on their fifteenth wedding anniversary,
was a small white box. Within the box
rested a beautiful engagement ring.

"I wasn't able to give my wife an en-
gagement ring when I first met her in
New York," Connolly explains, "but I de-
cided that when I did buy her one it
would be the best." Now, after all these
years, Mrs. Connolly, the former Nedda
Harrington, of Broadway stage fame,
wears a diamond solitaire on her finger . . .
and it's a beauty, too.

H Marriages may be made in Heaven,
but studio romances, all too often,
are made in the publicity offices. It's a
harmless way of keeping players before
the public eye. The odd part of it is that
these made-to-order romances often de-
velop into the real thing. As witness
that of Joy Hodges, leading lady of Merry-
Go-Round of 1938, and Robert Wilcox.
Their names were linked for studio pur-
poses, and now they're really engaged to
be married.

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By the scores are fads started in Holly-
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compare with the one Dorothy Peterson
initiated at a recent dinner party.

When she entertained, she used egg plant
and purple grapes as a centerpiece! Can you
beat it? Not to be outdone . . . Fay Wray,
one of Dorothy's guests, later chose red
apples, brightly scrubbed carrots and green
squashes in a bed of autumn leaves to take
the place of the usual floral decoration.

Readers, if you MUST go Hollywood,
be sure to rub your vegetables and fruit with
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HOLLYWOOD COOKING SCHOOL

Grace Bradley, beginner in the cooking school, caught
right in the middle of a promising batch of biscuits

THE BRIDE'S FIRST BISCUITS

This story may put an end to all of
those old jokes about the bride, the
biscuits and the disillusioned husband,
beeause here is a secret of success

By BETTY CROCKER

When, a husband teaches his bride to
cook, that's news!

Bill Boyd, the western star, was used
to batching it at his "Hopalong Rancho"
in the Malibu Mountains, so when he
brought his bride, the lovely Grace
Bradley, to his ranch he was prepared to
do the cooking.

The dish that made a hit with Grace, she
told me, was Bill's spaghetti with a sauce
of meat and fresh mushrooms.

Not to be outdone, when they returned
to their Hollywood apartment, Grace de-
termined to cook Bill's favorite food — hot
biscuits.

"I had to try something that was failure-
proof," she laughed, "because I'd never
tried to cook a thing before we 'were mar-
ried. I bought a box of prepared biscuit
flour and was really surprised at the many
dishes I could make. I could turn out
shortcakes, dumplings, scones and all
sorts of yummy food, with just a little
mixing and baking."

Of course, Grace Bradley isn't the first
bride to make this happy discovery. I've
had letters from hundreds of enthusiastic
newly-weds, and talked with as many
more. I just wish you could hear the

SEND FOR BETTY CROCKER RECIPES

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When Answering Advertisements Please Mention February HOLLYWOOD

59

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j way they all sing the praises of pre-
pared biscuit flour — and tell how it's
turned their first cooking ventures into
one long procession of triumphs. It
isn't any wonder that they call it "the
answer to a bride's prayer."

Like Grace Bradley, they've all been
amazed at the many other delicious foods
they can make with it besides biscuits.
The little free booklet of prepared biscuit
flour recipes put out by the millers showed
them how this new product fits itself into
the meal all the way from appetizers arid'
soup to the dessert — and all so easily that
the rankest amateur of a cook can score
the sort of triumphs with her first effort
that used to be the reward only of months
— even years — of practice. Grace Bradley
says that Hot Pimento Cheese Biscuits are
one of Bill Boyd's favorites. They sound
complicated, I know, but really they're
very simple.

First you make your biscuit s — by
merely adding % cup milk to 2 cups of
the prepared biscuit flour, and beating it
vigorously for 30 seconds. Then gather up
the dough and lay it in a mound on a
cloth-covered mixing board. Roll or pat
it out and cut it into the size biscuits you
want with a biscuit cutter. Now they're
ready to lay on a pan and pop into the
oven. Yes, really, it's as easy as that!

Now then — for these Hot Pimento
Cheese Biscuits that "Bill" likes so well —
lay your biscuits in a heavy loaf pan. and
pour over them a package of soft spread-
ing pimento cheese that you've melted
with 2 tbsp. of butter. Bake these biscuits
in a hot oven, 450 degrees. This is not
quite as hot an oven as you need for the
plain biscuits, but we don't want the
cheese to be scorched.

This trick of adding new ingredients to
ordinary biscuits can be carried on almost
endlessly. There are Cheese Biscuits — all
flaked with yellow cheese. They are so
appetizing with salads. Then there are
Orange Biscuits with the pungent refresh-
ing orange right in them and all encrusted
with sugar. There are pink Tomato Bis-
cuits, Poppy Seed Biscuits.

Dumplings used to be one of the su-
preme tests of a woman's cooking skill.
But now, any bride can garnish a stew
with tender, fleecy-as-a-cloud dumplings
that may well be the envy of older and
more experienced cooks. It's simply a
matter of stirring 1 cup of milk (or % cup
of water) into 2 cups of prepared biscuit
flour and beating for the usual 30 sec-
onds. Then dropping this batter by spoon-
fuls on top of the stew. Cover tightly and
let the dumpling steam (without lifting
the cover) for 15 minutes.

So it's no wonder that Grace is confident
she can match her husband's prowess at
the ranch cookstove when they return to
their mountain retreat after she finishes in
The Big Broadcast of 1938 at Paramount.
Bill Boyd is starring in the Hopalong Cas-
sidy series.

State.

> Print Your Name and Address —

FOR NEXT MONTH

Betty Crocker has interviewed another bride,
Anne Shirley, who tells how to beat the eggs
as well as the hazards of that first cake.

HAPPY RELIEF
FROM PAINFUL
BACKACHE

Caused by Tired Kidneys

Many of those gnawing, nagging, painful backaches
people blame on colds or strains are often caused by
tired kidneys — and may be relieved when treated
in the right way.

The kidneys are Nature s chief way of taking ex-
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people pass about 3 pints a day or about 3 pounds
of waste.

If the 15 miles of kidney tubes and filters don t
work well, poisonous waste matter stays in the blood.
These poisons may start nagging backaches, rheu-
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tubes flush out poisonous waste from the blood.
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NEW FREE BOOK

Important To Victims Of

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No matter where you live, write today. M. L. Haymann,
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PHOTO Enlargements

49

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now. Mailyour Photos today. Write NEW ERA PORTRAIT COMPANY
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1938 GOVERNMENT JOBS

Start $1260 to $2100 a Year

Common Education usually sufficient.
Short hours. Many 1938 appointments.
Write immediately for free 32-page
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an appointment.

FRANKLIN INSTITUTE
Dept. L263, Rochester, N. Y.

CZECH

WHO CAN

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HARFORD,

Dept. B-14. Cincinnati. 0.

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60

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Gag Salesman

He started as a phonograph salesman, but the
customers laughed so hard at his jokes they
had no strength left to sign on the dotted line

By MARVEL SLEUGAIR

fl You can say this about Ken Murray,
the radio comedian. It didn't take him
long to get wise to the fact that there was
more money in selling gags than in telling
them.

"This wising-up process," claims Ken,
"occurred shortly after I had started out
in life as a phonograph salesman. I was
traveling under my own moniker, then,
which happens to be Kenneth Abner
Doncourt — better known at present, I
hope, as plain, old-fashioned Ken
Murray.

"Well, I didn't break any records selling
talking machines and I can prove it by
what the boss said. It seems that I was

a great hand to jolly prospective customers
into a sales mood by telling stories.
Buyers would laugh their heads off at my
yarns, invite me to parties, private clubs
and whatnot, but rarely would they invite
themselves to sign on the dotted line. And
to be fair to both sides, I'd seldom invited
them, either, so when the boss said some-
thing one day that sounded like 'If you
want to tell funny stories why don't you
get into vaudeville; I took him at his word
and 'got'."

| In vaudeville it was different. All Ken

had to do was to sell gags and he had

a knack of doing that so well that he

Ken Murray and his fiance, Miss Florence Heller, snapped
on one of their rides through the Hollywood hills

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Dept. 4. , and receive free a
complete personal color chart
and booklet on eye make-up.

THE KURLASH COMPANY
Rochester, New York, U. S. A.

Copyright 1938. Kurlash Co.. Inc.

NOW SHE'S A NURSE
EARNING $25 A WEEK!

From an uncongenial job to a well-paid position aa
office nurse and assistant to the town's leading doctor!
No wonder Mrs. N. E., of New York, is happy and
enthusiastic about her Chicago School of Nursing
course!

Don*t stay forever in a poorly paid job, Chicago
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nurse you will be well-paid, make new friends, live a
full, rich life of service.

EARN WHILE LEARNING
Mrs. S. E. P., Chicago, started on her first case after
her 7th lesson: in 14 months she earned S1900! H. S.
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SEND COUPON NOW. Free book shows how you
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CHICAGO SCHOOL OF NURSING

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Please send free booklet and 32 sample lesson pages.

Name ; _

City State

When Answering Advertisements Please Mention February HOLLYWOOD

61

DON'T
NEGLECT
A COLD

Uistressing chest colds and minor throat
irritations should never be neglected. They
usually respond to the application of good
old Musterole. Musterole brings relief
naturally because it's a "counter-irritant,"
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Strength, Children's (mild), and Extra
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With each Order: • Special Application Brush

• 36- page booklet: "The New Art of
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Prove by test how gentle and efficient these tablets often
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STUART'S

COMPOUND

traveled along the show road at a fast
and profitable pace.

In 1923 he made his stage debut at the
Folly Theatre in Brooklyn. In 1929 he
switched over to the movies and made
his screen debut in Half Marriage with
Olive Borden. In 1935 he made his Broad-
way -debut in Earl Carroll's Sketchbook.
Since then he has appeared in such stage
shows as Louder Please, Hi, There, and
the Vanities. His films include The
Crooner, Ladies oj the Jury, and You're
a Sweetheart. His radio debut dates back
to 1933 when he appeared as a guest star
on the Rudy Vallee program. Right now
he is one of the country's ether raves as
topman of a weekly program that keeps
the dial twisters in an uproar.

Aside from the screen and radio, Ken's
current business activities include writ-
ing a syndicated humor column and mak-
ing records.

j According to his own confession, he

got into the habit of smoking cigars

to overcome the pangs of stage fright

when he made his first appearance in front

of the footlights.

"I added the hat to my act," he says,
"because I didn't want to be mistaken- for
that other cigar-smoking witster, Ben
Bernie. You don't have to mention this,
but I used to play the sax and clarinet and
occasionally I indulge in a jam session
with Oswald who can pump an accordion
like nobody's business."

Murray has been a pal of Edgar Bergen
for fifteen years, and proudly boasts of
the fact that he was the godfather of
Charlie McCarthy, Bergen's saucy little
partner, when that character was first
hacked out of wood. And here's one for
the book. Although he always has had
a blonde girl in his act, he has yet to go
out with one. At present he's engaged to
Miss Florence Heller, a dark-haired so-
ciety beauty of New York City.

H Ken owns two cars, is deeply inter-
ested in politics and considers long
distance phone calls his pet extravagance.
Spends his week-ends on fishing trips and
his free moments while making a picture
at reading and bridge. He avoids night
clubs, enjoys his fan mail, likes sun baths,
holidays, personal appearances — and
Hollywood. His pet peeves include silk
underwear, modern architecture, air-
planes, premieres, and traveling alone.
His earliest ambition was to be a comedian.
His present ambition is to be a comedian.
'And don't forget to add," he says, "that
I'm a good cook. In fact I believe I can
throw as mean a skillet as Leo Carrillo."

H That national love commuter, Ann
Sothern, swears she'll see more of
her husband this coming year than dur-
ing the last. They've been married, she
and Roger Pryor, for more than fourteen
months now, and during all that time has
been with him less than three months.
But this year she'll spend at least SIX
months with him, come hell and high
water. She hasn't quite worked out the
details as yet . . . but she's resolved.

Old Money

^g^ and stamps
M WANTED

OST YOURSELF! It pays! I paid
J. D. Martin, Virginia, $200 for a
single copper cent. Mr.Manning', New
York, $2,500 for one silver dollar. Mrs. G.
F. Adams $740 for a few old coins. I want
all kinds of old coins, medals, bills and
stamps. I pay big cash premiums.

I WILL PAY $100 FOR A DIME

1894 S. Mint; $50 for 1913 Liberty Head
Nickel (not buffalo) and hundreds of
other amazing prices for coins. Get in
touch with me. Send 4c for Large Illus-
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mas mean much profit to you. Write today to

B. MAX MEHL142 Mehl Bldg., FORT W0RTHJEXAS

(Largest Rare Coin Establishment in U. S.)

Wives

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YOUR HOSE furnishedFREE as
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How To LOOK YEARS YOUNGER

At 30. ..40. ..50!

Lydia Lane reveals her method I New,
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v\M FOR YOUR CLUB

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I ■ reminder of reipo nubility that all members will
be proud to wear 300 beautiful modem design*.
Write Today for Free 1938 Catalog!

|BASTIAN BROS., CO

53e*ST.*H8LDG BOCHESTEfl.N Y.

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D.J. MahlerCo., Dept. S6B, Providence, R. I.

LEARN pZaYPIANO

Let a popular radio artist teach you to play the
late popular songs in 20 lessons. It's new. It's
easy. Beginners learn quickly, and former piano
students learn to play the modern way. Key-
board chart included. Send $1 for complete
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CATARRH or SINUS

Irritation Due to Nasal Congestion

CHART FREEl

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F. J. CHENEY & CO., Dept. 222, TOLEDO, 0.

62

Accept No Substitutes! Always Insist on the Advertised Brand!

iisiratirasndniijtitti

By LLEWELLYN MILLER

HURRICANE (Goldwyn)

| Admittedly, Hollywood is a town of
miracles. If you want to see it
proved, once more, be sure to see Hurri-
cane. Better see it anyway, because it
is a production that will be mentioned
whenever mammoth undertakings in the
movies are under discussion.

The story, itself, is a love tale of the
South Seas with the handsome young
Jon Hall giving great vitality to the part
of the simple savage at war with the
white man's law, Raymond Massey as the
fanatic governor of the islands, Mary
As tor as his wife, C. Aubrey Smith as
the understanding priest, Thomas
Mitchell as the drunken but humane
doctor and Dorothy Lamour as the native
heroine.

There are brilliant performances in this
film, but beyond argument the hurricane,
itself, is the star. When that tropic storm
combers crash upon the shallow beach,
giant trees, grown huge in decades of
placid sun, are swept aside like matches
in the flood. The supple coconut palms
bend and wave but even they go at last,
leaving only the heavy masonry of the
little church as refuge for the frantic
natives. Then its hewn blocks begin to
split and tumble, until the island is noth-
ing but a troubled shoal in the violent

THE LAST GANGSTER (M-G-M)

l| Some years ago, Edward G. Robin-
son startled an already pretty well
astonished picture-going public by his
portrayal of Little Caesar. Off the screen,
Mr. Robinson is a gentle fellow who col-
lects paintings and pays his taxes regu-
larly. But on the screen, the public
thinks of him fondly as the poisonous
and unhealthy little monster who died
without dignity behind the bill-board in
Little Caesar.

Mr, Robinson may play financeers and
gamblers with hearts of gold for years
on end, and do very well indeed with
them, but it is as the bad-all-the-way-
through gangster that his fans like him
best.

For that reason The Last Gangster
should be most appealing. In it Robinson
misses no opportunity to be a living ex-
ample of how to lose friends. He snarls
at all his henchmen. He is extraordi-
narily rude to the innocent peasant girl
he imported from the old country to be
the mother of his little ones. He is in-
sufferably swollen with cocky pride. His
wicked deeds catch up with him in the
end, but it is rather astonishing that they
take so long, considering how extremely
unpleasant he makes himself to such a
large number of people.

When his girl-bride (Rose Stradner)
realizes what he is and what he plans for
their son, she runs away. Eventually she
marries an understanding reporter

(James Stewart). Between them they
raise the gangster's boy to have a Brit-
ish accent, which is peculiar, since Miss
Stradner's accent is tinged with Vien-
nese and Mr. Stewart speaks fine Ameri-
can.

Young Douglas Scott does nicely with
the boy's part, when his father, greyed
and just a touch mad from years in
prison, returns to claim him.

Lionel Stander, John Carradine, Sid-
ney Blackmer, Grant Mitchell, Edward S.
Brophy, Alan Baxter, Frank Conroy and
Lucille Beavers enter spiritedly into the
rough doings, such as kidnaping, torture,
prison riots and several kinds of mayhem.
This time Edward G. Robinson dies in the
gutter on a black night with the rain
pouring down, and everyone leaves the
theatre feeling fine about it, and looking
forward to his next gangster part.

TRUE CONFESSION (Paramount)

| She didn't try very hard, but even
when she did put forth an effort,
Helen (Carole Lombard) just couldn't
manage to tell the truth.

Her devoted husband (Fred Mac-
Murray) didn't mind so much when she
told the collector that he was a homicidal
maniac. And he could stand it when she
told the butcher that he couldn't pay the
bill because he was dead. But he did
object when she said that she didn't kill
her employer (John T. Murray).

After all, he was in a very uncomforta-
ble position, indeed, for a young attor-
ney. He had forbidden his wife to seek
a job. In spite of the cynical warnings
of her friend Daisy (Una Merkel) , Helen
had accepted a job as secretary for three
hours a day at fifty dollars a week.
Daisy's gloomiest predictions were ful-
filled, and Helen rushed out of the place
forgetting hat and purse in her panic to
escape her amorous if generous employer.
An hour later when she returned timidly
for her belongings, she ran into the arms
of the police, and promptly was booked
for murder.

One of the funniest scenes in the quite
uproarious film is when Helen draws
upon her vivid imagination to aid Edgar
Kennedy in giving her the third degree.
One thing leads to another. Before she
quite knows how it happened, she has
pleaded guilty, and her husband is fight-
ing for her life before a suspicious jury.
But so convincing is her recountal of her
entirely imaginary slaying that she is
acquitted, and all would have been well
had not another vivid imagination en-
tered the plot in the person of Charley
(John Barrymore). Jealous of all her
undeserved publicity, Charley lays claim
to her crime, and Miss Lombard does a
fine lot of screaming and kicking and
running around in the hoydenish manner
so dear to her fans before she makes a
"true confession" to her husband and,
once more, makes him believe it.

KAY HUGHES,
popular young
screen aelrcsa

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I enclose 10c for
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Stan Laurel invited a dozen friends down to hia
yacht for a fish dinner . . . by the time they
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that's the second time such a thing has happened
... if he attempts another fish party, Oliver Hardy
intends sending him a basket of sardines.

.Sensational

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When Answering Advertisements Please Mention February HOLLYWOOD

63

Be Your Own
MUSIC Teacher

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Pick Your Course

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Drums and Traps

He Said He'd
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Then he met this girl. She
had read the secrets of
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a daring new book which
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IF YOU HAVE

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ARTHUR RHODES, Hair Color Expert, Dept. 36. LOWELL. MASS.

SECRETARIES, STENOGRAPHERS
and TYPISTS tTSSSn

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Barry more Makes A
True Confession

[Continued from page 28]

remark about the weather! That's the
trouble with you newspaper guys — you
have no finer feelings."

He grinned defensively. Then, sud-
denly, he slapped his knee, with:

"So that's what he meant! Who? Gene
Fowler. Not long ago he said to me, out
of a clear sky, 'Jack, you'd be surprised
if you knew what a good friend you've
got in Carole Lombard.' And now you
come along and spring this thing on me.
I seem to be the only one who hasn't been
let in on it."

Incredibly, Mr. Barrymore had been
kept in the dark about his bright pros-
pect. But one thing stood out clearly —
the respect and admiration that others
have for his brilliant talent. Something
that Spencer Tracy once said to me now
crossed my mind: "My greatest hope is
that some day I'll be able to play one
scene in a picture as well as John Barry-
more plays all his scenes." Not that I be-
lieve the First Actor of the Screen is
deserving of the slightest credit for his
acting. He just can't help it. He is a
born actor. Acting is in his blood, and
he couldn't get it out even if he tried.
Now he was trying to figure out what had
happened to him.

Q| "Strange," he marveled, "that Miss
Lombard should do this for me when
all I did for her in Twentieth Century
was to bawl her out and drag her around
by the hair of her head. But it's exactly
like her. I have played with an uncom-
mon number of charming ladies, but never
with one more regular, lovable and gifted
than Carole Lombard. But this more than
generous action of hers is quite another
matter and, for my part, I don't know
just what it means."

Obviously, it means a star is reborn.
It means he has again come into his birth-
right. It means his return to his former
high estate. What, then, had pulled him
down from it? With whom did the re-
sponsibility rest?

"With my dear friend, Irving Thalberg,
heaven rest his fine soul," was Mr.
Barrymore's unexpected answer. "I had
a great affection for him, and he was un-
weariedly kind to me. It was simply that
Mr. Thalberg asked me to play the actor
in Dinner at Eight, a part I was delighted
to play. Indeed, I was proud to be only
one of many in that picture. Since then
I have been very happy in similar parts.
But now, apparently, I am again to be a
star, and I can't imagine how I'll feel."

Mr. Barrymore might, it occurred to me,
feel that Paramount had at last "dis-
covered" him.

"Possibly," he admitted. "For that mat-
ter, I may not be wholly unlike an aban-
doned island in the broad Pacific, let us
say. For a time this island had served
its purpose as a fueling place for ships,
then someone moved the coaling station.
But later an itinerant skipper, sailing
those lonely waters, sights the island, dis-

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covers there is still some coal left, and so
the station is restored."

Having conjured up this maritime al-
legory with the literary ease of a Joseph
Conrad, he dropped anchor in the harbor
of fact.

H "I've never cared a damn whether I
was a star or not. From long experi-
ence I know how little it means. I've had
my name in big letters outside a theatre,
then found eight people inside it — prob-
ably the electricians who put up the sign.
When I went on the stage I never even
thought of ever becoming a star. My one
and only concern was a black mustache of
the stroking variety. I felt terribly wicked
because my character was naively de-
scribed in the program as that of 'a young
seducer.' Unfortunately, I more than
realized the youthfulness of the part, for
I was only sixteen. It happened that my
father had written a short play entitled
A Man of the World and was producing
it with my dubious yet inexpensive as-
sistance. The place of this memorable
event was Coytsville, New Jersey, the oc-
casion a firemen's benefit. Needless to
add, I did not rise to the occasion in a
blaze of glory. Somehow, it didn't mean
anything to me. Neither then nor since
have I been stage-struck.

"Of course," he replied, "I realize there
may be a star whose personal popularity
is so great with the public that he justi-
fies that celestial dimension. Clark Gable
is one example. But there have been lots
of stars who, unhappily, turned out to be
merely comets, and so had their poor tails
cut off. I've often marveled that this in-
glorious fate was not mine when I 'es-
sayed' motion pictures. For by some
strange turn of fortune I was starred in
my very first one, made by Famous
Players in a little studio on Fourth Ave-
nue in New York. Knowing nothing
whatever about it, I was led around like
a trained bear.

"One day Douglas Fairbanks, then play-
ing on Broadway with W. H. Crane in
The Henrietta, came over to see me per-
form. 'Doug,' I said to him, 'you're a very
active young man. Why don't you get
into this racket?' He said he was sure
he wouldn't be any good at it. Yet he al-
most instantly gained such tremendous
popularity that he became a star by sheer
right to that distinction. His was purely
a personal triumph. With another actor,
there may be something about the part
he plays which raises him to stardom, for
it's pretty nearly a cinch that a star part
has to have a streak of nobility in it.
I presume Dr. Jekyll and Mr. Hyde
would be considered co-star parts. But
in that case one would be picked out in
preference to the other for the star part
because he was so noble and wore prettier
clothes. And that certainly ought to give
Mr. Hyde a big laugh."

In that parable it was by no means im-
possible to identify Mr. Barrymore with
the less righteous and ornate of the two,
likewise to sense his withering scorn of
the actor who achieves stardom through
no virtue of his own.

"For some two years now, by the
grace of God," he fervently uttered

"I have been playing so-called character
parts. But I defy anyone to tell me of
any part ever written that isn't a character
part. Even Hamlet comes under this head.
When I was playing him I wasn't inter-
ested in whether I was starring or not.
What interested me was the reaction of
the critics and" — he paused almost im-
perceptibly for a subtle distinction — "the
opinion of people whose intelligence I re-
spected— and oh, yes, the gross receipts.
After the first New York performance
Lionel came to my dressing-room and,
naturally, I was dying to hear what he
would say about it. But he talked about
everything else until, just as he was leav-
ing, he slapped me on the back and said,
'Good boy, Jake!' I said, 'Thanks, Mike,'
and that was that. It made me sympathize
with Richard Mansfield when Sir Henry
Irving went back to see him after he had
worked himself into a lather playing
Richard Third. Sir Henry chatted amiably
on various topics, all politely remote from
anything that had happened on the prem-
ises. Finally, unable to bear the sus-
pense any longer, Mansfield desperately
asked: 'Tell me, Sir Henry, what do you
think of me as Richard?' 'M-mm,'
rumbled Irving, 'you sweat, Mansfield,
don't you?' "

H A mine of episodes, Mr. Barrymore
waited for me to quiet down, then gra-
ciously vouchsafed the information.

"In a star part I perspire mentally. This
is due to the burden of carrying, or being
expected to carry, the entire picture.
Worse still, its very hard on my dream
pants."

"Your pan — ?"

"Not my pan, my pants," he explained.
"As a Hollywood star I have ruined count-
less pairs. You see, or maybe you don't,
a star part gives me nightmare. Night
after night I dream the same dream. I
am walking past a movie house in front
of which is the electric announcement,
John Barrymore in Phantom of the In-
come Tax. Innate modesty forbids my
glancing up at it, but suddenly I see an
angry man with a savage dog coming out
of the theatre. No sooner does the irate
patron of the cinema clap eyes on me
than he yells, 'Sic him, Tige!' Alarmingly
obedient, the snarling beast makes
straight for me, while I, with singular
alacrity, beat it across the street to a board
fence. I am balanced precariously and
horizontally on top of it when I hear a
tearing and rending of textile material,
then become painfully aware that an ani-
mal with an evident appetite for ham is
biting me d derriare. At this harrowing
moment I come shriekingly awake to find
myself hanging head downward over the
foot-rail of my bed."

Mr. Barrymore obligingly illustrated
his story by dangling limply over -the back
of his chair.

"When I'm not a star I sleep like a blue-
eyed, golden-haired child," he pointed
out. "But now that my rest is apparently
to be broken again, I wish to thank you
for telling me about myself. I cannot
thank Miss Lombard at present, as she is
out of town. But upon her return I shall
greet her with a bouquet in one hand and
a California orange in the other."

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When Answering Advertisements Please Mention February HOLLYWOOD

65

WHEN A FAN NEEDS A FRIEND

When Southern Methodist and UCLA tangled in one
of the last games of the season, Joe E. Brown took the
afternoon off front Columbia Studios where he is
making Wide Open Spaces to see his son in action

FAWCETT PHOTOS BY RHODES

Just before the gun. Joe hasn't a care in First quarter, Joe, takes a rest with the tear
the world. With him is his son, Don

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I don't believe it!

Cheer up, Joe, someone has to lose

68

//

College Graduate?
Not Me

"It is a real compliment, Mr. Walker, that you
thought me a college girl.

"Truth is, my formal education stopped in high
school. I continue to add to my useful infor-
mation, however, by reading PHOTO -FACTS
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IT is a real thrill to know others consider you well
educated. When the boss compliments you on your
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the corner!

College graduate, high school graduate or grade
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this education— to round out a background
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Get a copy of PHOTO-FACTS at any newsstand.
This monthly magazine is edited for the express
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_said pretty little Barbara B. HERE'S WHAT MADGE EVANS REPLIED

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When Answering Advertisements Please Mention March HOLLYWOOD

Two-fisted American
college student goes
to Oxford! Oh, boy,
here's a drama that
packs a wallop every
minute of the way!

-

/" (atiloi

A YANK AT OXFORD

with LIONEL BARRYMORE

Maureen O'Sullivan • Vivien Leigh

Edmund Gwenn • Griffith JOneS • From an Original Story by John Monk Saunders

Directed by JACK CONWAY • Produced by MICHAEL BALCON

A METRO-COLDWYN- MAYER PICTURE

Accept No Substitutes! Always Insist on the Advertised Erand!

MARCH, 1938
Vol. 27 No. T3-

3

\%*

©C1B 365858

IT
JL

D

W

nnnnro

W.H.FAWCETT
Publisher

LLEWELLYN MILLER, Editor

Table of Contents

EXCLUSIVE FEATURE STORIES

Two Tin Pan Allies of Song by E. J. Smithson

What Do You Mean — Wonderful Time? (Ginger Rogers)

How Garbo Was "Nagged" Out of Two Hollywood Homes

Open Season on Stars by £c

Dr. Crosby Takes a Bow by <

Cleopatra Wasn't Pretty (Madeleine Carroll) by J

Skippy Grows Up (Jackie Cooper) by Ec

Eggs Take a Lot of Cracking (Sophie Tucker) by .'

A Lady Grows Older (Edith Fellows)

16

10

PICTORIAL SPECIALS

History of a Runaway 20

How to Act Without Moving a Muscle (Ned Sparks) 24

Haven't We Seen You Somewhere Before? 30

A Lady Grows Older (Edith Fellows) by Ted Magee 42

EVERY MONTH IN HOLLYWOOD

Hollywood Newsreel by Whitney V/illiams 6

Fashions 33-34

Hollywood Radio Beam by Gordon W. Fawcett 48

Beauty by Ann Vernon 50

Important Pictures by Llewellyn Miller 54

Hollywood Cooking School (Anne Shirley) ...by Betty Crocker 56

Movie Crossword 59

The Show Goes On by Llewellyn Miller 66

MOVIELAND TOURS 14

RALPH DAIGH, Managing Editor

CHARLES RHODES, Staff Photosrapher

HOLLYWOOD Magazine is published monthly by Fawcett Publications, Inc., 1100 West Broadway, Louisville, Ky. Entered as second class matter at the post office at Louisville,
Ky., under the act of March 3. 1879, with additional entry at Greenwich, Conn. Copyright 1938 by Fawcett Publications, Inc. W. H. Fawcett, Publisher; Elliott Odell, Advertising
Director. General offices. Fawcett Building, Greenwich, Conn. Trademark registered in D. S. Patent Office. Subscription rate 50 cents a year in "United States and possessions
and Canada; foreign subscription $1.00. Single issues five cents. Advertising forms close on the 20th of third month preceding date of issue. Printed in TJ. S. A. Member Audit
Bureau of Circulations. Send all remittances and correspondence concerning subscriptions to Fawcett Building, Greenwich, Conn. Advertising offices; New York, 1501 Broadway;
Chicago, 360 N. Michigan Ave.; San Francisco, Simpson-Keilly, 1014- Buss Building; Los Angeles, Simpson-Reilly, Garfield Bldg. Editorial offices, 1501 Broadway, New York City.

i:MIV4V£«I4tS2l4V^itl44V

By WHITNEY WILLIAMS

H FLASH: Alfalfa, crooner de luxe of
Our Gang, isn't THAT way about
Constance Bennett any more. She allowed
him to sing for her in her dressing room
for nearly an hour . . . and rewarded him
with only two dishes of ice cream. SIX
always has been Alfalfa's price.

H Annabella, the new French star, hasn't
been long of Hollywood . . . but al-
ready she's firmly implanted in the affec-
tions of the hamlet.

Learning that her English stand-in, the
one she employed in London, wanted to
come to Hollywood, Annabella arranged
for her to be brought to America, all ex-

Hi So it's fun to be a star! Consider the
case, then, of Norma Shearer.

For her new picture, Marie Antoinette,
Norma must wear thirty-four different
costumes and eighteen wigs. You may
have read this before. But here's some-
thing you probably never heard before . . .

For the past four months, the star has
spent from four to five hours daily three
or four times a week for fittings! And the
end is not yet in sight. Still convinced
that a star's life is a merry one?

££j Funniest sight of the month was a
tough-looking egg holding a pastel-
colored lady's umbrella over him outside
the Republic studios, while the skies un-
bosomed themselves ... he looked sur-
prisingly like Bull Montana . . . remem-
ber him? . . . Maureen O'Sullivan sent
all her friends in Hollywood English plum
puddings, while in London on location for
A Yank at Oxford . . . Joan Blondell's
brother, Ed, has a daughter the perfect
image of Joan . . . and speaking of like-
nesses, Gloria Somborn is a dead-ringer
for her famous ma, Gloria Swanson . . .
she's about sixteen, now . . . Jane Wyman,
for all her doll-like face, throws a poker
game every Saturday night, and whips up
a mess of Spanish dishes herself . . . she
and her husband live in a white modern-
istic flat . . . how's this for luck — Melvyn
Douglas appears with THREE leading
ladies in There's Always a Woman, for
Columbia . . . Joan Blondell, Mary Astor
and Frances Drake . . . mebbe THAT
will erase that cold calm of his . . . Stuart
Erwin, who once thought himself quite a
tenor, has named his new Doberman
Pinscher "Elsa of Lohengrin," because of
her deep "contralto" voice . . . George
Raft is building a new house, near Kay
Francis . . . there's nothing niggardly
about Fernand Gravet . . . he's already
talked to his mama in Paris to the tune of
more than $2,500 telephone toll, and his
picture isn't half finished ... if you know
of a six-footer who can plunk the banjo
melodiously and can talk like Andy

Devine (the s-f, NOT the banjo), get in
touch with Nat Pendleton ... he wants 0
him for a stooge . . . ADD GOOFY BET
— Leo Carrillo and Victor Fleming, the
director, have wagered an Arab steed on
who can raise the highest oats in the
shortest time on their ranches south of
Hollywood . . . believe it or not, but 'tis
said that at Palm Springs during a Santa
Claus parade all the town kids followed
Shirley Temple — instead of Santa — when
Shirley's parents decided it was time for
her to return to her hotel and marched
her home . . . Francis Lederer defies su-
perstition by walking under ladders,
throwing his hat on the bed and whistling
in his dressing room . . . honest! . . .
you'll be seeing him as "The Lone Wolf"
. . . Bert Lytell originally was seen in
this character years ago . . . and now it's
Gene Raymond who has gone cowboy in
a beeg way . . . the blond debs' favorite
week-ends occasionally at the B-Bar-B
Ranch near Palm Springs, and appears
resplendent in loud plaid shirt, chaps and
wide sombrero . . . whoopee! . . . wot
luck — Claudette Colbert must drink at
least five glasses of milk and cream daily
to keep up her weight . . . Bert Lahr
hosted a ragamuffin party, and winner of
the first prize was no less than nobility
. , . the Earl of Warwick . . . you'll see
him in The Buccaneer under the name of
Michael Brooke . . . George Brent is a
full-fledged American now ... he re-
cently obtained his final citizenship
papers.

g§ Stars garner colossal salaries, but not
all of it goes into the banks. Within a
few days of each other, Ginger Rogers
acted as hostess to five hundred orphans at
a matinee of Hansel and Gretel at the

The opening of Snow White at the Carl-hay
Circle in Hollywood was the outstanding
event of the show season. When Shirley
Temple arrived to see the faery tale, the seven
dwarfs were waiting to help her find her seat

Walt Disney and his wife, happy over the bril-
liant gathering of stars on opening night, had a
hard time getting past eager cameramen, even
with the aid of one of the loyal little dwarfs

Minnie, Mickey and Donald Duck gamboled
in the fore-court and helped to emphasize
the party spirit that marked the evening
when all of Hollywood turned out to pay
tribute to the magic of Walt Disney's pen

gallant with the ladies . . . beloved
by every belle in all of New Orleans
. . . feared by those rats of the Seven
Seas . . . his bold, bad buccaneers . . .
Jean Lafitte... the gayest lad who ever
sailed beneath the Skull and Cross-
bones lives again in the grandest
historical romance ever to swing
across the screen... Cecil B.
DeMille's flaming adven
ture-epic . . . "THE
BUCCANEER." In the
thrilling role of the
dashing gentleman
pirate, who took

time out from his pirateering and his

romancing to help Andrew Jackson

win the Battle of New Orleans and

save America from the British . . .

Fredric March reaches new heights

of screen adventure. As the little

Dutch girl whose love forced the

dashing pirate to strike his

flag . . . Franciska Gaal,

beautiful new Paramount

star discovery, makes

\ a fitting team-mate for

!§L that gentleman pirate

% Capt. Jean Lafitte.

Adolph Zukor presents

Cecil B. DeMilleN

PRODUCTION

FREDRIC MARCH

'THE BUCCANEER'

with Franciska Gaal

Akim Tamiroff »Margot Grahame

Walter Brennan

Ian Keith • Anthony Quinn

Douglass Dumbrille • Beulah Bondi

Robert Barrat • Hugh Sothern

Louise Campbell • Evelyn Keyes

Directed by Cecil B. DeMille

A Paramount Picture
i Play by Edwin Justus Mayer, Harold Lamb and C Gardner Sullivan • Based on an Adaptation by Jeanie Macpherson of '

Lafitte the Pirate" by Lyle Saxon

When Answering Advertisements Please Mention March HOLLYWOOD

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City

Hollywood Playhouse; Joe Penner sent an
equal number of crippled kiddies to the
Los Angeles Federal Theatre production
of Pinocchio and Leo Carrillo invited more
than a hundred other crippled children to
his ranch for a combination barbecue and
rodeo. Not to be outdone, although not
in the spirit of contesting with those other
kind acts, John Boles established a trust
fund of ten thousand dollars for the or-
phaned son of an old school friend, in
Houston, Texas.

Hj Milo Anderson, stylist at Warners-
First National, finds that tastes in
women's clothes are more revealing than
you might imagine. From his experience
with Hollywood stars — and he's dressed
plenty — he can tell what sort of a person
you are from a single glance at your ward-
robe. For instance . . .

Long, dangling ear-rings indicate a
talkative woman.

High-spike heels . . . coquettishness.

Tightly-fitted clothes . . . attempt to
conceal the gaining of weight.

Low-cut gowns . . .
character.

or "dizzy"

little depth of
easily

hats

Amusing
deluded.

Low-heeled shoes . . . SURPRISE! . . .
IMPRACTICAL nature.

Large picture hats . . . extravagance
and vanity.

All right, DON'T believe it . . . but
Milo has had long years of experience in
such matters.

M HARD LUCK NOTE: Gary Cooper

couldn't kiss Claudette Colbert a

single time in Bluebeard's Eighth Wife,

due to her sore throat. The director was
taking no chance of Gary coming down
with a similar ailment.

H It happened the night of a Jack Benny
broadcast. Mary Livingstone, in a
gorgeous silver fox jacket, stood against
the stage and, facing the audience, quietly
conversed with friends in the front row.

Spoke up Jack . . . oh, he's a cut-up,
that one:

"All right, Mary, they've all seen your
new coat. You can sit down, now."

And was Mary's face red!

CUPIDATINGS:

i§ Martha Raye calls her new boy friend
WIGGIE . . . he's Dr. Harold Wiggins,
resident physician at Cedars of Lebanon
Hospital in Los Angeles . . . there are
those who think that Katharine Hepburn
now is Mrs. Howard Hughes . . . but
secretly . . . pert Glenda Farrell making
insurance-man Harvey Priester a happier
one by Troc-ing with him several times
a week ... J. Walter Ruben presented
Virginia Bruce with a very swelegant new
car instead of the customary solitaire . . .
Robert Paige blew in a full week's pay
check for that gold necklace he gave Hazel
Forbes ... he says she's worth TWO pay
checks, any old time . . . Al Hall still
sending Lucille Ball corsages . . . and
spending her every evening . . . when
you read this, Joy Hodges (remember her
in Merry-Go-Round oj 1938?) and Robert
Wilcox probably will be one . . . Gertrude
Niesen made up with Craig Reynolds . . .
David Niven seems to be the beau of the
town ... he may be waiting for Merle
Oberon, but while he's waiting her return

Between shots on the Food for Scandal set at Warner Brothers, the camera caught Carole Lombard
reading the fictionization of her starring film True Confession in Movie Story. Fernand Gravet
seems quite absorbed in the new magazine, Photo-Facts. What! No copy of Hollywood magazine?

Accept No

quite absorbed in fine new mag
Substitutes! Always Insist on the Advertised Brand!

DREAM

thoolish words of a popular song. But there's truth in
-*- them. In his heart, every man idealizes the woman he
loves. He likes to think of her as sweetly wholesome,
fragrant, clean the way flowers are clean.

Much of the glamour that surrounds the loved woman in
her mans eyes, springs from the complete freshness and
utter exquisiteness of her person. Keep yourself whole-
somely, sweetly clean!

Your hair, and skin, your teeth— of course you care for

them faithfully. But are you attending to that more intimate
phase of cleanliness, that of "Feminine Hygiene'? Truly
nice women practice Feminine Hygiene regularly, as a
habit of personal grooming. Do you? It will help to give you
that poise, that sureness of yourself, that is a part of charm.
The practice of intimate Feminine Hygiene is so simple
and so easy. As an effective cleansing douche we recom-
mend "Lysol" in the proper dilution with water. "Lysol"
cleanses and deodorizes gently but thoroughly.

•f<

You must surely read these six reasons why "Lysol" is

recommended jor your intimate hygiene— to give

you assurance of intimate cleanliness.

surface tension, and thus vir-
tually search out germs.

4 — Economy. . . "Lysol", be-
cause it is concentrated, costs
only about one cent an appli-
cation in the proper dilution
for Feminine Hygiene.
5 — Odor . . . The cleanly odor
of "Lysol" disappears after use.

1 — Non-Caustic . . . "Lysol", in
the proper dilution, is gentle.
It contains no harmful free
caustic alkali.

2 — Effectiveness . . . "Lysol"

is a powerful germicide, active
under practical conditions . . .
effective in the presence of or-
ganic matter (such as dirt,
mucus, serum, etc.) .

3 — Penetration . . . "Lysol" so-
lutions spread because of low

TUNE IN on Dr. Allan Roy Dale

6 — Stability. . . "Lysol" keeps
its full strength no matter how
long it is kept uncorked.

7hat Every Woman Should Know

SEND THIS COUPON FOR LYSOL
LEHN & FINK Products Corp., Dept. 3-H.
Bloomfield, N. J., U. S. A.

Send me your tree booklet "Lysol vs. Germ~
tells the many uses of "Lysol'*.

BOOKLET

City-

y Monday, Wednesday and Friday, 4:45 P. M., E. S.T., Columbia Netw

When Answering Advertisements Please Mention March HOLLYWOOD

Copyright 1938 by Lehn & Fink Products' Corp.

il

RAN AWAY
WITH MY
HUSBAND"

BETTE DAVIS

A dramatic star reveals a dra-
matic episode from her private
life for MOTION PICTURE read-
ers in the March issue. Other
stories in this issue about Holly-
wood's great are:

"TEMPTATIONS I'VE FACED

IN HOLLYWOOD"

CLARK GABLE

WHO'S WHOSE IN HOLLY-
WOOD
"DON'T BE AFRAID OF A
BROKEN HEART"
OLIVIA DE HAVILLAND

Plus stories on William Powell,
Barbara Stanwyck, Basil Rath-
bone, et al.

Motion Pichiie

Here is Mary Piclcford with the first two pupils to enroll in El Capitan College of the Theatre
which she has started with Henry Duffy, brilliant stage producer. The young man is Robert
F. Oxman, son of Bishop S. Bromley Oxman of the Methodist Episcopal Church. The
young lady is Audrey Smith, daughter of Albert Smith, pioneer motion picture producer

from England he's making excellent use
of his time . . . Norma Shearer is a fa-
vored companion . . . so, too, is Simone
Simon . . . and he's been seen with Zorina,
the dancer, as well . . . June Lang's ex-
doing all right by himself, too . . . he's
Vic Orsatti, as you know . . . out with
both Sonja Henie and beauteous Ilona
Massey . . . but not together . . . June
still confining herself mostly with A. C.
Blumenthal . . . the new honey, Marjorie
Weaver, holding hands with newspaper-
man Homer McCoy . . . atta gal . . .
you'll usually find Marlene Dietrich with
either Fritz Lang, the director, Douglas
Fairbanks, Jr., or Willis Goldbeck, the
writer . . . there's a producing company,
right THERE . . . don't believe all you
hear about Wayne Morris and Priscilla
Lane . . . Priscilla declares they're altar-
bound (according to the studio), but
Wayne's real heart interest is Nan Grey . . .
both lovelies . . . Janet Gaynor and Tyrone
Power together again.

13 Some weeks prior to George Gersh-
win's tragic death, the composer and
Ginger Rogers met at a party and drew
cartoons of themselves for each other.
Later, Ginger sent Gershwin's sketch of

himself back to the musician, for his auto-
graph. He told her he would have it
framed, too.

In the confusion following his death,
the cartoon was forgotten. That is, until
very recently. One day, a package ar-
rived for Ginger. Inside was the framed
and autographed cartoon of Gershwin.
A note from the f ramer disclosed that only
a day or so before his death, Gershwin
had left the picture.

BJ Tis the day of the young leading man.
Douglas Fairbanks, Jr., plays opposite
Irene Dunne in The Joy of Loving, and
Norma Shearer is attempting to win
Tyrone Power for her leading man in
Marie Antoinette. Both actors are some
years the actresses' junior.

§f Ilona Massey, Metro's new Hungarian
star, is the rave of Hollywood. Almost
to a man, Hollywood is declaring she is the
most beautiful creature ever to reach the
citadels of Cinemania.

Some idea of her beauty may be gleaned
from the following incident. The first time
she put in an appearance at the Trocadero,
everybody — men, women, waiters and
cigarette girl — stopped and gaped as she

10

Accept No Substitutes! Always Insist on the Advertised Brand!

LOOK YOUR BEST INJfT LIGHT

You Can If You Use £caAt- v/ioofi Powder

• Does your make-up flatter you at certain
times — and betray you at others? You can
now get powder that is light-proof.

Luxor face powder modifies the light rays
that powder particles ordinarily reflect. The
use of this powder solves the old problem
of "shine." Your complexion is not con-
stantly being light-struck. Those unbecoming
highlights of cheekbones, chin and nose are
all subdued — in any light.

An important discovery

More important than matching
your complexion, is powder that
is a match for any light!

Any shade of light-proof pow-
der will do more for your appear-
ance than the most carefully
selected shade of powder that
picks up every ray of light. It
will keep that lovely softness
under lights that would other-

wise make your face shine like an apple.
Don't buy any powder

until you have made this convincing test.
The makers of Luxor light-proof powder
will send you a box free, for demonstration.
Make up as usual, in any light, but finish
with this new powder. Then stand at a

glaring window; or under the strongest elec-
tric light; in cross-lights. See if you can find
any light that this remarkable powder does
not soften and subdue!

Get a large box at any drug or depart-
ment store for 55 c. Or a 10c box at the
five -and -ten. Or — here is coupon which
brings trial box free.

LUXOR iS& FACE POWDER

THIS is what happens

when make-up reflects

every ray of light.

SEE the effect of pow-
der that is light-proof
— modifies light rays.

Name .
Street..
City—

LUXOR, Ltd., Chicago FAW-3-38

Please send trial box of Luxor light-proof

face powder free and prepaid.

D Flesh D Rose Rachel

□ Rachel □ Rachel No. 2

State.

When Answering Advertisements Please Mention March HOLLYWOOD

11

Feverish? Grippy?

SEE DOCTOR AT ONCE

MENINGES

WARNING! DON'T
NEGLECT A COLD!

Cold germs may go UP into the sinuses
or DOWN into the bronchia Is and lungs
and lead to a serious illness. If fe-
verish or grippy, see doctor at once/

HI

TZ

FOR "RAW" THROAT
USE THIS FIRST AID"

Doctors warn that colds can lead to seri-
ous illness — to ear and sinus infection,
and even pneumonia. So don't take a
chance. Treat the symptoms of a coming
cold effectively and without delay! If you
feel feverish or grippy see your doctor at once!

TAKE THIS SIMPLE PRECAUTION

Forthe most effective "first aid," kill the cold germs
that cause raw, dry throat. At the first sign of a raw
throat cold, gargle with Zonite. Zonite does 3 jobs
for you: (1) Cleanses mucous membranes. (2) In-
creases normal flow of curative, health-restoring
body fluids. (3 (Kills cold germs present in the throat
as soon as it comes in actual contact with them

In a test to find out the germ-killing powers of the
nine most popular, non-poisonous antiseptics on
the market, Zonite proved to be actually 9.3 times
more active (by standard laboratory tests) than the
next best antiseptic compared! This means economy
because you use Zonite diluted! Zonite goes far-
ther—saves you money.

Use 1 teaspoon of Zonite to one-half glass of water.
Gargle every 2 hours. Zonite tastes like the medi-
cine it really is. Soon your throat feels better.

DON'T DELAY— BE PREPARED

Get Zonite at your druggist now. And at the first
sign of rawness in your throat, start gargling at
once. But remember: If you are feverish, consult
your doctor! Don't risk a serious illness.

ZONITE IS 9.3 TIMES MORE
ACTIVE THAN ANY OTHER

POPULAR non-poisonous ANTISEPTIC
by standard laboratory tests

'!..,

GARGLE WITH
ZONITE AT FIRST
SIGN OF A COLD!

Gargle with Zonite

walked into the place. For the remainder
of the evening, she was the center of every
eye. And THAT, in a rendezvous where
glamour is the order of the day, is
sumpin.

ffl Nearly everybody of consequence
acting before the camera has a stand-
in. Leah Ray, however, at 20th Century-
Fox, is the only actress whose stand-in
is . . . her mother! So closely do the two
resemble each other that the studio took
one look at Mrs. Ray and shouted, "Sold."

H Errol Flynn suffers acutely whenever
he must meet strangers, despite all
his savoir faire. It amounts almost to a
mania with him. Ginger Rogers is another
who fears mgeting those she does not
know. It's not "put on," when she enters
theatres by the side door, and leaves the
same way.

■ During the holidays, Tommy Kelly,
who enacts the title role in The Ad-
ventures of Tom Sawyer, received a peti-
tion signed by more than 3,500 school
children from his particular section in
Brooklyn, N. Y., asking that he be present
at the New York premiere of the pic-
ture.

H The "Big Apple" craze has hit Holly-
wood. This, as you probably know,
is the latest dance ... or was, at this
writing. Dignified stars of the screen may
be seen doing it everywhere, and no less a
personage than Marlene Dietrich per-
formed for the guests at Dolores Del Rio's
party. On the night that Ozzie Nelson —
Harriet Hilliard's hubby — opened with
his orchestra at the Victor Hugo in
Beverly Hills, half the colony participated.
Try it yourself sometime.

H Rumors already are afloat that Alice
Faye and Tony Martin will break up
housekeeping. Put these down as so much
waw-waw. The newlyweds couldn't be
happier, and only scandal-mongers are to
blame for these unfounded reports. There
may be some truth, however, in the word
that everything is not well with Errol
Flynn and Lili Damita, although both
deny it. As for Lupe Velez and Johnny
Weissmuller splitting . . . that's been said
so often that type-setters keep that item
always on hand. They recently celebrated
their fifth wedding anniversary, and
they're fighting more merrily than ever.
If all Hollywood marriages were as firm
as this one, there would be fewer di-

H A new set of twins is responsible for
one of the amusing stories of the
month. Aged five, and blonde, they're
appearing in The Joy of Loving, and their
names are Dorothy and Estelle Steiner.

The first scene one morning required
that they be shown in bed. Everything
was just dandy, until it was time to bundle
the twins into bed. Then ... it was no go.

They hadn't been naughty, they de-
clared in no uncertain terms, and they
didn't want to go to bed. Why, they had
just got up only a little while before. They
couldn't see or understand why they
should have to go to bed, and resisted the
idea both strenuously and vocally.

Not until Tay Garnett, the director, and
half the cast and crew on the picture spent
more than an hour trying to convince
them that it was just another part of the
game, their going to bed, would they con-
sent to the sudden change in the order of
their day. Then, they were so intrigued
with the idea that more valuable time had
to be consumed in talking them into
getting up.

The guests at restaurant Waikiki are as entertaining as the floor show. Here Grace Durkin
and her husband, Bill Henry, James Ellison and Gertrude Durkin are fixing Anita Louise
up with a necklace of flowers so that she will be appropriately decorated for the background

12

Accept No Substitutes! Always Insist on the Advertised Brand!

Virginia Bruce became Mrs. Walter Ruben in
a quiet home ceremony before a few close
friends. The romance started when Director
Ruben and actress Bruce were assigned
to The Bad Man of Brimstone at M-G-M

HOLLYWOODOINGS:

B Blonde Kitty Kelly has started a new
fad in Hollywood, extremely long
finger nails polished on both sides . . .
Constance Bennett is so expert a Russian
Bank player that she's taking on all
comers on the Hal Roach lot ... at
parties, too . . . when Maureen O'Sullivan
returned to Hollywood from Europe, she
brought back the lace bedspread that had
been on her bed when she was born . . .
it's been in the family for generations . . .
nine men were knocked cold during a
fight sequence in Gene Autry's The Old
Barn Dance . . . even the star was socked
square on the nose . . . that eccentric
comedienne of olden days, Gale Henry, is
wed to Henry East, whose dogs you see so
often on the screen . . . Mr. and Mrs.
Asta, of Thin Man fame, belong to him
. . . are Alan Curtis and Priscilla Lawson
married? . . . odds are they are ... at a
large party, some would-be wit com-
mented loudly that he was so glad Ann
Sothern and Gene Raymond were in the
same picture . . . then he could miss 'em
both at the same time . . . Frances Drake
wears a replica of the Russian Czarina's
crown in a scene for The Lone Wolf . . .
it's valued at $25,000 . . . whenever
Barbara Stanwyck goes shopping, she
generally wears dark glasses and a black
wig . . . one of the penalties of stardom,
she's mobbed whenever she enters a store
. . . Charles Starrett dons moleskins in
College Follies of 1938 for the first time
since he played football at Dartmouth
. . . something of a promoter is Judy
Garland . . . she sold her studio on the
idea of using her pet cocker spaniel in a
picture . . . and Robert Montgomery was
almost as surprised when James Hilton,
author of Goodbye, Mr. Chips, presented
[Continued on page 58]

HERE'S ONE JOB THAT DIDN'T
LEAD TO LOVE . . .

No girl who offends

with underarm odor succeeds

in her job — or with men . . .

A new job— new friends— new chances
for romance! How Ann did want her
new boss to like her! Bachelors as nice as
Bill S were very hard to find!

Ann was pretty— Ana was smart!
"Someone I'd be proud of," Bill thought.
So he asked Ann out to his club.

The night was glamorous and the
music was good— but Bill's interest died
with the very first dance. Ann had
thought a hath alone could keep her
sweet— and one hint of underarm odor
was enough for Bill. Others in the office

noticed, too. Ann lost the job she wanted
—the job that might have led to love.
It's foolish for a girl in business— a girl
in love— ever to risk offending! It's so
easy to stay fresh with Mum! Remember,
a bath only takes care of odor that's past
—but Mum prevents odor to come!

MUM IS QUICK! In just half a minute,
Mum gives you all-day-long protection.

MUM IS SAFE! Mum can't harm any kind

of fabric. And Mum won't irritate your
skin, even after underarm shaving.

MUM IS SURE! Mum does not stop health-
ful perspiration, but it does stop every
trace of odor. Remember, no girl who of-
fends with underarm odor can ever win
out with men. Always use Mum!

NO BATH PROTECTS YOU LIKE A BATH PLUS MUM

For Sanitary Napkins —

No worries or embarrass-
ment when you use Mum
this way. Thousands do, be-
cause it's SAFE and SURE.

TAKES THE ODOR OUT OF PERSPIRATION

When Answering Advertisements Please Mention March HOLLYWOOD

13

IT**

Q>,

.Oj

aw

u X

a»

2? j>

«J *

s *

ft ^

«**

\

nai

**

0) n

cr

?)

^

This magnificent sweep of rugged

mountains will be seen by the

H Movieland Tourists as they pass

through the Beartooth Rockies

Mrs. James Gleason, Boris
Karloff, his wife and Russell
Gleason snapped with some
of last year's Tourists at the
cocktail party given at the
Gleason's Hollywood home

JOIN OUR "MOVIELAND TOUR"

Two of the most exciting weeks in a life-
time are being planned for vacationers
who eome to visit Hollywood this year

H Holiday time is drawing near, and
once more F a w c e 1 1 Publications
makes it possible for you to make every
minute of your vacation count. Because
of the enthusiastic response to last year's
Movieland Tours, three will be given this
year, instead of two, so decide on your
tour, and send in your application right
away because already places are going
quickly to those who spent exciting days
in Hollywood last year.

Tours start from Chicago on July 3,
July 24 and August 14. On the way to
Hollywood, you will see the evergreen
forests, the rugged mountains and the
great rivers of the Pacific Northwest.
After crossing The Great Divide, and
winding through the towering Rockies,
you reach the immense natural harbor of
Puget Sound where you leave the train
for a cruise in the blue waters which lie
close to the base of Mount Rainier,
'America's Noblest Peak."

By train you continue South, through
the green grandeur of Oregon, and north-
ern California to the sunny days and cool
nights of Hollywood. The first tour arrives

in Los Angeles on July 10, the second one
on July 31, the third on August 21. A
famous movie star will meet each group
at the station and accompany it to the
comfortable hotel which will be head-
quarters throughout the visit.

M A brilliant series of entertainments
has been planned for your stay in the
cinema capital. Among the outstanding
events will be luncheon at Clara Bow's
famous "It" cafe, a motor tour of Beverly
Hills, Hollywood and the beaches to see
homes of stars, a performance at Grau-
man's Chinese theatre, most famous show-
house in the Southland; a tour of Max
Factor's Make-up Studios, tickets for one
of the big radio broadcasts; and a dinner
dance at the Wilshire Bowl with stars as
honor guests.

On each tour, a famous star will be host
to the Movieland Tourists at a cocktail
party in his home. Warren William en-
tertains the first group, Harold Lloyd the
second, and Bob Burns the third.

Before leaving for home, sight-seers
will have opportunity to visit Catalina

14

Accept No Substitutes! Always Insist on the Advertised Brand!

Island, Lake Arrowhead, San Diego and
the resort beaches, if they wish.

H But the event which is of unique
interest is the tour through one of
the major studios, with opportunity to
see where the stars work and how films
are made. This is a rare treat which many
life-time residents of Hollywood never
have known.

Special sight-seeing features, arranged
for the return trip, include a tour of Salt
Lake City with a special organ recital, a
stop at Royal Gorge, Colorado Springs,
an auto tour through the Garden of the
Gods, and dinner on top of Cheyenne
Mountain.

j This is an opportunity to spend two
of the most fascinating and instructive
weeks of a lifetime.

If you have special preference for any
one tour, you will be wise to make
your reservation now. Further details
will be printed in the April issue of
Hollywood Magazine, but, in the mean-
time, write to Movieland Tours, 360 North
Michigan Boulevard, Chicago, 111., for a
booklet containing complete details of the
tours and for information concerning the
surprisingly low cost.

USE THIS COUPON

Fawcett's Movieland Tours,
360 North Michigan Boulevard,
Chicago, III.

Without obligation on my part,
send me your complete, illus-
trated booklet describing the
Movieland Tours.

Please enter my reservation tor

persons to insure a place

for us on Tour No

(Please specify whether you pre-
fer Tour No. I, leaving Chicago
July 3; Tour No. 2, leaving
Chicago July 24, or Tour No. 3,
leaving Chicago August 14.)

Name

Address

Make a ^635/ start

and swing over to a FRESH cigarette

YOU'LL miss a lot in life if you
stay in the rut of old habits and
never risk a FRESH start. Take
your cigarette, for instance. If your
present brand is often dry or soggy,
don't stay "spliced" to that stale
number just because you're used to it.

Make a fresh start by swinging over to
FRESH, Double-Mellow Old Golds ... the
cigarette that's tops in tobacco quality
. . . brought to you in the pink of smok-
ing condition by Old Gold's weather-
tight, double Cellophane package.

That extra jacket of Cellophane brings
you Old Gold's prize crop tobaccos with
all their rich, full flavor intact. Those
two gate crashers, dampness and dry-
ness, can never muscle in on that double-
sealed, climate-proof O.G. package.

It's never too late for better smoking!
Make a FRESH start with those always
FRESH Double-Mellow Old Golds.

TUNE IN on Old Gold's Hollywood Screenscoops,
every Tuesday and Thursday night, Columbia Network,
Coast'tO'Coast.

A Fresh Start made a Fresh Star

Salesgirl in a department store, Joy Hodges
made a fresh start. Landed in the movies!
Starred in "Merry-Go-Round of 1938"!
Now charms Broadway in "I'd Rather Be
Right"! Joy's fresh start made a new star
who brought fresh joy to millions, f

Here's why the O.G. package keeps 'em fresh

Outer Cellophane Jacket

Opens from the Bottom,

sealing the Top

The Inner Jacket Opens

at the Top,

sealing the Bottom

m

Copyright, 1938, by P. Lc

When Answering Advertisements Please Mention March HOLLYWOOD

hhSSm

ird Co., Inc.

15

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Hard at work, wearing their elbows to the bone, are Lew Pollack, left, and
Sidney Mitchell, one of the best known song-writing teams in Hollywood

TWO TIN PAN ALLIES OF SONG

It usually takes two to make a popular song, and
here is a short history of one successful team

By E. J. SMITHSON

31 That there is plenty of doremi to be
made in providing the do, re, mi, fa,
sol, la musical backgrounds to "dove"
when it rhymes with "love," "above," and
"of;" or to "June" when it rhymes with
"croon," "moon," and "soon," is attested
by the records of Lew Pollack and Sidney
Mitchell, two Tin Pan allies of song who
have produced more song hits out at 20th
Century-Fox than even a Stokowski can
shake a baton at.

A little music, Professor, while we ar-
range a few facts about these famous
songsmiths.

Lew Pollack, who creates the music, is
a composer of more than a thousand songs
— gay, haunting, melodious tunes that
have been sung for years by stars of the
stage and screen. He has never taken a
music lesson in his life — which proves
again that you don't have to lay an egg to
make a good omelette.

I A dark-haired modest, quiet chap,
with his foot always on the soft pedal
when the talk turns upon himself and his
achievements, Pollack admits that even
when he was a small boy running up and
down the sidewalks of New York he
dreamed of writing music although then
he couldn't tell the difference between an
arpeggio and a pianissimo, a sharp and a
flat.

"My first job," he says, "was dusting off
the desks in an insurance office for four
bucks a week. When I didn't have any-
thing else to do, I played tunes on the
time clock, and that played on the man-
ager's nerves. He threatened to fire me —
and did — a few weeks later when the
cashier of an "honor system" eating place

complained to him that I had gobbled up
eighty cents worth of lunch for which I
had only paid fifteen."

B That was a heck of a note — and not
musical, either, but it had its compen-
sation leading as it did a few days later to
a job at Kid McCoy's famous cafe at the
corner of Fortieth and Broadway.

"It was here," confesses Lew, "that I
managed to master the "slap-stick bass"
or, as it was called in politer musical
circles, "the wandering left hand."

The cafe job didn't last long, however,
for Lew got into an argument with a lady
who wanted to warble "Only A Girl In A
Gilded Cage." She said she could sing it
only in B flat, Lew said he could play it
only in the key of C and the manager said:
"You're fired! I don't wanna guy around
this jernt who don't know how to trans-
fuse!"

"Getting the grand bounce was good for
me," Lew says, "because I immediately
started in to learn how to transpose
music."

By the time the "slap-stick" bass slapper
was fifteen he not only could play the
piano but the saxaphone and violin and
play them well. Not only that, but he was
writing songs and selling them. New
Yorkers began to clamor for a sight of the
youngster who composed them, and he
began a series of personal appearances
at New York night spots. After graduat-
ing from the DeWitt Clinton High School
he was traveling over the major vaudeville
circuits and doing very well for himself.

"Success in full measure came," says
Lew, "when I was booked in the famous
Palace Theatre of New York, which was

16

Accept No Substitutes! Always Insist on the Advertised Brand!

the top toward which every vaudeville
artist struggled and prayed as he climbed.
One of my engagements there lasted seven
weeks, one of the longest runs in the
history of this theatre."

| During this period of development he
was writing many songs the lyrics to
which were provided by a young ex-
surveyor and newspaper man by the name
of Sidney Mitchell who was keeping him-
self busy and the wolf from the door by
staging shows at the Tokio, a nightspot
featuring, among other entertainers, the
snake -hipped Gilda Gray then at the
height of her fame as a torso-twister.

"I acted on a hunch when I decided to
head Hollywoodward. The future here
seemed more promising than on the New
York musical stage — that is, if Hollywood
wanted me."

Hollywood did, most emphatically, and
with the number "Charmaine" from What
Price Glory, Pollack made his debut into
the movie world. Then followed such un-
forgettable songs as "Two Cigarettes in
the Dark," "I'm Facing the Music," "Some
Sweet Day," "Miss Annabelle Lee," and
a score of others which became world
favorites.

J A lot of musical notes had flowed
under the musical bridge by this
time. The Pollack-Mitchell combination,
formed and flowered before either had
much more than a hint of fuzz on their
cheeks, had been dissolved. And, strange
as it may seem, since both had solidly
identified themselves with the show busi-
ness, it was fully eighteen years before
their paths crossed; before they ever saw
each other again.

"I came out to Hollywood in 1928," re-
veals Mitchell, "to do the Fox Movietone
Follies, the first musicarl, by the way, this
studio had ever attempted. With that job
out of the way there came a terrible bear
movement in this type of picture and
Mitchell Senior's boy, Sidney, getting
more hysterical and less lyrical as the
gloomy days went by, found himself try-
ing to rhyme 'fish' with 'dish,' 'bake' with
'cake,' and 'veal' with 'meal' instead of
'June' with 'croon,' 'love' with 'dove,' and
'kiss' with 'miss.' I drew the line on being
a surveyor again, and I ran a blue pencil
through any idea of working a newspaper
beat despite my reportorial training on
the Baltimore Sun, so I went into the
clothing business. When Lew came out
and discovered what I was doing he al-
most had a fit! Now we're together again —
say, that's not a bad title for a song. Hey,
Lew—"

H They've been together ever since they
collaborated on "The Codfish Ball"
for Shirley Temple in Captain January,
the songs in Pigskin Parade, One In a
Million, and Thin Ice, just to list a few,
and will no doubt be together for a long
time to come. At any rate you can bet
your last musical case-note that they
won't be separated for another eighteen-
year stretch.

We asked Lew what he thought about
"swing" music and he muttered some-

thing about "I was waiting for that" and
pulled a check out of his pocket. It was
made out for $460 and came from a sheet
music publishing house.

"That's a royalty check," explained
Lew, "for 'That's A-Plenty,' an instru-
mental number I wrote twenty-four years
ago. I must have been a little ahead of
my time for the swing bands are playing
it now as one of their favorites. I've been
getting royalty checks on it all these years,
but they're getting bigger and better. Why
shouldn't I like swing music?"

And that's a-plenty for that.

H According to Mitchell, "Charmaine,"
"Dianne," and "Two Cigarettes in the
Dark" are the best three songs his partner
ever wrote.

According to Pollack, the lyrics in
"Twilight on the Trail," "All My Life,"
and "You Turned the Tables on Me" are
the best HIS partner ever wrote.

Golf, handball and swimming comprise
the sports that this song-team enjoys.
For real recreation, however, they take a
busman's holiday twice a week to attend
the motion picture theatres in order to
keep up with the musical trends in the
movie song world. When they're not doing
this they're reading their fan mail which,
according to no less an authority than 20th
Century-Fox itself, amounts monthly to
more than what the top stars receive.

For the past two months they haven't
found time for outside interests what with
preparing words and music for songs in
half a dozen pictures, supervising the re-
cording of songs already completed, and
reading scripts to see where they can spot
songs in future pictures.

H As a sample of how far ahead they
have to work, here's the Mitchell
lyrics for a special song that will be sung
by Joan Davis in a picture tentatively
titled Moonshine Over Kentucky which
will be released some months from now.

OH, WHAT A MAN!

Verse

I've got a date with my beau;
The sweetest fellow I know
Is meeting me tonight
I hope I look all right.

1st Chorus

I'm so in love I don't know what I'm

doin';
I never have a dream I don't see you in,
You've got me hypnotized
Look at those eyes — oh, what a man!
I'm all a-flutter when his kisses smack me;
He's got a kisser that just drives me

wacky.

His lips are soft as "moosh"
Look at that puss — oh, what a man!
That head — that chest — oh, what a phy-
sique;
You're everything I seek;
One look at you and I get weak
My heart is like a pot of tea that's brewin'
The love bug isn't bitin' me — it's chewin'
At last I've found romance.
Look at that stance — oh, what a man!

2nd Chorus

He rides a bronco no one else can straddle;
He doesn't even have to use a saddle
My man can make him pace.
Look at that grace — oh, what a man!
He won the hurdles in the coliseum
He'll show his trophies if you want to see

'em
His medals are his pride.
Look at that stride — oh, what a man!
Those feet — those legs — those dimpled

knees;
I can love him with the greatest of ease;
He's my man without the flying trapeze.
He always looks so debonair and dashin'
He dresses in the very height of fashion
He always looks so cute.
Look at that suit — oh, oh, oh, oh, what a
man!

Director Stanley Logan looks a little apprehensive as he rehearses Priscilla Lane and Wayne

Morris in the big battle scene for Everybody Was Very Nice, now in production at Warners.

Perhaps he has heard the stories of what happens to the innocent bystander

17

**V\

^

^'^^

v^^^;^

*° <>M* o^ Av'^

A

JEAN HERSHOLT
ETHEL MERMAN
CESAR ROMERO

BILLY GILBERT
RAYMOND SCOTT QUINTET
WALLY VERNON • LEAH RAY

Directed by Roy Del Ruth

Associate Producer David Hempstead

Original Screen Play by Milton Sperling

and Boris Ingster

SONGS! SONGS! SONGS!

"Hot and Happy","A Gypsy Told Me"

"You Are The Music To The Words In

My Heart", "Yonny And His Oompah"

by Sam Pokrass and Jack Yellen

It comes to you, of course, from DARRYL F. ZANUCK and his 20th Century-Fox hit creators!

18

Accept No Substitutes! Always Insist on the Advertised Brand!

WHAT DO YOU MEAN-WONDERFUL TIME

Ginger Rogers loves to act and enjoys
dancing. She is fond of Hollywood and
its people. She has a lovely home and
beautiful clothes. Just the same she
asks the question above with fervor

By JAMES REID

■ The life of a glamour girl?
It's a synonym for "the life

of Riley!" It's silks all day, satins
at night, and soft living all the
time. She cuddles in the lap of
luxury, cosily sheltered from hun-
ger and cold forever.

She may have to work, even as
you and I — but only once in a
while, and then under ideal con-
ditions. And her work is like
play. All she ever has to do,
really, is to look beautiful, show
a little personality, and say a few
lines with appropriate gestures.
And there are always hundreds of
people around to help her do all
that. It must be a lot of fun, being
a glamour girl.

That's what you think. And
then you bump into a girl like
Ginger Rogers, looking more
glamorous than ever, and are
tempted to ask her about it. And
she tells you, confidentially, "I
wouldn't know about that."

She smiles when she says it.
(Ginger would.) That makes you
wonder if she's being too, too
modest, or kidding you, or some-
thing. You ask her what she
means by such a remark.

"Nothing at all," she says. "I
just happen to be making a picture
entitled Having Wonderful Time."

Thereby, it seems, hangs a story. An unorthodox, unexpected
story about what a movie star, feminine gender, sometimes has
to do.

■ Don't let the picture's title fool you. The picture isn't ro-
mantic drama about the glamorous exploits of a glamour

girl. It's hilarious comedy with a love story interwoven. About
a summer camp in the Berkshires, where no villains, but a
script-full of misadventures, pursue our heroine.

"She is," says Ginger, "a stenographer who lives in the Bronx,
New York. She goes to work on the subway and is eternally
being pushed around in the crowds and clatter. She lives in
a crowded flat, with a family that's constantly bickering. She
aches for peace and quiet. A girl-friend of hers is at this summer
camp — Camp Kare-Free. She gets a post card from the girl-
friend: 'Having wonderful time.' She decides to go there for
her vacation. There, in the woods, she can have peace and
quiet. Little does she know!"

Here she is, thinking over
experienced while malting

■ Ginger asks if you collect
Life's Little Ironies as they
concern movie stars. She has one
for you.

"The same things that happen to
Bronx stenographers can also
happen to movie actresses. The
same identical situation happened
to me — and not so long ago,
either.

"I was driving to San Francisco,
over a week-end. I had just fin-
ished a picture, and I wanted to
get away somewhere, anywhere.
I picked out San Francisco. I
never should have started, as tired
as I was, but I did. About the
middle of the afternoon, I pulled
into a little hamlet a hundred
miles or so this side of San Fran-
cisco. I felt as if I couldn't budge
an inch farther. I was going to
have to stop somewhere, and get
some rest.

"I asked if there was a good
hotel anywhere near there. The
natives looked at me in pity for
my ignorance. They told me
about a place 'just t'other side of
those hills.' I asked how to get
there. It seemed there were two.
possible ways to go. If I went
around on the paved road, it
would be thirty miles. If I went
over the hills, I'd have dirt road,
but it would be only eighteen miles. So I decided to take the
short-cut.

"Well, I started out. I climbed and climbed. The road kept
getting narrower and narrower. Finally it was a single-lane.
I wish you could have seen those hills. They were mountains,
not hills. And this narrow road twisted all over them, around
blind curves, right on the brink of precipices. And here I was,
with no place to turn around, forced to go on. Hanging onto
the wheel for dear life, afraid of falling asleep.

"After hours and hours— or at least one hour later — I finally
arrived The place didn't look so bad. Very peaceful, in fact.
I had visions of staying out the week-end there, never going on
to San Francisco. But this was Memorial Day week-end, and
the place was packed. They didn't have another room. Finally,
as a great concession, they said they could fix up a place for me
to stay. They led me to it. It was about the size of a respectable
clothes -closet. It had a bed and a chair in it, and not another
thing. I didn't see anything but [Continued on page 62]

all of the delights she
Having Wonderful Time

19

Something's wrong with this picture

Stuart's getting worried. Somebody's missing It takes a little time to discover who is AWOL

History of a Runaway

Poor Stuart Erwin. After working hard all
day in 1*11 Take Romance, the new Grace
Moore picture, he has never a quiet moment
at home . . . not with nine prize puppies

m

Aha! It's Stormy Weather, out for adventure and maybe
a little fun with the Cochin chickens

Stormy Weather is fast, but not enough to escape the agile
Stu, who always gets his dog

The stern disciplinarian gets into action And Stormy finds himself in the dog house Oh, woe! Oh, misery! Crime doesn't pay!

?0

THE KID COMES BACK

The laughing,
larruping hero of

"Kid Galahad"!

Speeding to stardom faster than any other screen
hero in years! Here's the daring, dashing new
thrill in boy friends, with the devil in his eyes, a
wallop in his mittand heaven in his arms! Winning
millions of hearts in every role he plays! See him
now— more exciting than ever— in the tingling
romance of a fightin' fool who knew how to love!

WAYNE

lAfflMS

A WARNER BROS.
PICTURE

Shooting another love punch straigh
to your heart in "The Kid Comes Back

»r

When Answering Advertisements Please Mention March HOLLYWOOD

21

HOW GARBO WAS "NAGGED" OUT

■ It was one of those exuberant days on which California
weather-fame rests! The sun was brittle with brightness.
Not a single fog wisp, or a suggestion of a wind, disturbed the
perfect harmony.

The Hollywood Chamber of Commerce, individually and in
toto, was making the usual casual remark — "Our days are
always ' perfect here. Bad weather is most unusual!"

But a lady world-famed for her loneliness was considering the
day, and the particular hour, slightly marred. In fact, a com-
plete wash-out! For her peace was being disturbed by her
next-door neighbor.

Not in unseemly fashion, to be sure. The sounds were such
that a great many thousands had paid a great many thousands
to hear.

Mr. Allan Jones, of opera, concert, stage and screen fame
was practicing! The notes soared and vibrated. Tum-tum-tum!
A-a-a-ah! Scales. One phrase over and over again. For Allan
is primarily a perfectionist.

Miss Greta Garbo, the lady next door, let a tiny worry-wrinkle
mar the renowned placid brow. First she closed one shutter of
her house, then another. Not that she isn't musical! But practice-
noises, are something else again.

There was silence for a brief time. The shutters were sturdy.
Then a din broke out — penetrating brick and mortar and wood.
Such a din of delighted horsey neighings and welcomings that
Garbo must have thought with regret of her unfulfilled threat
"I tank I go home."

Only she didn't have another place to go. She lived there.
This was her home — right next door to a guy whose horses
went completely mad with joy when their master came out to
curry them and water them.

Sometimes of evenings it was even worse. It sounded like a
national convention — what with strange nickerings and hee-
hawings going on when Allan went to bed his mounts down for
the night.

Garbo wished that Allan's horses weren't quite so devoted to
their master. How could a lady contemplate in peace her great
loneliness when the very heavens reverberated to high A's?
And equine conversations? And oh yes, cocker-spaniel squeals.
The doggy, a long-eared, sad -eyed morsel belonged to Allan's

22

OF TWO HOLLYWOOD HOMES

Here is an hilarious tale of what hap-
pens when stars are neighbors and
when temperaments live side liv side

Bv SON I A LEE

little daughter, and under the general influence, he too raised
his voice in so-called song.

H Now Allan is probably one of the most considerate mortals
in Hollywood. He is conscientious about all the little nice-
ties. How to be neighborly, for example. In the town in which
he had his beginnings, being a good neighbor was a virtue next
to godliness. He had learned that precept at his mother's knee
In kindergarten the teacher discussed the virtue of being a good
neighbor.

Allan's credo sharply divided people into two classes: the kind
that would be good neighbors — and the rest.

Inevitably the time came when he began to notice those
drawn shutters. What's more, he realized with a shock, that
the minute he opened his mouth, those shutters came to. It
wouldn't have been so bad if they were closed before the practice
hour — but to have them invariably close, right in his mouth, so
to speak, became an increasing worry. Was he a bad neighbor —
the wrong kind of person?

Who, he wondered privately, could be occupying that house
next door? Irene Hervey, his wife, was completely in the dark.

"For all the sight we have of them," she commented, "it
might just as well be Garbo."

■ Allan practiced, and the horses neighed each evening as was
their wont. He was working in The Firefly, and now his

practice hours were long and arduous. Hour after hour he
worked on musical interludes which required whole-hearted
ardor. The shutters of the house next door remained closed.

There came the fateful day when the mysterious neighbor
was identified. "My tired shoes," cried Allan. "It couldn't be.
but it is, it is Garbo!"

Who could mistake that sculptured brow, those tragic, deep-
sunken eyes, that fluid mouth? Garbo, by all the sacred cows,
it was. The lady who walked alone. Who yearned for solitude
gnawingly — if two hundred writers and thirty million words
were to be believed.

■ And here, Allan thought in shame and dejection, I've been
going on practicing pieces without concern for a lady's

tender soul!

What was more — and Mr. Jones had momentarily forgotten
that angle — he, and he alone had been encouraging his horses
to take their vocal daily dozen. He — the man who had such high
ideals about neighborliness.

H The Jones family went house-hunting. What other choice
had they? Allan couldn't go on day in and day out, crack-
ing his fondest precept. And one thing was sure — singing was
on his program, come weal, come woe!

Allan and Irene had vaguely considered the advisability of
buying a house with plenty of room for stables, and maybe a
swimming pool. Now they acted with amazing speed.

They found the house — modest, pleasant, precisely what these
two young-marrieds wanted.

The horses neighed. The cocker-spaniel romped. And Mr.
Jones practiced to his heart's content. All the windows in the
neighborhood were promptly opened when Allan's mellifluous
voice started reverberating to the {Continued on page fiOl

HOLLYWOOD

By any wild stretch of the imagination could it
be possible that Allan Jones thought his voice,
which thousands of people pay handsomely
to hear, made him an undesirable neighbor?

MARCH, 1938

23

Rage. The unbridled fury of a man
who has missed a street car by inches

Terror. That involuntary convulsion of
the features following a major shock

HOW TO ACT WITHOUT MOVING A MUSCLE

Emotional Ned Sparks took time off from his part
in the new Bobby Breen picture, Hawaii Calls,
to give aspiring actors some hints on how to be
a successful actor and still save wear and tear

Joy. A useful expression for those un-
expected callers who arrive just in time
for that dinner on the maid's night out

24

Gratification. Employed here by
Sparks to express pleasure at being
hung with some hand-painted flowers

Here is the way the more energetic fan appears to the
frightened star as he bears down determined to snip a
lock of hair, pull off a button or demand an autograph

Open Season On Stars

With fountain pen and pencil, with shears
and even with trucks the rahid hunt for
souvenirs of the stars goes on. and here are
the 1938 by-laws of the chase by one who
has made a careful study of the sport

By ElftWAltl) CHURCHILL

ILLUSTRATION BY Mi-GOWAN MII.I.KR

■ Most 01 America's wild life has a
closed season. You have, let us say,
from October first until November fif-
teenth to wreak damage, and then you
have to stop. The only fauna unprotected
during the entire twelve months is the
motion picture player. He or she can be
found roaming in his or her native habitat,
Hollywood, at any time. You just fire away
when you see the whites of the eyes. You
don't even have to wait until half an
hour after sunrise.

We have the weight of numbers, we fans.
We have the advantage of being cus-
tomers who must be pleased, whether
we're Hollywood natives or hunters from
out of town. And the out-of-town group
doesn't even need a non-resident license.

In recent months we've been given an
added boon by the men with the maps.
You have to stalk most game. But not the
stars. The men with the maps will sell
you one for fifty cents, and in ten min-
utes you can end up in anybody's back
yard. Once upon a time the stars had
privacy, at least at home.

But no more.

I think we ought to see what we can
get away with. Let's go into a little
huddle.

H A wide-open approach is the "I'm
from the old home town" angle. For
instance, there's Bob Cobb, owner of the
famous Brown Derby restaurants, hus-
band of glamorous Gail Patrick, native
of Birmingham, Alabama. Assume your
best southern accent, march in, demand
Mr. Cobb and announce:

"Mistuh Cobb, I'm an old school chum of
Margaret's. (Tip: That's her right name.)
Ah just thought Ah'd pass th' time of
day, suh."

Now, Bob Cobb doesn't know whether
you're really a friend of Gail's, and Gail
may be working. So, when you've finished
eating, just leave the check. You think
it won't work, or you think you haven't
the nerve? I don't blame you. But this
happens several times each month. Of
course, Bob just laughs about it. All he
has on his hands is three restaurants, the

regular customers who write on the table
cloths, and the rising food prices.

H Or you might drop in on an old pal.
That is, you don't know him, but you
do know somebody who knew him in high
school. Just ring the doorbell, move in,
insist that you're acquainted. The other
day an entire family representing them-
selves as from Milwaukee, Pat O'Brien's
home town, had a merry time from break-
fast until midnight, in the O'Brien home.

gg Then there's the souvenir angle. This
is comparatively easy. Perhaps you'd
like a mail box, part of a gate, a door
handle, or some other little trinket. You'll
have no trouble at all. Helen Broderick,
the comedienne, moved out into the San
Fernando Valley and made the mis-
take of putting her name on her mail
box. Someone took her front gate.
Someone else collected her mail box.
Helen began to worry about the roof,
finally moved back to a Hollywood apart-
ment. [Continued on page 52]

25

This is the house at 508 Sharp Ave.,
Spokane, Washington, where Bing grew up

Working on the way to Gonzaga Univer-
sity in Spokane to receive his honorary
degree of Doctor of Philosophy in Music

This is where Bing made his professional
debut, singing and playing the drums

Dr. Crosby Takes a Bow

Bing was not a shining light in school, but he has
the right to put Ph. D. after his name and to
insist upon being called "Doctor" if he likes

By CHARLES l> \ll.\TO\

H Neither is he wrapped in stately robes
of learning nor solemnized in
scholastic frock coat and plug hat. Indeed,
he swings freely into view sporting a gray
sack suit, a blue shirt unbuttoned at the
collar, and a rakish cap cocked jauntily
over one ear — possibly his ear for music.

This is oddly fitting, since Dr. Harry
Lillis Crosby, accompanied by the degree
of doctor of philosophy conferred upon
him by Gonzaga University, is taking the
air in Central Park, or rather a Hollywood
replica of that portion of it allocated to
the resounding zoo.

Now Dr. Crosby pauses and leans con-

templatively over the rail of a huge tank
wherein a trained seal is diving for small
pieces of fish and a necessarily large piece
of Andy Devine. The good doctor's grave
air, as well it may be, is that of a man
who presently is to go and take a jump in
the lake.

For the occasion, be it known, is dedi-
cated to a scene in Dr. Rhythm. The mo-
ment is devoted to the water cure of a
lamentable hang-over suffered, or stimu-
lated, by the rashly immersed Mr. Devine.

As he weighs the consequences, roughly
estimated at three hundred pounds, Dr.
Crosby shakes his head deploringly, then

turns briskly to pace the cage-walk,
monkeys chattering, lions roaring into his
sensitive ears.

Noting his abrupt action, you put it
down to the Bing in him, lightly balanced
nerves quickening the restiveness of
genius. Your problem is to get him to
hold still long enough to be interviewed.
You despair at the prospect, all the more
as his glinting steel-blue eyes sight you
from afar and something in them plainly
says, "So that's the guy who's come to
give me the works."

But, after further deliberation and
long-distance scrutiny, the resigned phi-

liiifl

When Bing left Spokane all he had was
an extra shirt and some drums. But he came
back with a water wagon for the team
26

At brother Ted's home, Ted, Bing and
Douglas Dyckman. Seated, Bing's mother,
Mrs. Ted, her children, and Bing's father

Bob Burns and Bing are initiated as mem-
bers of The Round Table, breakfast club of
Spokane's prominent business men

.This brewery formerly was the pickle fac-
tory in which Bing washed bottles and
sorted cucumbers after school hours

Bing couldn't miss accepting the honor
paid him by his university. So he took his
whole radio troupe to Spokane with him

Mayor Frank Sutherlin handed over the
key to the city, made Bing Mayor for the
day, and let Bob Burns be Chief-of-Police

losopher genially approaches and gener-
ously gives you, with his good right hand,
a nice dry set-chair, while he sits down
with Spartan hardihood on a wooden
bench still wet with the plumpish outline
of the performing seal who all too re-
cently has been sunning himself there.

Repressing your first eager impulse to
ask Dr. Crosby to sing something, you re-
spectfully inquire regarding his feelings
as to his eminent doctorate.

"I feel it to be a great honor," is his
simple reply.

Instantly you like him for it. In it is
the sincerity of the man himself, the hon-
esty which is part of him. Light as is the
banter he so inimitably brings to his radio
broadcasts, here is something not to be
taken lightly. It is a big and an honor-
able reward come to him unforeseen and
unsought, an accolade bestowed for meri-
torious service and character, a gift re-
ceived with grateful appreciation of and
loyalty to his university and its learned
heads. He, in turn, has made himself a
credit to it and to them not merely as a
crooner of songs, but as actor, wit and
Irish minstrel.

Irish? Yes. And this tells more than

half of the story as you hear: "My
mother's name was Harrigan, and dad's
mother was Irish."

There's where his wit comes from, you
confidently assume.

He smiles the best way, with his eyes.
"I question whether I have wit of any
appreciable dimension. But there has al-
ways been music in the family. My father
and mother and grandparents all sang and
played, though not professionally. But
when there was a local performance of
The Mikado or another of the Gilbert
and Sullivan operettas in Tacoma or Spo-
kane my people were sure to be in it.
And there was music in our home from
morning to night."

His innate modesty is evidenced in the
absence of anything about himself, and
when you attempt to bring him back to
the effect upon him of his lofty degree he
says no more than:

"I got a great boot out of it."

No doubt he now is getting the same
"kick," but he casually side-steps this
suggestion with:

"It was so unexpected that I am still
trying to get used to it. I can hardly be-
lieve it, and I'm sure this is the case with

everybody who knows me." You are set
to wondering how his neighbors have
taken it.

"They have, individually and collec-
tively, been most congratulatory," he is
grateful to say. "There has not been much
talk about it, but I should say the best
minds of Toluca Lake are of the opinion
that I'm just a lucky guy."

Caught in the suburban spirit, you ask
how his newly-won high estate has af-
fected his golf game.

"I am afraid," he grins, "that being
weighted down with honors has made me
a little ponderous on the course. Although
I manage to swing the old club clear of
mental profundities, my stance is a bit
on the heavy side."

Like the true golfer, Hollywood's crack
player brings out his briar pipe and fills
it. This is well, for smoking is prone to
put him in the proper mood for setting
forth his own philosophy, the philosophy
of his great success.

"It has all been just luck," he insists.
"This is the shameless truth. I never even
thought of a career. Perhaps the only
reason I hung around school till I was fif-
teen was that I [Continued on page 63]

This is part of the crowd that overflowed
the Armory when Bing staged a show
and gave the proceeds to his alma mater

Here is Bing making a new friend on
his tour of inspection through the
Shriners' Hospital for Crippled Children

Receiving his honorary degree from Mon.
Condon. Left, Father Perrault and Gon-
zaga's president, Father Leo J. Robinson

CLEOPATRA WASN'T PRETTY

Bat just look at what she did to history, points oat

Madeleine Carroll, who believes that beauty is a

mixed blessing at best

Bv JESSIE HENDERSON

■ "Cleopatra wasn't pretty — but look
what happened! By which I mean,"

murmured Madeleine Carroll, perhaps the
most beauteous beauty on the screen to-
day, "not only that beauty isn't every-
thing: it isn't anything!

"In an age when a woman simply had to
be either blonde or brunette, Cleopatra
was a redhead with, they say, a big nose.
So?" Miss Carroll dabbed fresh powder
on her own nose, a small, straight one.
"So she wrecked a couple of empires and
a couple of emperors and goes down in
history as the world's greatest siren.

"Know why? One reason. She had
charm. Don't ask me what's that, because
I don't know and neither did Cleopatra.
All I know is you've got to have it to get
anywhere in this world. My mother told
me."

Just at the moment anyone but
Madeleine Carroll would have looked any-
thing but beautiful. Under concentrated
hot lights in the studio portrait gallery
she was having her picture taken. A
photographic portrait "sitting" is always a
pesky ordeal, and with the temperature
around 100 directly beneath the lights it
was peskier than usual. Yet Miss Carroll
posed with urns and flowers and smothery
sables and never grew snappish nor lost
that radiant smile, which you will see in
Walter Wanger's The River is Blue.

■ It was a bright experience, watching
Madeleine pose. A French mother

and an Irish father had endowed her with
shining golden hair, vivacious deep blue
eyes and a rose-petal skin — Helen of Troy
couldn't have been lovelier. And betcha
Helen of Troy didn't have a B. A. degree
from Birmingham University in England,
either.

Yes, the girl has brains as well as looks.
At the age of twelve, tutored by her par-
ents— her father was a professor of mod-
ern languages — Madeleine entered the
University while other children the same
age were still in the grammar grades. It
was at college that she first became inter-
ested in dramatics.

Somehow, although she hung up a
brilliant scholastic record — proving that
yellow hair and gray matter are not
necessarily antagonistic — a career as in-
structress in a seminary for girls held
less appeal than a career on the stage.
Madeleine began to strive and starve in
London theatrical circles till suddenly a
movie producer gave her the leading role
in The Guns of Loos, and she's played
leading roles ever since. The latest wprp

Princess Flavia in Selznicks' The Prisoner
oj Zenda and the American heroine in
Columbia's It's All Yours, with Francis
Lederer as the foreigner-hero.

| It was at the time Madeleine entered

Birmingham University that her

mother said what she did. About charm.

Now, Madeleine has charm. She
wouldn't admit that fact if you put it right
up to her, but she has charm of such a
rare quality that you remember it more
even than you remember her beauty, and
this goes to prove what she was saying
in regard to Cleopatra. Madeleine would
admit, however, that she tried awfully
hard to acquire charm because she con-
siders it one of the most important things
in life. Especially to a woman — though
it certainly doesn't hurt a man to have a
little, too.

"Mother talked seriously to me one
day," Madeleine said, dabbing at her nose
again between "stills" — it surely was hot
under those lights — "she said in the first
place I had to give up being awkward. I
was forever falling over things and knock-
ing books off tables and dropping cups.
Of course I was at the awkward age, but
I imagine French children grow up grace-
fully, so no doubt mother wondered what
kind of a strange creature she'd brought
into existence. Fantastique, alors!"

If you've happened to notice, one of
Madeleine's chief points on the screen is
her grace of movement. She walks with
rhythm, uses her hands unobtrusively.
All this is a knack that had to be acquired.

■ "'Charm,' mother said to me,"
Madeleine went on, " 'is probably all
you have on which to make your way in
the future. You do not have wealth nor
great influence, but you or anybody else
can have charm. And it's all you need.
On charm you can carry out any campaign
successfully.'

"Naturally, mother supposed at the time
that I would campaign to become a suc-
cessful teacher," Madeleine explained,
"and I don't know any career in which
charm is more of an asset — though in what
career isn't it, if it comes to that? And I
very soon learned how ceasing to fall over
rockers and to drop cups isn't all there is
to charm as mother defined it. To her.
you couldn't have charm without a fair
amount of brains.

"And yet, brains weren't the whole of it.
Do you know her prime requisite?"
Madeleine's blue eyes were serious. "A
pleasant expression! Yes. really. A pleas-

ant expression, she said, was the first con-
sideration in making a woman attractive."
Glorious in floating tulle, faintly green,
with a band of aquamarines sparkling
across the bodice where it met the luscious
curve of a bare shoulder, Madeleine looked
very pleasant indeed as she spoke. You
can acquire the habit of looking pleasant,
she said, so why scowl? Not, understand,
that there's anything artificial about
Madeleine; she's one of the most natural
beauties in pictures — practically no make-
up, absolutely no fits of temperament. Hers
is a disposition naturally pleasant. With
a profile like that, whose wouldn't be?

■ She's pleasant, but not wishy washy.
Another point to remember about

charm.

" 'Be yourself,' mother used to say as if
it were a motto, 'but be yourself at your
best.' And when you look at the subject
frankly, who are the people that to you
seem charming? Why, the people that
show an interest in you! They're the
people with good taste! At your best,
then, you train yourself to be interested
well, at least to appear interested — in other
people.

"Not that it's always easy. I used to
practice. Make myself drink in the words
of certain people I didn't find entertaining
— and, you know, I discovered they
weren't so dull as I'd supposed. The real
trouble was that I'd been wrapped up in
myself. You can't be self -centered if you
want to have charm, and I'm sorry if that
sounds like Pollyanna because, anyway,
it's a fact."

Oh, there were secondary things, she
admitted, such as ordinary courtesy, giv-
ing Company the best chair, not talking too
much nor loudly monopolizing the con-
versation. But the first principle was
just to be considerate of other folks.

"H'm. Like Cleopatra," I suggested.

"Like Cleopatra," Madeleine retorted
firmly, "I know she hadn't a reputation
for unselfishness, but you'd better believe
she went out of her way to be considerate
of people with whom she wanted to make
a hit! Why, she took Marc Antony fishing
for crocodiles, and got up lavish banquets
for him, and played jokes on him when he
was blue . . . that little Egyptian had con-
sideration down to a fine art. All sirens
do, I suppose. Cleopatra possessed as much
charm as any woman could have; brains,
also. Quick wit gave her that 'infinite
variety.' "

■ It is diversity, Madeleine added, which
Stands as first aid to this charm busi-
ness. She herself, still swift to disclaim
that she's charming, has a healthy aversion
toward boredom. Determined to avoid it.
she takes ballet dancing, studies music,
reads all the good books she can lay hands
upon. This variety of pursuits acts two
ways; keeps her from being bored and
gives her so many interests that she
doesn't bore other people. No one-track
mind for Madeleine!

■ She confessed, further, that long ago
she drew up in her mind a set of rules

about charm and its developments

"One of them, \Cr>vtimipd nn pngp 451

?R

1

w

Maflolfino Carroll

I. He also does a fine gorilla

2. They kept him in gangster parts for years

3. He speaks with an accent

4. We'll give you a hint: She's a blonde

HAVEN'T WE SEEN YOU
SOMEWHERE BEFORE?

Come on, you detectives, get out the mag-
nifying glasses and see how good yon are.
Every picture on this page is of a well
known picture player. True, the make-up
is rather thick in some cases, but if you
are any kind of a Sherlock at all, you
should be able to guess identities of at
least ten. Answers are on page 57

5. She won f

ame in vampire role?

b. You see her in a lot of musical films 7. Considered one of the town's greatest beauties

30

HOLLYWOOD

8. Noted for brilliant character parts

9. Quite at home on those Arab mounts

10. Usually seen in comedy roles

12. He plays saints
as well as sinners

I 3. Most romantic of a distinguished stage and screen family

MAKCH, 1938

31

This is the way Jackie Cooper
looked in 1930 when he made
Skippy. Mitzi Green and Jackie
Searle are looking in at him

Mm

And this is the way Jackie
looked in 1933, when he made
a big hit in The Bowery, still
very much a very small boy

Skippy Grows Up

Many child stars grow out of their
careers when they grow up, but
not our young Mr. Jackie Cooper

By EDGAR SOUTHPAUGH

| Jackie Cooper was whanging the daylights out of a set of
trap drums when we visited him in the basement of his
Beverly Hills home the other day.

Swing music, issuing from an enormous radio nearby, was fill-
ing the air, and Jackie was pounding away at the traps, the
bass drum, and the fifteen other musical gadgets that surrounded
him. He saw us coming down the stairs, looked up long enough
to yell "Hi, there!", and went back to his drumming. We
yelled back a loud "Hi, there!", found a comfortable chair, and
waited until the performance was over.

And it was a three-star, three-bell performance, too, if you
care to ask us. Critics, with ears attuned to the finer musical
nuances and shadings, might possibly object to it on the ground
that it was a trifle noisy and they might be correct, but we still
insist it was a three-star, three-bell performance.

"My two dogs ran away again, I had a flat tire, and I didn't
do so well in my studies this week," Jackie informed us when
the last reverberation had died down, "and I was doing this to
relax, sort of."

| It developed that Jackie had been whanging away at the
drums for a good many years and, although he can't read
one drum note from another, he has acquired the master's
touch. He is pretty proud of the fact that he has played in
every name band that has visited
Los Angeles. That is, with the
exception of Benny Goodman's
orches- [Continued on page 46]

Here is Jackie today, 15 years old
and well on his way up to six feet

32

HOLLYWOOD

Hollywood's Star Styles

Deanna Durbin's next Universal film
it Mad About Music, but all little
girls of fifteen or there-about
should be mad about the clothes
she wears in that picture. Above is
a brown wool dress made striking
with yellow saddle-stitching and
accessories. Right, the perfect
bicycle dress has a wide split skirt
that hangs straight, and a kerchief
that ties around the throat and
waist, completely covering the back

MARCH, 1938

4 ■ ft

V

Jezebel is the story of a fatally fascinating belle of the
deep south during Civil War days, and Bette Davis' slim
blonde beauty is shown to great advantage in the tight
bodices and billowing skirts of the period. Her gowns
have particular interest this year because of the return-
ing attention to off-the-ihoulder necklines and- skirts with
yards and yards of material. Above, left, is a combina-
tion of taffeta and net which should give you some ideas
for that new dinner dress. Directly above, the soft
banding of velvet is a perfect trimming for the rich
design of brocade. Left, heavy starched lace makes
the most graceful of little sleeves, and with such a gown
you pin a double bow of lace above shoulder length curls

34

HOLLYWOOD

i

kttusNwC**"" . „

r i.v

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What makes one woman's
skin so smooth — vital
looking? Another's dull
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Tc

LODAY, we know of one important
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Pond's found a way to put this "skin-
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\

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Use this new cream just as before — for
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make-up. Leave some on overnight and

(above) Mrs. Goelet at
an informal musicale.

(lower left) In the
Museum of Modern Art,
looking at the famous
"Bird in Flight."

Mrs. Goelet's home is in
New York, where her ap-
preciation of music and art
is well known to her friends.

whenever you have a chance.
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When Answering Advertisements Please Mention March HOLLYWOOD

35

Story of a Touchdown

His part in Rosalie is no bed of roses for Nelson
Eddy as proved by the fast action camera which
caught him hard at work at his spring training

That is what reaching for high
notes can do!

Take that!

Ooomph! And that!

Ah! For the carefree life of ease and comfort enjoyed
by a star. Here is Nelson Eddy resting the hard way

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37

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This is the wide smile which Sophia Tucker turns on for the bane-
fit of her many fans in her latest film, Thoroughbreds Don't Cry

EGGS TAKE A LOT OF CRACKING

Sophie Tucker points out that situations
and people have to be treated in much
the same way as she handled the eggs in
the theatrical boarding house long ago

By Si;iti;\l BRADFORD

■ Eggs, take a lot of cracking," said
Sophie Tucker, who used to cook in
a restaurant at New Haven, Conn., "and
so do situations. I mean, the spots where
life puts you. Cracking an egg takes
plenty of technique. Cracking a situation
takes more."

She sat at a table in the Metro-
Goldwyn-Mayer commissary, just finished
with a scene in Thoroughbreds Don't Cry;
a large, smartly dressed woman with a
rather motherly smile and the tongue of
a sophisticated poet-crusader. All the
sympathy in the world but no nonsense;
a woman who had fought every inch of

the way to the peak of her profession
but acquired no hardness of heart through
the thirty years' battle. She learned in
the restaurant kitchen that while eggs
take a lot of cracking, they're worth it

"You know how eggs re-act," she said,
"a timid tap on the side of the pan, and
you get a half-dented shell; no good to
itself or humanity. The over-hand wallop
smears it clear across the kitchen. Get
nervous and grip your egg too tight —
sbrlp!

"And you have to know what you're
handling. If it's an egg that's been cooked
three minutes, you can snip off the top

38

Accept No Substitutes! Always Insist on the Advertised Brand!

JU

with a knife, if you're quick enough, and
scoop out the meat. But if it's hard-
boiled, you may need to smack it more
than once before you've got it under
control.

"It was hard-boiled, sure enough, the
situation I tried to crack one time in
vaudeville. I was paid $750 a week on
that circuit, but I'd always wanted to be
in a show with the top-liners and I argued
and went back and argued again till they
took me on. On trial, I mean," said
Sophie, her wide eyes as good-humored
as her deep voice, "so I quit my vaudeville
job and went with them for nothing."

That was like her. Even when as a girl
she worked in that kitchen, she decided
the best was none too high to aim at; the
best paid the biggest dividends in the end.
She never stopped till the best was what
she won.

"I had to make good in Milwaukee!"
she proceeded, forehead wrinkled at the
recollection, "my first try-out was there.
If I didn't make good in Milwaukee —
Well, they took me on for three weeks.
I stayed with them three years."

That's like her, too.

■ The theatrical career began when
somebody in her father's theatrical
boarding house at New Haven said she
had a powerful voice — the times she
served as waitress, she used to call the
orders so the other cook could hear
them 'way back in the kitchen — and she
left home determined to snaffle a the-
atrical singing job in New York. The first
job she landed brought $15 a week.

"Of which I sent $5 home, and kept
the rest for board, room, clothes and
carfare. That $10 went a long way, though
never quite far enough."

Kind of tough, eh? Those early
struggles?

"Everything's tough," Sophie replied
immediately, "that's why life is inter-
esting."

Her own life reads like the most im-
possible melodrama. Tough going nearly
all the way; nothing handed to her as a
gift, she had to work for all she gained.
Yet — though, while she cracked eggs and
hung over the steaming stove in the New
Haven kitchen, Sophie became the friend
of kings.

All this was a long distance in the
future, however, when a squirming red
infant was born in a farm wagon that
jolted hastily onward, somewhere outside
Odessa in Russia, en route to the border.
Sophie's father was escaping from Russia;
if the authorities had caught him, he
would have been compelled to enter the
army, and he was a peace-loving man.

Even the name of the fugitive family
was not its own — another element of the
melodrama that seems persistently to
hover over Sophie's life. An Italian, ill
and friendless, had been given shelter in
the Russian home of Sophie's father just
before Sophie's birth. The man died, and
in order to get out of Russia the family
took the stranger's name: Abuza. As
Abuza they are known in private life
today.

At sixteen, then, Sophie was rising in
New Haven. Conn., at four A. M. to

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cook food in her father's restaurant
kitchen, sweep floors, set the tables, before
she darted off to school where often she
fell asleep across her desk. Quick always
to snatch at a crumb of encouragement
however adverse the circumstances,
Sophie was pleased when one of the
Howard Brothers of vaudeville fame said:
"Stop yelling in my ear!" as she clarioned
an order for noodle soup on her way past
his chair. It showed she had a noticeable
voice, anyhow. Four years later she played
on the same bill with the Howards, fea-
tured as a singer of plantation songs.

For Sophie's rise was rapid, even though
it meant constant struggle on her part.
Within three years after she had her first
job at $15 a week as a "coon-shouter" in
a New York cafe, she had been in and
out of the Ziegfeld Follies and was doing
nicely in vaudeville, singing "Casey
Jones" and "Some of These Days" at
$500 a week with an international reputa-
tion as the "Queen of Ragtime."

■ Her first engagement with the Follies
indicates the typical Sophie. Because
she stole the show, the Big Names pouted
and Florenz Ziegfeld decided that to keep
the peace Sophie had better leave. Sophie
was enraged. Though only a beginner,
she didn't hesitate to tell the great Ziegfeld
exactly what she though about the matter.
But she can't hold a grudge whether she's
right or wrong. When she met Ziegfeld
again in Paris some years later they be-
came firm friends.

By then, Sophie had made a hundred
songs famous. Because she sang them —
never was anyone better at "putting over"
a melody — people hummed and whistled
them throughout the world. "You're in
the Right Church But the Wrong Pew;"
"That Old Home Town of Mine;" "Amer-
ica, I Love You" — the War had just
started then; "Get Out and Get Under;"
"Where Was Moses When the Lights
Went Out?"; "Who Paid the Rent for
Mrs. Rip Van Winkle?"; "This Is the
Life;" "In My Harem;" "Everybody
Shimmies Now;" "Down on the Farm;'
"When the Red, Red Robin Comes Bob,
Bob, Bobbin' Along" ....

London heard her and called her "Jazz
Artist." Paris heard her; Dublin, Venice,
Geneva, Vienna, Berlin, Budapest, Prague.
Long ago her pay had risen to $5000 a
week. It would later soar to $8500. She
had her own night club in New York,
opened by ex-Mayor Jimmy Walker. By
and bye she thought about retirement.
She would devote her time to those
charities; Sophie Tucker has a hand in
supporting more orphanages, old peoples'
homes, hospitals, than you could shake a
stick at; she employs one secretary
merely to keep track of correspondence
with these institutions.

But when she thought about abandon-
ing her public career, up popped the
movies, waving contracts. She couldn't
resist the lure of a new venture. She
couldn't ignore a new challenge. With
her customary zest she threw herself into
this fresh undertaking. That unflagging
energy which has kept her on her toes
for thirty years.

■ Arrived in Hollywood, she found
something very strange. She found
herself in a house with a patio and a
swimming pool and a niece. She found
people dropping in — and reluctant to go.
She found the house behind the palm
trees a rallying place for the notables
of the screen.

One day she solved the riddle of this
strangeness. "At last I've got a home!"
said Sophie astonished. At last she
wasn't living in a trunk, leaping from city
to city, or keeping a flat just to sleep in
at night. "It's the first time in my life that
I've had a real home," she said wonder -
ingly, and liking it fine. In the entire
span of her restless years since her birth
in the jolting farm wagon, this was the
first occasion on which she had settled
down anywhere.

"The bitterest disappointment I've ever
known," she said, looking thoughtfully
about the Metro-Goldwyn-Mayer eatery
as though to stack it beside others less
sumptuous which she had once frequented
in the meagre era, "was when I got on the
bill at Tony Pastor's. To be a performer
at Tony Pastor's was something in those
days!

"I'd worked hard to get there. It
wasn't so long since I'd been singing at
the Old German Village on Broadway
for my $15 per and the pennies the
customers would throw. Then there'd
been entertainments at clubs where I'd
be one of the singers — 'coon-shouting' —
and perhaps this would land me away up
in the Bronx, begrudging the carfare
downtown again to get to my boarding-
house room.

"But those thin times were bright and
happy, just the same. People were help-
ful. There'd be a girl who lived up
toward the Bronx and she'd say: 'Spend
the night with me and you'll be here
ready for tomorrow night's performance'
— that is, when we had engagements for
more than one night at clubs or small
vaudeville or burlesque houses uptown.
Or perhaps somebody would take three
or four of us to supper, and we'd save
on a meal. Oh, people helped each other.
Anyone that had good clothes would lend,
and so on.

"Well, when I got on the bill at Tony
Pastor's I felt that my troubles were
practically over. I was finally launched
on my career. Remember, I'd been sing-
ing also, in small time vaudeville from
Perth Amboy, N. J., to Cohoes, N. Y.,
and in public parks from Erie, Pa., to
Youngstown, Ohio, at from $12.50 to $30
a week. And now here I was, a member
of the Tony Pastor troupe — on the
Bowery — at a smacking $35.

"I was crazy with joy when I shoved
into the crowded dressing room and began
to get ready. I could see my eyes, blazing
with excitement, in the long mirror.
Somebody had a copy of the theatre pro-
gram. After a while I got a look at it and
ran down the list for my name. There it
was! I'd finally made the grade! 'Miss
Sophie . . . Taylor.' The printer had
bungled! It was all I could do to keep
back my tears and go on the stage and
sing. I'll never know such black, bleak
disappointment again; never."

40

Accept No Substitutes! Always Insist on the Advertised Brand!

■ Snatches of her career come shining
forth as you talk with Sophie. Not

in their correct order, usually, but always
illuminating, always pointing to the one
great fact: that she was driven continu-
ally by her determination to reach the
top.

It was four years after her start in the
theatre that she changed her vocal
methods. "Put the soft pedal on," she
related, "no more shouting. I saw that
subtler kinds of singing were more
effective."

She went, with the times and their
tunes, from "coon shouter" to syncopa-
tion interpreter, to "hot tunes," sophisti-
cated songs and, finally, swing music.
For years they called her "Jazz Baby"
and "Hot Mama," but she said a surpris-
ing thing about sex, both in songs and
in films.

"Sex isn't so important," she remarked,
"sex doesn't sing. You want to hang on,
in life, to the things that sing." She
wasn't talking about music this time,
either. "It's the heart interest that's im-
portant, in a verse or a plot — or a life.
It's the heart interest that never grows
threadbare. . . ."

■ "Well, I've sung on the same program,
at charity benefits, with Caruso and

Lillian Russell," she said; "I introduced
the first hobble-skirt — that was in St.
Joseph, Missouri; and I introduced Gilda
Gray — that was at Reisenweber's in New
York. I introduced the first woman's
trousers-suit to America — a Paul Poiret
model, blue wool and gray caracul — that
was at New York, in 1931.

"I've sung 'Weep No More, My Mammy'
and I'm No One's Fool' for the King and
Queen of England, and they seemed to
like it, they didn't say different. And
I've sung 'Happy Days Are Here Again'
at a Paris theatre, in French, of all things.
It's been," she added with that warm
smile, "quite a life, come to think of it."

And quite a hard life, everything con-
sidered?

"And quite a hard one," Sophie con-
ceded happily, "and I'd hate to have it
otherwise."

Why should she want it otherwise, at
that? For eggs, and situations, and some
people, take a lot of cracking. And,
listening to Sophie, you realize there are
two kinds of folks in the world. Either
you are an egg yourself and get cracked,
or you're a Sophie Tucker and get there
first.

Franehot Ton* and Joan Crawford were
among the many who congratulated director
Frank Borzage at his party celebrating
his twentieth year in the film industry

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Here is an interesting word picture of the
little star of Little Miss Roughneck, who. at
thirteen, is wise in the ways of Hollywood

By TED MAGEE

■ "Please remember," Edith Fellows
said suddenly, "that you are speaking
to a lady."

Bingo — just like that. Could one some-
how have slipped so badly as to have of-
fended this little Columbia star while
talking of mundane things like playing
dolls? One had. One made the mistake
of presuming Edith was still but a little
girl, and that, friends, is an error in any
language.

As a matter of fact, lest the problem
puzzle you, Edith Fellows is thirteen years
of age. She is in the ninth grade, and is
a whizz at Arithmetic.

A girl of thirteen has at least one pe-
culiarity. You mustn't forget she is a
child, but you must also treat her as a
young lady who knows her way around.
Most of all, you must have some idea
which role she chooses to play — young-
ster or grown-up.

With Edith Fellows it is nip and tuck.
Her moods vary as fast as the winds, and
in the San Fernando Ranch of Columbia
Studios, the breezes have all the vagaries
that mountain tops can give them.

■ We caught up with Edith at the Ranch
where she was assuming her first role
as a full-fledged star. The title is Little
Miss Roughneck. "And that," Edith said
positively, "is a perfect description of
myself."

Edith hands out a remark like that with
a look in her eyes that should be far
beyond her years — a sweetly sincere look,
like she is trying to impress you, oh, so
hard. But then, that's the unusual thing
about her. She has the mind of a girl of
seventeen, the graceful figure of a girl of
fifteen, and an adult attitude of twenty —
when she wants to. It is definitely safer
to assume that Edith wants to be grown up
most of the time.

Start asking her questions and she will
outwit you. She asks them back faster
than you can leap. You get nowhere.
If you don't look out you will be mum-
bling something about an artful, preco-
cious child — and go wandering home
without any answers.

But after all, you are dealing with a
woman even if she is but a child. So you
sneak up with a deft compliment, get past

42

Accept No Substitutes! Always Insist on the Advertised Brand!

her guard, and start her in with gentle
reminiscing. After that the conversation
flows freely.

■ At thirteen Edith has a swell memory.
She will sit out on the lawn looking

for four leaf clovers, and tell you things
she remembers clear back to her fourth
birthday. There was the time, for instance,
when she had the measles. Her grand-
mother— the only mother she has ever
known — gave her castor oil. Yes, indeed,
Edith remembers well!

When she got over the measles the fun
began. One day she pinned a big sign to
the door. It read: "DANGER— MEASLES.
KEEP AWAY." Horrified over this loud
display, grandmother came home from
market and hurried inside. Could Edith
be having a recurrence so soon? All the
books indicated otherwise.

"Mother" Fellows quickly discovered
the truth. Edith's favorite doll, Charlotte,
had contracted the disease and was grave-
ly ill.

The doll made an amazing recovery.
Within a very few hours she was well
enough for the sign to be taken down.
By nightfall she had completely recovered.
Grandma had brought out that castor oil
again, and the very sight of the bottle
convinced Edith that measles must stay
away from her door.

■ Edith is Bostonian by birth, Cali-
fornian by choice. The fact that she

is a descendant of Charles Lamb impresses
her not at all. Fact is, nothing about fame
impresses Edith except a dawning concern
over how she will get along with non-
theatrical boys and girls as she grows up.
Because she is wise — and smart — beyond
her years, she suspects trouble along this
line.

"I'd like to go to senior high school next
year," Edith said, still picking four leaf
clovers. "But I'm scared to death to face
it. No matter how nice and common-
folks you try to be, some snippety person
is going to use broad a's on you and tell
everyone how superior you feel over
them. It's a problem."

Remarkable thinking for a girl just
entering her teens, isn't it? But then,
Edith is quite remarkable anyway. Star-
dom came to her after a lot of hard work
and training. No overnight Cinderella
stuff. And now that she has stardom, she
can't help but see how she is a Little Lord
Fauntleroy herself.

In Edith's case, she is within a big stu-
dio looking out. She has few child play-
mates. The directors and prop men and
juicers play games with her when they
aren't busy, but Edith honestly admits
she misses not having kids of her own age
to play with. Her one close friend is
Mary Ann Jackson, but they live too far
apart to see much of each other. She likes
Bonita Granville, too, and a lot of children
of older stars.

■ "I had a terrible tragedy a month ago,"
Edith pouted while working on an ice

cream cone. "Billy Burrud called up and
wanted to take me to the circus. It was
the last chance of the season, and I wanted
to go so badly. But I had a cold and

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43

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mother knew best. So I stayed home."

But she did get to attend a Hallowe'en
party with the Marx children and some
others. They dressed up in typical "scarey"
costumes and went from door to door in
an exclusive Beverly Hills neighborhood.
It was a swell racket.

First they would ring the doorbell and
then, someone answered, they would say
simply, "Tricks or treats?" If the puzzled
citizen did not immediately comprehend
the neat nature of this little racket, they
would repeat until he did.

At one house a blustering man met them
at the door and thundered back, "Why
don't you children stay at home. The
idea of bothering people. Which one
of you is the oldest?"

Meekly, Edith admitted such guilt.
"Well then, why don't you use your head.
You've no right to bother people."

"But this is Hallowe'en," Edith said
humbly, a bit terrorized over their pre-
dicament.

The man looked surprised. "Well, bless
my soul, it is," he said. "I haven't any
thing in the ice box. So here. You kids
go treat yourselves." He handed Edith
a half dollar and closed the door. Five
minutes later she timidly rang the bell
again and returned the money. "We aren't
blackmailers or — or — intimidators," she
managed to stutter out. "So you'll have
to keep the money."

■ Each passing day is beginning to re-
veal more and more the complexities
of growing up to this child star. Just re-
cently she realized that a certain other
little star, a girl who is neither the most
important nor the least in the scale of
Hollywood ratings, has been deliberately
snubbing her when they meet around
Hollywood.

"I. don't understand it," Edith said, ob-
viously mystified. "I have never done any-
thing to make her feel that way toward
me. Neither one of us is the greatest star
in Hollywood. We work at different stu-
dios. Why should she feel that way?"

Well, one could tell Edith a lot about
that, but it's just as well one doesn't. Why,
only the other day a beautiful, glamorous
woman star told me almost the very same
story — only that in her case three very
popular adult stars always ignored her no
matter what the occasion. This beautiful
blonde woman was just as mystified as
Edith. Just as unable to explain the cause
of the snubs, and just as baffled when it
came to deciding what to do about it.
That's Hollywood and that's life — what
more can you say to explain such
things?

■ Edith's schoolwork to date has been
under the tutelage of a certified

teacher who devotes her entire time to
this one star. The teacher is a psychologist
as well as an instructor in book things,
and works hand in hand with the little
star's grandmother toward keeping Edith
a normal, unspoiled girl.

When Edith isn't working she is taking
operatic training. Her voice has developed
marvelously. When you hear her sing
numbers from three operas in Little Miss
Roughneck you will understand how
much time and effort she has put into the
work — and how very much she is getting
in results.

Edith takes herself seriously, but the
sparkle of fun is in her eyes and you know
that when she puts on airs, she is having
great sport just pretending. It is when
she is in this mood that you stand puzzled,
and wonder whether this person before
you isn't more a little, mature woman
than a large child.

And then you suddenly realize that this
is more than just fun for Edith. She is
reaching out timidly but surely, cloaking
her seriousness in fun, but always groping
toward adulthood and maturity.

There is no apparent danger of a "gan-
gling age." One of these days studio of-
ficals, looking . at her through the cold
lens of a camera, will suddenly discover
that a radiant young woman is standing
there instead of a child star, and Edith will
have turned the corner and found herself
facing ever-widening vistas which she
never before knew had existed.

■ Standing there before me, dressed in
a Juliet gown, she looked graceful,

years older than she was. And then a
strange thing happened. She reached
down and touched the velvet of the cos-
tume and said, "I want awfully bad to
have this costume. But it belongs to the
United Costume Company and the studio
only rents it.

"Why don't you buy it?" I suggested.

She shook her head. "It costs fifty
dollars," she replied, "and that's a lot of
money. I would much rather give a party
for the boys (the crew) when this picture
is over."

She said that totally unconscious of the
generosity the words proved. I'll swear
to that. It was just a natural statement
uttered without a second's thought. I
passed it up without comment, but the
incident is a real tribute to a child who
rose above poverty to become a star, and
then so wisely demonstrated she would
rather invest money in gratitude than in
personal gratification.

DOES EVERYONE LAUGH WHEN
YOU GET UP TO COOK?

Dry your tears, sweep out the wreckage, rise above that unfeel-
ing mirth and turn to page 56 where you will find a ray of hope
for all amateur cooks. Betty Crocker's articles on food and how
to fix it are a monthly feature in HOLLYWOOD Magazine, and they
will help many a burnt bride to get over her fear of the kitchen.

44

Accept No Substitutes! Always Insist on the Advertised Brand!

Cleopatra Wasn't
Pretty

[Continued from page 28]

she said, was 'Don't bite your nails.' I
mean it literally, but figuratively, too.
Don't act nervous; don't fidget. It isn't
advisable to have a cow-like calm, but
nothing is less charming than a case of the
jitters. Don't be self-conscious; it's a kind
of conceit."

As a little girl, she was self-conscious.
Most little girls are. But even if the stage
had not cured her of this failing, her pres-
ent social position in England would have
done so. Captain Philip Astley, the British
Army officer to whom she is so happily
married, is an intimate friend of King
George VI.

"Except for the general rules like taking
an interest in something beside yourself
and letting other people get a word in
edgewise now and then," she was saying,
"charm is a pretty hard item to pin down.
What appeals to me might not appeal to
you. But I can tell you the only sort of
individual who's charming from my own
point of view.

"Somebody that's loyal, doesn't fly into
tempers, doesn't throw money recklessly
around. Somebody that doesn't show off,
that's fond of dogs, that's a good sport
and tolerant and can talk amusingly about
Africa or India or Siam — or Hollywood! —
and appreciates Welsh rabbit and Van
Gogh paintings and doesn't say, 'Oh, no!'
if you want to go for a walk on a stormy
day.

"But we had charm under consideration,
didn't we? Well, still looking at charm
from my own viewpoint, I'd say the chief
thing is not to try too hard. Don't set your
jaw and say, I'll be charming though the
heavens fall.' Don't be grim about charm.
Though grimness would be preferable to
glamour."

"Wh-what?" I asked.

"I don't want to be glamorou s,"
Madeleine announced tranquilly, "glam-
orous is of all things on earth what I don't
want to be."

"But you are," I said.

She almost frowned. "Not at all," she
responded, "when you go glamorous, you
have to work at it the entire time. You
can't forget your allure one minute. You
heighten your personality, which means
you hide it behind something it isn't.
You're always on parade. What a life!"

She waved small, pretty hands on which
the nails — it was noticeable in this era of
giddy tints — were palest shell pink. The
camera man switched on more hot lights
and said would Miss Carroll kindly turn
her head a trifle to the left — there! Still
looking pleasant — pleasant? She looked
utterly bewitching — Miss Carroll obeyed.
But while the man got his camera ready
she had a last word.

"No," she remarked, "not glamorous,
thank you! I'd rather be natural. Mother
told me — " her smile flashed forth — "that
the best way to avoid charm is to take on
artificiality."

Well, perhaps sincerity is the underlying
reason. Anyhow, she is charming. Even
her mother would have to admit it now!

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45

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{Continued from page 32]

tra — and he's going to play in that one,
too, before he's through.

He thinks that Jean Krupa, the trapper
lor Goodman, and Bill Hardy, who traps
for Noble, are the best in the business.
They think that Jackie is pretty hot, too.

Jackie reached his 15th birthday on
the 15th of last September. You'd never
think, to look at him now, that the doctor
never expected him to live the first three
days of his life. He was a pretty sickly
baby for a long time. But he's a big boy,
now, weighing 140 pounds and standing
5 feet, 8V2 inches in his bare feet.

■ What with keeping up his studies at
Beverly Hills High School, from
which he will graduate a year from next
June, and his work in Boys of the Streets,
a picture he has just finished for Mono-
gram Studios, Jackie has been a very
busy youngster with little time for fun.

"They won't let me play football," he
says, "because if I should get hurt it would
hold up production. I can't play basket-
ball, either. And for the same reason.
Once in a while I go roller-skating, but
they don't like me to do that for fear I
might fall and get hurt. I like to ride
horses but can't find time to do much
of it."

What he really likes to do is to box and
according to those who have watched him
he has a "one-two" that's just about per-
fect. Despite his proficiency in the gentle
art of fisticuffs, he doesn't like to fight

and has never, save for two occasions,
ever engaged in a boyish brawl.

"When I first entered Beverly High,"
Jackie explains it, "they thought I was
highhat, being an actor and all, and yel-
low. Sometimes a girl would ask for my
autograph and, while I was signing my
name, a guy would come up and say,
'what's th' big idea?' and I would walk
away. Shucks, I didn't want to start an
argument. Finally, though, it got so bad
I had to do something about it; so, when
a guy came up and said, 'hey, what's th'
big idea?' I hauled off and poked him a
couple of good ones. After that there
wasn't any trouble."

■ Jackie had to poke another guy a
couple of good ones on the Santa
Monica beach one summer and he did it
in such a slick, professional manner that
it compelled "other guys to get wise" as
Jackie puts it, and there was no more
beach battling after that. He's so good at
boxing right now that he can't find anyone
of his own age and weight to spar with
him and when he squares off to older boys
he finds the going plenty rough. But, as
he says, it's lots of fun and he can take
a punch as well as give one.

Lately he has been getting a lot of ex-
ercise chasing his dogs. On three dif-
ferent occasions last week he came home
to find his pets running around Beverly
Hills and he thinks maybe his mother
turned them loose so that he could get a

A dialogue director has to be an agile man. Here is Colin Campbell, dancing on the green-
sward with Olivia de Havilland as he rehearses a speech for one of the scenes in Robin Hood

Accept No Substitutes! Always Insist on the Advertised Brand!

little leg work chasing them. But he's
going to fool her from now on, he
thinks.

"You see, I know all the cops in the
Beverly Hills police station and if I just
phone 'em when I find the doggone dogs
gone they'll help me track 'em down.
Maybe 1*11 get a chance to ride in a squad
car. Boy!"

■ Jackie got a car on his last birthday
and with it his mother upped his
weekly allowance to $10. Out of that he
has to pay for his gas, oil, and repairs on
the car, his lunches, and whatever ex-
pense he incurs on his one night a week
out.

"Usually," he states, "I go out on a
Friday night and see as many pictures as
I can. I have to be home by eleven so I
go early and sometimes see as many as
three pictures. I get a lot of pointers on
how to improve my own acting so I study
each picture very carefully."

Jackie hasn't any desire to become a
leading man when he gets older. And he
has a reason for it.

"Leading men," he says, wisely, "don't
last long. Fans get tired of 'em after a
while. But it's different with a character
actor. He can stay in pictures all his life.
So that's what I'm studying hard to
be."

And talking about study, the young star
has quite a problem on his mind. While
attending Beverly Hills High School it's
been easy for him to stay in pictures.

Provided with a tutor whenever he goes
into a picture, he's been able to keep up
his good grades without any trouble. But
once in college he won't be able to leave
his class-work for the camera. "Ones
you're in, you're in," he says, "and they
won't let me take a month or two off to
make a picture. And I'd sure hate to be
away from a studio for four years. Movie
fans would forget all about me in that
length of time."

■ Jackie has been in pictures ever since
he was six, the age at which he made
his initial appearance on celluloid in The
Fox Movietone Follies. That was at the
Fox Studios. From there he went to Hal
Roach Studios to appear in a number of
Our Gang comedies. Then to Paramount
where his uncle, Norman Taurog, directed
him in Skippy, the part that sped him to
stardom. After Donovan's Kid, Sooky,
and a few others he appeared in The
Champ, co-starring with Wallace Beery.
And after this film he really was a star in
capital letters. He received five dollars
for his initial screen appearance and
$1500 a week when he became a star, at
the age of ten. And that's a lot of dough
for a little feller.

After The Champ came other pictures
with Beery, all of them good, all of them
money-makers. Last year Jackie starred
with Mickey Rooney and Freddie Bar-
tholomew in The Devil Is a Sissy.

■ Jackie worships as heroes three men
— Wallace Beery, Richard Dix, and
Clark Gable, each of whom have exerted
a powerful influence on the youngster's
life. "They're grand guys, great pals," he
says, his eyes shining when he speaks of
them. "Everything about 'era is fine! I
wouldn't trade 'em off for all the men in
the world!"

Beery, he admits was a tough one to
work with before the cameras because he
never paid any attention to his lines.

"He'd give a look at the script," Jackie
reveals, "and then throw it away and say
what he thought was right, what sounded
natural. I had a hard time picking out my
cues but I got on to it after a while and
I'd forget what was in my script, too, and
say what I thought was okeh. The funny
part of it all was, the director would
usually let it go as Wallace and I made
it up."

From six to almost sixteen has been the
life span of Jackie's screen career thus
far. He hopes, by diligent study to extend
it from sixteen to sixty — and we do, too.
He's a swell kid, this 15-year-old Jackie
Cooper, as boyish and as unaffected as
they come. Smart as a whip, too, with
both feet on the ground and both eyes
on the future.

And while we're wishing him all the
luck in the world we're also wishing him
all the luck he needs in his quest to find a
seat in Benny Goodman's orchestra where
he can whang the daylights out of the
trap drums.

IF IT'S LOVE
SHE WANTS..

A girl is mighty foolish
to risk "MIDDLE-AGE" SKIN

MAYBE IT'S NOT JUST THE \
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■ :rai¥47£»M«t7J»]Mi:3*15i

By GORDON W. FAWCETT

§| The rumpus room of Chester Lauck's
new Beverly Hills home has its walls
decorated with character sketches of Lum
& Abner — and done by Lauck himself, who
portrays Lum. Incidentally, Lauck can
aiways go back to cartooning, he's that
good.

■ Andy Devine travels back and forth
from the NBC Hollywood studios to

his Valley rancho in a station wagon upon
which is inscribed The Ando Rancho,
Gravel Flats, California.

■ Florence George, the NBC singing
star, who has temporarily deserted the

airlanes for the movies, has added a par-
rot to her menagerie which already con-
sists of a monkey, a black Chow and a
police dog.

■ Ruby Mercer has all the clothes-
minded gals of the cinema and radio

city glancing enviously in her direction.
Recently she attended a celebrity gather-
ing in an evening coat of gold and char-
treuse brocade, and lined with gold satin.
But it can't be copied because the NBC
prima donna received the material from a
friend in Egypt and had the coat made.

■ Jack Benny and his celebrated wife,
Mary Livingstone, will move into their

new Georgian home in Beverly Hills about
May 1st. Jack gave Mary for Christmas
all her silverware for the new home car-
ried out in the Georgian design.

■ One of Marion Talley's most prized
possessions is a small blue porcelain

Buddah which was presented to her by the
Metropolitan impresario, Gatti Cazazza,

the night she made her operatic debut in
the Metropolitan.

■ Marion Talley is devoting the room in
her new Beverly Hills home to Chi-
nese furnishing and art pieces. For the
past ten years the NBC diva has collected
articles for a Chinese room.

■ Kenny Baker, the tenor of Jack
Benny's Jello show over NBC, was

the recipient of a novel gift from one of
the radio city's song pluggers, Eddie
Marks, when he was presented with a
leather zipper brief case in which were
the songs Marks wanted Baker to consider.

■ Mrs. Phil Harris, who is known to the
picture-going public as Marcia Rals-
ton, has one of the most unusual charm
bracelets in Hollywood. It is silver with
each charm a small square piece of silver
film upon which is engraved the name of
a picture in which she has appeared. She
has seven charms to date. The donor is
her NBC maestro husband, Phil Harris.

■ Irene Rich's daughter, Frances, who
gave up a promising screen career to

pursue the art of sculpturing, is busy
working on a 10-foot monument in stone
which she was commissioned to do for the
Arlington National Cemetery in Washing-
ton, D. C, honoring the Army and Navy
Nurses of the World War.

■] Sam Hearn who is better known as
"Schlepperman" of Jack Benny's Jello
show over NBC, is an accomplished violin-
ist. Among his most prized possessions
are two rare violins one a 1729 Ballistriri
and the other an 1834 Urtl.

It was at the big party at tlie Trocadero to celebrate the new Lucky Strike program that Jack
Warner had the happy thought of selling guest Eddie Cantor some Lucky Strikes. Dick Powell
seems to think the joke is funny, but Eddie Cantor seems to be reaching for a sweet, instead

48

Accept No Substitutes! Always Insist on the Advertised Brand!

Surely it can't be Marlene Dietrich's new
pancake hat that is causing all of the laughter.
Douglas Fairbanks, Jr. and the blonde star
were caught by the candid camera during
rehearsal for a Lux Radio Theatre program

When Lanny Ross and his wife have a
free evening they make movies. Mrs. Ross
writes the scenarios, their friends are the
actors and Lanny focuses his new color
camera on home-made movie sets. Then
they show movies in their projection room.

■ Of course everyone knows about
Charlie McCarthy and Edgar Bergen's
appearance at the Paramount theatre here
in town in 1935 and of their receiving only
$250 for their part of the show . . . Now,

strange as it may seem, Bergen runs the
whole show with his take running over
$17,000 ... He has to pay out about $7,000
for talent on the show with him, but that
still leaves him $10,000 . . . The whole point
of this story is by way of getting around
to Robin Burns and his famed Bazooka. . . .
Two years ago Bob shared $25 with two
other people for appearing at a local
Chamber of Commerce luncheon. . . . Now
no one knows how much he gets what
with his broadcast, his column and his
movie contract ... it all goes to show that
all you have to have is something a little
off the beaten path, whether it be a
wooden dummy or a tin horn, to gain fame
in this here town.

■ Not this year, but next will Buck
Benny be entered in the Santa Anita
race meet. So says Jack Benny, the NBC
comedian who recently purchased the
yearling which will carry the Jello king's
color across the line . . . we hope.

| A very critical audience watches the
Jack Haley Log Cabin rehearsals on
Saturday afternoons in the NBC Holly-
wood Studios. And believe it or not, their
reaction does mean something to the star.
They are Jackie Haley, Jr., little Teddy
Fio Rito, Jr., and Warren Hull's three
youngsters George, John and Warren, Jr.
Already the boys are fighting over the
affection of Wendy Barrie and Virginia
Verrill.

Judy Garland, young singing star, likes to
rehearse in slacks. Here she is going over
the script of the Maxwell House "Good
News of 1938" program with director Bill
Bacher who also likes informal costumes
when not working before an audience

■ Kenny Baker, who will celebrate his
fifth wedding anniversary in May is

already planning for it. Never once since
they've been married have they cele-
brated. The date always fell on a day
when Kenny was broadcasting.

■ Minetta Ellen, the mother of "One
Man's Family" over NBC, is working

on her seventh afghan for the Seeing Eye
Institute. These covers are raffled for the
benefit of the institute.

JVow tAis new Cream with

"SKEV-YnMIN"

efoer more Jor your s&in
fAan ever£$/ore

The "skin -vitamin" is now in a beauty cream!

Four years ago doctors barely suspected that
a certain vitamin was a special aid to the skin.
They applied this vitamin to wounds and burns.
And found it actually healed them quicker!

This is the amazing "skin-vitamin" which is
now in Pond's Vanishing Cream.

Pond's Vanishing Cream was always great for
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The regular use of this cream will make your skin
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Same jars, same labels, same price

This new Pond's "skin-vitamin" Vanishing Cream is
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price. Remember, the vitamin it contains is not the

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^ Test It in
9 Treatment*

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ishing Cream, enough for 9
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1938, Pond's Extract Company

When Answering Advertisements Please Mention March HOLLYWOOD

49

Anita Louise, eyelids brushed light-
ly with gold, is as exotic in ap-
pearance as the orchid she holds

Ginger Roger s' lips are
touched with the faint gold
glitter of metallic lipstick

Join the Gold Rush

Glinting hair, gleaming eyelids, shin-
ing lips — the Lacquered Look of this
Orchid Age

By ANN VERNON

■ Glamour, Glitter and Gold! The Three G's are replacing the
Three R's from New York to Hollywood, and south to New
Orleans. And if you'll add to these a four-letter word beginning
with G and meaning a youngish female (Girl if you haven't
guessed) you'll have a quartet that can't be beat! For Glamour
Girls everywhere are going in for Glitter and discovering that
the U. S. Mint hasn't a monopoly on all the Gold in the country.
It's been creeping up on us for quite a time, this orchid age.
Maybe you'll want to explain it with high sounding phrases about
reaction from the bogey depression. Or as an influence of the
court life now in progress in England. But what's the use of
phrases and explanations? Luxury is with us again — let's you
and me make the most of it.

| Lovely Ladies Look Lacquered. That's not just a lot of L's
stuck together because they look nice. It's a statement of
fact. We're being poured into our clothes these days, and then,
to make us look still more moulded, the dresses themselves may
turn out to be cloth of gold, glittering paillettes and sequins, or
bright beads that shimmer and shine and show off the fine

50

modelling of our torsos when we move. Faces give the impres-
sion of Benda masks, so carefully is make-up applied to eyes and
cheeks and lips. Lipstick, by the way, is quite frankly lipstick
again. You've surely noticed the very dark lips on lovely girls
in the Technicolored motion pictures. That isn't a trick of the
film — our lips really are a deep color to contrast with the smooth
pallor of our faces, and what's more they're bright and shiny.
In fact, you'll say they glitter.

■ Probably you're thinking that I'm forgetting the one thing
that best gives a girl that lacquered look. But I haven't for-
gotten my lady's tresses! And I quite agree with you that hair
is important. For the proper hair arrangement will make or
break any impression you may want to give. And if you want
to look lacquered, then it's up to your hair to do half the trick
for you.

First, a very smooth hairstyle, with every hair in place. Curls, if
you have them, set and sculptured-looking. And of course it goes
without saying that your hair will have a sheen that will outshine
your dress or your bracelet of rhinestones. If your hair looks

.

drab and dull even after a fresh shampoo,
you'll want to try a grand rinse that has
been used by countless women. It's not
new — but it will viake news when your
gleaming hair attracts a greater rush
from the stagline than that given the
erstwhile belle of the ball! Simple is
the word for the operations involved
in using this magic rinse. You just
dissolve a tiny envelope of powder in
the amount of water specified for your
type of hair, swish it around with your
hand so no particle of powder remains in
solid state, and then pour it over your
wet hair after your shampoo. Magic
potions come cheap, these days, for a thin
dime will assure you of glistening hair.
Want the name?

If you want to make your hair still
more glamorous and glinting, accent the
sculptured effect by posing a feathery
plume on the very tip-top of your head.
Or carry out the gold tones by pinning a
cluster of gold kid leaves among your
curls. If you're the romantic type, try
wearing a Juliet sequin cap with glinting
veil falling softly about your face — or
perhaps you'll want to wear only a veil
that is studded with brilliants to match
your bracelet.

£ Never let it be said that our lips let
themselves be outdone by our locks.
They know well enough how to accent
their beauty with some brightly colored
lipstick, but here's something they prob-

ably haven't heard about yet. I learned
about it only the other day. It's a lip-
stick that is really gold in color, and it
will make your lips as luminous and
luscious as ever you could wish them to
look. This lipstick has a creamy base so
that it can be used alone on the lips, or it
may be smoothed on top of your bright
evening lip make-up, for an overtone of
gold. It's just the thing to add glitter to a
gay evening. If you'd like to lacquer
your lips for glamorous gaiety, let me
know and I'll send you the name. Two
dollars buys the large black and silver
de-luxe-in-every-way lipstick.

If of an evening you're not quite in the
mood for golden lips, but want to be a
bit capricieus in your make-up, take a
second look at those eyes in your mirror.
With eye make-up so much in vogue and

Send your beauty

problems to

Ann Vernon. She wi

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Address her

at HOLLYWOOD

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1501 Broadway, New York City,

and don't forget the

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accepted everywhere, it's much too
prosaic to wear the same color of eye-
shadow for daytime and evening too.
Why not let your eyelids rival the bright-
ness of your eyes themselves? It's done
in the best of families.

■ This is a case of "All that glisters is
not gold" — no indeed, it's sometimes
silver. And it can be either gold or silver
when it's the eyelids that are doing that
glistering. A well-known manufacturer
with whose gadgets for easier eye allure
you're undoubtedly familiar has the
grandest eyeshadows in colors that rival
the rainbow's — and are more varied than
the rainbow's! And, in addition to these
hues, his eyeshadow comes in both gold
and silver. The shadow is really thick
enough to be worn by and for itself alone,
but you don't know what eye make-up
can be until you've tried combining a
glittering eyeshadow with some luscious
color. The maker suggests that you com-
bine his mahogany shadow (putting that
on first, of course) with the gold. The
dark rich color will make your eyes seem
immense, and will serve nicely as back-
ground for the gold flecks of the glitter
shadow. These two together look mag-
nificent on brunettes or girls with dark
red hair. For blondes, there's a royal blue
which, coupled with silver, will make
even a strong man's heart thump alarm-
ingly. They cost $1 each.
For a very great occasion, and to give

When Answering Advertisements Please Mention March HOLLYWOOD

51

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your lashes just that extra fillip, try tip-
ping them with gold or silver. After
you've applied your mascara, allow it to
dry thoroughly, and then brush on the
tiniest bit of shadow in gold or silver, as
the case may be, at the tips of your
swooping lashes. Elegant is the word for
that, and you needn't be worried for your
pocketbook's sake. The shadows sell for
the amazingly low price (for such glam-
our cosmetics) of $1. The name is yours
for the asking.

B All of us have seen girls who were all
tricked out like plush horses — and
not Mrs. Astor's Horse at that — with a
tight and brilliant necklace, long droopy
earrings, rhinestone tiara in hair, and
chunky bracelets on the arms. Every-
thing, in fact, but nose rings, and I some-
times wonder why they haven't taken
those over from the savage. Now the
point is, don't make that mistake with
glitter make-up. Too much of anything
is just too much — and that holds just as
true of gold as of spinach. If you're going
in for golden lips, please, my lady, don't
fiddle around with gold eyelids and lashes
too — but instead, set off your gold lips by
wearing a deep shadow on your lids. It
will make your eyes large— and what gold
you are wearing will count for something,
instead of just fading into a yellow fog.
And vice-versa, if you've decided on gold
lids for an evening of glister, paint your
lips a violent red of some hue or other —

and let them go at that. After all, your
face is only so big, and enough is enough.

H That last sentence doesn't mean that
you shouldn't go in for glittering nails
when you're wearing bright eyeshadows
or lipsticks. Your hands are a whole
arm's length away from your face which
gives you plenty of room before you start
repeating the gold. Besides, the glisten-
ing nail polish I found is too lavishly lux-
urious to be left off any hands that are
party-bound.

The nail polish looks rather like gold or
silver paint — but it has an advantage over
paint. It can't dry out your nails and
make them brittle. Like paint, it can be
used alone to make your nails gleam as
bright as a new dime — or a gold piece.
Or instead, it can be painted on over a
pale rose or deeper shade of polish giving
an effect rather like that of spangles on a
pink dress. For a still more exotic effect,
try painting the silver polish over the
gold — King Midas of the Golden Touch
can have nothing on you. And if you're
wearing evening sandals, don't forget to
touch your toes with this lustrous polish
so that your dancing feet will twinkle as
brightly as your fluttering fingers. If this
polish had been made in her day, Cinder-
ella on her way to the ball with her
pumpkin coach could have afforded to
have her glass slippers show off her
gleaming toe nails. A dollar buys a bottle.
I'll be glad to play fairy godmother and
send you the name if you want to shim-
mer and shine of an evening.

Open Season on Stars

[Continued from page 25]

■ Ginger Rogers got a lot of publicity
when she built her new home in Cold-
water Canyon. People wanted things.
Little remembrances, such as two-by-
fours, bundles of shingles, bricks. Ginger
laughed and laughed until somebody with
a quaint sense of property values lifted
ten sacks of cement for his or her memory
book. Personally, I think this is going
too far, and that we should hold our-
selves down to floor joists, at least.

H If you are a really good fan, don't
forget to get those maps I mentioned.
You can have a great deal of fun with
them. For instance, Claudette Colbert
has a very complicated back yard out in
Holmby Hills. She has a hard time getting
into it from the front, herself. But, with
the aid of the map, an entire family was
able to beat her into the yard and greet
her when she came out in shorts for her
sun bath.

Fred MacMurray's new home is also in-
dicated. Fred has found this out. He has a
new swimming pool. He dropped out the
other day for his dip and found three
ardent fans already in. This gave the
whole thing a homey touch. But the fans
went too far again. They resented Fred in-
vading their privacy.

I could go on about the maps. There
was that morning Fred Astaire had a

hurry call to the studio and found several
admiring friends in his front yard. They
were taking pictures of their car, which
was parked in his driveway.

"I beg your pardon," he said, and the
fans took it in good grace. They didn't
even get sore at him. So he just waited
around at a safe distance until they picked
some flowers and went away.

■ One of the real thrills of being a fan
is to get a star away from the home
grounds. Here, nothing is barred. For
instance, there was that time in New York
City when Clark Gable was trapped in a
theatre by an admiring mob. He had his
meals sent in to him after trying to get
out. When he tried to go away the people
took the buttons off his clothes. And who
can forget the fun we all had when Robert
Taylor got off the reservation? Oh, boy!
Oh, boy!

Another time when the hunting is pretty
good is during the preview hour, and this
deserves considerable space. We have
reason to be very, very proud of ourselves.
Consider Barbara Stanwyck, and the time
we mauled her at the preview of Stella
Dallas. That was real fun, and she was
so black and blue the next morning when
she showed up for work in short sleeves
for a scene in Breakfast for Two that they
had to re-write the entire scene and de-
sign a new costume!

Substitutes! Always Insist on the Advertised Brand!

B At previews is a grand time to get
autographs, and tact should be used
here. When I say tact, I think of those
who at a recent preview asked a slipping
star to sign her name three times.

"Why?" she asked.

"Because," someone said, "we can trade
three of yours for one of Claudette
Colbert."

The woman went home feeling very
happy about this.

Previews are good spots for getting
souvenirs, too. There was that time when
Martha Raye laid aside her pocketbook
for a moment to autograph an album. The
pocketbook had a valuable diamond clasp
on it. When Martha went to get it, it had
been taken. Whoever got that got a real
prize! And then, too, I'll bet somebody
gets a great kick out of having those silver
fox tails. The two that Carole Lombard
wore to the preview of Nothing Sacred
with Clark Gable. Of course, Carole's furs
aren't much good any more. But we've
got the tails!

■ Now, about autograph hunting. I per-
sonally favor the surprise approach.
So does Bing Crosby. The other night,
when he left the National Broadcasting
Studios on Melrose avenue, he climbed
into his cabriolet, drove toward home. He
had not got very far when a voice seemed
to come from nowhere.

"Hey, you!" it said. "Gimmie your auto-
graph!"

Bing very nearly crashed his car into
the one ahead, he was that surprised. In
fact, he might have climbed a telegraph
pole with his car, been charged with kid-
naping or, in the case of a serious acci-
dent, negligent homicide.

I don't know what it is that makes us
feel so friendly toward the stars. I guess
it's because we see them on the screen
and feel we know them. In turn, we feel
that they ought to know us. Of course,
there are millions of us, but who cares?

Now, here's another angle. The star's
party. We just walk right in, maybe bring-
ing a few friends to liven things a bit. The
most recent case of this was a garden
party given by Gracie Allen and George
Burns. We were so successful that we
actually broke up the party. No kidding.
George and Gracie and the guests — that
is, the poor saps who were really invited
— fled into the house.

B Nothing is more open than the open
season in a restaurant. Here we come
into our full glory. We ask for autographs,
stand and chat, perhaps seat ourselves at
the table and pick a few morsels off our
favorite's plate. But the woman who takes
the prize is the one who took Jean Parker's
hat. This was a case of perfect technique.
The hat was actually on Jean's head at the
time. I'll bet this woman could teach me
a few things I don't know and here I am
giving you a few lovely little ideas on
how to make the stars happy.

Yes, hunting in Hollywood is great
sport. Among the other things you must
remember is to stand up for your rights.
There was that bunch in front of the
Paramount studios the other day who
mobbed Gracie Allen as she hurried in to
work, right on time. There's a rule, sort
of unwritten, that no one is to ask a star
for autographs when she is going in the
Paramount gate. But we just laugh at
thing's like that.

HI There are some records that will be
hard to top. Consider the woman who
got a lock of Shirley Temple's hair, right
from the spot where it would show most.
And then there was the woman at the
Parnell preview who ought to get a testi-
monial for originality. She showed up
with a box of mixed cement, and did she
have Clark Gable over a barrel when she
asked him to put his foot in it!

Well, he didn't want to offend her. So
he put his foot in the cement, and wrecked
his shoes, and .his socks, and was darned
uncomfortable for the rest of the evening.

Now you've got your rules for Holly-
wood etiquette. Maybe I've missed a few
interesting angles. Maybe I've skipped a
few tips. The stars aren't very big about
talking these things over. They're afraid
somebody might think they were getting
high hat if they didn't take it and like it.
But I've done the best I can.

So, when you get a chance, come out
and have some good, clean fun.

GIRL ON OATH TELLS HER
SECRET OF GAINING WEIGHT

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taking new Ironized Yeast tablets

NO longer need thousands of girls
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unable to win friends and popularity.
For, with these amazing new Iron-
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5 to 15 pounds of solid, naturally at-
tractive flesh — gained new pep and
charm — often hi just a few weeks!

It sounds almost unbelievable. Yet
listen to what Miss Anne Johnston,
who is just one of many users, swears
to before a Notary Public :

"Under the strain of working in
several pictures in Hollywood, I be-
came terribly rundown. I lost weight,
my skin looked terrible, I suffered
with headaches and my nerves were
simply on edge. Of course I knew I
couldn't stay in the pictures, looking
so skinny and wornout. I was in de-
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beautifully. All my headaches and
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Anne Johnston, Jackson Heights, N. Y.
Sworn to before me
Donald M. McCready, Notary Public

Why they build up so quick

Scientists have discovered that hosts
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They're made from one of the
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No wonder, then, that these new easy-to-take
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iVIake this money-back test Miss Anne Johnston swears before Notary Public McCready

To make it easy for you to try lionized Teast.
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When Answering Advertisements Please Mention March HOLLYWOOD

53

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By Llewellyn Miller

MANNEQUIN (M-G-M)

£1 When Jessie Cassidy (Joan Crawford)
left the factory at the end of a hot day,
she was desperate with weariness. As she
climbed the miserable flights of stairs to
her family's dirty and disorderly flat in
Hester street, she was desperate with dis-
taste. The sight of her lazy father (Oscar
O'Shea) her worthless little street-rat of
a brother (Leo Gorcey) and her worn,
hopeless mother (Elizabeth Risdon) made
her desperate with rebellion.

By contrast the four-flushing Eddie
(Alan Curtis) seemed to stand for all that
she wanted in life. And, too, she was in
love with him because he was young and
boastful and flashy. She stayed in love
with him even when she discovered that
he had lied about many things and was
unreliable about nearly everything. She
pretended not to understand when he
asked her to encourage the attentions of
ship-owner Hennessey (Spencer Tracy)
who also had hated his slum background,
but who had made his own way out.

Alan Curtis deserves close attention for
his portrayal of the chiselling Eddie who
feels that he has a fine thing when his ex-
wife marries again, and lays careful lines
of blackmail. The story is a little hard to
follow at this point, because all that Jessie
had to do to put an end to the trouble was
to say a few words of explanation to
Hennessey, who had proved time and
again that he was a fine noble understand-
ing fellow. But no. She takes the hard
way out, and decides to leave everyone,
without explanation, which seems pretty
careless of a good man's feelings.

While Miss Crawford spends very little
of the picture working as a mannequin,
there is a small fashion show, with strik-
ing gowns designed by Adrian, and in the
latter half of the film, the star wears some
very telling clothes.

Spencer Tracy again does one of those
tough-but-tender roles which endear him
so to audiences, and Miss Crawford has a
satisfactory lot of disaster before the happy
finale.

I'LL TAKE ROMANCE (Columbia)

§U Even without the generous number of
songs, the new Grace Moore picture
would be charming. With them, it is a
delightful combination of polite gay
comedy and ingeniously placed music.

Miss Moore plays a world-famous diva
who is bossed and bored by her aunt
(Helen Westley) into making quite a
number of extravagant gestures. One of
them was ignoring her contract to sing in
South America because she had a much
better offer in Paris for the same date. An-
other was falling in love with a most en-
terprising chance acquaintance (Melvyn
Douglas), who presented a series of argu-
ments why she should accompany him on
his return to South America.

What she did not know was that he had

been sent to lure her within reach of the
law in Buenos Aires, and to fulfill her en-
gagement, willing or not.

She thought it was uncomplicated love,
and she was enchanted when she found
herself kidnaped by the simple expedient
of being put on the wrong boat. Then she
refused to believe it was love until two
more kidnapings had convinced her.

The plot is light and gay and takes its
chief charm from the splendid resourceful
dialogue, the telling comedy of Stuart
Erwin and the smooth support of Melvyn
Douglas.

A DAMSEL IN DISTRESS (Radio)

H Evidently executives at Radio Studios
were somewhat alarmed at possible
consequences of the splitting of the team
of Fred Astaire and Ginger Rogers, be-
cause the brilliance of the supporting
cast in Astaire's solo starring, A Damsel
in Distress, is quite dazzling.

Life is complicated for the American
dancer, Jerry (Fred Astaire) by his ruth-
less press agent (George Burns) and a
placidly n i t - w i t secretary (Gracie
Allen).

Love is complicated for Lady Alyce
(Joan Fontaine) by a martinet of an
aunt (Constance Collier) who is in entire
disagreement with Lady Alyce's brow-
beaten but resourceful father (Montague
Love). The situation is further compli-
cated by the house staff headed by a
major-domo (Reginald Gardiner) which
is backing various suitors with heavy
money.

The film is packed with funny scenes.
You'll have to cast your own vote for
the most comic moment, but among those
you'll enjoy mightily are Reginald Gardi-
ner's struggle to resist an almost animal
impulse to howl his own version of opera;
Astaire's routine with a fencing foil when
he fears he may become a duelist; Ray
Noble's wooing of Gracie Allen; the dance
that Astaire, Burns and Allen do in the
fun house on the turn-table, through the
barrel, down the slides; Astaire's dances
with the trap drums; in the street;
through a misty garden . . . and those
are only a few of the many funny se-
quences in an exceptionally well done
musical.

Miss Rogers is missed in dance se-
quences, but Miss Fontaine makes a
charming heroine, and proves, again, that
she is one of the most engaging of the
younger actresses."

HITTING A NEW HIGH (Radio)

H Certainly it is not the fault of the
casting director that this musical is
not the best that Lily Pons has turned
out for the screen because the cast is
brilliant.

Edward Everett Horton, as a rather
flustered big game hunter and opera
patron, Jack Oakie as his press-agent,
John Howard as .a dance orchestra leader,

54

Accept No Substitutes! Always Insist on the Advertised Brand!

Eric Blore as a member of the band,
Eduardo Ciannelli as an impresario could
not avoid being a funny combination.
Then you add the wild circumstance of
Lily Pons posing as a "bird-girl" and
allowing herself to be "discovered" in
the depths of the African jungle as she
chirps and twitters to her feathered
friends, and you have more fun. There
are some clever song and dance routines,
and of course several operatic numbers.
So hard does the cast work with the
absurd story, however, that there is an
effect of slight strain which is not the hap-
piest background for a great opera star.

BOY OF THE STREETS (Monogram)

J Jackie Cooper, remembered as one
of the most remarkable of child stars
who ever shook a Dutch bob, thrust out
an under lip and turned on great floods
of tears, has grown up. He now is a
towering young man, giving a very fine
performance indeed in a story of a boy
who falls among evil companions but who
sees the error of his ways and joins the
navy.

it is true, than in the drama, for not even
the most ardent of his admirers will claim
that Louis is an actor.

The big boy moves his powerful bulk
from one side of the set to the other with
about as much enthusiasm as an embar-
rassed pupil displays in crossing the
schoolroom to stand in the corner. News
clips already have familiarized his fans
with his remarkable ability to maintain
one expression under all circumstances,
and he does not abandon this notable
restraint, even when the script calls for
passion, despair, or hilarious triumph.

Make no mistake about it, though . . .
the picture is thoroughly interesting.
Louis did not gain his fame as an actor,
after all, and it is interesting to see him . . .
not as an actor but as the heavy-
weight champion . . . walking through 65
minutes of screen story.

The all-negro cast makes a fairly good
showing, particularly in scenes where less
experienced players are helped by Cleo
Desmond, formerly with the LaFayette
Players, and Clarence Muse, sterling actor
in anybody's cast.

SPIRIT OF YOUTH (Globe-Grand National) TOVARICH (Warners)

■ Because Joe Louis is one of the most
important figures in the sports world
today, his feature length picture has high
entertainment value. The entertainment
lies more in seeing the champ in action,

| They had 40 billion francs in the bank,
but the Grand Duchess (Claudette
Colbert) was stealing the dinner, and her
husband, the Prince (Charles Boyer), was
spending the day in bed because there was

no fire in the miserable apartment under
the eaves of the Paris pension.

That is the beginning of the gay, charm-
ing tale of the two proud exiles from
Russia who defend a sacred trust against
all comers. The trust is the fortune, con-
fided to them for safe-keeping by the
Tzar in the parlous days when his throne
was beginning to totter. And, though the
Tzar was dead, they have defended his
property with fanatic honor. They will
not use the millions for themselves. And
they are disdainfully amused at all sug-
gestions from selfish parties who bring
pressure upon them for its release.

Things look pretty black when Her Im-
perial Highness is detected filching arti-
chokes and caviar for dinner, but hope
comes in the form of an advertisement.
They apply for positions as maid and
butler in the home of a banker (Melville
Cooper). There they so enchant the
daughter (Anita Louise), and the son
(Maurice Murphy), and are in turn so
delighted with the warmth, the food, the
freedom of Thursdays off, that their prob-
lems seem solved until a Soviet Com-
missar (Basil Rathbone) is invited to
dinner.

There is delightful dialogue in this
photographed play, sturdy drama, and
enough gay comedy to make it one of the
outstanding attractions. You'll like it for
the surprise ending, as well as for the
plot which keeps you guessing from the
start.

Paramount's New Star

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When Answering Advertisements Please Mention March HOLLYWOOD

55

NO TENDER GUMS OR DULL

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USE FOnttAMS AND MASSAGE.

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INGREDIENT FOR

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massage with Forhan's
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brilliance, helps make gums firm, healthy.
For generous sample send 10^ to For-
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BABY COMING?

See your doctor regularly.
Ask him about breast-
shaped Hygeia Nipples and
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New valve inside nipple
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HOLLYWOOD COOKING SCHOOL

We wouldn't be surprised if that lace apron didn't exert some
kind of obscure influence over the batter that Miss Shirley is
beating, but nothing is said about lace aprons in the recipe

THE BRIDE'S FIRST CAKE

Making a cake isn't hard if you know
all of the answers so Anne Shirley
got an expert to show her how

By BETTY CROCKER

M "How can a bride bake a cake,"
wailed Anne Shirley, "when she
scarcely knows how to boil water?"
Anne had sent out an S-O-S from her
spic and span apartment kitchen, where
she is keeping house for a brand new
husband.

Anne wanted to bake a cake that would
be a triumphant surprise for John
Howard Payne, handsome young screen
and radio actor, whom she recently
married. Anne, let me explain, has been
in pictures since she was a child, and is
in such constant demand at her studio,
RKO-Radio, that she can hardly be
blamed for never having learned to bake
a cake.

"I want to make a chocolate layer cake
for John," she said. "But I don't even
know how to begin."

"The first thing you need," I told Anne,
"is a perfect recipe. I mean one that has

been so carefully tested — that there's no
question but that it will turn out right if

SEND FOR BETTY CROCKER RECIPES

HOLLYWOOD Magazine now brings
you the expert services of Betty Crocker
whose recipes are known and depended
upon by women in all corners of the
world. A million letters a year from
housewives attest the popularity of her
"kitchen clinic." A letter from you,
addressed to Betty Crocker, c/o HOLLY-
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New York City, and enclosing a three-
cent stamp, will bring you exactly the
recipe you have been looking for, no
matter what the dish you have in mind
— a recipe that is kitchen tested in Betty
Crocker's home economics laboratory.

58

Accept No Substitutes! Always Insist on the Advertised Brand!

you follow it exactly, using the ingredients
it specifies."

But Anne still looked doubtful.

"You see, I don't even know what it
means when it says 'cream the sugar
and shortening,' " she declared. "People
expect girls to know too much, I think.
And I'm not the only one — other girls
have tried to bake cakes and had the
most terrible results. One of my friends
greased a pan with bacon grease when
the instructions said 'grease the pan.' At
least I don't think I'd make that mis-
take!"

"No, I'm sure you wouldn't do that,"
I told her. "But while we're on this
subject of greasing the pans, perhaps I'd
better explain that the shortening used
should be sweet and unsalted. A salted
shortening would make the cakes stick
to the pan. And, if you want a nice
tender golden crust on the bottom of
your cakes, grease your cake pans gen-
erously and then dust them with flour.
That is, put a little flour into the greased
pan, shake it around until the flour has
coated the grease, then shake out the
excess flour."

To answer her question about cream-
ing the sugar and shortening, I explained
that the shortening (which is butter or
any sweet hard shortening) and the sugar
should be rubbed against the side of the
mixing bowl until a fluffy mass is formed.
Don't put the mixture in the oven to melt,
by the way, as I saw one bride try to do.

Then one other point that I cautioned
Anne about — measuring the flour cor-
rectly. This means to sift it lightly into
a standard measuring cup, never shaking
it down or striking the cup. All my
recipes are kitchen tested and measure-
ments must be level. The only way to
get a correct measure is to sift the flour
first.

I assured Anne that with a good re-
liable recipe there was no reason why
any girl — even though she hadn't baked
before, couldn't produce a cake she'd be
proud of — and have lots of fun making
it, too!

This is the recipe I gave her:

CHOCOLATE JOY CAKE

3 squares chocolate (3 oz.)
% cup hot water
Vz cup shortening
1% cups sugar
3 eggs

2% cups cake flour
or 2 cups all-purpose flour

tsp. baking powder

tsp. soda

tsp. salt

cup sour milk or buttermilk

3

y4

Vz

i

Mix shaved chocolate with hot water
and cook to a thick paste, stirring con-
stantly— about 3 to 5 minutes. Set aside
to cool. Cream shortening, add sugar
gradually and cream well. Beat eggs well
and blend into the creamed mixture. Add
the chocolate mixture and blend well.
Sift flour once before measuring. Sift
flour, baking powder, soda and salt to-
gether and add to the creamed mixture
alternately with the sour milk. Pour into

well greased and floured layer pans and
bake 30 to 35 minutes in a moderate oven,
350° F. SIZE OF PANS: Two 9-inch
round layer pans.

"In placing the mixture in the pan,
spread it evenly," I cautioned her, "or
else one corner may cook before the
other."

I'd already told her to heat her oven
so that when the cake was ready to bake,
the oven would be at the exact tempera-
ture specified in the recipe, that is 350°
F. (moderate oven).

The cake was no sooner in the oven
than Anne wanted to peek and see how
it was coming along. There's a very posi-
tive rule against peeking too soon, for
the penalty may be a fallen cake.

"But how can you tell when it's done?"
asked Anne.

"When the baking time given on the
recipe is almost up, you can touch the
top of the cake lightly with your finger
— if it springs back, it's done. If it shows
the imprint, it needs a little longer bak-
ing. For loaf cakes, or for a double check,
run a straw into the center, and if it
comes out clean the loaf is done."

Anne was well pleased with her work
when the cake was finished, and quickly
set about making the icing. Here is the
recipe:

CHOCOLATE ICING

6 tbsp. shortening

1 egg yolk

3 cups confectioners' sugar

4 tbsp. cocoa

4V2 tbsp. hot water

Cream shortening and blend in the egg
yolk. Sift sugar and cocoa together and
add alternately with the hot water. Beat
until smooth and then spread between
layers and over top and sides of Choco-
late Joy Cake.

There, the cake is done!

ANSWERS
HAVEN'T WE SEEN YOU?

1. Mischa Auer in We Have Our Mo-
ments

2. Paul Muni in Seven Faces

3. Jean Hersholt in Heidi

4. Joan Blondell in God's Gift to
Women

5. Myrna Loy in Stamboul Quest

6. Shirley Temple in The Littlest Rebel

7. Barbara Stanwyck in So Big

8. Lionel Barrymore in The Devil-Doll

9. Gary Cooper in Lives of a Bengal
Lancer

10. George E. Stone in Anthony Adverse

I I. Gloria Stuart in Beloved

12. Ralph Bellamy in The Man Who
Lived Twice

13. John Barrymore in Bulldog Drum-
mond Comes Back

m.

3

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When Answering Advertisements Please Mention March HOLLYWOOD

57

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CORNS COME BACK
BIGGER-UGLIER

OLD-FASHIONED home paring is dangerous!
It means risk of infection and only affects the
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Don't take chances. Now you can remove corns
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BLUE-JAY CORN PLASTERS

* A plug of dead cells root-like in form and position. If
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Hollywood Newsreel

[Continued from page 13]

him with the original manuscript of this
popular work . . . Neil Hamilton endeav-
oring to interest others in the blind . . .
the actor devotes two afternoons a week
reading- to the blind veterans at Sawtelle
. . . Fred Stone says "it's easier to raise a
laugh than a loan" . . . Marie Wilson now
is first in feminine fan mail on the Warner
lot, believe it or not . . . she overshadows
such top-rank stars as Kay Francis and
Bette Davis . . . THERE'S an oddity in
the news, certainly . . . there's a clause
in George Brent's contract saying he
doesn't have to make personal appear-
ances . . . they scare the daylights out of
him . . . Marjorie Gateson buys her
driving gloves in little boys' size . . . her
hands are too small for regular-size utility
mitts . . . difficult to believe, Fred Keating
has never had a music lesson in his life
but plays the piano expertly . . . Joan
Crawford and Delia Lind taking up polo
together . . . GOOD NEWS, in ANY
language . . . small wonder Fernand
Gravet is so highly in demand at parties
given by members of the film colony . . .
he turns out a swell dish of crepes suzettes
. . . it's not ALL a lark, this picture busi-
ness . . . Big Boy Williams took a horrific
spill off a motorcycle during one of the
scenes in Harold Lloyd's Projessor Beware
. . . Patric Knowles still maintains that
the report of his death was not a little
exaggerated ... if the fillums pass by
Clark Gable, he needn't care . . . he'll
have his pilot's license soon . . . the Dick
Forans are fixing up a nursery in their
home for an expected heir in late spring
. . . the Claude Rains probably will be
proud parents by the time you read this
. . . and now it's the portable dance floor
. . . Wendy Barrie owns one and takes it
with her whenever she goes out of town
for a day or so . . . she's taken up tap
dancing with a vengeance . . . the con-
traption is a special hard-wood collapsible
affair . . . probably the least movie-ish
individual in all the Hollywoods is Clark
Gable . . . when he lived at the Beverly-
Wilshire Hotel he occupied a single small
room . . . now, on his ranch, the only

servant is a housekeeper Nelson

Eddy is going a-touring concert-bent in
February . . . hope he'll hit YOUR town
. . . BREAK OF BREAKS— immediately
she arrived back from England, Maureen
O'Sullivan was cast in the title role of the
important Madelon . . . Luise Rainer had
been scheduled for the role but ill health
necessitated her withdrawal in favor of a
long rest . . . FLASH — Greta Garbo and
Robert Taylor exchanged radio messages
when their ships passed in mid-ocean . . .
despite Ronald Sinclair's very fine work
in Thoroughbreds Don't Cry, Freddie
Bartholomew still is the fair-haired boy
on the Metro-Goldwyn lot . . . that re-
port, though, that his voice is changing
and he will make no more pictures is TOO
ridiculous . . . Gail Patrick couldn't decide
which of two hats to wear to the Troc-
adero, so she up and wore 'em both! . . .
THAT'S HOLLYWOOD!!

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58

Accept No Substitutes! Always Insist on the Advertised Brand!

MOVIE CROSSWORD

14

20

24

30

35

41

10

31

45

29

36

49

21

25

32

46

52

15

26

42

16

22

37

50

11

8.

17

38

51

12

27

33

43

47

23

m

39

48

18

40

44

13

28

34

19

7.

8.
10.
12.
14.
15.
18.
20.
22.
23.
24.
25.

27.

28.
29.
30.
32-.
Zl.

34.
35.
37.

39.

41.
42.
44.
45.
47.
49.
51.
52.

ACROSS

Film starring Eleanor Powell and Nelson

Eddy.

Hero of The Hurricane.

Biblical character in Green Pastures.

What Corky likes to gnaw.

His last name is Harlan.

Master of ceremonies in Nothing Sacred.

What actors do to register displeasure.

M-G-M's Leo grew up from one.

Has a role in a screen play.

Hundred Men and a Girl.

Gloria's surname.

Initials of Tom Kennedy.

Spring Byington portrays this member of

the Jones Family.

State in which Miriam Hopkins was born

(abbr.).

Mr. Rumann's initials.

He was a comedian in True Confession.

Hold Navy.

Edward Saint.

Initials of one who portrayed The Great
Garrick.

Joan Davis is wife of Wills.

Film measure.

Screen brother of Florence Rice in Navy

Blue And Gold.

Villains inspire this emotion.

Short for Mr. Hinds.

Clarabelle in The Perfect Specimen.

Lancer Spy is a World — tale.

Star for Music For Madame.

Acey Kile in The Last Gangster.

Part of a movie camera.

One of feminine players in 1 Across.

A In Distress (plural).

2.

3.

4.

5.

6.

7.

9.
10.
11.

13.
14.
16.

17.
19.
21.

23.

26.
27.
31.
34.
36.
37.
38.
40.
42.

43.
46.

48.
50.
51.

DOWN

What Two Little Pigs did when Big, Bad

Wolf called.

His last name is Olsen (possessive).

Initials of Director Lanfield.

Jack Rue.

of. the Crowds.

What patrons of Hollywood's Brown Derby do.

Beamish in The Wrong Road.

Robert Armstrong's native state (abbr.).

Duke Comes .

Loretta Young and Tyrone Power were paired

in Second .

Former wife of Nick Stuart (possessive).

Jane Withers starred in 45 .

Garbo and Boyer were starred in

Conquest.

Shall Dance?

Jean Parker was heroine of The .

Stuart Erwin had title role in Town

Boy.

First name of one who was Mrs. Hinkle in

It's Love I'm After.

Some Blondes Dangerous.

Member of crew of Submarine D-\ (Slang).

Descriptive of the villain.

Oliver Hardy's screen pal.

First name of a famous German actor.

AH Baba Goes Town.

Thank You, Moto.

Fly Baby.

She was Stephanie in Something To Sing

About.

The newspaper editor in Trouble at Midnight.

He was the publicity agent in This Way

Please.

Short for Mr. Fenton, Ann Dvorak's husband.

Initials of little Miss Martin.

Juvenile member of the Jones Family

(initials).

(Solution on page 61)

vMy SKIN

now invites
a close-up

"—how well I re-
call the days and
long evenings
when I felt tired-
out and looked it.'"

A SKIN* that glows naturally bespeaks ra-
diant health beneath ... it is alive . . .
stays fresh! So, be good to your skin from
within and it will be good to you.

The reason for this is quite simple . . .
skin tissues must have an abundance of red-
blood-cells to aid in making the skin glow
... to bring color to your cheeks ... to build
resistance to germ attacks.

It is so easy for these precious red-blood-
cells to lose their vitality. Worry, overwork
and undue strain take their toll. Sickness
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tards the development of new cells. Even a
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Science, through S.S.S. Tonic, brings to
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Moreover, S.S.S. Tonic whets the appetite.
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How Garbo was

"Nagged" out of Two

Hollywood Homes

[Continued from page 22]

near-by hills. It gave him a nice, pleas-
ant feeling — not to have to face closed
shutters.

S To be sure, his dreams were slightly
disturbed. Garbo haunted them. A
haughty Garbo. A distracted Garbo, with
her hands tight over her ears — pleading
with him not to do that song again. Were
those tears of entreaty on her face? Were
her lips really trembling? Allan would
wake up in a veritable terror of appre-
hension.

But the days continued serene. He and
Irene made plans. They purchased the
plot of ground adjoining their house. In
the near future they would move the
stables there — and build a swimming pool
on their present site.

It gave a man an elegant and content
feeling to be completely untrammeled.
The studio was making big plans for him.
The Firefly was a big success.

He walked on air! Almost at any mo-
ment— whether walking to the stage, or to
his dressing-room, or to the commissary,
he was likely to burst into song.

Now ordinarily, he is a fairly restrained
person. He has a fine dignity about him.
But these were unusual times— a man
could be forgiven for bursts of exuberance
when a turning-point in life and career
had been reached. Enthusiasm can be
restrained just so much and no more!

E Even though Allan and the elusive
Swede had been fellow-players on
the Metro-Goldwyn-Mayer lot for many,
many months, he had never even caught
a peek at her on the sacred precincts. He
had always hoped that some-day he
would come face-to-face with her. What
a thrill that would be! But now, it was
a dread, not a hope!

Once or twice he thought he saw her
venerable car— coming towards him. He'd
duck into the first convenient doorway,
and heave a deep sigh of relief when he
found it a mistake.

There came a fateful afternoon — and
wouldn't you know it would happen —
when he was walking along, just minding
his own business, but whistling shrilly
while he was concentrating, and bump!
he rounded a corner, and almost knocked
the breath out of her. The Jones luck!
Garbo seldom walked; he had been
around for months, and never seen her.
As a matter of fact, there were hundreds
of people who'd been on the lot for years
and years and had never come face to
face with her.

And here he was — practically demolish-
ing the lady! And making an awful noise,
to boot.

"You know, Irene," he told his wife that
evening, deep, deep in dejection, "there
must be a curse on me. First, we annoy
Neighbor Garbo with my singing. And
the first time I see her, I am whistling,
and I hit her like a tackle on a Saturday
afternoon."

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H Allan went around silently on studio
streets after that encounter. And he
approached corners most cautiously. Who
could tell when Garbo might pop up?

Allan was getting a well-deserved rest
before he went into his next picture —
Everybody Sing. He spent a lot of time
puttering around the grounds and the
stables. Gee, it was swell to be free — to
raise your voice in song right out in the
open, if you felt like it. Even to carry on
long-distance conversations with the
horses way, way down at the stables.

And no shutters to dread!

It was the stable-hand who smashed the
peace and serenity of his life — shattered
completely his feeling of well-being.

"Who do you think's our neighbor, Mr.
Jones?" he asked one morning, with the
light of a great and glorious and thrilling
secret in his eyes. Allan's heart sank; he
had a premonition. And the stable-hand
wanted to play guessing games at a time
like this!

"Garbo!" exclaimed the 'hand'. "Aint
that wonderful!"

"I might have known it!' His soul cried
out. He was a bruised and bleeding
shadow of his own blithe self at that mo-
ment.

"Now don't take it so hard, dear," Irene
chided with wifely tenderness. "It'll all
work out all right.'

If His role in Everybody Sing was a
singing-actor's dream. He 'had a lot
of music to learn. But the excuses he in-
vented for not practicing at home were
masterpieces of imagination. And as for
the horses — their currying and their bed-
ding-down was now on the stable-hand's
routine. They simply couldn't be made
to keep quiet when Allan came around.

And silence was now the watchword
for the Allan Jones menage — for man —
but not for beast!

Now I have it on the best authority —
from one of the most reliable stable-hands
in Hollywood — that this is the story going
the rounds of the most exclusive stables.

It seems, the horses didn't like this
state of affairs even a little bit. And one
night, they passed up some beauty sleep
to discuss the grave situation.

"The boss doesn't come around to take
care of us any more," the horses agreed
with what the mare said. "Do you think
he's gone Hollywood — do you think his
success in The Firefly has gone to his
head?"

The horses were woe-begone! They
couldn't, they wouldn't believe this — the
worst — of their beloved master.

"Something tells me," said the sage
mare, "that the lady next door is respon-
sible. Have you noticed the stricken look
in Allan's eyes everytime he catches a
glimpse of that house down the street?
And if you'll remember she used to live
next door when we were in the other
house. I'll bet you a lump of sugar
against an apple that I'm right."

"It was really the little colt who found
a solution," the gentleman wise in horse-
vocabulary revealed to me. "He said,
says he — 'I'll bet she doesn't like noise —
and we Joneses certainly are hard on the
ear-drums. In a nice way, of course. But

there's singing, and our conversations
aren't of the quietest."

" 'That's it — I'm sure of it,' interposed
his mother. 'There's only one thing to
do!'

"And what do you think they did —
those blessed horses," my informant told
me. "They made a plan.

"Mr. Jones didn't quite know what had
happened to his horses. He calls the vet
in — and that good man says, 'there ain't
nothin' wrong with your horses, Mr.
Jones. A little on the loud side — but then
they're high-strung, as all good horses
are, and I wouldn't be worryin' too much
about it. A little skittish, that's all.' "

The gentleman warms to his subject:
"In the next few days you'd never heard
such a clatter. Those horses, had the most
unseemly laughter. You could hear it
for blocks. And, let me tell you, when a
horse sets out to have a good, husky
belly-laugh, you might better be buyin'
cotton for your ears."

All these days Mr. Jones was going
about with a concerned look. He sensed
something about to happen — but couldn't
quite figure out what it was going to be!

| Then one evening there were no

lights in the house next door. And

it remained dark until a neighbor with

six dogs, one horse, and nineteen canary

birds moved in.

Well now, you may not believe it, and
then again you might — but those in the
know generally agree, that Garbo left be-
cause the noise got on her nerves. And
the Jones horses — those night-owls in
horses' flesh — were responsible.

In any event, Allan is now learning
new songs every day, right at home. And
all the shutters in the neighborhood are
wide open to the lazy and soothing breezes
— and to the Jones voice!

HOW DO YOU RATE?

Of course you are popular. Your -family
likes you and you have a lot of friends.
But do you know how you rate according
to Hollywood standards? You can find
out by getting next month's HOLLY-
WOOD Magazine, and reading "Tyrone
Power's Popularity Test."

Crossword Puzzle
Solution

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What Do Yon Mean —
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[Continued jrom page 19]

the bed. I flopped on that, clothes and
all.

"I must have slept about two hours
when I was awakened by all the other
guests trooping in to dinner, singing 'Pack
Up Your Troubles in Your Old Kit-Bag.'
I listened, thunder-struck. So that was
the kind of place I had climbed mountains
to get to! I didn't stay. I lit out pronto.

H Now, in Camp Kare-Free, I'm finding
out what I missed. That's the kind of
place Camp Kare-Free is. Only Camp
Kare-Free, being in the Berkshires, is in
the rain belt. That adds to the fun . . .

"Did I say fun? It would have been a
lark, if we could have made the pic-
ture in the summer — the time the story
supposedly takes place. We started the
picture after the summer was well over,
And the first thing we did was to go on
location. To Bartlett Lake, fifty-five hun-
dred feet up, in the San Bernardino Moun-
tains. They have eighteen feet of snow
there in the* winter. We didn't see any
snow — we got out just ahead of it. But,
every morning, we did see a thin film of
ice on. the lake, and even at noon the
temperature of the water went no higher
than 40 degrees. The temperature of the
air went down to 20 at night.

"We were there three weeks. During
that time, we worked eight nights — in
manufactured rain. Two days, I had to
swim in that lake."

Not being able to suffer even the
thought of a cold shower in your own
home of a morning, your blood congeals
as Ginger continues:

"Those little dips were really some-
thing." (A genius for under-statement,
this Ginger!) "I averaged about ten of
them a day during those two days, for
shots from various angles.

"It would make a better pun to say I got
into the water gingerly. But if you've
ever had to get into cold water, you know
that the only way to do it is in a hurry.
I'd shed all my wraps, and blankets, and
things, take a deep breath, say to myself,
'Well, here goes!' — and dive in. Melted
ice couldn't have been any colder. It's
lucky the film wasn't Technicolor. I'd
have photographed blue.

"I probably wasn't in the water at any
one time longer than fifteen or twenty
minutes." (What does she mean — longer?)
"Then I'd come out of the water and
they'd wrap heated towels around me, and
I'd rush to a little cabin they had set up,
where they had stoves. I'd get my bath-
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in my hand. It would take about a half-
hour to dry out the suit. Then we'd be all
set to go again.

K "They say misery loves company. I

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Jr., was in the same boat, that first day.
Or, rather, he was out of the same boat.
We were supposed to be having a high old
time, cavorting in the water, laughing,
enjoying this good old summertime sport
— enjoying it so much that the audience
would wish it was right in there with us.
Did you," she asks, curiously, "ever try
to smile naturally when your teeth were
chattering? That's what I call a test of
acting!

"The second day — this was for another
sequence — I didn't have an orthodox bath-
ing suit. Our heroine has unintentionally,
but innocently, spent the night in the
cabin of a man. She knows that if she is
seen walking back to her cabin from his,
early in the morning, her reputation won't
have even a shred left to it. So she dives
off the veranda of his cabin, to swim
across the lake and approach her own
from the woods.

"She doesn't have a bathing suit with
her, so she makes one in a hurry — out of
a pair of his undershorts and a big ban-
dana fashioned into a halter. And if you
think that's a swimming costume for an
autumn morning in the mountains . . .!
It feels a bit like one of those wet, stuffed
rubber gloves they pass around at Hal-
lowe'en parties in the dark. Only more
so, and all over you. Some fun! And
when I come out of the water, as you'll see
in the picture, I look like something that
has come through the wringer. . . .

"When we worked nights, we didn't work
days. That was one break. But getting
soaked at night is infinitely worse than
' getting soaked in the daytime. It's colder.
I speak from experience. That mountain
air at night is the coldest thing this side
of the Arctic Circle, anyway. And when
you mix it with water — well, you feel
like nothing so much as a two-legged
icicle.

H "Camp Kare-Free has a carnival. In
the midst of the carnival, a thunder
storm comes up. And down. It's a deluge.
Before we can get to shelter, we are
drenched. With the girls all dressed in
flimsy silk pajamas. It was thoughtful of
the script-writers to inject that touch.
Really. I mean it. You see, we could
wear long undies — woolen ones, I don't
mind telling you. And over the undies
we could, and did, wear cellophane union
suits. But all that didn't keep us from
getting our feet wet, or didn't keep water
from running down our necks, not to men-
tion stringing our hair.

"I've played rain scenes before. And
rather enjoyed them— in the studio. The
water's heated there, you know, before
it's sent through the 'rain' pipes. But
this water was pumped right out of the
lake. There was a difference.

"And that water was a torment in more
ways than one. It so happens that one
of the unwritten laws of this glamour
business is: You must have your hair
shampooed every working day. No matter
what situation the script calls for, your
hair must look soft and lustrous. And
trying to shampoo my hair with that lake
water was equivalent to shampooing it
with liquid carborundum. The water was
that hard. They finally had to send to
Hollywood, a hundred miles away, for
some rain water. Which was hoarded like
water from Jordan.

"Getting my hair clean, getting enough
to eat (I had a fiendish appetite!), and
keeping warm— those were really prob-
lems. But don't think I suffered *all the
time, or even most of the time. The cabin
where my maid and I stayed had every
modern convenience, except one. It didn't
have a telephone. The peace — it was won-
derful.

"In fact, I'd even go so far as to say I
had a good time."

What does she mean — a good time?

Dr. Crosby Takes a Bow

[Continued from page 27]

lived across the street. It was easy to go
to. I never had gumption enough to go
out after anything. It was pleasant, too,
at the university. I didn't study for any-
thing in particular. It just happened I
was pretty good at languages" (note his
flair for French in his radio causerie)
"and that just about lets me out. Study-
ing music was something that never even
occurred to me, and if it had I'd probably
have been too lazy to do anything about
it. I'd sung around the house, as every
kid does, but never dreamed of making
singing mean more to me than fun. When
I joined the band at school as drummer
I was given an occasional song to sing
simply because I was the only one in it
who didn't have a mouthful of saxophone.
It was wholly unconscious training. Later
I thought I'd like to go into show business,
but doing so was purely a matter of luck.
I didn't think I could really sing, and I
don't think so now. You could shut me
up in a room over there," flinging out a
hand, "with ten other fellows who could

make a noise and, standing outside, you
wouldn't be able to tell which one was
me."

When you protest, he promptly chal-
lenges:

"Want to bet? I'll bet you anything
you like. You can announce the contest
now and let readers know how it came
out in next month's magazine: Don't be-
lieve it? All right, I'll tell something that
actually took place. After I'd been sing-
ing professionally for a long time I was
in Boston and entered a blind contest. At
the start there were twenty or thirty of us
in it, but in the finals the number had been
cut down to five. I was one of the five —
and finished fifth. Floppo!"

H Now what are you going to do with a
man like that, a man famous the world
over, a man whose home town has proudly
found him out, yet a man who seemingly
glories in earlier defeat? He is even more
astonishing when he reveals:

"I can't play the piano. I can't even

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read music. With me it's all by ear. I
have an ear for music — without which no-
body could get anywhere. But it's a
heritage. For generations it has been in
the family, and finally it has come down to
me. That's all there is to it. If you want
the low-down on me, I've never worked
for anything."

But you argue he must at some time
have worked at something.

"Yes," he is bound to admit, "I once
worked in a pickle factory. I worked
there for two years. What doing? Sort-
ing cucumbers. The place had changed
when I went to see it on my recent visit
to Spokane after the ceremony at Gon-
zaga. Yet it worked its old spell over me.
With it was a new sense, a realization that
it was there I had, unconsciously, first be-
come aware of something beyond me,
glimpsed a dawning vision of a vague
though true art form. At last it broke in
upon me that as a green youth I had not
merely been sorting cucumbers, but
choosing them for their symmetry and
stringing them into an endless chain of
emeralds full of pure beauty and poten-
tial indigestion."

B As youth speaks in the melodic voice
of this poet-philosopher, you press
him for advice to the young. His mood
changes to the practical with the regret:
"I wish I had studied music, built a bet-
ter musical foundation. I just kidded
around with it. But all that kids today
have to do to get a musical education is
listen to the radio, hear the finest orches-
tras and the greatest symphonies. Free of
cost, they are given every opportunity to
develop any gift for music they may have.
I appreciate the benefit this may be to my
three boys. At present the songs they
like best are 'Sweet Leilani' and
'Buckaroo.' But as the twins are only
three years old and the other boy four, it
is still too early to judge of their possible
lyric quality. There is no means of know-
ing whether they are ever to be singers.
But already they have developed such
tonal volume as to encourage me in the
belief they may all one day become fa-
mous auctioneers."

Knocking the ashes out of his pipe, Dr.
Crosby reminiscently adds:

'As a kid, my favorite song was When
I Leave the World Behind.' What is it
now? This is hard to say, as there are
several songs I like very much, among
them 'Smoke Gets in Your Eyes.' My chief
interest is in singing. As an actor, I think
I'm pretty bad. But in spite of this,
Hollywood has been very good to me in
the twelve years, on and off, I've been
here. It is a vigorous, vital locality, with
something for everyone who has anything
to give it. Its outstanding characteristic
is its sense of humor. It kids anybody
who is too impressed with himself. But it
pays him what he is worth — sometimes
more. From the material point of view,
considering the emolument of cinematic
endeavor, it is not too much to say that
the Hollywood honorarium ofttime ap-
proximates a fancy hunk of dough."

True enough. Yet you cannot believe
that Dr. Crosby, kneading his own con-

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siderable lump, values money as the most
precious thing in Hollywood life.

"'By no means," is his emphatic reply.
"Most valuable of all in Hollywood is its
leisure. A man, and for that matter a
woman, may enjoy it in the open. I my-
self like a good time. I'd rather make less
money and have more fun. I can't see the
benefit of working all the time. Not that
I'm thinking of retiring. I can't retire be-
cause the government has got me by the
tail. But if you keep everlastingly at it
you're sure to regret it when you grow
older. Maybe this is a selfish way of look-
ing at it, but there are so many things to
see, and I like travel. I've never missed
anything I wanted to see, and I believe I
would have seen the same things even if
I hadn't got a break. Then there are so
many things right at home. Circumstances
permitting, I should say the perfect man
is the one who loves home, family, work,
and sport."

9 "I like horses and golf," he assures
you. "Of my twenty-five horses
twelve are racers. I get a lot of kick out
of them and a little money — one has won
nine thousand dollars. I wouldn't part
with any of them for any price. But the
ether day out at my ranch I bet a racer to
a work-horse owned by my friend and
neighbor, the General. Now this would
seem a foolish thing to do. But my horse
always comes home — except in a race.
This time the General and I were betting
on a 'fixed' race, though he 'was not aware
of the fact. To understand the somewhat
unusual situation, you must know we are
both enthusiastic gopher fanciers. His
Mercury and my Pegasus are the two
fleetest gophers in Southern California.
We were betting horses on a hole-to-hole
race. It was a cinch for Peg to win, as I
had trained him on Waldorf salad, where-
as Merc had been trained on new-mown
alfalfa. I didn't want the General to lose
his horse, and it was perfectly safe to let
him win because I knew my horse would
be sure to gallop back to his own stable
the moment he found himself on a strange
ranch. That was the set-up. But some-
thing had to be done about it to protect
the General. So I took along a small por-
tion of the Waldorfian provender in a per-
forated container, knowing a mere whiff
of it would give Peg pause, thus getting
him off to a poor start and causing him to
lose the race. All I had to do was palm
the salad and whisk it under Peg's nose
as the starter — my hired man — yelled,
'One, two, three — go!' Taking a three-
second smell of his favorite chow, Peg
gave Merc such a big lead that he himself
didn't have a chance. My horse? Oh,
yes, he kept coming back home till the
General got sick and tired of going after
him. and finally let him stay there. And
as for a race of any nature, it has always
been my philosophy . . . Excuse me, please,
I've got to go and fall in the water."

A moment later, Dr. Crosby, rendered
perilously helpless by the Gargantuan
clumsiness of Mr. Devine, is toppled over
into the yawning tank. You watch his
head disappear, yet do not stand af-
frighted, content to know it will rise
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Where are you spending your vacation?

Why not take a "Movieland Tour" this year, and
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When Answering Advertisements Please Mention March HOLLYWOOD

65

ii:s*i:[»iymcM:£»ki

By LLEWELLYN MILLER

fj "Once upon a time. . . ."

Surely all of the best stories start
that way. Surely in those words are the
concentrated promise of all impossible
adventure, the realization of all of the
extravagant wishes of an imagining
world.

But not the least fascinating thing
about the improbable adventures of
make-believe heroes is that the swift
years of this century are making so many
of them come true — ■

"The king pressed a button, and the
whole room was flooded with light. . . ."
That was sheer incredible magic not so
long ago. Today, it is just the electric
light switch in the nursery. "The prince
waved his magic wand, and the whole
forest was filled with beautiful music. . . ."
That was a wild flight of fancy a few
years ago. Today, it is only the radio,
and if the little ones choose to listen to
Gang Busters instead of beautiful music,
the parallel still isn't spoiled. "The
princess looked through her far-seeing
window, and saw the prince a thousand
miles away. ..." A few years ago that
magic window was a tempting gadget,
but no architect in his right mind could
be persuaded to put it on his blueprints.
Today it's just television, and you can
order it up by picking up your magic
horn . . . sorry, the telephone . . . and
sending your voice through the air so
that "no one but a man a hundred miles
away can hear you."

H Today the queen steps on her flying
carpet, and takes the Southern Trans-
continental Route to California in 15
hours . . . the king goes down into a
cavern, drops in a nickel, and is whisked
in a magic room from one end of the
city to the other . . . the princess enters
the newsreel theatre and sees what is
happening on the other side of the
world.

All of the dear fantastic absurdities
which played such glamorous parts in
the fairy tales of yesterday are becoming
accepted commonplaces to children of
today. For, no sooner does one man
dream of an impossibility than another
makes it a reality. And so swiftly does
one modern miracle follow another that
even the most credulous of us is tempted
to say, "All magic is over" — tempted until
we walk into a theatre where Walt Dis-
ney's Snow White is showing.

Hi Unlike most heroes of the tales of
magic, Disney did not have an en-
chanted pen, or a wishing ring or a
magic wand or any of the other so very
useful short cuts to success. He could
not wave his hand and "Whoosh! Zing!
No sooner said than done! The picture
came to life!" No, Disney had to perform
his magic the hard way. He had to

invent the magic pen before he could tell
it what to do. And he had to keep pol-
ishing that wishing ring for two and a
half years before the first feature-length
cartoon picture was ready.

But, now that Snow White is to be seen,
no one can deny that magic went into
its making and that it is symbolic of all
of the incredible achievements of this
dramatic and enterprising century. For,
no matter how carefully it is explained
that an animated cartoon is a simple mat-
ter of thousands of drawings, careful at-
tention to detail and plenty of hard work,
the total effect still is magical — the prom-
ise of more wonders to come.

Ef From the moment little Snow White
begins to move with the pretty grace
of all true heroines through her painted
background, enchantment falls upon the
audience. And it is an enchantment that
grows.

At the very first of the film, attention
is held by the mechanical and technical
achievements. But most people will be
absorbed in what goes on rather than how
effects were managed after the black-
avised huntsman approaches unsuspect-
ing Snow White with the sun glinting in
a blazing splash of threatening light from
his upraised dagger.

Before there is time to think, the first
chase begins. Panic sends Snow White
flying into the forest, deeper, deeper into
the black shadows which are her only
refuge against the evil plans of her wicked
step-mother. But even her refuge is a
place of nightmare. The forest itself is
an enemy. Trailing vines snatch at her
with greedy gnarled fingers. Roots turn
into grasping claws. Trees bend to catch
and cling. The wind rises into the howl
of a pack of beasts in full pursuit, and
from all sides evil green eyes of lurking
monsters glare — a good thing it is that
the little ones of today have been brought
up on gangster films, for so realistic is
the horrid hysteria of fright in this se-
quence that it takes sophisticated nerves
to remain calm to the end of it!

■ But how reassuring is the following
sequence. As Snow White lies,
shaken with exhausted sobs in a little
glade, the glaring green eyes in the black
forest blink sympathetically, move, and
out ventures a timid crowd of little ani-

mals, all filled with the good-will and
gaiety typical of Disney's four-footed
characters.

It is they who lead her to the home
of the dwarfs. It is they who turn their
tails into rotary whisk-brooms in a blithe
ballet of house-cleaning. And later, it
is they who hurry for help when Snow
White is taking that fatal bite from the
poisoned apple.

Ah, yes, there is magic abroad wherever
Snow White is showing.

B Who can deny that something more
than calculated production value
went into the scene where the coldly
handsome queen goes at the dead of night
into the dungeon vaults of her castle to
mix the perilous potion that will change
her into the hag of hags, complete with
warted nose, black cloak and cackling
voice? Who can deny that something of
the supernatural chill of unexplainable
mysteries is not caught in that scene
where she squirts the black-of-night out
of one siphon, a scream-of-fright out
of another and mixes the whole un-
wholesome brew with a streak of light-
ning?

Who can deny that there is magic in
the very realism of the seven little dwarfs
as their crabbed natures expand so grate-
fully under the spell of Snow White's
kindliness and cooking?

And who can fail to fall under the spell
of the frantic alarm that sends the dwarfs
and the little animals pell-mell through
the forest, over the little streams through
the glades after the fleeing figure of the
wicked queen when she has accomplished
her evil purpose. Certainly there is magic
abroad when a whole theatre full of adults
holds breaths while a rout of little deer,
chipmunks, skunks, squirrels, sparrows
and pictured dwarfs scrambles up a blue-
black mountain of jagged rocks to catch
the malevolent queen.

Who can deny that there is still en-
chantment when a respectful silence falls
over a theatre as Snow White's flower-
decked bier, surrounded by mourning
forest creatures and grieving dwarfs
fades into full focus?

ES The magic of making pictures move
may be explained away by a lecture
on methods of coloring celluloid sheets and
photographing single frames at a time.
And if you pay close attention to the text
books, you can find out how the dizzy
dream of making pictures talk is now just
a matter of vibrating cells and amplifying
units and electro-magnets. But the magic
of imagination, itself, still remains, re-
assuring in a work-a-day world. And the
enchantment still remains in the words,
"And so they lived happily ever after."
Surely all the best tales end so.

66

Radiant Eleanor Fisher — chosen from thousands of America's most dazzling
beauties in a great magazine's nationwide search for ' 'Miss Typical America!"
— Her crowning reward now a chance at Hollywood heaven in Paramount's
new romantic achievement, "True Confessions!"

Of supreme importance in helping her to win, were Miss Fisher's beautiful
eves, framed with the glamour of long, romantic lashes. The charm of
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Her Throat Insured

For$50,000.

DOLORES DEL RIO* tells why it's good
business for her to smoke Luckies . . .

"That $50,000 insurance is a studio precaution
against my holding up a picture," says Miss Del
Rio. "So I take no chances on an irritated throat.
No matter how much I use my voice in acting, I
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They will be gentle on your throat, too. Here's

why Luckies' exclusive "Toasting" process

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\ ITS LUCKIES-2 TO 1

•DOLORES DEI RIO

STARRING IN THE 20th CENTURY-FOX

PICTURE, "SHANGHAI DEADLINE"

TRV

TVROnE POUIE
POPUMRITV TEST

UIHRT'S VOUR SCORE?

Imagine our surprise! We knew the
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So we published such a magazine — a
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Our surprise came, not because men
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but because women too insist that FOR
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taining magazine they have ever read.
They often buy it for their boy friends.

Your newsdealer has copies of the cur-
rent issue. Twenty-two entertaining,
robust articles, including a hilarious dis-
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cartoons in color. 25c at all newsstands.

A Lovelier Smile would make you more attractive!

//

A GAY, friendly smile, revealing
sparkling teeth, is so appealing.
The girl who has a lovely smile can't
help but win! Tragic that so many girls
lose this charm through carelessness —
tragic that they neglect the warning of
"pink tooth brush" — let teeth that are
lustreless and dull actually spoil their
own good looks!

If you've seen a tinge of "pink," see
your dentist. It may be nothing serious,
but let him decide. Usually, however,

//

he'll tell you that it's only another case
of gums deprived of exercise by our
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dentists do, he'll probably advise more
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stimulation of Ipana and massage.

For Ipana, with massage, is especially
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smile!

^ ^ ^

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S^

- 220

£3 4>

When Answering Advertisements Please Mention April HOLLYWOOD

Raw Throat?

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you for your precaution.

Always gargle with Zonite at
the first sign of a cold

By GORDON W. FAWCETT

8*5 It was the success of the Jack Benny-
Fred Allen feud which prompted the
Phil Baker-Beetle hocus-pocus, which had
the same anger content — less than one-
half of one per cent . . . Edward G.
Robinson was so taken by his CBS radio
role of a crusading managing editor in
"Bigtown" that he went for a night ride
in a police radio car to get a first hand look
at crime . . . Jack Oakie likes that patched
professorial gown for broadcasting be-
cause he doesn't have to dress up when
he wears it. Slacks and a sweater look
the same as a dinner jacket under the
Oakie College gown of office . . . Paul
Whiteman will put on a ten-gallon cow-
boy hat at the drop of a topper, but not
at a race track. He thinks it unlucky there.

H Delmar Edmondson, who last year was
a network star as "editor" of the
"Magazine of the Air," now is helping
build larger Pacific coast audiences on a
new dramatic show, "What Would You
Have Done." He returned to his Holly-
wood home because he couldn't extend
his leave of absence from the faculty of
Glendale Junior College, where he teaches
journalism, of all things . . . Anne Jamison,
who sings those concert numbers on
"Hollywood Hotel," has a different dress
which is sympathetic, she says, with each
of her several types of songs. That classic
drape goes with torchy numbers, if classic
music may be torchy, and the crinoline
thing matches ballads in Anne's soul, if
I know what I mean.

£1 Lud Gluskin, radio maestro, has 70
dozen shirts. So rich? Well, not
broke, but his brother manufactures
them . . . Gluskin, incidentally, is the
fellow who sold Marlene Dietrich that
rakish Mercedes she drives around Holly-
wood ... To put over the point of a
story he was telling Eddie Cantor, Al
Jolson dropped flat on his back in front
of the Vine Street Radio Theatre, and
stopped traffic.

SI A new high in gestures . . . George
McCall, the radio gossiper, also owns
a lion farm near Hollywood . . . CBS is
importing New York stars to add to the
Hollywood contingent to a gigantic pro-
gram to dedicate its new Hollywood build-
ing sometime in March . . . Joe Penner is
still looking for the member of his troupe
who switched cigars on him, leaving in
place of the one he had just started smok-
ing a similar cigar which was loaded. He
suspects Jimmie Grier, but Grier has an
alibi. He is vouched for by Hal Raynor,
the Glendora parson who writes Penner's
funny songs . . . Martha Raye takes her
charity personally. Instead of doing it
with money, she acts as nurse at Cedars
of Lebanon hospital in the charity ward
one day a week. And besides domg a
weekly radio show and making picture
after picture!

§1$ Jean Hersholt always carries three or
more pipes to his CBS "Dr. Christian"
rehearsals because he dislikes smoking a
warm pipe . . . Jeanette MacDonald is al-
ways so appreciative of the way Josef
Pasternak directs the Open House orches-
tra, that at the end of each broadcast she
rushes up to the fatherly maestro and
gives him a great big thank-you
hug . . . George McCall carries a good
luck cigarette case with him everywhere
he goes. During his Screenscoops pro-
gram he places the case on the table at
his elbow and during the broadcast he
smokes half-a-dozen cigarettes, lighting
one during each dramatic interlude . . .
Betty Grable (Mrs. Jackie Coogan to you)
always gets a good luck kiss from her new
spouse before she goes on the air . . .
Deanna Durbin always takes a cat-nap
a half hour before the Texaco Town
broadcasts.

12 Jacques Renard, orchestra leader, ac-
tually loses an average of nine pounds
a broadcast. He can stand it though as he
tips the beams at around 300 . . . Wayne
Morris on a recent appearance drank a
glass of water with three or four drops
of iodine in it to relieve him of a terrific
case of "mike fright" . . . George Burns
and Jack Benny are never without their
cigars when in front of the transmitter
. . . Murphy McHenry, the clever writer
doing Screenscopes for George McCall, is
another radio personality who loses weight
while his stuff is being put on the air. Also
like Renard, McHenry can stand it as he
is much heavier than Jacques . . . Tony
Martin hurries away from his broadcast
to the bowling alleys where he is averag-
ing 195 for his Twentieth Century-Fox
bowling team.

Rosemary and Lola Lane discover that Rudy
Vallee is left-handed when they add their names
to the brilliant list of guests at the 35th an-
niversary of the famous old Hollywood Hotel

Accept No Substitutes! Always Insist on the Advertised Brand!

11

He thought he knew how to tame a Frau,
But Gary's in the Doghouse now... i
YOU BIT..." QjlcbuMli

Adolph Zukor presents

CLAUDETTE COLBERT- GARY COOPER
"BLUEBEARD'S EIGHTH WIFE"

EDWARD EVERETT HORTON • DAVID NIVEN • Elizabeth Patterson • hermanbing
Screen Play by Charles Brackett and Billy Wilder • A Paramount Picture

-Based on the Play by Alfred Savoir • English Play Adaptation by Charlton Andrews

Produced and Directed by ERNST LUBITSCH

When Answering Advertisements Please Mention April HOLLYWOOD

i:MITO7£«I4»aSli7tttl4:l1

By WHITNEY WILLIAMS

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City

White feathers on a blue background decorate Mary Brodel's spring swimming suit. She is
a Universal player and has a featured role in Deanna Durbin's new film, Mad About Music

H 20th Century-Fox is going to super-
vise the presents which Mrs. Temple
gives her blonde-curled darling, if it has
anything to say about the matter. No
less!

Shirley recently received a small elec-
tric stove. Delighted, she took it to the
studio, and proceeded to whip up soda
biscuits on the set. Everything went just
dandy until a wind machine suddenly
started and the flour began to fly. Result
. . . half the set practically covered with
flour.

H Old-timers of the screen turned out
in colorful array recently, when the
famous old Hollywood Hotel celebrated its
thirty-fifth anniversary. William Farnum
officiated as master of ceremonies, and
such former favorites as Charlie Murray,
Shirley Mason, Creighton Hale, Viola
Dana, Dorothy Mackaill, Jean Acker,
Pauline Garon, Rosemary Theby and
Harry Myers were much in evidence, to
mention the names of but a few. The
affair was strictly invitational, and the
guests were provided with a look-see at
many whom they hadn't viewed on the
screen in years, but who, in their day,
were the Robert Taylors and Claudette
Colberts of the era.

Ej Jackie Coogan took a tall ribbing
when he appeared at the studio minus
two front teeth. To a man, the studio
shouted . . . "So YOU'RE the happy
bridegroom, eh!" Betty Grable came in
for her share of the kidding, too.

Of course, you don't have to believe it
if you care to think otherwise, but the

truth of the matter is that the teeth were
knocked out in an amateur football game,
and Jackie was on his way to the dentist,
after picking up Betty at the studio.

HI An outlander is beating Hollywood's
time. Young Mr. Alfred Gwynne
Vanderbilt, of money and horse-racing
fame, is taking the young ladies of the
colony by storm. Among others whom he
has escorted to night spots and such, are
Ginger Rogers, Mary Maguire, Florence
Rice, Gertrude Niesen, Phyllis Brooks and
Kay Sutton.

H PAGING DR. STORK . . . Bob Burns,
Claude Rains, Patric Knowles, Rexi
Bell, Mervyn LeRoy, Arthur Lake and
Dick Foran. They'll all be pacing the
hospital corridors very shortly, even as
their less celebrated brothers all over the
land. Chances are, some will be proud
fathers before you read this. Courage,
men!

H You have to hand it to Marie Wilson
. . . she's one in a million. A friend
asked her, "When did you get the new
car, Marie?" indicating the car which the
blonde actress was driving.

"Why," quoth Marie, "this is my old one."

"Looks new to me," returned her in-
quisitor.

Sure enough, it WAS new . . . but it
v/asn't Marie's.

"Whose is it, then?" wailed our heroine
... "I drove it off a parking lot, thinking
it was mine. Mebbe," she offered, brightly,
"it belongs to someone else."

IT DID!

Accept No Substitutes! Always Insist on the Advertised Brand!

■ When you catch Sally, Irene and Mary,
be sure to watch for the wedding
scene, that of Alice Faye and Tony Martin.
It's an elaborate ceremony, the kind that
Alice always dreamed of for herself . . .
the kind that didn't mark her own wedding
to Tony, when they eloped to Yuma some
months ago. That's why it will be so in-
teresting to watch in the picture.

H Glenda Farrell finally has persuaded
Drew Eberson, the boy friend, to
desert assistant directing and return to
New York, there to enter his father's
architect office.

Drew was trained for this craft, but
turned, instead, to picture work. For
several years now, Glenda has endeavored
to convince him he would make a better
architect than assistant director. When
she consented to marry him, if he would
make the change, he departed for the east.
Glenda will fly east between pictures, and
eventually retire from the screen, upon
her marriage.

B Anita Louise has just turned twenty-
one. In celebration, she will take over
all her affairs, run her own household,
make her own investments . . . with the
advice, of course, of her business man-
ager. Her mother presented her with a
beautiful star sapphire. On top of every-
thing else, she has been cast in one of the
most prominent roles with Norma Shearer
in Marie Antoinette.

El Another film lovely, June Lang, was
selected by Dr. Benjamin Gayelord
Hauser, famous beauty dietitian, as Holly-
wood's most beautiful girl. This is quite
a statement, and the good doctor probably
is in for some rough weather when he
meets other beauties of the colony, but he
declares he'll stick to his guns. Anyway,
June IS beautiful, no one can ever say
him nay.

TWO-SOMING:

E Adrienne Ames hitting the high spots
with Townsend Netcher . . . Johnny
Downs devoting ALL his time to
Katherine (Sugar) Kane . . . and is she
cute . . . solemn-faced Charlie Butter-
worth dancing with Lona Andre . . .
Cecilia Parker still the favorite of Dick
Baldwin . . . and vice versa . . . Craig
Reynolds has switched his affections from
Gertrude Niesen over to the attractive
Barbara Pepper . . . while Gertie reads
stories and stories of Arthur Arthur, who
isn't any relation to Simone Simon . . .
Aodrea Leeds and Ken Murray constant
. . . neither is seen out with any other
. . . study in contrasts is Toby Wing and
Don Alvarado . . . Toby so blonde and
Don so brunette . . . Pat Wing a favorite,
too . . . it's love at last for Frances Drake
and Tom Rutherford.

B RIOT NOTE . . . When that story
appeared about Fay Wray's cook
attacking her, the actress' home was be-
sieged by hundreds of women seeking the
position left vacant. They became so in-
sistent that special guards had to be posted
about the estate to maintain order.
[Continued on page 12]

by CAMPANA

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When Answering Advertisements Please Mention April HOLLYWOOD

IT'S EASY TO GET MARRIED

All you have to do is get into the movies,
and the proposals start to pour in

Eleanore Whitney can be a ranger's bride
even though she never has met the gentleman

Glenda Farrell turned a deaf ear to a proposal
which included paying off a mortgage

Here is Martha Raye in character as fatal
woman thinking over her marriage proposals

10

By WHITNEY WIIAIAMS

JU The sun never sets upon a day in
Hollywood. that marriage proposals by
the score from far-off and unknown ad-
mirers aren't received by the Glamour-
Girls. As regularly as clock-work, these
matrimonial offers and entreaties arrive
in the daily mail for all the unmarried
girls of the screen . . . and many of the
wedded ones reap a rich harvest, as well.
The majority, of course, are strictly of
the "Will you marry me" variety . . . but
occasionally one turns up extraordinary
in content.

H One of the strangest proposals of mar-
riage was contained in a letter to Alics
Faye, from a wealthy South American
cattle baron. This man offered her a
500,000-acre cattle ranch down on the
pampas of the Argentine, if she would be
his bride. All she had to do, her aspiring
bridegroom declared, was give up the
screen and settle down with him in his
huge hacienda in the eastern shadows of
the Andes.

Another billet-doux came from a
Frenchman who promised her his castle
in the Swiss Alps and a fortune in family
jewels. Alice was most sympathetic, how-
ever, with the Royal Canadian Mounted
policeman who offered her marriage with
nothing but an opportunity to share his
loneliness at an outpost in Northern
Canada.

It's a far cry from Canada to the French
Foreign Legion, but mention of that latter
missive to Alice recalls another received
by Ann Sothern shortly before her mar-
riage to Roger Pryor.

The writer of this epistle was a Legion-
naire, stationed near Tunis, in North
Africa. He demanded her hand when his
term of enlistment was ended, in two
years' time. He said he hadn't much hope
of her accepting him, but making the
proposal amused him — time hung heavy
on his hands, it seemed — and he enjoyed
writing to her, anyway. Ann compromised
by sending him a large photograph of
herself.

Bi All Glenda Farrell had to do to get
married — according to a long letter
she received from a farmer in Iowa — was
send $1500 to pay off a farm mortgage,
and an additional $200 to pay the fare of
this gentleman to Hollywood, where he
v/ould propose to her on bended knee.

"It is high time," he wrote, "that you
should marry some good man and settle
down. I have a good ranch, and I know
you'd like that sort of thing. I am a good,
religious man and could love you as a good
wife should be [Continued on page 62]

In spite of the fact that she is married, Jeanette
MacDonald still gets proposals from strangers

A detective wants to make Claire Trevor his
bride, even though they never have met

It's an East Indian Rajah who offered to share
considerable worldly goods with Ginger Rogers

DARLING OF DIXIE! . . . "Meanest when she's lovin- most!9'

HENRY FONDA • GEORGE BRENT • Margaret Lindsay • Donald Crisp • Fay Bainter

RICHARD CROMWELL • HENRY O'NEILL • SPRING BYINGTON • JOHN LITEL

A WILLIAM WYLER PRODUCTION

Screen Play by Clements Ripley,
Abem Finkel and John Huston

From the Play by Owen Davis, Sr.
Music by Max Steiner

"When Answering Advertisements Please Mention Apr-l HOLLYWOOD

11

Can Your Complexion Stand Life's
Little Close-ups? It Can if You Use
Luxor Powder . . . It's Light-proof!

O Every change of light is a challenge to a
woman's complexion. Does your make-up flat-
ter you one minute— and betray you the next?
Then give thanks for this discovery!

With a finishing touch of light-proof pow-
der, your complexion will not constantly be
light-struck. In any light. Day or night.

Seeing is believing

Look at the photographs below. See what
havoc the light plays with unprotected make-
up. See the improvement in the second pic-
ture—with light rays modified and softened by
light-proof powder.

You can trust this powder under all condi-
tions. It is light-proof, and moisture-proof.
Note the complete absence of shine, with that
same lovely softness at all times.

We invite all women who think they have
a "shiny skin" to make this test and see if
Luxor powder does not subdue all shine.

Large size box of Luxor light-proof powder
5 5c at drug and department stores; 10c size
at the five-and-ten stores. Or, clip coupon for
a complimentary box free and postpaid.

THIS is what hap-
pens when your
make-up reflects
every liuht ray.

SEE the difference
using light-proof
powder that modi-
fies the rays of light.

LUXOR JS FACE POWDER

LUXOR, Ltd., Chicago FAW"4-38
Please send me a complimen-
tary box of the new Luxor light-
proof face powder free and prepaid.
□ Rachel □ Rachel No. 2 □ Rose Rachel
□ Tlesh □ Brunette

Name .

L

12

Address

Hollywood Newsreel

[Continued from page 9]

:j

The Lone Ranger has audiences as well ashimself
all up in the air. Not until the last reel of the
Republic serial will you know his identity, for
he wears a mask throughout his adventures. Don't
you recognize those glittering eyes? Haven't
you seen that hat somewhere before?

B TIPS FROM SANTA ANITA . . .
Mischa Auer has given up betting on
the horses, forever . . . seems the comic,
who rarely wagers, placed, a two dollar bet
across the board on two horses . . . and
both horses that day fell and had to be
destroyed . . . honest! ... so enthusias-
tic a racing fan is Charles Winninger that
he rises before dawn, so that he may dash
out to the track and clock the horses as
they take their workout at DAWN . . .
some fun . . . you'd never think it, but
Jane Darwell, the character actress, is a
racing addict . . . when her two dollars
brought her fifty-six in exchange, she
used the profits to paint the fence of her
new valley home . . . another on the
verge of abandoning the science of picking
winners is Humphrey Bogart ... he gave
his Filipino houseboy the day off, and five
dollars . . . houseboy returned that night
with nearly five hundred dollars in his
jeans . . . and Humphrey, who really
knows something about horses, was loser
of more than two hundred . . . 'tis a
funny world.

H One of the nicest gestures we've en-
countered is Gene Raymond never
forgetting the birthday of a secretary who
once was instrumental in getting him a
lot of publicity. This woman is sick, now,
and no longer useful to him in a business

way, but nevertheless, with every birth-
day dawning, a handsome gift awaits her
on her doorstep.

■ Bette Davis seems to be jinxed . . .
at least, insofar as her latest picture,
Jezebel, is concerned. During the course
of production she picked up a bad cold;
fell and twisted her ankle; patted her
cheeks so vigorously with the bristles of
a make-up brush that infection set in and
she was forced out of the picture for a
full week; caught influenza while en-
gaged in filming swamp scenes, which
ended in a bad attack of neuritis. And
they say a star's life is a merry one!

CUPIDATINGS:

H Looks as though Virginia Field will
be the next Mrs. Vic Orsatti . . . and
the ex-, June Lang, will wed the million-
aire A. C. Blumenthal . . . pretty well
set, too, that Wayne Morris and Priscilla
Lane will merge, in the near future . . .
you can never bet even money on these
weddings in the offing, though . . . Wayne
was engaged to Nan Grey last month . . .
Joan Fontaine and Conrad Nagel may be
one before this reaches the printer . . .
so, too, June Clayworth and Sid Rogell
. . . Jon Hall's current fiery flame is Vicki
Lester, cutest of the cute . . . Junior
Laemmle finding Constance Worth sooo
receptive to his phone calls . . . now it's
harmonica-playing Leon La Fell who is
taking up all Martha Raye's time . . . and
the former Mister Raye, Buddy Westmore,
dividing his time between Lana Turner
and Rita Lee, a dancer in a Hollywood
night spot . . . begins to look pretty
serious, this Norma Shearer-David Niven
friendship . . . they're seen everywhere
together . . . both awfully nice folk . . .
Beverly Roberts and Director William
Keighley seem to be making up . . .
what's this, between Aileen Pringle and
B. P. Schulberg? . . . Lucille Ball and Al
Hall still teaming . . . Jerry Wald, the
writer, making things heavy for Gordon
Oliver . . . they're both dating Helen
Mack . . . Janet Gaynor now devotes
most of her time to Tyrone Power . . .
Hollywood is watching with interest . . .
Ronald Reagan thinks Rosemary Lane
just TOO cute . . . but who doesn't? . . .
Loretta Young allowing the New York
publisher, Stanley Kahn, to bask in her
smiles . . . Ivan Lebedeff picking the
rich Geraldine Spreckels as his "steady"
. . . nice work . . . Noah Beery, Jr., and
Maxine Jones, daughter of Buck, still that
way . . . Cupid reports it's the busiest
season he's ever known.

19 There is a clause in Fernand Gravet's
contract with Warner Bros, that he
treasures above all others. It's the one
that says he may return to Paris the
moment he completes a picture. He in-
sisted that this clause be added by ex-
plaining, "I have to go back to kiss my
mama." An unusually strong bond exists
between the two.

Accept No Substitutes! Always Insist on the Advertised Brand!

B Frequently you read of stars visiting
stores and newspaper offices and even
courts of law, when they are about to
undertake a characterization dealing with
any of these locales. It remained for Sally
Eilers, however, to actually spend a day
in jail, to study for her role in Condemned
Women. Sally enacts a woman prisoner
in this Radio film, and her husband, Harry
Joe Brown, a producer at Fox, made the
suggestion that she might benefit by the
visit, to experience the full routine to
which convicts are subjected.

B Funniest item of the month concerns
Joan Crawford. When the star re-
turned home from New York, and the
chauffeur deposited her at the front door
and drove off to town on an errand, the
police dog that Franchot had given her a
few days prior to her departure refused to
permit her on the porch. Joan had to
shriek for the servants before she could
enter her own house.

LIFE IN THE HOLLYWOODS:

J Alan Hale is well on his way to a
million ... he recently perfected a
theatre seat which will, net him that
amount within a few years . . . Milton
Berle sends his mother an orchid every
day, wherever he might be . . . he's done
it for years . . . Spring must be in the
air . . . Jimmy Cagney already has had
his yacht scraped and reconditioned for
warm weather cruising . . . Mary Maguire
bites her finger-nails ... if you know
any cure, send it on to her care of First
National . . . now you can know — Wendy
Barrie's cigarettes have red tips to match
her lipstick and nail enamel . . . Wendy
says she doesn't like to see smeared red
cigarette butts, hence the innovation . . .
pretty slick idea, wot? . . . Richard Arlen
and his spouse, Jobyna, were caught in a

Johnny Mack Brown and the Tom Browns [no
relation) found a quiet corner during Anita
Louise's twenty-first birthday party, got their
backs to the wall and settled down for a discus-
sion of football scores, past, present and future

I'm "stepping out''tonight!

SO I'M BATHING WITH FRAGRANT

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When Answering Advertisements Please Mention April HOLLYWOOD 13

Body So
Skinny-Girl
Was Ashamed
To Undress!

But Family Doesn't
Laugh Any More
Since She Gained
7 Lbs. on 1st Bottle"
of KELPAMALT —
Now Looks Fine and
Feels Great !

All Skinny Men
and Women
Should Read
This Actual Letter
From our Files

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Dear Sirs:

I am 5 ft. 5 in. tall.
Before I was married
I weighed 110 lbs.
That wasn't much,
but better than the 94
lbs. I've weighed ever
since my boy was born
5 years ago.

I was always active
in out of door sports
and in dancing, but
honestly, I've been
ashamed to put on a
bathing suit or an
evening gown for the
last 4 summers. Be-
ing so skinny actually
changed my mode of
living.

Last August I was
visiting my mother-
in-law. I came to
lunch in a sun-back
dress with straps over
the shoulders. Mrs.
H. looked at me,
laughed and said: 'If
I had shoulders that
looked like yours, I
certainly would wear
a high-necked dress.'
Can you imagine how
badly I felt. I was
glad when the sum-
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could wear a sweater
and skirt.

Now. thanks to Kelpamalt,
I'm looking forward to Spring.
I have taken just 100 tablets
and I've gained 7 lbs. Think
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When a fan sent Preston Foster a six weeks old lamb, the actor did not know what to do
with it until it demonstrated its ability to care for itself by making a light lunch on one
of his shoe strings. Then he commissioned two RKO messenger boys, shown here, as shepherds

fog returning from Catalina Island to the
mainland on their yacht, and instead of
landing at San Pedro, where Dick had
headed, they found themselves in Balboa,
some twenty-five miles south of their
destination . . . and Dick an old salt, too
. . . tsch, tsch . . . Myrna Loy moved into
Greta Garbo's dressing room while her
own was being redecorated . . . when she
found all the closets were filled with the
Silent One's clothes, she stored her own
frocks in a broom closet across the hall
. . . THERE'S a sport for you . . . believe
it or not, but Judy Garland has ordered
a manufacturing company to make a set
of ear-phones for her deaf pup, Smiley
. . . Judy's devotion for her dog would
warm the heart of even a dog-hater . . .
here's luck — Akim Tamiroff was ordered
by his studio to put on fifteen pounds
weight . . . and how the Russian loves
rich food . . . Lois Wilson is touring the
country in the road show company of
The Women . . . and garnering new
acting honors for herself . . . nobody can
ever accuse Bob Burns of being a movie
fiend . . . during the past year he has
glimpsed only three films, none of them
his own . . . one of the strangest requests
ever made to a movie star was received
by Gary Cooper ... a woman wanted
one of Gary's shirts, so that she might
make the shirt-tail into an apron . . .
Sylvia Sidney has purchased a thirteen-
room farmhouse near Huntington, N. J.
. . . Leon Errol, the rubber-legged comic,
will fly to New York for a single hour
. . . his friends never know whether he's
at home in Hollywood, in the eastern
metropolis, San Francisco — a favorite city
— or Miami, which he occasionally visits
. . . here's a novel stunt . . . Madge
Evans has papered a screen in her home
with non-paying mutuel tickets to make
other unlucky horse-racing bettors feel

more kindly toward the world . . . the
crew on the Merrily We Live set, at Hal
Roach, presented Constance Bennett, who
stars in the fillum, an elaborate silver
cigarette case, upon the picture's close . . .
they likewise presented a scroll carrying
their good wishes . . . fifteen-year-old
Bonita Granville is picked up every
evening at the studio by John Torrence,
an up and coming youngster . . . Gail
Patrick receives the largest orchid in town
every Tuesday, from husband Bob Cobb
. . . it's in the nature of a weekly cele-
bration of the day they met . . . and their
romance began . . . working in a railroad-
car set for one of the sequences in Viva-
cious Lady, Jimmy Stewart murmured,
"I've been on this train so long I'm getting
car sick" . . . Jack Mulhall, Jr., son of
the one-time favorite, has taken a screen
test and studio officials declare he exerts
the same likable appeal of his father . . .
it's not generally known, but Ginger
Rogers and Lew Ayres frequently step
out of an evening . . . swell if they'd
make up.

Q Here's one for the book . . . when-
ever Ray Milland is missing at the
studio, he generally may be found in the
Paramount research department READ-
ING ENGLISH FUNNY PAPERS!
Milland has a passion for English comic
sections, and invariably heads for them
whenever he is to be free for an hour or so.

■ Lanny Ross, soon to be seen in
Columbia's Paris On Broadway, is
going to invent another name for future
song-writing purposes. Having composed
several popular songs, Lanny discovered
his singing competitors either neglected to
give proper credit or, in many instances,
would not sing the numbers at all. The
last musical composition to bear the name

14

Accept No Substitutes! Alv/ays Insist on the Advertised Brand!

'FERRETS OF FRESHNESS"... Paramount's talent scouts, Boris Kaplan and Edward Blatt

of Lanny Ross is the hit tune, "Visions of
Love," for which he composed both music
and lyrics.

| This coming summer will be a banner
one for Mrs. de Havilland, mother of
Olivia and Joan Fontaine. Olivia is send-
ing her on a visit to England, to see an
aunt whom she hasn't set eyes upon in
more than twenty-five years. There's a
bare possibility that the mother may be
joined by at least one of her daughters
ere the English sojourn is ended. Bo^
girls have always wanted to see the land
of their parents' birth, although they
themselves first saw the light of day in
Japan.

fl Irene Dunne tells this one about her
young daughter, Mary Frances.

The child is just at the stage where she
is beginning to use words in sentence
form. She dashed up to her mother, ex-
citedly, and exclaimed, pointing skyward
to the Goodyear blimp flying overhead . . .

"Oh, Mommy, look at the bump."

Anyway, she meant well.

Q Pity poor Andy Devine. While he was
signing an autograph book outside the
radio broadcasting station, someone yelled,
"Here comes Jack Benny" . . . and
straightway Andy was left holding a torn
page, ripped from the book when its owner
snatched it from Andy to pursue the radio
comedian. Andy glares every time he
passes Jack, now . . . but it's all in fun. He
delights in telling the story on himself.
It WAS embarrassing, though.

Hugh Herbert is modeling the appropriate cos-
tume for the gentleman-sharpshooter in the trail
of the savage gopher. The gopher is at bay in
its hole, but both Herbert and his trusty hunting
dog are ready for its last desperate attack

\

They spend Fortunes
to find

FRESH FACES

O.G.spends Fortunes to give you
FRESH Ogazettes

FRESHNESS! It's the very life of
Hollywood! Money's no object in
the hunt for fresh plays and players.
When a star goes stale, his light goes out!

But when a cigarette goes stale, it
should never be lit at all! For every drag
you take on a stale cigarette is a drag
on you. Freshness is the life of cigarette
quality, too. Old Gold spends a fortune
annually to put an extra jacket of Cello-

phane on its every package. You pay
nothing extra for it . . . but it brings you
a world of extra enjoyment. The full
rich flavor of fresh-cut, long -aged to-
baccos; prize crop tobaccos at their best.

Buy your Old Golds where you will
... in damp climates or dry. They're as
good where they're sold as where they're
made . . . and that's as good as a ciga-
rette can be made!

The Inner Jacket Opens

at the Top

Sealing the Bottom

TUNE IN on Old Gold's Hollywood Screenscoops, every Tues. and Thurs. night, Columbia Network, Coast-to-Coast

When Answering Advertisements Please Mention April HOLLYWOOD 15

To help Prevent

COLDS

and Bad Breath

Use

PEPSODENT

ANTISEPTIC

. . . tUe. 10-BecxuJt

In Germ-Killing
Power . . . One bottle
Pepsodent Antiseptic
equals three bottles of
ordinary kinds

Even when diluted with 2 parts
water, still kills germs in sec-
onds . . . Lasts 3 times as long!

MAKES YOUR MONEY GO
3 TIMES AS FAR!

16

Above, Warren William, caught in the act
of unlocking his front door which will be
wide open to the Movieland Tourists when
he entertains for them at a cocktail party

Right, Robert Taylor seems to be enjoying
himself as much as the surrounding Movie-
land Tourists. This picture was taken dur-
ing last year's party at the Wilshire Bowl

THE BEST VACATION

A Movieland Tour

Here is a chance to see stars at work and
at play during your summer vacation

B Again Hollywood is opening its doors
to you! And once more it is Fawcett
Publications' Movieland Tours wh:ch
make it possible for you to enter studio
gates and spend two of the most exciting
weeks in a lifetime. If you "want to get
away from it all" this summer, here is
the opportunity you are seeking. The
coupon on the opposite page, filled in with
your name and address, will bring you
a complete illustrated booklet describing
this opportunity.

Tours will start from Chicago on July
3, July 24, and August 14. Each tour will
follow the same route . . . through the cool
northern woods of Minnesota, past the
famous ten-thousand lake district to the
great national park regions . . . over The
Great Divide, winding through the rugged
Rockies to Puget Sound.

After a delightful cruise in the blue
waters of Puget Sound, the tour takes

you next to the picturesque hills of San
Francisco.

B Sunday morning is the day of your
arrival in Hollywood where you will
be handed the "golden key to the city"
by a movie celebrity, representing the
Hollywood Junior Chamber of Commerce.
A tour of the residential districts of Bev-
erly Hills and Hollywood where the movie
stars live is on the program for your first
day in Hollywood. In the afternoon you
will be guests for cocktails in a famous
movie star's home. Warren William will
entertain the first Movieland Tourists,
Harold Lloyd will give the cocktail party
at his Beverly Hills estate for members of
the second tour, and Bob Burns will be
the host for the third tour. Many Holly-
wood celebrities also will be guests,
and you may take as many snapshots
and get as many autographs as you wish.

Accept No Substitutes! Always Insist on the Advertised Brand!

Among other outstanding entertain-
ments that have been planned for the
Movieland Tourists are a top-ranking
radio broadcast; an extensive tour through
one of the major motion picture studios
where each interesting process of picture -
making will be shown; a tour of Max
Factor's Make-Up Studios; and a luncheon
at Clara Bow's "It" Cafe.

A special feature added for the enjoy-
ment of Movieland Tourists this year is
the acquisition of George McCall, brilliant
radio columnist, as Master of Ceremonies
for the three tours. Mr. McCall, who is
heard from coast to coast on the Old Gold
program, is thoroughly acquainted with
the Hollywood scene and is on intimate
terms with its most glittering personali-
ties. Hollywood and its people are his
specialty, and he will increase your en-
joyment of the glamorous movie capital
with his comments and observations on
the stars.

fl Plenty of time has been allotted to
side trips from Hollywood, where you
will have the opportunity to shop where
the stars shop on famous Hollywood
Boulevard, or to take excursions to Cata-
lina Island or to Lake Arrowhead, play-
grounds of the stars.

A gala farewell party at the Wilshire
Bowl where you will mingle with motion
picture celebrities brings to an end your
exciting days on the west coast.

Further information will be printed in
the May issue of Hollywood Magazine.
Watch for them. And in the meantime a
booklet describing complete details is
yours for the asking. Just fill in the cou-
pon below:

Movieland Tours,
Fawcett Publications,
360 North Michigan
Chicago, III.

Inc.,
Ave.,

Without obligation on my pa
me your complete illustrated boo
scribing the Movieland Tours.

rt, send
klet de-

Name
Address
City

State.

John King, Anita Louise and Basil Rathbone
enjoy autographing books tor Movieland Tour-
ists. This picture was taken last summer when
Rathbone entertained the tourists at his home

A QUEEN OE HEARTS

"Twenty-eight tonight . . .and not
l boy friend in sight I "

Dot's sister guessed — "Do some-
thing about your misfit makeup."

. . . And now ..." You're the only
girl in the world for me I"

HOW CAN YOU be sure your makeup matches?
Sure it's right for you? There's never any
doubt when you wear Marvelous Matched
Makeup. For the face powder, rouge, and lip-
stick...the eye makeup, too. ..are in complete
color harmony. And this makeup matches you
...for it's keyed to your personality color, the
color that never changes, the color of your eyes!

BEAUTY EDITORS, fashion experts, artists and
colorists agree this new matched makeup is
right with your skin tones, your hair, your
type. Stage and screen stars, lovely women
everywhere, have changed to Marvelous Eye-

Matched Makeup because they find it brings
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THE PRICE IS LOW . . . start to build your
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or rouge, face powder, eye shadow or mascara
...in Marvelous Eye-Matched Makeup. ..only
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( BLUE wear Dresden type

If your ) BROWN . . . wear Parisian type
eves are I HAZEL * . • • wear Continental type
V GRAY. .... wear Patrician type

TONIGHT. ..you, too, can be a queen of hearts,
— try this matched makeup that matches you!

COPYRIGHT 1938. BY RICHARD HUDNUT

. / Mail coupon NOW for Marvelous
—j ti Makeup, keyed to your eyes! See how

I flAn vl * much lovelier you'll be with makeup

#' I that matches ... and matches you.

Richard Hudnut, Dept. M,

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I enclose 10 cents to help cover mailing costs. Send my
Tryout Kit of Marvelous Makeup. . .harmonizing powder,
rouge and lipstick for my type, as checked below:

¥ My eyes are

□ Blue □ Brown

□ Gray □ Hazel

Name

Address .
City

_State_

When Answering Advertisements Please Mention April HOLLYWOOD

17

i

P"

•

ALL THESE STARS!

ALL THESE LAUGHS!

It's your top-hit musical (but TOP!). . .with
all the zing and extra sparkle you expect
and get in a Darryl F. Zanuck show!

ALICE

FAYE

TONY

MARTIN

in

SALLY IRENE

omIMMIY

tvs °ll Security/
e*L .eld1 *

SONGS'.

htL THESE

^ The Hudson
-1 Could Use
by Bulloch and W

w a On Music
Mv Mmd on

,53A Son<3

■Got

jA 20rA Century Fox Picture with

JIMMY DURANTE

GREGORY RATOFF
JOAN DAVIS

MARJORIE WEAVER

LOUISE HOVICK

J EDWARD BROMBERG

BARNETT PARKER

AND

the leading comedian of screen and radio

FRED ALLEN

Directed by William A. Seiter

Associate Producer Gene Markey

Screen Play by Harry Tugend and Jack Yellen

Original Story by Karl Tunberg and Don

Etthnger • Suggested by the stage play by

Edward Dowhng and Cyrus Wood

4;

w

is

Accept No Substitutes! Always Insist on the Advertised Brand!

YOU CAN'T TAKE IT WITH YOU-NOW

By WINIFRED AYDELOTTE

\

■ It is a very big, very attractive house,
and lavishly furnished. People who
have heard the story are always amazed
(1) that it has such dignity, (2) that there
could be so much of it and (3) that it cost
only the price of some silly old bathroom
fixtures! It stands in two-storied glory
upon a lush green lawn within two miles
of the Hollywood motion picture studio
from where it was all "borrowed." Every
stick of furniture, every sliver of lumber.
Everything — but the bathroom fixtures.
It's hard to spirit a bathtub out of a
studio.

In the lax old days, when studios were
run with little attention to details, nothing
more than an innocent expression and lots
of patience was needed to set up house-
keeping on a grand scale. A bit of cement
taken away one day, a keg of nails another day,
here and there a dash of gorgeous brocade, some
lumber, a few paintings and pieces of bric-a-brac
— and what did a hard-working, methodical man
have? Correct! A house complete. It's a well-
known fact that many a Hollywood house in those
days was furnished with props "borrowed" from
the studios where the borrowers worked.

The story is still tossed about how one man
found it possible to breeze out of the studio where
he got his pay check with some $8,000 worth of
candelabra. Some of them he used for his own
home, and when he could find no more ceiling
space he swapped the rest for such home knick-
knacks as divans and Florentine chests as his
co-workers happened to have "borrowed." Sort
of a Round Robin of loot. Among them all, they
managed to have comfortable homes, even if the
furniture and decorations were of such widely
mixed periods that a gay Louis Quinze chair
could stare boldly at a sedate old Colonial desk
across the room.

For a long time, an average of two typewriters
a month disappeared from one studio. No one
seemed to know how it happened. But then it
certainly must have been simpler for a typewriter
to saunter off the lot than a load of excellent
lumber, which disappeared before the studio
carpenters could get around to drive even one
nail in it.

One chap got away with $1,000 worth of paint
before he was caught. Another fellow aroused
suspicion only because he had no variety or
method in his madness. He took paper. Instead
of a little of this and a chunk of that, it was always
paper. Now such persistent singleness of mind was

*

,y-

bound to be noticed sooner or later and,
consequently, his home was searched and
in one of the rooms was found enough
company stationery to start a shop. Of
course, as it all carried the studio's letter-
head, he never attempted to sell it, and
there was more paper than a large family
could use in a lifetime. Why the hoard-
ing? "Well, he just liked paper!"

It all used to be so simple. The man

who wanted the candelabra, simply drove

them out — a few every day — in his truck

right past the watchman at the gate. It

was covered with rubbish, leaves and dead

branches of trees. The watchman merely

took it for granted that old debris was

being cleared out of the back lot and never

bothered to inspect the truck. "It's about

time they cleaned up back there," he said

to himself and casually passed $8,000 worth of

"trash" out. The typewriters were conducted out

in much the same way.

But — aha! — that was in the old days. Now, for
example, there is Blayney Matthews. He is the
head of the police department at Warner Brothers
studio and thoroughly qualified for the job by a
long and brilliant record in the district attorney's
office of Los Angeles. He is one of the jolliest
men I ever met, with an extremely un-jolly re-
sponsibility at Warners, where there is now ninety
per cent less theft since he became the J. Edgar
Hoover of the outfit.

He knows (and keeps, too, I found) a lot of
secrets. When he told me he had eighty-five
uniformed men working for him, night and day,
I asked him how many worked for him in plain-
clothes.

"Aha!" he says, "that's a secret."
Every man on his force is photographed and
fingerprinted, and his history known since teeth-
ing ring days. The old careless times are indeed
gone. Eighty-five uniformed men. Organized
watchfulness. Eyes that know how to look and
where to look. Eyes that scrutinize every stage,
every set, every hour of the day and night; eyes
that inspect every truck that enters or leaves the
studio.

"Do you check private cars, too?" I asked.

"Aha!" he said. "That's one of the things I can't

tell you. But I can say that no private car is ever

allowed on the lot unless we know just about

everything there is to know about the driver."

"Have you any women police or detectives

working for you?"

"Aha!" he grinned. [Continued on page 58]

How Popular Are You ?

Would you like to know exactly how you rate
according to the standards of one young actor?
Then answer the questions and add up the
answers. Maybe they'll give you a surprise

By JERRY LANE

■ Springtime is check-up time! A girl
has to know where she stands! Many
a Winter Wallflower has bloomed into a
May Belle — and a June Bride — by boning
up on her technique. By finding out what
gentlemen really prefer.

And here are the frank preferences of
one gentleman — Tyrone Power. His "Per-
fect Date" is no dazzling glitter girl. "Most
of them are a manufactured product!" he
tells you with that sudden swift grin of
his. "I like them minus the fussy trim-
mings. I think the majority of men do.
Take the girl, for instance, in my next
picture, Alexander's Ragtime Band — she'd
be a smooth date in any language! She
has everything it takes."

And what it takes is all summed up in
this test — drawn from Tyrone's own con-
clusions.

Maybe you're a pulse raiser with the
wrong system . . . Maybe you have all the
makings of a popular girl and didn't know
how to make them click! Now is the time
to find out.

Jot down "YES" or "NO" after each
query — then check and double check.

For what gentlemen do (and don't)
prefer is all revealed!

Ready? On your mark — GO!

YOUR "PRIVATE LINE"

1. Do you give your Grade A smiles to
the jittery Jims and horn-rimmed Homers
as well as to the Big Time fellows?

2. Would you (be honest now!) break
a date if a better one came along?

3. Have you shown a real interest in
four of the last five people you've spoken
to? (Asked about themselves or their
work as if you actually wanted to
know?)

4. Can you put a man at ease — by put-
ting yourself in his place?

5. Do you let him do nine-tenths of the
chasing?

6. Do you call every other person "dar-
ling?" (How's a man ever going to believe
'em if they call everybody that?)

7. When you're out with the girls do
you turn on the charm only when a male-
of-the-species turns up?

8. In a crowd, if you wanted cocoa in-
stead of a cocktail (or a cocktail instead
of cocoa!) would you up and say so?

9. Are you a lapel-twister or tie-
straightener?

10. Do you think of men as friends —
instead of so many scalps to go after?

YOUR "PARTY LINE!"

1. Do you make a point of being
friendly with everybody present — rather
than being cliquey with a few?

2. Are you a smooth dancer?

3. Do you try to make each partner
feel he's a Special Attraction?

4. Do you concentrate on him without
casting come-hither glances at all the
visiting firemen?

5. Do you carry your own purse at
dances? (Pity the poor male with bulg-
ing pockets!)

6. Are you apt to go in for loud-speaker
effects around twelve o'clock?

7. When you Swoop past the band
leader do you pretend he's an old buddy
of yours?

8. Do you believe that General Cir-
culation is good for the System — instead
of sticking to one man?

9. If a game is suggested, do you rally
enthusiastically around the idea?

10. Supposing you get a run in your
stocking (or some other girl has a dress
like yours!) do you let it spoil your
fun?

Tyrone Powe* is responsible for this good-
natured cross-examination of your personality
and how it affects your popularity. You'll see
him next in Alexander's Ragtime Band

PERSONAL "REFLECTIONS!"

1. Can you fool a man about make-up?
(That's the one thing they like to be
fooled about!)

2. Do you pluck your eyebrows to
shadows?

3. Do you wear drooly chiffon to the
movies — and slacks for a date at home?

4. Are your nails a deep-dyed scar-
let?

5. When you're in public, do you go in
for elaborate "repairs" every little while?

6. Do you think crooked stocking
seams and run-down heels the Capital Sin
against smartness?

7. Are you a hitcher -upper? (Do you
pull at shoulder straps, etc., etc.?)

8. Is your hair usually neat and shin-
ing? (That's No. 1 on the "hit" pa-
rade!)

9. Do you try to look your best every
day — instead of just for big moments?

10. Can you put that "last touch" on
at home — and then forget your looks?

THE HOSTESS TAKES THE CAKE!

1. Do you make each guest feel you've
laid a special welcome mat for her — or
him?

2. Can you get folks to perform (like
doing imitations, singing, and so on)
without putting on too much pressure?

3. Are your parties small enough so
that people don't feel they've stumbled
into the subway at rush hour?

4. Do you see that everybody knows
everybody else? (A fast disappearing art
among hostesses!)

5. Can you keep the ball rolling by
giving them something to do — anything
from scrambling eggs to playing bingo?

6. There's nothing a man fears so much
as juggling a plate of food and a cup of
coffee — do you, oh, do you provide
tables?

7. Is the food made to appease as well
as to tease? (Dainty snacks may be all
right for the girls but a fellow likes
nourishment!)

20

8. Do you like to entertain?

9. Have people ever mentioned how
hospitable you were?

10. Do you see that everybody has a
good time? [Continued on page 31]

HOLLYWOOD

■ Well, maybe we're a bit balmy. Most
people, according to the Hollywood
tradition, get locked OFF and OUT OF
a Katharine Hepburn set, where there
is more secrecy than you will find among
a kavern full of Ku Kluxers. Modestly,
we suspect we are the only outsiders in
history who not only got ON the
Hepburn set, but who got LOCKED ON
as well. To be explicit, locked up in
jail on the set.

The sheriff in charge of the jail was
Walter Catlett. The only unusual thing
was that he, too, was locked up in our
cell. Along with six or seven extras and
May Robson, the grand old lady herself.

It will probably be the only time in our
life when being jailed seems a pleasure.
You see, outside those bars was one of
those cunning cuties of the jungle — a full
grown leopard which ostensibly would
obey the commands of his trainer.

Incidentally, at the start of this picture,
a wild comedy called Bringing Up Baby,
Katie Hepburn was billed as the star.
And although it may be a touch catty for
us to say so, another kitty seems to have
grabbed the limelight. Because, pal,
when they say, "Danger — here comes
Kitty!" they are not talking about
Hepburn.

But if it's at all possible, let's start at
the beginning. Wherever that may be.
Getting past the doorman is one thing,
and even then you haven't gotten any-
where. For all the properties within the
sound stage are surrounded by a high
and strong steel wire fence. A stranger

APRIL, 1938

Above, Nissa, who plays a most important role
in Bringing Up Baby, and below, Katharine
Hepburn, who is starring in the new comedy

Our intrepid interviewer
braved the dangers of a
closed set to bring back the
tale of how a leopard did
not change its spots but a
cast changed to many spots

Bv TED MAGEE

would presume that the fence was there
to protect the onlookers from the leopard.
But strangers have no idea of the strange
things that go on here. Hence, we had to
believe it when we were assured this
fence was not to protect our wobbly legs
from the vicious swipes of a leopard's
paw, but rather to protect the cute little
kitty (jungle variety) from the public.
But as we were saying, we were locked
in jail. Oh, yes, there was a jail on this
set, too. A very strong one, with bars
that reach to the ceiling. The bastile is
not there to intimidate visitors. It is a
part of the picture. We hinted to you,
didn't we, that everything was goofy?

Katie Hepburn was sitting there wait-
ing for her scene. They turned Nissa,
one of the two leopards used in the film,
loose in the front room of the jail, just
outside our cage. And we must shame-
facedly admit that Hepburn herself sat
there in a chair watching it all, unpro-
tected by anything more than the thin
network of her sheer hose and the bit of
clothing that she wore.

Of course, Katie had had no less than
six weeks' exposure to these beasts,
which should be sufficient time to find
out whether they are as mean as their
snarls crack them up to be. And they
do say that Katie, the first day on the
set, took one look at the leopard then
present and said, "I'll allow just one bite,
and after that Hepburn says to heck with
all this and moves back to Connecticut."

But as we were saying, Nissa, the
tamer cat, was [Continued on page 64]

21

Rosalind Russell is driven to
work, so she wears a tailored
dressing gown to the studio

Spencer Tracy is pretty formal
in the morning . . . hat, tie,
briefcase and everything

Walter Pidgeon arrives
all dressed and made up
for his part in Manproof

22

Robert Montgomery is a dashing
figure in more ways than one. He'll
shave later in his dressing room

White wool slacks and coat, blue
wool shirt is Joan Crawford's
choice for early morning arrival

James Stewart likes to
be ready for anything so
he wears scarf and rain-
coat with sports shoes

HOW TO LIVE ON PRACTICALLY NOTHING

She had a mink coat, a Packard ear, a longing to be a
movie actress, but no fash- and there were five hungry
people waiting for food in her beautiful but rented home

By JOE DI EDDYE

| The real story about Marie Wilson isn't the one about the
$12,000 she inherited from her father when she was sixteen
and spent before she was seventeen in a vain and frantic effort
to crash Hollywood.

It's as true as gospel that the day after she received the money
she moved her family from the little town of Anaheim, California,
to a home high in the Hollywood hills; that she paid a year's
rent in advance and that she stocked her pantry shelves with
case after case of canned goods.

It's true, too, that she bought an expensive mink coat and a
big Packard car; that she used to sit behind the wheel, all dressed
up in her Sunday best, while she drove up and down Hollywood
Boulevard with the car in low gear so that some observant movie
mogul or talent scout could dash out into the street, jump on
the running board without danger to life or limb, hand her a
contract to sign while he shouted, "You ought to be in pictures!"

All this is as true as it is interesting, but by no manner of
means is it the inside story about this sixteen-year-old, small-
town girl who had willingly accepted the burden of becoming
the sole provider of her family, providing she could get into
pictures — a task that seemed as simple as her A, B, C's until she
discovered that her $12,000 had dwindled to a handful of small
change and that so far as she was concerned, the town called
Hollywood was as bare of movie moguls and talent scouts as her
pantry was of canned goods!

| If the Academy of Motion Picture Arts and Sciences ever
decides to give awards for outstanding examples of sustained
and cheerful courage in the face of adversity, Marie Wilson
should be first on the list.

Any sixteen-year-old girl, stunned by the realization that she
had dropped from wealth to poverty in less time than it takes
to cry about it; confronted by the heart-breaking knowledge that
all her efforts to crash the gates of moviedom had been in vain;
burdened by the task of providing food and care for a family of
five — any sixteen-year-old girl who is faced by these hard and
harsh realities — and then faces the future with a smile deserves
an accolade of some sort.

Those who know Marie best say that she is the Hollywood girl
who opened the door, invited the wolf inside, and then made a
fur robe of its hide! She's the girl, they proudly add, who taught
herself and her family how to be practical while living on prac-
tically nothing a year.

The story of how she did it is the real one and should be of
interest to any girl who comes to Hollywood unheralded and
unsung, and with nothing more in her heart than a hope that
somehow, sometime, she'll be a movie star.

■ It's funny to hear Marie tell about it, but if you're smart you
won't smile because you'll notice that while her dark eyes are
sparkling, her voice is very low and there's no sign of a smile
on her lips. All you have to do is to listen and read between the
lines to discover the pathos and tragedy that's etched so deeply
there.

"When I woke up to the fact that I was down to my last
nickel," says Marie, soberly, "I didn't know where to turn,
what to do, or where to go. I wasn't an inch closer to a screen
career than I had been in Anaheim. I had my mink coat, the
Packard car, and a closetful of beautiful clothes. I couldn't eat
them, of course, and, since I was still determined to become
a movie actress whether I starved or not, I decided to use them
to keep up the 'front' I still believed necessary for success. All
my friends thought I was rich and I continued to let them think
so even when the Wilson depression was at its worst. I made my

family promise not to tell anyone how poor we were and we all
agreed not to ask anyone for help — not even our friends in
Anaheim. There were times, though, when it took a lot of will
power not to send out an S. O. S., but I'm proud to say that
we didn't."

They didn't, because, when Marie's cupboard and pocketbook
were bare, she drove her big car back to the agency from which
she bought it and sold, at bargain prices, the gadgets and acces-
sories with which the car was adorned.

"The horn went first," Marie says, "then the windshield wiper,
the cigarette lighter, the ash tray, and finally, the spare tire. The
money didn't last long, but it helped. [Continued on page 52]

"Even the fish don't cooperate when you're really hungry,"
notes Marie Wilson as she poses with heart-felt gloom in
memory of the days when she worried about the next meal.
You'll see her next in Fools For Scandal and Boy Meets Girl

23

In her first film, Bright Eyes, Jane Withers made a lasting impression on movie
audiences with her vigorous portrayal of a violently spoiled child. That was before
Shirley Temple was a star. Now both girls are among the ten best box-office attractions

Jane's Remembering Day

Once a year Jane Withers and her mother take one
of the strangest pilgrimages and go through one of
the most remarkable rituals Hollywood has known

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| The Tenth of March is "rememb'rin'
day" for Jane Withers and her
mother!

At the first suggestion of dawn Jane is
awake and alert! For this is a fateful
date, and worth considerable celebra-
tion, as well as remembering. It is
the high spot on Jane's calendar of
every year!

For on the Tenth of March, Jane
Withers, with the help of her
mother, puts aside all the trappings
of Fame to become again little
Miss Nobody. After all, what good
is it to be important and rich if
you've forgotten how it feels to
be obscure and relatively poor?
"Rememb'rin'," Jane with childish wis-
dom points out, "is awful good for people."
All the glamour gals and boys might learn
a thing or two from this youngster who
doesn't fail to remember that on the Tenth

of March, she arrived in Hollywood, un-
known and unsung, to court a little at-
tention. By the way, this game of "re-
memb'rin' " may be well recommended as
a special medicine for that disease known
as "Going Hollywood." Peculiarly enough,
it attacks only those who've become stars
overnight and suffer a strange lapse of
memory about their humble beginnings.

[ | This March day is a day of pilgrimage
for Jane and her mother. The routine
is well established. This is the one morn-
ing on which she is permitted to forget her
fruit juice and her cereal, if she is so
minded. Jane can wear anything she
chooses. She can even show marked signs
of impatience, like wiggling in her seat
at the table and tapping her foot, which
Mrs. Withers as the well-bred mother of
a well-bred little girl never permits on
other days. [Continued on page 60]

HOLLYWOOD

Extra !

Extra !

DEAR EDITOR:

When you suggested that I might be
able to give you a first-hand, inside
production story on Bluebeard's Eighth
Wife by working in the picture as an
extra, I thought that you really had some-
thing. I still do, for that matter. Believe
me, working alongside Gary Cooper and
Claudette Colbert even as a lowly and in-
significant extra was an honor and a
pleasure I wouldn't have missed — even
for a date with Garbo.

Your request, at first glance, looked
like one of those "no sooner said than
done" assignments, but it didn't take me
long to discover that there was more to
it than met the eye, and under the head
of new and important business I am com-
pelled to call your attention to a few
financial items.

Financial item No. 1 totals up to $25 —
an amount I paid to become a member of
the Screen Actors' Guild. Item No. 2
takes into account the sum of $1.25 which
I laid on the line for a pair of lunches at
the Paramount commissary. Item No. 3
— a mere $7 — was incurred, I am sorry to
say, during a crap game into which I
was lured by a couple of very pretty and
extremely nifty -fingered blondes who
not only worked in the picture as extras,
but worked me as well.

Now, if I know my figures (and I don't
mean blondes) these expenses come to
$33.25 from which we deduct $17 (my pay

APRIL, 1938

Above is one of the scenes
from Bluebeard's Eighth
Wife in which Gary Cooper
battled with an imported
bath- tub while the director
had his troubles with the
talented author of this tale

By E. J. SMITHSOX

for two days work in the picture — which,
in turn, leaves me holding the bag for
$16.25 — no paltry sum.

It's too bad for both of us that I failed
to obtain a speaking part since extras
earn $25 a day if they speak more than
two words of script. For that "extra"
money I would have spoken the whole
script. I did manage to sneeze a couple
of times during the morning's shooting,
but all I got for that was a couple of dirty
looks from Director Ernst Lubitsch who
likewise wanted to know "who vas dot
guy who vent and spoiled de takes?"
Gary could have told him for he was
standing not three feet from me when I
went on a "toot," but he was too nice a
guy to let on he'd even heard me.

| The company was to shoot on a huge

outdoor set built to represent a part

of the French Riviera the morning I

reported for work. I arrived around
seven along with a score of other extras
and the weather was colder than an old
maid's kiss than which there is nothing
colder on a seven o'clock California
morning. Rather than shiver right out
of my new store clothes, I joined up with
a crew that was placing reflectors, props,
and lights in their proper locations — and
that is where I made my first mistake. It
wasn't until Director Lubitsch was within
fifteen minutes of shouting "Camera" that
I discovered I had forgotten to put on
make-up, and I can thank "Slim" Talbot,
Gary's stand-in and make-up man, for
reminding me. It was "Slim," finally, who
slicked up my face with yellow grease
paint and who "allowed, considering what
he had to work with," that I was as ready
as I'd ever be when the cameras started
to roll.

| Director Lubitsch arrived on the set
at eight - thirty, and Gary and
Claudette about five minutes later. Joe
Le Fer and Bill Faralla, first and second
assistant directors, respectively, went to
work on us extras, showing where, when,
and how to sit — if we had to sit — and
where, when, and how to walk — if we had
to walk. "You," Joe said, pointing right
at me, "you sit at this table with Miss —
Miss Whatshername — and both look as
though you're enjoying yourselves. When
Miss Colbert starts walking down the
street and gets [Continued on page 40]

25

Protection Wanted

Rattlesnakes, alligators and chimpanzees are
only a few of the things that make a movie
career a mixed blessing for Dorothy Lamour

By TERRY KELLY

| Her thick black hair sparkled down
her back almost to her hips. She
moved around in her bare feet, her brown
legs flashing in the sunlight. A piece of
flimsy cloth weighing barely four ounces
was the only thing between Dorothy
Lamour and a nudist colony. She was in
perfect shape to stage a protest — and you
may take that figuratively.

"I wish they'd stop undressing me," said
Dorothy, speaking half seriously of her

tor's arm. But we hadn't heard that she
herself had been stabbed. What about it,
Dorothy?

"I said stabbed, and it happened every
day. By cactii. Have you ever been stuck
with the point of a cactus bush? You
should try it on yourself sometime. It
stings for hours. And it goes deep when
you're as thoroughly undressed as I am
in this costume. It seems to me that I
was backing up into a sticker every half

slain diamond back rattlesnake. That
was close enough for me, thank you. Any-
way, I had my hands full with a big chim-
panzee and a baby lion. Did you ever
have a chimp for a companion?"

Now that you mention it, Dorothy, no.
We've seen a lot of people make monkeys
of themselves. But that's been the ex-
tent of our experience. Do go on.

"Our chimp was a little fellow named
Jiggs. Little, did I say? Well, if he had

Courtly Jiggs stops for greetings And is deep in discussion of camera angles

When bystanders gather to see what goes on

plight. Indeed, "plight" is just the word,
for she is completing her third major role,
and each time it has been in an outdoor
picture where a bit of cloth and a breath of
autumn air is about all she wears. "I'd
like to do a role in which I can wear
clothes. And believe me, I've got my
reasons. I need protection!

"Right now I am doing a picture in
which the action takes place, at least
theoretically, in a tropical jungle. So what
do we do? We go to Palm Springs out in
the desert. Oh, yes — that's the jungle.
You know the spot — south of the re-
sort in the canyon with all the palms.
Well, work of that sort does have its
problems. Like getting stabbed every
day."

Stabbed? Well, we did hear that Dorothy
lost her balance when she was about to
toss a knife, and it ended up in the direc-

26

hour. It's a great art, pulling cactus points
out of yourself. And then there were the
snakes."

Snakes? Really, this is getting compli-
cated. Maybe you had better tell us about
that, too, Dorothy.

"Well, don't get me wrong. I had noth-
ing to do with the snakes. Ray Milland
comes into the story at this point. He was
supposed to climb a rock, poise for a mo-
ment, and then dive into a pool where I
was swimming. The camera started grind-
ing, and when he got to the top of the
rock he didn't pause — he jumped in. It
spoiled the take. I was freezing in the
water and started to chide him. He didn't
stop to argue. Climbing out of the pool,
he grabbed a stick and started climbing
the rock again. When he got to the top, he
began hitting wildly with the stick. A
moment later he exhibited a personally -

wanted to, he could have overpowered
almost any man on the set. Thank good-
ness, Jiggs wasn't that way. We got along
very well with him, I might add. Except
on one or two occasions. For instance,
the night he ran everyone out of the hotel
in Palm Springs. It looked for awhile
like he might have the entire place to
himself, let alone one room."

Monkeyshines in a hotel room, Dorothy?
You don't mean that Jiggs himself occu-
pied a room at ten dollars per day?

"Well, he did — as long as he could get
away with it. Don't get me wrong — Jiggs
was a very well-behaved fellow, and your
Hollywood readers should know him as a
gentleman. Of course, they had to sneak
him to his room by a rear entrance. Every-
thing went well for awhile. He had been
working all day. When he got to his room,
Jiggs took off his make-up with cold

HOLLYWOOD

cream just as nicely as any of us. Some
photographers came up and filmed Jiggs
as he ate supper and went to bed. Yes,
he actually went to sleep. So that was
that, and everyone went down the street
to bowl.

"It must have been about nine o'clock
when some guests decided to go swim-
ming in the pool outside his window. They
turned on the flood lights and started
shouting and splashing. It scared poor
Jiggs to death. Have you, by chance, ever
heard a chimpanzee hollering? Neither
had those guests. So when he really got
going, he had them running down the
main drag of sleepy Palm Springs in their
swimming suits, along with several other
hotel guests in evening clothes or night
gowns. Or so they tell me — you see, we
weren't near enough to know about the
excitement. Finally Jiggs' trainer rushed
to the room, with a squadron of cops who
were glad to let him lead the way, and
opened the door. It took only a couple of
minutes to calm Jiggs down, and less time
than that to throw the poor fellow out of
the hotel.

But actually it was a wild deer that
bounded up and through the main part
of the set, as startled a poor thing as you
ever saw. Spanky brought up in the rear,
barking his head off. And Jiggs? Well,
I think he was more frightened than the
deer itself. He sat there and chattered
for an hour. The deer, of course, was just
passing through, and disappeared around
the bend in a few seconds, but Jiggs made
funny crying sounds all afternoon. You
see, I was fond of Jiggs, but when it came
to alligators, that made just one more
reason for wanting to do something be-
side jungle epics."

Come, come now, Dorothy. You aren't
going to tell us you got mixed up with
alligators, too?

"Well, I almost did. But the gang de-
cided to pull the gag on Lynne Overman
instead. They all came down from the
set late one day and it was just growing
dark as they pulled into Palm Springs.
Lynne said he would dress hastily for
dinner, stopping only to take a quick bath.
Somebody was one step ahead of him.
When Lynne reached his room everything

had time, and horse back riding. Swim-
ming and bowling, too. Then one day
Martha Raye came up and we went riding.
Martha didn't have such luck. She got
tossed off her beast five times. The next
day she was telling everyone I had spent
the day climbing mountains and she had
spent the day climbing horses. Yes, there's
fun appearing in jungle pictures, but
there's a lot of grief, too. Did you ever
try getting dressed on the public highways
while traveling at top speed?"

Search our memory as we will, that is
something new in the line of diversions
for us. Go ahead, Dorothy, the floor is
yours.

"Well, we finished shooting one day
just exactly at noon. It was Sunday, and
I had to be in the NBC studio for the Ber-
gen broadcast at three o'clock. That meant
110 miles along a heavily-traveled high-
way and through Los Angeles to Holly-
wood. I didn't even stop to remove the
oil make-up which covers most of my
body.

"We got in the car and pulled the cur-
tains down. While the machine roared

Annoyed by the eager fans

Jiggs refuses to continue

And now they're both pouting

"He slept in a trailer after that, with a
special guard each night.

"You see, Jiggs is such a civilized fellow
that all this uproar really frightened him.
Why, the poor dear was almost scared to
death by a wild deer one day. In fact, I
was a little upset myself," she admitted.

Snakes, monkeys, now deer? Wild deer,
too. What next?

"You see, Jiggs was sitting there sun-
ning himself one day when his old pal,
Spanky, a collie dog, began prowling
around. And when I say old pal, I mean
that Spanky has known Jiggs for several
years, and can completely bluff the big
fellow. Well, as I was saying, Spanky had
disappeared, but suddenly we could hear
him barking excitedly from somewhere in
Palm Canyon.

"Presently there was a terrific uproar.
A couple of the girls let out terrific squeals.
They thought it was a bear coming at us.

APRIL, 1938

seemed in order. He took off his costume
quickly and darted into the bathroom.
When he turned on the light, you could
hear him yell on the other side of the
mountain. Fortunately he remembered to
put on a bathrobe after yelling.

"What surprised him was enough to
make anyone scream. It was a matter of
seconds before Lynne had us all crowding
into the room. You see, the word had been
passed around that something was go-
ing to happen. We rushed to the scene,
and found Lynne still quaking over the
sight. In the tub was a baby alligator,
looking at us with startled eyes. And that
ought to be enough to frighten anyone."

Well, to be sure, this might be upsetting.
But on the other hand, surely there must
be certain diversions, Dorothy, which help
to make up for this hodge-podge of ani-
mal land?

"Certainly. There was tennis when we

toward Hollywood, my two girl-assistants
helped me out of my costume and went to
work removing the make-up. After that
they had to set my hair and otherwise fix
me up for the radio show. We just made
it. One of the biggest reasons why I wish
they'd stop undressing me for jungle pic-
tures, is that these films require such a
sheen in my hair that I must spend two
hours every night having it shampooed.
But then, there are lots of other reasons,
too. For instance, the time when I am
captured by the wild natives and taken
to the sacrificial temple."

There's something that sounds inter-
esting. What about that?

"Well, the script called for me to be
picked up by a mass of natives and to be
carried over their heads up the winding
steps in the temple — and by torch light,
too. I was literally suspended on finger-
tips, from the [Continued on page 63]

27

How to Win Enemies

Glenda Farrell, hard at work on the
problem of how to influence practically
no one, relates her struggles with some
of the social hazards of Hollywood

By RUTH RANKIN

| Anybody can make friends — but a woman is known by her
enemies. . . .

That, my friends, is one of the chief irks in Glenda Farrell's
life — she is known by her enemies, and they keep right on know-
ing her.

She does her darndest, but just as she feels she has promoted
a good one and is getting quite smug about it, why the enemy
rushes up and begins the old palsy-walsy again — and Glenda
is right back where she started. She gives a party for twenty-
five, and fifty-eight show up.

Even so, in full justice one cannot call it an intentional cam-
paign on Glenda's part. She doesn't really try very hard, except
occasionally. Saying the wrong thing at the psychological mo-
ment just seems to come natural to her — it's a talent she was
born with, the importance of which should not be under-rated
in the life of a busy picture star.

Ever so often something drastic has to be done about the mobs
of impulsive dropper-inners,
as you know yourself even if
you're not an actress. If you
are, then multiply something
drastic by sixteen, add on
every automobile and real
estate salesman in town,
shake well, and repeat every
twenty -four hours. Life is
apt to be a series of explo-
sions this way, but Glenda
thrives on explosions. Lay
your cards on the table and
get it over, she says, in sub-
stance. Clear the atmosphere.
No hangovers. In any given
day, Glenda can violate every
rule in Dale Carnegie's "How
to W. F. and I. P.," and have
an awfully good time doing
it.

You take Rule 1, for in-
stance. Take it far, far
away from Glenda; Rule 1,
says "The only way to get the
best of an argument is to
avoid it." One shudders to
think what an observance of
that rule would do to Glenda's
joy of living.

When there is nobody
handy to argue with and
things are rather dull for, say,
five minutes at a stretch,
Glenda has a business asso-
ciate whom she calls up and
fires. She fires him regu-
larly about every two weeks,
and forgets all about it an
hour later. He knows per-
fectly well that things are dull
and Glenda needs an argu-
ment— so he gives her a good

She doesn't look like
you read the story
af Work, and afre

one. He knows also that things have reached the point where
Glenda has to fire somebody, and naturally she can't fire any-
one she should fire, who needs firing — she's too chicken-hearted
to do that. So they are the best of friends and get along famously.
The din is terrific, but that's included in his salary. Glenda would
simply curl up and pine away in too much peace and quiet.

| Some of the best ways to diminish your social obligations
are the good old reliable Farrell methods: have at least ten
clocks in the house which conscientiously tell the wrong time, or
else stopped running two years ago. Never under any circum-
stances keep a date book or an address or a telephone number.
You can't miss.

This method invariably brings Glenda to Friday's luncheon
on the following Tuesday evening, which is the time her unin-
tentional hostess has decided to go to bed early and has just done
herself up in cold cream. The buffet dinner scheduled for Tues-
day will crash her in some-
body's tennis party Sunday
morning, and in this way she
has worked up quite a repu-
tation for spontaneous per-
sonal appearances. Without
even trying.

Not long ago she showed up
at an engagement party, on
time, in the right house, even
with a present under her arm.
The hostess nearly swooned
with astonishment. When the
presents were opened, every-
body swooned. Glenda got it
mixed up with the baby
shower for somebody else and
brought the loveliest little
pink blanket.

■ A good way to be loved
for yourself alone is to
have a cat — a Siamese cat
named Taki, with an eye like
a Bengal tiger on a diet. And
a voice — boy, when Taki
starts talking the Farrell
house clears like magic.
Glenda adores Taki. He has
an ingratiating way of leap-
ing in laps and settling down
innocently — t hen suddenly
sinking in an inch of cast-
iron claws. He has nice cream
colored fur, too, which shows
up well on dark blue suits.

One of Glenda's most suc-
cessful cocktail parties took
place while she was out in the
garage de-fleaing Taki. She
was wearing her oldest slacks
and her hair in a wad. The
flea powder made her sneeze,
and [Continued on page 57]

a very alarming enemy here, but wait until

You'll see her next in Warners Blondes

that as the heroine in Paramount's Stolen Heaven

28

"A cleansing
cream that also
nourishes the
skin is a great
achievement"

Mrs. Arthur Richardson

A

NEW kind of cream is bringing
more direct help to women's skin. It
is bringing to their aid the vitamin
which helps the body to build new skin
tissue — the important "skin- vitamin."
Within recent years doctors have learned
that one of the vitamins has a special rela-
tion to skin health. When there is not
enough of this "skin-vitamin" in the diet,
the skin may suffer, become undernour-
ished, rough, dry, old looking!

Essential to Skin Health

Pond's tested this "skin-vitamin" in Pond's
Creams during more than 3 years. In ani-
mal tests, the skin became rough, old look-
ing when the diet lacked "skin-vitamin."
But when Pond's Cold Cream containing
"skin-vitamin" was applied daily, it became
smooth, supple again — in only 3 weeks!

Now women everywhere are enjoying the
benefits of Pond's new "skin-vitamin" Cold
Cream. They are reporting that pores are
looking finer, that skin is smoother; best of

Granddaughter of the late C. OLIVER ISELIN

"I am delighted with the new Pond's Cold Cream. Now that we
can have the benefits of the 'skin-vitamin' in Pond's Cold Cream,
I wonder how women were ever satisfied to use cleansing creams
that did not also nourish!"

all, that the use of this cream gives a live-
lier, more glowing look to their skin!

Use Pond's new "skin-vitamin" Cold
Cream in your regular way — to cleanse at
night and to freshen up for make-up in the
morning and during the day. Whenever
you get a chance, leave a little on. This new
kind of cream now nourishes your skin.

Same jars, same labels, same price

Now every jar of Pond's Cold Cream you buy
contains this new cream with "skin-vitamin"
in it. You will find it in the same jars, with the
same labels, at the same price.

*"* "I**'

TH*

NH#

TEST IT IN
9 TREATMENTS

(above) Entertaining in the white draw-
ing room of her New York apartment.
(center) Mrs. Richardson greeting
friends after the opera.

Pond's, Dept. 6-CR, Clinton. Conn.
Rush special tube of Pond's "skin-vitamin" Cold
Cream, enough for 9 treatments, with samples of 2
other Pond's "skin-vitamin" Creams and 5 different
shades of Pond's Face Powder. I enclose 10^ to cover
postage and packing.

Name ,

'THOSE WE LOVE," Pond's Program, Tuoiday*, SlOO P. M., E.S.T., N.B.C. Bluo Network

Street-
City—

_State

Copyright, 1938, Pond's Extract Company

When Answering Advertisements Please Mention April HOLLYWOOD

29

Star Styles

f 0

:■■"- s*>

Constance Bennett is noted for distinguished
clothes and her wardrobe for Merrily We Live is
no exception. Right, heavy black crepe, in-
tricately draped up the front carries weighty
gold embroidery on the bodice. Below and left
is another black crepe dinner gown. The bodice
is made distinctive with a pattern of black
sequins. Right, bands of gold emphasize the
panel down the front of the third dinner gown

How Popular are
You?

[Continued jrom page 20]
GOOD SPORTSMANSHIP!

1. Are your funny stories aimed at
yourself instead of someone else?

2. Can you smile bravely when the
•well-meaning partner spills punch on the
new gown?

3. Do you start out on a hike in high
heels and then play clinging vine at the
halfway stage?

4. Can you take it if the joke's on

your

5. Are you among the first to try a
new game — even if they do laugh?

6. Do you do your share of the enter-
taining when you're out with the crowd?
Or on a two-some?

7. Can you keep office worries and
home troubles to yourself?

8. Are you strong and silent when you
find he's taken you to the movie you saw
last Friday?

9. Do you laugh at your own mis-
takes? —

10. If it's raining and the clock says
1 A. M. and you're three miles from home
when the tire goes flat — do you sulk?

See how your answers compare with
the following — and then score yourself
ten for each one you have correct.

Your
"Private Line"

1. Yes

2. No

3. Yes

4. Yes

5. Yes

6. No

7. No

8. Yes

9. No
10. Yes

The Hostess
Takes the Cake!

1. Yes

2. Yes

3. Yes

4. Yes

5. Yes

6. Yes

7. Yes

8. Yes

9. Yes
10. Yes

Your
'Party Line'

1. Yes

2. Yes

3. Yes

4. Yes

5. Yes

6. No

7. No

8. Yes

9. Yes
10. No

Personal
"Reflections"

L Yes

2. No

3. No

4. No

5. No

6. Yes

7. No

8. Yes

9. Yes
10. Yes

Good
Sportsmanship

1. Yes

2. Yes

3. No

4. Yes

5. Yes

6. Yes

7. Yes

8. Yes

9. Yes
10. No

Between 460 and 500: YOU ARE THE
PERFECT DATE!

Between 400 and 460: Smooth, plenty
smooth — but second choice.

Between 350 and 400: All the makings
but they don't quite click.

Between 275 and 350: Your "line" is out
of order!

Between 150 and 275: You need a new
"line" altogether!

Between 75 and 150: A dud.

Between 0 and 75: A double dud.

SHE SAW A GHOST II THE BED...

It rattled no chains and shook no bones — but there was an unwelcome
ghost in Mary's guest room! It hid in the sheets, the curtains, the linens.
Guests saw it with horror but didn't dare mention it — until Cousin Flo
saw the ghost in the bed.

The very next morning. Cousin Flo told Mary — "It's tattle-tale gray
that's haunting your clothes. Your weak-kneed soap doesn't wash things
perfectly clean. If you want to chase out that mean dingy shadow — to
banish tattle-tale gray — change to Fels-Naptha Soap."

And that was the end of the ghost in the guest room. Thanks to
Fels-Naptha's richer golden soap and lots of gentle naptha, Mary now
gets all the dirt out of clothes. The sheets shine so white — and everything
smells so fresh and sweet — friends say it's a thrill to sleep at her house!
. . . Why don't you play safe, too? See how easy it is to . . .

NEW! Try

Fels-Naptha

Soap Chips, too

'f

COPR. 1938, FELS & CO.

When Answering Advertisements Please Mention April HOLLYWOOD

31

"be quiet"

MIDOL

sad-, beqourself

DOCTORS know that severe periodic
functional pain is not natural to most
women. For thousands more, science has
found a way to make it unnecessary. Yet
many women still go on letting the calen-
dar regulate their lives, setting aside certain
days each month to miserable inactivity.
If you are one of them, you should
know about Midol. Unless you have some
organic disorder demanding a physician's
or surgeon's attention, Midol in all prob-
ability can make your days of menstruation
as carefree as any other. It is offered for
this special purpose — acts quickly, and in all
but unusual instances brings definite relief.
A few Midol tablets should see you comfort-
ably through your worst day. Your druggist
has Midol in convenient purse -size tins.

Jane Withers not only tore two
pages out of her own cooking
notebook, but she added some
illustrations for good measure

JANE WITHERS' COOK BOOK

By BETTY CROCKER

ON THE COUNTER AT DRUGSTORES

■ Just to prove that age has nothing to
do with learning the fine art of
cookery, Jane Withers joins our Holly-
wood Cooking School this month with her
favorite recipes, and tells in her own way
how to prepare them.

Jane, you see, is as clever in the kitchen
as she is before a movie camera, because
Mrs. Withers has not neglected her daugh-
ter's home education. So, if you have a
young daughter, invite her in to our meet-
ing right now.

Jane not only likes to cook, but she has
a good idea of what makes a well balanced
meal as you can see from this dinner
menu:

Pineapple and Cottage Cheese Salad

Filet of Sole

Mashed Potatoes and Gravy

Spinach Hot Rolls

Apple Pie a la Mode Buttermilk

"I can bake the hot rolls myself," Jane
told me. "If we're in a hurry, I make them
with biscuit flour. Willie — that's our cook,
makes the other things."

The director called her for a scene for
Checkers, so Jane left her cook book with
me and dashed off.

"Some of her recipes," Mrs. Withers told
me, "she got from the colored woman who

has been with us since Janey's birth in
Atlanta, Georgia. But she loves to get
down on the floor and browse through
newspapers and magazines, looking for
new recipes she'd like to try. She clips
them out — I've noticed many of yours,
Miss Crocker — and files them in a box.
After she has tried them, she'll write them
into her cook book, using her own words
to describe the method of cooking.

"We've made cooking so much fun that
it's hard to keep her out of the kitchen. I
think this interest also helps in teaching
her proper diets. She drinks milk or but-
termilk with gusto, and never turns down
a plate of spinach. She's a plump little
thing, but she burns up lots of energy at
play and at work."

First in Jane's private cook book, in her
round, childish writing, was:

My Favorite Ginger Bread Cookies

2 cups flour

% cup brown sugar

% cup molasses

% cup melted shortening

1 teaspoon soda

1 teaspoon salt

2 teaspoons cinnamon
1 teaspoon ginger

32

Accept No Substitutes! Always Insist on the Advertised Brand!

"First you beat egg, put in brown sugar,
molasses, and melted shortening. Sift the
flour, soda, salt, cinnamon, ginger together
and stir in the molasses. Chill for 1 hour.
Roll dough 14-inch thick and cut into ani-
mals and figures."

Turning the page, we came upon a recipe
for chocolate cake.

"Jane baked that for Mr. Withers, on
'Father's Day,' " Mrs. Withers said.

Chocolate Cake

3 squares chocolate
% cup hot water
Vz cup shortening
About 2 cups sugar
3 eggs

2 cups flour

3 teaspoons baking powder
% teaspoon soda

% teaspoon salt
1 cup sweet milk

Jane had returned from filming a scene.
"I think that if things are fixed up sort of
fancy," she told me, "they taste better.
That goes for decorations on cake frost-
ing and nice looking salads and every-
thing. Look — here's southern corn bread.
Willie taught me how to make that. It's
easy to make."

Southern Corn Bread

1 pint corn meal
1 pint flour

1 tablespoon sugar

2 teaspoons salt

1 tablespoon melted shortening

2 eggs

\^z pints milk

"Sift the corn meal, flour, sugar, salt and
baking powder. Then add the eggs, milk
and shortening. Beat enough to mix well.
Pour into baking pan and bake 30 min-
utes."

Jane is a happy child, filled with varied
interests which keep her exceedingly
busy. She pays little attention to the
fact that she is famous, and would rather
snip out recipes than movie reviews or
pictures of herself. If any scrap book of
Jane's picture career is to be kept, Mrs.
Withers has to keep it. Jane would rather
compile a cook book!

FREE RECIPES

Fill in this coupon and send it to
BETTY CROCKER, Hollywood
Magazine, 1501 Broadway, New
York City, and she will send you
her own tested recipes for cakes
and cookies for your kitchen
scrapbook.

Name

Address
City

State

IS PART OF LOVELINESS

THE charm of attractive womanhood
is made up of many things. Above
all, that quality of fresh, sweetly fragrant
daintiness, which is the most compelling
charm of a lovely young girl, and of truly
happy wives. For no husband fails to
notice, and resent, any neglect of inti-
mate feminine cleanliness. Too many
women never realize that the freshness
so natural in youth, requires constant
care as maturity advances. A cleansing
douche with "Lysol" disinfectant, in
proper solution of water, is the frequent
and regular feminine hygiene habit of
fastidious modern women. They know
that "Lysol" in solution cleanses thor-
oughly, deodorizes — dependably. Many
hospitals use "Lysol"; many doctors
recommend it for feminine hygiene.
Complete directions are given on every
bottle ... at any drug store.

TUNE IN on Dr. Dafoe every Monday, Wednesday and Friday,
4:45 P. M., Eastern Standard Time, Columbia Network

r**"

You must surely read these six reasons
why "LysoV is recommended for your
intimate hygiene — to give you assur-
ance of intimate cleanliness.

1— Non-Caustic . . . "Lysol", in the proper
dilution, is gentle. It contains no harmful
free caustic alkali.

2— Effectiveness . . . "Lysol" is a powerful
germicide, active under practical condi-
tions, effective in the presence of organic
matter (such as dirt, mucus, serum, etc.).
3— Spreading . . . "Lysol" solutions spread
because of low surface tension, and thus
virtually search out germs.
4— Economy . . . "Lysol", because it is con-
centrated, costs only about one cent an
application in the proper dilution for femi-
nine hygiene.

5— Odor . . . The cleanly odor of "Lysol"
disappears after use.

6— Stability . . . "Lysol" keeps its full strength
no matter how long it is kept, no matter
how often it is uncorked.

For your cleansing douche

What Every Woman Should Know

SEND THIS COUPON FOR "LYSOL" BOOKLET
LEHN & FINK Products Corp.
Dept. 4-H., Bloomfield, N. J., U. S. A.

Send me free booklet "Lysol vs. Germs" wbich tells the many
uses of "Lysol."

Name

Street

City :

State-

Copyiight 19S8 by Lefca & Fink Products Corp.

When Answering Advertisements Please Mention April HOLLYWOOD

33

WIVES TELL HUSBANDS -

Now millions know it's a better
laxative in every way!

EX-LAX now

SCIENTIFICALLY

IMPROVED

It's getting around . . . flashing from family
to family . . . from wife to husband . . .
from friend to friend. Ex-Lax, the laxative
they said could not be improved, now is better
than ever! Regardless of your experience with
other laxatives, you owe it to yourself to try
the new Scientifically Improved Ex-Lax. You'll
be in for a pleasant surprise!

TASTES BETTER THAN EVER!

Ex-Lax now has a smoother, richer choco-
late taste. You'll like it even better than before.

ACTS BETTER THAN EVER!

Ex-Lax is now even more effective. Empties
the bowels more thoroughly, more smoothly,
in less time than before.

MORE GENTLE THAN EVER.'

Ex-Lax is today so remarkably gentle that,
except for the relief you enjoy, you scarcely
realize you have taken a laxative.

• • •

All druggists now have the new Scientifically
Improved Ex-Lax in 10c and 25c sizes. The
famous little blue box is the same as always —
but the contents are better than evert Try it I

STOPS CORN
PAIN

CALLOUSES, BUNIONS, SORE

TOES, TENDER SPOTS
Same As Chiropodists Use

It's Dr. Scholl's KUROTEX— the
new velvety-soft, cushioning fool
plaster. Instantly relieves corns,
sore toes, callouses, bunions, ten-
der spots on feet and toes caused
by new or tight shoes. Prevents
blisters, sore spots. Most econom-
ical. Cut it to any desired size or
shape and apply it. At all drug, shoe,
dept. and 10£ Stores. Sample and
Dr.Scholl's FOOT Booklet free.
Write Dr. Scholl's, Inc., Chicago.

DCScholls

KUROTEX

Easily cut to

any size or,

shape

i l

FOOT
PLASTER

Five Year Plan

Already a successful actor and bandleader,
Mickey Rooney has bigger and better plans
for the next five years of his career in Hollywood

By ELMER SUNFIELD

■ Mickey Rooney has his next five years
figured out to the well-known "T."

"By the time I reach my twenty-first
birthday," he says without batting an eye,
"I intend to become a motion picture di-
rector. By that time you're going to see
my name in the list of screen credits — or
else."

That's what Mickey says and it's more
than likely that it's true, for whatever this
youngster has set his heart on, he has
gone after and gotten. And, take it from
him, he doesn't intend to let his latest
ambition be any exception. The fact that
he'll probably be the youngest director
in the industry, or in the history of motion
pictures, doesn't seem to worry him in the
least. He's going to be a motion picture
director — or else.

The idea really took tangible shape

when Mickey was teamed up with Freddie
Bartholomew and Jackie Cooper in
M-G-M's The Devil Is a Sissy. Between
scenes one day, the three were sitting
around discussing what they intended to
do when they grew up.

Freddie, the youngest of the trio, thought
maybe, he'd like to be either a writer or a
lawyer. He wasn't quite sure which, but
it was either one of the two professions.
Young Jackie Cooper thought he'd like to
follow in the footsteps of his uncle, Direc-
tor Norman Taurog. Rooney pricked up
his ears at that and said something about
the idea sounding swell to him and he
guessed he'd be a director, too.

Bernard Hyman, producer, happened to
be standing nearby, overheard Mickey's
long and earnest line of reasoning, and he
broke into the boyish argument with:

Now 16, Mickey can look back with justifiable pride at a lifetime In the
movies. You'll see him swaggering through Love it a Headache next

34

Accept No Substitutes! Always Insist on the Advertised Brand!

"If you're really serious about that,
Mickey, you can come in and sit on story
conferences with me as soon as you're
ready. I'll be glad to give you a chance
to learn the business."

■ Mickey's twinkling eyes grew as
round and as large as saucers. Here
was the first step toward his goal and
scarcely before his words had stopped
echoing through the set.

"Thanks a lot, Mr. Hyman," he man-
aged to stammer, "You see, I've been
around quite a bit and I've been in this
business ever since I was born. I think I
know something about acting and if I can
get to know something about stories it
sure will help. I think I've got some ideas."
It sounded pretty self-assured, but this
young mick, Mickey, is a pretty self-as-
sured guy. Not offensively so, mind you,
but he knows what the score is at all times.

As soon as the picture was completed he
reported to Producer Hyman and his
course of instruction began. The only
difficulty since then has been that Mickey
has been in such demand for pictures that
he hasn't had much time to start his sec-
ond career.

"But," he says seriously, "I still mean
what I said. I'm learning everything I
can about writing. One of the first things
I've got to understand is how film stories
are created and worked out. As for the
technical end, I've got quite a few friends
among the camera men, sound men, and
cutters from whom I pick up things."

| For Mickey's interest in things tech-
nical W. S. Van Dyke can take a large
share of the credit. Those three young-
sters, Freddie, Jackie, and Mickey, were
such a boisterous handful on the set that
Van Dyke conceived the idea of having
the crew give them some technical in-
struction just to keep them from tearing
the props to pieces.

As he himself pointed out, his back-
ground gives him a head start on almost
any other youngster imbued with direc-
torial ambitions. Born in Brooklyn, the
son of vaudeville parents, he made his
own stage debut at the age of eleven
months. He played his first film role when
four years old, taking the part of a midget
in Not To Be Trusted. Since then he has
appeared in more pictures than he can
remember.

"The very busiest I ever was," he states,
"occurred when I took part in forty differ-
ent films within a period of eighteen
months, in addition to the Hollywood Bowl
presentation of A Midsummer Night's
Dream." His latest picture, and by far the
best, was Thoroughbreds Don't Cry.

I As for the type of picture he'd like
to direct, Mickey has no particular
preference — comedy, melodrama, or musi-
cal, it's all the same to him. Besides, he's
got five years to worry about that. The
fact that his third song, Mr. Heartbreak,
was accepted for publication by Irving
Berlin, and that he has been taking les-
sons in orchestration, would seem to point
to a chance at still another career, if he
wants to take it.

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35

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OLD BOOKS
WANTED

We pay big cash prices for thousands of different titles.
We bought over 7,500 books In past twenty-one months,
paying as high as $500 for a single book. For example,
we -will pay you cash for the following books as described
In our price list:

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Adventures of Tom Sawyer 200.00

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Leaves of Grass 250.00

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McGuffey Primer 100.00

Tamerlane & Other Poems 5,000.00

These are but a few of the many thousands of books
we want. DON'T SEND BOOKS until you have checked
our latest list giving full Information. Don't delay — a
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bring you $25. $50. $100, $500 or even $5,000 cash for
certain books. Better Investigate NOW. Send 10c to the
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we want to buy and cash prices we will pay.

Beery Faces Some Facts

They never call him "gorgeous Wally"
but at least they never forget that face

By WILLIAM K. GIBBS

H Many persons, born with faces only
a mother could love, go through life
feeling cheated. A wise few know that
lack of beauty can be an asset.

Hollywood, long a leader in making up
and making over, has found a few who are
quite content to carry on unbeautiful.

Under the skilful fingers of plastic
surgeons some of filmland's beaks have
become noses; some ears that flapped in
the wind now set snugly against owners'
heads. Nearly every homely man and wo-
man who faces the movie cameras has
been importuned, at one time or another,
to borrow a little beauty, even if it's syn-
thetic. A few succumbed to such advice,
but not Wallace Beery.

"Can you imagine a plastic surgeon try-
ing to make over my face?" Wally asked
as we sat in the M-G-M commissary dis-
cussing the advantages and disadvantages
of being homely. "Any surgeon would be
a fool to start work on my face. There'd
be no place to stop. It would be easier for
him to start from scratch and make me an
entirely new one."

■ Plastic surgeons have reaped a golden
harvest in Hollywood. High-powered
salesmen have gone out seeking homely
faces whose owners have money. There
have been big fees and fat commissions.
The poor men or women whom beauty
passed by never are sought by plastic ex-
perts as clients, because publicity doesn't
thrive if the remodeled face happens to
belong to a nobody. When the "beauty-
brigade" was mopping up in the film
colony they got around to Wally but he
couldn't be sold on the idea.

"I shudder to think what might have
happened to me if I'd ever gone messin'
around with the face God gave me," Wally
grinned. "Besides, I've had it so long I'm
kind of used to it."

"When you are living off a homely pan
like mine," the Bad Man of Brimstone
confided, "it's best to forget about being
a pretty boy. Why try to fool therpublic?
It can't be done. Lincoln knew that. He
wasn't such a good-looking guy either,
but they still find use for his picture."

| Beery never tires of telling a bit of
truth that was laid in his lap while
he was on a personal appearance tour in
New York. As Wally was going into the
Empire State Building, a nervy urchin
tugged at his coat. Wally stopped and the
street gamin asked:
"Are you Wally Beery?"
"I guess I am," Wally answered.

"Let me get a good look at yuh," the kid
said.

"Why do you want to look at me?"
Beery asked as the youngster kept star-
ing.

"I just wanted to make sure you're as
homely off the screen as on."

Wallace Beery poses as "Sunlight and Shadow"
as he brings his magnificent mug into action for
his rousing role as The Bad Man of Brimstone

36

Accept No Substitutes! Always Insist on the Advertised Brand!

,

Anita Louise looked very gay in her peasant
costume at the "Cruise to All Nations" party
at the Hawaiian Paradise. That's Jack Smart all
ready for safari into the African jungle

"Now that you've sized me up, what's
the verdict?"

"You're homelier," said the kid with
frank admiration.

"They must doll you up for your pitcher
parts."

H "Sometimes I think too much good
looks is a handicap," Wally continues.
"Some might say I am biased because I
haven't any. Will Rogers never was ac-
cused of being handsome, but he got by.
Abraham Lincoln is rated in history as
America's homeliest President, but his
deeds and his name are better known to
the world than those of any other man
who occupied the White House in the last
century.

"Picture producers demanded youth
and beauty for a long time. But check up
on the outstanding leading men and wo-
men of today and you'll find most of them
are thirty or more and a lot of them can
lay little claim to more than ordinary
looks. It all goes back to the fellow who
said 'beauty is only skin deep.' Beauty
is a fragile thing. It's easily marred. A
small scar on a woman's face has been
known to have brought the victim thou-
sands of dollars. A gash in my face likely
wouldn't bring me a nickel. But, on the
other hand, it won't hurt my career either.

"So you can see that I really have the
edge on the Beauty Boys, after all."

Jack Oakie seems to have his climates a little
mixed at the same party. Surely that's a
cowboy belt and hat, so why the necklace of
South Sea flowers? But Dorothy Lamour likes it

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DONT YOU? LISTEN! THERE'S THE

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NO TUFFIE--JUSTTHE DENTISTS

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Fay Bainter, recently signed to a long term contract, will
be seen shortly in that drama of Civil War excitements,
Jezebel, as part of the big cast headed by Bette Davis

Home to Hollywood

After a brilliant career on the stage,

a native daughter once more calls

Hollywood "home" for a while

By SCOOP CONLON

| Fay Bainter has finally capitulated to
the blandishments of Hollywood.
When producers waved contracts in her
face and proffered featured roles in such
outstanding pictures as Jezebel and White
Banners, she signed a term contract with
the astute Warner Brothers, and said
"goodbye" to her beloved Broadway for
awhile.

For many years the name of Fay Bainter
has been synonymous with success and
electric lights along Broadway. Her per-
formances were usually brilliant and
always distinctive; her plays were uni-
formly successful, thus gaining her the
appellation "Two-Year Bainter" in the
parlance of Broadway, due to the long
runs of shows graced with her presence.

What manner of personality is Fay

Bainter?

For a beginning, we may say that any

person who was born in Los Angeles,

works in Hollywood and prefers to live

in New York is certainly an anomaly.

She started early in life being "differ-
ent."

Fay was the Shirley Temple of the
"stock companies" and "tent shows" when
she was four years old. Much of her
ability as an actress can be traced to the
long, hard years of training and experience
playing anything and everything in the
theatre from Uncle Tom's Cabin to
Shakespeare, and a song and dance in the
olio.

In fact, one of this remarkable woman's
most outstanding performances in the
American theatre was that of Topsy in an
all-star revival of Uncle Tom's Cabin in
New York several years ago, when she
was at the peak of her stage career.

■ Yes, La Bainter was startling even in
the more sedate days of the theatre.

She doesn't look particularly exotic, yet
she became famous overnight by Oriental
roles.

She portrayed Ming Toy in East Is West
and the Princess Image in The Willow Tree
so realistically that enthusiastic press
agents and managers had to be suppressed
in their efforts to support the growing be-

38

Accept No Substitutes! Always Insist on the Apvertised Brand!

lief that she was either part Chinese or
Japanese.

Bainter eyebrows and slanting eyes
became the rage among the debutante
devotees of the theatre.

Only recently Fay gave the screen a
fitting demonstration of her peculiar tal-
ents when she portrayed a Tartar woman
in Michael Strogoff.

■ Temperamental? Yes, we would say
that Miss Bainter has her share of
temperament, but she has the rare gift of
being able to ''temper" her temperament,
if you know what we mean.

As that astute director, Gregory La
Cava, says: "I wouldn't give a plugged
nickel for an actress who wasn't full of
fireworks. I like 'em with red-hot inflam-
mable temperaments."

As a person, the erstwhile exotic actress
is the best dog-goned chicken raiser, egg
gatherer and vegetable grower in New
York state, at least, according to her en-
thusiastic description of her own bucolic
pursuits. Believe it or not, the aristocratic
lady of the theatre actually markets her
farm produce.

She is generous to a fault and extrava-
gant as the devil at times, but how she can
barter and bargain in the matter of eggs
and vegetables!

Her greatest infatuations are her hus-
band and son, Reginald Venable, and
Reginald Venable, Jr.

Reginald, Senior, is a retired United

States Naval officer and looks after the
farm while Fay is in Hollywood. Regi-
nald, Junior, is fourteen and a student in
an Eastern prep school.

She isn't much of a party girl, so this
is one side of Hollywood that won't know
her. Like all good farmers, she is strictly
an "early to bed, early to rise" person
when she can get away with it.

Her cooking is famous. She doesn't
play tennis, golf or badminton; she does
ride horseback, swims and she can sail a
boat.

J In appearance she is fashionably slen-
der, medium-height, chic in dress, dis-
tinguished in bearing. She is undeniably
attractive, yet more striking than beauti-
ful. Hers is a most complex face, because
of its mobility. Thoroughly American in
features, yet there are fleeting expressions,
moods in which a keen observer may de-
tect that odd quality that enables La
Bainter to essay exotic roles so convinc-
ingly.

No linguist, yet she can speak any dia-
lect whether it be a Southern honey
drawl, a harsh Cockney jargon or a Chi-
nese sing-song with convincing realism.

Hollywood is predicting stardom for her
in 1938, but any laurels she wins in pic-
tures will rest very easily on her proud
head. After all, she has worn her many
successes well for years.

Remember William Haines? He is a very suc-
cessful interior decorator in Hollywood, though
this picture was taken while on a vacation in
Miami at the Roney-Plaza Cabana Sun Club

A

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Extra! Extra!

[Continued from page 25]

about here (Joe marked a place on the
sidewalk) get up and walk past her. Don't
hurry — make it a sort of promenade, see."

We nodded to let him know we saw,
and then he went on to the other tables
and explained what the other extras were
to do. It all sounded very simple and it
looked like an easy way to make eight
bucks plus a day. I said as much to Miss
Whatshername and she sort of grunted
and told me "to shut up; the whistle was
going to blow." Which it did, a long,
piercing shriek, and believe me, it was
"the minute before shooting, and all over
the shops, not a creature was stirring —
not even the props."

Claudette, clad in a white dress, and
looking prettier than ever, takes up a po-
sition at the farther end of the street.
Under her arm is a brown paper package
containing the lower half of a pajama suit
which, but a moment before (in the
story), she has purchased in a depart-
ment store and over which she has had
a violent argument with Gary. In this
scene all she has to do is to walk around,
a tiny park, pass our tables, and then
pause for a moment or two in front of an
open-air newsstand. All I have to do,
according to very definite instructions
from Joe Le Fer, is to leave my table
when she goes by and walk out of camera
range.

] The whistle blows again, a shrill, ear-
splitting blast and Director Lubitsch
yells, "Quiet, pleese! Turn 'em! Action!"
Claudette, as jaunty as you please, comes
tripping lightly past my table and when
she reaches the chalk mark I arise with
Miss Whatshername and as jaunty as you
please we start on our thirty-foot trek out
of the picture.

Mr. Editor, you can argue with me
until my dying day and still fail to con-
vince me that Miss Whatshername didn't
trip me! One second I was tripping along
as lightly as Claudette and the next
second I was tripped — and if you don't
think there's a world of difference in those
two words, ask Lubitsch! There I was,
as flat on my face as a pancake in a skillet,
with roars of laughter rolling over me
like waves on a beach. Not only my ears,
but my whole body was red. Miss
Whatshername whispered "ham" in my
ear as she helped me to my feet and
Lubitsch yelled, "Whoa! Whoa! Vot iss
dis? Vill somebody tell dot dumb guy
how he should valk? Okay. Ve take it
again. Quiet, pleese!"

The second "take" didn't take because
Claudette failed to keep within the side-
line markers. The third one missed an
okay because the waiters, hovering about
the tables "acted," declared the director,
"as though dey were lazy." The fifth trial
got his "Okay! Checks!" however, and in
honor of the occasion he lit one of those
long, black cigars that he smokes one
after the other.

H In the next shot, a semi-close-up,
Claudette walks away from the news-
stand, passes the Hotel Duval and crosses

a street intersection. Director Lubitsch,
nervous as a cat with ten kittens, and
puffing on his cigar like a freight engine
going up a mountain grade, walks back
and forth, hands clasped tightly behind
his back, while keeping those sharp, in-
tense eyes of his on everything that's go-
ing on. "Now," he says, suddenly, "diss
iss important, and ven Miss Colbert leaves
de newsstand, you people go from heah
to heah, and from heah to heah — like
diss." He acts it all out. Then he looks
at me, smiles genially and adds, "and no
tripping, pleese, my friend."

I feel like an old trouper when he
shouts "Okay! Checks!" on the first take.
It's eleven-thirty by now and I'm hot and
hungry and when Joe Farnalla yells,
"One hour for lunch!" I'm the first one
in the commissary. Miss Whatshername
is second. She straddles the stool next
to me and I'm stuck for the lunch which
was all right except for her suggestion
that I order a "ham" sandwich. She
apologized between the first and second
bite saying that she'd been out the night
before with a guy who must have been
drinking rubbing alcohol judging from
the way he kept trying to paw her and her
temper was still at the boiling point. She
said I might do better during the after-
noon if I knew something about the plot
of Bluebeard's Eighth Wife. I said
"Okay! Checks!" just like Lubitsch.

■ So here is . Miss Whatshername's
birdseye view of the story:

"The seven-times married Michael
Brandon (Gary Cooper), American
multi-millionaire, finds himself in one
heck of a fix in a department store on the
French Riviera (that's where we've been
working, you dope) and gets out only
when Nicole De Loiselle (Claudette
Colbert) comes to his rescue. Michael
has tried to buy only the coat of a pajama
suit but it's no dice with the store
manager until Nicole barges in and agrees
to buy the trousers. Why? Because the
man she's shopping for never wears tops,
that's why. Brandon gives her the once-
over and falls for her right away. At the
same time he's all in a dither about the
guy she's shopping for — whether or no
he's husband, father, or sweetie. He dis-
covers the next day that the man is none
other than Nicole's papa, a sly, improvi-
dent old rascal (Edward Everett Horton)
who agrees to arrange a meeting between
his daughter and Brandon. Nicole has
learned about Brandon's marrying habits
and doesn't like it. Later, however, she
agrees to marry him, but only on her own
terms. Before the preacher makes them
one, she says, she wants 100,000 bucks a
year income — and in advance! Smart
girl. She gets it. But all Brandon gets is
a scad of poison pen letters. Then he gets
a detective to find out the name of the
writer. Nicole, the real author, wins the
dick over to her side of the fence — are
you listening?"

I said I was and Miss Whatshername
went on after shoving the lunch check
toward me.

40

Accept No Substitutes! Always Insist on the Advertised Brand!

"Brandon decides t6 pull a fast one by
announcing he is to leave for Brussels,
his idea being to hurry back and surprise
Nicole, but Nicole hires an ex-pug to act
as her lover and to beat up on Brandon
the first chance he gets. Things go hay-
wire. An old family friend calls and the
ex-pug bops him for the full count think-
ing he is Brandon. Nicole holds the old
family friend in her bedroom and when
hubby finally appears and sees him, he
gives up.

"Nicole, like a lot of other dames who
suffer from husband trouble, finds she has
won all the battles but has lost the war —
which is no feather in her matrimonial
cap if you ask me. Well, to make a short
synopsis shorter, Brandon enters a sana-
torium, to get away from it all, but Papa
De Loiselle, on a spending spree with
Nicole's dough, buys the joint and per-
sonally sees to it that the estranged couple
meet and go into a happy, all's well that
ends well ending. Now let's go back on
the set, dope."

■ Right here, Mr. Editor, is where the
crap game came in and my seven
bucks went out. Miss Whatshername led
me over to a bunch of the boys who were
whooping it up with the galloping domi-
noes, busted into the game with two-bits,
made seven straight (?) passes and
walked away with her sock full of folding
money. It's a painful story, Mr. Editor,
and I don't care to dwell on it — but be-
lieve me, the memory lingers on!

It's Gary's turn to take a walk when
Director Lubitsch yells "Action! Camera!"
promptly at one o'clock. Gary has put on
a little weight since I saw him perform in
Marco Polo and looks fine. He takes the
same journey that Claudette did in the
morning, but, since he's supposed to be
following her, Lubitsch urges him to walk
as fast as "any young man would who
iss trying to catch up vit de girl he has
just fallen in love vit." And Gary does
just that, stepping out in those long
strides of his, eyes straight ahead, a de-
termined look on his lean, tanned face.
Everything would have been just fine and
dandy if I hadn't sneezed when he passed
me. Gary stopped as though shot when I
started my nasal serenade. I can't say as
much for Lubitsch who jumped three feet
in the air and came down running toward
me. He was angrier than a pocketful of
hornets for a minute, but he managed a
grin. "Young man," he warned me in a
mock-serious tone of voice, "dot vas de
most expensive sneeze I bet you ever
took. Look! Ven you feel another com-
ing, rub de side of your nose like diss.
Dot takes de tickle avay. So. Now ve
try it again. Action! Camera!"

Lubitsch called it a day at four-thirty,
called me a "pretty fair" extra and smiled
his "Okay! Checks!" when I said I'd be
around the next morning.

Well, it's all over and done with now,
as I write this and I'm in full agreement
with Miss Whatshername (I wish I'd

gotten her telephone number!) who
frankly said that as an actor I'd be a
better ditch-digger. At that it was a great
experience and if you ever come to Holly-
wood and are pestered to death by a guy
who keeps saying over and over that he
worked in Bluebeard's Eighth Wife with
Gary Cooper and Claudette Colbert,
you'll know it's me.
"Okay! Checks!"

This hat of pale blue antelope was Inspired by
the caps of the dwarfs in Snow White and the
Seven Dwarfs, and is worn by Ann Miller, speedy
little tap dancer featured in Radio City Revels

New Cream

with

does More t/iariJ£ver
jbryourskin

TODAY something new is
possible in beauty creams!
A thing not dreamed of only a
few years ago!

One of the vitamins has been
found to be a special aid to the
skin. This vitamin is now known
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And this "skin-vitamin" you
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You have always used Pond's
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Use it as you always have.
After a few weeks, just see how
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In Pond's Vanishing Cream,

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It nourishes the skin! This is
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It is the vitamin that especially
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Same Jars ... Same Labels . . .
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Get a jar of Pond's new "skin-
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p Pond'B, Dept. 6-VR, Clin-

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Copyright. 193ft, Pond "a Extract Company

When Answering Advertisements Please Mention April HOLLYWOOD

41

NEW

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Don't pare corns

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# A plug of dead cells root-like In form and position. If
left may serve as focal point for renewed development.

Don Terry, now making American Legion at Columbia,
thinks it is easy to break into Hollywood. All you
have to do is not try, if his experience is an example

Actor by Accident

He wanted to be a heavy-weight
fighter, bat chance took a hand

By EDGAR SOUTHP AIJGH

■ Into the discard, so far as Don Terry,
Columbia contract player, is con-
cerned, goes that old and often proved
Hollywood saying: They Never Come
Back. For, after eight years spent on
Broadway in such shows as The Front
Page, Holiday, Please Do Not Dis-
turb, and at various "barn theatres" —
among them the famous Locust Valley
Playhouse — this capable, handsome and
husky actor is back in Hollywood.

Therefore you can credit Old Man Fate
with another swift kick in the vestibule
of his trousers since Actor Terry was so
certain he'd be here for only one picture
that he bought a round-trip ticket when
he shoved off from New York. So pleased
was Columbia with his work in Dangerous
Adventure, his talking debut, that the
studio grabbed the second half of his
round -tripper and exchanged it for a
long-term contract.

Terry's real name is Donald Prescott
Loker. The actor's family tree has
sprouted numerous branches that have
contributed outstanding personalities to
American history. There's the Colonel
Prescott, for instance, who commanded
the Revolutionary troops at Bunker Hill.

Another is Henry Loker, slave trader, who
was mentioned by name in Harriet
Beecher Stowe's "Uncle Tom's Cabin."

■ Actor Terry was educated at Phillips
Andover Academy and Harvard Uni-
versity, graduating from the latter in 1929.
He took part in several Hasty Pudding
shows during his collegiate years but dis-
played little, if any, leanings toward the
stage as a career. Outside of his studies
his chief interest was in the ungentle art
of fisticuffs and he learned how to swing
leather well enough not only to become
the heavyweight boxing champion of his
school, but to be declared the winner of
three intercollegiate boxing tournaments.

■ "I was headed for 'down under' in
1929," explained Terry when we asked

him to tell how he got into the acting
business, "to appear in amateur bouts
under the patronage of a wealthy friend
of mine. The idea that I'd ever be an
actor never entered my mind. One night,
Charles Francis Coe, the author, saw me
in a Hollywood restaurant and introduced
himself. Coe, in his time, could swing a
mean pair of dukes and our talk, mostly,

42

Accept No Substitutes! Always Insist on the Advertised Brand!

was devoted to boxing. I went on to San
Francisco and was just checking out of my
hotel when I received a wire from Coe
asking me to appear in a film version of
Me, Gangster, a novel of the prize ring then
running in a national magazine. I took
a boat as I had planned, but it was a coast-
wise one bound for Los Angeles. I made
two other pictures before I called it quits."
Turning his back on a promising screen
career, Terry, with adventure stirring his
blood, went on a long South Seas cruise
with F. W. Murnau during which the
German director sought location setting
for his picture, Tabu.

■ "I returned to New York after that
trip," Terry says, "and wound up on
Broadway as a leading man playing in a
great number of shows between 1930 and
1937. My summer vacations were spent
on the barn theatre circuit. I had no in-
tention of ever coming to Hollywood until
the day I walked out of the cast of a play
I considered unsuitable for me. Friends
finally persuaded me to come here for just
one picture. Next thing I knew I had my
name to a long-term contract with Co-
lumbia, cast in American Legion. I guess
I'm here to stay."

There seems to be a pretty well estab-
lished rumor that Terry is going to knock
'em as cold in Hollywood as he did when
he was the master boxer of Harvard. In
other words, they're betting he's a winner.

Charlie McCarthy was so affected by the enthusiastic response to his acting in The Goldwyn Follies

that he had to be carried out of the theatre after the preview. Edgar Bergen looks pleased, too,

but who wouldn't with Andrea Leeds along?

SKINNY? THOUSANDS GAIN
NORMAL CURVES THIS NEW

Quick Gains of 10 to 25 lbs.
Reported with this New
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EASY WAY

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Why it builds up so quick

Scientists have discovered that
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It's easy to see, then, why
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To start thousands building up their health
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When Answering Advertisements Please Mention April HOLLYWOOD

43

iT'S YOUH JOB
AS WELL AS MtNE
TCL&EEP TEETH
AND GUMS
') HEALTHY

Dental service is impor-
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Regular massage with
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Forhan's ;Sk

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Name Town

Address State

44 Accept No

IIZilZtltlHZIflaMilJt?*]

By LLEWELLYN MILLER

IN OLD CHICAGO (Twentieth Century-Fox)

■J There is something terrible and fas-
cinating about fire. And it is sluggish
blood, indeed, that does not race faster
when the sirens .wail past, hurrying to
quench a one alarm brush blaze in a back
lot.

For that reason, In Old Chicago is as-
sured of special attention on the part of
audiences, for it contains a holocaust
beyond the wildest hopes of a modern
fire-bug.

In 1870, Chicago was a sprawling city
built of wood. In 1937, three acres on top
of a windy little hill near Twentieth Cen-
tury-Fox studios were covered by full-
sized replicas of certain portions of the
city. Once it was set alight by orders of
Producer Kenneth MacGowan, it burned
for three days — three notable days for the
picture.

Against the background of defiant
flames, thousands of extras enact the con-
fusion, the despair, the terror of an entire
city caught in a great catastrophe and
helpless against it. There is a shocking
uproar of crashing timbers, collapsing
walls, screams of hysterical refugees,
hoarse voices shouting conflicting com-
mands, the bellow of frenzied cattle and
the combat of flames and water from the
inadequate pumps, as the camera moves
for what seems like hours from one por-
tion of the conflagration to another.

The first part of the picture is lavish,
elaborate, long and rather routine except
for the telling introduction in which Alice
Brady, as a pioneer woman, sees her hus-
band killed on the vast empty plains of
the middle west. Miss Brady has tossed
aside that frenetic over-emphasis and the
exaggerated gesturing which marks so
many of her screen roles, and plays Mrs.
O'Leary straight to great effect. One of
the O'Leary sons (Don Ameche) is very
very good and gets to be mayor. One of
the sons (Tyrone Power) is slick and filled
with charm, and he gets to be boss of the
underworld. So they fight it out during
the fire with the assistance of a huge cast
of good supporting players and Alice Faye,
who plays the darling of the dance halls
with a heart of gold.

BUCCANEER (Paramount)

HI Romantic in the best tradition of
pirate tales, Buccaneer contains far
more than a reasonable quota of plank-
walkings, hangings, sudden deaths and
innocent merriment among the brutal sea-
dogs of Lafitte's fleet.

Fredric March makes a colorful figure
as Lafitte and swaggers tirelessly through
dangers on land and hazards on sea.

The story deals with Revolutionary
days when the trained British troops were
pushing the hard-pressed back-woods
volunteers under Andrew Jackson per-
ilously close to New Orleans. A little ad-

vantage, one way or the other, meant the
failure or the success of the Revolution.

And Lafitte had that little advantage.
At his command were a thousand men.
They were outcasts, cut-throats and refu-
gees from every part of the world whose
mis-deeds had driven them to the dubious
security of his pirate flag. Lafitte, him-
self, was brazen about his calling. Openly,
he sold loot from scuttled vessels. He had
but one rule, and that he enforced strictly.
No vessel flying the American flag must
be molested.

The plot hinges on the sinking of an
American ship through disobedience of
one of his lieutenants. All aboard her are
drowned, with the exception of a little
Dutch maiden (Franciska Gaal) who is
saved to introduce .touches of cuteness and
coquetry so simple that one fears for the
little girl's good sense. The part is none
too credible, but it does show Miss Gaal
to distinct advantage. Akim Tamiroff
scores with his interpretation of the sen-
timental pirate who is impelled by the
trusting ways of the little waif to neglect
a good deal of the slaughtering expected
of a pirate. Margot Grahame looks very
handsome in picturesque costumes of a
southern belle. Walter Brennan as an
uncouth orderly and Hugh Sothern as
General Jackson contribute the most con-
vincing characterizations though you'll
enjoy the work of the enormous cast as it
re-enacts the exciting incidents of the
struggle for independence.

There is plenty of furious fighting, of
swash-buckling romance and dangerous
adventure, so you'll do very well to see
this latest Hollywood interpretation of
history.

I MET MY LOVE AGAIN (United Artists)

| The girl (Joan Bennett) and the boy
(Henry Fonda) were whole-heartedly
in young idealistic love. But they could
not be married until he had completed his
college course and had started on his
career.

In a moment of rebellion against her
comfortable but monotonous life with her
aunt (Dame May Whitty), the girl im-
pulsively married a charmingly irrespon-
sible author (Alan Marshal) the day after
she first met him.

The second half of this engaging film
deals with the girl's return, ten years later,
a widow with a little daughter. She finds
the boy embittered, coldly enduring his
life as a professor and his possessively
interfering sister and mother.

Much stands in the way of the recapture
of romance between the two. The little
girl is resentful. The boy's mother is
jealous. The sister meddles. And there
is a love-smitten school girl who compli-
cates matters beyond endurance by threats
of suicide.

Speculations about what might have
been are a fascinating pastime with nearly
everyone, and for that reason the film has
especial appeal.

Substitutes! Always Insist on the Advertised Brand!

•

THE DIVORCE OF LADY X (United Artists)

| Merle Oberon returns to the screen
after an absence of some months in a
film notable chiefly for very good Techni-
color and an excellent cast. It is a defi-
nitely absurd farce, made in London by
Korda, and played with rather too much
vigor by Miss Oberon, who is at her most
appealing in serious roles.

When fog blankets the city, guests at a
fancy dress ball are forced to spend the
night in a hotel, already filled to over-
flowing. Rather than spend an uncom-
fortable night in the lobby, Leslie (Miss
Oberon) insists upon sharing a suite
with a stranger (Laurence Olivier). He
is a barrister. When his best friend drops
in the next day to get a divorce because
his wife has spent the night with another
man, the young barrister quite naturally
supposes that Leslie is the woman.

In the best traditions of the domestic
farce, the film worries its way through
many misunderstandings to a happy
ending.

SWING YOUR LADY (Warners)

■ All you need to know about this film
is that Louise Fazenda plays a lady-
blacksmith who, though inexperienced in
the more delicate art of rassling, finds
herself matched with Nat Pendleton. Your
imagination will do the rest.

Humphrey Bogart plays the barn-

storming promoter. Frank McHugh adds
comedy as the anxious trainer and also
prominent in the cast are Allen Jenkins,
Penny Singleton and the Weaver Brothers
and Elviry.

One of the biggest moments in the film
is when an enraged man-mountain
hillbilly, whipped to animal frenzy by
jealousy, puts his whole heart into the
annihilation of Pendleton in the ring.

PARADISE FOR THREE (M-G-M)

■ Fritz (Robert Young) couldn't get a
job, but he had striking success win-
ning contests. His landlady was beginning
to show signs of active discontent at being
paid in electric trains, washing machines
and other awards. She rebelled when the
mail brought in another prize: two weeks
in the Alps as the grand winner of the
Tobler Soap contest. So Fritz had to go
himself.

What he didn't know was that old man
Tobler (Frank Morgan) had won second
prize under a false name, and also was
bound, but under the quickly assumed
name of Schultz, for the resort.

The hotel, tipped off by Tobler's anxious
house-keeper (Edna May Oliver), be-
comes confused. Fritz is given princely
treatment meant for old man Tobler, who
in turn is given a chilly run-around.

Mary Astor as a designing breach-of-
promise expert, Florence Rice as the love
interest, Reginald Owen as the harrassed

valet, Henry Hull and Herman Bing add
comedy to the slight story.

NEW AUDIOSCOPIKS (M-G-M)

■ When you see the strange word,
"Audioscopiks" in front of a theatre,
don't hesitate. Go in and take a look at
one of the most remarkable short subjects
you've ever seen.

As you are seated, you will be given a
piece of cardboard in which are mounted
two bits of cellophane, one red and one
green. You look at the picture through it,
and get an almost alarming effect of a
third dimension.

Smoke rings appear to float toward you
over the footlights. Knives, flung by a
player, are aimed straight at your heart,
and it is a strong-willed person who does
not flinch when the first piece of furniture
hurtles directly at him.

RADIO CITY REVELS (RKO-Radio)

This is a pleasant musical all about a
song writer (Bob Burns) who could
compose only in his sleep, and who falls
into the clutches of two down-and-out
denizens of Tin Pan Alley (Jack Oakie
and Milton Berle). Their problem is to
keep him asleep. Tap dancer Ann Miller,
singer Kenny Baker and laugh-makers
Helen Broderick and Victor Moore help
keep him and the audience awake.

Seems Like Everyone has a

"Kleenex True Confession

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MAIL YOURS TO KLEENEX,

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(Prom a Utter by Mrs. W. T., New York, N.

no Iff &* W*"-

])W P WHEN I HEARD GUE:

GUESTS

WHISPER THAT MY TOWELS WERE
STAINED WITH MAKE-UP! NEW KLEENEX
LIPSTICK TISSUES NOW END ALL THAT !

(From a letter by Mrs. H. E. B., Pasadena, Calif)

Y.)

• Adopt the habit of using Kleenex in
the Serv-a-Tissue box that ends waste
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2 for 25c. It's the handy size for every
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BUY KLEENEX

IN THE

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When Answering Advertisements Please Mention April HOLLYWOOD

45

Skin Reveals
Thrilling Beauty

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Sprinkle Lavena in the bath water to help
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SPRINGTIME

IS GLEAN-UP TIME

Lovely Merle Oberon, cur-
rently seen in The Divorce of
Lady X, symbolizes the spring-
time freshness which this
article tells you how to achieve

H If you're a good housewife and take
pride in the appearance of your home,
you're beginning to think about spring
housecleaning. There are rugs to be
cleaned, new curtains to be hung, shabby
spots to be brightened up with slip covers
or fresh coats of paint. It all means extra
work — but you never remember that,
once your house is all shining and fresh
to let in the April sunshine.

Whether you are a housewife or not,
you should adopt this same attitude toward
a springtime refurbishing of your face,
your hair and your figure. Beauty is apt
to have a kind of dustiness about it after
a long winter. Hair is dry and dull after
too much steam heat. Skin is coarse or
blemished after too little exercise and too
much heavy food. And, alas! figures are
so often the worse for wintertime relaxa-
tion.

By ABTN VERNON

And what earthly good is a be-flowered
Easter bonnet atop ungroomed hair — or a
smart tailored suit that's too tight across
the hips?

■ One of the best ways to start a spring
cleaning campaign on yourself is to
roll up your sleeves and clean up your
dressing table. I've noticed so often that
the girl whose dressing table and bath-
room are neat and correctly equipped is
the girl who simply mows everybody
down with her own good looks. Constance
is the best example of this that I can cite.
I have seen her at work, at parties, and in
her own little apartment during those lazy,
house-coated sessions that girls love — and
always her perfect grooming is a source of
satisfaction to me.

She proves all my beauty theories, for
although she is not beautiful, she is a joy

46

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to look at. Her dark hair always glistens
with health and cleanliness; her skin has
that clear, clean look; her nail polish is
always impeccable and her clothes fresh
and dainty.

Let's take a peek at Connie's closet-
dressing room. It's lined with shelves all
tricked out in pink and blue ruffles. On
the dressing table is a lighted make-up
mirror that enables her to make up as
carefully as a movie star. Ranged around
it are boxes of tissues and cotton, jars of
cleansing and night cream, bottles of
tonics and astringents, face powder, rouge
and eye cosmetics.

In the bathroom on glass shelves are
her dusting powder, colognes, toilet soaps,
hair brushes and boxes for miscellaneous
gadgets arranged so that she can get at
them quickly when she has overslept in
the morning, or has a surprise dinner date.
I hope that you will be as impressed as I
was at Connie's orderly design for beauty
— and that you will copy her.

fl When you've finished overhauling
and replenishing your dressing table,
then give your winter-weary pores a
break by going in for a regime of soap and
water in large quantities. Try taking a
warm scented bath at night, a cooler, re-
freshing shower in the morning.

If you're looking for a bargain in a
beauty soap, I have just the dish for you
— a bland facial soap now out in bath size.
It has always been a favorite beautifier of
mine for its mildness, for its quick, rich
lather and its vitamin content, so I was
delighted when I discovered that it was
coming out in big bertha proportions. So
will you be, once you try it. Four of these
large cakes cost around 60 cents.

| Another beauty discovery that should
play a major part in your spring
clean-up campaign — and in your daily life
thereafter — is a two-way preparation that
I saw in the making. It's a snowy white
crystalline product derived from corn that
can be used as a beauty mask and also as
a beauty bath. If you could see the loving
care with which the raw material is put
through the refining processes, you'd
never believe it could be so inexpensive.
After the corn is ground and washed a
number of times, the starch is extracted
and sent to huge, sterile vats where it is
refined. Then, in a semi-liquid state it
is forced through silk screens. After this
it is partially dried in troughs, then rushed
into "bake ovens" where the long crystals
are formed, then the pretty round ones.

All of this so that you can mix a handful
of it with milk or cold cream to form a
beautifying mask, and throw a handful of
it in your tub for a bath extraordinary.
The milky bath soothes and softens your
body while the mask gently stimulates
your circulation and coaxes your skin to
renewed rosiness and clarity. The mask
is most effective when you leave it on for
twenty minutes for complete relaxation,
but it is grand as a five-minute hurry-up
mask too. You remove it simply by rinsing
off with warm water. The preparation
comes in a huge blue and white box that
costs only a few cents. Want the name?

| The other day I attended a figure-con-
trol preview — an advance showing of
the spring line of girdles and foundations
made by a well-known manufacturer.

An important feature of these new
spring garments is their Twin and Super
Control — Twin Control for average forms.
Super Control for the heavy ones — and
that means restraint in all the spots where
you need it.

Especially woven by this company is
the lastique they use. And they use it in
such a way that you get the maximum
amount of flexibility necessary — no matter
whether you're reaching for a high ball in
tennis, bending over to tie a shoe, or
merely boarding-house-reaching for that
last olive. That's the trick of their trade.
The manufacturer uses a one-way stretch
material for the back and the front panels
of the foundations — so that the garment
will stretch up and down but never side-
ways— and on the side, a two-way bias
stretch so that you get "give" all ways.
The manufacturer feels the long line is go-
ing to be an essential for spring clothes —
the bust will be high, the diaphragm flat,
in the directoire manner. So he carries that
front panel in his "combinations" up and
up, to help give a bit of uplift to the bust,
and shape it to spring fashions.

Two of the garments I saw seemed to be
naturals. The first was a girdle, a slip-on
in their new Triple Control net lastique —
light and cool for all year round wear.
This girdle was lightly boned in
front — to hold your waist in flat for suits
and tailored spring coats and dresses. De-
signed for a girl of medium height with
an average figure (waist sizes 24-30) it's a
bargain at $5. The other was an all-over
combination — girdle and brassiere top
combined in one garment. It too was made
in the Triple Control net lastique (I saw it
in a soft peach, but it comes in white also)
with a net uplift brassiere. Like the girdle,
it was for the gal of medium height, with
average figure proportions (34 bust, 28
waist, 37 hips) but it came in the other
sizes — 32 to 40 bust measure. The cost
was only $10— not bad when it means you
can have a figure like a movie star's for
this year's Easter parade. Write me for
the manufacturer's name.

When his fancy turns to love,
Is it you he's thinking of?
Do you want a new spring face,
So that he will sing your grace?
Perhaps you'd like a new hair do
Especially designed for you.
If so—

Send a snapshot, or tell your
troubles to Ann Vernon, HOLLY-
WOOD MAGAZINE, 1501
Broadway, New York City. AND
be sure to enclose a self-ad-
dressed envelope with 3 cents in
U. S. postage for her reply.

be sure
of yourself

with a clear SKIN
from WITHIN.

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The reason for this is quite simple . . .
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When Answering Advertisements Please Mention April HOLLYWOOD

47

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Shirley Dearie is known to millions as the Bonnie of the popular Jones Family series
but she also is known to hundreds who enjoy buying clothes from a movie actress

Three-Career Girl

You'd think that being a rising
young actress would take all of
her time, but she manages to run
several other businesses as well

By EDELBERT SMITH

H Up until a few days ago when we de-
cided to investigate the record of
Shirley Deane, the 20th Century-Fox star,
we would have wagered a dollar to a de-
pression doughnut that the "you can't
combine business with pleasure" maxim
usually found on page one of the copy-
books, was just about the truest five
words ever strung together for the benefit
of anyone engaged in the commercial art
of trying to make two dollars grow where
only one grew before.

But we're not so sure, now. And the
reason we're not so sure is because the
energetic Shirley has proven fairly con-
clusively that profits don't fly out the win-
dow when a little fun enters the busi-
ness door.

Shirley, as you know if you're up on
your movies, keeps herself mighty busy in
pictures. There's the four or five of The
Jones Family films each year besides three
or four others. It's hard and exacting
work, but it's a lot of fun and she enjoys
every minute she's on the set. But it wasn't
enough. Hating idleness like some folks
hate mother-in-laws, she decided a while

back that she would take up the slack in
her time by becoming a business woman.

| "Just the minute my friends heard
about it," says Shirley, "they pounced
on me like a banker on a mortgage. I was
in for plenty of good, old-fashioned head-
aches. I was bound to throw good money
after bad. Whatever venture I had in mind
would peter out within six months. That's
not all my friends said. But it gives you
an idea. So — "

In due time she rented space in a vacant
store on Wilshire Boulevard, stocked it up
with dress goods, hired a couple of nifty-
looking salesgirls — and in such a manner
was her first dress shop born. There is a
little more detail to it than this, but in all
essentials that's about how it happened.
And, to the utter consternation of her
well-wishing friends and critics, the
Shirley Deane Dress Shop was off to a
flying start. The cash register kept on
echoing to the pleasant sound of money.
And it still is.

Before long she was turning a business
eye toward Palm Springs, the famous

48

Accept No Substitutes! Always Insist on the Advertised Brand!

...

desert resort located about 130 miles away
from Hollywood as the screen vacationists
fly. And once again her well-meaning
friends and severest critics began laying it
on thick. No girl alive could be in three
places at once — in pictures, in the little
store on Wilshire Boulevard, and at Palm
Springs. What she'd make in one she'd
lose in another. And so on and so on.
Therefore, says Shirley —

"I opened a shop in Palm Springs. Not
a swanky one by any means, but good
enough to attract the resort trade. It's
making a little money and it's keeping me
busy. Of course, as my friends pointed
out, I can't possibly be in three places at
once, but when I'm making a picture I'm
able to keep a close check on how things
are going at Palm Spring and on Wilshire
Boulevard. The stores are so well organ-
ized now that they almost run themselves.
I'm looking around for a good location to
open a third shop, and when I do I imagine
I'll again be the target for all kinds of ad-
vice from my friends. So far I've had a lot
of fun in business — almost as much as in
pictures — and for the life of me I can't see
where I have suffered. As a matter of
fact, this idea of keeping busy is the best
thing that ever happened to me. It would
be a good thing if other girls in pictures
would go into business of some kind when
they aren't before the cameras. If I can
make money at it, they can. All this may
sound a little bit 'school ma'amish,' but
I've learned that idleness doesn't pay any
more dividends in Hollywood than it does
elsewhere. If any girl in pictures is look-
ing around for thrills during her spare
time let her take my advice, such as it is,
and start a store of some kind."

This, coming from a girl as sensible as
she is pretty, sounds like good advice —
a little bit school ma'amish, as she says,
but that's to be expected when you learn
that Shirley spent two years in the State
Teachers' College at Fresno, California.

But always a great hand to mind her
"p's and q's," she decided, in 1932, that
she'd never be able to teach others the
trick, much less their "A, B, C's," so she
called the whole thing off and went to live
with her mother in San Francisco.

■ "Ever since I was a tot of seven," she
says, "I had taken dancing lessons,
eventually becoming expert enough to
play in kiddie revues in and around
Fresno. So, with the teaching idea buried
forever, I went back to my hoofing. And
when the Golden Gate Theatre of San
Francisco held an 'opportunity contest,' I
entered with a song and dance act and
won, for a prize, a trip around the RKO
circuit."

By the time she was ready to take the
trip she received, and accepted, a bid to
sing in the Bal Tabarin, one of the more
popular San Francisco cafes. Two months
of this and along came opportunity again
knocking on her door. Metro-Goldwyn-
Mayer, to obtain dancers for the Joan
Crawford picture, Dancing Lady, spon-
sored another contest and Shirley, a tal-
ented singer and dancer by now, entered
and won.

"Work in this picture lasted four
months," she reveals, "and before I was

through I had a fairly good idea of what
made the studio wheels go 'round. It
appeared to me to be a very pleasant,
exciting way to earn a good living, so I de-
cided to stay."

It was about this time that Sammy Lee,
out at 20th Century-Fox, originated his
"stock" company plan and Shirley, walk-
ing out at Metro-Goldwyn-Mayer, walked
in at the Fox plant where for months she
studied at the studio dramatic school. Here
she absorbed plenty of technical knowl-
edge, if not actual experience in front of
the cameras. Occasionally, though, a bit
part would come along as in King of Bur-
lesque, The Man Who Broke the Bank at
Monte Carlo, and Metropolitan, but she
never was considered for a good role in
any important picture.

| Things changed fast, however, when
Darryl Zanuck sat down behind his
big, front office desk and announced that,
under the head of new and important
business, he was going to give the talents
of his stock girls a real try-out. Our ex-
school ma'am, luckily, was first on the list,
and you could have knocked her down
with a two-foot strip of undeveloped film
when she learned that she was to have
the romantic feminine lead in Charlie
Chan at the Circus. Mr. Zanuck, the Boss-
man, believing that one good lead deserved
another, found a good spot for her in
Nancy Steele Is Missing and another in
One In A Million. According to well-
founded rumors around the Fox lot, there
are other, and bigger roles to come.

Three years ago this Christmas, the
studio started its immensely popular The
Jones Family series. Shirley has been in
all of them except the first. She goes by
the name of Bonnie, a role that has been
good for her in more ways than one. Just
the other day she finished up work in Love
On a Budget, the latest of the series, and,
according to the bonny Bonnie it's one of
the best and bound to assist in helping
The Jones Family to become a movie in-
stitution.

"For a while," admits Shirley, "I was
afraid that I might be identified too much
for my own good in these pictures, but
I don't believe so, now, since I have been
cast in enough other films to take off the
curse of being typed. I'm proud to be a
member of The Jones Family for a num-
ber of reasons, mainly, though, because of
the experience, the fun I derived from
them, and the fact that they please so
many people." Which seems like a safe
and sane attitude to take on her career.
Make no mistake about it, this blonde,
blue-eyed Shirley Deane of the Dress
Shops and motion pictures is going places
in films and is doing things in business,
and better yet, is having a grand time do-
ing so.

Shirley Temple, Anne Shirley, Shirley
Ross, and Shirley Deane — don't try to tell
us that there isn't magic in the name!

In Next Month's HOLLYWOOD Magazine

Myrna Loy tells why

"IT TAKES THREE TO MAKE A

LOVE AFFAIR"

Don't miss this amusing story

FAMOUS STAR...

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When Answering Advertisements Please Mention April HOLLYWOOD

49

MEN WHO BOSS THE STARS

UNBEATABLE GOLDWYN

■ What is the real Sam Goldwyn? Is
it Goldwyn the Lone Wolf, yelling
"I am the boss?" Hundreds of people
have ego and the determination to get
their own way. That doesn't guarantee
top product in any line.

Is it Goldwyn the Gag Man? That's
merely superb press agentry. Like the
Ford joke, the Goldwyn gag is just a su-
per-successful way of garnering free
newspaper space — plus spoken-word pub-
licity, the most priceless of all.

There has to be a reason behind the
man. His twenty-four year career as a
producer stretches from the first feature
length picture made in the United States —
The Squaw Man. It rises through triumphs
like Arrowsmith to an exciting present,
when great pictures, such as These Three,
Stella Dallas, Dead End and The Hurri-
cane, roll from his studio in unbroken suc-
cession.

| Now the public expects perfection
from Goldwyn. Goldwyn expects per-
fection from himself. The strain must
be terrible, but it's a pleasant way to go
crazy. Ask Sam. He's been so good-na-
tured lately, after seeing his last few pic-
tures, that studio employees have been
worried for his health. But hell recover
and explode them into new triumphs. He
always has.

We'll take it for granted that one of
Sam's qualities is the ability to learn from
his own mistakes. Otherwise he'd have
been in the poor-house. Some of this
fellow's early boners — never let anybody
tell you different — were 24-carat colossal.
After discovering Gary Cooper, he let
that actor get away from him for $200 a
week, and later had to hire him back at
$3,000 a week. He thought a screen test
of Frances Howard a waste of money. That
put him behind the eight-ball for life.
Miss Howard became a great star in other
hands. Sam looked at her one day with
his eyes open — and married her. When
Sam talks too big around the house about
judgment and star-making, Mrs. Goldwyn
just smiles. It's good for him.

There were other mistakes — plenty. Sam
had Will Rogers under contract and
couldn't find the formula to make a screen
star of the Beloved Cowboy.

Some of Goldwyn's early pictures were
flops de luxe.

H What makes today's Sam? What is
the secret of "The Goldwyn Touch,"
the unbroken string of successes?

It's really two secrets.

First, there's an almost insane insis-
tence on every detail being right. It makes
no difference whether the point at issue
might affect the picture's box-office value

50

Once, because he thought the
collar of a minor player was
not right, Samuel Goldwyn
ordered an entire scene re-
made. It cost 91 .5,000 but it
was worth it to the producer
whose pictures are justly fa-
mous for perfection of detail

By I.ITPTON A. WILKINSON

or not. Sam looked not long ago at a "rush"
of a scene. A group of extras, represent-
ing unemployed, formed the background.

"That third man from the right," Sam
said, "is wearing too clean a collar. He's
supposed to have been out of work for
months, yet his collar gleams. Shoot it
over."

It cost $15,000 to re-erect the set, re-
assemble the cast and spend a day re-
shooting.

Sounds extravagant? Well, it's Sam's
own money. For fourteen years there's
been no money behind Goldwyn pictures
except Goldwyn money.

H Sam has a sort of collar obsession.
That's one of the reasons Bob Mont-
gomery became a star. Executives all
around town were looking at screen tests
of the youngster. "His neck is too long,"
was the general verdict. "Foolish!" snorted
Goldwyn. "His collar's too short." Sam
wired New York — where Bob was — to
have a fine tailor do some "neckwork" on
the boy. An M-G-M scout saw a photo
of the re-necked Montgomery. Metro
beat Sam to the sign-up. Just a happy
family, the picture business!

| The capacity for worrying about all
sorts of odd details that most pro-
ducers would leave to assistants has
caused Goldwyn to become, of all things,
an inventor. He is as proud of this as he
is of a great picture.

Here's the tale. For years Sam had
worried about the effect of camera lights
on hair. Throughout the film world it was
customary to put an oily pomade on the
hair in order for it to shine and show life
under the Kleig lamps. Sam was never
satisfied, because he said the result al-
ways looked faintly greasy. He puttered
and fooled around; he talked to chemists;
he began to mix concoctions of his own.
He hit it, with a new and highly success-
ful "gold" powder. Maybe I should apolo-
gize for the quotation marks, because Sam
solemnly swears there is actual gold in the
stuff. Andrea Leeds, newest find of "the
star-maker" will be liberally sprinkled
with this magic sparkle in the Goldwyn
Follies. All the girls on the Goldwyn lot
sing the new invention's praises.

| Besides this acute, almost fanatic at-
tention to detail, Sam has another
secret strength — perhaps his greatest. He
has a passion for naturalness. He simply
cannot stand anything forced, anything
unnatural, whether the false accent is in
the name of sensation or of art. He gets
art in his films by outlawing "artiness."

We begin to see how he became "the
star-maker." When Merle Oberon came to

his hands, she had been cast repeatedly
as an exotic oriental, her eyes slanted, her
cheekbones made prominent. She went
a-flutter with distress when she heard that
Sam was going to toss that "typed" casting
overboard. She protested.

"Listen, my dear," said Sam. "You can
never do important work unless you play
the role of yourself. You must act in parts
in which you are natural, believable, and
where your normal emotions can find ex-
pression." He played her "straight" in
Dark Angel, and from a "type" she became
a full-fledged star.

Years ago Sam walked into the lobby of
a New York theatre and saw a young man
staring at the posters with a certain hun-
gry dejection, yet with an impudent, ironic
smile; shoulders squared, head cocked,
only the eyes tragic.

Sam asked him who he was. He was an
actor out of work.

"I said to myself," said Sam, " "This is a
fellow you would always think about in
connection with adventure and courage.'
He had what is an actor's greatest asset — a
habit-forming personality. Habit-form-
ing from the audience's side. You just fall
into the habit of liking him."

Those are Sam's words. I'm sorry there
are no gags in them; but the big Goldwyn
secret is in them.

That actor out of a job — whom Sam
hired on the spot — was Ronald Colman.

H Long ago Hollywood laughed at Sam
for hiring most of the big writing
names in the world. Many of the crack
novelists couldn't do picture stories, and
Sam took a licking. But he knew what
he was after. He still believes that the
story's the thing, and that natural, be-
lievable dialog will make stars: "Pictures
make stars; stars don't make pictures."

Fifteen years before Charlie McCarthy,
the redwood genius, burst on a startled
world, Sam had coined a private proverb:
"If you give a stick of wood good dialog,
you'll have an. actor."

Today he says: "Charlie McCarthy is
the most real personality in Hollywood.
Bergen, who writes his lines, keeps him
absolutely consistent. The little wonder
never steps out of character, and people
believe in him."

El The facts of his life are well-known:
Polish boy with an unpronouncable
name . . . running away from poverty and
home in Warsaw at eleven — making his
way at thirteen, in the steerage, to
America . . . immigration officials stumped
by the Polish name and translating it
"Goldfish" . . . work in a glove factory
. . . glove salesman . . . glove magnate at
twenty-three . . . first movie venture with
Jesse Lasky (The Squaw Man) . . . many
partnerships . . . many quarrels because he
knew what he wanted, and insisted . . .

Broadway laughing at "Goldfish," so legal
change of that name to Goldwyn . . . help-
ing found Metro-Goldwyn-Mayer . . . de-
cision he couldn't waste time explaining
ideas, therefore going it alone . . .

E3 In the Goldwyn suite at United Art-
ists studio three writers sat and
argued with each other and Sam. This
was the fifth dogfight on that particular
picture. The three highly paid writers
had written and re-written until their
nerves went wire-haired. One of them
lost his temper.

"Mr. Goldwyn," he mutinied, "are you
sure you know what you want?"

Sam flushed, then suddenly smiled.

"Maybe I don't know what I want," he
agreed. Then his voice cracked. "But
when you get it into the script, I'll know
it."

The world might as well prepare for
another Goldwyn. Sam, Jr., now eleven
years old (the same age at which his
father started into the world alone) is
practically a duplicate.

Three years ago, when Sammy was
eight, a visitor at the Goldwyn home was
checking the youngster's arithmetic.

"Sam," he asked, "if you had thirteen
cents and lost ten cents, how much would
you have left?"

The Goldwyn heir thought this over for
a long minute.

"Why," he wanted to know, with quiet
wonder, "should I lose ten cents?"

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How to Live on Practically Nothing

[Continued from page 23]

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When it was gone I sold the radio. This
was supposed to be a strictly cash, twenty-
five dollar deal, but when the man came
to the house to take it away he didn't
have the money. He agreed to pay three
dollars down and three dollars a week
until paid for and I finally accepted his
offer. That weekly income was a life-
saver."

H It got to a point, finally, where there
was nothing more to be sold and Marie
appointed herself a committee of one to
devise ways and means to take care of
the family larder.

Listed as No. 1 in the ways and means
column set up to provide provender for
six was an ingenious and effective little
scheme to which can be credited the honor
of bringing home the hamburger — if not
the bacon.

"I will never forget the first time I tried
it," confesses Marie. "I felt more nervous
than on the day I took a screen test. I felt

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pretty much ashamed, too, but we needed
meat, and so — "

And so, when the boy friend took her
out that night she "just happened to re-
member," as they passed a brightly-
lighted market, that she had promised her
mother to bring home some hamburger
for the dog. It was a very big dog, she ex-
plained when her escort drew up at the
curb and hopped out to play errand boy.
It was a very big dog, she repeated, and
ate as much as two pounds of meat at a
meal — if it was good.

"The family had hamburger for dinner
the next day," says Marie, "the only tas':e
of meat they'd had in a week. And they
had it as many as four and five times a
week thereafter- — for many weeks to come.
We had it so much that even to this day
I hate the very sound of the word. We
even had it for Christmas that year and if
it neither looked, smelled, nor tasted like
turkey, it was food and we were very
thankful for it. As a safeguard against
getting caught in my deception I was very
careful never to accept a date with the
same boy twice."

H This scheme worked out so well that
Marie began to devise others. It wasn't
long before she made an arrangement with
a nearby florist to take back the flowers
admiring friends sent her. She didn't get
full value, but she did receive many a
welcome dollar. She applied the same
procedure to gifts of candy, making an ar-
rangement with a candy shop to take back
— at a reduced price — the boxes of sweets.
"One of my chief problems," she re-
veals, "was how to keep enough gasoline
in my car so that I could continue my
parade up and down Hollywood Boule-

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vard. I solved it this way. Whenever a
boy called to take me out I'd insist that we
go in my car and then, when we were too
far away from home to turn back and take
his, I'd suddenly discover that my gas tank
was empty. I'd stop the car, look in my
purse and find it empty, too. I was always
careful to stop near a gas station. The at-
tendant would fill up the tank, my escort
would pay for it — and presto! I had
enough gas to keep the car going for an-
other day or so."

Usually, though, Marie traveled around
with scarcely more than a gallon in her
tank and if she found she couldn't get
home with what she had she'd borrow fif-
teen cents from some one, drive into a sta-
tion and say, "Give me four quarts." She
never borrowed more than fifteen cents,
she says, because it was too hard to pay
back more than that.

E Marie practiced three months of this
genteel gold-digging before she got a
break. Going down Hollywood Boulevard
one day, and looking like a million dollars
in her mink coat and Sunday duds, she
bumped into Douglas Churchill, a news-
paper man. Fortunately for Doug and his
car, Marie, as usual, was driving in low
gear so the bump didn't amount to much.
It brought Doug out of his car, however,
ready to shout a tirade against women
drivers. He was all wound up to tell
Marie off, but when he got a good look
at the blonde beauty smiling at him he
forgot to be tough. He forgot everything
except the thought that here was a girl
who "ought to be in pictures" and with
both cars parked at the curb, he rushed
Marie into a drug-store, called up an
official at RKO and shouted that "he had
just discovered the most gorgeous blonde
in Hollywood and that he was bringing
her right down for a test!"

Marie had her test at four that after-
noon and the next day signed a contract
- — and a week later was given a bit part in
Down to Her Last Yacht.

"We had a celebration at home that
night," smiles Marie, "and instead of
hamburger we had Swiss steak — paid for,
this time, with my own money. It took
six weeks to shoot the picture and I got
$10 a day. I thought I 'was in the movies
for good. I thought I was really on Easy
Street and that I'd never have to smell
or eat hamburger aga'n — but you never
can tell in Hollywood. It was eight months
before I got another part! And before I
did my money was gone and we were back
en our depression diet. Not only that,
but I was soon back on my old, sure-fire
tricks of gold-digging."

To help save gas Marie used to coast
from the top of her hill home clear down
to Sunset Avenue, a distance of better
than three miles. Neighbors say, now. that
they rigged up a huge gong and whenever
she started to coast they'd kick it around
with pieces of iron pipe as a warning for
children to clear out of the streets below.

M It was about a month after she had
finished her picture that she revealed
the most shining example of business acu-
men— a promotional scheme that was in
truth a life-saver. A block away from

where she lived was a cluster of little
shops that were doing, so the owners said,
just enough business to pay current bills.
Traffic was so heavy and so fast that no
one seemed to have time to stop. A stop
sign would help, they said, but every com-
mittee that had pleaded with city hall
officials had been turned down.

"It occurred to me," says Marie, "that I
might do something to help. At least it
wouldn't hurt to try. I didn't know where
the city hall was located, but I told them
I did and that I knew a few important
officials that might listen to me. First,
though, before I did anything, they'd have
to sign a paper agreeing to give me credit
at their shops for whatever I wanted for
as long as I wanted. Mother's investments
hadn't turned out as well as she had hoped,
I told the butcher, the baker, and the
candlestick maker sorrowfully, and the
only silver we'd have for the next few
months would be what we could scrape
up from the linings of the clouds the poets
rave about. After a long look at my mink
coat, my good clothes, and the big car,
they finally decided I was worth the risk
and each, in turn, signed the agreement
I had written up.

"The next day I drove down to the city
hall, found the proper officials, and put on
my stop sign sales talk. There was a lot
of hemming and haw-hawing after I
finished, and I turned on my heel and
made what I thought was a grand exit.
I tried a different style of approach the
next day with the same result, but I re-
fused to quit. Finally, after my sixth
visit, they told me to stay home and give
them a chance to catch up on their work.
Two weeks later a crew of men came out
and believe me, there was much rejoicing
in. the Wilson household when we saw the
stop sign go up. I got all the store credit
I needed, my family had proper food, and
if we were short of actual money we didn't
mind. I felt pretty proud of that accom-
plishment. I still do."

Well, if you ask us, she should. Any
sixteen-year-old who can face and whip
adversity as Marie did ought to feel proud.

Her next picture was a small part in
Babes in Toyland. The salary she received
was equally divided among the shop-
owners who had given her credit. The
feminine lead in My Girl Sally came next.

Now she has a long-term contract at
Warner Brothers Studio, she earns a bet-
ter than good salary, exhibitors keep cry>
ing for her pictures, her fan following is
enormous and when she walks down
Hollywood Boulevard — on foot, now — she
can paralyze her right hand signing auto-
graphs and do it in less than two blocks.
The big car — mink coat — expensive clothes
days of display are a thing of the past.
Marie drives a puddle jumper, now; she
wears simple clothes and cloth coats. She
exercises a thrifty care over her money.

Yes, indeed, in more ways than one, this
small-town girl has made good.

SPEAKING OF ECONOMY

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When Answering Advertisements Please Mention April HOLLYWOOD

53

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I Z KM! =H tW^T/M a a

1.

10.

11.

13.

16.
18.
19.
21.

22.
23.
26.

30.
31.
33.

38.
40.

42.

43.
45.
46.

48.

SO.
51.

53.
54.

55.

ACROSS

& 5. Fairy tale princess in Walt Disney film. 2.

Vivian Crane in City Girl. 3.
His last name is Boteler.

First name of one who portrayed queen in 4.

Rosalie (poss.). 5.

Nino Martini's singing voice. 6.

Wallace Beery 's brother. 7.

Qucntin. 8.

First name of star who portrayed Victoria 9.

The Great. 12.

Initials of a former wife of George Brent. 14.

What many of Disney's characters are. 15.

Initials of one who had title role in AH Baba 17.

Goes To Town. 19.

Sally, And Mary. 20.

Gene Autry stars in The Old Dance. 24.

Karl in Wise Girl.

Mary Carlisle was born on this day of 25.

February. 27.

He was father of Tim in Tim Tyler's Luck. 29.

Nationality of sleuth p.ortrayed by Warner 32.

Oland. 34.

Joan Crawford and Spencer Tracy 35.

starred in Mannequin. 36.

Beatrice Lillie is Lady . 37.

Mary Brian's native state (abbr.). 39.

Beverly Ann Welch was the drummer

in Mcrry-Co-Round of 1938. 40.

Remember Pearl White in The Of 41.

Pauline (sing.). 42.

Gold Is You Find It. 44.

First name of Mr. Novello, Birtish screen 47.

actor.

He was Jean in Madame X. 49.

Division of a screen play. 50.

Mrs. Charles Laughton. 52.

DOWN

Her last name is Bryant.

City in Nebraska where Fred Astaire was

born.

Short for Director Ruggles.

Warren William's initials.

The cowboy star wears a broad-brimmed one.

A Girl With .

Grace Moore's native state (abbr.).
Paul in Mama Runs Wild.
First name of star of I'll Take Romance.
One of 7 dwarfs in Disney film.

The That Kills.

Mile From Heaven.

Cedric Hardwicke's title.

First name of feminine lead in Black Doll.

Ronald Colman was born on this day of

February.

Principal roles in screen plays.

Month in which Maureen O'Sullivan was born.

I My Love Again.

Another of the 7 dwarfs.

The Parade.

She was Lilian Tate in Partners In Crime.

Hero of The Silver Trail.

Lovable little half-witted dwarf.

First name of leading man in Crashing

Hollywood.

The valet in Bulldog Drummond's Revenge.

Famous sister of John and Lionel.

Armored .

Cosmo in Hitting A New High.
Nickname of Mr. Skelton of Having Wonder-
ful Time (poss.).

Chaney, Jr.

Shirley Temple was Willie Winkie.

Ray Enright (init.).

(Solution on page 5?)

54

Accept No Substitutes! Always Insist on the Advertised Erand!

Five Year Vacation

Nan Grey started to Hollywood for a
two weeks9 vacation which stretched
to five years, most of it fun

By ED JONESBOY

EJ To learn just how close Hollywood
came to losing one of its most promis-
ing young screen players, you have to go
back to the summer of 1934 and to the
thriving little city of Houston, Texas.

Nan Grey, 'way back in '34, was floun-
dering around in what appeared to her to
be a very big sea of trouble. Here she was,
dressed up in her best bib and tucker,
her pretty duds all neatly packed, the
baggage locked tight — but with no place
to go.

As a reward for being a good little girl,
her mother had promised Nan a two-
weeks vacation and here she was, eager
and willing to take it, only to discover at
the last moment that in the hustle and
bustle of preparation for the trip, a desti-
nation had been completely over-
looked!

Nan, fearful that the long-awaited holi-
day might be called off then and there,
took time by the forelock. She also took

a map and spread it out on the dining room
table. Then she took a handkerchief,
bound it over her eyes and with a chanted
'"einie, meinie, mienie, moe" placed a little
forefinger on the square piece of paper.
This, she told her mother, will be "it."'
Then she removed her finger — and '"it"
happened to be Hollywood!

H Hollywood was an acceptable vaca-
tion spot for Mrs. Miller. She had a lot
of friends there with whom she could visit.
She promised daughter Nan a gay time — ■
which was all that daughter Nan was
looking for. And which she got.

A trip through the orange groves, a visit
to the lion farm, a boat ride to Catalina
Island, a sunny journey over the famous
Rim of the World Drive were one by one
scratched off the "must" list of things to
see during the first week. Then came the
visits while Mrs. Miller renewed old
friendships and acquaintances.

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During all the excitement that usually
springs from seeing new faces and new
places, Nan had proven herself to be one
in a million — the rare exception to a well-
established Hollywood rule. She em-
phatically refused to go to a studio to see
how motion pictures were made! That,
according to Movietown, was really one
for the book!

"Although they didn't openly accuse me
of it," says Nan, "I'm sure mother's friends
thought I was a little 'teched in the head'
when I turned down invitations that other
Hollywood visitors would have fought for.
It simply didn't make sense for a little girl
like me to appear so disinterested. They
couldn't understand why I didn't care to
see Clark Gable, William Powell, Joan
Crawford and other screen stars in person,
watch them perform before the cameras,
shake hands with them on the set, get their
autographs and so on. They finally decided
that I was normal after mother explained
that my disinterest was probably due to
the fact that father was an official in the
motion picture operators' union in Hous-
ton and that movies, therefore, were com-
monplace in my life. Which was true."

H The sight-seeing went on as did the
visits. Nan was having the time of
her young life and her mother the time
of hers. Toward the close of the second
vacation week she ran across an old friend
who had become an actor's agent. Well, if
you know actor's agents you know how
fast they operate when they come across
new talent. This one, when she gazed on
the blonde beauty of the girl from the
Lone Star State, operated even faster.

In almost less time than it takes a
Hollywood yes-man to give a nod to his
superior, the agent brought Nan to the
attention of studio executives. Now as a
rule, studio executives are a pretty bored
and blase lot when it comes to listening
to the smooth-as-silk sales talk of an ac-
tor's agent. Usually they listen to it with
about ten pounds more than the prover-
bial grain of salt. But not in this particu-
lar instance.

Nan was given screen tests — all of them
highly successful — and the Texas beauty
was suddenly confronted by three con-
tracts offered by as many major film com-
panies. Being a cagey as well as a cute
little trick, Nan waited until her two
weeks holiday was up before finally ac-
cepting the offer made by Warner
Brothers. Nobody, not even the movie
moguls, she decided, was going to cheat
her out of her fun.

"Besides," she confesses, "I wasn't any
too pleased about the idea of becoming a
screen player. Ever since I had gradu-
ated from grammar school, and even be-
fore that, I had harbored the idea of be-
coming a newspaper woman. It seemed
to me that a career like that offered a
girl all the thrills and excitement she
would want. Now, by a scratch of the pen,
I was 'in the movies' and I began to think
that mother's friends were right, that I
really was a bit 'teched in the head.' "

El Teched or not, Warner Brothers had
her in a picture before her first pay-
check. If you remember Fire Bird, star-

ring Ricardo Cortez and Verree Teasdale,
you may remember the three girls who
ganged up on Ricardo for autographs. Nan
was the girl on the left. The one with
the pencil in her hand and the engaging
smile on her face.

"It was a part so small," claims Nan,
"that even the prop boys refused to dig-
nify it as a bit; but it led to the ingenue
role in Babbitt and later to the leading
feminine role in Mary Jones' Pa. I know,
now, that I should have been deeply
thrilled over my progress, but as a matter
of honest fact, I wasn't even interested.
Maybe I was too young."

Nan, when referring to her youth, cer-
tainly speaks a mouthful, as Joe E. Brown
would say.

It may interest Warner Brothers to
know that when she signed her contract,
giving her age as sixteen, she was four
full years removed from being correct. At
twelve Nan weighed around 125 pounds,
was about as tall as she is now — -five feet,
five inches — and it was just as easy to fool
Warners as it was other people who
thought she was as pretty a "sweet six-
teen" as they'd ever gazed upon.

It's been a long time since we were
twelve, but we have a recollection that
it's a mighty tender age to be thinking of
anything much more serious than being
just twelve. The phrase, "maybe I was
too young" should be — and undoubtedly
is — the true and only reason for her lack
of enthusiasm over the picture business.

| She'll be seventeen next July — in case
you want to send her a birthday
greeting — and her attitude toward a movie
career has been, by now, completely re-
versed. She's out at Universal, at present,
under a long-term contract, and working
like a little nailer to make a name for
herself. Her one ambition is to be able
one day to act as well as Bette Davis. That,
surely, is setting herself quite a task, but
if there is any reward in hard work and
long study, you can place a bet that the
Lone Star beauty who left her little Grey
home in the South on a vacation only to
become a rising movie star, will make
good. She's turned out to be that kind of
a girl.

B Until she reaches the age of 18, Nan
is under the jurisdiction of the State
of California. By law she is allowed to
work only eight hours a day. Her health
and leisure are carefully supervised. Her
education is in charge of Miss Mary West,
a duly accredited teacher appointed to the
studio school by the state. At present the
only pupils Miss West has are Deanna
Durbin and Nan, and both, she says, are
better than "A" students.

A pleasant, cheerful home life is pro-
vided for the Texas beauty by a close
friend of her mother's, who acts in the
three-way capacity of friend, advisor, and
confidante. "It's like living with an older
sister," is the way Nan puts it.

One of the greatest thrills our rising
young screen star ever experienced ar-
rived on the day when the state permitted
her to handle her own money.

"Up until then," Nan says, "I had to

56

Accept No Substitutes! Always Insist on the Advertised Brand!

have my checks counter-signed before
they were any good. Now my own signa-
ture is enough, and it seems as though,
now, I'm really spending my own money.
You should have seen me buying Christ-
mas presents."

Yeah, and from what we have learned
since, you should have seen her when the
Texas Mustangs came to town November
20th to show the West Coast how the long-
horns could toss a football around. Nan
appointed herself- as a committee of one
for the entertainment purposes, and she
certainly put a big dent in her finances
showing the boys from her home state a
good time.

While she never has been accused of
looking at a penny twice before spending
it, she's already learned the lesson of
prudence, and budgets her income so
that when the rainy day ever comes she'll
have something more substantial to fall
back upon than memories.

| To Henry Koster who directed her in

Three Smart Girls goes much of the

credit for making her see the light so far

as a serious career in pictures is con-

cerned. She's a smart girl now, and hopes
to be smarter.

Since coming to Universal Nan has
hopped right out of one picture into the
next. The Great Impersonation, His Night
Out, Sutter's Gold. Crash Donovan, Rough
Water, Love in a Bungalow, Men in Blue,
Deadlocked and Three Smart Girls are
listed among the films she has to her credit.
Right now she's working opposite Donald
Woods in The Black Doll, one of the popu-
lar Crime Club mystery stories.

Nan refuses to ride any hobbies. She
likewise refuses to spend a vacation in
Honolulu because, as she says, "that is a
trip I'm saving for my honeymoon — some
day." Anyway, that's her story and we,
for one, hope she's stuck with it — some
day.

The Lone Star State is mighty proud
of its contribution to Hollywood. Come
two or three years more, the Texas folk
say, and Nan will be right up there among
the best of 'em. Out at Universal the boys
in the front office say the same thing. As
for Nan, she doesn't say much. All she
does, mostly, is hope and work to prove
that her Texas and Hollywood well-
wishers are right.

How to Win Enemies

[Continued from page 28]

she sneezed off what make-up she started
with. After while, between sneezes, she
noticed the house was getting noisy. Be-
fore long, the purely academic question
occurred to her: how could that much
noise come out of the house when she
wasn't in it?

So then Tommy (son) came out and re-
marked, "Mommie, the house is full of
people."

"What do they want?" inquired Glenda.

Tommy went away and came back, later.

"They want you. They say you invited
them to a cocktail party."

"Well, tell Teresa to mix 'em some cock-
tails. And then come back and hold his
front feet. I got it in his eye and he's
mad." Meaning Taki.

The guests missed Glenda, but they
didn't start going home until Taki got in.
Taki loves hors d'oeuvres. He is more
finicky than the company, finding it neces-
sary to sit in the tray while he selects the
shrimp ones. He will, however, settle
for anchovies. Glenda doesn't believe in
spoiling him. If he won't eat anchovies,
he can darn well go without.

Same way with the servants. And the
caterer's men, when they come in to serve
a party. Glenda doesn't believe in spoil-
ing them, either. No indeed. She runs
around and shows them how to set the
table, put up the decorations, prepare the
food and mix the drinks, until everyone
is hysterical, especially Glenda. This is a
perfect illustration of Rule 2 — "Show re-
spect for the other man's opinions. Never
tell a man he is wrong." Probably covers
Rule 2, also: "Dramatize your ideas."
Don't get me wrong, though Glenda
doesn't need an idea to dramatize. She
just does it anyway.

She remembers it is time to get dressed
when the first guests arrive.

H One of the most important rules in
that masterly treatise, "How to W. F.
and I. P." (or "Never Be Yourself") is:
"Call attention to people's mistakes indi-
rectly."

Now our little Miss Farrell and this rule
have less than practically nothing in com-
mon. ("You look terrible — where on
earth did you get that hat — looks like it
was dredged out of the harbor," is a stock
greeting.) The Farrell type is a frank
open-faced model, produced by the Irish,
which believes that a straight line is the
shortest distance between two points, and
hopes you are the same. Expects you to
be. This tight-rope balancing act of keep-
ing on the good side of all and sundry by
never having an idea of expressing an
opinion is not for the Glenda Farrells of
this world. The Glenda Farrells who get
things done while the others stand around
explaining.

H Glenda has it all figured out that you
can't be on everybody's side at once,
which is a pretty rare trait in Hollywood
■ — this village of perilous balances. And
if Glenda is on your side — you've got
something there! As her friends had rea-
son to discover not long ago.

It was a delicate case of friends vs. pho-
tographers— and many an actress would
have made a pretty compromise, because
news-photographers are not to be scorned
at Hollywood parties. They are, in fact,
very often the first persons invited.

It happened that Glenda finished a pic-
ture, and was on "lay-off." Lay-off is
that period of suspended animation, be-

sw

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tween salaries. Nearly all Hollywood con-
tracts have a twelve -week lay-off clause
during the year. Well, it developed that
several friends in the business got their
lay-off at the same time, so they decided
on a hard-time party at Glenda's. Every-
body was to bring refreshments, wear old
clothes — and no make-up on the girls.
And no publicity and no photographers —
especially no photographers.

But leave it to these enterprising news-
boys— they can scent a party from here
to there. At eleven o'clock things were go-
ing good at Glenda's party. The big sillies
were playing kid games — one in particu-
lar, recalled from his mis-spent youth by
Dick Powell, had something to do with
placing a large pan of water on the floor
and having your face pushed in it. Every-
body was dripping and hilarious.

Just then the door-bell rang — you're
right. It was Hollywood's two most tire-
less lensers — the two no actress can afford
to antagonize if she doesn't want to see
herself in a pretty bad light one of these
days.

Glenda said "go away, now" but the
lensers wouldn't shoo. What — everybody
had on old clothes and no make-up and
damp hair? Marvelous! What pictures!
Glenda was a meany if she didn't let them
sneak up to the play-room and get a few
flashes. And if she didn't . . .

Well, she didn't. Of course she didn't.
She yoo-hooed and screamed "Photo-
graphers!" at the top of her lungs, which
was brave of her. (A photographer never
phorgets.) So anyway, they had a swell
aigument, and finally the boys gave in and
said all right — if they couldn't get the pic-
tures they wanted, couldn't they get, any-
way, some pictures? So Glenda put it up
to the company — anyone who felt he or
she looked fitten to have his picture taken,
after time out to fix up a little, would they
smile for the birdie? If not, they didn't
have to. (Tableau — photographers mum-

bling and growling.) So some did, and
some went down the back stairs to the
kitchen and had their supper there, well
out of sight.

There are ladies in the picture business
who would have chosen to keep on the
good side of the boys, without a second
thought, and let their friends do the
worrying. A stunt like that can always
be passed off as a "practical joke" ... A
practical joke is something that makes
someone else look ridiculous. If the same
girls get one played on them, it's nothing
but a dirty trick; and are they sore.

19 Glenda is the champion "on approval"
dame of Hollywood — she is a glitter-
ing example of how not to influence shop-
keepers and department stores. However,
out of all the hats and hand-bags she has
sent out, she keeps enough so that the
game seems to be worth it in the long
run. Anyway, the stores keep sending
them, and you wade through up to your
knees on a good day, over there at the
Farrell ranch.

One store, you can't blame them, is mad
for keeps. Glenda ordered an entire fall
wardrobe and sent it all back.

If the store would like to know why,
here is the reason for the first time: An
acquaintance — not a friend, mind you —
went to Glenda with a sob-story. He was
in an awful jam — would she help him
out? The sum he needed was rather stag-
gering— enough so that it was a choice
between the wardrobe or helping him out
. . . Well, there's the story. She made an
enemy of a whole store — her favorite one.
She will never see a cent of the "loan"
again. The man is a person of no influence,
if that is what you Hollywood-wise are
thinking. No, it was an act of pure altru-
ism, perpetrated by one of Hollywood's
very, very few real altruists.

She's rather swell people, Glenda. If
her enemies won't stay that way, it isn't
her fault. Heaven knows, she tries.

You Can- t Take It With You— Now

[Continued from page 19]

"Wouldn't you like to know?" Not much
studio property, chaperoned by innocent-
looking "borrowers," gets through the
gates of any studio any more. Some try
occasionally, but they lack the old spirit.
It used to be that one could work up a
nifty outfit of clothes from the studio
wardrobe, but now a player has to check
every shred of his costume into the ward-
robe department before he is handed his
pay check. "No shirtee — no tickee." Every
article of clothing belonging to the studio
is lettered, and every hand prop and piece
of furniture is secretly marked. I spent
half an hour looking over a desk in the
prop department, trying to find the mark,
but I couldn't. Mr. Matthews grinned at
me maddeningly, and said, "Aha!"

He told me that one man went home one
night with fifty hinges in his pocket. "The
man probably thought, 'What are fifty
hinges to a big studio like Warners?' But
if everybody on the lot took fifty hinges

home with him, every door in the place
would fall down.

"Sometimes people get strange notions
about what they want to 'borrow,' " con-
tinued Mr. Matthews. "One day, an old-
fashioned Tuxedo, green with age, frayed
around the cuffs, and worth about $2.50
at the most, was taken out of a shop win-
dow in a street scene, built on the back
lot. A player suddenly cherished it, put
it on under his own natty and expensive
suit and went out with it — almost. One of
my men thought he bulked a little too
large, gave him a couple of questioning
pats and . . . Now why that suit — of all
suits — which could not have been worn
any place and which was not worth the
price of a meal even if the man had
needed it?"

There was the employee who carried
light globes away in his overcoat pockets.
Every day for a couple of weeks, an office
department had to report a shortage of
electric light globes where the supply had

58

Accept No Substitutes! Always Insist on the Advertised Brand!

,

been complete the day before. A light
detective work disclosed in the basement
of the man's house ten large cartons of
globes. Why? He explained that "he
thought he'd need them sooner or later."
Well, so would the studio, and the days of
"what belongs to the studio belongs to
everybody" are past.

Mr. Matthews' busiest time is around
Thanksgiving and Christmas, for obvious
reasons, with livestock offering a thun-
dering big problem. Almost always a
studio has some picture in production in
which the presence of chickens, turkeys,
ducks, rabbits and pigs is required by the
script. And how those dinners on the
hoof do disappear!

"You can count chickens," says Mr.
Matthews, "but you can't make 'em stay
put, and while you're counting the same
chicken twice, someone is maybe eating
up another."

"What about sight-seers?" I asked.
"They don't get such a check-up as the
workers, but aren't they inclined to souve-
nir-hunt?"

Mr. Matthews shook his head. "We
never have any trouble with them. Only
a few people are allowed on the set at a
time and they are always with a guide."

"Is there a secret mark on that chair?"
I asked, pointing to an ordinary prop
chair on the set. Mr. Matthews said there
was. "I'm going to look for it and if I
think I've found the mark will you tell
me?"

But he just grinned and I didn't find it.

Under this secretive Blayney Matthews,
who organizes restraint on that "first im-
pulse," there has been practically no
trouble any more with chronic borrowers
at Warners. Three thousand people go
on and off the lot each morning and eve-
ning, with only a few exceptional cases to
prove the rule of order and organization.

"And in that many people — the popu-
lation of a good sized town — there are
bound to be some quirked mentalities," he
explained.

Outside Mr. Matthews' office, I paused to
make a note on a slip of paper. I paused
twice. I seemed to have gotten away with
Mr. Matthews' pencil.

Aha!

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60

Jane's Remembering

l>av

[Continued from page 24]

But special days have their special rules
— and Jane for the next eight hours is not
the greatest child character actress in this
or any other year, and sixth among the ten
top ranking stars, but the Georgia Peach,
come to Hollywood for a break in the
movies!

Somewhere around seven o'clock Jans
and her mother are sitting on the corner
bench nearest their house, waiting for the
next bus into Los Angeles proper — some-
thing like twenty miles away from their
present home in Westwood. But don 't
you mind the mileage. That's a mere
stone's throw as distance goes in Cali-
fornia.

The bus driver throws these two a
casual glance. Undoubtedly he thinks to
himself that they are shopping-bent — and
his practical mind registers that it's awful
early to take a youngster out.

The bus whirls down the road and the
turning of the wheels is punctuated by
Jane's excited, "Do you remember this,
Mummy?" or Mrs. Withers' equally ex-
cited, "Look, Jane, there's the house with
escalators!"

H Right through Hollywood, and into Los
Angeles they ride. Their destination
is the Union Pacific Station, and they must
reach there not a minute after eight-forty-
five. That is the fateful hour. For at that
very exact moment on March 10th, 1932,
a train arrived from Atlanta, Georgia.
Among the passengers was five and a half
year-old Jane, the Pride of Atlanta, to
begin that hunt for Fame.

From here on the rememb'rin' game
flourishes! Mrs. Withers and Jane watch
while the train unloads. Then they walk
through the station, strangers again in a
strange city. They stop at the taxi-cab
stand and pause to remember that on that
first March Tenth they asked a cab-driver
how far it was to Hollywood. And they
seem to hear him say — ■ "Are you in a
hurry, lady, to get there? It's quite a
ways." And then dubiously — "The taxi
fare will be almost four dollars. It ain't
good business, but if I was you and not
goin' anywhere particular in a hurry, I'd
walk down to the Terminal Station and
get a street car. It's just a few blocks and
it'll take you there for a dime."

9 So, as if it were that morning, Jane and
her mother walk that goodly stretch
to the heart of downtown Los Angeles.

Right past restaurants who feature enor-
mous slabs of roast beef in their windows
and indifferent table linen. Past all the
second-hand stores, the stationery shops,
the windows which enticingly advertise
that everything can be bought on "easy"
payments.

Almost to the street-car station, Jane
discovers an important landmark. "There
it is, Mummy, it hasn't changed much.
Only, their windows are painted blue this
year." So in they go to a tiny, tiled
restaurant, which simulates the rustic

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spirit with its log-cabin walls and low-
hung ceiling.

The Withers ate lunch here on the fate-
ful day of arrival. And Jane today, as
then, is permitted the forbidden, and
orders a sandwich with a strange concoc-
tion as filling.

Once inside and perched on a stool,
Jane is much too polite to remember
audibly, but her eyes bob up and down
in excitement.

In 1932, sandwiches were six cents and
an enormous glass of milk was a nickel.
Now, rising restaurant prices interfere
with the re-living to exactitude of that
first March day. Sandwiches are up to
fifteen cents, and a glass of milk is a dime.

| At the Terminal, they board the

Hollywood street-car, and are soon at

the hotel in the heart of movie-city, where

they spent the first two days of their

Hollywood sojourn.

In the lobby Jane and her mother have
a half-hour of real rememb'rin'. "Do you
remember how lost we felt, Jane?" her
mother asks. And Jane crinkles her in-
imitable nose and replies in the very self-
same tone and words as she did then. "I'm
lonesome for my daddy. But we'll be
all right, Mummy." ~

From there on rememb'rin' day is a
matter of visits. To the places and the
people they knew in their first obscure
and lonely months, when their tattoos on
Hollywood studio gates didn't make the
sound of a dropped pin.

| First, there is that visit to 5555 Holly-
wood Boulevard — to the one-room,
kitchenette and bath apartment which
they occupied during the first months of
their struggles. Apartment 202 has now
become a place of distinction — mothers
bring their youngsters here to instill am-
bition into them.

Out into the yard Jane and Mrs. Withers
go. This is the scene of the now defunct
"Gilmore Circus" — a Jane Withers enter-
prise of those days. The neighborhood
children were the cast — the show, informal
specialties by all the playmates Jane
could round up — and admission 2c for
sitting place, and lc for standing room
only. The memory of Jane's undertaking
has been perpetuated by the apartment
house manager, who to this day refers to
the back yard as "The Circus."

In Jane's heart several other neighbor-
hood places are immortalized. The Five
and Ten Cent store, not far from this
apartment house, where Jane regularly
did her shopping. It is the sort of a place
where clerks and cashiers have a lifetime
job and practically all of them remember
Jane long, long before her name was in
lights.

She knows them by name, too, and she
goes from counter to counter saying
"Hello" and, as usual, does some shopping.
She is their little girl, and next best to
being themselves in the movies, they'd
just as soon it were Jane. Isn't this for
their Jane?

H From the ten cent store Jane trots
down to a nearby pressing shop. This
is the incubator of her first business ex-
perience. At the ripe age of six she lent a

friendly hand to the proprietor on busy
afternoons. Her penmanship wasn't very
legible, but she would insist on writing
down the names of customers. The fatherly
gentleman would smile benignly and re-
write the slips after Jane left. He wouldn't
hurt her feelings for the world by doing
so in her presence. Or have her lose faith
in the perfection of her first A B C's.

On rememb'rin' day, Jane gives him
samples of her hand-writing to show the
considerable improvement, and he pats
her on the head, and declares in all good
faith, that some day she'll be learned
enough to go to college.

[ The corner drug-store is next on the

list. Her visit is fittingly inaugurated

at the fountain with a double chocolate

soda, topped off with an extra helping of

whipped cream.

A close inspection of the lollipop situa-
tion is now in order, and lime is the choice.
"You always did like lime best," beams the
boss. "We take extra care to have lime
for you every Tenth of March, Jane."

From here on, by bus and street-car,
Jane and Mrs. Withers make the rounds
of the Studios! They walk slowly past
RKO, Warner's, Paramount and the others,
and very, very carefully look again on the ■
once forbidden gates. They remember
them best by the fact that in the old days
they couldn't get through!

B One more call Jane and her mother
make, and that is to the home of Mrs.
David Neville in whose apartment house
they lived for a few weeks during those
early days. The Withers and the Nevilles
are now close friends. They see each other
frequently. But this is a very special visit,
with particular thought given that army
blanket Mrs. Neville loaned Jane for play
purposes, and which she promptly con-
verted into a tent. The small fact that
she cut a piece a foot square out of it to
make a window is now laughingly men-
tioned, but it wasn't discussed then.

"After all, you can't scold a child for
having imagination," Mrs. Neville at that
time explained to the horror-stricken Mrs.
Withers. "I can't think of a better way to
make a window in a tent than by cutting-
it right out."

And so the day is done! The day of
rememb'rin'! The Tenth of March — a red-
letter day on which Jane never works, but
spends in retracing her first discouraging
steps to Fame!

At last the bus deposits Mrs. Withers
and her small daughter at the corner
where it picked them up early in the
morning.

H As Jane and her mother walk towards
their present home in fashionable
Westwood — a charming farm-house sur-
rounded by extensive grounds — they con-
trast it with that one-room apartment.

And they look at each other! And there
is more than young understanding in the
eyes of the child. There is deep gratitude
in the eyes of the older woman!

"Aren't we lucky! We must never for-
get that!" says Mrs. Withers.

Wordlessly they pledge themselves
never to cease their rememb'rin'!

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It's Easy to Get
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[Continued from page 10]

cared for." He enclosed a snapshot of him-
self, a bald-headed man holding a hoe.

About a year ago, a young man living
in France wrote Jeanette MacDonald
asking for an autographed photograph of
herself. Through the regular studio chan-
nels, this was sent.

Immediately, a series of impassioned
effusions began to arrive through the
mails for the star. The young man, it ap-
peared, regarded that gesture of forward-
ing her picture as an encouragement to
his amorous nature, and confided that he
hoped to be in Hollywood soon to woo
her on her own home grounds. Re-
peatedly, during the past year, Jeanette
has heard from him, and in each billet
he asserts he will soon be with her to
ask her hand in marriage.

13 From Down Under — Australia — Mona
Barrie hears frequently from a dairy
farm admirer named Barry, who insists,
since their names are so similar, that it
would be little trouble for her to marry
him and help him look after his cows!

Mona looks so well and healthy on the
screen, he says, that he believes she pos-
sesses the qualifying stamina to milk a
hundred cows or so each morning. And
the life, there on his farm, he assures her,
would be far more wholesome for her
than this crazy idea of acting in pictures.

Rochelle Hudson is another who might
take advantage of a similar offer. A man
in New England, impressed by her beauty
on the screen, and fearful for her in the
town about which he declares he has
heard and read so many bad things, thinks
it only fair that he take her away from
Hollywood. All she has to do is help
around his farm . . . and if she turns out
as he thinks she should he'll marry her.
Lucky girl!

jH A gorgeously-crested letter from an
East Indian rajah asked Ginger
Rogers to be his bride. Accompanying
the dispatch were pictures of his palace,
his crown jewels and other features of
interest in his kingdom.

The rajah promised he would leave his
harem for her, disband it in her favor so
that he might be free to devote all his
time to the titian-haired actress. Part of
the year he would insist they dwell in
his country; the remainder, anywhere she
might choose to live.

Mary Brian likewise received a mar-
riage proposal from an Oriental potentate.
A prince in Persia proffered not only his
vast riches, in return for her hand, but
stipulated also that she might bring as
many friends and relatives as she desired
to help orientate herself in the new world
she would enter.

j£j Some time ago, a ranger in one of our
national forests wrote Eleanore
Whitney asking her to share his cabin
atop a peak 8000-feet high, and forty miles
from the nearest town. He was well-

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THE AMAZING CHANGE
IN LORETTA YOUNG!

Life has suddenly become even brighter
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educated, he said, having read and studied
philosophy, psychology and ancient his-
tory and, he added, had mastered account-
ing and possessed a thorough under-
standing of the ancient religions. This
was a fine basis, he felt, for their future
happiness . . . and anyway, it was a lot
better for her to be living out there in
the wide open spaces with him than run-
ning around to all the night clubs!

Pat Ellis' most persistent swain is a
gentleman in the Middle West who pro-
poses every two weeks ... by mail, of
course. For the trifling sum of $2500 — to
pay off his debts in the east — he will go
to Hollywood, marry her and act as her
adviser in political affairs. He will digest
all the news, and then impart everything
that is of importance to her. You readers
may readily understand how much time
Pat would save if she followed his sug-
gestion.

June Lang's fragile beauty has inspired
numerous proposals, but strangest of them
all was one from an Italian nobleman who
promised if she would become his wife he
would treasure her as tenderly as his
favorite Ming vase. Moreover, she need
never lift a finger, would be waited on
hand and foot, and that his entire exist-
ence would be devoted to gazing at her
decorative loveliness as she moved grace-
fully about his villa with its priceless art
collections and beautiful gardens. This,
undoubtedly, is one of the most poetical
proposals of marriage ever received by a
Hollywood star.

| Somewhat more practical was the
message sent to Martha Raye from a
certain retired gangster now living in
Florida. ''You're wasting your time on the
screen," he wrote her . . . and added, if
she'd "hitch up" with him he'd make her
famous. All she'd be asked to do was
"yell three times a day in a night club-'
he'd finance, and he'd introduce her into
the "better" circles of Miami and really
show her the quality folks. Of course,
even though they were married, he
wanted it understood he'd collect his ten
percent commission as her manager.

For the sum of $50,000 a man offered to
sell ten years of his life to Ann Harding.
At the end of that period, she was to set
him free. Whether or not he would con-
tribute to the general household expenses,
out of his fifty thousand, and otherwise
support himself, was left unsaid in the
letter that Miss Harding still retains.

Claire Trevor has portrayed so many
girl - reporters - who - find - the - villain on
the screen that an enterprising private
detective thought she'd make an ideal
helpmate and offered her a life partner-
ship in marriage -plus -crime -detection.
The renewal of this proposal comes after
the release of each picture in which Claire
appears.

A college boy at the University of
Chicago contacted Marsha Hunt recently
with the proposition that if she would
marry him and finance him for the four
to five years required to complete his
schooling and get started in his law prac-
tice he would return the favor by support-

ing her the remainder of her life. And
Anita Louise learned, through letters
beautifully framed with hand - painted
Forget-Me-Nots, than an earnest, hard-
working young man back in Chicago was
saving himself for her . . . and wouldn't
consider another girl either on the screen
or off for a wife.

83 While the following proposal of mar-
riage did not arrive in a fan letter,
still it definitely belongs here because of
its unique qualities. An Indian chief
offered to buy Loretta Young for his wife
at an all-time low price — for a movie star,
of course— of $26.13! Here's the way it
happened. . . .

Down in the Tastioneno country along
the Gulf of California there is a tribal
chieftain who would like to purchase
Loretta for that price. The Tastionenos
maintain one of the last wife-markets in
North America, buying and selling their
women like so many cattle.

Last year, an explorer named George
Max penetrated that country, and showed
the chieftain pictures of the various stars
in a movie magazine. Only between five
and ten dollars in Mexican pesos was the
Indian willing to offer for the majority
of the pretties therein, because they
looked as though they would be lazy, he
said . . . and a Tastioneno woman must
work from sun-up to sun-down.

When Max turned to Loretta's portrait,
however, the old chief's eyes kindled with
newly-awakened interest . . . and he bid
the theretofore unheard-of price of $26.13,
if Max, whom he commissioned to act as
his emissary, could buy her for him and
send her to his hogan!

Protection Wanted

[Continued from page 27]

back of my head to the tip of my toes. But
was I thinking of those fingers, pushing
like blunt spikes into me? No, my friend,
I wasn't. I was wondering what would
happen should a brave native stub his toe!
Only after they finished the scene did I
begin to count some strange twists in my
body, and believe me, a chiropractor
would have had a holiday straightening
them out."

Life for Dorothy has been just a series
of outdoor epics. She got her start in
The Jungle Princess, and that was the
film that cinched the deal. After that
one, Paramount loaned her to Samuel
Goldwyn. She worked for weeks in minia-
ture hurricanes that beat water and wind
down upon her. She was so darned glam-
orous in Hurricane that Paramount im-
mediately tossed her into Her Jungle Love.

Well, that's life for you — and cash for
Dorothy Lamour. Yet one can't blame her
for speaking up. Who wants a lifetime of
pal-ing with a chimp, stepping over
snakes, backing into cactii? No one, of
course. But it's going to be a tough job
convincing the public Dorothy will look
better with clothes on, and that leaves her
in a pretty tough spot.

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Danger! Here Comes
Kitty!

. [Continued from page 21]

unlimbering before us with her trainer,
Olga Celeste, snapping the whip. This
scene was a cinch, which had to be taken
only 12 times before Nissa did what was
wanted. By way of contrast, Nissa's com-
panion cat named Princess, did 41 takes on
one scene before Howard Hawks, the di-
rector, was able to reason with her. If you
can call it that. Princess' smile was seldom
present, and her snarl was supposedly a
fair indication of her temperament. No
one cared to have her prove the point.

With all this competition of a feline na-
ture, we don't want to be too catty. But
we must tell you about Cary Grant,
Hepburn's leading man. When they intro-
duced Cary to Nissa, face to face, they as-
sured him the cat was entirely tame, that
it never had bitten anyone, that couldn't
he see by its kindly face how very nice it
was. Cary absorbed all this, and then re-
marked dryly, "Oh, yes, but supposing
Nissa doesn't believe all these things?"

We think he's got something there. After
all, maybe Nissa has only been foolin' all
this time!

| This whole picture must have been
quite a trial for Cary. For instance,
one scene called for Nissa to rub coyly
against his leg, purring contentedly mean-
time. Nissa didn't wish to comply. Each
time she moved toward Cary, the poor
guy would look her in the eye and wonder
whether all was lost, or just one leg. And
then Olga, the trainer, got a great idea.

"Bring me a bottle of Evening in Paris,"
she told a prop boy.

The startled chap looked at this sturdy,
rough-and-tumble tamer and said, "You
mean perfume?"

"Of course."

Well, you couldn't blame him for hesi-
tating. After all, lion taming and perfume
wearing doesn't seem to be a hand-in-
hand proposition. But he obeyed, con-
siderably mystified.

And when he came back, Olga took the
atomizer and walked up to Cary. Squirt,
squirt.

"Hey!" Cary shouted as he saw her
spraying his trouser leg with a determined
glint in her eye. "I don't want that stuff
on me!"

"Be patient, Mr. Grant," she com-
manded. Squirt, squirt.

Cary was no less than horrified by this
act, but Olga, the dauntless, had him
bluffed. After all, if she can make a
leopard walk the straight and narrow,
what's a mere movie star?

Cary still protested. "Nix— not so much,"
he wailed. "What'll people think?"

Director Hawks, who gets blamed for all
the strange things that happen on this set,
answered caustically for Olga. "Look,
Cary, they can see you in this picture. They
can hear you in this picture. But, thank
God, they can't smell you. Get the point?"

Cary dropped his protest in disgust.
Squirt, squirt — and sweet scents of spring-
time! Then they let the cat out of the
bag — or rather, out of the cage. It had

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lots of scents, did that cat. She bounded
for him. The staunch Mr. Grant forthwith
got on top of a nearby table.

"Olga, call that darned thing off," he
shouted despairingly.

But Kitty was now gazing up at him
contentedly, still sniffing and purring like
a million. Have you ever heard a leopard
purr? Well, it's like a bombing plane at
4,000 feet elevation — just enough to rattle
the windows from vibration. Cary ven-
tured back to earth, and Nissa cuddled
most beautifully beside his leg.

And if you think we're kidding about
the strange alchemy "Evening in Paris"
performs on a cat's emotions, just try it
yourself sometime — if you have either the
leopard or the perfume. A house cat might
do in a pinch.

| The first few days the company
worked, Nissa was treated by every-
one as a lovely little companion. She even
followed Hepburn and Grant faithfully
down the street to the commissary at lunch
time. And when the perfume trick became
known, they had kitty cuddling all over
the set. No one was worried then, nor
frightened.

But Olga Celeste, who has been hospi-
talized twice by wild animals, thought
precautions should be taken. She had
raised Nissa and never had any trouble
with her, but any jungle animal plays
rough — and sometimes doesn't know when
to stop. So suddenly they began finding
bars around the place. And we don't mean
elbow-bending bars, either. Circus bars,
yes. And jail bars. Any old bars.

One day the script called for Hepburn
to sing a lullaby to Nissa. She had the
cat resting in her arms, and she began
singing softly, "I Can't Give You Anything
But Love, Baby."

The cat began its sonorous purring.
Cary, who had been studying the cat's
eyes over her shoulders, felt that uneasi-
ness creeping over him again. "Katie,"
he suggested sweetly, "you better change
that tune to 'Hold That Tiger!' "

H We mentioned Princess. Well, there's
a difference between those two leop-
ards. Nissa is sweet and silent for the most
part. But Princess — what a temperament!
To date she hasn't exactly skinned any-
body— but she's scared more than one per-
son off the set. And even Olga treats
Princess like a queen. On the other hand,
no one has the right to criticize Princess,
for she may be purely and simply a good
actress. Her role in the film is that of a
"bad" cat. That's where the grief— and
fun — comes in. You see, according to the
script, Hepburn has Nissa as a pet. When
the feline gets lost in the woods, Hepburn
and Grant go looking for her. Can anyone
blame them if they find Princess in a
stalled truck, behind bars, and let her
loose? Of course only the audience knows
that Princess is dangerous, and en route
to a suitable spot for execution.

Yep, Princess was dangerous all right,
and not nearly so domesticated as Nissa.
The latter lady, if you please, is the proud
mother of three little cubs at the California
Zoological Gardens. The father is a black
panther, the only trained one in captivity.

His name is Midnight. One of his offspring
is called "Gunpowder." Another, "Dyna-
mite." Midnight is considered the Rhett
Butler of the zoo. Olga has a profound
respect for him — his jaws sent her to the
hospital for eight weeks once.

| But back to the picture, and Cary
Grant again. We must admit Cary
has been given plenty of reason to be
nervous. For instance, one day he walked
into his dressing room on the set after an
exciting scene, removed his coat and
started to lie down on a nearby couch.
Suddenly he saw one of the cats there,
fast asleep. He rushed out of the place
wild-eyed, looking as well as shouting
for Olga. For you see, Cary didn't know
whether this one was Nissa or Princess —
and what a difference that made!

As he came flying out the door, he spied
the suspiciously smiling faces of Katie and
Charlie Ruggles. He knew right away
that something was wrong. And he was
right. The leopard on the couch proved
to be a stand-in for the live products —
but well stuffed with straw. The camera-
men had used him to focus at.

So Cary retired in confusion to the hut,
plotting up ways of getting even. And if
everyone is still in his right mind by the
time this picture is completed, that defi-
nitely will be something.

H It wouldn't, be fair to tell you what
this picture is all about, except to
admit it is one of those mad, unreasonable
comedies which are currently so popular
in Hollywood and the whole country. It
would be funny with this cast alone, but
when you mix up two leopards, and never
let the cast guess which is which or even
suspect that there is more than one — well,
there's a formula for real laughs.

But as we were saying at the start of
this story. We got inside the sound stage,
and were introduced to Olga Celeste. She
had a million interesting yarns to tell about
training these beasts, about the two times
she was badly bitten by lions, and how she
nonetheless had to stay in the cage and
bluff it out.

"Come on in and watch Nissa perform,"
Olga invited. Well, if she had the nerve
to defy the King of Beasts surely we had
the nerve to defy the tradition of closed
sets on the Hepburn pictures. So we just
walked in and sat down.

An assistant director walked up the
minute we appeared, and said, "You'll
have to leave the set." Firmly.

We started to, but wait — remember that
Olga, the lion tamer, fears no one. She
came to our rescue, and the guy calmed
down in a hurry. He just grabbed us by
the ear, marched us across the set, and
locked us in the jail cell which was to be
the background of this scene.

But he got even. We cooked there, under
a battery of arc lights, for an hour while
the scene was shot and re-shot. It got
hotter each passing minute, and pretty
soon, on the umptieth take, we got bored.
But we stayed there until the last doggone
foot of film had been exposed. And not
until then did the assistant director let us
out.

Yep — Olga tamed him, but he cured us!

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65

ENTRANCE EXAM TO OAKIE COLLEGE

The reason his College of the Air is so different,
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have to take the examinations. Above, Dr.
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of a plaster skull as part of his pedagogical
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Below, studies in expression. Right, soulful re-
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sonation of a ray of sunshine. Prof. Oakie will
be seen next on the screen in Radio City Revels

66

• I//

We Wish You Could Read Our Mail

"Iff S publishers of PHOTO -FACTS, the revolutionary new "pocketbook of knowledge",
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When Answering Advertisements Please Mention May HOLLYWOOD

^CIB 3 719 7 0

-9 1938

MAY, 1938
Vol. 27 No. 5

IT

W.H.FAWCETT

Publisher

LLEWELLYN MILLER, Editor

NEXT MONTH
Lovely Myrna Loy makes the
startling statement, "It Takes
Three To Make a Love Affair"
and argues the point in one of
the most provocative feature
stories ever to come out of
Hollywood.

DON'T MISS IT!

Table of Contents

EXCLUSIVE FEATURE STORIES

A ^ ,L - . . <-. by E. J.Smithson 18

A Day on the Lloyd Set ■• /

i_i I i v u« by Katherine Albert 20

How to Lose Your Man ur ' #

Okay by a Kayo (Joan Davis) M Some Lee 23

u ii J • Tailor W Winifred Aydelotte 24

Hollywood in a Irailer / '

The King Returns to His Throne (W. C. Fields) fcy Tec/ Mogee 27

Parisian Playboy (Fernand Gravet) ^ Terry Kelly 30

Hollywood High Fliers * f •»" W'e" »

Love Without Words (Eduardo Ciannelli) by James Re.d 36

_ . . , xL c by John Schwartzkopt 38

Behind the Scenes u] .-

...... r . Jby Ivy Crane Wilson 40

Millions for Insurance y , r, , < At

w/ ... t by Ed. Jonesboy 4Z

Meet a Famous Writing Team ' g4

"Kidnapped" Gets Under Way

PICTORIAL SPECIALS

22

Norma Shearer 26

How to Be an Actress (Fanny Brice)... ^
Pat's Day Off (Pat O'Brien)

EVERY MONTH IN HOLLYWOOD

,,„,.. , ..by Whitney Williams 14

Hollywood Newsreel t ^ n mfw „

Important Pictures ^ ^^ 5Q

Beauty Department ' ^

Movie Crossword _ , c0

Hollywood Cooking School (Jeanette MacDonald) M Betty Crocker 58

Q

CONTEST— 7 Dwarfs Popularity Contest

MOVIELAND TOURS

CHARLES RHODES, Staff Photographer

RALPH DAIGH, Managing Editor

Louisville,
Advertising

possessions
mber Audit

Broadway ;

York City.

4

They're yours.. in a heart- walloping low story !

■.■'■; ' A • rC

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The King and Queen of the Screen, with the star
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"~—Ta

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Laughter too ... as
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When Answering Advertisements Please Mention May HOLLYWOOD

WHITE GODDESS OF THE
JUNGLE BARES HER HEART!

AT the altar of the Crocodile God,
JT\. while the drums of voodoo
sound the terrible tocsin of jungle
hate, she stands, thrilling, beautiful
Tura, high priestess of a cult so
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rites. At her feet, shackled, helpless
in the iron grasp of
voodoo-maddened tribes-
men, is the young avi-
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the meaning of a white
man's love. Behind her,
sinister, threatening, the
all-powerful ruler of the
Malayan wilds, Kuasa,
gives the dread com*

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mand .... Will she obey — will she send this
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crocodile pit — or is her love great enough to
withstand the fury of jungle hate ?

And what a story this is, the drama of the
mysterious girl of the Malayan wilds and the
young English aviator who invades her jungle
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THE PLANE CRASH IN THE JUNGLE

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the wind through tropic palms
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mighty jungle typhoon . . . the amazing charge
of the crocodile legion . . .the great earthquake
. . . scenes like these mark the dawn of a new
epoch in the history of moving picture ad-
venture- drama, adventure - romance.

HEAR DOROTHY LAMOUR, golden
voice of the networks, sing " Lovelight In
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ADOLPH ZUKOR PRESENTS

Dorothy Lam our- Ray Milland

KHS JTOtLS WW

LYNNE OVERMAN • dorothyhowe • j. carrol naish

DIRECTED BY GEORGE ARCHAINBAUD • IN TECHNICOLOR
Screen Pfcy by Joseph Moncure March, Lillie Hay ward & Eddie W '
Based art a Story by Gerald
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A PARAMOUNT PICTURE

m9C

When Answering Advertisements Please Mention May HOLLYWOOD

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7 DWARFS

POPULARITY CONTEST

HUNDREDS OF PRIZES!

H Here is your chance to win a wonderful prize, all because

no one knows which is the most popular dwarf in Walt

Disney's fascinating film, Snow White and the Seven Dwarfs!

Shortly after the enchanting adventures of the little princess
were released, we began to notice a strange effect upon those
who had seen the picture.

Bitter arguments broke out in hithertofore happy families.
Brothers disagreed with sisters. Harsh words were exchanged
between fast friends, and arguments raged all over town. Hot
discussions were to be heard in playgrounds and parks, in
restaurants and railroad stations, on subways and sidewalks.
The clash of opinions resounded through elevators and air-
planes and ships at sea. Window washers and bankers and
baseball players, officers of the law, of the army, »avy, marine
corps and their wives and families argued until the uproar
became national and all other conversations ceased.

And it was all because the fans of the delightful Dopey
could not see how anyone could prefer the glorious Grumpy.
Doc, too, has many ardent followers. And there are plenty
who think that Sneezy, Happy, Sleepy and Bashful are re-
spectively the most radiantly charm- [Continued on page 16]

8

Seven Dwarfs Popularity Contest,

Hollywood Magazine,

1501 Broadway,

New York City, N. Y.

because

*

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Millions of women daily buy this popular
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Picture yourself in this neiv

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Made available to you by Double Mint gum in

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When Answering Advertisements Please Mention May HOLLYWOOD

How

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DANDRUFF ITCH?

79

Use This Antiseptic
Scalp Treatment

Skin specialists generally agree that effective
treatment must include (1) regular cleansing
of scalp; (2) killing germs that spread infec-
tion; (3) stimulating circulation of the scalp;
(4) lubrication of the scalp to preventdryness.

To Accomplish This Is Easy With
The Zonite Antiseptic Treatment

Just add 2 tablespoons of Zonite to each
quart of water in basin . . . Then do this: —

1. Massage head for 3 minutes with this
Zonite solution. (This gives hair and
scalp an antiseptic cleansing — stimu-
lates scalp — kills all germs at contact.)

2. Lather head with any good soap shampoo,
using same Zonite solution. (This cuts
oil and grease in hair and scalp — loosens
dirt and dandruff scales. J

3. Rinse very thoroughly. (Your head is rjow
clean — your scalp free from scales.)

4. If scalp is dry, massage in any preferred
scalp oil. (This relieves dryness.)

RESULTS: By using this simple antiseptic
shampoo treatment regularly (twice every
week at first) you do what skin specialists
say is necessary, if you want to rid yourself
of dandruff itch and nasty scalp odors. We
believe that if you are faithful, you will be
delighted with results.

TRIAL OFFER— For a real trial bottle of Zo-
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When the preview lights go on, Hollywood Movieland Tourists will have a chance to see

Boulevard becomes a dazzling parade of celeb- famous people as well as famous places. Last

rities. Above is the Chinese Theatre lighted year Wayne Morris, who just had made his first

with blazing beacons for a formal first night big success, was on the welcoming committee

MORE ABOUT
MOVIELAND TOURS

it

ii

As plans take shape, more and more attractions are
added for the pleasure of vacationers in Hollywood

H To all of you who have been follow-
ing these articles closely, every issue
brings a new surprise. This time there
are several. First of all let's go over the
entire itinerary for a clear understand-
ing of the fascinating summer vacation
in Hollywood which hundreds of bargain-
hunters in holidays will take this year.

The first tour will leave Chicago July
3rd arriving in Hollywood, Sunday, July
10th. The second one leaves Chicago July
24th and arrives here Sunday, July 31st.
The third leaves Chicago August 14th and
arrives in Hollywood, Sunday, August

21st. All tours follow the same route, so
here goes:

Your train will pull out of Chicago
right in the middle of the summer heat
and head Westward across that great ex-
panse of the Northwestern forest and lake
districts to Seattle where the blue, cool
Pacific Ocean will bring welcome relief
from a midwestern summer. While in
Seattle you will journey across Puget
Sound to the Island of Vancouver on one
of the "Princess" boats. . . After a re-
freshing trip through the lumber empire
your train heads southward and to San

10

Accept No Substitutes! Always Insist on the Advertised Brand!

\v

Ive found LOVE

//

rfi0B

With women, Romance
comes first ... that's why I
always advise: Guard against
COSMETIC SKIN this easy way"

TOVELY skin wins romance —

and holds it," says this
charming young screen star. "So
don't risk unattractive Cosmetic
Skin. You can guard against it
easily as I do — by removing stale
rouge and powder thoroughly
with Lux Toilet Soap."

Choked pores cause dullness,
tiny blemishes, enlarged pores —
Cosmetic Skin. Use cosmetics all
you like, but before you put on
fresh make-up, ALWAYS before
you go to bed, protect your skin
with Lux Toilet Soap's ACTIVE
lather. It keeps skin smooth!

• And clever girls everywhere
guard against Cosmetic Skin
Hollywood's way — by removing
cosmetics thoroughly with this
ACTIVE lather.

• They take the
screen stars' tip
— win romance —
and hold it — with
skin that's lovely
to look at, soft
to touch.

9 out of 10 Hollywood Screen Stars use it

When Answering Advertisements Please Mention May HOLLYWOOD

11

LIGHT-PROOF
FACE POWDER

The make-up improvement
that has proved a sensation

.ry Luxor Powder. It's light-
proof. Your face won't shine.
Try it! We will send you a box
for a DIME.

• At parties, do you instinctively avoid certain
lights that play havoc with your complexion?
All that trouble with fickle make-up will be
overcome when you finish with powder whose
particles do not glisten in every strong light.

Seeing is believing

With light-proof powder, your complexion
will not constantly be light-struck. In any
light. Day or night. Nor will you have all
that worry over shine.

We will send you a box of Luxor for ten
cents. Or you can buy a large box anywhere
without waiting, and have your money back
if it doesn't please.

Test it in all lights, under all conditions.
See how it improves your appearance. See the
lovely softness and absence of shine. See how
such powder subdues those high lights of
cheekbones and chin, and nose.

A large box of Luxor light-proof powder
is 55c at drug and department stores; 10c
sizes at the five-and-ten stores . . . Or mail
coupon below enclosing a silver dime.

I

; LUXOR, Ltd. FAW. 5-38
Chicago

Send me a trial box of Luxor light-proof pow-
der, postpaid. I enclose 10c (silver dime).
a Flesh □ Rachel □ Rose Rachel
□ Rachel No. 2 □ Brunette

Name

j St.&No

P. 0 State

(This offer not good in Canada)

Francisco where you will see the vast
suspension bridge (the largest in the
world) that spans the historic Golden
Gate.

| THEN, your train heads further south
and to Hollywood. . . . You'll arrive
here on a bright Sunday morning and
what a day that will be! The remainder
of the morning is yours to spend at church
or in rest, for there is a big afternoon
planned for you. Immediately after lunch
there will be a battery of smart looking
Tanner buses waiting to whisk you off
to Beverly Hills for a tour of movieland
and the stars' homes. No doubt you will
see some of them on their ways to or
from the many golf courses surrounding
Hollywood and Beverly Hills.

Warren William has invited the first
tour to drop in on him Sunday afternoon
for cocktails and to meet some of his
movie star friends. Harold Lloyd wants
the second tour to be his guests at his
world famous estate. Bob Burns wants
the third tour to come out to his house
for a Bazooka concert, cocktails and a
good old fashioned get-together with his
friends of radio and the screen. That
evening you will see the inside workings
of a national broadcast. As guests of a
great network, you will go backstage
and see just how radio shows are put on.
Last year the tours all saw the Eddie
Cantor summer show and were enter-
tained by his guest stars.

H So far, we have allowed you a little
time to spend with friends or to take
side trips. We know that many of you
will want to visit Catalina Island or to
take a trip to Lake Arrowhead, so we
have allowed about a day and a half for
you to spend on your own. However, the
rest of the time will see you at luncheon
in a famous cafe, it will see you on a
major studio lot . . . you'll go on a trip
through Max Factor's, too ... so there'll
be plenty for you to do on the program
without leaving Hollywood.

The Fawcett Publications have become
famous as hosts and we plan to outdo
ourselves at our grand farewell party
which will be held at the Wilshire Bowl.
Among the Hollywood stars who attended
last year are Judy Garland, Rosalind
Russell, Robert Taylor, Jimmy Stewart,
Hugh Herbert, Misha Auer, Anne Shirley,
Kent Taylor, Wayne Morris and Dick
Powell. And there will be equally famous
honor guests this year.

When we say come to Hollywood and
dine and dance with the stars and have
them put on shows for you, we really
mean it. GET YOUR RESERVATIONS
IN NOW.

George McCall, famous air gossiper on
the Old Gold Cigarette program has
agreed to be master of ceremonies to the
farewell party at the Wilshire Bowl.
George who is an ace newsgatherer will
bring to you fresh news of your favorite
stars and will introduce them to you as
they join you for dinner.

As many of you know, Harriet Parsons
showed up at one of our parties last year
and made a movie of our tour while its

members were being entertained out at
Jimmy Gleason's. Harriet makes these
interesting Hollywood newsreels under
the title of Screen Snapshots and Colum-
bia Pictures distributes them for her. . .
The reel she made that day was released
in February, so you see, the members
of that tour really got in the movies.

■ And now about what to bring along.
We advise a top coat. The air here in
Southern California takes on a chill after
midnight and we are sure you will be
comfortable with a light wrap. Formal
clothes are optional but you will have
lots of use for your semiformal clothes, so
bring 'em along. Informal clothes, slacks
and sports wear are the order of the day
here in Hollywood, so the more the
merrier.

That's about enough for this time and
we'll be seeing you, that is, if you get
your application blank in on time!

Movieland Tours,
Fawcett Publications, Inc.,
360 North Michigan Ave.,
Chicago, III.

Without obligation on my part, send
me your complete illustrated booklet de-
scribing the Movieland Tours.

Name

Lyle Talbot's party was nothing if not differ-
ent! The invitations were a command to ap-
pear exactly as the guests were when they
opened the envelopes. Jack Smart was em-
barrassed until he had a traveling shower
built. Constance Worth read hers in bed

12

Accept No Substitutes! Always Insist on the Advertised Brand!

NOW AT POPULAR PRICES!

DJBECT FROM ITS
$2.00 TWO-A-DAY
TRIUMPHS!

<&>

DON

Watch for it soon at
your favorite motion
picture theatre.

POWER • FAYE • AMECHE

BRADY • DEVINE • DONLEVY

Phyllis BROOKS • Tom BROWN • Sidney BLACKMER
Berton CHURCHILL ■ June STOREY Paul HURST

Directed by HENRY KING

Associate Producer Kenneth Macgowan ■ Screen play by
Lamar Trotti and Sonya Levien • Based on a story by Niven
Busch ■ Music&LyricsbyGordon&Revel.Pollack&Mitchell

When Answering Advertisements Please Mention May HOLLYWOOD

13

GLORIA STUART

ZIP!* CENTURY-FOX STAR

Featured with Shirley
Temple in "Rebecca
Of Sunnybrook Farm" I

VACUUM

L l»l» 1% PI £ II

in her
Hollywood
Hofit e

By WHITNEY WILLIAMS

■ FLASH . . . GRACIE ALLEN HAS
JUST HAD A BLESSED EVENT!
Don't be too alarmed or surprised, gen-
tle readers . . . Gracie Allen, THIS
Gracie, is Paul Kelly's prize cow. The
new arrival is a thirty-two pound bounc-
ing calfie, with red legs.

| A new favorite looms on the movie
horizon. Only two feet and one-half
tall, he out-riots even Charlie McCarthy
. . . and his sole diet consists of three
pounds of iced fish daily.

His name is Pete!

Pete is a penguin, hailing from the
Galapagos Islands, and you'll see him
with Shirley Temple in Little Miss
Broadway. And if he doesn't share
honors with the starlet, then his name
ISN'T Pete. Judging by the response of
those working with him on the set, Pete
is destined for the topmost ranks of
screen entertainers. When he struts into
action — and wait until you've seen him
in a dress suit — he's a WOW!

SH Gladys Swarthout has a plaint to
offer. She cannot call her life her
own. . . . It's this way.

Whenever she is on the verge of be-
coming temperamental — as befits all our
very best prima donnas — while making
a picture, her singer-husband, Frank
Chapman (who generally is with her on
the set) , affixes her with a chilly eye and
growls . . . "Come on, snap out of it!"

What chance has the poor gal of as-
serting herself, anyway?

| Dorothy Lamour confides that she's

thinking seriously of buying a lot of

telephone stock. She and her husband,

Herbie Kay — the orchestra leader — talk
back and forth between Hollywood and
Chicago almost every day, and, quoths
she ... "I might as well get some divi-
dends for our paying out $1,000 every
month for telephone bills."

| Passers-by of the Ravenswood Apart-
ments in Hollywood have noted that
a certain apartment on the fifth floor
seems always to be lighted, regardless
of the time of night.

This suite belongs to Mae West, and
never once in more than four years has
the luxurious living-room been darkened.
All through the night a bright light burns.
The reason for this lies in the kidnaping
threat which the buxom Mae received
several years ago. She's taking no
chances of being surprised.

B| Oh, for the life of an actor!

A girl rushed up to Gene Raymond in
a studio restaurant, and, without warn-
ing, implanted a loud and fervent kiss
right smack on his lips.

"That's from Mary," she told him.

Coming out from under, Gene gasped
. . . "And who's Mary?"

"She's my sister," came the answer.
"She told me when I left home to be
sure to kiss you for her when I saw you."

So, Mary, if you chance to read this,
know that your sister kept her word.

B Latest foible for the young actresses
of the film colony to adopt is to have
their baby shoes preserved in gold plate.
And, if not their own shoes, in the case
of other personalities of Hollywood, then
their children's.

14

There comes a time in the life of every employer when his secretary decides to sit on the desk.
Melvyn Douglas is trying to decide what to do about it while Joan Blondell waits to see what
will happen. The scene is from Columbia's rousing new comedy, There's Always a Woman

Accept No Substitutes! Always Insist on the Advertised Brand!

Only the great stars are invited to place their
hand and foot prints in the fore court of
Grauman's Chinese theatre. Here is little
Deanna Durbin, assisted on the left by Sid
Grauman, himself, in the middle of the impres-
sive ceremony which took place shortly after
release of her third picture, Mad About Music

Pat O'Brien started it, with his baby
daughter's, and Frank McHugh followed
suit. Then, Ginger Rogers heard about
it and straightway hiked down to the
jewelers with a pair of her first little
slippers. Now . . . it's everybody's game.
Isabel Jewell has sent to Wyoming for
a package of her baby things, and even
some of the hardest-boiled stars of the
screen are going sentimental over their
first boots.

■ They're still picking up Carole Lom-
bard, who sought the advice of George
Raft's Man Friday, Mack Grey the Killer.

"A friend of mine shipped me some
rare Chateau Yquem," Carole told the
Killer. "Do you think George would like
a bottle or two?"

"Naw," replied Mack, quick-like . . .
"Georgie never eats cheese."

| Rochelle Hudson has gone into the
canned grapefruit business. As a
matter of fact, she owns a half-interest
in a cannery, over in Arizona.

And how do you suppose the Hudson
drums up business for her product?
Goes into one market after another, de-
manding this particular brand . . . and
talks her friends into doing the same. It's
got to the point now that half the mer-
chants of Hollywood keep Rochelle's
brand, just on the strength of the actress
continually asking for it.

■ Virginia Field is English, and when
she was born had a nurse named Irene
Best. As she grew older, the nurse acted
as a companion, as well ... up until the
time Virginia left for America, and
Hollywood.

Not long ago, the actress decided it
[Continued on page 17]

AND THEN, LONG AFTER

YOUR BATH, CASHMERE

BOUQUET'S LOVELY,

LINGERING PERFUME CLINGS

TO YOUR SKIN. ..MAKES

YOU SO MUCH MORE

GLAMOROUS !

MARVELOUS FOR COMPLEXIONS, TOO!

You'll want to use this pure, creamy-
white soap for both (ace and bath.

Cashmere Bouquet's lather is so
gentle and caressing. Yet it removes
dirt and cosmetics so thoroughly,
leaving your skin clearer, softer...
more radiant and alluring!

HOW NICE TO KNOW THIS

ALLURING PERFUME IS

KEEPING YOU FRAGRANTLY

DAINTY! CASHMERE

BOUQUET SOAP CERTAINLY

IS THE LOVELIER WAY

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When Answering Advertisements Please Mention May HOLLYWOOD

15

To help Prevent

HllTR

and Bad Breath

Use

PEPSODENT

ANTISEPTIC

...tUtO-SecoiuA

In Germ-Killing
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MAKES YOUR MONEY GO
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16

7 Dwarfs Popularity Contest

[Continued from page 8]

Which is your favorite? Is it Dopey who is peeping from the right hand corner? Is it the fasci-
nating Grumpy shown in his favorite occupation of protesting? Is it the appealing Bashful?
Or the sturdy, upright Doc? Is it the carefree Happy? Is it Sleepy who engages your warmest
sympathies? Or do you find your heart going out first to the long-suffering Sneezy? Help elect
your favorite king of dwarfs by filling in the coupon on page 8 . . . and you may win a prize, too!

ing, the most enchanting, the most thrill-
ing characters that ever appeared on a
screen.

When a country becomes so divided,
the best thing to do is to hold an election.
For that reason we have decided to settle
the matter by putting it to popular vote.

RULES

Use the coupon on page 8. Simply name
your favorite dwarf and tell in twenty-
five words or less why you like him best.

This contest is open to anyone with the
exception of employes of Fawcett Publi-
cations, RKO-Radio, Walt Disney Studios
and their families.

Answers must be postmarked no later
than May 15, 1938.

The editorial staff of Hollywood Maga-
zine will be sole judges.

Entries cannot be returned. •

PRIZES

GRAND PRIZE

An unusually beautiful cedar chest of
striking design, manufactured by the
Standard Screen Company of Chicago.
The exterior is of carefully matched aspen
wood veneer, and there is a rich dull gold
trim on the delicate carving. The interior
is completely lined in moth-repellant
Tennessee red cedar. An additional fea-
ture is the full length drawer concealed
in the scrolled apron. This is not only
a singularly attractive piece of furniture,
it is a necessity for summer months when
furs and blankets need protection.

FIRST PRIZE

An original sketch in color of Snow
White and the Seven Dwarfs, signed by
Walt Disney, and handsomely framed.
This is a possession which will become a
treasured heirloom in your family be-
cause there is only one Walt Disney and
Snow White and the Seven Dwarfs, as the
first feature-length cartoon feature, al-
ready has made screen history.

SECOND PRIZE

A beautiful Alexander doll, 15 inches
tall, of Snow White, herself, which sells
for $5.00.

THIRD PRIZE

Just to be different, we are giving SIX
third prizes. They are sets of Seibling
Rubber Dolls. Each set, (which sells for
$5.00) contains Snow White (8 inches tall)
and all seven dwarfs (5V2 inches tall).

FOURTH PRIZE

Six Ideal Snow White dolls will go to
those submitting the next six best entries.

FIFTH PRIZE

The fascinating new game called "Snow
White and the Seven Dwarfs" (manufac-
tured by the Milton Bradley Company)
will be sent to those submitting the next
twelve most interesting answers.

SIXTH PRIZE

A beautiful little hand-bag, each carry-
ing a picture of Snow White and the faith-
ful little dwarfs, will delight the twelve
whose answers come next on the list.

SEVENTH PRIZE

The complete story of Snow White and
the Seven Dwarfs, illustrated with many
scenes from the film and printed by Gros-
set and Dunlap will be won by the twelve
entries that follow in the list of winners.

CONSOLATION PRIZES

And for you who do not win one of the
major awards, we still have good news!
We have one set of twenty colored scenes
from the film and 500 separate colored
scenes, delightful for framing and won-
derful to keep as souvenirs of the picture.

Fill in that coupon NOW and drop it
into the mail. You can paste it on the
back of a postcard, if you wish.

Come on, you prize winners. Vote for
your favorite dwarf, and GOOD LUCK
in your try for those big prizes!

Accept No Substitutes! Always Insist on the Advertised Brand!

Hollywood Newsreel

[Continued from page 15]

Russell Gleason was one of the celebrated
waiters at the Film Welfare League luncheon
at Dave Chasen's, and, from the alarmed look
on ZaSu Pitts' face, he probably will continue
. . . with his screen career. Boris Karloff and
James Gleason are sending pained and criti-
cal glances respectively at his harrassed efforts

would be nice to do something for her
old friend, so wrote her she would pay
her expenses on any trip she might desig-
nate. Straightway came the reply that
Miss Best would like to visit Hollywood.
So, Virginia cabled her the money . . .
and flew to New York to meet her when
the ship pulled in. Now, her old nurse
is her companion once again, living in
her home in Hollywood.

| Jane Withers played the Good Sa-
maritan, too.

During her recent personal appearance
tour, while in Cleveland, Ohio, about
thirty poor children telephoned her that
they wanted to see her, but had no
money with which to buy tickets.

Immediately, Jane rounded up the en-
tire party, served them tea in the hotel
suite she and her mother occupied, and
took them to the show. But that's Janie.

CUPIDATINGS: Alfred Vanderbilt
still the beau of Hollywood . . . evidently,
he prefers 'em dark, this month, for he's
been dating Mary Maguire and Margaret
Lindsay quite consistently . . . but who
wouldn't? . . . Howard Hughes escorting
the large-orbed Maguire to the gay spots,
too . . . Andrea Leeds and Jack Dunn,
Sonja Henie's former skating partner,
simply brimful with each other . . . won-
der why Ken Murray lost out . . . it's
Anita Louise and Ronald Reagan, now
. . . and Leah Ray can't seem to make
up her mind between Jerry Wald, the
writer, and Sonny Werblin, New York
publishing executive . . . Margot Gra-
hame seen with Ray Haller . . . Phyllis
Brooks still the one woman in Cary
Grant's exciting life . . . she's the envy of
every gal in Hollywoodtown . . . Lionel
Stander night after night with Catherine
Henderson, the Texas beauty . . . just
TRY to keep up with the status of Rudy
Vallee and Gloria Youngblood, the Indian
[Continued on page 46]

UNLUCKY IN LOVE

''I'm so lonely — nnd not a date
in weeks.'*

'Men don't like conspicuous
misfit makeup."

She took the Iiint. And now —
" Lei 's step out a lot ! "

CHOOSE YOUR MAKEUP BY
THE COLOR OF YOUR EYES

TO BE LUCKY IN LOVE, say Hollywood stars,
you can't risk misfit makeup. ..unrelated cos-
metics that can't possibly look well together
— or on you!

ARE YOU SURE your makeup matches . . . and
matches you? You are, when you wear Mar-
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powder, rouge, and lipstick — the eye make-
up, too — are in color harmonized sets. And
Marvelous Makeup is right for you because
it's keyed to your personality color, the color
that never changes, the color of your eyes!
ARTISTS, movie stars, beauty editors — and
thousands of girls who wear it — agree this eye-

matched makeup flatters all your features—
your skin, your hair, your type!

THE PRICE IS LOW., .start now to build your
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...in Marvelous Eye-Matched Makeup. ..only
55^ each (Canada 65ff). Your drug or depart-
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/ BLUE wear Dresden type

If your j CRAY near Patrician type

eves are } BROWN ... ioear Parisian type

V HAZEL .... wear Continental type

TONIGHT... be lucky in love — try t! .Is matched
makeup that matches you!

COPYRIGHT 1938,

IRD HUDNUT

/

'khx/mtoHei

.LIPSTICK- POWDER • ROUSg

-_)_? wok

il coupon NOW for Marvelous
^f *T I Makeup, keyed toyoureyesl See bow

IflAA (4 * much lovelier you'll be wiih makeup

I'" I tbat matches . . .and matches you.

Richard Hudnut, Dept. M, _ . . „

I 693 Filth Avenue, New York City FWfa-S-dB

I enclose 10 cents to help cover mailing costs. Send my
Tryout Kit of Marvelous Makeup . . -harmonizing powder,
rouge and lipstick for my type, as checked below:

if My eyes are Name

□ Blue □ Brown Address

□ Gray □ Hazel City State

When Answering Advertisements Please Mention May HOLLYWOOD

17

Onr favorite extra discovers that there
is quite a little difference between get-
ting work and getting the works during

A Day on the Lloyd Set

By E. J. SMITHSON

DEAR EDITOR:

9 Remember me? I'm the guy who
spent $25 for a Screen Actors Guild
membership card last month, worked for
a day with Gary Cooper and Claudette
Colbert in Bluebeard's Eighth Wife, got
mixed up with a blonde in a studio crap
game during the lunch hour and when
the shades of night were falling fast dis-
covered that I was $16.25 on the wrong
side of the ledger.

Since my financial predicament was
due to a suggestion from you that I spend
the day on the set as an extra, I inserted
a "Please Remit" for the above amount
in the story of my trials, tribulations, and
troubles that marked my screen debut,
but for one reason or another it escaped
your notice. I'm glad, now, that it did,
for it practically forced me into the streets
to hustle up another extra job.

It should please you almost as much
as it does me to report that I almost got
two!

A week after I finished my first pic-
ture, a quickie producer whom I ap-

proached for work told me to be at the
studio early the next morning and he'd
have a job for me. Knowing how fast
these quickies are turned out by experts,
I was up at five and headed for the
studio at six the next day. Ten blocks
away from the cameras I was held up for
half an hour at a railroad crossing and,
believe it or not, when I rushed huffing
and puffing onto the set I learned that
not only had I missed a day's work, but
that I had arrived too late to see the last
reel of the preview!

S| A couple of hours later, while trying
to hold up a lamp-post on the corner
of Hollywood and Vine, who should come
along but genial Joe Reddy, the personal
representative of Harold Lloyd. I showed
Joe my Screen Actors Guild card and
said I'd like to put in a day on Harold's
new picture, Professor, Beware, and Joe
said come along we'd see about it. Twenty
minutes later I was at the studio and
five minutes after that a frigid-looking
casting director with an icy stare was
glaring at me. In fact, this guy gave off
such a chill that when he stood in the light
I could see an aurora borealis around him!
He asked me if I'd ever been
a longshoreman and I said
"No." Then he asked
me if I'd ever been a
sailor and when
I said "No" to
that I decided

The only thing that kissed our battle-
scarred friend, the author, during his
acting career was a rubber wrench, and
he seems to be regarding the star,
Harold Lloyd, and Phyllis Welch with
some gloom. But maybe he is just more
hurt than jealous

that it was about time to look for another
job, but Joe went into a huddle with him
about then and pretty soon the director
gave me a ticket and said "report
promptly at seven A. M. tomorrow morn-
ing at the Catalina Terminal, Pier 19, at
Wilmington."

Well, I get there okay and report to
Director Elliot Nugent, who sort of sighs
and tells me to report to his 1st Assistant
Director, George Hippard, who sort of
sighs and tells me to report to the 2nd
Assistant Director, George Baker, who
shoos me over to Billy Farquarhar, the
3rd Assistant Director, who sort of sighs
"I know" when I mention Joe Reddy's
name. Billy finally tells me to go over
to the wardrobe department and climb
into some longshoreman's clothes which I
do, but when he takes a gander at me he
tells me to go back and report in a sailor
suit. "You certainly don't look like a
longshoreman," he says, "and maybe you
won't look like a sailor, but we'll have to
take a chance." He looks pretty unhappy
about the whole affair, but I need the
money and haven't got time to argue with
a 3rd Assistant Director.

E Well, I get dolled up in my blue

sailor suit and white cap and

when Billy sees me he says, "get over

on that white yacht and make it

snappy."

This white yacht is named "The
Jasmine" and is owned by J. S.
Montgomery. It cost $300,000 to
build, $3,000 a month to keep up,
and is about the finest pleasure
boat I ever gazed upon. It looked
so spic and span that you felt that
the Gold [Continued on page 46]

fc

r,

-//-/don't tell a soul! X

CAROLE

FERNAND

LOMBARD ^GRAVET

ARE SIMPLY

FOOLS

FOR

SCANDAL

AND SO ARE

Their romance is
scandalicious,
scandalovely,
scandalirious!

RALPH BELLAMY

ALLEN JENKINS ♦ ISABEL JEANS

MARIE WILSON • MARCIA RALSTON

A Mervyn LeRoy Production

Screen Play by Herbert Fields and Joseph Fields
t Additional Dialogue by Irv Breeder

A FIRST NATIONAL PICTURE
presented by

Music and Lyrics by Richard Rodge
and Loreni Hart

When Answering Advertisements Please Mention May HOLLYWOOD

19

■B

Grab the telephone out of your dear one's hands, if
you must be Impulsive, but don't be surprised if he acts
impulsively, too, as shown by Joan Blondell and Melvyn
Douglas in a scene from There's Always a Woman

How to Lose Your Man

There are a number of methods for driving
the elusive male from yonr door, but here
is a new dodge as well as a solemn warning

By KATIIERIXE ALBERT

| They were walking out of the theatre

together — the pretty girl and the good

looking young man. He made some

casual remark to her, probably "How

about a soda" when suddenly she yelled
"No! Don't wanna", and gave him a
smart kick on the shin bone.

The young man whirled toward her in
amazement at which point she pulled
his hat down to his ears and sent a little
nifty to his jaw and all the time she was
dancing around him shouting, "Ya, ya,
funny face. Ya, ya, funny face."

20

They called it comedy when Carole
Lombard and Una Merkel started a
scream contest for Fred MacMurray's
benefit in True Confession, but take
a long look at the follow-up on
the right, before you try it yourself

By this time quite a crowd had gath-
ered to view, with mixed amazement and
delight, this startling scene. Then, before
you could say "Metro-Goldwyn-Mayer
presents", the cops had arrived.

"What's goin' on here?" the cops asked,
as cops always do.

"My girl appears to have gone crazy,"
the young man replied, as calmly as he
could under the circumstances.

She was still running loose shouting
"ya, ya" but finally a cop caught her —
with the same technique a farmer uses
to catch a cackling chicken. "What's the
meaning of this?" demanded the law.

The girl looked up at him wide-eyed.
"Why," she explained sweetly, "I'm only
being glamorous. I'm just acting like
Carole Lombard, Irene Dunne, Loretta
Young, Miriam Hopkins and Bette Davis
to name a few."

They took her away in the wagon and
when she asked for her boy friend they
explained that he never wanted to see
her again. So she just sat there mutter-
ing, "But Carole and Irene and Loretta
and Miriam and Bette — they all act this
way and their boy friends just love
'em."

The cops shook their heads sadly and
murmured "Just plain nuts" to each
other. And that ended that.

So far as I know the young lady is still
reposing in jail and her boy friend has
another girl who never goes to the
movies. She's a neurotic little number,
very conveniently inhibited. And you
can chalk up the entire episode as an-
other cinema sin.

■ You see, girls, the lads thought you
were funny enough when you were
talking in that deep throaty voice like
Garbo and pausing by the door to give
some cryptic exit line like Dietrich but
if you follow the present mode of goofy
gamboling, if you become a dizzy dame
you'll just end up in the hoosegow, as the
heroine of our little drama did. and not
in your sweetheart's arms — taking a

HOLLYWOOD

It was very cute and funny and girlishly witty when Loretta
Young in Love Is News flung Tyrone Power behind prison
bars for a laugh. But don't forget that he retaliated
by dropping her in a mud-puddle. And it might be you!

vicious bite out of his shoulder — as the
movie gals do.

It all began, as near as I can figure out,
when Carole Lombard made My Man
Godfrey (or maybe I shouldn't have
phrased it just that way). Remember
her sitting up in bed having hysterics at
Bill Powell? Everyone said she was cute
and that it was a very smart idea to leap
from glamour into this madcap stuff. And.
for once, we might have forgiven Carole
had she not gone around spreading the
dread disease.

I The dizzy dame became the mode.
There was Irene Dunne who was al-
ways such a nice type of heroine. She
never made you think, she sang sweetly
and acted well and looked oh! so pretty.
Then she burst out with Theodora Goes
Wild and made a fool of her boy friend,
in the picture, by playing an elaborate
practical joke on him.

Not content with "Theodora" she even
went wilder in The Awful Truth. Abso-
lutely nuts, this time. Constantly she
humiliated and made fun of the man she
loved. However the scenario had them
together in the final fade-out even if
Cary Grant was wearing an old fashioned
night shirt. Now Carole wasn't going to
be outdone by Irene so along came
Nothing Sacred and as if that wasn't
enough, True Confession.

In the meantime the other girls began
to swing out with gags. Bette Davis per-
petrated some fair to middling
practical jokes on Leslie
Howard in Ifs Love I'm After
Loretta Young made a
monkey out of Tyrone Power
in Love Is News and Miriam
Hopkins wasn't any lovey pie
in Woman Chases Man.

■ And what about the poor public? We
fan writers are always telling you
that the movies set the styles in every-
thing from blouses to behavior; so, seeing
these lovely girls all running berserk but

MAY, 1938

always winding up in the arms of the
lover adored and adoring, what was a
girl to think? Naturally, you reasoned,
"Men love a goofy gazelle. Men will be
utterly fascinated if I pull chairs out from
under them and trip 'em up when they
are dropping down on one knee to pro-
pose. The movie stars do it. The sce-
nario writers let 'em get away with it.
Why not me?"

Well, I'll tell you. Not you, babe, if you
want to hold your man. Take it from
one who has sat on the sidelines of life
(that will be me) and watched the lads
and lassies on every sort of emotional
spree, that isn't the way to hold your
man. It's the way to lose him. And Miss
Lombard, herself, now chief exponent in
the art of goofy screen loving should
know it.

Remember when the Lombard-Gable
romance started? The real life one, I'm
talking about now. Remember how
Carole sent Clark an old Ford done up as

a Valentine and a big package wrapped
like a wonderful present which, when
opened, turned out to be a flock of
pigeons which flew all around the room?

Remember? Sure you do and so does
Clark. But I have it on good authority
(and I don't mean Dame Rumor but a
personal friend of Clark's) that he didn't
like it at all. In fact, to state it bluntly,
he loathed it.

Oh, he laughed "ha, ha" and said "very
amusing idea" when the pigeons were
nesting in his hair and the old Ford was
attracting attention on his front lawn.
But his friends knew that the number
one sex appeal boy wasn't to be won in
that way. For there's not a man in the
world who likes his sweetheart to play
practical jokes on [Continued on page 34]

Sometimes a good yanlc at the hair
drives a man wild with adoration,
but other times it just drives him
wild as you can see if you'll
study pictures of Irene Dunne and
Cary Grant in The Awful Truth

■

■■

«r P

NORMA SHEARER

Radiantly lovely !s the star in the powdered wig, the lavish laces and
the splendid jewels of Marie Antoinette who lived so gaily and who
died with such tragic gallantry. The film will be one of the most im-
portant of early fall releases from the Metro-Goldwyn-Mayer Studios

22

HOLLYWOOD

In one of her scenes from Sally, Irene
and Mary, Joan Davis prepares to
knock them dead with a rope act

Still smiling, though things
are becoming a little involved

At the end of her
rope, but still baffled

Okay by a Kayo

Most people are satisfied with the
blows dealt by fate, but not Joan
Davis who Kayo-ed herself into fame

By SOMA LEE

H When a forgotten poet indicted an
ode to a bobolink, he piled up woes
for Johnny What's-his-name, and paved
the way to a knockout career for Joan
Davis!

That bird, beset by b's, was Johnny's
Waterloo. Even the teacher's glacial eye
couldn't suppress the titters of the second -
graders when the small boys' stuttering
tongue began to battle with the alphabet's
second letter.

Only the face of Josie Davis, four aisles
over, was grave and speculative and rumi-
native. She watched Johnny's technique
with intense eyes and committed his an-
tics by heart. First, his cheeks would
balloon out with his gusty efforts. Then
they'd deflate into hollows. Johnny's eyes
would bulge and roll like a frail craft on
a stormy sea. Again his cheeks would in-
flate, but the bobolink remained a thought
in his eye and not a well-enunciated word

on his lips! In despair and disgust, Johnny
would bring up his clenched fists, punch
himself smack on the cheek to break the
spell of his stuttering. The children would
break into shrieks of glee. And the more
emotional little girls would laugh until
thick tears rolled down their soft, rosy
cheeks. Josie Davis was torn in two. Her
heart pitied that afflicted little boy. But
her embryo artist's mind appreciated the
routine and tucked it away in memory
for future use.

At seven, Joan sensed that even kindly
people laughed at the embarrassment, the
mishaps and the difficulties of others. Since
then, borrowing from Johnny, she has
literally punched herself to fame.

■ The now-called Joan, then Josephine,
was a thorn in the side of strutting
parents, when only half-past toddler stage,
at all the school entertainments.

"•ssssira

And of course, when she
needs it, the gun isn't loaded!

Her small playmates — pretty little girls
with hair in sausage curls; in pink and
blue party dresses, with every bow just
so; with faces set in heroic smiles — would
speak their pieces about princesses and
fairies, make well-rehearsed bows and
take their seats to only a polite patter of
applause.

Then up would [Continued on page 60]

MAY, 1938

23

■ Dad Gale stopped the car suddenly,
and Mrs. Gale clutched at the po-
tatoes boiling on the stove in the trailer.
The trailer, a perfect passion of domes-
ticity on wheels, was her pride and joy,
her fairytale home, her overstuffed pal-
ace of gadgets. She peered out the front
window into the small sedan and saw
Dad and fourteen-year-old Jimmy grin-
ning broadly and making excited "get
out" gestures. Hastily glancing around
to see that everything was all right
(Mother Gale never stepped foot out
of her chintz castle without doing this)
she opened the door and got out, followed
by Sis, her eldest.

Dad just pointed, and Mother cried,
"Oranges! It's an honest-to-goodness
orange grove! Now I know I'm in Cali-
fornia. Isn't it wonderful? Here we
are, 'at home,' and California rolls right
up to the door with oranges. But I still
think," Mother was a disciple of thrift,
"that Hollywood will be a pretty expen-
sive adventure. And what fun would it
be if we can't go to the famous places
where the real Hollywood is?"

"I have figured out," said Dad, "that
we can save so much, without hotel and
restaurant expense, that we can easily
blow $60 in Hollywood. Indeed, Mrs.
Gale, we could 'proceed to extremes —
with some moderation.' "

"Well, for gosh sakes, what are we
waiting for?" asked Jimmy.

Sis got on her Robert Taylor look. . . .

$5.00 Hollywood — and it was the first
day. The Gales had blown in
and swept their home on wheels into a
modern auto-trailer
camp not far from the
heart of town. When
Mother learned the rent
was only $5.00 a week,
including water, elec-
tricity and telephone,
her fears about expenses began to dis-
solve. The camp was scrupulously clean
and beautifully shaded with immense
eucalyptus trees, and it stood on a hill
overlooking most of the city. As she
worked on Jimmy's best shirt with the
iron plugged into the wall, she hugged
the thought that she had all the prac-
tical conveniences of any Hollywood
apartment-hotel, without the cost and
with everything but tray service and an
elevator. She and Dad figured they saved
between $10 and $15 a day in hotel rent
alone. There were 40 trailers parked in
this camp, permanent and transient, oc-
cupants ranging from actors to postmen.

Shirt ironed and breakfast finished,
where would the Gales go first? So little
time — so much to see! What first? Why,
the studios, of course. Or at least the
walls that hid the mystery of all the fas-
cinating make-believe. Leaving their
parlor, bedroom and bath at their new
address, they piled into the car. Their
first stop was at one of those architectural
bon-bons, peculiar to Hollywood, that
deal in carburetor fodder.

"Looks more like a museum entrance
than a gas station," said Mother, getting
a bit wide-eyed.

24

Sis stepped out of the trailer, and imme-
diately got on her "Robert Taylor look"

Hollywood in a Trailer

You can spend thousands
in Hollywood in an after-
noon, or you can get by on
next to nothing and still
have fun. Here is the ex-
pense account of one family

By

whose credo is THOU SHALT NOT
PASS, and notice the many doors thxough
the high walls . . . Employes Entrance,
Purchasing Department, Casting Office,
Information, Personnel Department, and
many others. On the way to Universal
Studios, their last stop, they drove
slowly along Hollywood Boulevard, and
Mother marveled at the open-air markets,
half a block in size, and riotous with
fresh vitamins, arranged in green-leafed
symphonies of lettuce, celery and spin-
ach, and accompanied by an obligato of
passionate but controlled red cabbages
and sleek little avocadoes. Imagine buying
two bunches of carrots for a nickel right
opposite the building where Greta
Garbo's tailor fashions raiment for the
Kinema Kings and Kweens!

$3.50 Universal's commissary is open
to the public, which was a pleas-
ant surprise for the Gales. Each had an
excellent 75c luncheon, but hungry as
they were it was thrillingly disconcerting
to see Mischa Auer dreamily sipping
coffee, and Alice Brady dashing by with
a bevy of dogs, all in one sitting. And
Jimmy forgot entirely the all-important
question of food when he saw Deanna
Durbin. Sis was rendered ga-ga when
Carole Lombard passed right by their
table. Dad left 50 cents for the waitress.

$1.60 After lunch they drove around
Toluca Lake and saw the homes
of Richard Arlen, Bing Crosby, Mary
Astor, Jack Oakie, and saw Buck Jones
gentling a pony for one of the kids in the
neighborhood. Then they went to Warner
Brothers Theatre on Hollywood Boule-
vard and enjoyed two
features, a news reel and
a short subject for 40c
each.

The evening's program
was dedicated to Mother
who, by now, was indif-
ferent to expenses and who was threaten-
ing a cooking strike. She said she wanted
"extraordinary" food, very different from
their simple "trailer -made meals," and
Dad after an interview with the actor
next door, said he knew just the place.
After showers and clothes changing, he
drove them off with an air of mystery,
murmuring his battle-cry, "To extremes
— with moderation."

WINIFRED AYDELOTTE $5.50

$1.60 As Dad handed the attendant
$1.60 for ten gallons of gas, he
said, "Incidentally, Mrs. Gale, notice that
this disposes of trolley and taxi fare for
all of us today."

"There's another Aftermath," cried
Mother, not so interested in money now.
The Gales called their trailer The After-
math.

"It's Wally Beery!" cried Jimmy, and
as he passed Mr. Beery gave them his
shy, crooked smile. By this time Mother
didn't care if their car ran on a meter.

It took them about two hours to make
the tour of the studios; see at the various
gates the smiling but firm policemen

Extraordinary was certainly the
word for the Three Crown
Swedish Restaurant, whose proprietor
owns the largest Newfoundland dog in the
world, and where they were served a
twelve course dinner ($1.25 each) of
lovely unrecognizables. At the end of
each course, Dad expected the check, but
the Lucullan orgy went on and on. They
found they shared the same delicious
Smorgasbord and gracious atmosphere
with their beloved Louise Fazenda and
her husband, Hal Wallis, at a nearby
table. Beyond them sat that malicious
villain of the movies, John Carradine,
talking gaily to friends and looking dis-
appointingly harmless. Ralph Bellamy
was in a far corner, a bit absent-minded
over the menu. (Dad left a 50c tip.)

HOLLYWOOD

$1.60 Next day, after acquiring an-
other $1.60 worth of gas and oil.
Dad voted for exercise. He felt he'd eaten
too much and he was very proud of his
waistline. He wanted to go bowling.

"But heck! we want to see people and
things! Whoever goes bowling?" yelled
Jimmy.

$2.00 "I do," said Dad, and over three
very definite protests took them
off to a bowling alley near the boulevard.
Who in Hollywood goes bowling indeed?
The Gales missed pins left and right as
they craned their necks to admire lovely
Jane Wyman, who sent keen shots down
the line. Allen Jenkins came in to prac-
tice ten pins, and Sis just gave up trying
to play after Clark Gable came in. Two
dollars for two hours' fun with celebrities!
They spent the afternoon in The After-
math, catching their breath, chatting with
their actor-neighbor, and taking naps.

$1.30 "There's a gleam in Mother's
eyes," said Dad when six o'clock
came and Mrs. Gale made no motion
toward her trailer stove. "I think it
means she'd like to put on glad rags and
see Hollywood night life. Jimmy, here
are tickets for you and Sis for a pre-

"WKy it's Wally Beery!" cried Junior, waving

view at Pantages. I'm Mrs. Gale's
special escort."

$9.00 The young ones had their own
trailer dinner and left early to
stroll to Pantages on the boulevard.
(Their tickets cost 65c each.) Mother
and Dad dressed in their best bib and
tucker and dined at the Cafe Lamaze in
Beverly Hills and danced to the soft,
swinging music of its orchestra. Four dol-
lars a plate. No cover charge. Tip, $1.00.

"To extremes— with moderation, Mrs.
Gale." Dad winked at her.

They saw James Stewart and Rosalind
Russell, Andrea Leeds and Wesley Rug-
gles and many others. Charles Boyer
came in. Mother missed a couple of
steps. . . .

MAY, 1938

$2.25 The third day found the Gales
lolling on the Santa Monica
beach. They had risen late, and had had
"brunch" at the late Thelma Todd's cafe
for 50c each. Tip 25c. They were in their
bathing suits, having brought their own
dressing rooms along — The Aftermath,
parked with hundreds of others by the
side of the Coast Highway.

$3.00 "I think screen people like the
same things we do," said Mother
naively, her gaze following lovely Gloria
Dickson. Later on, at the amusement
pier, Mother was sure of it. They saw
Wayne Morris and Lana Turner on the
merry-go-round! Dad spent $3.00 on
amusements, but wouldn't let them eat
a thing. Jimmy and Sis were restrained
from hamburgers with difficulty, and
made fun of his darkly mysterious air.
But they took it all back when. . . .

$9.75 Shades of Henry the Eighth!
Their eyes popped when Dad led
them into the Cock 'n Bull. The head-
waiter with the Leslie Howard accent
bowed them past a huge buffet table, on
which reclined a roast pig with an apple
in its mouth, enormous roasted turkeys,
whole hams, chickens. . . . The Cock 'n
Bull catered to the epicureans who took
eating seriously. One made a choice of
food at the great buffet — steaming steak
and kidney puddings, Yorkshire pud-
dings, roasted guinea, their famous roast
beef done to a king's taste. At tables
around them, the Gales saw Eugene
Pallette, Errol Flynn, Beatrice Lillie,
Fanny Brice, and Director John Ford
with friends. This feast cost $2 a
plate, tip 75c and Dad had imported ale
at $1.

$3.00 The family woke up heavily the
next morning. "Today we exer-
cise," they decided unanimously. Ice
skating in Sunny California in the Spring-
time! This was the Polar Palace where
Sonja Henie held beautiful exhibitions
before going into the movies. Blades flash-
ing, joyous speed, graceful skating. Music.
Little Jane Withers tore by with speed-
record aspirations. Mickey Rooney sang as
he flew by with his gang. Ida Lupino was
laughing; Jackie Coogan and Betty
Grable waltzed by hand in hand. A dizzy
flash of someone — whoosh!

"Who was that?" gasped Mother, hang-
ing onto the rail.

"Irwin Jaffee, champ Olympic star,"
said Jimmy, gliding up.

"Admission 40c. Skates 35c. More fun
for $3.00 than I've had since. . . ." Dad
took a spill.

$1.60 On the fifth day, the Gales rested
— in their fashion. Muscle-
bound, sore and happy, they paid 40c
admission in the afternoon to the Riviera
Polo field and watched Hal Roach,
Spencer Tracy and Johnny Mack Brown
in mighty action. The stands held such
passionate enthusiasts as Walt Disney,
Gene Raymond and Jeanette MacDonald,
Paul Kelly, June Lang, Jean Muir and
Ray Milland.

$0.50 This was the last day. They ate
a vegetable dinner, fresh from
one of Hollywood's famous open-air
markets, in the trailer dinette. It cost
all of 50c for the gang.

"Incidentally," said Dad, "we have
over-stayed our time by a day and still
have enough in the budget to dedicate
the evening to more fun. Come on, you
Highwaymen! I'll lead the way." Dad
was mysterious again, after a conference
with the actor.

$2.00 He drove them to Victor Mc-
Laglen's club, and paid 50c ad-
mission to the stadium. From the stands,
they were thrilled at McLaglen's blue-
uniformed mounted troup exhibiting fine
horsemanship in jumping, troop drills and
stunts. They saw a girls' Softball game
which was no pink tea party! Then they
entered the club house — and what luck!
It was Old Forty-Niners' night. There
were gambling tables stacked with chips
and stage money. Almost everyone was
in old western costume and crowding the
tables. The bar was handled by a bar-
tender with false side-burns and a flair
for mixing very authentic drinks.

"I'm glad it was stage money at those
roulette tables, or we'd be pushing the
trailer home," said Mother as they left.

The Gales rolled their residence off the
grounds the next morning towards the
great highway — and home. They had

Beery waved back and it didn't cost a cent

seen the real Hollywood with a trailer,
a budget, some imagination and a few
questions.

$53.20 Sitting on a bunk in the trailer,
Mother got Dad's budget out of
the pocket of his good suit and began
to look it over. She was amazed to dis-
cover that they had spent only $53.20
for five glorious days in Hollywood.

A bright-winged Blue Jay darted by
the windows of The Aftermath. "Cheap,
cheap," he sang. Mother grinned after
the bird and tossed the budget book care-
lessly on the table.

25

I. Restraint is the great thing in the modern
school of acting. Here is the approved
method of expressing shock, . . . but in a
mild way, as if you'd lost a million dollars

2. This demonstrates Type One Despair as
you think over all the things you could have
done with that million, but reflect that it is
harder on income tax returns than on you

3. Here we have Second Degree Shock. Fine
for the time they come around to tell you
that you have lost three million dollars in
the market and that worse is yet to come

How to Be an Actress

"AH yon have to know is
how to act, if you want to bo
an actress," says Fanny
Brice who generously took
five minutes off between
scenes of Everybody Sing
at M-G-M to give aspiring
stars a capsule course
in scene stealing

4. This is Second Degree Despair, just be-
fore the curl starts coming out of the hair

6. Sunlight and shadow as two emotions war
for possession of the Brice face

7. Aha, you almost had me fooled, but the
oke's on you . . .

5. The Dawn of Hope, as a bright thought
breaks through the momentary gloom

8. Because I didn't have three millions in
the market to lose!

f,**«™ TO

f

.y'^ftXfiii

g
^

Palming his cigar in a nice gesture of
respect for his royal robes, the King
of Comedy looks at his past with
pleasure and at his future in The Big
Broadcast of 1938 and in Things Begin
to Happen with pardonable pride

TED MAGEE

■ "Tell that blankety-blink-blank
green-eyed persimmon what I think.
Tell him to proceed to perdition. Who
does he think he is, talking like that to
me? Oh, well, tell him I'll see him at
eight o'clock tonight for dinner. Good
by!"

W. C. Fields slammed up the telephone
receiver, swung around in his chair and
launched the rest of his remarks at you
and you and you. He was in a funny
mood — and always remember the Fields
brand of humor is spontaneous stuff —
the same sort of thing that has made him
a star for the past forty years, a star of
circus, medicine show, cabaret, honky-
tonk, burlesque, musical comedy, vaude-
ville, drama, screen and radio in every
country of the world.

"And you," he said, waving a cane in
our direction, "can tell the whole world
I'll be around here for ten or fifteen years
more. Nothing has me licked. I am in-
deed in fine fettle. I tell you, suh, I am
back at my labor of love to stay."

And he is. It took W. C. Fields more
than a year to win his battle with the
grimmest of reapers. But he has come
back, defiant and full of spunk, the
King of Humor, ready to resume his
throne.

You could talk to Bill Fields every
day of the week for many moons,
and still find him full of fresh recollec-
tions about those forty years of stardom.
Recollections that make you shake with
laughter. For W. C. Fields remembers
life more as a laugh than anything else.
The gay nineties were just about to give
up the ghost when Bill Fields first entered
the scene. He made the grade in 1899
largely because of a printer's error in a
small town. For six years previous to
this moment he had been doing opening
acts on itinerant vaudeville, bandying
eggs about in a juggling act. He pre-
ferred to toss the eggs in a silent act than
to have them tossed at him — or talk and
be open to laying them.

Fields graduated to a headline act be-
cause the printer in this small town put
him on the wrong spot in a program.
Rather than have the whole print job
done over, the theatre owner made Fields
the headliner. In the year that followed
he got wise to himself and the booking
agents. His salary leaped from $10 a
week and board to $125 a week. It was
all done very simply. When they offered
him a raise he demanded more. If they
didn't offer the raise he got it anyway.
But we're getting ahead of ourselves.

[ Bill Fields spent most of the gay
nineties as a non -fare- paying pas-
senger riding the finer freight trains. As
an itinerant vaudeville man he carried
his props and clothes in one small grip.
In those days he didn't consider it a hard-
ship. After finishing up a show in one
town, he and his partner would grab the
next freight out for the following city.
He always enjoyed beating the railroads
out of the fares.

"That brought on a terrible calamity
eventually," he said, a mischievous smile
playing on his lips. "When I became a
full-fledged headliner, I found I had to
pay my fare and extra cash for my props.
You'll never know what that did to me.
It simply broke this puffing heart of mine.
Of course, I no longer feel that way. I
believe all good citizens should travel on
the railways in Pullman cars, paying first
class fares. As a stockholder in several
railroads, I find my attitude of previous
and more foolish years somewhat al-
tered."

But those itinerant, carefree years pro-
duced many a thrill that W. C. Fields in
his present eminence can no longer enjoy.
He learned to mistrust strangers, to avoid
dogs, several of which took ample nips
out of his [Continued on page 62]

27

MM

Pats Day Off

After he had finished his part in
Robin Hood and before he began
work in White Banners Pat
O'Brien had a day off and (does this
sound familiar?) deeided to spend
the day as the Spirit of Neatness

— Fa7vcett Photos by Rhodes

I. Here is the Spirit of Tidiness side-
tracked only momentarily by some inter-
esting letters in the morning's mail bag

2. Now he's getting somewhere, and,
even if there is no place left to sit
down, he's getting things concentrated

3. Who can blame a man for
stopping to recall the glorious
day when he won the silver cup?

4. A man has to keep up his strength,
and even if the kitchen does get a little
cluttered, that always can be fixed later

28

5. Well, there they are! Right in the
middle of straightening up his dressing
room, the Spirit of Neatness finds his
long lost binoculars. Well, well, well!

6. After all, the racing season doesn't last
forever. And you can straighten up the
house any time, so Pat becomes the Spirit
of the Outdoors for the rest of the day

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When Answering Advertisements Please Mention May HOLLYWOOD

29

Parisian

Playboy

■ The first streaks of dawn were
pushing over the sky when that
bunch of startled people began
tumbling out of the apartment house
door into the street. A fire drill could
have been no more efficient, and Fernand
Gravet, watching from a nearby car, was
laughing himself sick.

This was vengeance the way he wanted
it. Almost everyone living in this build-
ing had pulled jokes on him during the
past six months. His friends in Paris
were growing a little dull with their
charges that he, as a fellow jokester, was
slipping.

So Fernand, sitting there in the car, saw
Marie and Jacques, and a lot of other
thespians in their night clothes hurtle out
the door and shiver in the cold dawn.

Fernand leaned out the window and
blew them a kiss. "Now, my friends, you
may return to your beds," he shouted as
the car drew away.

The noted comedian had bided his time
before pulling this coup. Then, early
one morning, he drove to the theatrical
hotel, slipped past the concierge with a
bundle under his cloak, and moved hap-
pily to the top floor.

There, in the hall, he planted his first
gift for his pals, a nice loud noise bomb.
And on each succeeding floor he did the
same, then departed to his car to watch
the results.

Yes, Fernand got his revenge, but like
all events of this sort, he was of course
laying himself open to further retribu-
tion from the victims of this little affair.

H The French actor was in a reminis-
cent mood when we found him idle
for a moment out at Warner Brothers.

30

This is the engaging smile which Fernand

Gravet turns at the camera as well as at his

practical-joking friends

He had been working all morning on a
scene for Fools for Scandal, his second
American appearance under the banner
of Mervyn LeRoy. Carole Lombard and
Ralph Bellamy were in the scene with
him. Carole had been laughing hysteri-
cally at Fernand's grave face. And
truthfully, the graver Fernand looks, the
funnier he is. That just happens to be
the chief way he makes you laugh.

Well, just as Fernand finished the
scene, he spied an acquaintance over at
one side reading the morning paper.
Fernand has the memory of two ele-
phants. He recalled almost instantly this
was the chap who introduced him to the
little joke of "hot foot" by putting a match
along Fernand's shoes when he wasn't
looking, and then lighting it.

So the actor slipped over beside his
friend, calmly pulled out a cigaret lighter,
and touched off the top edge of the news-
paper. The chap was so engrossed with
the sports page that he did not notice the
flames until they had eaten away a good

Something about a young
man who takes his play as
well as his work seriously

By TERRY KELLY

portion of his material. Then he

leaped to his feet, very startled, and

began shouting wildly.

Fernand beamed. "That," he said,

"is our favorite version of your American

match game. Do you enjoy it?" And

was off to his dressing room where we

were getting a bird's eye view of the fun.

H That's how Fernand happened to be
in a reminiscent mood. Things like
these reminded him strongly of Paris,
where he and the pals who moved around
town with him were unmerciful in the
jokes they played on each other. Out-
siders seldom bore the brunt of these
pranks. To fool someone who was inno-
cent of the constant plotting and counter-
plotting going on among this group was
akin to shooting a rabbit with a shot gun.
The idea always was pleasant revenge on
friends who ought to be smart enough to
see the joke coming.

There was the time, for instance, when
Fernand and a friend named George ar-
ranged a neat little conspiracy against a
third actor called Jacques. At least, these
names will do to tell the story.

The trio had just arrived back in town
from a London engagement and registered
at a hotel. Jacques, coming across on the
boat, had duped both Fernand and George
with one of his pleasant little jokes, so
the other two, upon arriving at the hotel,
went to the manager for a conference.

"Our friend, Jacques, is a little difficult
but not dangerous," they explained to the
official. "He is suffering from a mental
malady called dementia praecox. Will
you please instruct all of your employes
to ignore his orders and do as we say?
Fine. Jacques should not be served

liquor of any sort. Always oblige him
with a glass of soda. And whenever he
orders meat, be sure he is served with
nothing but the finest vegetables."

The manager agreed readily, and the
first explosion came a few hours later
when Jacques ordered a brandy to be
brought to his quarters. The waiter ap-
peared with soda water. Jacques was
patient, and carefully re-ordered. The
waiter soon returned with more soda
water, and poor Jacques went into a rage.
Of course the employe left convinced this
was a madman.

At dinner that night the three of them
looked over a menu and Jacques ordered
a fish dinner to be carefully prepared.
The waiter, another fellow who had heard
of this man's rages, wrote the order hur-
riedly and departed. It was no pleasure
on his part to return presently with a
vegetable plate, arranged as nicely as the
chef could suggest.

Jacques immediately roared his wrath.
His two friends tried calming him down
between chuckles, but were not too suc-
cessful.

"Really, it looked like our joke had
gone far enough," Fernand recalled, smil-
ing over a cigaret. "But Jacques walked
out on us after refusing our company. An
hour later he was in his room with a pri-
vate bottle of brandy, feeding his injured
pride. It was not long before he was
disturbing guests on the floor with some
very bad singing.

"Finally the manager came to us, im-
ploring that we stop this business. We
tried to shut Jacques up, but got nowhere.
The manager's patience was at an end.
He disappeared, but presently returned
with two strong policemen, and then we
were in a fix.

"It took a good hour to convince them
this was all a joke. Meantime, even after
our explanations, they were all for ejec-
ting our friend from the hotel for being
too noisy. Finally, God bless him, he
solved that problem for us by going to
sleep. But the joke was scarcely worth
the grief."

■ It would be a mistake to gather from
this that Fernand Gravet is forever
playing jokes on other people and never
having them played on him. Not at
all. For instance, on another occasion,
Fernand was dining with some friends
who had him served with raw carrots,
uncooked peas, and similar things. It
looked like Fernand could do little but
eat them in apparent unconcern, or else
be laughed at heartily.

Fernand chose neither course. He
picked up a raw carrot, carefully carved
it into the shape of a fish, and got up.
His purpose was to be funnier than those
who planned this hoax. So he walked
across the room to where some goldfish
were gamboling about in a little pool.
Concealing the carrot in his right hand,
he apparently dipped down in the water
and came up with a wiggly fish which he
downed with one gulp. Patrons put down
their forks and stared unbelievingly. One
woman shouted hysterically and left the
[Continued on page 49]

MATILDA: There! That's why the bride's hav-
ing plenty of grief, Susan — look what's in
her box of groceries!

SUSAN: Never mind, Matilda, pick up your
skirts and run! I don't think that dog likes
old ladies.

MATILDA: But, Susan, you know it's that
weak-kneed soap the bride buys that leaves
dirt sticking in her clothes. She'll never get
rid of tattle-tale gray — if we don't show her
the right kind of soap to use.

SUSAN: But the dog! . . .
MATILDA: Don't be a 'fraidy-cat— I'll take
care of the dog. You take that lazy soap out
of the bride's groceries and put in our bar of
Fels-Naptha Soap.

SUSAN: Nice doggie! We're only trying to be
helpful. We're only trying to show the bride
how to get whiter washes.

MATILDA: Yes, doggie. Fels-Naptha's richer
golden soap and lots of naptha get clothes so
clean, tattle-tale gray simply has to scamper.

COPR. 1938, FEL3 8t CO.

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The life of a bird-woman is not an easy one, admits Rochelle Hudson, advanced
student flier, as she gives the air to the tire of a bombing plane at Clover Field

Hollywood's High Fliers

Stars are taking to the air in their own planes,
and here is something about the way they learn

By ELMER SI XFIKLW

i Off-hand, one can name a score of top-
ranking stars of Hollywood who let
off emotional steam by taking an occa-
sional flyer in the stock market. It's an
expensive hobby, but a thrilling one, win,
lose, or draw. Others, shunning the lure
of the ticker-tape, get their thrills, win or
lose, by placing their money across the
board on the four-footed flyers at the
Santa Anita race track. But in neither of
these two groups will you ever find the
real high flyers of Movietown for the
very simple reason that the real high
flyers constitute that large and select
group of screen celebrities who actually
"go up into the air" in the cockpit of a
plane.

Any bright, sunny day, if you know
where to go, you can watch them shove
off — some going up on their first flight
with an instructor, others advanced far
enough to solo, and still others, farther
advanced, ready and eager for a try at
blind flying and acrobatics.

■ The man who teaches the stars to fly
through the air with the greatest of
ease is Marion McKeen, a sandy-haired,
tanned-faced, alert-eyed pilot in his early
thirties who has the amazing record of

having taught more than 300 persons to
fly without injury to either himself or
pupils. His log books show that he has
been aloft with pupils more than 7,000
hours and you can search the pages in
vain for any record of even the most in-
significant mishap.

For the past two years at the Clover
Field airport, Pilot McKeen has devoted
most of his time in giving flying lessons
to members of the motion picture colony.
Stars, writers, producers and directors are
all down in his log books. Listed among
those whom he has taught to skylark like
air veterans are Director Frank Borzage
and his wife, Jack Kirkman, author of
Tobacco Road; Earnest B. Schoedsack,
who is now in Burma shooting scenes for
an M-G-M jungle picture; Peter Mac-
gowan, son of Kenneth Macgowan, pro-
ducer at 20th Century-Fox, and a score
of others identified in the higher brackets
of the motion picture industry. He has
given advanced instruction to Director
Henry King and Leland Hayward His
latest pupil is June Lang, 20th Century-
Fox star, who took her first lesson the
day we visited Clover Field. Right behind
her is Rochelle Hudson who has prog-
ressed so fast that she is now taking

32

Accept No Substitutes! Always Insist on the Advertised Brand!

instruction in blind and acrobatic flying.
"Movie people,"' says Pilot McKeen,
"learn flying much quicker than any other
class to whom I give instruction. Why.
I can't say, unless it is because their pro-
fession teaches them obedience. I have
found them more attentive, more open-
minded, and their re-actions are much
quicker. They seem to have the utmost
faith in one who has mastered his own
profession. Once told, they never forget
Miss Hudson, for instance, could, in a year
or so. become an ace flyer. She's what we
call a natural. I expect to have her doing
acrobatic work alone in a few months.
Miss Lang, my latest pupil, shows many
signs of becoming a solo flyer long before
my lessons are completed. Her first lesson
this afternoon proved that to me. Her re-
actions are trigger-like. Many of my grad-
uates come out as often as they can and
either use my ships if they happen to be
idle, or rent one for an afternoon's sky
jaunt. See that young fellow over there?"

[ Pilot McKeen pointed to one corner of
the shop where a tall, overall-clad
boy was bending over a motor. His hair
was ruffled, his face smudged with grease
spots, and about him on the cement floor
were parts of the power plant upon which
he was so industriously engaged. He
looked up once, saw McKeen, smiled,
waved his hand and went back to work.

'"If that isn't Tyrone Power," we said,
"I'll eat ten yards of parachute silk!"

"It's Tyrone, right enough," affirmed
McKeen. "His movie contract forbids him
to fly, but fortunately it doesn't prevent
him from doing a little ground work. He's
really a whiz on airplane power plants.
He's designed a new type of airplane car-
buretor and as soon as he can eliminate a

Pilot Marion McKeen, veteran teacher, shows
June Lang how to spin the propellor before
i-aking off on a solo spin over Hollywood

FRESHNE&f

..that's what the world wants
in Movie Stars.. and Cigarettes

Her Freshness Wins

A favorite of the Loudon
stage. Ida Lupino's freshness
caught the eye of a Paramount
talent scout. She was whisked
to Hollywood and stardom in
"The Gay Desperado." "Any-
thing Goes," "Artists and
Models." "One Rainy After-
noon," "Fight for Your Lady."
And the freshness of this young
star wins fresh applause I

The fear of going stale keeps half
of Hollywood awake nights.
For the brightest star becomes a
falling star... once freshness fades.

That's equally true of cigarettes.
Staleness often makes a "has been" of
a cigarette that ought to be in the
prime of stardom. Staleness can trans-
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That's why we run no risks with our
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Every pack of Old Golds carries its own
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At the peak of freshness, wherever
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Old Gold gives a perfect performance
in the role of America's most appealing
cigarette. The price of one pack admits
you to this year's biggest smoking hit
'. . . "Old Gold Freshies of '38".

TUNE IN on Old Gold's Hollywood Sereenscoops, Tues.
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Here's why the O.G. package keeps 'em fresh

Outer Cellophane Jacket

Opens from the Bottom

Sealing the Top

The Inner Jacket Opens

at the Top '
Sealing the Bottom

..J

Copyright. 1938. byP. Lorlllard Co.. Inc.

When Answering Advertisements Please Mention May HOLLYWOOD

33

PLAIN FACTS
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few of the 'bugs' in it, I believe it's going
to be of vast benefit to the industry. Be-
sides being a great actor, I'm thoroughly
convinced he's also a great inventor."

■ Pilot McKeen took up flying as a
hobby in 1923; soloing a rattlebox
"Jenny" on St. Patrick's Day of that year
after a mere four hours of instruction.
Unknown to his instructor he carried a
passenger on his initial solo flight.

"When he learned about that," smiles
McKeen, "he refused to have anything
more to do with me and from then on I
was entirely on my own."

The "Skyirishman" as he is affection-
ately called by his brother pilots, was born
on a ranch near Carlsbad, New Mexico,
and punched cattle and wrangled horses
for a living until he was twenty. Moving to
Santa Barbara, California, he decided that
the only way to get up in the world was
to become an aviator. Eager to get his feet
off the ground, he organized a flying club,
took four hours of instruction — and be-
came a full-fledged flyer himself. This
was in 1923, and he has been flying pro-
fessionally ever since doing charter work,
aerial advertising, photography, selling
planes and giving instruction. In 1935 he
bought a Brown B-2 ship, christened it the
Miss Los Angeles, and entered the racing
game which undoubtedly is one of the
most dangerous of all sports. Altogether
he has started in 20 races and has finished
in the money no less than 18 times. His
best showing was at St. Louis during a
National Air Meet when he won with an
average speed of 240 miles an hour.

■ Pilot McKeen gets extremely well-
paid for teaching his movie star pupils
how to grow wings. They know his repu-
tation, have faith in him, and regard what-
ever he asks cheap at the price. And it
is, considering the almost absolute guar-
antee that they will be taught to fly with-
out mishap.

His course of instruction is divided into
16 lessons and after about 10 hours in the
air with him, a student is usually expert
and confident enough to solo. Aviatrix
Rochelle Hudson, whom he regards as one
of the smartest of the 300 pupils he has
taught, absorbed his teachings so quickly
that she was up in the air cutting didos
alone, before the 10th lesson. His training
ship, an open cockpit, cream-colored
Waco, is equipped with radio, blind-flying
instruments, and is said to be one of the
best ships of its kind in the United States
— and it has yet to receive its first scratch
due to a crack-up.

| "There's several ways of 'flying high'
in Hollywood," claims June Lang, now
in the kindergarten stage of her aerial
knowledge, "There's the horses, the stock
market, the gambling tables, real estate,
the oil fields — but as for me, give me
Wings Over Hollywood — and all points
North, South, East and West." She climbed
into the rear seat of the Waco for another
short flight around the field with Pilot
McKeen.

"C'mon up and see me sometime," she
grinned as a mechanic spun the prop.

How to Lose Your Man

[Continued from page 21]

return the box

him. And there probably wouldn't have
been any little Cains and Abels if Eve
had sprinkled red pepper on that apple
she offered Adam.

It wasn't until Carole showed Clark
that she possessed the real feminine vir-
tues— those tried and true old standbys
honesty, loyalty, charm and genuine
sweetness , that the romance actually
blossomed.

■ I have it on no less authority than
Robert Taylor — and that should be
authority enough — that, "A man doesn't
like a woman who makes a scene in
public. If I dated a girl and she started
causing a rumpus at a restaurant or a
theatre or night club that's the last time
I'd ever take her out."

And, before his marriage, when Tom
Brown was the heaviest dater in Holly-
wood, he said, "I like a girl who is a good
sport and can talk intelligently on sub-
jects of mutual interest and who doesn't
act silly."

| Hollywood is a crazy place but it
isn't crazy enough to act the way it
acts on the screen and if you'll look over
the romance list you'll discover that the
gals who really get their men are the
sweet little numbers who wouldn't know

a practical joke if it rode up on a duck
and bit 'em.

Can you imagine Janet Gaynor hurl-
ing a custard pie? You bet you can't and
it's a sight you'll never see. Yet Janet
has been adored by the most important
and popular men in town. They like her
because she is sweet and real and
womanly.

Sonja Henie hasn't done so badly for
herself as an off screen siren and you'll
never see Sonja, with that round guileless
little face of hers, cutting a figure eight
on the Trocadero's best rug. She's much
too smart a gal.

And Loretta Young who is always in
the romance news may go "ya, ya" to a
screen beau when she finds him in an em-
barrassing position but never, never to
her real sweethearts. Loretta believes
the old adage pretty is as pretty does.
And she is certainly pretty.

As for Miriam Hopkins — now there you
have an old bewitcher who can make
men turn cartwheels if she sets her mind
to it. But her success as a siren depends
on the fact that that is just what she
doesn't do. Hers is the approved tech-
nique— be sweet, be gentle, be feminine.

And Dietrich, who has had so many
admirers that you couldn't get the list in
this magazine, wouldn't be caught dead

34

Accept No Substitutes! Always Insist on the Advertised Brand!

smashing her boy friend's hat or putting
cotton in the biscuits. The very thought
of Marlayna going goofy leaves me so
weak I'll have to lie down a minute.

Well, I'm back now and I feel some
better, thank you. While I was rest-
ing I thought up some fine rules of be-
havior.

1. Spit water through your teeth when
your boy friend takes you out to dinner.

2. When he's trying to make a terrific
impression on some very dignified family,
walk in all done up in funny clothes and
throw your arms around him.

3. Trip him when you're dancing with
him.

4. Always scream at him when he's
trying to explain something to you.

5. Give him a flower to sniff in which
you have sprinkled pepper.

These five simple rules guarantee that
you'll be the most unpopular girl in your
set and when all the sweet simple maids
are on wonderful dates you'll be sitting
by the telephone waiting for it to ring.
(Speaking of telephones reminds me that
it's a good idea to snatch it from its
socket and throw the entire infernal
machine at your boy friend's head.)

H I grant you that when glamour was
at it's height I was slightly annoyed.
All a girl had to do then was to get a
vaguely pained look on her face and pre-
tend as if she were smelling a fish market
to acquire the reputation of being a siren.

Yes, when it got to the point that you
really didn't know, by either the expres-
sion on her face or what she said, whether
a glamour girl was simply bursting with
happiness and excitement or bowed down
with woe and misery I was eager to toss
a posy on glamour's grave.

But this new phase — the dizzy dame
cycle — is worse. It is certainly more ex-
hausting and if I were a boy and had to
choose between a nice glamorous girl who
just sat quietly in a corner and looked
unhealthy, or one who pulled my chair
out from under me, I'm sure I'd choose
glamour.

■ But maybe — and this seems a small
thing to ask — maybe there is a happy
medium somewhere. Then, again, maybe
there isn't.

However, the scenarists who have been
writing this new type of comedy and
creating this new kind of women will
have a great deal to answer for from
husbands and sweethearts who go around
on crutches and conduct business from
wheel chairs.

And if you girls have a lick of sense in
your pretty little heads you'll laugh
heartily at the picture. But you'll say
"foo" to Miss Lombard's characters on
the screen, and "tut, tut" to Miss Dunne's
heroines and various other clever things
like that to all the rest of the oh-so-funny
fictional charmers. Don't be a dizzy dame
unless you're just determined to lose your
man!

For, remember, the stars play these
roles on the screen but they don't try
it in real life.

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Love Without Words

When Eduardo Ciannelli met his wife, it

was love at first sight, but he had to learn

a new language before he could ask her

the important question

By JAMES REID

■ If you landed in a strange country
that vaguely terrified you, because
you couldn't speak its language, and you
fell in love with someone who couldn't
speak your language, what would you do
about it?

Eduardo Ciannelli faced that little (did
I say "little"?) problem almost as soon as
he landed in America.

Perhaps that is not easy to picture —
about Ciannelli. Perhaps it is not easy
to imagine him as a lover. On the screen,
you have known him as the cold, ruth-
less, tubercular, world-hating "Trock" of
Winterset. As the hard, merciless, rapa-
cious gangster-leader of Marked Woman.
As the sly, murderous madman of Super
Sleuth. As Lily Pons' worry in Hitting
a New High. As the movies' new Menace
No. 1.

The awful truth about Eduardo
Ciannelli is that he is not himself on the
screen. He is an actor, giving a perform-
ance. In person, he is a mild, soft-spoken
man who spends his spare time writing
plays. Amusing plays, which get pro-
duced on Broadway. Where, before he
played Trock (which brought him to
Hollywood), he invariably played gentle,
amusing men.

He is a slight man, slightly stooped. His
lean, mobile face is deeply lined — but the
lines are those of smiles. His dark, ex-
pressive eyes mirror quiet intelligence,
an amused viewpoint of life. His strong,
slender hands are constantly in move-
ment, punctuating his conversation with
unconscious eloquence. With him you
are with a cultured man. It is easy to
picture sensitive romance in his life.

When he came to America, he was
"the youngest baritone in European
opera." He did not come on a concert
tour, but a sightseeing tour.

"I wanted to see New York, stay two
or three months, then go back," he says.

"I didn't know a word of English. I said
to myself, 'I shall manage with French. I
had been all over Europe, even Russia,
and people have always understood me.'
Friends told me New York street-car
conductors wouldn't know French. I
thought they were trying to scare me.

"My boat docked in Brooklyn, not Man-
hattan. There is a difference. You know
Brooklyn? It is a wilderness of suburb.
I said to someone, 'Fifth Avenue — ?' I
headed where he pointed. I walked, and
walked, and walked. At last, I reached
Fifth Avenue — but what I didn't know
was that it was Fifth Avenue, Brooklyn.

"I did know that something was wrong.
There were no tall buildings. I'd stop
people; I'd say, 'Fifth Avenue — ?' They'd
look at me as if I was a madman. This
went on for hours. Literally hours. I was
going crazy. My boat had docked in the
morning. It was getting dark, and I was
getting panicky, when I had a white flash.
This wasn't New York.

"I found a taxi. I said, 'Fifth Avenue,
New York.' We drove and drove. We
crossed a bridge. I began to see tall
buildings. I thought I had also crossed
all language barriers. New Yorkers would
speak French. . . ."

■ He shakes his head, in memory of
that bedraggled debarkee, that inno-
cent from abroad, named Eduardo
Ciannelli.

"One of my letters of introduction was
to a Mr. Wolfe — a big railroad executive.
I found him a fine old Southern gentle-
man. But I couldn't understand him, and
he couldn't understand me. He seemed
to think if he talked a little louder, I
might understand. He got nowhere. I
showed him the telephone number of a
friend of mine. He called. I asked my
friend to interpret. I thought Mr. Wolfe
had been bawling me out. Actually, he
had been inviting me to dinner the next
night.

"I went — and met his daughter, Alma.
We were attracted to each other im-
mediately. But I was embarrassed. I
would say something to her, and she
wouldn't understand. She would say
something to me, and I wouldn't under-
stand. She was amused. That was lucky
for me.

"I went back a second time. This time,
she handed me a French-English diction-
ary. I would look up a word and say it
to her. 'Yes?' I would ask her. I would be
a half-hour on one sentence, sometimes.

"It was love, all right. I couldn't have
gone through that, or Alma couldn't have,
either— if it hadn't been. People would
say something to me and I would answer,
'Yes.' They would ask, You mean No?'
I didn't know what they were saying, or
what I was [Continued on page 57]

Right, you see Ciannelli as he appears
lo his devoted family. In the other three
pictures, you see him in the various
threatening grimaces which have made
him known to millions of admiring
theatre-goers who will see him next in
a picture with the promising title, Crime

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Behind the Scenes

Little is heard about some of the

most important jobs in Hollywood.

Here is a glimpse behind the scenes

of the Wardrobe Department

By JOHN SCHWARTZKOPF

■ In this industry of making pictures
it is hard to place the responsibility
of perfect production on any one person's
shoulders. . . . Certainly the actors are
the most important, but those people
behind the scenes deserve great credit,
too.

Not long ago we strolled into a huge
tent on the Twentieth Century-Fox lot
which was marked in huge letters "Ward-
robe." Upon entering the tent, we were
introduced to a dapper, well dressed
business-like man who seemed to have
the whole situation in hand. His name
was Arthur Levy and it wasn't long be-
fore he was telling enthusiastically all
about his latest venture, supplying cloth-
ing for the entire cast of In Old Chicago.
So large were the demands on his depart-
ment that Levy had to order the tent to
cover all the extra wardrobe. "And how
did you know just what was being worn
in Chicago between 1850 and 1880?" we
asked. That was all the encouragement
Levy needed to tell us all about his de-
partment. We learned that he spent
months in research, that he visited mu-
seums, that he studied old catalogs. He
even went so far as to find out the exact
measurements of the policemen's badges

worn during that period just so that,
when we saw the picture screened, we
couldn't come away saying it was a
phony.

But actual preparation of wardrobe was
only one of Levy's headaches. There
were scenes where hundreds of people
had to run into the lakes surrounding
Chicago fully dressed. That one shot was
perhaps the most spectacular of the whole
picture but it was ruined when one of the
extras forgot to take off her 1938 hat. So
conspicuous was that person that the
whole scene had to be retaken — and it
was Levy's job to see that the whole cast
was properly equipped with dry clothing
so retakes would be possible. The cloth-
ing was all washed in soap, dried and
back on the backs of the extras before
you could say "Jack Robinson." It is
Levy's job to predict just such accidents
and he had a huge air conditioned room
all ready for just that kind of a mishap.

But that experience is nothing com-
pared to what Levy was up against re-
cently when Twentieth Century-Fox
signed Louise Hovick (Gypsy Rose Lee)
to a contract. Miss Hovick was practically
on her way out here when Levy learned
that she was to go into production on

Arthur Levy, head of the Wardrobe at Twentieth Century-Fox, shows actress
Helen Wood, some of the models used in making costumes for the stars

38

Accept No Substitutes! Always Insist on the Advertised Brand!

the Fox lot the same day she stepped off
the train. Miss Hovick had to have her
costumes on hand the very day she landed
in town and it was Levy's job to see that
she had a complete wardrobe so that there
would be no delay in the production of
the picture. As if by magic, when Miss
Hovick stepped off the train Levy had all
her things laid out for her and there was
only one alteration to be made!

How was this all done? Levy wired
Miss Hovick's dressmaker in New York
for her exact measurements, had a
dummy made to those measurements
down to a tenth of an inch and fitted her
dresses on that model.

We were about to take our leave when
the telephone rang. Levy excused him-
self and presently we overheard him
speaking in French. "That's the call
from Paris Mr. Levy has been waiting
for," we were told . . . Thinking that 20th
Century-Fox was contemplating a French
production and we would get a story we
asked if that were the case. "Goodness,
no," was the reply, "Mr. Levy's Paris as-
sociates and friends are constantly calling
him for advance tips on style trends."
"You mean that the other way around
don't you?" That was the question that
set the place in a hubbub, for apparently
we didn't know as much about motion
picture production as we thought. It
seems that an important part of Levy's
job is to predict styles as far as a year
in advance ... in fact he HAS to . . .
motion pictures thrive on such predic-
tions.

Levy knows the latest styles and ex-
actly what color looks best on his stars,
and he also knows how to age clothes
and what looks worst on his stars, too.
Production doesn't always call for brand
new clothes. To make a man's suit look
old, iron weights are placed in the pockets
while the suit is wet. It is then left out
in the bright sun to dry. The secret of
aging shirts is to rub them in dirt while
they are wet, then dry them in the sun.
Shoes are aged by the use of sand paper.
But the job doesn't age Levy himself — he
likes it, even though few outsiders realize
its importance.

Very unusual is it to see a picture of Joan
Crawford with her back to the camera, but
all of Hollywood is excited by this hat and
we thought you'd like to see what can be
done with blue and white checks and orange
colored flowers. That's Spencer Tracy on the
other side of the microphone during their Lux
Radio Theatre broadcast

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Millions for Insurance

Stars are insured, not only against personal
disaster, but against horse rustlers, tourists,
fans and pirates, among many other things

By IVY CRANE WILSON

■ Hollywood has become insurance
conscious. The servant problem, the
latest operation, and even the dear chil-
dren, are no longer conversational "tops."

Insurance is sweeping the picture
colony. The insurance agent has the right
of way on the telephone. The "big boys"
are no longer in conference when he calls.
The columnists give him a break. He is on
the party list of the brightest stars. WHY?

Because the motion picture industry
pays around a million dollars a year for
insurance. The movie great have been the
victims of many expensive law suits, and
so today many odd policies are written
which give the harassed stars a certain
amount of peace of mind.

Stars are insured against tourists, wild
animals, pirates, freak accidents, kid-
napers, acid throwers and a hundred and
one things.

| Dick Powell is insured against tour-
ists. If a curious fan insists on climb-
ing a tree on the Powell estate hoping to
glimpse Mr. and Mrs. Powell in home
activities, and falls headlong from his
perch, breaking a leg or an arm — all Dick
has to do is call his insurance company for
help. If tourists trample on Mr. Powell's
imported Dutch bulbs, or break down a
rare shrub whose blossoms are the pride
of his horticultural heart — again the in-
surance company comes to the rescue.

Dick recently broke one of his resolu-

The only really safe mount is a hobby,
thinks Joe E. Brown, so he took out insur-
ance on himself as well as his horses

tions and bought a yacht. He and Warren
William, an ardent yachtsman, were dis-
cussing the joys and sorrows of maintain-
ing a boat, and Warren recalled the time
when he was sailing off the South Ameri-
can Coast.

"We anchored near the mouth of a la-
goon," Warren told Dick. "It was a moon-
lit night, so we took the dinghy and
putt-putted along as beautiful a bit of
shore as I have ever seen. Neither of us
wanted to go back to the 'Pegasus.' Helen
thought she heard the sound of another
boat. I thought it was just the echo of
our own motor, so we drifted along until
sun-up.

"As we were heading back, I had an un-
easy feeling; perhaps Helen had heard a
boat. I wondered if anyone had boarded
the yacht. We climbed aboard. I noticed
things had been disturbed. 'Well, I'll be
darned,' I said, 'Pirates!'

" 'Who ever heard of pirates in this day
and age,' Helen said, but she made a quick
dive to her cabin, to find they had taken
everything, even her powder and lipstick;
everything that was not nailed down.
We'd been cleaned out.

"There was nothing to do but get back
to the nearest port for provisions and
clothing. The sad part of it was we were
not wholly insured. But you bet your
life we carry everything now — even pirate
insurance!"

■ I caught Harold Lloyd transacting a
bit of insurance business the other

day in between shots on the Professor
Beware set. He was insuring his glasses
for twenty-five thousand dollars.

They are twenty-two years old and
very fragile. Harold keeps them in a
specially constructed humidor. He wore
them in his first picture, and has worn
them for the opening shot in every pic-
ture he has made.

As far as Harold is concerned, even
twenty-five thousand is nothing to him
compared to those glasses.

■ Pet insurance is quite popular, for it
is an expensive matter when a star's

dog takes a bite out of the butcher boy, or
raids a neighbor's chicken coop.
Joan Crawford has a couple of dachs-
hunds, so far a well-behaved pair. But
Joan is taking no chances, and is well
protected against any wild desires on
their part.

Paul Muni, Edward Everett Horton,
Carole Lombard, Clark Gable — in fact,
ninety-nine per [Continued on page 64]

40

Accept No Substitutes! Always Insist on the Advertised Brand!

Harold Lloyd signs the policy insuring
his famous specs for $25,000

If one more hair grows upon Edgar
Kennedy's fine open brow, he can collect

After pirates took everything on the yacht,
including Mrs. William's lipstick, Warren
William hastily took out pirate insurance

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nook*

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(appearing in Paramount'; "College Swing")
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In the garden of their home in Hollywood, Isabel Dawn and Boyce DeGaw wrote the script
for The Girl of the Golden West which stars Nelson Eddy and Jeanette MacDonald

MEET A FAMOUS WRITING TEAM

There is no such thing as having to hold dinner
because the bread-winner is kept late at the office in
snch a business as this because their garden is their
office and they share the job of writing movies

By ED. JONESBOY

■ We had planned to start this side-light
story on "things-you-never-knew-
about-Hollywood" somewhat in this
fashion:

If you should be curious enough to ask
the first one hundred motion picture fans
you meet today, tomorrow, or a month
from now, what they know about Isabel
Dawn and Boyce DeGaw, not one can give
you a word of information about them.

It was a poor beginning and made
poorer by the discovery that should a
question about the DeGaws be addressed
to us we would be included, automatically,
in the first one hundred and this despite
the fact that we've been tramping around
the studios for years watching the cam-
eras grind out their "A," "B," and "C"
products while picking up a more than
cursory knowledge of the great and near-
great moviedom. What we didn't know
about the DeGaws would fill a book —
that is, up until the other day when we
visited them in their beautiful home near
Canoga Park in the San Fernando Valley
and came away with the idea buzzing in
our heads that here was one of the most
interesting couples in Hollywood and
that a story about them should really
begin like this:

Isabel Dawn and Boyce DeGaw are, in

fact, becoming the most famous husband
and wife writing team in the business.
And in proof of which statement we pre-
sent Exhibit A, a Metro-Goldwyn-Mayer
long-term contract — a document that is,
so far as writers are concerned, about the
most difficult thing to obtain from this
hard-boiled, hard-headed studio. In other
words, before Metro - Goldwyn - Mayer
signs up a writer, or a writing team, they
have to be very, very good, indeed. And
the DeGaws are that — only more so.

■ But the studio goes even farther than
Exhibit A in its business relations
with one of its pet writing teams. There's
no punching the time clock for the De-
Gaws. You could spend a month peek-
ing into every little writing cell on the lot
and you'd never come across Isabel Dawn
and Boyce DeGaw tossing story ideas and
situations back and forth in a frantic en-
deavor to provide something original for
the front office.

"All our writing," they told us, "is done
here, at home. The only time we go to
the studio is when we are called for story
conferences. When we're preparing a
script, we usually start working after
dinner, keep it up throughout the night
and sleep all day. A peculiar writing

42

Accept No Substitutes! Always Insist on the Advertised Brand!

habit like ours wouldn't fit in with studio
schedules and we're allowed to do our
writing chores on the farm."

The "farm," as she calls it, was once
owned by Fred Kohler, one of the screen's
meanest of "meanies,'' and consists of
twelve broad and flat acres that serve as
a parade ground for the thirty or more
beautiful white peacocks which Isabel
raises as a hobby and a recreation. The
broad and flat acres likewise serve as a
playground for the dozen Boston and En-
glish bulldogs that Boyce raises as his
hobby and recreation. The house, set near
the roadside, is a thing of beauty and a joy
forever as well as being the sanctuary in
which the Mr.-and-Mrs., during their
free-lance days, wrote Wings Over Hono-
lulu, a fast-action, dramatic story of naval
aviation for Universal; If I Had a Million,
one of the most successful pictures ever
produced by Paramount; The Moon's Our
Home, the Walter Wanger film starring
Margaret Sullavan and Henry Fonda; and
Flower of France for B. P. Schulberg. It
is here, too, the couple completed only re-
cently the script for M-G-M's The Girl of
the Golden West starring Nelson Eddy
and Jeanette MacDonald, and where they
will work soon on Broadway Melody of
1939, their next M-G-M assignment.

"We've only been at this man-and-

wife writing business five years and

we're still stumbling along," says Boyce,

"but we're firm believers in the old bro-

mide which says that two heads are better
than one — especially when one head is
feminine and the other is masculine. Con-
trary to belief, when we start on a script
we don't assign to ourselves any particular
part of the story on the assumption that
each of us is especially fitted for writing
certain parts of it. On the contrary, we
first discuss every situation together,
work out our dialogue together, and, when
we are sure we're ready to put it down on
paper, write it out together. We rely on
each other's judgment, indulge in a
number of friendly arguments of course,
and, although it takes us from three to
four months to complete a script, whether
it's an adaptation or an original, it's as
much fun as it is work despite the fact
that we keep going all night long for that
length of time. I imagine we put more
time on our scripts than most writers do
on theirs, but it seems to be the only way
we can accomplish anything worthwhile.
Three stories a year, if we want to 'get
away from it all' as they say in Holly-
wood, is about our limit."

| Like many other successful writers,
the DeGaws, once upon a time, were
newspaper reporters — I s a b e 1 on the
Indianapolis News, New York Journal,
and other metropolitan dailies. Boyce got
his first whiff at printer's ink in Detroit,
his home town, but most of his newspaper
experience was confined to China where
he lived for several years.

In addition to being a fine newspaper
woman, Isabel was a mighty alluring
actress. (She became an actress, she says,
as a result of interviewing stage celebri-
ties in New York.) With her gift for good
writing always predominant, she found
time to turn out an occasional play. Of
these, Marathon enjoyed the most success.
It was produced in New York with the
author in the lead and was credited with
a better than fair run.

"The only fly in our writing-at-home
ointment," confesses Isabel, "must be
blamed on our servants, every one of
whom believes himself or herself to be a
dramatist. Unless we're very strict, we
are continually bothered by scores of
story ideas presented by them morning,
noon, and night. It's all very annoying,
particularly when you're trying hard to
be a writer yourself."

| This man - and - wife writing team
business is fast becoming more than
a fad judging from the couples who in-
dulge in it. Included in a Mr.-and-Mrs
writing list are Dorothy Parker and Alan
Campbell, Frances Goodrich and Albert
Hackett, Anita Loos and John Emerson,
the Perelmans, and the Spewacks, just to
mention a few of the top-notchers who
are commanding salary checks in four
figures.

"It's a great idea," admits Isabel.

"It's nice work if you can get it," smiles
Boyce.

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43

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by Robert M. Smith

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By LLEWELLYN MILLER

OF HUMAN HEARTS (M-G-M)

| Once in a while a picture ignores all
of the rules by which the average
success is made, but nevertheless becomes
one of the outstanding achievements of
the year. Such a one is Oj Human Hearts.
a picture you are apt to remember long
after the more spectacular offerings of the
season are forgotten.

The tale starts with Preacher Wilkins
with his wife and little boy answering a
"call" to a small, isolated, back-woods
community during the middle of the last
century. The preacher (Walter Huston)
is a good man, but also narrow-minded,
stern, stubborn and just a touch on the
smug side. His wife (Beulah Bondi) is
sweet, patient, gallant in a quiet enduring
fashion. Because of admirable direction
and playing, neither one becomes a type.
Both are convincing as human beings.

Nothing much happens. The preacher
does not convert the whole community
with stunning suddenness. In fact, the
community is pretty well converted when
he gets there, with the exception of the
tippling, sloppy old doctor, played with
fine exact skill by Charles Coburn. True,
the store-keeper (Guy Kibbee) occasion-
ally weighs his thumb in with the sugar,
and is a sharp man in a horse trade, but
he hardly qualifies as a spectacular candi-
date for hell.

The story drifts along, absorbingly. The
son (Gene Reynolds) rebels against wear-
ing cast-off clothing, is disciplined relent-
lessly for minor peccadillos, becomes
fascinated by surgery under the old
doctor's guidance. After the film is more
than half over, the interest begins to con-
centrate on the son, now grown up and
played by James Stewart.

The boy grows old enough to find his
father's rigid authority intolerable, but he
is still young enough to accept extreme
sacrifices with a thoughtless ease when
he needs help in making his way through
medical school.

The boy is not bad. He is just callous
and unimaginative with youth. You will
not find him wholly admirable, but you
have seen a hundred similar to him turn
out all right.

That is the great appeal of this film.
Here is a tale of a pretty girl and a hand-
some man making much ado about the
routine misunderstandings of the emo-
tionally smitten until love conquers all.
Here is a story of three real people, played
and directed with such subtle insight that
you will find yourself being very nice
indeed to your parents for several days
after seeing it.

THE ADVENTURES OF TOM SAWYER

(Selmick International)

■ So far as appearance goes, there could

not be a happier choice for Mark

Twain's young hero than Tommy Kelly.

His engaging Irish face and his bright
coloring are typical of the boy whose
imagination led him from one mishap to
another. However, though young Tommy
cannot be blamed for the fact that he is
not an experienced actor, the film does
not have the force that the story, itself,
possesses.

It still is one of the great tales, how-
ever, and has the added appeal of striking
color. May Robson plays Aunt Polly.
Jackie Moran is seen as Huckleberry Finn,
and Walter Brennan does a memorable job
as his worthless father. Victor Jory plays
the menacing Injun Joe. David Holt brings
a hateful smugness to the part of the holy
Sid and Ann Gillis makes an appealing
Becky. The remainder of the cast is ex-
cellently chosen for type and talent, and
should give the youngsters a fine time.

A SLIGHT CASE OF MURDER (Warners)

■ Gangsters in particular and gangster
films in general are treated to one of

the most delicious spoofings that ever
came out of Hollywood in this Damon
Runyon story of how Marco (Edward G.
Robinson) refused to let repeal interfere
with his beer racket, and turned "legiti-
mate".

His gang (headed by Allen Jenkins and
Edward Brophy) are pretty horrified
when they have to throw away their side-
arms and serve as house boy and chauf-
feur, but his wife (Ruth Donnelly) works
hard at fine manners ... at least half of
the time . . . for the sake of their daughter
(Jane Bryan) .

In spite of all of his efforts to sell the
same rough and ready brew that made
his fortune during prohibition, Marco is
facing ruin on the day his daughter re-
turns from a French finishing school. The
trouble is that he does not drink beer and
his loving mugs fear to hurt his feelings
by telling him that the stuff is awful.

Things reach a climax when bodies of
a rival gang are discovered in Marco's
summer home, when the daughter's suitor
turns up proudly in a state cop's uniform,
when half a million of stolen money is
found in the upright Marco's possession,
just as the bank prepares to foreclose on
his brewery. The presence of Bert Hanlon
as a depressed book-maker and Bobby
Jordon as Douglas Fairbanks Rosenbloom,
the toughest inmate that sentimental
Marco can find in the orphanage that gave
him his start in life, add greatly to the
festive effect of this particularly funny
feature.

A YANK AT OXFORD (M-G-M)

■ He was the pride of a small American
town, was athlete Lee Sheridan

(Robert Taylor), and when he won a
scholarship to Oxford University, they
saw him off with a brass band. Under-
graduates at Oxford, reared in a quieter

44

Accept No Substitutes! Always Insist on the Advertised Brand!

tradition, suspected that he had brought
some of the brass with him, and followed
an irresistible impulse to polish him up a
little.

Taylor does one of the most engaging
parts of his career as the hyper-confident,
super-cocky, boastful, breezy athlete who
really can break records, but who finds
that traditions cannot be broken with
quite so much glory.

Besides the interesting glimpses of
English school life, the film has a neat
triangle with Maureen O'Sullivan playing
the nice British school girl and Vivian
Leigh doing a rousing job as a college
widow . . . with a husband. Honest ex-
citement is to be found in a track meet
and a boat race. Better catch this one.

BRINGING UP BABY (RKO-Radio)

■ A lot of people are going to find very
funny Katharine Hepburn's entrance
into the rowdy-dow, nit-wit, run-around-
and-fall-down school of comedy. And a
lot of people are going to be a little baf-
fled by it all. Miss Hepburn, herself, prob-
ably will be in the latter group.

The story is all about a rather unbal-
anced young woman who casts a some-
what greedy eye on a young professor of
zoology (Cary Grant) on the day before
his wedding to his sedate assistant. She
screams at him, tells him outrageous lies,
maneuvers him from one embarrassing
situation to another and spends a great

deal of time in running, falling into ponds,
and sitting down hard. All of this adds up,
according to some obscure psychological
formula which seems reasonable to Holly-
wood but not to me, to a bad case of love.
There are two leopards, one tame and
one savage, also in the picture as well as
May Robson, Charles Ruggles, Walter
Catlett and Fritz Feld.

THE GOLDWYN FOLLIES (United Artists)

■ It's big and beautiful. It has gorgeous
girls and spectacular color. It has a
staggering cast of brilliant players. And,
if it seems a touch disorganized, that is
because there is so much crowded in that
audiences feel a little over-whelmed.

Once more, Adolphe Menjou plays a
Hollywood producer with that fine exact
satire that keeps him busy with such parts.
While on location he meets a nice sensible
little country girl (Andrea Leeds) who
so impresses him with her common -sense
that he retitles her "Miss Humanity," in-
stalls her in Hollywood, and gives her the
final word on all of his problems.

Kenny Baker as the ambitious hero who
slings hamburgers while waiting for a
break has several opportunities to sing.
Edgar Bergen and Charlie McCarthy get
plenty of footage as hopeful actors trying
to get parts. The lovely ballerina, Zorina,
does striking numbers with the American
Ballet of the Metropolitan Opera and also
plays a temperamental star. Helen Jepson

has two telling numbers, Phil Baker,
Bobby Clark, Ella Logan, Jerome Cowan
and The Ritz Brothers keep comedy raging
at various degrees of frenzy. See it when
you feel strong and hearty.

MAD ABOUT MUSIC (Universal)

[ Delightful little Deanna Durbin once
more brings her charming talents to
make a sound story seem extraordinarily
appealing.

The story starts with a movie star
mother (Gail Patrick) who is persuaded to
keep the existence of her baby daughter a
secret in the interests of her career. So
the child grows up in a European school.
Because her own father is dead, and be-
cause she may not mention her famous
mother, she invents heroic adventures for
a quite imaginary father. He is a famous
explorer, she tells her fascinated school-
fellows, and shows them pictures of an
intrepid gentleman in pith helmet and
shorts shooting charging rhinoceri and
enraged elephants.

The story is a sensational success with
her best friend (Marcia Mae Jones) but
another and more realistic little girl
(Helen Parris) brings to scornful atten-
tion the fact that all of the pictures are
rear views.

Heckled to extreme action when the
whole school follows her to the railroad
station to welcome her father, Deanna
picks out a complete stranger (Herbert

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Marshall) who reluctantly, at first, abets
her in her plot.

Later, touched by the child's predica-
ment, he tells tall tales of his adventures
to the impressed school, and to the ador-
ingly grateful youngster.

What happens when the child turns up
in Paris where her glamorous mother
is on a shopping tour makes a satisfactory
ending to a pretty tale. There is plenty
of good singing, of course.

MERRILY WE LIVE (Hal Roach)

■ Mother Billie Burke had an uncon-
trollable passion for hiring tramps to
drive the various Kilbourne cars. Father
Clarence Kolb couldn't do anything about
it except roar and complain. Children
Constance Bennett, Tom Brown and
Bonita Granville run around protesting
when a whiskery individual, who really
is a famous author returning from a fish-
ing trip, is hired. Brian Aherne plays
that role, so you should be able to finish
the plot for yourself. Alan Mowbray as
a proud and sensitive butler takes the
top honors in comedy with Billie Burke

a close second. Patsy Kelly has, surpris-
ingly, a straight and quite small role as
the cook. The rest of the cast works very
hard and is rewarded by noticeably hearty
laughter.

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Hollywood Newsreel

[Continued from page 17]

maid . . . it's off again, on again . . . both
Alexander d'Arcy, the Egyptian actor,
and Eddie Buzzell, director, languishing
in Eleanore Whitney's smiles . . . Claire
Trevor steadfastly denying there's ro-
mance between herself and Clark
Andrews, producer of the radio program
on which she appears . . . well, mayhap
there isn't . . . when he isn't seeing Pris-
cilla Lane, to whom he is reported en-
gaged, Wayne Morris contents himself
with Lana Turner ... no argument here
. . . Frances Langford and Jon Hall a
rapidly-growing romance . . . Frances
seldom in the love news of the day, so
perhaps this is serious ... no longer news
that Virginia Field and Vic Orsatti, and
June Lang and A. C. Blumenthal a pair of
interesting two-somes . . . but we'll men-
tion it, anyway . . . this going on month
after month . . . Carl Laemmle, Jr., re-
ported engaged to Grace Ralston, daugh-
ter of a Savannah, Ga., theatre owner.

| It is with considerable pride that we
make the following statement:
William Powell is a terrible actor!

All right, all right, before you start
throwing things, let us explain. He's one
of our favorites, too, but here's the
pay-off. . . .

The new game which Hollywood is
playing now, to a man, is a revamp of
old "Charades." You know, acting out
words and expressions. As Hollywood
plays it, proverbs and slogans are acted
out, with the party dividing into two
sides.

Well, sir, not yet has Bill Powell been
able to pantomime the proverb or slogan
he draws, so that anybody present in the
room can possibly figure out what he is
trying to do. On the screen, he is a superb
actor. In the drawing room, he isn't even
as good as you and you and you and I.
Which should be some measure of com-
fort, in the event you play this game, and
are unable to translate in pantomime the
meaning of that which is written on the
slip of paper handed you. On the other
hand, so unanimated an actress as Mar-
lene Dietrich is considered one of the
most adept hands at this game in the en-
tire colony.

A Wtay on the Lloyd Set

[Continued from page 18]

Dust Twins (no adv.) had just gone over
from bow to stern. I don't know how
much Director Nugent must have paid to
use it in the picture, but it was plenty.
The sun gets brighter and brighter and
everyone gets to feeling better and better
and pretty soon Harold Lloyd comes on
the boat. His left ankle, sprained a week
before during a badminton game, is

heavily bandaged and he limps painfully
along with the aid of a cane.

In this morning's shooting he's to be
tossed overboard three times from the
deck of The Jasmine and Director
Nugent tries to argue Harold into letting
a double do the dirty work, but it's "no
dice" so far as Harold is concerned.

Since Nugent sees he can't win, he

46

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starts in telling us sailors how to give
Harold a royal ducking and if you don't
think I got a big thrill in helping to throw
one of the richest movie stars in Holly-
wood overboard from the deck of a
$300,000 yacht you don't know your movie
extras. I'll say this for Lloyd: He never
complained once, despite the fact that
some of us, in our zeal to make the scene
as realistic as possible, grabbed him by
the injured ankle. We tossed him into
the oily, dirty water three times that
morning and he came up smiling as
though he was having the time of his life.
I think he was, at that, for if ever a star
gives the impression that he's acting for
the pure love of it, it's this same Harold
Lloyd. His enthusiasm for everything
and everybody concerned with the pic-
ture was certainly contagious for it wasn't
long until hundreds of gulls and pelicans,
flying lazily above the harbor, began to
make three-point landings on the edge
of the terminal roof to become interested
feathered spectators of the scene below.
And there they stayed until the cameras
quit turning late that afternoon!

[ Raymond Walburn, cast as "Judge"
Marshall in the picture, came on deck
just as we pulled Harold out of the water
for the third time, to author the prize
nifty of the morning. "Harold," he said,
seriously, "I've been looking over the
script and find my part is so small in to-

morrow's shooting that I'll just stay home
and phone it in!"

■ Second honors in the prize nifty di-
vision went to none other than Di-
rector Nugent. Dissatisfied with the way
we sailors evacuated the yacht he hatched
up a scheme with 2nd Assistant Director
George Baker, to shout "lunch is being
served off the ship!" just as the camera
began to turn. The sailor boys dashed
off the boat so fast that I got knocked
down twice before I even stepped on the
gangplank! And don't think that Direc-
tor Nugent didn't have a Joe E. Brown
smile on his face as he yelled, "Print it!"

Just before lunch, Lionel Stander who
had been playing backgammon on the
dock with Lorraine, the hairdresser, since
early morning, was called for a short se-
quence and missed the first two "takes"
because the director said his voice
sounded too sweet.

"Let's make it more like the famous
Stander growl," begged Nugent.

"Okay," said Stander, "but if my voice
isn't sandy enough this time you can
rub gravel on the negative."

It must have satisfied Nugent for he
said, "Print it!" and then gave the order
for lunch. There followed another mad
scramble but this time no sailor had a
chance to give me the boot. I slid down
a rope and was up on the dock and into
the terminal building before the chef
could say "come and get it."

■ A big, burly guy dressed in long-
shoreman's clothes and with a Bull
Montana face that was scarred and
marred, sat down beside me. I told him
that the make-up artist deserved a gold
medal for the plug-ugly effect he'd
wrought.

"You certainly look tough," I said.

"Mister," he growled, "I AM tough!
I ain't seen a make-up artist! And I ain't
no extra, either. I been working on the
water-front for years. Just thought I'd
knock off some easy dough. Good grub,
lotsa time to loaf, good pay — yah can't
beat it, pal. Unnerstan' we're gonna have
some fun this afternoon." With that he
began cutting his meat with his finger-
nail. He even put sugar cubes in his
coffee without removing the wrappers!

| It was this tough guy who told me
what Professor, Beware was all about.
Cora Witherspoon had let him read her
script the day before and he was pretty
well hopped up about the plot.

"Professor Dean Lambert — that's
Harold Lloyd, pal — owns nine tablets that
tell in Egyptian, the story of two Egyp-
tian lovers, Neferus and Anebi or som'pin
like that. The last tablet is busted and so
the professor can't get the end of the
story, see.

"Being a good guy, he allows some am-
bitious Hollywood extras — like you, may-
be— to put on some tableaux that sort of

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tell the love story. One of these extras
is Jane Lee — her real name, pal, is Phyllis
Welch of the Noo York stage and a swell
dame — and what does the professor do
but discover that Jane, who is this here
Anebi of the tableaux, is almost a perfect
duplicate of the real Anebi, while as for
the professor, hisself, he resembles this
other Egyptian fella, Neferus. Screwy,
ain't it? Well, anyways, they's a dress
rehearsal at a Greek theatre, and after-
wards, Jane, riding with a drunken talent
scout named Snoop Conlon, has a smash-
up. The professor comes along, rescues
'em, takes 'em home, and for one thing
and another gets pinched by the coppers
for drunkenness and indecent exposure.
Imagine that, willyah! Well, he gets out
on bail, gets a job leading an expedition
into Egypt — or so a telegram says — and
gets out of there right away, Jane catches
up with him in a desert and they scram
with the cops right behind. And from
then on it's girl chases boy and boy
chases girl with trouble pouring on 'em
both until they fin'ly get pinched and a
female reformer named Mrs. Pitts gets
them out when they promise to get mar-
ried in her home. Which they do, pal,
just as J. J. Pierpont, the gal's rich papa,
tipped off to the marriage by a coupla
reporters, comes charging in to drag Jane
off to Noo York and the yacht which you
been working on this morning. The pro-
fessor, by now, is really in love with Jane,
her being an heiress or no heiress, and
determined as all get out to rescue her.
You've tossed him overboard three times.
Now this afternoon we go to work. The
professor having swum ashore, collects
a gang of us longshoremen and leads us
back to you guys, but he gets us on the
wrong boat — and do we have fun, this
afternoon! We put on battle royal that
should lay 'em in the aisles come pre-
view time! This fight sort of changes old
J. J. Pierpont's mind about the marriage
and when the professor fin'ly reaches
Jane they go into a clinch — and I mean
CLINCH, pal. Screwy, ain't it? . . . well,
there's the whistle. We're gonna have
fun!"

■ Maybe my longshoreman friend did,
but I can't say the same for myself,
and I'll tell you why.

The afternoon's shooting was on an-
other yacht, a sea-going beauty not quite
as fancy looking as TJie Jasmine, but
worth all of the $200,000 Archie Stout,
the cameraman, said it cost to build her.
She goes by the name of "Memory," and
I'll never forget that name in a thousand
years.

Harold, as the professor, has led his
gang of waterfront thugs on board by
mistake, as my lunch partner related, and
wants no part or parcel of the fight him-
self. All he wants to be doing is to keep
us sailors and thugs busy banging away
at one another so he can slip over to The
Jasmine and rescue his bride.

After about half an hour of experi-
menting, Director Nugent gets us spotted
on the deck just the way he wants us.
I'm to square off with my plug-ugly
longshoreman friend and he grins and
whispers, "Make it real, pal! No holds

barred s'far as I'm concerned!" He has
a long-handled monkey wrench in his
hand and swings it in anticipatory glee.
The weapon is made of rubber as are
all the other clubs, broken oars, mallets
and hammers the thugs have, but the
owners already look and act as though
the props were the real thing.

Director Nugent yells, "We'll rehearse
it," and we rehearse it. We rehearse it
three times and then he shouts, "This is
a 'take' " — and the cameras— from the deck
of The Jasmine — begin to turn.

The burly longshoreman jumps at me,
grabs me by the throat and squeezes my
Adam's Apple so hard I can taste cider,
and then he starts banging me over the
head with his rubber wrench. Some
sailor in back of me misses a punch and
I catch it on my chin — the whistle blows
and the professor, who has been trying
to dodge both sailors and longshoremen,
says the scene isn't real enough. We do
it the second time and it's no better.
Ditto for the third and fourth take and
by then even the rubber wrench begins
to hurt. A misplaced blow here and
there has made both sailors and thugs a
bit sore. My lunch partner is grinning,
but he doesn't look any too happy. Some-
one, during the fifth melee, has smacked
him right in the eye with a prop mallet
and the way he glares I'm beginning to
think he blames me. I show him my
empty hands but he just keeps on glaring.

■ The whistle blows for the fifth take
with Director Nugent praying for
more realism. I hope he got it. I know
I did. What I mean is that half-way
through this battle I accidentally popped
my longshoreman opponent on the nose
and when I did that the lid blew off.
"Now," he shouted, "we're gonna have
fun!" and with that he tosses his wrench
overboard, reaches into his hip pocket,
jerks out a real pair of heavy pliers, and
brings 'em down in back-alley style on
my head! That was his idea of good
clean fun and all he said by way of
apology ten minutes later when I woke
up was: "It's a screwy business, pal,
now ain't it?" The professor said later,
when I was getting bandaged up, that
the scene was so good that even the gulls
and pelicans on the edge of the terminal
roof flapped their wings in applause. My
public!

There was no more shooting after that.
The fog was rolling in and the director
said he couldn't get any better effects
if he shot the scene over a hundred times.
The professor offered me additional work
at the studio but I said maybe I'd better
go to Palm Springs to recuperate, and
believe it or not, he said, "That's fine. Go
ahead and I'll pay all expenses." No
wonder that the hired help on the Harold
Lloyd lot dare you to deny that he isn't
the swellest actor in motion pictures!

H I just happened to recall what Joe
Reddy said when he went into that
huddle with his casting director. I thought
all along that he said, "Give him some
work." It was, instead, "Give him the
works!" and am I "gonna have fun"
when I see him!

48

Accept No Substitutes! Always Insist on the Advertised Brand!

Parisian Playboy

[Continued from page 31]

room. Then a couple of husky waiters
moved in on him and assisted the "poor
demented man" out of the room.

The carrot was gone down inside him.
There was no evidence, then, to prove
his innocence, and he had no desire for
a stomach pump. So Fernand's friends,
realizing he was trapped in his own joke,
let him soundly suffer with the visions of
a straight jacket before they finally
rescued him!

"And then there was another thing,
more recent. We had a friend who
was the son of an auto manufacturer.
One day the fellow showed up with a new,
beautiful car," Fernand reminisced. "He
demonstrated it repeatedly to everyone,
and was horribly proud of it.

"Well, some of us slipped over to his
father's factory, got to the right man, and
secured a set of duplicate keys. Then
we began trailing him. Several times we
pulled the same stunt. He would park
his car and enter a building. We would
climb in and drive away. Presently he
would discover the car missing, and go
to phone the police. When he returned,
there was the car again.

"One day — the last time we tried this
little conspiracy, he was all ready for us.
He entered the building as usual, but had

already planted officers near the car.
When we drove away in it, we were sud-
denly seized upon and taken into custody.
Really, it was most embarrassing. I said
to the officer, T am Fernand Gravet. I
have not stolen this car. It is just a joke.'
And the officer replied, 'My name is
Rudolph Valentino. Come on to jail.' "

■ Well, no wonder they call Fernand
Gravet the Parisian Playboy. He has
a strong sense of the ridiculous, and can
spend hours arranging some little thing
which will panic the crowd. Perhaps
that is how he sharpens up the amazing

NEXT MONTH

Gracie Allen speaks with a fine fury
on a matter close to her heart. "Hus-
bands Are Exasperating" she says, and
tells just why in some detail.

The inflammable George Burns always
has something to say, too, and he says
it is under the title "So Are Wives!"

You'll find this funny story in the
June issue of HOLLYWOOD Magazine
... on the stands May 8. Don't Miss It.

facility he possesses for comedy. For in
Paris, even as in Hollywood, this young
and handsome fellow is toasted for his
great acting.

American films were never able to se-
cure Gravet before he met Mervyn
LeRoy. But after these two men got ac-
quainted, and found themselves in so
many ways kindred spirits, Fernand
agreed to come to the United States for
one picture a year. If you saw The King
and the Chorus Girl a year ago, then you
realize what an excellent guess LeRoy
made in signing this young Frenchman.

Gravet, as a human being, will fool you.
He almost always looks extraordinarily
serious. He talks with keen facility on
almost any subject you wish. He does
not sound particularly humorous.

But once you get the man in action,
either as an actor or as an every day
personality, that delight of comedy be-
gins to creep out in his movements, his
reactions to situations. Sometimes he
confounds you by being elderly in con-
versation for a few moments, then com-
pletely reversing his field to appear
almost boyish.

In Fools for Scandal, a mad comedy
such as America enjoys so much these
days, Fernand gets excellent opportuni-
ties for his special brand of acting. When
you add to Gravet the irrepressible
Carole Lombard, it is inevitable that this
picture will be full of funny, impossible
and delightful situations.

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49

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Spring Fervor

Here are some fine first aids for
(hat first flurry of spring fever

By ANN VERNON

H Spring is here to stay. And I'm all
in a fervor with spring fever. I want
to get out into the open and commune
with Nature. And I suspect that a lot of
you do too. Probably it's no more pos-
sible for you to get out into the woods
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When spring fever got me, I rushed out
into the stores, and "covered" the toiletry
counters. I searched out all manner of
beautifiers to help make you sweet and
fresh and blooming. And now, I am all
set to broadcast my findings. Perk up
those pink ears and listen sharp. We're
on the air.

Blackheads and large pores just don't
make for a flower-like face. The first
step in any spring beauty program should
be toward getting rid of them. To cleanse
your skin, not only on the surface, but
down deep in the pores too, you'll want

50

Accept No Substitutes! Always Insist on the Advertised Brand!

to try a pale golden liquid that has been
on the market for these many years.
Saturate a wad of cotton with it, and see
how much dirt it removes from your
winter weary skin. This is the dirt which
clogs the pores, promotes the growth of
blackheads, large pores and eventually,
blossoms! Regular cleansing with this
antiseptic and refreshing cleanser clears
up blackheads, allows the pores to re-
turn to their normal size, prevents the
appearance of pimples. The tingling sen-

Lady, Take a Bow — Your skin deserves applause
because it has been thoroughly cleansed with
a pore searching liquid, softened and soothed
with a milky lotion, protected from glare with
light-absorbent powder

sation of the cleanser as it works tells
you that it 13 toning up your sallow skin,
giving you a new face with which to front
the spring. A six-ounce bottle of the
refreshener costs 75 cents, and a handy
purse size containing two and one-half
ounces retails for 35 cents. Your local
toiletry counters will have it, and I'll be
glad to give you the name.

| Over that clean skin, goes a film of
powder. And here's where my second
discovery faces the light — and is not
found wanting. For it's a silky face
powder that is refined in such a way that
the tiny particles absorb the light instead
of reflecting it. In other words, your
nose, your cheek bones, your forehead
just can't do a beacon-light act on you.
Instead of shining in the spotlight, be
radiant and glowing, in all lights. This
magic powder comes in four flattering
shades — Flesh, Rachel, Rose Rachel and
Rachel No. 2 — all of them just right for
Spring, 1938. A sizeable square box in
a soft shade of green costs 55 cents. Do
write me for the name.

Springtime and romance go together,
and romantic is the word for the dreamy
floral scented cologne which once was th3
favorite of Josephine, who became th?
first empress of Napoleon. The exquisita
freshness of the scent breathes youth and
beauty, and is a welcome change from
the heavy oriental perfumes of the
wintry months. It is attractively bottled
in a flat, square flacon, with oblong
crystal stopper, and gay, flower-be-
sprigged label. [Continued on page 53]

f

* VACATION!

— you will if you go

GREYHOUND

Most in Allies— the whole map of America becomes
your summer playground — brought within easy reach
by Greyhound — ottering THREE miles of travel at the
cost of ONE mile in your own car.

Most in Scenic Thrills— every trip is a succession <- .
of strange and thrilling sights — twice as many points
of interest, all seen to best advantage from a Grey-
hound window, when you go one route, return another.

Most in Comfort — you can truly relax in a deep-
cushioned arm-chair that reclines to any desired posi-
tion— Super -Coaches specially designed for smooth
vibrationless riding.

Most in Saving— fares ate far lower than forany other
type of transportation — saving you enough for extra
vacation spending — especially with the big reduction
on the return portion of your round-trip ticket — that's
why it costs less to see more of America by Greyhound.

PRINCIPAL GREYHOUND INFORMATION OFFICES

Cleveland, O E. 9th & Superior

Philadelphia, Pa. . . Broad Street Station
New York City .... 245 W. 50th Street

Chicago, III 12th & Wabash

Boston, Mass 60 Park Square

Washington, D. C

1403 New York Avenue, N. W.

Detroit, Michigan

Washington Blvd. at Grand River

St. Louis, Mo. . Broadway & Delmar Blvd.

Charleston, W. Va. . 155 Summers Street

San Francisco, Cat. . . Pine & Battery Sts.
Ft. Worth, Tex. . . 905 Commerce Street
Minneapolis, Minn. . . 509 Sixth Ave., N.

Lexington, Ky 801 N. Limestone

Memphis, Tenn. . . . 527 N, Main Street
New Orleans, La. . . 400 N. Rampart St.

Cincinnati, 0 630 Walnut Street

Richmond, Va 412 E. Broad Street

Toronto, Ont. . . . 1501 Royal Bank Bldg.

London, England

. . . A. B. Reynoldson, 49 Leadenhall St.

"I

— And Most in Information ! Just, write on the line below the place or places you're
planning to visit. Then mail this coupon to the nearest Greyhound information office
listed above for descriptive, pictorial travel booklets, also low rates and suggested routes.

Information on trip to

Name

Address

When Answering Advertisements Please Mention May HOLLYWOOD

51

Bad breath is death to romance. And
bad breath is frequently caused by
constipation. Just as headaches,
sleeplessness, weakness can be pro-
duced by it, or most skin blemishes
aggravated by it!

Dr. F. M. Edwards, during his
years of practice, treated hundreds of
women for constipation and fre-
quently noted that relief sweetened
the breath and improved well-being
and vitality. For his treatment he
used a vegetable compound — Dr.
Edwards' Olive Tablets. This laxative
is gentle, yet very effective because
// increases the bile flow without shock-
ing the intestinal system.

Help guard against constipation.
Use Olive Tablets. At all druggists,
15 i, 30j* and 60ji.

bMbNA and Burning

quickly subdued and healmg
of the anqry skin aided uuiih Resinol
TT^Sarcde free Resinol-A ,Balto.,Md.*B

Resinol

STAINS DISAPPEAR QUICKLY-even

stubborn smoke stains — with lodent No. 2
Tooth Paste or Powder. Specially com-
pounded by a Dentist to clean hard-to-
bryten teeth safely. Polishes your teeth to
glistening beauty. Also made in No. 1 tex-
ture for teeth easy-to-bryten. Try lodent —
enjoy its purity and delicious minty flavor.

IODENT

*v| TOOTH PASTE «*2

[AS* TO BRYTtN

also POWDER

HABOTOBRYTIK

1 2 r*ril*MrR&T:M flu

1

2

3

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7

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6.
10.

11.
13.
15.
16.
17.
IS.

20.

21.
22.

23.
24.

25.
26.
27.
28.

30.

32.
33.
34.

35.
36.
37.
38.
39.
40.
41.
42.
43.
44.
45.
47.
48.

ACROSS

Booth Tarkington character portrayed by Billy
Mauch.

Your Lady.

Miss Montague in The Jury's Secret.
First name of Mr. Dwire, seen in westerns.

Time To Marry.

Give My Life.

Willct in Exiled To Shanghai.
Mr. Abel's initials.

First name of one who portrayed a Cossack
captain in Conquest.

Carole Lombard was born in Wayne,

Ind.

Cassidy of ■ Twenty.

Date in February on which W. C. Fields was

born.

James Wilson in Scandal Street.

You'll see Glenda Farrell in Blondes At

Miss Risdon's initials.

First name of a boy actor in Scandal Street.

Randolph Scott's nickname.

Robert Taylor's screen father in A Yank At

Oxford.

Merle Oberon, Miriam Hopkins and Joel Mc-

Crea were Three.

Miriam Hopkins starred in Girl.

Cecil Kellaway's initials.

First name of one who portrayed Craivford

in The Buccaneer (poss.).

Actor's part in a motion picture.

John Mack Brown was born here (abbr.).

The Baroness the Butler.

Out for Love.

Garbo is one.

Initials of Mr. Karns.

Actor married to Grace Bradley.

Paid Dance.

Mr. Knowles' initials.
Gladys Swarthout is one.

William V. .

Feminine lead in Saleslady.
Mary Pickford's husband.

9.
12.
14.
16.
17.
19.
20.
21.
23.
24.
26.
27.
28.

29.
31.
33.

35.
36.
38.
39.

41.
42.

44.

45.
46.

DOWN

Film in which John Howard and Jean Parker

played opposite.

Miss Shearer's initials.

Remember Joan Crawford in this?

In Chicago.

Katherine Mille.

Boy actor famous for his "meanie" roles.
Disney.

Sally O'Neil's film, Kathleen, was produced

here (abbr.).

Nora Lane's initials.

A comedian in She's Got Everything.

Stars Arizona.

Lee Tracy starred in Crashing .

Gus in Everybody's Doing Jt.

She Married ■ Artist.

Feminine lead in Ail-American Sweetheart.

Canine actor's reward.

He was Richards in Life of EmUe Zola.

Her first name is Irene.

The hotel manager in Exiled To Shanghai.

First name of Miss Stradner.

Charles Butterworth was born hi South

, Ind.

Krazy Kat likes this beverage.

Remember ■ Mann?

To show appreciation for an actor's perform-
ance.

Renfrew of the Mounted.

Charlie Chan ■ Monte Carlo.

on a Budget.

Judy Garland entertains with this
films.

The Broadcast of 1938.

Many Wives.

Initials of Sonja Henie's
Landing.

sound

co-star in Happy

Bogus Steps Out.

Initials of a boy actor in Jones Family series.

[Solution on page 62)

52

Accept No Substitutes! Always Insist on the Advertised Brand!

Spring Fervor

[Continued from page 51]

The four-ounce size costs $2.50, and I'll be
glad to send you the name.

33 Soft hands are a must for any season,
and spring, with its short sleeves
and socks makes soft arms, legs that are
free from chap and shine, just as much
a necessity. Newly out on the market is
a grand lotion that is made from milk oils
allied to those in our own skins. The
creamy lotion is neither too sticky, nor
too greasy. It dries quickly, leaves the
skin soft and smooth, and its delicate
fragrance won't detract from the perfume
you may be wearing. You'll find the
smart squarish bottles with their gay
milk-maid bedecked, cherry-red labels
at your favorite toiletry counter. Write
for the name.

To dress up your fingers, and make
them gay for the season, you'll want some
of the new shades of nail polishes. I dis-
covered four grand ones, all from the
same well known company, and all just
right for wear with the new spring
clothes. The first is a soft muted orchid,
good for wear with navy, and all spring
colors, flattering to all complexions. The
next is a deeper shade of the first tone,
becoming to blondes, styled to harmonize
with bright shades and multi-colored
prints. Third comes a shade that is

almost a plum color — most exciting and
different. This is the shade you'll choose
for your grey, beige, pastels and blues.
It will fit into your wardrobe whenever
you're not wearing yellow tones. The last
shade is of a different color family from

Ann Vernon is not so full of
spring fever that she can't help
you to become a lovelier, more
glamorous, more romantic person
than ever before. Write to her
about your special beauty prob-
lems, or better still, send her your
snapshot and a description of
yourself. And don't forget to en-
close a stamped (3 cents in U. S.
postage), self-addressed envel-
ope for her answer. The address
is Ann Vernon, HOLLYWOOD,
1501 Broadway, New York City.

the others — it's a deep red-brown that
you'll like with yellow, green, beige,
brown and black. This forerunner of
summer will be the color to wear later
to contrast with your sun-tanned skin
and summer whites.

These tropical shades aren't the only
news from this manufacturer. For the
polish itself is of a new type, a heavier
liquid that goes on evenly, easily, dries
quickly with a lustrous satin-smooth,
professional-looking finish. The extra
coverage of this heavier polish makes for
longer wear, because the polish really
clings to the nail. The colors are fade
and run proof. Twenty-five cents buys
a bottle of any shade of this fashionable
polish — a bargain, I call it. Do send for
the name, because I know you'll want to
try all four colors!

Does your nail polish show the slightest
chip? Then whip out a polish remover,
and do the nail over. It won't take a
second, and you'll be saved the embar-
rassment of sitting on. your hands! To
make this task even quicker, come some
grand little pads, saturated with polish
remover. A flat compact holding about
ten of them fits into your purse, ready
for use at a moment's notice. Or perhaps
you'll want the slightly larger size for
your desk drawer, or vanity table. Both
contain the same size pads, soaked with
the same vitamized liquid which leaves
your nails soft and smooth. Compact,
10 cents; jar, 25 cents. Want the name?

(=r+iiuyl llll<

IN RKOS PRODUCTIO

"RADIO CITY
REVELS"

WcruzdtiT mow, ~tbv, £iAe ~to /^MOW
~Hu&ifimmf/94 make-up Aec^et?

IVLost girls," say famous screen stars, "could easily
be more attractive, more beautiful, if they knew the secret
of color harmony make-up created by Hollywood's Make-
up Genius, Max Factor." It consists of powder, rouge and
lipstick in harmonized shades to emphasize the loveliness of
blonde, brunette, brownette and redhead. Try it, and enjoy
the thnll of new beauty. Note coupon for special make-up test.

y Ve iv ! Max Factor's Invisible Make-Up

Foundation keeps your make-up smooth

e/y from morning till night.

Powder... Rouge

Like the screen stars,
you, too, will find that
your color harmony
shade in Max Factor's
Powder will bring flat-
tering beauty to your
skin . ... $i.oo.

The colors in Max
Factor's Rouge are so
natural that they im-
part enchanting beau-
ry instantly, blending
in harmony with your
own colorings . . . 50^.

Lipstick...

One test, and you
will always depend up-
on Max Factor's Lip-
stick. Super- Indelible
. . . moisture-proof... it
withstands every lip-
stick test. . . $1.00.

1

md lot

rlaxTactor * irollijivood

iiaiTVorTowi^

MAX FACTOR. Max Factor's Make-Up Studio, Hollywood:
Send Pursc-Sbe Box of PnwJef and Rouge Sampler in my color ha
also Lipstick Color Sampler, four shades. I enclose len cents for
handling. Also send me my Color Harmony Make-Up Chart
Illustrated Instruction Book, "77* New An c/Soe/cl) M-kt-Up". .

mony shade;

ju.sr .,.'(. jii..|

nd 4 8 -page
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5-5-39

STRFFT

When Answering Advertisements Please Mention May HOLLYWOOD

53

"Kidnapped" Gets Under Way

Robert Louis Stevenson's tale of rousing adventure in
Scotland of d wo centuries ago conies to life on the screen

E! "I'll dangle him from a gibbet!"

The Duke of Argyle, brought to life
in all of his austerity by C. Aubrey Smith,
is speaking, and he minces no words
when it comes to the Scot rebel (Warner
Baxter) who swings a bloody cutlass like
a last Slaver, rides a horse like a Cisco
Kid, and fingers the trigger of a flintlock
like a Robin Hood of El Dorado.

Stevenson's Kidnapped fits the Homeric-
Baxter pattern. The shadow of the gib-
bet haunts Alan Breck's trail. The Red
Coats from London almost trap him time
and again. He cuts his way through a
mob of murderous ruffians with a cutlass.
In the end, though, a girl's kisses cheat
both the gallows and the English
dragoons.

shop six months ago and started grooming
for stardom. This is her first picture.

SI The time of Stevenson's yarn is the
early eighteenth century. The Act of
the Union between England and Scotland
was ratified in 1707, uniting those coun-
tries, and into the lowlands and high-
lands of the Scotsmen swarmed the King's

Freddie Bartholomew plays David Balfour whose
wicked uncle turned him over to kidnappers

In other words, Mr. Baxter is swash-
buckling once again, this time in that
aged and tried swashbuckling bit of his-
tory that Robert Louis Stevenson made
so exciting in Kidnapped. Stevenson's
Alan Breck takes the form of the mous-
tachioed and dark-complected Baxter.
Freddie Bartholomew is the resolute
youngster of the yarn, David Balfour.

Hero of more historic heroics than most
stars, Warner Baxter fairly revels in his
roles of high adventure.

"Ever since I was knee high, I've rel-
ished stories like this one," he confided.
"I guess I'm still a kid at heart. Most of
us are, I think.

"Ever since Homer started spinning his
adventuresome tales, the world has
thrilled to the derring-do of a knight who
sets forth to battle the giants. His chances
are only one in a thousand of coming
through with his skin whole. He invari-
ably does, of course, but that doesn't mat-
ter so long as he's fighting for his life for
seven reels.

Arleen Whelan supplies love interest, lacking
in Stevenson's tale but added by Hollywood

E The girl is Hollywood's deft touch.
Stevenson never was very roman-
tically inclined. As a scenarist in the
movie town, he couldn't even have quali-
fied for the "B" pictures, never having
sufficiently applied himself to the sac-
charine delights of the boy-meets-girl
plot. Producers on the 20th Century-Fox
lot simply were aghast when they read
Kidnapped and discovered that the great
author had excluded the very vital femi-
nine touch. They remedied that error
quickly with a mop of flaming hair, two
emerald eyes and other pulchritude at-
tached to Arleen Whelan, the pretty mani-
curist whom they took out of a beauty

Warner Baxter, seen as brave Alan Breck, hot-
tempered Scot who fights for David's rights

tax collectors, followed by the Red Coats.

The rugged, independence-loving Scots
tolerated these, since they made better
targets than grouse for sniping parties!
But when England passed a law forbid-
ding the clansmen from wearing kilts,
that was an insult. What was a Scot with-
out a kilt? Not by a dee sight were they
going to wear knee pants!

And when such tax collectors as the
hawk-nosed Red Fox started seizing bag-
pipes in lieu of coins, it was high time for
Alan Breck to start his swashbuckling on
a grand scale. He rallied the angry clans-
men, in their jerkins and cow-hides, in
the great square at Edinburgh, and they
swore themselves to drive the cursed En-
glish out of the moors and bogs of the land.

Hollywood "kidnapped" a convincing
bit of the heather for Alan Breck and
David Balfour. In Laurel canyon of the
Hollywood hills rose a Scot village of
stone-walled, thatched-roofed cottages
that rambled over the countryside,

54

branching away from a village square of
ale houses, stage coach taverns, ship
builders and a fish market.

| Above all else, the fish market pro-
vided a convincing touch. A "prop"
man who believed in realism hung up Cali-
fornia's best in sea foods there, and after
four days of "shooting" on the location
site, the fish hawker's wares reeked to
high heaven. Even Baxter confessed that
that was too much of high adventure.
Since the fish, though, were already in
the picture, they couldn't be taken away
without causing a movie boner. They
stayed, smell and all, offset somewhat by
huge incense burners that were spotted
about in the square. Between scenes,
most of the players took to the hills.

It remained for Master Bartholomew to
get the point of the realistic settings better
than others in the cast. While Alfred
Werker, the director, was shooting inside
a dark, dull and musty cottage, the young
star climbed on top of a roughly-hewed
table for a scene.

"Move over about three feet," said
Werker. Boy-like, Freddie slid the dis-
tance, picking up a flock of splinters on
the way! Production was delayed for an
hour while the studio physician extracted
them.

Research scholars assembled more than
1,500 sketches of life in the Scotland of
two centuries ago before a single set was

built. Besides the village of some 29
cottages and dingy-plastered buildings,
the studio re-created old Balfour castle,
a dark, ghostly tower where the cobweb
of the movies, Jess Wolf, could play his
heart's content. In case you're interested
in statistics, he spun two miles of arti-
ficial cobwebs, squirting thin strands of
rubber cement out of a gadget of his own
invention.

Stevenson's famous boat, "The Cov-
enant," too, took form in hulk, masts and
rigging, costing $40,000. A two-masted
brig, "The Covenant," was built by Chris
Christensen who sets sails to virtually
every vessel that rocks over the celluloid
deeps.

Flagons, spinning wheels and lanterns
were scattered everywhere on the sets,
and even a copy of Despanter's Latin
grammar was resurrected from an attic in
Scotland for a school scene in the
picture.

■ Equally important to the research
workers, though, as the cottages and
windjammers, was the spirit of the day.
In that era, the Scots were a rough, wild
lot who liked their ale and wine and their
mutton broth. To forget their poverty
and the dreariness of their dark, dank
homes, they led a roistering life.

Their women weren't the pampered,
be-powdered ladies of the Paris of that
day. They were pretty, buxom girls who
knew their own minds. They were spit-

fires who put dashes of temperament into
otherwise prosaic lives.

Arleen Whelan plays such a girl. By
coincidence, she meets Warner Baxter as
he is riding through the country. She
decides that he is the man for her and
she sets about to make him love her, even
though she has to resort to stormy scenes
to do it.

"Did you ever see a redhead who
couldn't get mad?" asked the 'discovery,'
who is as Irish as Killarney. "No girl
starting in the movies ever had a better
role given her. I get to show my sweeter •
self as well as the devilment in me. I
think I like the devilish side better — but
then, wouldn't any redhead?"

The part is a weighty one, in more than
just acting. She wears twelve under-
skirts for many of the sequences!

|£ After being "discovered" by H. Bruce
Humberstone, the movie director, in
a beauty parlor where she had been a
manicurist for two years, Arleen Whelan
was tucked away by 20th Century-Fox
in its drama school before being brought
forth for Kidnapped.

Although born in Salt Lake City, she
has spent most of her life in Los Angeles
where her father owns a small electrical
shop. She sings well enough to warble a
Scottish ballad for the picture, plays the
organ and piano, tap dances, and aspires
to comedy of the Carole Lombard kind.
She is 21, and without any "steady dates"

HOW DO

MOVIE STARS KEEP

IN SHAPE?

THEY FIGHT FATIGUE

BY KEEPING WEIGHT DOWN
AND ENERGY UP

Energy-yielding foods fortify the body against

fatigue. Baby Ruth, the big, delicious candy bar,

is a concentrated energy food; it is rich in pure

Dextrose, called "muscle" sugar by doctors. And

pure Dextrose is utilized by the body as energy,

when needed, rather than stored as fat. That's

why Baby Ruth is the preferred candy of

movie stars, athletes, active people

everywhere. It's chock-full of

energizing goodness.

CURTISJ CANDY CO., OTTO KKNERING, Pre*.
CHICAGO, IUINOIS

IT'S HOLLYWOOD'S
FAVORITE CANDY

When Answering Advertisements Please Mention May HOLLYWOOD

55

SHORTCUTS
TO B£AUTY!

QEHnSMG PROS

Non-drying Instant Facials

Anywhere . . . Anytime!
Little pads of cloth satu-
rated vith a special non-
drying lotion. You carry
them in purse or pocket
for a refreshing, skin-sooth-
ing facial after shopping,

motoring or sports at the

dance, theatre or office. Softens skin. Removes
make-up and grime perfectly. Excellent powder
base, too.You'll agree they're handy as a hanky
. . . indispensable as a lipstick. Compact and
15 Pads, 10c. Refills of 60 Pads, 25c.

REmou-o-pnDS

Removes Nail Polish
Lubricates Nails
A new nail-beauty treatment!
You merely dab your ten nails
with a Twin Sisters Remov-O-
Pad and off comes the polish —
slick and quick! Lubricates nail
and cuticle and prevents peeling
or cracking. Daintily perfumed.
Convenient — nothing to spill and waste. Con-
tains no acetone, non-drying. At leading five
and ten cent stores. Try them! 15 Pads 10c.
AT MOST 5c AND 10c STORES
// unobtainable, send direct. (Add 5c to each item for
postage and packing). Clark-Millner Co., 666 St. Clair
St., Dep.5l-E, Chicago. Sent only in U. S. A.

HOLLYWOOD INSIDE

A prominent studio executive — we can't mention
his name, doggone it — lost #500 betting that a
BUFFOON was a trade wind! To top that, another
hearing his definition, burst forth, "You're crazy,
that's a mongoose." We guarantee, though, neither
gentleman was Samuel Goldwyn, positively.

YOU, TOO, CAN EARN $30

A WEEK

Nancy E 'a story

could have been yours!
Left with two little
children to support
. . . not much money
to depend upon . . .
unable to leave the
children to work in
shop or office — even
if she could have been
sure of getting a job!
Yet, today Mrs. E —
is making $30 a week
as a C. S'. N. gradu-
ate and plans to es-
tablish a rest home for convalescents! Those magic
letters "C. S. N." are responsible for her success.
They stand for:

CHICAGO SCHOOL OF NURSING

This school for 39 years has been training men and
women. 18 to fiO, at home and in their spare time,
for the dignified, well-paid profession of nursing.
The course is endorsed by physicians. Complete
nurse's equipment is included. Lessons clear and
concise. Easy Tuition Payments. Be one of the
hundreds of men and women earning $25 to $35 a
week as trained practical nurses. High school edu-
cation not required. Best of all, you can earn while
learning! Mrs. A. B. R. earned three times the
cost of the course while studying. Doctors say
C. S. N. graduates make their best practical nurses.
Send coupon today and learn how you can become
self-supporting as a nurse.

CHICAGO SCHOOL OF NURSING

Dept. 85, 100 E. Ohio Street, Chicago, Hi.

Please send free booklet and 1G sample lesson pages.

Name
City .

56

although she goes with Bill Faye, brother
of Alice Faye, more often than with any-
one else.

"I haven't been able to sleep well since
the miracle happened," she admitted,
speaking in a soft, girlish voice which is
reminiscent of Janet Gaynor's. "Imagine
being tranformed from an $18-a-week
manicurist to an actress!"

Although often likened to Miss Gaynor,
she stands a head taller than the star and
her auburn hair is of a lighter shade. She
is also often compared to another famous
redhead, Clara Bow, though she is slender
and green-eyed. The make-up artists
took turns trying to turn her into either
another Gaynor or Bow, and they even
attempted a Loretta Young make-up,
just to be different, but they finally gave
up. Arleen Whelan looks like Arleen
Whelan, and that's that.

HI In the story, Warner and Arleen drift
together on a brigantine, where they
come across Freddie. The brig turns out
to be a smuggling ship, running human
prey from Scotland to the Americas, and
that is where the "kidnapped" part of
Stevenson's story comes in.

Those kidnappers of two centuries ago
make the "snatch" racketeers of today
look like mollycoddles. The "press gangs,"
as they were called, built kidnapping into
a wholesale business. Seldom in history
has there been such an era of terrorism.

In connivance with politicians, gangs
of men roamed the countryside, seizing
boys in their early teens from the high-
ways and shipping them to the plantations
in the Americas where they sold them for
$60 or $70 apiece into virtual slavery. The
press gangs even grew so bold that they
would steal youngsters from their beds
at night. Mothers were afraid to let their
children out of their sight.

Incidentally, it was an efficient way of
getting rid of a wife! All that the dis-
gruntled husband needed to do was to
pay a gang to spirit her aboard a ship
where she was locked up until the vessel
set sail.

H "The case of Peter Williamson was
typical of the times," pointed out
Kenneth Macgowan, associate producer
for the film. "Peter was 11 years old when
he was snatched from a street corner in
Edinburgh, shipped to the West Indies and
sold for sixteen pounds.

"His parents, of course, started a search
for him. They knew what had happened
but their appeals to the authorities fell on
deaf ears. The officials were sharing in
the graft and they protected the press
gangs that paid off.

"After working on plantations for
many years, always held in serfdom be-
cause of the delDts he supposedly owed,
he escaped and returned to Scotland. He
put his case before the courts of the land
which promptly found him guilty of heap-
ing calumnies on the heads of the authori-
ties!

"It isn't known how many boys were
kidnapped and shipped out to work on
the plantations but the number doubt-
lessly ran into the hundreds and possibly

the thousands before the trade was sup-
pressed."

§fl Into the hands of such a gang, Freddie
Bartholomew falls prey. Because he
is the rightful heir to the Castle of Balfour,
his sinister, hard-bitten uncle, played by
Miles Mander, wants him out of the way,
and he pays the shipmaster of "The
Covenant" (Reginald Owen) a few pounds
to take Freddie to the Americas where
Owen can sell him to the plantations and
collect a few more pounds of blood money.

Miles Mander, by the way, is the movie
director who gave Master Bartholomew
his first role, a part in the British picture,
Fascination, which was filmed in London
in 1933. The now famous Aunt Cissy
Bartholomew had gone from studio to
studio and stage to stage trying to find
a "break" for Freddie and was becoming
discouraged when Mander cast him for
Fascination. As a tribute of their appre-
ciation to the Britisher, young Bartholo-
mew and his aunt insisted that he be
given a role in Kidnapped.

Ralph Forbes and John Carradine are
playing roisterous, desperate clansmen
serving as aides to Baxter. Nigel Bruce,
as father to Arleen Whelan, is the only
Scotchman in the cast — and they had to
tone down his burr so that Americans
could understand what he is saying!

Other celebrated characters in Steven-
son's tale are brought to life by E. E.
Clive, Mary Gordon, Halliwell Hobbes,
Arthur Hohl, Moroni Olsen, and Eily
Malyon.

While the tale marks the return to
swashbuckling for Baxter, it paces off an-
other milestone for young Freddie, who
is now at a critical age for a movie young-
ster. Because of litigation over his salary,
it has been a year since he was before the
cameras. Not since Captains Courageous
has he been on a movie set.

Since that time, he has grown an inch
and three quarters, and he considers that
he "towers" over his aunt, standing an
inch taller than she. His voice is deeper
than it was, and he believes himself
definitely to be "the man of the family."
He hopes to grow to manhood as an actor,
but just in case something happens, he is
studying pre-law courses, being now in
the second year of high school.

Next Month
There will be another story
about little Arleen Whelan in the
June Issue of HOLLYWOOD
Magazine. Don't miss the story
which is as astonishing as that
of Cinderella, and with almost as
many surprises.

Accept No Substitutes! Always Insist on the Advertised Brand!

Love Without Words

[Continued from page 36]

saying . . . My bank had an international
department, where French was spoken.
I used to go down there just to remember
what a chat was like. . . .

H "I was asked to sing for an Easter
benefit. Alma and her family at-
tended. Afterward, I met them and the
old gentleman said, "Will you have some
lunch with us?' Singers don't eat before
they sing; I was famished; I could have
eaten raw dog. But 'lunch' — in my dic-
tionary— meant just one thing: 'noonday
meal.' I had a luncheon appointment for
the next day. I told him I couldn't come.
Where was I going now? Home — to
change my clothes and go out to eat,
Alone? Yes. But why couldn't I have
lunch with them? Again, I explained I
had an appointment. The old gentleman
threw up his hands, and said, 'Goodnight.'
I went home, changed my clothes, then
ate alone. Wishing I could be with Alma.

"Two days later, Alma told me, 'My
father was bewildered the other night
because you wouldn't come home with
us.' That was the first I knew that I
could have.

''She took me to see places. One day,
I wanted to take her, instead. I had heard
about a very nice French restaurant on
Staten Island. I asked her how we would

get there. She said, 'Ferry boat.' I caught
the word 'boat.' I thought of a big
steamer. When we came to the place to
pay, I handed the man a twenty-dollar
bill. He looked as if he could kill me.
He started mumbling and counting out
handfuls of change. I know now he must
have been cursing me. So must the people
standing in line behind me — and mutter-
ing, too. I saw Alma's face reddening.
She asked if I had any silver. She picked
out a dime. "That's all the boat costs,' she
said. 'Ah — my God!' I said." He claps his
hand to his head as he must have done
that day.

H "But that was not the prize. This is
not a joke, I swear it. It actually
happened. I asked Alma one day, 'How
would you like to go to Niagara Falls
with me?' We-ell, she didn't know. I
said, 'Oh, but it will not take long. We
will go in a cab.' She told me that to go
to Niagara Falls people had to go on a
train — had to sfart one day and wouldn't
get there till the next. 'But it is in New
York, isn't it?' I asked, puzzled. Then
she had to tell me that the New York I
knew was a city, but beyond was another
New York, a state. She showed me a
map. I was very embarrassed. I said,
'Excuse me. I didn't know.' But if the

old gentleman had heard my invitation to
his daughter — ? I shudder."

Alma Wolfe did not sing, as he did —
but: 'She loved music. That was a bond.
Anyone can understand the language of
music, if he listens. Eyes can speak an
international language, too. They can tell
thoughts. So can hands. In our case, they
had to." He smiles, in reminiscence. "It
was, for a very long time, a — a love with-
out words.

'Because of Alma I stayed in America.
But it was three years before we could
be married. I couldn't make enough
money. I had strange adventures in
American opera. I didn't get paid. It was
a very nice gesture, giving me I. O. U.'s
for salary. But I couldn't eat them. I
finally sold a handful of them to my agent
for fifty cents — and became an actor.

"That," he smiles, "would never have
happened if I hadn't fallen in love when
I did, and with the girl I did."

21 Yes, he still is married to the same
girl, and they have two boys, of whom
Eduardo said, horrified, when he first saw
himself on the screen, "They will hate me.
They will never speak to me again."

But the Ciannelli sons, unlike the
Ciannelli-conscious moviegoers, did not
confuse Trock Estrella with Eduardo. He
rates as high at home today as he is likely
to rate throughout the movie world to-
morrow.

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WHEN A BRIDE HAS A CAREER

Even the busiest of stars must find time to give
orders to the cook. Here is how one of them
combines a career with the kitchen problems

By BETTY CROCKER

B Jeanette MacDonald is one of the
busiest girls in Hollywood, yet she
must also run a kitchen and feed a
hungry husband, just like many another
bride.

How she does it and still manages to
make hit pictures like Girl of the Golden
Y\fest, sing on the radio, keep appointments
with her voice teacher, and goodness
knows how many other activities re-
quired of her, proves that even a career
girl can have an efficient household if she
puts her mind to it.

So for this month's culinary class, let's
take up the cooking problems of the work-
ing wife and go into Mrs. Gene Raymond's
kitchen for some ideas.

"When Gene and I married," Jeanette
told me, "we knew that two careers in
the same family would require careful
planning at home. Every wife who carries
on her own career, even if it takes only

a few hours daily, knows that husbands
must be fed and a house well managed if
all is to be serene and happy.

"So the first thing we did was to go
into the kitchen and list our cooking likes
and dislikes. Fortunately, we both had
similar tastes, as we discovered when we
combined our lists as a guide for our cook.
It's amazing how this guide has simplified
matters so that the kitchen seems to run
itself, with the minimum of attention from
me."

Jeanette opened a kitchen cupboard.
This was the guide, thumbtacked to the
door:

BREAKFAST

Cereal. Fresh fruit (peaches, necta-
rines, figs, apricots) Stewed fruits. Baked
apple. Hot milk, or weak tea.

The coffee is always just right in the home of Jeanette MacDonald and Gene Raymond, and
for the very good reason that she has learned how to combine two careers efficiently

53

Accept No Substitutes! Always Insist on the Advertised Eranp!

LUNCH

Potato Soup* or any home-made soup,
using maggi sauce instead of meat, and
including any assortment of vegetables.
Green salad, French dressing. Hot rolls
or bread if no potatoes on menu. Never
meat for lunch.

DINNER

Meat: Any kind except pork or duck.
Liver and sweetbreads* our favorite;
next, tongue or grilled ground round
steak.

Mushrooms: broiled in meat juice.

Eggplant: our favorite vegetable, pre-
pared any way.

Other vegetables: carrots occasionally
string beans, limas, green peas, baked
squash. Never creamed vegetables. Al-
ways prepare Hollandaise sauce when
serving broccoli.

Potatoes: baked, mashed, creamed,
steamed or buttered.

Desserts: Devils food cake* our spe-
cial favorite.

Other desserts: Apple snow pudding,
apple crisp, gelatine, baked apple, prune
whip, fresh fruit tarts* .

*See recipes

"Why, every working wife ought to
make a list of 'does and don'ts' like that,"
I exclaimed. "It should be easy to pre-
pare meals with that guide.

"Exactly," smiled Jeanette. "When
we're both in the midst of picture work,
we practically live on soup. Cook dices
a number of vegetables and lets the pot
simmer all day. Potato soup, our fa-
vorite, is practically a meal in itself.

"Our favorite entree for dinner is a dish
of sweetbreads, parboiled, on thick slices
of ham. For dessert, we share a positive
mania for devil's food cake. Fresh fruit
tarts, you'll notice, are another favorite,
or baked apples, cooked in sugar with
flour and butter.

"And all are really easy to make if you
follow a good kitchen tested recipe care-
fully."

Meanwhile, their affable cook, Mar-
garet, was bringing out recipes from a
neat card container for me to copy. Let's
start with:

Potato Soup

2 cups milk

1 cup cooked potato

1 tbsp. grated carrot

1 tbsp. scraped onion

2 tbsp. butter

2 tbsp. all purpose flour
1 tsp. salt
Celery salt
Pepper

Method: 1. Heat milk in top of double
boiler. 2. While milk is heating, rub
cooked potato (either mashed or boiled)
through a coarse sieve and measure.
3. Heat grated carrot and onion in the
butter and blend in the flour. (Do not
allow them to brown.) 4. Then stir into
hot milk, and add potato, salt, pepper and

celery salt. 5. Cook in double boiler 20
minutes, stirring occasionally. 6. Serve
hot. AMOUNT: This makes 6 servings.
NOTE: You can use celery leaves in
place of the celery salt if you have them,
and then take them out before serving the
soup. It's nice to add a little minced
parsley as you serve the soup.

Fresh Fruit Tarts

Peel and stone 9 to 12 fresh apricots
or 3 or 4 large peaches. Cut in slices
and add sugar to sweeten (about Vz cup) .
Drip the juice from 1 orange over the
apricots and sugar (about Vz cup orange
juice) or drip the juice of a lemon over
the peaches and sugar. Place in refrigera-
tor to chill 2 or 3 hours. Brown on pan
in oven 1 cup blanched whole almonds.
Shave the toasted almonds in paper-thin
strips. Take apricots or peaches from
refrigerator. Drain and combine with the
almonds. Pile into baked tart shells, and
top each tart with a spoonful of sweetened
whipped cream. A few of the almond
slices may be reserved to garnish the top
of the whipped cream.

Fresh Pineapple Tarts: To 1 cup fresh
pineapple cut in small pieces, add enough
granulated sugar to sweeten. Set in re-
frigerator to chill 2 or 3 hours. Drain
juice from pineapple and fold it into
sweetened whipped cream. (Use 1 cup
whipping cream, then when it is whipped
fold in 4 tbsp. confectioner's sugar.) Pile
the pineapple-filled cream into tart shells
and garnish each tart with a stoned fresh
cherry. (The cherry can be filled with
a nut.) Maraschino cherries can be used
in place of fresh cherries.

Berry Tarts: Wash and hull 1 quart
strawberries, raspberries, or blackberries
and add enough sugar to rweeten. Pile
sweetened berries immediately into baked
tart shells. Garnish each tart with sweet-
ened whipped cream and serve immedi-
ately.

FREE RECIPES
Fill In this coupon and send it to
BETTY CROCKER, Hollywood
Magazine, 1501 Broadway, New
York City, and she will send you
her own tested recipes for cakes
and cookies for your kitchen
scrapbook

Name

Address

City

State

Internationally Famous Star of Universal
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Make-Up Box! Alice has no idea what she'll do with it
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59

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[Continued from page 23]

come that Davis child, hair every-which-
way, in an old gingham dress buttoned
haphazardly, and in half a shake of a
lamb's tail, even the proud mamas of the
other entertainers capitulated to this en-
trancing toy mimic. The applause was for
an artist, and not for another woman's
child in competition with their own.

H The prizes Joan invariably carried
off, only partly stilled the ache in Mrs.
Davis' heart, for Joan refused to be dressed
in silks and satins, to have her hair in
curls like the other children, for her fre-
quent appearances at entertainments.

Joan knew what she wanted — and it
wasn't to be a pretty child — lisping pretty
and meaningless pieces. She was a co-
medienne, and she dressed the part. She
knew instinctively how to engage the at-
tention of an audience, not only by what
she said or by what she did, but also by
what she wore. A ruffled dancing frock
might elicit an "oh, isn't she darling!" But
mismated buttons and buttonholes made
the customers settle back in their seats all
ready for a laugh. And this was exactly
what Joan was working for.

She didn't figure it out exactly — no
seven-year-old child would — but she got
on to the general idea that what made
people laugh wasn't perfection, usually,
but startling imperfection.

It wasn't very long before the neighbors
realized that little Josephine Davis was
something special, and it wasn't any use
trying to make their own darlings stay
in her class.

| Somewhere along this time, a cigar-
rolling gentleman inclined to paunchi-
ness, spotted Joan at a church entertain-
ment and promptly flourished a pen and
a vaudeville contract before her parents.

So the Davises packed up their Jose-
phine, hired a tutor for her, and started
on tour of the Pantages ciruit. She was
billed as "The Toy Comedienne" and her
fourteen-minute comedy routine featured
the stutter and the punch that she had
learned from Johnny What's-his-name!

In between stage appearances she man-
aged to acquire an education and a few
school honors. As she grew out of her
tattered ginghams, she grewinto a Sis Hop-
kins costume — tight pigtails, a straw bon-
net perched precariously on her head with
an erratic feather, an oversized blouse,
tight checkered skirt and very sensible
shoes — the kind grandmothers advised if
a girl were to have beautiful ankles. Joan
didn't care much about the ankles, but the
costume did make audiences howl.

HI Early in 1931, when Joan had cracked
herself 22,463 times on the jaw (by
actual computation) for the amusement of
audiences from Coast to Coast, it ocurred
to her that if she teamed with a very
dressy gentleman, she might garner as
many laughs, even with the punch quota
reduced. Her manager introduced her to
Serenus "Si" Wills, and he didn't guess
what he started.

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Si thought he was getting a sounding-
board for his own jokes and Joan was
equally deluded. When they met at re-
hearsal, they gasped. Here was Sis Hop-
kins and her masculine version, the Coun-
try Bumpkin. What they thought was
going to be for worse, turned out for the
better, and five months later, almost to
the day, they were married.

As "Wills and Davis" they became
known as one of the best vaudeville teams
in the business. Joan's routine developed.
What was first a skippety-hop across the
stage became that long glide which has
since convulsed, not only theater audi-
ences, but screen audiences as well. The
punch on the chin, self-administered,
stayed in for laughs. Not that it was so
funny to Joan — she suffered casualties
a-plenty — split lips, swollen jaws, and
even black eyes resulted when her artistic
enthusiasm overpowered her.

In 1933 Beverly was born — and now, at
the age of four, she is a chip off the old
block, and has acquired her mother's
punch, slide and fall with side-splitting
results.

X2 It was Beverly who changed her par-
ents' plan. Well and good to talk
about theatrical children who are born
and raised in a trunk. This child's parents
decided that a baby needed a permanent
home. California, with- its sunshine and
flowers, seemed to be the logical choice
for a settling spot. And then, of course,
there were pictures.

In New York Joan had been approached
by scouts, made to promise that she would
take tests when she was out in Holly-
wood. Well, now she was in Hollywood!

But in 1936 the executive who had in-
sisted that Joan give his studio first call
on her services had gone from there to
somewhere else, and the screen tests
didn't materialize. It was tough going for
a while. The Hollywood agent for Wills
and Davis tore his hair, shouted and
ranted, and pleaded with studio scouts,
producers and directors to give Si and
Joan a chance to show their wares. But
their indifference could be cut with a
knife.

Froducers figured that a punch on the
jaw of a comely lady couldn't possibly
spell a knockout at the box-office.

H A personal friend of Joan's was re-
sponsible for her first real break in
pictures. Ray McCarey was directing
Millions in the Air. He insisted that Joan
be cast in the role of an amateur at a
tryout.

After the preview of this, Joan knew
for certain that the three Wills would re-
side in California permanently. The scouts
who had sniffed at her act fell over them-
selves to ring her doorbell, but Twentieth
Century-Fox got there first.

They gave her a featured comedy role
in Jane Withers' The Holy Terror and Joan
was a holy howl. "Now," thought Joan,
"I'm in pictures. I can settle back and not
pay for my laughs with suffering. No more
bumps on my jaw; no more lumps on my
lips."

Not that she planned to go high tragedy

and play a Mrs. Hamlet. She planned to
keep on making them laugh, but in a lady-
like manner. But it didn't work that way
at all!

Joan took a little punch at herself and
the electricians laughed until they almost
fell off their perches. She took one of her
long-legged slides and the prop men be-
came helpless with hysterics. She made
a mis-step in a scene, fell flat on her back,
got up, dusted herself off with a never-
mind gesture, and the director, camera-
man and producer all shrieked in chorus
— "That's colossal; that's stupendous. Do
it again!"

"But that was an accident," Joan remon-
strated, "and it hurts to fall."

"But it's funny — it's the funniest thing
we've seen — it's got to stay in!" every-
body shouted.

And stay in, it did as a gag in that first
picture. And stay in it has since in all the
others.

H Since then Joan has taken; by actual
count, almost a thousand falls. She
landed in the hospital a couple of times
when she gave too much of her all for her
art, and today she looks forward with
yearning to the time when she will no
longer have to be black and blue for the
sake of her profession.

Joan is getting a little tired of laugh-
ing with tears in her eyes.

The team of Wills and Davis is still in
existence, even though you see only Joan
on the screen. When Joan gets a script,
she takes it home and puts on a private
show of her routines for Si. She can gauge
to exactitude the sourness or sweetness
of her comedy by the height to which Si's
eyebrows elevate themselves. "Not so
good?" asks Joan. Si will sadly shake his
head. Not so good. And then he'll do a
carbon copy of Joan and she can see her-
self reflected in everything Si does.

Joan, in contrast to her lusty, gusty, up-
roarious antics on the screen, is a quiet-
spoken, gentle person. Her red-brown hair
and green eyes, her nice assemblage of
features and a figure which would do any
bathing suit a lot of good, would entitle
her to glamour-gal roles if she weren't so
precious to producers who want their pic-
tures to make money.

B Currently, Joan's presence in the cast
seems to be a guarantee of the well-
being of any production. Joan touches
wood or fingers a dilapidated coin purse
when she speaks of Hollywood and her
career.

There is a story attached to that worse-
for-wear purse. She bought it while ap-
pearing in a New Orleans theater. On the
same day, she went out to the race-track
and placed a two dollar bet on a two horse
parley and won $443. The new purse
bulged with bills. It's down to the lining
now, but Joan still carries it with her for
luck. Even at the swank Trocadero, when
she is rigged out in her best bib-and-
tucker, she calmly puts it on the table to
the bewilderment of the so-correct
waiters. Perhaps the magic of that' purse
will some day work further and graduate
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The King Returns to
His Throne

[Continued from page 27]

trousers from time to time. To this day
he does not like the average sample of
the canine species. But he has a high
regard for jails.

H] "Hoosegows? Now you're discussing
a subject close to this heart of mine,"
he said with a reminiscent gleam coming
into his eyes. "The first time I got
pinched was in Norristown, Pa. We were
traveling upon the rods, free of fare,
intent upon reaching our next destina-
tion. The train stopped and there was
a commotion up in front. My nosey part-
ner wanted to see what was happening.

"I wandered up the roadbed to where
a group of fellow tramps were standing.
When we arrived, we were greeted by
a dick and two guns. Presently we all
found ourselves locked up in a convenient
"kick-car" shack by the side of the tracks.

"The guardian of the law paced up and
down without. Meanwhile a board some-
how found its way loose from the floor,
revealing a convenient exit via the rear.

"We all sped into the bleary night.
Suddenly someone made a noise. It might
have been I. The law took after us. A
bullet spanged by (thought I). It proba-
bly was a mile above us. But I made a
dive for my nosey friend's heels, and we
sprawled.

"Then I gasped, 'Tahell with all this. I
wanna live.' "

They spent that night in the Norris-
town bastile. The next morning the great
W. C. Fields staged a superb act at the
unheard of hour of nine o'clock. He told
the judge a sob story about rushing to
the side of his ailing mother in Bound-
brook, N. J. And the judge turned him
loose. His pal wasn't so good at this sort
of an act, so Fields did a doubleheader
and cried the "dumb Dutchman" out of
jail, too.

Wandering down the street, Fields felt
the pangs of hunger. Passing a bakery
shop, he noticed a clock within which was
easily read from without. Nonetheless,

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he stepped inside, grabbed a pie and
slipped it under his coat, then asked the
time. Before he got the answer, he felt
something slipping. Looking down, he
was mortified to note he had selected a
custard pie. Mr. Fields took it on the
lam. Norristown never again enjoyed
his talents.

■ "Do you like sports, Mr. Fields?" I
inquired. "Outdoor sports, such as
swimming?"

W. C. twirled his cane and replied,
"You might call me a hunter. Specializ-
ing on birds. Jail birds. I have
encountered them over this entire conti-
nent. And found some rare species. In
fact, although I am — and always have
been perfectly innocent — it is highly
probable that I have occupied the finest
hoosegows in the world. Including
Bolivia, and Scandinavia. In the days of
my youth, fighting frequently brought me
into the pinions of the law."

We didn't know he had been a pugilist,
and said so.

"I wasn't one," he replied. "Invaria-
bly I would strike, and then my opponent
would strike. Occasionally it would hap-
pen that he struck first — and I seldom
struck back. The officers of the law
seldom picked up my adversary. Invaria-
bly they picked me up — off the ground.
Indeed, I was the innocent victim of many
a brawl.

"There was that time in Germany, for
instance. I knew very little of the
language, but I heard a native say, as my
friend and I sat down in an establish-
ment, 'Anybody can tell those fellows are
foreigners, because they look so stupid.'

"We were eating apple cake with
whipped cream. Ah, that was a delicious
dish. Especially when pronounced in
German. I told my friend across the table
what had been said. He took one look
at the whipped cream, picked up a hand-
ful of it, and threw it. When my friend
was finally able to make his escape, I
remained behind to foot the bill. There
was some delay, but eventually it came,
accompanied by a fine German officer of
the law. I was cast in the dungeons pend-
ing a court hearing."

"And what happened then?" we asked.

'I was fined twenty -one marks.
Twenty marks in cash, and one black
mark against the family escutcheon."

fl W. C. was enjoying his reminiscence.
He leaned back in his chair, chewed
on an unlit cigar, and sipped of a glass
of sarsaparilla. "Did you ever break
your leg?" he asked irrelevantly. "And
then, right when it got well, you stumbled
and busted your arm? No? Well, neither
did I, but things happen like that some
times. With me it was jails. And I was
always innocent!

"For instance, that time in London. I
encountered a noted confidence man at
a bar. We walked out in the street to-
gether while I inquired how his business
was going. Just then we encountered a
Bobbie, who made an insulting suggestion
that we move on.

"He treated me like I was a disreputa-
ble hobo, although I wore a new suit. I

protested mildly, and was shoved flat on
my face in the mud. So I arose to my
full wrath and punched him in the jaw."

Fields mentioned the matter with the
reverence due such an occasion. "And
then he socked me and blew a whistle.
Several bobbies laid hands on me
roughly, and incidentally my companion.
London fogs are not pleasant as viewed
from a jail window. My confidence-man
friend finally got a lawyer and we were
brought before the bar of justice. It cost
my friend three pounds. And it cost me
three pounds and one mark — three
pounds in cash and one mark — a dark
blue one just beneath the right orb.

"My friend settled the debt for six
pounds — by check. I later paid him my
three in cash. Then I heard his check
bounced and the police were on our trail.
Regretfully I arranged my itinerary to
include a quick trip to the United States."

■ "You've traveled a great deal, haven't
you?" we questioned him.

"Between jail stops, yes. I was in Africa
twice. Once in '03 and again in 1913."

"Lion hunting?" we suggested.

"No suh. I was in pursuit of the elu-
sive dough. A very dear thing in any
man's heart. I was not disappointed.
Although I did not discover any diamond
fields, the public seemed pleased to dis-
cover W. C. Fields.

"I have traveled from the Arctic regions
to the Antipodes. Some of my exploits
in Bolivia you may have heard on the
radio. I shall not repeat them here."

The reminiscent mood was interrupted
by the arrival of Ted Reed, a director
associated with Mitchell Leisen, who
walked in to find out what the Maestro
planned for the next day's shooting on
The Big Broadcast. The scene that fol-
lowed is a swell tip-off on the way Fields
ad libs his nonsense.

"Well, let's see," said the bumbling Mr.
Fields. "Ah yes, I have it. Right here
in my vest pocket. Listen to this." He
pulled out a sheet of paper which con-
tained a skeleton plot of the sequence
to come. He had conceived it only a
few hours before our meeting. It called
for the director to shoot a picture of wild
geese on the wing.

"Where do we get the geese, and how
do we photograph them?" Reed remarked
hopelessly.

"Ah, my fine-haired friend. That's
your problem. I merely invent the busi-
ness. You produce it."

Reed shook his head sadly. "That's
going to be tough. You always invent
the worst ones at the last minute. What
about the dialogue? Have you written
it?"

"Of course not!" Mr. Fields looked in-
jured. "Am I that wasteful of my talents
and time? Tomorrow, when the time
comes, the words will, too — I hope."

That's the way he talks, and that's the
way he works. Forty years of stardom
finds W. C. Fields just as alert, and proba-
bly funnier than ever. His long illness
left him with a burning ambition to do
more than ever in the years ahead — and
you're going to see him do it. Indeed,
the King has returned to his throne.

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inside. I'll stop on the way.
We need a fresh package."

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[Continued from page 40]

cent of the rank and file, have taken pre-
caution against law suits emanating from
the vagaries of their respective pooches.

Douglass Montgomery owns a pair of
heavily insured Irish Wolfhounds, said to
be the largest dogs known to dogdom.
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Fay Wray's expressive hands are in-
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Shirley Ross has insured the pitch of
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B| Chatting with Buck Jones in - the
theatre lobby after the preview of his
latest picture Headin' East, he told me a
funny one. Speaking of insurance, (of
course it goes without saying Buck signs
a good-sized premium check for Silver,
his famous horse) he asked me if I knew
that producers of Western pictures protect
themselves against rustling. It seems that
this form of thievery still nourishes. Good
roads and high-powered trucks give the
erstwhile romantic horsethief a touch of
the gangster. When a company goes out
on location all the livestock used in the
picture is fully covered by another of
filmdom's odd insurance policies.

Studios not only make their stars pres-
ents of certain types of policies, but fans
have been known to send favorite players
paid-up policies. Edgar Kennedy recently
received one which protects his bald head
— if another hair grows on Kennedy's pate
he can collect. (I'd take a bet on that
one, myself!)

Basil Rathbone carries insurance cover-
ing accidents at sea. He is, like Leslie
Howard, a commuter between Hollywood
and London.

One wisecracking director suggested
Howard should insure himself against be-
coming lost at wrong moments. The En-
glish actor is the bane of every director's
life because of his habit of disappearing
just as the cameras are set. He is gen-
erally found with his nose in a book, or
talking pipes or polo with a fellow player,
oblivious to the shouts, nay, almost
screams, of the assistant director, whose
job it is to produce the star when wanted.

E Insurance companies are as prissy as
a mid-Victorian chaperone when it
comes to morals. To get adequate cover-
age and low rates, one must walk the
chalk line. Stars who burn the candle at
both ends are liable to find themselves
outside the benefits of insurance alto-
gether.

Another requisite of the insurance com-
panies is that you tell your right age —
and no fooling!

K A story still told when old-timers
get together is that of the water-
logged hogs.

During the making of a picture featur-
ing Helen Keller, the script called for a
herd of swine. The property man made

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arrangements with a hog owner for the
renting of the necessary animals. The
farmer, fearful they might run his herd
to such an extent they would lose weight,
demanded they be rented on a weight
basis.

Once agreed upon, the canny farmer,
unknown to the studio officials, fed the
hogs highly salted food previous to their
delivery. Just before they were loaded
he permitted them to drink all they could
hold, consequently the hogs could hardly
stagger to the set; they were balloon-like
in appearance.

It was not until then the studio found
there was a trick to that contract demand-
ing they should pay on a weight basis.
The insurance covering the hogs was
written upon the weight value, but natur-
ally the studio objected strenuously to
paying for the water within the animals.
After that, a careful check was made of
all animals rented.

| Producers take out extra insurance
when they use George, the famous
sway-backed horse owned by Lionel
Comport.

''Not another horse like George," Com-
port will tell you. And producers know
if anything happens to him there is no
other horse to take his place. This also
applied to the highly trained ducks used
by Pinky Tomlin in a recent picture.

Studios carry insurance on everything
from a trained flea to a giraffe. Many of
them take out blanket insurance. The Hal
Roach Studios are insured for a million
and a quarter dollars if anything should
befall members of the cast making Merrily
We Live, which includes Constance
Bennett, Brian Aherne, Billie Burke, Alan
Mowbray, Clarence Kolb and Bonita
Granville. This is one of the largest
policies of its kind written in recent years.

B Joe E. Brown carries large insurance
policies at the suggestion of his

| brother-in-law, Don McGraw, a veteran
insurance man. Joe E. always thought
insurance was a good thing, but when he
was an acrobat touring the country with
a circus, and later on the vaudeville, he
said he could never get an insurance

I agent to talk to him — acrobats were bad
risks —

"But now it is a different story," said
Joe, "All my race horses are insured —
but funny business — race horse insurance

! — you can't collect for injuries — only

| death."

Jackie Coogan and Betty Grable were

: excused from the set of College Swing to
sign papers which will make Betty the

; beneficiary to a cool $450,000.00.

Many young couples wish they could
take out insurance against marital woes
and divorces, but that's a chance even
Lloyd's won't take — divorce is not an Act
of God.

Edgar Bergen has the irrepressible
Charlie McCarthy insured against dis-
aster. Recently, when Edgar was dis-
cussing taking out more insurance,
Charlie looked at Dorothy Lamour's
photograph, and chirped wistfully —
"What! No love insurance! Ho Hum!"

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65

Popular Copyrights Are A Smash Hit!

SlEiS 20 Books for *1

14 What Every Girl Should Know

19 Nietzsche's Philosophy, Durant

25 Rhyming- Dictionary

39 Aristotle's Philosophy, Durant

42 Origin of Human Race

53 Insects and Men. Instinct vs.

Reason, Clarence Darrovv
56 Dictionary of U. S. Slang
5S Tales from Decameron. Boc-
caccio
72 Color of Life and Love
74 Physiology of Sex Life
S2 Common Faults in English
83 Evolution of Marriage
87 Nature of Love

91 Manhood: Facts of Life

92 Hypnotism Explained

97 Self-Contradictions of Bible

98 How to Love

109 Facts About Classics

110 History of World War

125 Woodrow Wilson's War

Speeches

126 History of Rome. Wood
133 Principles of Electricity
150 Lost Civilizations

159 Story of Plato's Philosophy
172 Evolution of Sex

175 A Hindu Book of Love

176 Four Essays on Sex
192 Book of Synonyms

217 Puzzle of Personality

218 Essence of the Talmud

228 Plain Talks With Husbands

and Wives. Ellis
271 Is Death Inevitable?
286 Prostitution in the Ancient

World
2S7 Best Jokes About Doctors
297 Do We Need Religion?
326 How to Write Short Stories
347 A Book of Riddle Rimes
364 How to Argue Logically
367 Improve Your Conversation

374 Psychology of Suicide

375 Love Story of an Old Maid
377 Psychology of Joy and Sorrow
383 Prostitution in the TJ. S.
403 Facts About Music

411 Facts About Phrenology

414 Art of Being Happy

431 TJ. S. Commercial Geography

439 My 12 Tears in a Monastery

440 Baseball. How to Play

446 Psychology of Religion

447 Auto-Suggestion: How It

Works
449 Auto-Suggestion and Health
452 Dictionary of Scientific Terms
467 Evolution Made Plain
473 Lives of Chorus Girls
475 Develop Sense of Humor
479 How N. T. Girls Live
488 Don't Be a Wall Flower
491 Psychology for Beginners
493 Novel Discoveries in Science
501 How to Tie Knots
503 Short History of Civil War
509 Are We Machines? Darrow
518 How to Make Candy
524 Death and Its Problems
529 Woman the Criminal
536 What Women Beyond 40

Should Know

556 Hints on Etiquette

557 Is the Moon a Dead World?
603 The Electron Theory

606 How to Play Chess
609 Are the Planets Inhabited?
627 Short History of the Jews
629 Handbook of Legal Forms
637 German-English Dictionary
639 4.000 Essential English Words

644 Women Who Lived for Love

645 Confidential Chats with Wives
648 Sexual Rejuvenation

653 What Boys Should Know

654 What Young Men Should

Know

655 What. Young Women Should

Know

656 What Married Men Should

Know

657 What Married Women Should

Know

658 Toasts for All Occasions
661 Neurotic America and Sex
679 Chemistry for Beginners

681 Spelling Self Taught

682 Grammar Self Taught

683 Punctuation Self Taught

687 TJ. S. Constitution

688 Teeth and Mouth Hygiene

689 Woman's Sexual Life

690 Man's Sexual Life

691 Child's Sexual Life

69C How to Pronounce Proper
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697 4,000 Words Often Mispro-
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703 Physiology Self Taught

704 Facts About Palmistry

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705 100 Professions for Women
710 Botany for Beginners
715 Auction Bridge for Beginners
717 Modern Sexual Morality
724 Burbank Funeral Oration.
Judge Lindsey

726 Facts About Venereal Dis-

eases

727 Psychology of Affections

730 Mistresses of Today

731 Mental Differences of Men

and Women
734 Book of Useful Phrases
759 How to Conquer Stupidity

767 Facts About Astrology

768 Best Jokes About Lawyers
773 Good Habits and How to

Form Them
775 First Aid for Investors
777 Riddle of Human Behavior

781 Catholicism and Sex

782 Psycho-Analysis, Mind and

Body
784 Association Tests in Psycho-

Analysis
789 Digest of TJ. S. Marriage and

Divorce Laws

800 Sex in Psycho-Analysis

801 A Rapid Calculator

804 Freud on Sleep and Sexual

Dreams
810 Scandals of Paris Life

815 Familiar Quotations

816 Shakespearean Quotations

817 Her Burning Secret

819 Book of Shrange Murders

820 Jokes About Married Life

821 Improve Your Vocabulary

822 Rhetoric Self Taught

823 English Composition Self

Taught
835 Handbook of Useful Tables

841 Future of Religion

842 Best Jokes of 1925

843 Can You Control Conduct?

845 Facts About Fortune Telling

846 Womanhood: Facts of Life

847 How to Play Card Games

850 Bad Habits and How to

Break Them

851 Bible Myths and Legends
853 How to Know the Songbirds

855 How to Write Letters

856 Arithmetic Self Taught, 1

857 Arithmetic Self Taught. 2

858 Psychology of Leadership
862 German Self Taught
864 Chats With Husbands
869 Best Jokes of 1927

872 Manual Parliamentary Law

876 Curiosities of Mathematics

877 French Cooking for Amateurs
879 Best Jokes About Preachers

882 Psychology of Character

Building

883 Capital Punishment

884 Debate on Prohibition
889 Jokes About Kissing

891 Your Talent and How to
Develop It

893 500 Riddles

894 How to Advertise

895 Astronomy for Beginners

896 Wages of Sin

901 Women: Eternal Primitive

902 Dictionary of Foreign Words

903 All About Syphilis

904 Sex Svmbolism. Fielding

910 Is Life Worth Living?

911 Is Mankind Progressing?
964 How to be Happy Though

Married
966 national Sex Ethics
972 Book of Popular Jokes
975 Cleopatra and Her Loves
984 Harmony Self Taught

986 How to Talk and Debate

987 Art of Kissing

988 The Art of Courtship
995 How to Play the Piano
997 Recipes Home Cooking
999 Latin Self Taught

1000 Wonders of Radium

1003 How to Think Logically

1004 How to Save Money

1005 How to Enjoy Music
100R Children's Games

1007 Revolt Against Religion

1008 Origin of Religion. McCabe

1009 Typewriting Self Taught

1010 Amateur Magic Tricks

1011 French-English Dictionary

1012 Best Negro Jokes

1013 Best Irish Jokes

1014 Best American Jokes

1015 Comic Dialect Poems
1018 Humorous Limericks

1020 Whv I am an Infidel

1021 Italian Self Taught
1023 Popular Recitations
1030 World's Great Religions
1049 How to Sing

1051 Cause and Nature of Genius

1052 Nature of Instinct and Emo-

tions

1053 Guide to N. Y. Strange

Sections
1056 Devil's Dictionary
1061 Human Origin of Morals
10G2 Humoresque, Fannie Hurst
1061 Simplicity of Radio
1065 Lives of U. S. Presidents

1069 Conquest of Fear

1070 How to Fight Nervous

Troubles
1074 Commercial Law

1078 Morals in Greece and Rome

1079 Phallic Elements in Religion
1082 Best Jewish Jokes

1084 Did Jesus Ever Live?

1088 Truth About Mussolini

1089 Common Sense of Sex

1091 Facts About Cancer

1092 Simple Beauty Hints

1093 Amusing Puns

1094 Insanity Explained
1097 Memory: How to Use It
1103 Puzzles and Brain Teasers
1105 Spanish-English Dictionary
1109 Spanish Self Taught

1111 Prostitution in Medieval

World
1113 Love from Many Angles

1122 Degradation of Woman

1123 Facts About Puritan Morals

1124 On the Bum

1126 Eating for Health

1130 The Dark Ages. McCabe

1135 Prostitution in Modern World

1138 What Atheism Means

1139 Photography Self Taught
1144 Truth About Jesuits

1148 Sexual Crimes in U. S. Law
1164 Unlovely Sin. Ben Hecht
1167 Sinister Sex, etc. Hecht
1174 How to Write Business

Letters
1176 A Mad Love. Frank Harris
1204 Dictionary of Musical Terms

1206 How to Swim

1207 French Self Taught

1208 Success Easier Than Failure

1209 Charming Hostess: Enter-

tainment Guide

1210 Mathematical Oddities
1216 Italian-English Dictionary
1221 Facts About Will Power
1225 How to Avoid Marital Dis-
cord

1228 Jokes About Drunks

1231 Best Jokes of 1926

1233 Better Meals for Less Money

123S Beginning Married Life

Right
1239 Party Games for Grown-ups

1241 Outline of U. S. History

1242 Care of Skin and Hair
1244 How to Write Love Letters

1246 Best Hobo Jokes

1247 Psychology of Love and Hate

1249 Best Jokes About Lovers

1250 Companionate Marriage

1251 What Do You Know?
1257 How to Become Citizen

1278 Ventriloquism Self Taught

1279 Side Show Tricks

1285 Gambler's Crooked Tricks
1292 Best Short Stories of 1928
1311 Real Aims of Catholicism

1316 Revolt of Modern Youth

1317 Meaning of U. S. Constitution

1318 Case for and Against Sexual

Sterilization

1320 How to Get a Husband

1321 Fasting for Health

1322 Confessions of a Modern

Woman
1329 Facing Life Fearlessly

1477 How Glands Affect Person-
ality

1480 Causes of World War

1481 The New Immorality

1484 Why Preachers Go Wrong

1491 Power of Women

1193 Wine. Women and Song

1496 Sexual Factor in Divorce

1497 Companionate Divorce

1498 M. U. Sex Questionnaire
1,500 Why I Am an Agnostic
1501 Mussolini and the Pope

1503 Effective English in Speech

1504 Overcome Self-Consciousness
1508 Facts About Poisons

1513 Statistics: How to Under-
stand Them

1514 Edison's Inventions
1516 Facts About Gonorrhea
1523 How to Avoid Catching Ven-
ereal Diseases

1531 Can We Follow Jesus Today?

1532 Don Quixote

1534 How to Test Urine

1535 How to Throw a Party

1536 Facing Death Fearlessly
1538 Rational Sex Code

1542 Who Started World War?

1543 Is War Inevitable?

1544 Against Capital Punishment
1548 Chinese Cook Book

1553 Exercises for Nervousness and
Indigestion

1554 Exercises for the Heart

1555 Rules for Success in Business

1556 How sun Gives Health
1559 Can We Change Human

Nature?
1563 Marvels of Sunlight

1565 Catholicism and the Public
Schools

1566 How to Conduct Love Affair

1568 Full Text Edison's Scholar-
ship Questionnaire

1569 Boccaccio — Lover of Love

1330 Facts About Digestion
1333 Common Sense of Health
1337 Breakdown of Marriage

1339 Crooked Financial , Schemes

1340 How to Get a Job

1341 Unusual Menus

1342 Typical Love Problems
1347 Trial Marriage
1349 Life of Lindbergh

1351 How to Get Ahead
1354 Book of Similes

1356 How to Make Wills

1357 What You Should Know

About Law

1358 How to Acquire Good Taste

1359 Is Birth Control a Sin?

1360 Pocket Cook Book

1361 Who Killed Jesus?

1362 Law for Women

1363 Law for Auto-Owners
1365 How to Build Vocabulary
1371 Sins of Good People

1379 President Harding's Illegiti-

mate Daughter

1380 Flesh and the Devil

1352 Is Our Civilization Over-

sexed?
1385 Defense of Devil

1388 Are the Clergy Honest?

1389 Tobacco Habit
1392 Confessions of a Gold Digger
1395 Instantaneous Personal Mag-
netism

1412 Stories of Tramp Life

1413 My Prison Days

1419 Unusual Deaths

1420 Why Wives Leave Home

1421 How to Get a Divorce
1426 Foot Troubles Corrected
1428 Unusual Love Affairs
1430 Shorthand Self Taught
1434 How to Think Clearly

1436 Strange Marriage Customs

1437 Curiosities of the Law

1439 Intelligence, How to Test It

1440 Can Man Know God?
1442 Facts About Graphology
1445 Wild Women of Broadway
1448 Character Reading from Faces
1450 Do We Live Forever?
1455 End of the World. McCabe

1459 Psychology of Criminal

1460 American Statistics
1471 How to Become Mentally

Superior

1475 Best Jokes of 1928'

1476 What Y'ou Should Know

About Your Sensations

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Accept No Substitutes! Always Insist on the Advertised Brand!

. . . appearing in the Paramount Picture "College Suing"
with George Burns, Grade Allen, Martha Raye, Bob Hope

FREE! INSTRUCTION BOOKLET!

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Copyright 1938, The American Tobacco Company

IT TIMES THREE TO R1RKE R LOUE RFFRIR snvs R1VRHR LOV

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The use of chewing gum gives your mouth,
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Well, I'm Elected

I've got "Pink Tooth Brush" now!

Neglect, Wrong Care, Ignorance of the Ipana Technique

of Gum Massage - all can bring about

f/1

PINK
TOOTH BRUSH"

IPANA TOOTH PASTE

ANN: "Hello, Jane. Well,
the laugh's on me— there's
a tinge of 'pink' on my
tooth brush. What do I do
now?"

JANE: "See your dentist,
pronto. Cheer up, my pet-
maybe it's nothing serious!"
ANN: "Good heavens, I hope not. What did
Dr. Bowen tell you?"

jane: "Aline was a plain case of gums that
practically never ivork—I eat so many soft
foods. Believe me, I've been using Ipana with
massage ever since. It's made a world of dif-
ference in the looks of my teeth and smile!"
ANN: "You make good sense, darling. Guess
there's just one thing to do— find out what
Dr. Boiuen tells me..!'

Don't let "Pink Tooth Brush"
ruin your smile

WHEN you see "pink tooth brush" see
your dentist. You may not be in for
serious trouble, but let him decide. Usually,
he'll tell you that yours is merely another
case of neglected gums. Because so many
modern foods are creamy and soft, they fail
to give our gums the exercise they need.
That's why so many dentists today advise
"the healthful stimulation of Ipana with
massage."

For Ipana, with massage, is especially de-
signed to help the gums as well as clean the
teeth. Each time you brush your teeth, mas-
sage a little extra Ipana into your gums. As
circulation increases within the gum tissues,
gums tend to become firmer, healthier.

Play safe! Change today to Ipana and
massage. Help your dentist help you to
sounder gums — brighter teeth— a lovelier
smile!

DOUBLE DUTY— Perfected with the aid of over
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When Answering Advertisements, Please Mention June HOLLYWOOD

V^UIB 3 78195

may 13 1938
JUNE, 1938
Vol. 27 No. 6 /

LHJlk]

0 D

W.H.FAWCETT
Publisher

LLEWELLYN MILLER, Editor

NEXT MONTH
You'll laugh over the adven-
tures which led to one of
her most devoted friends call-
ing Joan Crawford "crazy"!
Watch for the new issue, on
the stands June 10. You can
tell it by the striking cover
which shows Robert Taylor in
a natural-color off-stage shot
made during the filming of
Three Comrades.

DON'T MISS IT!

Table of Contents

EXCLUSIVE FEATURE STORIES

It Takes Three to Make a Love Affair by Jessie Henderson 19

And How Are Your Reactions? by Winifred Aydelotfe 20

Bodyguards DeLuxe by E. J. Smithson 2!

Husbands Are Exasperating — Says Gracie Allen As fold to Edward Churchill 22

So Are Wives — Says George Burns As told to Edward Churchill 23

Heart-Breaker Horton by Hilary Lynn 24

Laugh It Off (Claudette Colbert) by Edgar Birdman 26

Lonesome for Trouble (Humphrey Bogart) by Emily Norris 28

Veteran of Adventure (Andrea Leeds) by Ted Magee 30

It Took Quick Thinking by Grace Kingsley 34

He Has a Wonderful Time (Douglas Fairbanks, Jr.) by Terry Kelly 38

After the First Year (Wayne Morris) by Elmer Sunfield 40

Uncanny Scot (Andy Clyde) by Scoop Conlon 48

Tapping to the Top (Ann Miller) by Ed Jonesboy 52

Meet the Newest Cowboy (Jack Randall) 56

Newest Wrinkles 66

EVERY MONTH IN HOLLYWOOD

Important Pictures by Llewellyn Miller 8

Hollywood Newsreel by Whitney Williams 12

Beauty Department by Ann Vernon 36

Hollywood Cooking School (Gloria Stuart) by Betty Crocker 54

Movie Crossword Puzzle 58

MOVIELAND TOURS 16

RALPH DAIGH, Managing Editor

CHARLES RHODES, Staff Photographer

HOLLYWOOD Magazine is published monthly by Fawcett Publications, Inn., 1100 West Broadway, Louisville-, Ky. Entered as second class matter at the post office at Louisville.
Ky., under the act of March 3, 1879, with additional entry at Greenwich, Conn. Copyright 1938 by Fawcett Publications, Inc. W. H. Fawcett, Publisher; Elliott Odell, Advertising
Direoior. General offices, Fawcett Building, Greenwich, Conn. Trademark registered in U. S. Patent Office. Subscription rate 50 cents a year in United States and possessions
and Canada; foreign subscription $1.00. Single issues five cents. Advertising forms close on the 18th of third month preceding date of issue. Printed in U. S. A. Member Audit
Bureau of Circulations. Send all remittances and correspondence concerning subscriptions to Fawcett Building. Greenwich. Conn. Advertising offices: New York, 1501 Broadway;
Chicago, 360 N. Michigan Ave.; San Francisco, Simpson-Reilly, 1014 Russ Building; Los Angeles, Simpson-Heilly, Garfield Bldg. Editorial offices, 1501 Broadway, New York City.

♦ ♦

Ch'wu

^VVWUU^VU &QwIa* !

Out of the inferno of war came three men and a
woman — to live their lives, to strive for happi-
ness, to seek love . . . The most heart-touching
romance of our time, brilliantly re-created upon
the screen, from the world-renowned novel by
the author of "AH Quiet on the Western Front".

ROBERT MARGARET

TAYLOR SULLAVAN

FRANCHOT ROBERT

TONE YOUllfr

in Metro-Goldwyn-AAayer's Vivid Drama of Today

with GUY KIBBEE- LIONEL ATWILL- HENRY HULL

A FRANK BORZAGE Production • A Metro-Gold wyn-Mayer Picture
Directed by FRANK BORZAGE • Produced by Joseph L Mankiewicz

Screenplay by F. Scott Fitzgerald and Edward E. Paramore

When Answering Advertisements Please Mention June HOLLYWOOD

with

ERROL

FLYNN

OLIVIA De HAVILLAND • BASIL
RATHBONECLAUDE RAINS

PATRIC KNOWLES • EUGENE PALLETTE
ALAN HALE - MELVILLE COOPER
IAN HUNTER • UNA O'CONNOR

Directed by Michael Curtiz and William Keighley

Original Screen Play by Norman Reilly Raine and Seton
I. Miller • Based Upon Ancient Robin Hood Legends- Music by
Erich Wolfgang Korngold-A FIRST NATIONAL PICTURE

I

Hi

NOW PAINTS

THEIR DASHING DEEDS TO LIVE FOR THE AGES!

>\

Loving, roistering, battling . . . blazing
their deeds of daring into the legends
of the world! History's most beloved
rogue and all his merry men come
fighting again for Richard, King of
the Lion's Heart! Come galloping out
of their outlaws' forest to storm and
take forever the castle of romance!

The Adventures of

* «

ERROL
FLYNN

OLIVIA DeHAVILLAND BASIL
RATHBQNECLAUDE RAINS

PATRIC KNOWLES-EUCENE PALLETTE
AEAN HALE-MELVILLE COOPER
IAN HUNTER • UNA O'CONNOR

Directed by Michael Curtiz and William Keighley

Original Screen Play by Norman Reilly Ralne and Seion
I. Miller • Based Upon Ancient Robin Hood Legends' Music by
Erich Wolfgang Korngold • A FIRST NATIONAL PICTURE

• /

tefcvft.

NOW PAINTS

THEIR DASHING DEEDS TO LIVE FOR THE AGES!

Loving, roistering, battling . . . blazing
their deeds of daring into the legends
of the world! History's most beloved
rogue and all his merry men come
fighting again for Richard, King of
the Lion's Heart! Come galloping out
of their outlaws' forest to storm and
take forever the castle of romance!

The Adventures of

DANDRUFF?

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It is vitally important to use this treat-
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iiziratiriiaflflHiijti^i

By LLEWELLYN MILLER

No, we did not get the pictures mixed. This is Rebecca of Sunnybrook Farm in the middle of a
song and dance routine. Shirley Temple brings her own especial magic to the 1938 version

REBECCA OF SUNNYBROOK FARM
(Twentieth Century-Fox)

H Life is full of surprises, so don't be
startled when Rebecca of Sunnybrook
Farm opens with a scene in a radio
station. Don't become uneasy, and ask
the usher if you are in the right theatre.
Just sit still, because you'll probably have
quite a good time with the picture, even
though you won't see the dear familiar
tale of little Rebecca who went to live in
the red brick house with Aunt Mirandy
and Aunt Jane.

Aunt Jane is gone completely, and Aunt
Mirandy (Helen Westley) turns up aston-
ishingly with a comic suitor (Slim
Summer ville). Gone is Mr. Cobb. Gone
is Adam Ladd. Gone is the hateful Minnie
Smellie and the sweetly dull Emma Jane
Perkins. Gone, for that matter, is Rebecca,
herself, leaving Shirley Temple the undis-
puted center of attraction. And, after all,
what more does anyone want in a Shirley
Temple picture?

Time and again, audiences have demon-
strated complete satisfaction with the
studio's efforts, so long as Shirley has
plenty of songs and dances. As the New
Rebecca, Shirley plays a radio performer
caught by the recession. Her manager-
stepfather, believing that she has flopped
(oh, traitor thought) at a tryout, turns
her over to Aunt Mirandy who hates
show people. In the meantime radio
station officials (Randolph Scott, Jack
Haley) are searching frantically for her.
By happy chance, they occupy a house
right next door to Aunt Mirandy 's when

they go to the country for a rest. So the
next thing you know, Shirley is running
back and forth across the lawn to go on
the air behind Aunt Mirandy's back. She
dances with Bill Robinson, she aids the
romance of her cousin (Gloria Stuart)
and she sings a generous number of songs
with that exact showmanship which en-
chants a huge audience.

H Beyond any doubt, Rebecca of
Sunnybrook Farm is an immensely
successful picture, but besides that, it
blazes the trail for an entire new group
of dramatic properties in which Miss
Temple might be starred. The imagina-
tion is fired by the possibilities . . .
Shirley Temple in The Taming of the
Shrew! (Suggested plot: Shirley as an
orphan cajoles an evil-tempered aunt into
marriage with a lonely tap-dancer) . . .
Shirley Temple in Camillel (Suggested
plot: Shirley's widowed father suffers
terribly from hay-fever until Shirley gets
a job on a transatlantic liner and in-
troduces him to the captain's lonely
daughter) . . . Shirley Temple in Carmen!
(Suggested plot: When Shirley's
widowed mother is too ill to go to work
as a cigarette girl in Child's restaurant,
Shirley takes her place, meets a lonely
musical comedy producer and put over
his show) . . . Shirley Temple in Beau
Geste! Shirley, the only survivor of a
shipwreck off the coast of Africa, becomes
the darling of the lonely Foreign Legion,
and cajoles the blood-thirsty natives to
[Continued on page 10]

Accept No Substitutes! Always Insist on the Advertised Brand!

One of the Best Pictures
uouHl see this year! . . .

A new-slant love-story made
to order for red-headed Gin-
ger's blue fire, and wishful
Jimmie's come -and -get -me
charm! . . . It's a revelation
in rich romance and heart-
lined laughs ! . . . Night-club
Ginger married to college-
professor Jim! ... What a
blow to culture in that moss-
grown college town, when
she tries to adjust herself to
patterned life in a world
where they use six-syllable
words to say good-night!
IT'S POSITIVELY
PRICELESS!

tar l in lt/vns

UB '°B

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Don-t Miss the
Big Fight . . .

when Ginger locks claws
with the prissy miss who
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B

T,

*l

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Hear Ginger Sing I

the tantalizing new blue bal-
lad, "I'll Be Reminded of You"

'*></.

C^/0/

fOs, RKO • R ft D I 0 » PICTURE

When Answering Advertisements, Please Mention June HOLLYWOOD

for your kisses when you use the lipstick that
gives alluring natural color to your lips.
Tangee contains no paint— never coats the
lips with ugly red grease. Instead, it brings
out your own individual color— whether you
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In the stick, Tangee looks orange ... on
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color for evening near, ask for Tangee Theatrical,

4 PIECE MIRACLE MAKE-UP SET |
and TANGEE CHARM TEST

The George W. Luft Co., 417 Fifth Ave., N. Y. C. •

Please rush "Miracle Make-Up Set" of sample I

Tangee Lipstick, Rouge Compact. Creme Rouge and ■

Face Powder. I enclose 10c (stamps or coin). (15c I

in Canada.) Also please send Tangee Charm Test. |

Check Shade of D Flesh □ Rachel □ Light I

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Name-

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F68

Important Pictures

[Continued from page 8]

a peace pow-wow with her song, "Give
a smile a trial before you shoot!"

Well, it's nice to know that there is no
danger of Shirley retiring because of lack
of suitable stories. This department
would miss her terribly.

BLUEBEARD'S EIGHTH WIFE (Paramount)

H Michael (Gary Cooper) believed
firmly in marriage. He respected
women, and when he proposed he meant
nothing less than honorable wedlock.
That is how he happened to have married
. . . and divorced . . . seven wives.

Then he met the lovely Nicole
(Claudette Colbert), daughter of an im-
poverished but still hopeful French noble-
man (Edward Everett Horton). It was
love at first sight for both of them, but
it takes eight reels of rousing comedy be-
fore they realize it.

Nicole consented to become Michael's
eighth wife, but only on a coldly com-
mercial basis. Then she began a cam-
paign of heckling designed to take her
with all possible speed to the divorce
courts.

How she uses real and fictitious rivals,
phoney notes and spring onions to enrage
her stubborn spouse, and how he retali-
ates is something that you should investi-
gate for yourself. You'll be sorry if-you
miss this one.

EVERYBODY SING (M-G-M)

H This is another tale about one of

those nit-wit, run-around-and-act-

crazy families, so "popular at the moment.

The mother (Billie Burke) is a star
who cannot stop acting in the home. The
father (Reginald Owen) is a tempera-
mental playwright. Bankruptcy stares
them in the face until the cook (Allan
Jones) puts on a show in which the
youngest daughter (Judy Garland)
makes a hit. But before that happens,
Fanny Brice, Reginald Owen, Henry
Armetta and Lynne Carver have oppor-
tunities to add comedy and drama to
make the story seem a little different.

For some reason, not entirely clear to
me at the moment, I keep thinking about
what would happen if Miss Judy Garland
could be cast in a film as the sister of Miss
Martha Raye. Wow!

HER JUNGLE LOVE (Paramount)

JQ All alone on a wildly beautiful South
Sea Island lives Tura, an exquisite
native maiden in a seductively cinched-
up sarong.

Into her tropic paradise crashes a plane
carrying Bob (Ray Milland) and Jimmy
(Lynne Overman). After her first mo-
ments of frightened suspicion, Tura
(Dorothy Lamour) settles down to a
happy life of learning English, bandaging
the injured Bob and singing songs.

But comes the evil day when natives
from a nearby island arrive for the yearly
ceremonies of sacrifice to Tura whom

they worship as a goddess. Led by an
embittered Eurasian (J. Carrol Naish)
who cherishes a gnawing hatred for all
white men, they enter a vast subterranean
cave where blood-thirsty crocodiles crawl
in horrid swarms, waiting for human sac-
rifice.

The film follows the familiar pattern
of most jungle romances, but on a quite
stupendous scale. Where other such films
have been content with a dozen croco-
diles, this one has hundreds. The sacri-
ficial cavern is as big as all out-doors. It
has not only stalagmites, stalactites, but
little bubbling volcanos, and when it col-
lapses in an opportune earthquake just
when everyone you like in the cast is
right on the verge of being sacrificed, it
comes down like the Grand Canyon
caving in.

Technicolor adds greatly to the tropic
splendors of the background. The late
lamented Jiggs, most talented of all screen
chimpanzees, has an important role, and
you'll find yourself planning a vacation in
the South Seas, if you don't watch out.

FOOLS FOR SCANDAL (Warners)

H Persistence must be a prime virtue
in the gentle art of romance, if we
can believe all we see in the movies, for
so many tales show a determined young
man laughing off vicious rebuffs until the
heroine grows weary of insulting him,
and melts into his waiting arms.

Such a one is Fools For Scandal.
Fernand Gravet, as a broke but very well
dressed Marquis is having a hard enough
time without adding foreign entangle-
ments when he sees a beautiful American
brunette (Carole Lombard). Then his
troubles really start. Her mysterious
actions are explained by the fact that,
under the dark wig, she is a blonde movie
star on vacation. But that is not dis-
covered until the Marquis follows her to
London, and insists upon taking seriously
her offer of a job as chef.

Ralph Bellamy and Allen Jenkins add
greatly to the comedy content, which is
very high. The whole affair is feather-
weight and very funny.

JEZEBEL (Warners)

■ Miss Julie was willful and wayward
and stubborn. But Miss Julie was
mighty fascinating, and she knew it, and
she was at some pains to keep others from
forgetting it.

Not since Of Human Bondage has Bette
Davis had such a strong role, or such a
difficult one. She has to gain, if not sym-
pathy, at least understanding for the
headstrong girl whose chief pride lay in
showing her power over men. Gentle-
men of the old South did not beat up their
loved ones, in the manner so popular in
modern movies, but they had other ways
of evidencing displeasure. And before
the end of the film, Miss Julie experiences
rigorous discipline for her ruthless way.

Henry Fonda, George Brent, Margaret
[Continued on page 47]

10

Accept No Substitutes! Alwavs Insist on the Advertised Brand!

\1

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DAINTINESS IS A

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BEAUTY BATH IS

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STAR OF THE
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daintiness. Lux Toilet Soap's
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When Answering Advertisements. Please Mention June HOLLYWOOD

11

Wear the Swim Cap

that
Movie Stats Prefer!

* Patented Suction Band
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U. S. HOWLAND
SWIM CAP

The one cap that REALLY
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Screen stars know a dip in the deep can't harm
a hair of the head that wears a U. S. Howland
Swim Cap. With the watertight protection* of
the one cap that really keeps the hair dry, they can
dash straight from the salty sea to the eye of the
camera, without an in-between trip to the hair-
dresser. This year's smart coiffures, with their up-
ward swirls and curls, just demand the protection
that only this truly watertight* cap can give.
You, too, will want several for
your various beach ensembles!

OTHER U. S. SWIM CAPS-in wide range
of styles and colors — a choice for every
taste, every mood, every type of face.
Cap shown is No. 1841.

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By WHITNEY WILLIAMS

"They ain't nobuddy kin laugh at us, and git away with it!" warn the feudin' Ritz Brothers, as
they prepare to take their own comedy pretty seriously in Kentucky Moonshine, soon to be released

H Most hilarious moment of the month
occurred when James Cagney, after
an absence of two years' battling, returned
to the Warner Brothers fold, filled with
good will, and ready to let by-gones be
forgotten, and made his first day's ap-
pearance in Boy Meets Girl. In the initial
scene . . . JIMMY COULDN'T THINK OF
HIS LINES, and for one awful moment
gave a very fine imitation of a sit-down
strike while he wracked his brain for the
words.

B Joan Blondell underwent an experi-
ence recently that might cause the
hardiest to blanch . . . but she came
through with flying colors.

Joan is superstitious, deadly supersti-
tious. She would no more do certain things
than she would slit the throats of seven
little kiddies.

One of her pet superstitions decrees
that once a dress is put on wrong side out
it must not be changed. Well, Joan ar-
rived at a smart luncheon in one of Holly-
wood's swankiest restaurants in a frock
that fairly exuded smartness . . . but a
dress so plain that anyone might easily
have made the same mistake. Only the
seam down the side revealed that Joan
was wearing the creation INSIDE OUT!

■ From Europe flashes the word that

Dr. Joel Pressman, spouse of our

Claudette Colbert, is decidedly wrought

up. Claudette, the good doctor avers in
no uncertain terms, is NOT about to have
a baby, as erroneously printed in the
journals of the world.

Incidentally, Claudette is having one
swelegant time on her Continental holi-
day. She and the doctor, after a period
spent in the Austrian Alps, descended
upon St. Moritz for an indefinite sojourn
. . . and remained exactly TWO DAYS.
"Too formal," was the way Claudette put
it, as she returned to the Austrian Tyrols
for more skiing.

J Panic reigned supreme one dawning
back at Jack Oakie's, when a maid,
in cleaning up, threw out his pet diet.

Now this, in itself, wouldn't have been
so tragic. But the diet happened to be the
only one on which Jack could reduce
rapidly . . . and that's something Mrs.
Oakie's youngster has had to do lately.
What's more, neither he nor his wife nor
the cook had ever taken the trouble to
memorize the diet . . . and its value de-
pended upon certain food combinations in
certain rotation. What's still more, Jack
couldn't recall who had given him the diet.

Immediately the loss was discovered, a
tornado of activity descended upon the
household. Jack and Venita and all the
servants ransacked trash heaps, cans and
boxes, but up to this printing the diet
hasn't been recovered. If you note more

Thousands of answers in the SEVEN DWARFS POPULARITY CONTEST are flooding
into the offices of Hollywood Magazine. The judges are working hard, but, each entry must
be considered carefully, and for that reason winners will not be announced until next month.

Watch for the July issue, on the stands June 10, for the list of lucky winners.

12

Accept No Substitutes! Always Insist on the Advertised Brand!

of Jack than ever when you next see him
on the screen, you'll know that his treasure
hasn't turned up. Awa . . . awa . . . awa.

■ When the announcement was made
in the newspapers that Kay Francis
was betrothed to German Baron Raven
Erik Barnekow, stories stated that the
German would be the star's fifth mate.
But not so . . . Kay is indignant about it.
The baron will be only the FOURTH, she
declares.

H Edgar Bergen, pal of Charlie Mc-
Carthy, tells this one on himself . . .
and it bears repeating. To avoid bringing
pain and embarrassment, however, we'll
delete all names but Edgar's.

The ventriloquist had a new and heavy
date, a very extra fancy date. So grand,
in fact, that he arrived in tails and top hat.

"All ready, honey?" he asked, as he
was ushered into the young lady's apart-
ment.

Before that attractive young miss could
show her surprise, Bergen broke out in
a sudden blush. He had arrived at the
wrong house . . . and this was the girl
with whom he was trying to keep steady
company!

(Note . . . Edgar refuses to divulge
just how he got out of THAT one.)

| Attention, colleges! Sol Lesser, the
producer, is paging five hundred edu-
cational institutions for his next Tarzan.
He wants a young man combining athletic
prowess with a knowledge of the classics.
Any candidates?

H Romance still flourishes, and in goodly
measure. Whenever Irene Dunne
visits her dentist-husband in New York,
for their first dinner they go to a little
chop house in Lower Manhattan, scene of

Joart Crawford was snapped with a midget
clown at the Circus Party held recently
at the Hawaiian Paradise. It is a reassur-
ing thing to notice that even the greatest
of stars can have runners in the stockings!

Tai teaching girls
A LOVELIER WAY

TO AVOID OFFENDING!

CASHMERE B°Ur
^ SOAP THAT

k FRAGRANT^
DAINTY !

LATHEREOFEEruCLEANSl^

0DY odor., ikm

>.

THEN, CASHMERE BOUQUET'S

LINGERING PERFUME CLINGS

TO YOUR SKIN! LONG^

AFTER YOUR BATH

IT GUARDS YOUR ^

DAINTINESS IN

SUCH A LOVELY WAY!

MARVELOUS FOR COMPLEXIONS, TOO!

You'll want to use this pure, creamy-
white soap for both face and bath.

Cashmere Bouquet's lather is so
gentle and caressing. Yet it removes
dirt and cosmetics so thoroughly,
leaving your skin clearer, softer . . .
more radiant and alluring!

1

Oki i v i c\<t a* drug' dePartmen»'
IN L T I ^^ r and ten-cent stores

TO KEEP FRAGRANTLY DAINTY— BATHE WITH PERFUMED

CASHMERE BOUQUET SOAP

When Answering Advertisements. Please Mention June HOLLYWOOD

13

LIGHT-PROOF

FACE POWDER!

ittwtoveme/it m items

THIS is what
happens when
your make-up
reflects every
ray of light.

SEE the differ-
ence with
light-proof
powder that
modifies the
light rays.

y

Luxor powder is light-proof. If you
use it, your face will not shine.
Trial box sent postpaid for a dime!

• At parties, do you instinctively avoid certain
lights that you can just feel are playing havoc
with your complexion? All that trouble with
fickle make-up will be overcome when you
finish with powder whose particles do not
glisten in every strong light.

Many women think they have a shiny skin,
when the shine is due entirely to their powder!

With a finishing touch of light-proof pow-
der, your complexion will not constantly be
light-struck. In any light. Day or night. Nor
will you have to worry over shine.

Seeing is believing

You have doubtless bought expensive boxes
of powder on claims and promises, only to
find that you wasted the money. You don't
run much risk with Luxor, because your first
box will cost you only ten cents!

Test it in all lights, day and night— under
all conditions. See for yourself the lovely soft-
ness and absence of shine when you use light-
proof powder. See how it subdues those
highlights of cheek-bones and chin, and nose.

FAW.6-38 1

I ^^^> LUXOR, Ltd., Chicago :i

Il^^o^j Send me a trial box of Luxor light-
^s^/ ^S proof powder, postpaid. I enclose
^~^ 10c (silver dime).
D Flesh D Rachel D Rose Rachel |

□ Rachel No. 2 D Brunette !|

! Name I

St.&No

P. 0 State I]

(This offer not good in Canada) j

14 Accept No

No! Look again, and you'll see that the girl is Marcia Ralston having a little fun with Humphrey
Bogart's candid camera during the making of Men Are Such Fools at Warner Brothers Studios

their first dinner together. Afterwards,
they go for a hansom cab ride through
Central Park . . . just as they did on that
other occasion. THERE'S an idea, mebbe,
for you swains.

B Ever so often a certain man in Holly-
wood slips down to Olvera Street, Los
Angeles' oldest thoroughfare, and, dressed
in the colorful raiment of a Mexican, with
brilliant costume and wide sombrero, will
sit on the curbing by the hour and strum
his guitar.

For hours he will sit there, singing the
songs of the early dons of California, fre-
quently rising to sweep the ground with
his sombrero when some visitor stops and
applauds his music. In the eyes of some of
these passers-by there will be a half-hint
of recognition, but after a few minutes
of observation will continue the prome-
nade, convinced the singer is just another
Mexican from the native quarter.

To see him as he lounges on the curbing,
guitar in hand and a song in his throat,
one would never guess that this figure is
a descendant of the first governor of Cali-
fornia. Nor would one guess, even in
fancy, that this Mexican -clad hombre is
none other than . . . LEO CARRILLO!

CUPIDATINGS:

H June Lang isn't confining herself ex-
clusively to A. C. Blumenthal . . .
she's beginning to step out with Carl
Laemmle, Jr., Michael Whalen and Allan
Lane, after so many months OUT of cir-
culation . . . while he was in California
for the racing season at Santa Anita,
Alfred G. Vanderbilt devoted most of his
time AWAY from his hosses with good-
looking Margaret Lindsay . . . what started
as a studio publicity romance seems to
be developing into the real thing for new-
comer Arleen Whelan and just-as-recent
Richard Greene . . . Blonde Phyllis Brooks

still head-woman in Cary Grant's life . . .
now it's Anthony Averill whip's taking
Gloria Blondell places . ."."but Bruce
Lester, just over from good old Lunnon,
is chiselling in quite successfully . . .
speaking of threesomes, Gordon Oliver and
Agent Johnny Maschio have been brawl-
ing over the smiles of fair Laurie Lane, as
cute as they grow . . . any day now Gloria
Brewster, of the twins, may elope with
Claude Stroud, likewise of the twins . . .
wouldn't that be sump in . . . Mexico is
disrupting the peace of Director William
Keighley . . he's smitten of Cecilia Villa,
fiery daughter of bandit Pancho . . . Nan
; Grey's affection for Jockey Westrope
dates back to their school days . . . Joan
Fontaine swears there's nothing but
friendship between herself and Conrad
Nagel . . . but she doesn't go out of an
evening with anybody else . . . what's
YOUR guess? . . they may be second cou-
sins, but Ida Lupino and Louis Hayward
have eyes for nobody else . . . Marlene
Dietrich and young Doug Fairbanks a nice
appearing couple, as they rhumba in one
night spot after another . . . Marlene seen
with Anderson Lawlor and Writer Willis
Goldbeck, too . . . Alice Faye's brother,
Bill, has eyes only for Lona Andre . . .
Virginia Field has switched her affections
from Vic Orsatti to Alexander d'Arcy .
but it isn't serious . . . Director Gregory
La Cava can't see enough of Doris Nolan
. . . but who can . . . Judy Stewart, from
the South, has replaced Gloria Young-
blood, in the affections of Rudy Vallee . . .
law suits mean little to W. C. Fields . . .
he and Carlotta Monti, South American
beauty who recently hailed him into court,
taking in ALL the night spots.

■ Here's one for the book . . . Movita,

the Mexican actress, has spoken

English so consistently during the past

few years that when she went to Mexico

[Continued on page 46]

Substitutes! Always Insist on the Advertised Brand!

Watch for the Ae^n-A-SWIM SUlt style week

il by Allen-A dealers— to make a
ISing summer for you at surf, pool or beach

You'iSfind special style showings of flattering Allen-A
swjoT, suits at leading stores throughout the country
m June 6 to 11. There's so much that's new, you
really must see what Fashion does this season for
your figure — your natural coloring — everything
that helps you "make a picture" in your swimming
costume . . . Allen-A expresses the smartest trends
from sub-tropical Winter resorts — designed by
Trebitsch — interpreted in colorful new woven fabrics
and fine woolens knitted in Allen-A mills — every
model actually swim-tested and truly "See-Worthy"
. . . Spring-needle knitting affords extra elasticity
which assures that intriguing "poured-in" look and
longer wear. Allen-A swim suits are available in
new, fascinating shades. Write for beautifully
illustrated circular and dealer's name.

See "This Week" magazine, with your Sunday
newspaper of June 5, for list of Allen-A dealers near you.

the «fl^Jt£A-'A-company

Kenosha, Wisconsin

Ben

gton, Vt.

When Answering Advertisements Please Mention June HOLLYWOOD

15

George McCall, Hollywood
reporter, at work. He wil
tell you the latest gossip of
your week in Hollywood

^fO"*f!ovt

*1

STAR OF "IT'S AU YOURS"
A COLUMBIA PICTURE

Ask your dealer to show you the SEABRIGHT
SET. With the Quantity Saving of $6.30, you
can own this 50-piece Service for only $24.95.
— And you receive a handsome $5.00 value
Tarnish-Proof Chest and o beautiful Cold Meat
Fork to match your design — FREE.

Producer Fritz Lang is showing Sylvia Sidney what he wants the
camera to see in the next shot. If you're a Movieland Tourist,
you'll have a chance to see a film in the process of shooting

MOVIELAND TOUR TIME TABLE

How so much can be crowded into a two
weeks" vacation is hard to understand
until you read how carefully the ••time
table" has been worked out for you

TO I INTRODUCE THE

T^SURF CLUB DESIGN

Copyright 1938 Oneida Ltd.

Above offer for U. S. A. only

[ Here's your vacation "time table," if
you take advantage of the glorious
holiday offered by a Movieland Tour:

The first tour leaves Chicago, July 3,
the second July 24, and the third and
last, August 14. The program has been
arranged so that all three tours arrive
in Los Angeles on a bright summer Sun-
day morning. The first half of the day
has been left open for rest, church at-
tendance or preparation for the after-
noon's events.

A trip through Beverly Hills, and
glimpses at homes of dozens of stars in
the early afternoon will precede a cock-
tail party at a star's home. Warren Wil-
liam will play host for the first tour,
Harold Lloyd and Bob Burns have invited
the second and third groups, respectively,
to be guests in their charming homes.

From that start, your whole stay in
Hollywood will be one round of activi-
ties. . . . Your "traveling houseparty"

will be guests at a nationwide broad-'
cast. . . . You will lunch at Clara
Bow's famous "It" Cafe. You will be
taken through Max Factor's "glamour
factory" and shown how that master of
make-up goes about his business.

■ Our grand party at the Wilshire Bowl,
where Les Parker's famous dance or-
chestra will entertain, should certainly be
mentioned as one of the most outstanding
features of the whole tour. ... As master
of ceremonies for that grand occasion,
George McCall, commentator on the Old
Gold program, has agreed to entertain
you with late news of the stars as well
as introduce them to you as they join you
for dinner and a dance. Last year Bob
Taylor was one of the star guests. So
was Judy Garland, Hugh Herbert, Wayne
Morris, Mischa Auer, Jimmy Stewart and
a host of others.

This whoJe "traveling houseparty" takes

16

Accept No Substitutes! Always Insist on the Advertised Brand!

exactly two weeks. Just enough time to
see everything there is to be seen, and yet
get home before your allotted vacation
time is gone.

After you leave Chicago, your train
heads directly for the Pacific northwest
and through the cool north woods to the
ocean. In Seattle you will be met by
one of the "Princess" boats and whisked
across Puget Sound to the Island of Van-
couver. From there your train heads
southward and to vacation land. On your
way to Hollywood you stop over in the
famed city of San Francisco and get a
chance to see the Gold 7s Where You
Find It city as it looks today. From there
your train takes another turn for the
south and before you know it you will
be on the doorstep of movieland and a
lucky member of your party will be re-
ceiving a key to the city from the hands
of some screen celebrity. Last year
Wayne Morris and the Hollywood Junior
Chamber of Commerce did the honors.

H But now for a word of warning!

Last year many of the tourists were
disappointed because they did not make
reservations in time. Better fill in the
coupon below, and make sure of a place.
Next, be sure to bring your camera along.
Last year, many forgot their cameras, and
if it were not for Harriett Parsons' mov-
ing picture of the tours (Screen Snap-
shots) there would have been no record
of all of their activities. And last
but not least, bring along plenty of
summery things, white flannels and
linen suits for the men and gay prints
for the women. Something semiformal
will always come in handy too. Our grand
ball will require "dressing up" a bit but
not too much to worry about. Remem-
ber, "slacks" are the order of the day here
in Hollywood! A light top coat will come
in handy, too . . . Late California evenings
call for a wrap of some kind while our
days call for slacks and straw hats!

Such a program sounds as if there will
be very little time left to your own plans,
but never fear, there will be sufficient
time off for little side trips on your
own. . . . Lake Arrowhead is within a
few hours drive from Hollywood and no
doubt many of you will want to take in
the wonders of Catalina Island. All these
can be yours, but remember, all the
Hollywood doings are on us and are in-
cluded in the purchase price of your
tour tickets.

USE THIS COUPON

Fawcett's Movieland Tours,
360 North Michigan Boulevard,
Chicago, III.

Without obligation on my part, send
me your complete, illustrated booklet
describing the Movieland Tours.

Name

Address

NO DATES IN MARY'S BOOK
NO SONG \H MARY'S HEART

She doesn't dream that
underarm odor is the reason
men pass her by!

Mary is pretty, vivacious, and young— she
should be as popular as any girl around.
Yet the men that she meets always seem
to avoid her. Through glorious summer
evenings she sits home alone, while men
take other girls out on good times!

Too bad Mary doesn't realize that it
takes more than a bath to prevent under-
arm odor — that underarms must have
special care to keep a girl dainty and
fresh, safe from offending.

Wise girls use Mum! They know that
a bath takes care only of past perspira-

tion, but Mum prevents odor before it
starts. To avoid all risk of offending
friends — use Mum every day and after
every bath. With Mum, you'll be sure
your charm is lasting, you'll be a girl
that men always find attractive!

MUM IS QUICK! One-half minute is all it
takes to smooth a quick fingertipful ot
Mum under each arm.

MUM IS SAFE! Mum is soothing to the
skin, harmless to every fabric. You can
use it right after underarm shaving.

MUM IS SURE! Without stopping perspi-
ration, Mum's sure protection lasts all
day or all evening long. No worries,
then, about unpleasant odor. For Mum
makes underarm odor impossible!

IT TAKES MORE THAN A BATH — IT TAKES MUM

MY BATH ALONE
CANT KEEP ME
SAFE -THATS WHY
I USE MUM !

For Sanitary Napkins —

No worries or embarrass-
ment when you use Mum
this way. Thousands do, be-
cause it's SAFE and SURE.

JJF Tu H£f>S£LF-"'%\%i

eJ it's marvelous

TO DANCE EVERY DANCE
AND KNOW THATMUM^

STILL KEEPS YOU
Ik SWEET!

Mum

TAKES THE ODOR OUT OF PERSPIRATION

When Answering Advertisements Please Mention June HOLLYWOOD

17

lts ***** the ian

*o»-s^ i

ec&*JSZ'-~~

Jeepers Creepers! Wait 11
you see those Ritzes as
imitation hillbillies on a
rampage in the corn likker
country ! 1 hey ve cooked
up the con-sarndest mess
or run since Grampaw
snot tne galluses off n that
revenooer! "Lire Begins
In College was just a
warm-up for Public
Maniacs No.'s 1, 2 and 3!

..and tn

ere s romance

in them thar hills !

Tony Martin as the singing
radio talent scout "discovers'
cute little Marjorie Weaver
in Coma, K.y and they ve

jeen in a coma o

since !

RIT2 BROTHERS

KENTl/CKV
MOONSHINE

A 20th Century-Fox Picture with

TONY

MARJORIE

18

MARTIN -WEAVER

Slim Summerville * John
Carradine • Wally Vernon

Berton Churchill • Eddie Collins

Directed by David Butler

Associate Producer Kenneth Macgowan • Screen Play by Art Arthur and

M. M. Musselman • Original story by M. M. Musselman and Jack Lait, Jr.

Additional Dialogue and Comedy Songs by Sid Kuller and Ray Golden

Darryl F. Zanuck in Charge of Production

Accept No Substitutes! Always Insist on the Advertised Brand!

IT TAKES THREE TO MAKE A LOVE AFFAIR

Above are the three who make the love
affair in Test Pilot, soon to be released

H "It takes three," remarked Myrna
Loy, "to make a love affair."

She tipped her pretty auburn head up-
ward in the captivating Loy manner and
let a quizzical sparkle slide into her gray-
green eyes. Yet she meant what she said.
Her tone was serious.

"When a girl isn't truly in love with
John Doe, she finds that out after meet-
ing Jdhn Roe," said Myrna, "but when a
girl's truly in love with John Doe, even
a temporary infatuation for John Roe only
makes her realize how much she loves the
first one. I've watched it work out in
the case of some acquaintances. Not that
I recommend the m e t h o d — it's too
chancey!

"Just the same, a modern woman ought
to look twice before she leaps — into matri-
mony. Oh, it certainly takes three to make
a love affair; the third one's for compari-
son, for making up her mind. Rather often
he turns out to be the man she marries
after all."

It is from the dilemmas and tribulations
of a large circle of friends that Myrna has
deduced the need of a third party to the
average courtship and from her observa-
tions she has drawn a number of shrewd
conclusions. She smiled, recalled them, as
she lounged in her buff and green dress-
ing room at the M-G-M studios.

Everybody has heard about
the course of true love sel-
dom running smoothly, but
Myrna Loy introduces a note
of reassurance by saying
that rough going is all to the
good in the happy ending

By
JESSIE IIEXUEKSOX

That girl with a temporary infatuation
for John Roe, of whom Myrna had spoken,
went absolutely haywire for a month over
this handsome stranger who cut in at a
dance on her fiance, John Doe. Still en-
gaged to Doe, she dashed around with the
new lad like one bewitched while the
whole town, diverted and scandalized,
argued as to the outcome. She swam with
the new heart interest, rode with him,
gazed earnestly into his dark eyes, even
tried to learn to cook his favorite dishes
("An almost fatal symptom!" Myrna com-
mented.), until, all of a sudden — pfft!
She realized in a flash that this wasn't the
real thing and galloped madly back to her
first love. They've been happily married

now for five years. The point is, she might
never have married Doe, at least she
probably wouldn't have settled down to a
contented wedded life with him, except
that by comparing him with the scin-
tillant Roe she discovered the difference.
Roe's glitter was tinsel and Doe's quieter
gleam was pure gold.

Wise, and sweet, is the philosophy
Myrna has evolved from the things she's
seen others do along these lines, or neg-
lect to do. That aristocratic, somewhat
Mona Lisa smile of hers, deepened at vari-
ous recollections. Cool and poised as she
always seems to be — cooler than ever in
the smart green tweed frock — her strong-
est characteristic is nevertheless a keen
sense of humor. She says you need a
sense of humor most when you have it
least; that is, when you're in love.

"Comparison!" she insisted, "not jeal-
ousy!"

In other words, she went on to explain,
if the man you love goes out with another
girl, don't grow jealous. Instead, remind
yourself: "Well; I compare favorably with
her," and see to it that you do compare
favorably with her by not flying into a
tantrum. This getting jealous is a lack of
self respect, an inferiority complex.

But if you can't help feeling jealous, in
other words if [Continued on page 62]

19

And How Are Your Reactions ?

What does it mean
when yon hold your
breath, bite your nails,
tear your handker-
chief and otherwise
fully enjoy a movie?

By
WINIFRED

AYDRLOTTE

■ Next time you go to a motion picture
theatre, be sure to give the impres-
sion that nothing about the film affects
you in any way, or a psychiatrist will
analyze you if you don't watch out.
Freeze into a Ned Sparks dead pan and
hold your hands still, for if by chance a
psychiatrist is sitting next to you, he can
analyze your character down to the last
detail, merely by watching your reactions
to the picture.

He could tell if you were an extrovert
or an introvert; a coward or a bully; an
intelligent person or a moron; an egotist
or a shrinker; a person whose life is full
and interesting or a person whose days
are dull. He could know your tastes and
inclinations; your problems; the atmos-
phere of your home life; if you view
things subjectively or objectively. He
could tell if you are financially successful
and if you are generous or stingy; if you
are happily in love or unhappily out of
love; if you are an exhibitionist or an
inhibitist, and just how evolved you are.

H So let's go. The theatre darkens; the
picture is on the screen, and Dr.
Ameen Fareed, psychiatrist, is watching
you. . . .

1. Does loud recording during the
screen credits stimulate or irritate you?
Yes . No .

If it stimulates you, it means that you
like excitement, night spots, hot music,
and that you depend somewhat upon ex-
ternal stimulus for your interest. If it
annoys you, you do not need outside
stimulus. You resent being forced into
a mood; you can get into your own with-
out any help. In other words, you are
self-sufficient.

2. Do you tear up your program or
handkerchief during an exciting or tragic
scene? Yes . No .

Yes? Well, that means that you are
identifying yourself with a character on
the screen to some degree. If you were
looking at the scene objectively, without
bringing into it your own personal ex-
perience or ego, it wouldn't affect you to

the point of tearing up anything. It
means that you are extremely sensitive
and, in some instances, sentimental.

3. Do you cry at a love scene?
Yes . No .

Goodness! You are an introvert! You
are thinking only in terms of yourself
and either are having or have had an
unhappy love affair; for if you were
happy now in love, you would heave a
smug little sigh and consider yourself just
a tiny bit more lucky than the lovers on
the screen.

4. Do you cringe when Pop Eye or
some other cartoon character gets bashed
around? Yes- . No .

Don't hesitate to say "yes" to this, for
the psychiatrist's analysis is really quite
nice. It simply means that there is in
you still the ability to play, to regard toys
as real; that you have a fundamental love
for things smaller than you; that a little
of the child is still in your heart. For Pop
Eye and other cartoon characters are toys
that, through [Continued on page 50]

i)

»»

m

J/\fv

Body-Guards De Luxe

■ Things have come to a pretty pass,
indeed, when the publicity depart-
ment of a major studio can't arrange an
interview with one of its stars without
first obtaining permission from a couple
of guys who go around calling themselves
"monitors"!

Anyway, that's the high-toned, two-
dollar word that confronted us the other
day at 20th Century-Fox when we went
out there expecting to see Arleen Whelan,
the pretty Irish girl who quit her job as
manicurist in a Hollywood barbershop to
become the leading lady opposite Warner
Baxter in Kidnapped, one of the studio's
biggest pictures of the year.

Arleen, in a few short months, has be-
come the most-talked-about (but in a

Above, yon see little
Arleen Whelan and two of
themost expensive guards
an actress ever had

By E. J. SMITH SON

very nice way, mind you) girl in the film
industry. She's the great discovery of
1938. A veritable Cinderella girl if there
ever was one, and no flash in anybody's
pan so far as her screen talents are con-
cerned. When a studio thinks enough of
a newcomer to gamble the success of a

$2,000,000 production on her film debut,
she really "must have something there" —
and that was what we wanted to talk to
her about.

"I'm sorry," said Frances Deaner of
the publicity department, "but an in-
terview with Arleen is out of my hands.
You'll have to get your okay from Don
Ameche and Tyrone Power first."

We harbored a suspicion that she was
setting the stage for the well-known and
often-practiced "rib". And we said so.
It appeared to us that this passing of the
interviewing buck to a couple of gay
buckeroos like Don and Tyrone was sus-
piciously not like the usual procedure
of the well- [Continued on page 43]

21

Husbands Are Exasperating

—SATS GRACIE ALLEN

| One of the things I cannot understand about husbands is
why they don't understand. Maybe that sounds a little
confusing, but after I tell you all about everything, maybe it
will be clear. First of all, because I want this article to be
purely impersonal, I wish to point out that I am not referring
to my husband, George Burns, but just to husbands in general.

In this connection, there is a certain radio comedian who
appears on the radio with his wife, or a motion picture comedian
who appears on the screen with his wife — I don't mean Mary
Livingstone and Jack Benny because they have never appeared
on the screen together — who is particularly exasperating.

One of the things which he does which gets his wife down
is telling her she cannot give interviews. This wife has some
wonderful ideas for articles, such as "Gracie A. Looks At Love,"
"Is Clark Gable Gracie A's Ideal Man," "I Think Wives Should
Have Pasts," and "Gracie A. Reveals Her Love Life." The hus-
band turns all these ideas down, and always is present when
the interviewers are around, so the wife
doesn't have a chance. He also will not
let the wife tell the public anything about
her brother, or any of her relatives, which
is irritating to the public, which would
like to know all.

This husband has other annoying
habits. For instance, he reads all the fan
mail received by the couple. The wife
has some fine suggestions to make,
such as:

"Georgie, why don't we ask all our
fans to come out and see us, and we
could entertain them, and have one great,
big happy family."

I have seen the husband get up and
leave the table for no reason at all,
rather than discuss such a fine sugges-
tion. Where would we be without our
fans? That's what I ask Georgie and he
replies:

"Where would we be with them?"

;s

H The editors want this article inti-
mate, so I must write about money
matters. I am sorry to state this hus-
band is very selfish in money matters. If
money was hard to get, there might be
some excuse, but it is so easy for him
to get. When he wants money, all he
does is sign some little blue slips of

paper, and it is given to him. He tried to explain this, but
he couldn't fool her. Those little blue slips of paper are given
away free at banks.

The wife knows, because the husband sent her to get some
once. Instead of getting blue ones from the nice man at
the bank, she got some yellow ones because they went with
the color of the blotter on the desk in the front room where
they have their arguments the first of every month. The hus-
band went into a rage about the yellow papers, and told her
to go back and get the blue kind, which upset the color
scheme and the wife. The husband said something about the
yellow ones being for savings and what chance did he have
to save anything, anyway, which didn't have anything to do
with the subject.

Told to EDWARD CHI RCHILL

H Another thing which is very painful to the wife is his atti-
tude about automobiles. He will not let her drive the
car. Personally, I think the wife would be a very good driver,
as she makes some very fine suggestions from the back seat,
practically all the time. The husband, being a know-it-all,
pays no attention, and once caused a very serious accident. On
this occasion the wife, sitting in the back seat, very helpfully
held out her right hand so her husband could turn, and the
husband didn't turn. The bill on this was something like two
hundred dollars, and the husband was very unreasonable about
the whole thing.

Furthermore, the wife took driving lessons. After they were
all over, or should have been, because weeks had passed, the
instructor told the husband:

"There is no more I can
teach your wife about driv-
ing." [Continued onpage 64]

22

So Are Wives

-SAYS GEORGE BURNS

■ Many men have written very nice things about wives, but
they have all turned out to be bachelors. I am perfectly
willing to write about wives in general, but it must be under-
stood that I am not writing about Gracie. Gracie understands
why I feel this way. Gracie understands everything.

There is a certain wife, however — not mentioning any names —
who lives in Beverly Hills, works in motion pictures and on the
radio with her husband, has two children, Ronnie and Sandra
Jean, and whom I know very well. This woman is the wife of a
famous comedian who is not Jack Benny, Fred Allen, Eddie
Cantor or Joe Penner.

One of the things which I think is that wives should be kept
out of financial affairs, if you have to have a wife. This one to

which I refer is particularly bad
on finances and, to give you an ex-
ample of what I mean, I cite her
behavior at the race track. This
season, and every season, she goes

to Santa Anita, and you will find her boasting to friends that she
never loses. She talks a great deal about her system. If she wins,
she keeps the winnings, and if she loses, her husband pays.

| About wives and children. Can wives take care of children?
My personal experience shows that they cannot. This cer-
tain wife, whose name I am not mentioning, has her breakfast
in bed. I mention this because it is a frequent ambition of wives.
Not long ago this woman's daughter, Sandra Jean, woke up one
morning with this crack:

"I'll have my breakfast in bed, too. I want a silver tray, like
mama has. Maybe you'd better bring me some squab on toast."

This is just one of the clever ideas that she has given her child.
For instance, at Christmas — that's a long time ago, but I have
to start there to make the whole thing clear- — this wife said to
her husband:

"George," (by a peculiar coincidence her husband's name is
George, through no fault of mine), "I have a very smart idea.
Sandra has a lot of nice presents, so we must put them around
the tree for her to see. But they are really too nice to let her
have until she gets a little older, when she can appreciate them.
We will tell her that Santa Claus brought them."

The husband was reading a newspaper at the time, and he
mumbled something that the wife took to be approval.

As I write this many weeks later- — this plan having been carried
out, the toys being nicely hidden — Sandra is going around the
home of her parents saying "Santa is a bum. Santa is a no-good
Indian giver." This is very tough on Santa Claus, but what I
want to know is what is going to happen when this poor, de-
luded child finds out papa is Santa Claus? This is the way that
some wives train children.

| Another thing that makes me grope for the reason for wives
is the fact that this wife will wait until her husband has
finished a very large breakfast to ask him what he will have for
dinner. She waits until he is full of food and then says:

"Georgie, what would you really like to have for dinner to-
night?"

The husband looks up from his newspaper and, after the
argument which lasts an hour or so, says:

"Make it lamb chops."

This is because he wants to get all the talking over with so
he can get back to the sports pages. During the day, as his appe-
tite grows, he begins to think about the lamb chops and starts
to like them. At supper time there is stew. The wife says:

"Why, Georgie! You didn't sound very happy about the lamb
chops, so I got a nice stew instead."

Things like this are very depressing to the husband.

| Have you ever noticed how jealous wives are? Sometimes
this husband, when making a picture like College Swing.
(Adv.) will stop and talk to several chorus girls. The wife will
immediately come up and say:

"Georgie, darling — come along now. I have some very im-
portant things to talk about."

The husband will try and try to find out what is important,
but never does. And then, the next day maybe, he will walk into
the dressing room and find a great, big autographed picture on
the desk. It will have written on it, "To Darling Gracie, (oddly
enough the wife's name is Gracie, through no fault of mine)
with loads of love from Your Freddie." This will be a picture
of Fred Astaire. Naturally the husband will complain about this.
The wife will explain:

"Wasn't it nice of Freddie to give this lovely picture to us!"

Another tendency which this wife has, and which is very up-
setting to the husband, is to buy [Continued on page 60]

23

^.„.,Ice, ^

The presence of Edward Everett Horton in the casts o,f Paramount's College
Swing and Columbia's Holiday guarantees many laughs, so no one
feels badly because he did not continue his career as matinee idol

Far reaching wore the consequences when a handsome
young actor signed up for a season of melodrama

By HILARY LYNN

■ Pay close heed, Robert Taylor!
Edward Everett Horton was also the

innocent victim of a far-too-alluring pro-
file. His dilemma and the way in which
he solved it may stand you in good stead
the next time you leave the cloistered
haven of Hollywood to fare forth among
the coat-tearing, hat-mauling, souvenir-
seeking Amazons.

■ One bleak winter night, in 1917, the
ladies in a boarding house in a town

on the east coast were sitting down to
their manless dinner of lamb stew and
apricot minute tapioca. Came a vigorous
knock at the front door. In its very sound
were Virility and Romance. Four school
teachers, ranging from twenty-five to
forty-one (approximately) sprang to their
feet. One, the youngest, managed to reach
the door before the landlady — who was
hard of hearing and very stout — had
waddled down from the second floor.

The eight ladies who remained seated —
comprising four social workers (birth

24

date indefinite), two timid, yet-not-com-
pletely-hopeless widows of recently de-
ceased storekeepers, one wife of an aged
doctor, and a demonstrator of the Cold
Pack Canning Process — sat tense and ex-
pectant in their uncomfortable chairs. The
lamb stew congealed, the minute tapicoa
collapsed, while they listened to a thrilling
baritone voice ask, "Do you take in
boarders?"

"Yes, oh, yes," quavered the little school
teacher. "We most certainly do."

"We can make you very comfortable,"
interrupted the landlady who had, by this
time, arrived on the scene. "And our
table is the best in town even if I say so
myself," she lied boldly. Whereupon the
little school teacher nearly fainted — over-
come either by the magnificence of the
two young gentlemen who stood in the
doorway, or by the landlady's brazen fib.

■ Ten minutes later, the quivering ladies

in that bleak dining room learned that

a "perfectly handsome actor with soulful

brown eyes and lovely hair has come to
spend the winter with us!" Further than
that, the excited schoolmarm informed
them, "He's to be the leading man in the
new stock company — he's just down from
Harvard and, my dears, he has two per-
fectly enormous trunks with him, proba-
bly full of stunning clothes, judging by
the looks of the suit he's wearing!"

All of which, relayed between gulps and
gasps, had such a profound effect on the
assembled yearning ladies that not one
of them gave another thought to the lamb
stew or the minute tapioca. Except the
demonstrator of the Cold Pack Canning
Process.

She was plump and she was jolly, and
she had long since reconciled herself to a
mateless existence, accepting the comfort
of food as a not-so-inferior substitute for
romance. Being a philosopher, she was
also resigned to lamb stew and tapioca,
since there wasn't any caviar and quail.

"You got to make the best of things,"
was the way she [Continued on page 57]

I

MRS. VICTOR DU PONT, III

V

mm^mtmtm warn*

FREDERICA VANDERBILT WEBB

note MRS. DAVID S. GAMBLE, Jr.

Anew cream that puts the necessary
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In this advertisement we are repeating
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When Answering Advertisements Please Mention June HOLLYWOOD

Extract Company

25

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Laugh It Off

*y

-tf£*

When you are happy, it does no
harm to shed a few tears, thinks

Claudette Colbert but it is

fatal to weep when things go wrong

EDGAR

By

II I II » M A IV

H The banquet was very elaborate, very
formal, very social.
It was one of those tremendous things
which happen in Hollywood every year
or so. Producers and stars had assembled
to do honor to the ambassador of one of
the greatest nations in the world. Among
those who graced the gallant occasion was
Claudette Colbert — that stunning girl in
white up there, sitting between the am-
bassador and one of the leading motion
picture producers.

Claudette was feeling it — and how!
She, like the banquet, was perfectly as-
sembled. Her white dress was a creation
of crepe, fresh from the salon of one of
the better designers.

Far in the distance, away from the
table at which sat Claudette and the other
honored ones, sat another star. That star
waved to Claudette, the wave clearly
indicating:

"So you're up among the big shots."

Claudette gave a very languid, very
broad A bow, and returned to the busi-
ness of dissecting a chicken rich in brown
gravy. The knife slipped, the chicken did
a nip-up trailed by a tail of gravy and
the ensemble lit in Claudette's lap.

For one horrible moment she sat,
paralyzed.

"This is quite beyond everything," she
told herself. "Shall I scream, cry, get up
and run like everything, or just sit?"

She looked at the ambassador. The
ambassador looked at her.

"Lively little thing, isn't it?" she asked.

The ambassador laughed. She laughed.
She, the ambassador and waiters made
repairs. The banquet went on its gal-
lant way. Claudette told me today:

"That laugh saved the day for me. It
was a laugh directed at myself. If you
can't laugh at yourself you're in a very

26

Accept No Substitutes! Always Insist on the Advertised Brand!

bad way. I found it easy to do so, simply
by comparing the Claudette of much dig-
nity with the Claudette who played
involuntary host to the chicken. I very
quickly saw the line which divided a
very impressive dignity from a person
who looked very silly, and the line was
so thin it wasn't at all important."

And she confessed:

"A few years ago, I'd have run from
the banquet in confusion and would have
had a good cry. That would have made
things very uncomfortable for those
around me as well as for myself."

The beneficial effects of a good guf-
faw have been proved to the star on
many occasions. Recently she was dis-
cussing her work in a photoplay with a
British critic.

"The picture wasn't very well received
in England," the critic said. "The general
concensus was that it could have been
better."

Claudette sighed.

"Yes, indeed," she replied. "The Amer-
ican critics said that the plot wasn't all
that it should have been."

■ Claudette was quite pleased with her
work in that picture, and it was true

that American critics had blamed story
structure for the fact that it, while profit-
able, had not been a smash hit.

"It wasn't the story," said the critic.
"It was your acting."

That was one time when Claudette had
a hard time laughing it off, but she did.
And she's glad she did. Because the critic
left her thinking she was a very swell
person. When you can laugh at criticism
like that, you aren't in danger of snap-
ping any hat bands.

| Then there was that time at the
opening of "See Naples And Die,"
Claudette's second or third big hit on the
stage. She was feeling quite pleased with
her ability as an actress. The critics were
all set for a big moment in their lives
when she walked onto the stage for her
first entrance.

They got it

Claudette tripped and fell flat on her
face. She laughed that off, too, instead of
retiring in confusion, and the audience
liked her for it.

"Playing in comedies has since taught
me to become used to being laughed at,"
she told me, as she walked out of a funny
scene in Paramount's Bluebeard's Eighth
Wife. "Nobody ever laughs at the straight
man in a comedy scene because nothing
silly ever happens to him. But they do
laugh at the comedian, who is the butt
of the jokes, and they go away remem-
bering the comedian. He's the one who
has given them a good time.

"It never hurts to be laughed at, on
the screen or in real life — providing one
laughs, too. The person who can't laugh,
when victim of ego-shattering circum-
stances, is the one who is remembered
as a poor sport."

■ Claudette has found, too, that the
times when she has to laugh, and the

laughs come [Continued on page 59]

Iwo Jittle 1 lay ^)uits
( limbed the jlill. . .

Two little play suits climbed the hill —

One on Jack, and one on Jill.
Look at Jill's — so bright and gay!

But Jack's is full of tattle-tale gray.

For Jill's mom knows what Jack's does not —

That lazy soap just hasn't got
The pep to wash clothes really clean.

And that's why Jack's things look so mean.

If Jack's mom were as wise as Jill's,
She'd quickly cure her washday ills.

She'd get the golden bar today

That chases pesky tattle-tale gray.

Fels-Naptha Soap is what she'd buy —

So full of naptha, dirt must fly!
Then white as Jill's, Jack's clothes would be,

And as for mom, she'd shout with glee.

BANISH "TATTLE-TALE GRAY"
WITH FELS-NAPTHA SOAP!

(NEW! Try Fels-Naptha Soap Chips, too!)

COPR. 1938, FEUS ft CO.

When Answering Advertisements Please Mention June HOLLYWOOD

27

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Lonesome For Trouble!

Humphrey Bogart may be seen frequently in this mellow mood off screen, though
you will see him scowl through all kinds of assorted villainies in Men >4re Such
Fools, Crime School and The Amazing Dr. Clitterhouse in the next few months

There was a certain compensation in living
dangerously, and one actor thinks wistfully of
the dear old davs when trouble alwavs was near

By EMILY > O It It I S

H "It was agony . . . sheer agony ... at
the time" confided the sensitive Mr.
Humphrey Bogart, who feels things very
deeply, even though you'd never guess it
from the menace -roles he plays on the
screen. "I have lived through split-seconds
of purgatory, anguish such as I would not
have my worst enemy endure. But the
strange part of the whole business is that
it is that part of my past that I miss the
most out here in Hollywood.

"It's those breathless moments of agony
on the stage that I miss in my happy, care-
free career as a Bad man. I long for the
apprehension, the fear of what the audi-
ence may be like, which sets an actor's
nerve ends tingling, and tests his mettle.
Things go wrong in pictures, but it doesn't
matter. The director is always on hand
to call 'Cut'!

"But there's no one around to call 'Cut'
on the stage. It's all up to the actor. If
there's a slip-up in lines, if another actor
fails to appear at his cue, if the scenery
collapses, it's up to you to carry on, to
cover up the blunders. And if you suc-
cessfully delude the audience into think-
ing everything's fine when it isn't, you

leave the stage feeling as if you've just
won the Battle of the Marne.

"Not that, at the time, you wouldn't give
your right eye to be on a sound stage with
only a camera, a director, a cameraman,
and a few grips and electricians around to
'boo' the blow-up. But after it's all over
and you're still alive, you're grateful for
the danger which put you on the qui vine.
It was thrilling — the very tightness of
your throat, the dryness of your tongue,
made you give a better performance . . .
No wonder there's so much fascination in
dangerous professions.

■ "I've had my share of those 'breathless
moments'," continued the screen's
super- dispenser of breathless moments.
"Like the time I portrayed a great pianist
in a touching opus called A Most Immoral
Lady. Alice Brady was the star.

"Of course I can't play a note, but I
would sit down at the piano and hold the
audience spellbound because it was a
player piano and Rachmaninoff was play-
ing. But the folks out front didn't know
it . . . they couldn't see the keyboard.

"Alice Brady would ask me to play, and

28

Accept No Substitutes! Always Insist on the Advertised Brand!

.

I would coyly demur for a while, and
would then sit down, touch a lever and
start pounding the keys.

"Then came the hideous night when
once again Alice said, 'Please play!'

"I sat down at the piano and touched
the lever. The thing didn't work. I tried
to catch Alice's eye. She was looking the
other way. There was a deadly pause. I
went clammy. I pushed the lever again
and again — but the piano was silent.

" 'Sorry,' I said, feigning boredom, 'I
don't feel like playing tonight.' Under my
breath I hissed at Alice. 'It won't work.
Pull me out of this, please!'

" 'You must play,' Alice said, as if she
hadn't heard me. 'You do it so beauti-
fully!' Her voice was like butter and
honey.

" 'Not tonight,' I said. 'Some other time.
But not tonight!' I stood up. If she kept
the thing up, I was going to make for the
exit.

" "Then you'll sing for me,' she said —
and never have I heard such tenderness
in her voice. The woman was a sadist!
'I'd rather hear your beautiful voice any-
way!'

"I sang! And Alice stood with her back
to the audience and shook with laughter.
Could I help it if my singing voice was
sour? . . . Well, if Alice Brady hadn't been
a lady — and if I hadn't been a gentle-
man . . .!

■ "But perhaps the moment when I
needed to light a Murad the worst
possible way was the time they had to
ring down the curtain when my pants
split!

"It was a scene from 'Captain Brass-
bound's Conversion' (the Bernard Shaw
play) — and I was playing it with Gladys
George. The lines called for Gladys to
say to me: 'Won't you sit down?' ... I was
wearing the fashionable trousers of the
day — and tight ones that fit like a glove!
I started to sit down — and there came a
ripping sound! I couldn't take the chance
of getting up and exposing my BVD's in
all their glory. Ladies were still fainting
in those days! So they had to ring the
curtain down — but not before everybody
in the audience knew what had happened.

"When the audience, highly edified, had
pulled itself together finally — and when I
had pulled on another pair of trousers —
the curtain went up again. And, since
we were starting the scene again — the first
thing Gladys George said was: 'Won't
you sit down?'

'"I think I'd better not!' I ad-libbed
ruefully ... It brought down the house!"

"And that" Chuckled Bogart "is why I
miss the theatre. You never know what
to expect . . . and that's half the fun of
living. But just the same, I'll be in Holly-
wood for some time to come — Because I do
know what to expect here and that's the
other half of the fun of living!"

NEXT MONTH

Don't miss the hilarious story of the adven-
tures which led to one of her friends calling
Joan Crawford "Crazy." It's a different,
delightful story about a little-known side
of the star.

IN LUVl AunllN ~" ^^^^^^^a^

"It's the real thing. I'm mad
about him, but I'm so afraid it
will end like the last time.**

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Andrea Leeds will play nothing on the screen
more exciting than adventures of her own life

By TED MAGEK

[ Dawn was scarcely an hour away as

a half dozen figures moved cautiously

through the night. A brilliant Mexican

moon made the countryside bask in little

more than a twilight.

Men with rifles led the way, grimly
watchful of the lurking shadows. Behind
them and near her father was Antoinette
Lees, too interested in the drama being
enacted to shiver with the apprehension
she should have felt.

Antoinette, as lovely a girl as had ever
been seen in the Mexican state of
Durango, far below the International
border, was being hustled through the
night for a very definite reason. A band
of renegades had marked her as a kidnap
victim, believing that this young and
beautiful girl would bring a higher re-
ward than her own father, Charles
Edward Lees, a mining engineer.

When word slipped through by a mys-

terious channel of this plot, Mr. Lees
wasted neither time nor words. It was
his good fortune to have the thing hap-
pen at full moon. So, in the dead
silence of the night, Antoinette was
hustled to an airplane owned by the
mining corporation — attended by a heavy
guard.

The roar of the plane's motor shattered
the stillness. Antoinette was shoved
hastily into the craft. Her father kissed
her a hasty goodby. And with only the
light of the moon to serve as a beacon,
the plane put its teeth into the wind and
took off.

Antoinette was never to return to this
little town of Cineguilla, for the danger
that drove her from Mexico was part of
the pattern of adventure that lifted her
to national fame in her own country.
Scarcely a year later Americans came to
know her as Andrea Leeds, the girl

30

Accept No Substitutes! Always Insist on the Advertised Brand!

Samuel Goldwyn drafted for stardom!

Her first appearance was in Come and
Get It. She was a complete success — and
would have been even more outstanding
if the same picture had not offered so
much more for Frances Farmer, another
comparative newcomer to Hollywood.

Then a remarkable thing happened,
and Andrea loves to tell about it.

"I heard that RKO was going to do
Stage Door," she explained. "I had read
the play, and wanted the role of Kaye
Hamilton in it more than I can tell you.
I went to my agents and told them so.
I met Billy Grady, who was a talent scout
at RKO at that time, and confided my
hopes to him. I read, studied and lived
the part before I finally made a test for
it. And you'll never know how happy
I was when I won the role."

| But we're getting too far ahead of an
amazing story. You ought to know
the background — the real life events that
shaped this girl's destiny. Only in this
way can you understand why she bears
so much promise as a dramatic actress,
and is one of Goldwyn 's finest dis-
coveries.

She was born in Butte, Montana, on an
August 18. This is important only as a
beginning, for Andrea's parents soon
moved to Globe, Arizona. By the time
she got through grade school, the family
was on the move again. This time they
left the United States behind, moving
across the border and far south to Cine-
guilla. I'm no authority on Spanish
names, but if the first half of that word
wasn't a portent of things to come, then
I'm talking about the wrong girl!

Cineguilla was a hot spot for a number
of reasons. In those days the Yaqui In-
dians had a bad habit of running wild
on the slightest pretext. In addition,
there were banditos to be considered.

I So her father sent her to Long Beach,
California, where she attended high
school. Nonetheless, Andrea rejoined the
family every summer, and, unless you
question her closely, she will insist that
all she did was read books and bake in
the hot sun.

But things did happen. For instance,
the incident of the Yaquis and the rifles.
The American engineers, knowing of the
constant dangers around them, formed
the habit of regular rifle practice. One
day a "committee" of Indians visited the
mining town to deliver an ultimatum.
There must be no more rifle practice. It
made the Yaquis jittery. The shots might
be an attack by rebel bands, and how
were they to know the difference?

So the Americans laid their guns away
for a spell. But life was dull, and there
was need of excitement. So one day they
had a little marksmanship tourney, and
thought nothing of it.

Came nightfall. Andrea went to bed at
the usual hour, and soon the camp was
quiet. Hours later she was awakened by
the plodding of bare feet outside her win-
dow. She climbed out of bed and took
a quick glance. The place was sur-
rounded by Yaquis, naked except for loin
cloths!

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Often the very nicest and loveliest
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The fact often is — your fussiest bathing,
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Charles Lees, now moving through the
house, went to the door. The Yaquis
were there to meet him. They wanted
no trouble — but would he please oblige
them by delivering up all those noisy
rifles? They got them — all except a few
which the men managed to keep hidden.

| Andrea went through several Rebel
raids. The irregulars would descend
upon the camp, take charge for the mo-
ment, and gorge themselves upon turkey
and chicken. But no one was molested.
Only an absence of fowl and ammunition
would testify to what had happened.

On one occasion, however, Andrea had
a very frightening experience. She was
en route to her father's camp after the
usual winter in California. At three
o'clock one morning she was to change
trains at Jiminez. She was the only
woman on a train packed with soldiers
and officers.

She saw the reason when she stepped
off the train. Rebels had razed the town
that very day, and she found herself in

the midst of fear-crazed civilians. An
hour of stark terror followed. People
besieged her for money and food. Her
luggage was ripped asunder. One man
even tore her coat from her shoulders.
Her father, who had received word of the
raid, hastened by auto to Jiminez and
finally found her there. Andrea had put
up a brave front — but never was his ap-
pearance as welcome as this time!

That same summer another thing, even
more frightening, occurred. She and her
family were dining at a neighbor's house
when a mob came seeking the superin-
tendent. They trussed up the maid and
ransacked the house. Finding nothing
they wanted, they moved on to the mill
where the superintendent was finally cor-
nered.

At first he refused to talk, so they held
burning matches under his bare feet.
Finally he told them where Mr. Lees
could be found. Andrea will never forget
the shock of that moment. They were all
quietly eating dinner by candlelight when
a brick suddenly smashed through a win-

Charlie McCarthy seems frankly delighted at joining Andrea Leeds in another picture, and
Edgar Bergen seems equally pleased. The young actress plays a girl who goes to Holly-
wood, determined to get into pictures in Universal's new drama, Letter of Introduction

32

Accept No Substitutes! Always Insist on the Advertised Brand!

.

dow. Loud voices shouted outside, and
more glass crashed to the floor.

Charles Lees would not have been a
good mining engineer if he had lacked
courage in a moment like this. In fact,
he might not have been a live engineer,
had he not had the courage to walk out
alone, face the mob, and order it off the
place. Had several men tried to put up
a fight, tragedy probably would have re-
sulted. The startling incongruity of one
lone man issuing orders to a mob was
the thing that saved that situation.

| Andrea, during the winters preced-
ing, had continued her schooling.
She spent one year at the Chicago Con-
servatory of Music studying the piano.
The rest of her college education came
about at the University of California at
Los Angeles — they call it UCLA out on
the West Coast. And while there, she
played in college dramatics and appeared
in an amateur movie filmed on 16 mm.
equipment.

Andrea's last flight from Mexico — that
dawn escape related at the first of this
story, set the pace for the things that fol-
lowed. She made up her mind that only
a job would quell her restlessness.

So Andrea started in to be a writer.
She made the rounds of the newspaper
offices, to no avail.

One day she met a film executive who
said to her, "Young lady, you've got the
right desire but the wrong application.
You should be an actress."

So what? So Andrea listened, and
thought perhaps he was right. But being
an actress is different from having the
desire to be one. She already had some
pretty fair examples before her of Holly-
wood's aloofness to fresh talent.

Then a strange thing happened. Di-
rector Howard Hawks saw that inno-
cent little 16 mm. film they made at
UCLA, and in it he saw a potentially good
actress. So he traced down Antoinette
Lees and took her to Samuel Goldwyn.
That great producer gave her a screen
test, and verified the suspicion that this
girl had what it takes. So they christened
her Andrea Leeds and put her in Come
and Get It.

Then she did Stage Door, and by the
time it was finished, Sam Goldwyn was
ready to start his Goldwyn Follies. He
gave Andrea the top feminine role in it.

The preview of the Follies attracted a
big crowd. Most of the stars arrived in
polished limousines, and entered the
theatre in grand style. But Andrea —
well! She came with Edgar Bergen and
his constant companion, Charlie Mc-
Carthy. They did not drive up in some
super-automobile. Not these three. The
crowd stared, and roared in delight. This
trio of top personalities in the picture ar-
rived in a tiny Austin!

This is the story of Andrea Leeds'
amazing life. I haven't tried to detail
her personality to you. It's hard to do.
The girl sits there, looking very gorgeous,
and she talks in a voice that carries
power, conviction, color, and you carry
away the suspicion that her adventures
are just beginning.

PORE-POCKED
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It Took Quick Thinking

Sometimes the answers are not written in the
script and actors have to turn authors in a hurry

By GRACE KIXGSLEY

■ It isn't only aviators and railroad
engineers and card sharps and fire-
men and auto -racers and burglars who
have to think fast. Everybody has at one
time or another in his life faced an ex-
citing moment when his life, his happiness
or maybe only his job hung in the balance.

Actors are no exceptions. Fire, flood,
automobile accidents, flying machine
crack-ups, and threats to the lives of
loved ones, all furnish crises which de-
mand fast thinking.

■ It is bad enough, says Jack Benny, to
find yourself in a tight place and

have to think quickly, but it's ever so
much worse when you suddenly see a
loved one in danger. There's no gagging
that up!

"My little daughter, Joan, was visiting
me one day on the set," explained Benny.
"I was studying my script, but looked up
a moment, and saw my child with her
little hand outstretched toward one of
the high voltage controls. Realizing I
couldn't get to her in time to save her
from a possible fatal shock, I hurled my
script at Joan's legs. This threw her off
balance. She plumped down on the floor,
laughing gleefully over the new game I
was playing with her!"

H Maybe you remember reading how
Mae West's fast thinking got those
apartment house burglars jailed. But the
story is worth repeating anyhow.

Returning to her apartment house late
one evening, Mae noticed that the door-
man was not in his place. Taking a quick
glance around the lobby, she noted the
switchboard operator wasn't at her post
either. Suspicious, she went back to her
car and told the chauffeur to hurry to the
corner and call the police.

Her quick thinking resulted in the arrest
of robbers, who had locked the hotel staff
in the basement with the idea of waiting
till she came home in order to rob her
of her jewels.

H A lot of times there is comedy in-
volved in theatre emergencies.

Take the experience of Brian Donlevy,
for instance, when he was playing in The
Milky Way, on Broadway, where his pals,
trying to make a prize fighter of him, get
him down and take off all his clothes with
the exception of one single important
article.

On the night in question the boys had
stripped him of all but the next last piece
of clothing, when it suddenly and hor-
ribly dawned on Brian that in his haste
to get dressed that night he had neglected

to don the aforesaid important garment.
Panic-stricken he shoved the head un-
dresser into a chair, ad libbed, "Cut it
out now! I got modesty!" And, under
cover of the wave of laughter that fol-
lowed, he frantically explained the situa-
tion to his startled fellow thespians.

| Then there is the story of Eric Blore,
and how he got his own way by
thinking fast at the right minute.

Blore was a lance corporal in the British
Army during the World War. He was up
for a commission, along with a month's
leave, when a new military big shot moved
into camp to take charge of the situation.
The big shot was a crusty soul and a
stickler for perfection of military routine.

On this particular day a new company
of recruits was lined up for his austere
inspection. The kids hadn't much train-
ing and that fact stuck out all over them.
When the crusty soul called "Attention,"
he got it — seventeen different kinds of it!

"Lance Corporal Blore!" snapped the
big shot, "Come forward and explain to
these puling infants the exact meaning of
the command, 'Stand at attention!' "

Blore stepped forward, saluted his su-
perior and faced the troop.

"When the command comes to stand at
attention — " he began.

And then the awful thought occurred to
him that, if he pleased the old fellow, he
might be stuck with the job of instructing
all the troops to come! And under the
new order of things, farewell to the pend-
ing commission and the month's leave!
Awful thought!

"When the order comes," he began
again, "to stand at attention, you — er —
simply stand at attention!"

Old Crusty blew up!

"Of all the inefficiency I ever saw, you,
Lance Corporal Blore, have given the
most deplorable exhibition," etc.

And Blore got his leave.

■ Hoot Gibson never would have been
here to tell how it feels to fall with an
airplane if he had not thought fast, that
day he crashed while he was flying in the
Olympics in Los Angeles.

"When I knew I was falling, out of con-
trol," said Hoot, "the first thing I thought
of was fire. With a second or two to go
before I hit the ground, I reached down
and turned off the ignition. I did go to
the hospital all right, but not as a cinder."

| But of all the social misadventures,
that of Spencer Tracy and Pat O'Brien
is the funniest.
It was in New York, while Pat and

34

Accept No Substitutes! Always Insist on the Advertised Brand!

Brian Donlevy still wears a shocked expres-
sion when he remembers the time he had
to do his quickest thinking on the stage.
You'll see him next in The Battle of Broadway
with Victor McLaglen and Louise Hovick

Spencer were both stage actors doing small
parts. They lived together and owned one
dinner coat between them.

Pat and Spencer were invited to a party
one night, but what to do for clothes?
But they did want to go to that party so
badly! So they hit on a device. The
party took place on Long Island, and the
house had a verandah which ran around
the front and one side. The boys decided
that one would wear the dinner coat and
the other a business suit. One would go
into the party, while the other lurked on
the side verandah; then the first one would
come forth, seek the verandah shadows,
and the two would change clothes.

"It all worked beautifully," said Pat,
"until our hostess' curiosity was aroused
by the fact that Spencer and I were never
present at the same time, but that, when
he was there I invariably disappeared, and
vice versa. So finally she followed me
out. She saw me dodge around the corner;
she caught sight of Spencer in his business
suit, lurking about like a burglar. We had
just begun starting to unbutton our vests
in the undressing act when we saw her.
I gulped as I realized that I must think
quickly.

" 'Spencer — er-er — ' I began, 'Spencer
went home to look after some business
matters. He came back to tell me he had
a telephone call from a manager who
wants me for a part, and so I'll have to go
toe!'

"And so we made our ignominious de-
parture! But at least we had saved our
faces and we had been at the party!"

They give you FRESH Faces

They Keep Stars Fresh!

Who keeps your favorite
movie star looking so FRESH ?
Why, it's those geniuses of
make-up! They give you
FRESH FACES on the screen,
as Old Gold gives you
FRESHNESS in cigarettes.

Old Gold gives you

FRESH CIGARETTES

Hours waiting "on the lot". Dust
and dirt. The heat of Kleig lights.
Yet a screen star ... to retain her charm
and appeal . . . must be -utterly fresh the
instant she steps before the camera.

Cigarettes face that freshness prob-
lem, too. They travel far to reach you;
and along the way they're beset by dry-
ness, dampness, dust. Yet a cigarette . . .
to retain its charm and appeal . . . must
be utterly fresh the instant you put a
match to it.

Hollywood spends a fortune to guard
the freshness of its stars. We spend a
fortune to guard the freshness of our
star . . . Double-Mellow Old Gold.

We put an extra jacket of costly
moisture-proof Cellophane around every
Old Gold package. Thus, double- wrapped
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prize crop tobaccos are protected from
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exactly as we make it . . . and that's as
fine as a cigarette can be made.

TUNE IN on Old Gold's Hollywood Screenscoops, Tues.
and Thurs. nights, Columbia Network, Coast-to-Coast

Here's why the O.G. package keeps 'em fresh

Outer Cellophane Jacket

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The Inner Jacket Opens

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Copyright. 1938, by p. LorUlardCo., Inc.

When Answering Advertisements Please Mention June HOLLYWOOD

35

IT TAKES A LIQUID
TO CLEANSE YOUR SKIN

U S4> convenient to ud£ —•
and clean* so th&wuqhhj,

says BINNIE BARNES

appearing in the
Samuel Goldwyn production, "Marco Polo"

Liquid Ambrosia gives you a double bene-
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Trial sizes at 101 stores.

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BORMED POV^R

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Enter the Flower Girl

Ann Doran, who will be seen in Columbia's Holiday, fakes no time off
from the care of her hands. A softening lotion is particularly
important during vacation days filled with sun and wind

Daintiness still is the first rule for charm,
and here is a beauty expert's advice

By ANN VERNON

91 Fair and flowery is the fashion fore-
cast for summer. Flowers are defi-
nitely the decoration of the moment.
You'll wear them on your hats, your
dresses, tucked into the buttonholes of
your suits. You'll twine them around
your head for evening, pin them to the
bosom of your strapless evening dress,
fasten them at your wrist, your waist.
Even flower trimmed evening slippers will
peep out from bouffant, swishing or-
gandy or taffeta skirts.

With all this accent on flowers, you'll
want to be flowerlike in your daintiness
— and rival your clothes for sweetness.
I've covered the town, and now I'm all
ready to sound off with an impressive list
of products which will help keep you
flower-fresh for summer. These are the
things which will make you dainty from
the skin out, fresh as the morning dew,
so that the final touch of make-up will
give you a petal-like loveliness.

For summer daintiness, for summer
comfort, you'll never want to slip up on
your morning and evening baths. Take

an invigorating shower in the morning to
wake you up, and a warm relaxing tub
at night to leave your body silky soft as
the fresh nightie you slip into before
toddling off to bed. To make the bathing
rite even more refreshing, why not a soap
that is known for its gentle, mild and
thoroughly cleansing lather? The tiny
bubbles attack and defeat all the dust and
grime you've collected during the activi-
ties of the day. You'll like the fragrance
of this creamy white toilet soap. A few
cents buys it in its green and yellow,
cameo bedecked wrapper, so you'll surely
want to lay in a stock to insure pleasant
bathing this summer.

■ I'm one of those people who just
never could see the sense of taking a
shower or tub, and getting all clean, and
then stepping into underwear that "has
been worn just one day." One day, I
usually find, is quite long enough for a
slip, brassiere or girdle to collect its full
quota of perspiration odor, even in the
winter.

36

Accept No Substitutes! Always Insist on the Advertised Brand!

And the hot weather just multiplies that!
And when you come right down to it, it's
not so terribly hard to have clean undies
always on hand. There are so many re-
liable soaps and soap flakes on the market
that it's but the work of a minute to suds
them out, hang them up, and start the
next day really fresh! The maker of the
toilet soap I just told you about also puts
out a pure soap that can be used for both
laundry -and bath. It comes in powder
and flake (in a blue and white package)
as well as cake form, and all three lather
easily in luke-warm water.

Summer means hot weather, and hot
weather means just one thing. Perspira-
tion. Smart girls from New York to
Hollywood have learned that it just
doesn't pay to take the chance of stain-
ing good clothes. Shields are one good
method of protecting dresses, saving you
worry and cleaning bills. At a fashion
show I attended the other day, each and
every model wore, under her glamorous
clothes, a brassiere with shields attached
to it. I learned later that these are worn
in all the big studios in Hollywood, to
protect the clothes — for Klieg lights are
hot! These garments seemed to me to be
the last word, because they are convenient
and comfortable, can be washed all
in one piece. Gone is the bother of re-
moving shields from a dress, sewing them
in again. There were all sizes and types
of models in that show, and there was a
bra for each type, so I'm. sure you'll find

one that is just right for your figure.
Some were wrap-arounds, some hooked
in back. Most featured the uplift line.
Two of the styles had a built-in arch
which supported the bust from under-
neath. The bras come in such fabrics as
lace, net, batiste, and cost from about a
dollar up. Want the name?

To go with the shields, I found a grand
product that takes the odor out of per-
spiration. The pure white cream is easily
applied to the armpits, and vanishes so
quickly that you can go on with your
dressing immediately. You'll find the
cream will soften the skin, leave it smooth
and white. If friend husband snitches
some of your cream, buy him some of his
own — or get him a can of the powder
deodorant made by the same company.

| After taking care of every other
phase of personal daintiness, don't fall
down on mouth hygiene. Scrub your
teeth regularly to accomplish two things
— a clean mouth and gleaming teeth.
Nothing looks nicer with a deep coat of
summer tan than sparkling white teeth.
But not everyone's teeth are white and
bright. If yours are the dingy type, I
know you'll want to try the refreshing
minty-flavored dentifrice I ran across the
other day. It comes in two types. No. 1,
in the red package, is for teeth that
brighten easily, No. 2, in blue, for teeth
that are hard to whiten. The dentist
manufacturer has lately brought out both

types in powder as well as the original
paste form, so you can have your choice.
They come in 10, 25 and 50 cent sizes.

[ I used to dread working during the
summer because my face would get
so dirty when the office windows were
open all day. But this summer is going
to be different. The other day I dis-
covered some grand little pads, saturated
with a mild lotion that cleanses the skin
without drying it. One circular pad does
the trick for the face — removes the dirt
and perspiration as well as make-up,
freshens the skin, and at the same time
softens and smoothes it! Your face is all
prepared for fresh make-up then. There
are 110 pads packed in a blue and white
jar, and 10 travel in a flat, purse-sized
vanity. Fifty-five cents buys them both,
and of course I'll send you the name.

Want to spend a -fair and flowery
summer? Then write to Ann Vernon for
advice on how to do your hair, how to
make up, how to be fresh and dainty on
the hottest days . . . And don't forget
to enclose a stamped, self-addressed en-
velope (3 cents U. S. postage) for her
reply. The address is Ann Vernon,
HOLLYWOOD, 1501 Broadway, New
York City.

TO LOOK AT

...BUT NC FUN TO KNOW!

I'M SORRY TO LEAVE EARLY, MADGE,
BUTNOBOOY BUT YOU WILL MISS

ME. PEOPLE NEVER PAY ANY
ATTENTION TO ME AT PARTIES ! )

— ■ ' - ' .m -

RUTH, WILL YOU LET ME TELL YOU ||
WHY? IT'S HARD TO SAY- BUT YOU

REALLY OUGHT TO SEE YOUR
DENTIST ABOUT YOUR BREATH !

TESTS SHOW THAT MOST BAO

BREATH COMES FROM DECAYING

FOOO OEPOSITS IN HIDDEN CREVICES

BETWEEN TEETH THAT AREN'T

CLEANED PROPERLY. I ADVISE

COLGATE OENTAL CREAM. ITS SPECIAL

PENETRATING. FOAM REMOVES

THESE ODOR-BREEDING DEPOSITS.

AND THAT'S WHY..

COLGATE OENTAL CREAM
COMBATS BAD BREATH

>Bt A

I "You see, Colgate's
Jfv-jg. j. special penetrating
9 foam gets into thehid-
•— den crevices between
J- your teeth that ordi-
nary cleansing meth-
ods fail to reach . . .
removes the decaying food de-
positsthatcvwwemost bad breath,
dull, dingy teeth, and much tooth
decay. Besides, Colgate's soft,
safe polishing agent gently yet
thoroughly cleans the enamel-
makes your teeth sparkle!"

NO BAD BREATH
BEHIND RUTH'S SPARKLING SMILE!

..AND NO
TOOTHPASTE
EVER MADE
MYTEETH AS
BRIGHT AND
CLEAN AS
COLGATE'S!

When Answering Advertisements Please Mention June HOLLYWOOD

37

LOVELY ADRIENNE AMES as photographed by AUTREY

Want a lipstick

that's permanent?

. . . keeps your lips soft too?

Then here is the lipstick for you . . . The
color stays on, yet this new kind of lipstick
keeps your lips smooth, youthfully moist.

ROMANTIC CALIFORNIA COLORS

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with dark skin. SPANISH is a daring red
styled for the complexion of a flashing
senorita. DESERT FLAME is a brilliant
youthful color for blondes. CINEMA a new
shade styled in Hollywood for wear under
artificial light.

Large regular size for 60c at all Drug and
Dept. Stores and 25c size at Dime Stores.

DUART

lipstick

MERCOLIZ»CREAM

Make your skin young looking. Flake off the stale,
surface skin. Reveal the clear, beautiful underskin
by using Mercolized Wax Cream regularly. Give
your skin the combined benefits of cleansing, clear-
ing, softening, smoothing and beautifying in every
application of this single cream. Mercolized Wax
Cream brings out the hidden beauty of the skin.
Use Saxolite Astringent Daily

'T'HIS tingling, antiseptic astringent is dellght-
*■ fully refreshing and helpful. Dissolve Saxolite
In one-half pint witch hazel and apply.

Try Phelactine Depilatory

For quickly removing superfluous hair from face.
Sold at cosmetic counters everywhere.

Irene Dunne and Douglas Fairbanks, Jr. demonstrate just why their new film is titled
The Joy of Living. After making his second comedy at Radio, young Fairbanks is
now at Universal, playing opposite lovely Danielle Darrieux in The Rage of Paris

HE HAS A WONDERFUL TIME

Ever since he wanted to be a Shake-
spearean actor at the age of ten, he
has been making a success of his hobbies

By TERRY KELLY

I It's a pretty sound tradition that most
youngsters dodge Shakespeare like a
pot of poison. Until they have attained a
certain degree of sophistication and liter-
ary background, they'll run at the sight
of the old bard's printed ghost.

I did, and I'll bet you did. But Doug-
las Fairbanks, Jr. didn't, and that's why
I maintain he couldn't help being an
actor.

Over at RKO where he starred in The
Joy of Living — people just couldn't resist
referring to it as the joy of loving —
Doug was stymied by this question:

"Supposing you had been born John
Richard Jones, son of a noted ship builder.
Would you still have turned out to be
a great actor?"

Almost immediately he took exception
to that term "great actor," but when I
pointed out that it had very little to do
with the question, he said, "I probably
would have grown up to be a ship builder
who spent too much of his time in ama-
teur theatrical ventures, Little Theatres,
and that sort of thing."

Then he admitted the truth. At the
tender age of ten, young Doug, living
with his mother, was going through
the first throes of wanting to go on the
stage.

What he had to say was the start of
a tense story — past, present and future.

■ "I was ten years old when the bug
bit me," he said, pouring milk (not
cream) into his afternoon tea. "Mother
was what was known as a society belle
and had nothing to do with the theatre.
Dad was on the west coast in pictures.

"I had no inclination to climb cliffs,
swing from chandeliers, or do any of the
other alarming stuff which had made him
famous. But how I went for Shakespeare!
I learned all the roles in King Richard
III, and parts of other dramas.

"When mother wasn't around I would
get into her make-up box and fix myself
the way I thought good professional ap-
pearances would be. Then I'd get before
a mirror and throw acting tantrums."

Not that he spent all his youthful years
shouting Shakespearean quotations over
the neighborhood. Quite to the contrary.
After this early attack of drama, he re-
covered for a spell and almost became
an artist. He painted a bit and sculpted
more. And wasn't half bad at it, either.

"I won an honorable mention once
under an assumed name in a Paris salon
for one bit of sculpture," he admitted.
"I think I was about twelve then. I have
done some sculpting since, but very little
painting. Two summers ago I did a
couple of busts for the fun of it, but I
must confess the years of inactivity
proved fatal and the results were horribly
amateurish."

38

Accept No Substitutes! Always Insist on the Advertised Brand!

Doug has done a good deal of writing
in the past five years. He was one of the
first contributors to Esquire. His work
has appeared in everything from Vanity
Fair to the Saturday Evening Post. Most
writers would like to be able to say the
same for themselves, yet Doug has not
gotten too much satisfaction out of what
he has done.

For. one thing, he is suspicious that
some of his stuff sold because of his name,
and not strictly on merit. Although you
must not conclude from this that the
editors of big magazines will buy just
anything with his John Henry on it. To
the contrary, he has the usual drawer
full of rejection slips and letters. Some
of the rejected manuscripts, he believes
in true author's psychology, are among
his best things to date.

No wonder, then, that he is a very
busy man these days. Doug makes one
film after another, with very little time
in between. When he's away from the
studio, he has plenty to do. He likes to
find time for a day or two at sea. He
writes a yarn for the satisfaction of it.
He goes somewhere for a little trip.

I saw him this last time in the RKO
commissary. He was studying the pro-
duction schedule, and detected a period
of eight days that soon would offer him
his freedom. So what was he planning?
A quiet train trip to New York to visit
his mother for two days. That's a long
way to go for such a brief visit, but she

was getting ready to sail for England and
it was to be a case of two days or none
at all.

Douglas Fairbanks, the younger, is un-
usual in a lot of ways. He is artistic,
something of an idealist, a bit of the
dreamer. But at the same time he has
a dynamic drive. He simply can't be still
for long.

The result? He won't sign a long term
contract in Hollywood because he might
want to visit his home in England. He
won't buy a house because tomorrow he
may want to live somewhere else.

What then, does he plan for the fu-
ture? Well, I can give you some of
the conclusions I have reached in ob-

Everyone is wondering just
how the glamorous Danielle Dar-
rieux, French star, impresses
Hollywood. In order to get the
inside news, E. J. Smithson spent
several days working as an extra
in her first American film, The
Rage of Paris. He tells you all
about it in the July issue of
HOLLYWOOD Magazine. Get
it at your newsstand on June 10.

serving him and talking with him. To
be sure, they may not agree in the slight
est with what he plans. I merely main-
tain that these things are indicated from
my point of view.

He will remarry again sometime. His
matrimonial venture with Joan Crawford
turned out unsatisfactorily, and a man
can't quickly walk into another marriage
without a lot of consideration first — not
if he's smart about it. I'll guess that he
has no permanent romance in sight, but
sooner or later he will find the right girl,
and when he does, the marriage will take

He will not be satisfied being just a
star. He has no desire to direct pictures,
but one of these times we will see him
blossom out as a producer-actor, all in
the same film. In all probability he will
even have a hand in the writing of the
script.

In this way Doug will find the chance
he wants to create the vehicle first, shape
its destiny, and then interpret what he
has prepared.

| If a man did all the things that Doug-
las does, and did them too seriously,
if he took his thoughts too seriously and
failed to leaven them with humor, he
might be something of a drudge. Not so.
however, with the younger Fairbanks
Happily, he has a swell sense of humor.
And that guarantees that he'll have a
wonderful time — no matter which career
he is following.

COURSE I'M YOUNG

BUT MIDDLE-AGE SKIN

ALMOST GOT ME/

REAP THIS GIRL'S STOny/

NO, BUT HE HASN'T

TELEPHONED. AND

THE LAST TIME WE

WERE OUT TOGETHER,

HE PIP NOTHING BUT

RAVE ABOUT JANE,

AND HER

"SCHOOLGIRL

COMPLEXION"/ J

WELL, MEN APORE LOVELY
COMPLEXIONS-AND YOURS IS SO
PRY, LIFELESS, COARSE-LOOKING
LATELY! REGULAR "MIPPLE-AGE"
SKIN.' MAYBE IT'S THAT SOAP
_YjDU'RE USING... WHY NOT
*£*'*. CHANGE TO PALMOLIVE 7

¥*h^ ^

BECAUSE PALMOLIVE IS MADE WITH

OLIVE OIL. ..A SPECIAL BLEND OF OLIVE

AND PALM OILS, NATURE'S FINEST

BEAUTY AIDS/ THAT'S WHY IT'S SO GOOD

FOR DRY, LIFELESS SKIN. IT SOFTENS

AND REFINES SKIN TEXTURE/
CLEANSES SO THOROUGHLX TOO...
V LEAVES COMPLEXIONS RADIANT/

BILL RAVES ABOUT MY COMPLEXION,
NOW THAT I USE ONLY PALMOLIVE,
THE SOAP MADE WITH OLIVE OIL TO
KEEP SKIN SOFT, SMOOTH, yOUNO/

ILL CHANGE TO
PALMOLIVE

RIGHT AWAY/

**lM

°Ur*

$

When Answering Advertisements, Please Mention June HOLLYWOOD

39

TWO NEW

LYWOOD
URLERS

th spring end holders

If you like curlers with spring
end holders, you will like these
new HOLLYWOODS. They are
igned so that they hold hair
s securely yet do not crimp
d will slip off easily without
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2" and 2'4" curling surfaces. They
give you all the superior, patented
features that make HOLLYWOOD
CURLERS so easy to use, so quick
to dry, so pleasing in results. See
the complete HOLLYWOOD line
at your variery store. ..from the new
Giant rhat makes big soft curls to
the little Midget that is so useful in
controlling short, bothersome ends.
Insist on HOLLYWOOD Curlers
. . . ask for them by name.

VUJOOD
CURLERS

AT 5c AND 10c STORES AND NOTION COUNTERS

AND A FLAME-GLO
ROUGE COMPACTS

It's our treat! Let us send
you 3 full trial sizes of the
famous flame-glo Triplei
Indelible Lipsticks TREE
. . . each in a different fascinating shade, so
you can discover the color most becoming to
you. To introduce our newest achievement,
we will also send you two new shades of
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smooth texture that gives a natural, youthful
glow to your cheeks . . . that stays on because it
clings! Just send 10< in stamps to cover mailing
costs. For beauty's sake, send Coupon TODAY!

TRIPLE "INDELIBLE

This is the engaging smile Wayne Morris turns on for his part
in the rather embarrassingly titled picture, Men Are Such Fools

After the First Year

What difference has a year of fame
made in the young man who was un-
known only a few short months ago?

By ELMER SIVFIE11)

| Take a young, good-natured fellow
who literally flys from screen ob-
scurity to screen fame within the short
span of a single year — an amazing record
accomplished with no more than two pic-
tures to his credit — and you begin to
wonder, if you are at all interested in his
career, just what this spectacular rise to
stardom has done to him. You recall the
almost complete metamorphosis that
blighted the lives of other young and
good-natured youngsters — boys and girls
alike — whom Lady Luck chose to sprinkle
with star dust. Some went high-hat,
some went "Hollywood" and some went
into oblivion.

Take Wayne Morris, for instance. Kid
Galahad Morris, the big boy with the

broad shoulders and infectious smile.

Here's a young, strapping, good-
natured fellow who was smoked out of
his fire warden job in the Sierra Madres
Mountains by a Warner Brothers talent
scout, given a screen debut in King of
Hockey, a starring part with Bette Davis
and Edward G. Robinson in Kid Galahad,
to find himself bracketed almost over-
night with the top names of filmdom.
Hardly had he read over the first preview
review of his second picture when he was
the center of interest of the back-slap-
ping, bouquet-throwing, "I-told-you-so"
fair-weather friends noted in movietown
for their adroitness in hitching their
wagons to a star.

Two weeks after Kid Galahad was re-

SUBSTITUTES! ALWAYS INSIST ON THE ADVERTISED BRAND!

I

leased he was deluged by a flood of
telegrams and letters from motion picture
fans the country over and was taken to
their hearts as their special film favorite.
Wayne's fan mail rose from absolutely
nothing to a mark equal to that received
by any Warner top-ranking star! All this,
mind you, within the period of a year! It
was enough to turn the head of a man let
alone a boy, and all Hollywood, eager to
get at its favorite indoor sport, began to
speculate as to the length of time it would
take before this broad-shouldered, good-
natured guy would start trying on larger -
sized hats. Granted that he was level-
headed and so far, to all appearances, he
seemed to know what the shouting was
all about, it wouldn't be long before he
would begin to develop the outward and
visible signs of a fellow pretty much in
love with his own importance.

That's what Hollywood thought and
said, having in mind the form sheets of
a number of other likeable youngsters
who had gone from better to worse after
their names had been blazoned in mar-
quee mazdas. No kid of Kid Galahad's
age could withstand the pressure exerted
by the sudden acclaim and adulation of
the country's motion picture fans. So
Hollywood thought and said.

■ Now, Hollywood being the town it is

— a place where you can't believe half

of what you see and nothing of what you

hear — we decided that the only way to

obtain a fair appraisal of the young, ex-
fire warden of the Sierra Madres Moun-
tains, was to put him' under observation,
ask him a few questions about himself
and so discover if the wise-acres of
Movietown were hot, warm, or cold so far
as their prophecies about him were con-
cerned.

We decided to do this because we had
taken a personal interest in Wayne ever
since we had first met him on the Kid
Galaliad set during the filming of the
thrilling fight sequences. We had given
him his first publicity story in Holly-
wood Magazine. This was long before
the picture was released and we pre-
dicted that here was a guy who was going
to travel far in his film career. We also
predicted in the same story that, come the
day when he would have his blonde head
among the brightest of Hollywood stars,
he'd always manage to keep his No. 11
brogans on the ground.

■ Well, the first year of stardom was
just about over and we decided to
put Wayne through the examiner's mill
to prove whether we or the wise-acres
were right or wrong.

We had lunch together recently and he
had time to take the first bite of his "beef-
on-rye," we started to pour out a gen-
erous dose of the well-known "oil" in
the firm belief that if he HAD changed
for the worse a little flattery would be
the mental prod that would give him an

opening to pat himself on the back until
he broke a couple of wrists.

"It must be a grand and glorious feel-
ing," we said, "to be drawing down big
dough, seeing your name on 24-sheets.
being the target for all those fan letters,
hob-nobbing with the screen's elite — boy,
whatta life!"

"It's a cinch! And am I laying 'em in
the aisles and knocking 'em cold! I've
got 'em in the palm of my hand and I'm
shouting gangway to the rest of the world!
I'm good now, brother, but you watch
me hit my stride a year from now! It's
a cinch!"

Kid Galahad didn't say that, but it's
what he would have said if the wise-
acres of Hollywood were right. What he
did say was this:

"It's a grand and glorious feeling, all
right," he said, forgetting his 'beef-on-
rye,' "seeing your name where you never
in the wide world ever expected to see
it, reading pieces about yourself in the
magazines and papers, receiving fan mail
from all parts of the country, meeting new
and interesting people, feeling that may-
be you're really getting somewhere — but
I'm scared stiff! It's sort of gotten me
down. Too much has happened to me in
a year. But I'd be a sap to deny that I
haven't been thrilled by it all. I hope
my foot won't slip . . . what I mean is, I
hope I won't change any. I'll never for-
get what Pat O'Brien said while we were
making Submarine D-l. 'The first time

I

Now-with the active
itfflHSHESSkin,too

GLORIOUS days in the out-of-doors!—
" Are you wondering what you can do
for that flaky skin?

This year you are doubly fortunate!
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This new Pond's "skin-vitamin" Vanish-
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Tun* In on "THOSE WE LOVE," Pond's Program,

Put it on always be-
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after coming in from
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"Pond's
base that

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Now every jar of Pond's Vanish-
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Mondoyi, 8:30 P.M., N. Y. Tlmo, N.B.C.

'skin -vitamin' Vanishing Cream is good news. A powder
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send for

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to cover postage and packing.

Name_

Street _
City—

.State-

Copyright, 1938, Pond's Extract Company

When Answering Advertisements Please Mention June HOLLYWOOD

41

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During a number of Alexander's Ragtime Band,
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steps . . . her fear of high places led to her doing
this same thing in the middle of a song in In Old
Chicago.

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you feel your feet leaving the ground,'
he advised, 'go buy yourself a pair of
shoes with spikes in the soles.' I've
already bought 'em — just in case. Re-
member the night Kid Galahad was pre-
viewed? I'll never forget it."

We won't either. Standing in the lobby
after the show, Wayne, red as a beet from
embarrassment, listened to himself being
hailed as a new star. Producers, direc-
tors and stars patted him on the back,
shook him by the hand, tagging him as
the best bet of the season, filling his ears
with enough praise to kill an ordinary
youngster receiving his first full taste
of screen fame. It was a royal reception
if there ever was one, rarely accorded a
newcomer, and Wayne took it shyly,
looking around in a dazed sort of way as
though it must be two other guys.

"I never slept a wink that night, or for
several nights after that," he admits; "it
was the thrill of a lifetime."

| We asked him if he'd ever taken time
out to check up on himself recounting
case histories of youngsters who had gone
slightly haywire after tasting the fruits
of initial success.

"I do it all the time, checking and re-
checking," he replied. "And I'm smart
enough to take the advice of good friends
like Pat O'Brien. You know, that big
Irisher has told me off a number of times
and, believe me, when Pat begins to yell,
you stop, look, and listen. Right off the
bat I learned from Pat that I didn't have
to be a 'Good Time Charlie' to get ahead
in this business, and so my visits to the
gay nightspots are few and very far be-
tween. You may not believe it but it's
a fact just the same — I've only been to
the Troc twice since I've been in pictures.

"Here's what I do with the 'big dough'
you asked about a minute ago. All
of it, save for a small sum needed to take ,
care of my car, lunches, and so on, goes
into annuities. If saving will do it, Father
Morris' big boy, Wayne, will never have
to beg for benefits when Fate steps in and
says 'You're through, Pal.' My one ex-
travagance, if you want to call it that,
is my car which is ancient enough to
receive old age benefits and soaks up gas
and oil like a barfly trying to drink the
breweries dry.

"Have I bought a new house or moved
into swankier quarters? Not by a long
shot! In order to be near the studio I
rented a modest little house in the hills
above Warners and moved my family
from Pasadena. It's a quiet, pretty place,
but far from being swanky. Some of
these days, though, I'm going to buy a
few acres in the San Fernando Valley,
build a house on it and be a farmer. My
family thinks it's a swell idea, and so do I.

| "Romance and marriage? Say,
you've read about Priscilla and me
in the papers so let's skip it. We've both
agreed to wait two or three years before
taking the Mr. and Mrs. step because we
both feel that first we ought to establish
ourselves more firmly in our careers.
That may sound a trifle selfish, but it's

fair, it seems to me. And it's okay by
Priscilla, too."

■ The day we went out to arrange a
luncheon date, he was working with
Priscilla Lane, his real sweetheart who
is also his reel sweetheart in Men Are
Such Fools. During a long wait between
shots, Wayne sat down in a corner of the
set to study his lines and within a. minute
he was surrounded by a group of props,
grips and so on — all bent on teaching
their pal how to handle his dialogue! In
turn, each took the script and became an
actor with Wayne sitting there, smiling
a little, but taking it all in like any earnest
pupil would. There was a lot of friendly
argument about 'timing,' and 'emphasis'
and it all sounded pretty expert to me. It
evidently did to Wayne, too, because we
saw him later making penciled notations
on the page of script under discussion.
And when an assistant director shouted:
"Break it up, we're shooting!" one of the
props brought a hand down on Wayne's
shoulder and grinned: "Now do as we
told you an' get up there and hit that
ball!"

No, the young, broad-shouldered, good-
natured guy who used to pick up his
brogans and set 'em down on top of the
ridges of the Sierra Madres Mountains
hasn't changed a bit, and in our opinion
he never will.

"He may be starring in Men Are Such
Fools," said a grip fondly, "but by gravy,
he isn't one!"

Wallace Ford has been away from the
screen for months because of the sensational
success of the play, Of Mice and Men, still
running on the New York stage. He is shown
here in character as the itinerant worker
whose tragic story has taken such a firm
grip on the imaginations of theatre-goers

42

Accept No Substitutes! Always Insist on the Advertised Brand!

Body-Guards De Luxe

{Continued from page 21]

organized publicity department. And we
said so. Don and Tyrone were gentle-
men, scholars, and mighty fine actors,
but for the life of us we failed to see why
they should feel obligated to horn in on a
matter that was between Arleen and our-
selves. We said a lot of other things, too,
but Frances was too busy at a phone to
pay much attention. We had just fash-
ioned a neat series of caustic phrases
anent this incredible situation when she
hung up.

"I just called Don and Tyrone on the
Alexander's Ragtime Band set," she re-
ported, "and they said to come right over.
They'll take you lunch, and you can meet
Arleen there. I told them you had been
out here on scores of interviews and that
you were a fine, upright gentleman, but
they said that didn't matter and for you
to come over on the Ragtime set for in-
spection."

H We learned, then, that Don and
Tyrone had appointed themselves
monitors to Arleen, and that while it may
have started out as a gag, it surely wasn't
now. The two boys had taken the smil-
ing little colleen under their wings, had
helped in her training in the studio's dra-
matic school, had taught her tricks of the
acting trade she never could have ac-

Hand-painted tulips are
on this striking dinner.
Violet Tatum for Daniell
in Universal's new drama

the only decoration
gown, designed by
to
Rage of

Darneux
The

wear
Paris

quired alone in years. So successfully
had they guided her beginner's footsteps
that now she even refused to go out on a
date with a boy unless he received their
approval and sanction! And it was the
same with interviews. No publicity about
their protege unless they had a hand in
it! The publicity department had given
this arrangement its blessing, Frances
said. Don and Tyrone got a great amount
of pleasure out of it and Arleen, certainly,
got a great deal of very valuable help.
And now would we please run over to the
Ragtime set?

The two self-appointed monitors had
just finished a sequence when we arrived.
We apologized for not bringing along our
birth certificate and a history of our fami-
ly tree but we hoped, so we said, that
these two omissions could be overlooked
and that they would grant us the privi-
lege of asking their protege a few ques-
tions.

Don gave us a long look and glanced at
Tyrone. Then Tyrone gave us a long
look and glanced back at Don. Both
moved back a couple of steps and there
was a lot of whispering between the two
until Don finally went to a phone. When
we heard him put in a call for Arleen we
knew we had at last passed inspection.

| "It may sound a bit screwy," ad-
mitted Don as we walked to the com-
missary, "and we don't blame you if you
think it's all part of a gag, but it isn't,

LOVE

ALMOST

FLIES OUT

THE
WINDOW

Tom has been calling on Marion, but

he's "different" somehow — seems un-
comfortable. Marion wonders what
she could have done.

She spends a week end in the country

with her best friend, Helen. Tom is
there, too. He pays attention to another
girl, and Marion is brokenhearted.

That -night Helen finds Marion crying
in her room — making up for the big
dance. "If I can't win Tom back, I
don't want to live," she sobs.

Helen, frightened, tells Marion about under-
arm odor and begs her to try the new
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your glamor," she says. "You'll have Tom
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nam

2 WEEKS Li

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darling. We won't talk about it . . . but I won't
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43

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■f^S^

Tropic Holiday is the name of the picture, and these gay young Paramount con-
tract players look as if work is play as they cross the lot. Bob Burns, Martha Raye,
Dorothy Lamour, Ray Milland and Tito Guizar are principals in the musical

really. Like all greenies, when Arleen
first came on the lot she was the victim
of more than her share of teasing. Tyrone
and I were as guilty as the rest, at first,
but we gave it up as we got to know her
better. She is such a swell little lady
that we sort of saw to it that she got as
many good breaks as possible. We've been
advising her on this, that, and the other
thing for the past four months, now, and
she's gotten in the habit of looking to us
for advice — and we give it. A monitor
is one who admonishes, one who warns
of faults, informs of duty, and gives ad-
vice and instruction and our supervision
over Arleen has somehow spread out to
cover these various duties. . . ."

"We cut out quite a job for ourselves,"
admitted Tyrone, "but we like it. Arleen
does, too, and that makes it pleasant for
the three of us. This interview, now. She
isn't used to them, so Don and I are sitting
in on this one just in case you inadver-
tantly ask a question we don't want her
to answer. Like 'What I Think About
Love', for instance. Or 'Why I'm Not
Ready for Romance', just to cite another
sample. Arleen's views on love and ro-
mance are 'out'. She isn't in love and she
isn't playing the feminine lead in any
real-life romance — and if she were we
wouldn't allow her to talk about it. Not
for publicity purposes, at least."

■ Arleen was waiting for us when we
entered the commissary. After intro-
ductions were over we got right down to
business by bouncing the ball of conver-
sation with a simple little query that had
to do with her age. Much to our annoy-
ance Don bounced it right back before
she could even open her mouth.

"She's twenty-two and was born in Salt
Lake City," he said. "When she was no
more than knee-high to a shamrock her
parents moved to Twin Falls, Idaho, and

from there to Portland, Oregon, where
she attended the Sacred Heart convent
and St. Francis School. . . ."

"And from Portland," Tyrone broke in,
eager to add his bit to our fund of bio-
graphical information, "the family moved
to Pueblo, Colorado, where she sang in
the choir and played the organ. Los
Angeles was the next station stop in the
Whelan family's travels. Arleen enrolled
in the Manual Arts High School and spe-
cialized in piano, voice, harmony and
music appreciation during her four school
years . . . isn't that correct, Arleen?"

Arleen smiled and nodded. "I loved
music and thought that sometime I might
be able to do something with my voice,"
she told us before her monitors could
object. "Dramatics didn't appeal to me,
then. Whenever my name was mentioned
for a part in a school play I'd always re-
fuse. I won a place on the girls' rifle
team, though, and was initiated into the
Delta Phi Chi sorority and I became fairly
proficient in swimming and . . ."

"When she was graduated from Manual
Arts in 1932," Don broke in, "she set out
to make her own way in the world. There
wasn't enough money in the family cash
box to finance her musical studies and,
anyway, she wasn't sure whether or not
she was talented enough to make music
her career. Beauty salons seemed to
offer a good livelihood that year so she
enrolled at the Paramount School of
Beauty where she studied for six
months. . . ."

"And by the time 1933 arrived," inter-
rupted Tyrone, "the country, still groan-
ing under the weight of the depression,
was as blue as a jazz singer's song. There
were no beauty jobs to be had and it was
a full year before she found work as a
manicurist in the Roosevelt Hotel. Isn't
that correct, Arleen?"

44

Accept No Substitutes! Always Insist on the Advertised Brand!

■ "I felt as though I owned the earth,"
she said quickly, "the day I received
my first pay check. It was the most ex-
citing event in my life except, of course,
the time when I knew for certain that . . ."

"We're coming to that," Don cut in
hastily. "You just be patient, Arleen,
and let us handle this. Tyrone and I want
to keep everything straight and you're
getting excited. You remained at the
Roosevelt for a year and a half and then
moved over to Patrick Regan's barber-
shop where you earned $18 a week and
tips. Right?"

"Right," agreed Arleen, and before
either of her monitors could stop her she
added swiftly, "after I was there for about
two weeks I was ready to quit. You see,
in the Roosevelt I had served mostly
women, but it was different in the bar-
bershop. The customers were mostly
men and the majority of them seemed
to take a great pride in being gagsters
when it came to pretty girls. I didn't
enjoy their teasing and wished more than
once that I was back behind my old
table. . . ."

"And that," Tyrone said, giving her the
sign-off signal, "brings us to the eventful
day of May 27, 1937, when H. Bruce Hum-
berstone, one of our ace directors, walked
briskly into the barbershop for a haircut.
On a little white table was a little black
and white sign, 'Arleen Whelan, Mani-
curist,' but Mr. Humberstone, being pre-
occupied with something or other failed

to notice the sign, the table, or Arleen.
Believe me, it was lucky for him, 20th
Century-Fox, and for her that she finally
mustered up enough courage to approach
the chair in which he was sitting and ask,
in that low, soft voice of hers, 'Manicure,
Sir?' . . ."

"He glanced around," Don said, taking
up the story at this point and without
offering any apologies to Tyrone, "saw
Arleen's red hair, looked intently into her
blue, expressive eyes, noticed the way she
walked — and right then and there, al-
though she didn't know it — she was
marked down for stardom! That's Holly-
wood for you! Studios spend hundreds of
thousands of dollars on talent scouts who
search the country for prospective screen
material and here, right in their back-
yard, you might say, they stumble onto
the discovery of the year! That's more
of Hollywood for you! Now. . . ."

B "When Mr. Humberstone was about
to leave he asked to be introduced
to me. And. . . ."

That was as far as Arleen got. Tyrone,
eager to contribute his share of the ex-
citing story, shushed her with another
sign-off signal.

"Mr. Regan explained that Humber-
stone was an honest-to-goodness director
and not a practical joker trying to get
fresh. Then Humberstone explained that
if she would like to have a screen test
the next day at the studio he'd be very

glad to arrange it. Arleen, so she told
us later, explained to herself that if it
were a joke it certainly was a good one
and that since she had nothing to lose
she might as well agree to the test. Her
boss had said she could have the day off,
and that was something. So she took a
bus the next day, took her test, and when
it was over, took everybody by surprise
by passing it with flying colors. Every-
body, that is, except Director Humber-
stone and Darryl Zanuck both of whom
had agreed before she even stood in front
of a camera that she had everything it
takes to become a great star. . . ."

"In less than forty-eight hours," Don
cut in, giving his fast-talking partner in
monitorship a kick on the shins, "Arleen
was signed to a contract and scheduled
to play opposite Warner Baxter in Kid-
nappedl And if that isn't what you'd call
the 'reel luck of the Irish' the interview
ends right here. Maybe you'd like to say
a few words, Arleen?"

"Well," smiled the blue-eyed colleen,
"there isn't much left to say except that
before the picture went into production
I was sent to the studio's dramatic school
where I studied for six months on such
important matters as diction, poise, and
posture. It was hard work and so ex-
citing that I rarely got more than four
hours of sleep a night. I don't know what
I would have done or what would have
eventually become of me if it hadn't been
for the kindness of Don and Tyrone. I

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ALICE FAYE

20th Century-Fox Stat
in "Alexander's
Ragtime Band"

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owe them a debt I'll never be able to
repay. I'm deeply indebted to Warner
Baxter, too. You know, when the pic-
ture first started, Warner and his wife
used to take me with them on their yacht
and both would coach me in my lines
during the week-end trips. . . ."

| "Here's something you might want to
know," Tyrone hastened to add, "pro-
ducers at the Selznick Studios heard
about Arleen and asked to see her tests.
They were searching for a girl who would
fit into the Scarlett O'Hara role and with
the permission of 20th Century-Fox
Arleen was 'farmed out' for three months
while she learned a Southern accent under
Selznick tutors. An offer was made to
buy her contract from Darryl Zanuck who
promptly refused to let go of what he.
considered the outstanding discovery of
the year in Hollywood. ..."

"It was a disappointment not to be able
to play Scarlett," Arleen said, succeeding
in getting a few words in edgewise, "but
I still think I'm the luckiest girl in all
the world. From a manicurist table to
a sound stage is a long, long jump and
no one knows it any better than I."

"About your dates," we said, then.
"We've heard that you won't accept one
unless these gentlemen — your man-hating
monitors — give their okays. That, ac-
cording to the way we look at the social
amenities, is going a little too far in
supervision. . . ."

The two monitors threw the conver-
sational switch with swiftness and dis-
patch and we found ourselves side-
tracked and without an answer. We saw
Arleen shake her red hair vigorously and
we're fair enough to take that for a 'no.'

"Arleen has a fifteen-year-old brother
named Robert," Don informed us as we
got up to leave.

"And a five-year-old brother named
Tommy," Tyrone added.

"She has one date a week — with our
permission," Don said.

"She takes long hiking trips with her
father and mother whenever she has
time." This from Tyrone.

"She likes to bowl, can tap dance, plays
tennis and badminton." This from Don.

"She was asked for her first autograph
the other day, and was she thrilled,"
smiled Tyrone.

"She weighs 112 — and can eat as much
as she wants without gaining an ounce.
She . . . well, we think she's swell!" said
Don.

Come to think about it, we do, too!

Hollywood Newsreel

[Continued from page 14]

City for a picture down there she had tc
go to a Spanish teacher, to improve hei
Spanish accent.

■ There's no telling what a comedian
will do. As witness Ben Blue . . .
Ben is building a new home . . . but
WHAT a home. It will have only three
rooms, but for these the comic has im-
ported a wood-carver from Sweden and
a mural decorator from Norway. It will
have a sod roof, with brilliant flowers
growing thereon. "I want what I want,"
is the way Ben describes the undertak-
ing . . . "and this is what I want." So, that
seems to be that.

| After this, Edgar Kennedy is going
to be mighty careful in following the
dictates of the Boy Scouts ... Do a Good
Deed Daily.

46

Accept No Substitutes! Always Insist on the Advertised Brand!

Not long ago, he was driving past a
barbecue stand and chanced to see a small
lad literally eating the scene with his
sparkling eyes. Edgar stopped, and bought
the boy a sandwich. Then, he watched
the youngster bolt down the food, proud
in the knowledge his good deed for the
day was done.

A hurricane of skirts rocketed against
him. "What do you mean," a shrill voice
demanded, "buying my son THAT? He's
on a vegetable diet!"

Edgar, burning, left in confusion.

■ Sally Eilers and her producer-hus-
band, Harry Joe Brown, still are
chortling over this incident . . .

They were throwing a party, and in
making out their list of food supplies to
be purchased on the morrow inadvertently
placed the name of the book, "Sartor
Resartus," at the top of the sheet, as a
volume to be picked up later for reading.

Came the morrow . . . and the butler.
who always does the marketing personally,
nearly became apoplectic in insisting at
the store that Miss Eilers ALWAYS got
Sartor Resartus at that counter!

Important Pictures

[Continued from page 10]

Lindsay, Richard Cromwell, Henry
O'Neill, Spring Byington, John Litel and
Irving Pichel are only a few of the many
fine players in the supporting cast. Fay
Bainter gives perhaps the most telling
and consistent portrayal in a production
which is notable chiefly for impressively
lavish costumes and backgrounds, and for
Southern accents from Boston, Ireland
and other points of the compass.

THERE'S ALWAYS A WOMAN (Columbia)

■ When a serious young detective has
a flibbertigibbet wife who insists
upon helping him with his work, audi-
ences are assured of an hour and a half
of laughs, if the action depends upon
Melvyn Douglas and Joan Blondell.

On the firm base of a nice murder mys-
tery, a quite giddy comedy has been built.
Aided by an excellent supporting cast
and rapid fire direction, the stars frolic
through daffy situations and light-minded
lines for an hour and a half of farcical fun.

LOVE, HONOR AND BEHAVE (Warners)

[ This is a domestic drama of two gen-
erations, and is based on the theory
that nothing pleases and flatters a wife
quite so much as a good old-fashioned
spanking from her husband.

Strange idea.

Barbara O'Neill, Thomas Mitchell, John
Litel, Mona Barrie, Dicky Moore, Wayne
Morris and Priscilla Lane carry leading
roles. More than one person will feel that
the case for spankings as proof of devo-
tion is none too convincingly proved, but
most people will enjoy Priscilla Lane's
vigorous rendition of "Bei Mir Bist Du
Schoen."

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Uncanny Scot

Something about the man who
has a magic touch with straw-
berries as well as make-up

By SCOOP CONLON

^\ J

>

Yes, indeed! This pleasant looking young man is
our friend, Andy Clyde, just arrived at the studio

The aging process starts with the hair

The lining pencil puts in plenty of worry

48

Slue comes next And then the crowning glory

Accept No Substitutes! Always Insist on the Advertised Brand!

And here is our old friend,
all set for a day's work

■ If you met Andy Clyde on the street
would you recognize him? I'll give
you twenty to one you wouldn't know
him, despite the fact that he probably is
one of your favorite comedy stars.

Why? Because Andy has never ONCE
for fifteen years on the screen been seen
without those specs, that drooping mus-
tache and the habiliments of the "old
man" he portrays so successfully in pic-
tures.

In appearance, the comedian is far
removed from the quaint character he
portrays on the screen. He is a slender
chap of medium height, good-looking,
sandy-haired, sports a small snazzy mus-
tache— if any — rather than the droopy
effect. He walks with the free and easy
stride of the athlete.

Andy is a quaint character on the screen,
and in some respects, he is a quaint char-
acter off the screen, too.

For example, he is the only gentleman
farmer I know who does his farming in
the city.

He grows the most expensive straw-
berries in the world. If you think this is
a broad statement, give ear.

Andy and I were having breakfast in
the patio of the Clyde manor, which is a
brand-new home nestling in an old but
exclusive part of the Hollywood foothills.

Mrs. Clyde, the pretty Elsie Tarron,
who was once a Sennett comedy girl, saw
to it that we were served strawberries.
They were the biggest this writer has ever
seen, and the quality of their taste would
do credit to the more famous Colorado
variety. Naturally, I hastened to compli-
ment Andy on his Luther Bur bank abili-
ties, but somehow the comedian didn't
seem to enjoy the delicious fruit as much
as the guest.

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When Answering Advertisements Please Mention June HOLLYWOOD

49

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"Being a true Scotchman," said my host,
"I hate to mention money, but each and
every strawberry we are eating cost the
Clyde exchequer $1.89!" He sighed as he
rolled the words with his soft burr.

Prompted by a wink from the little
woman, who has a swell sense of humor,
we prevailed upon Andy to reveal every-
thing.

"Ah, well," sighed the comic, "it's my
love of the artistic that led me astray.
All my life I've been an actor and all
my life I've yearned to have a little farm.
I dreamed of growing the biggest and
the best of everything good to eat. Luckily
we started in the city where I didn't have
much room to farm. Eat the strawberries
now, my boy, because next season they
will only be a memory."

■ Seriously, Andy Clyde belies most of

the traditions of his race. He loves

to bet on golf matches and horse races.

Incidentally, as a golfer, the comedian

is one of the best in the film colony. He
belongs to the famous Lakeside Golf Club
and shoots in the high seventies. His
wife, equally noted as a golfer, shoots in
the eighties. She left the screen upon
becoming Mrs. Clyde five years ago.

There is great pride of heritage in the
Clydes. Andy is proud of the fact that
his father, John Clyde, was one of the
famous romantic actors of Great Britain,
that his sister, Jean Clyde, is one of the
most popular actresses in Scotland today.
She has been a noted stage star in bonny
Scotland for many years. His sister-in-
law, Fay Holden, is the new character
actress discovery under contract in Holly-
wood to Metro-Goldwyn-Mayer.

And, his son, John Allan, will be an
actor if that profession is what he likes.

You'll see Andy Clyde in the featured
comedy roles in several outstanding pic-
tures during a year— and you'll see him
in six of his own starring short subjects
released by Columbia.

And How Are Your Reactions?

[Continued from page 20]

association over any length of time, have
become quite real to you, like your dolls
and teddy bears of childhood. You love
them and don't want them to be hurt.

5. Do you associate the stars in real
life with their roles? Yes . No .

If you do, you have a latent dramatic
sense that probably leads you frequently
to dramatize yourself and anything that
happens to you. What is more thrilling
than to persuade yourself that loose in
Hollywood and on a continual murderous
spree is . that horrible Boris Karloff?
Unconsciously, you fight against the
knowledge that Mr. Karloff is, in reality,
a nice, kind, scholarly gentleman who
adores dogs and who wouldn't swat a fly.
And don't you love to whisper it about
that Glenda Farrell is so tough and hard-
boiled she has intimidated even the grips?
And that Joan Crawford is a public
menace, forever on the vampage? You
don't want to know that John Carradine
is a very gentle, idealistic young man;
that Zasu Pitts is not vague and dumb,
but a charming person and an astute busi-
ness woman. Better be careful how you
answer this question, for if you do iden-
tify stars with their roles, it makes you
out an awful gossip who likes to draw
attention to himself. For stars are cast
for certain roles, not because of their re-
semblance to the characters they are to
portray, but because of their ability to
ACT.

6. When it rains on the screen do you
suddenly remember, panic-stricken, that
you left your washing hanging out on the
line? Yes . No .

Ah! now we have the child-like mind
that can absolutely lose itself in make-
believe; the person whose life is apt to
be rather empty and who lives vicari-
ously; who hasn't much money but too
much imagination; who is very emotional
and who is easily swayed and not overly-
intelligent. This is the type that should

take a moment out every reel or so and
remind himself that "this is just a pic-
ture." It saves wear and tear on the
emotions. This person is the one who
ducks when a train comes toward the au-
dience on the screen, who has an empty
feeling when an airplane falls, who goes
pale if anyone is hurt on the screen. He
gets hungry if he sees the players eat and
wants a cigarette the minute one is
lighted. He is very open to suggestion
and generally follows the lead of others.
He should not see exciting or emotional
pictures often, for he is unable to view a
film objectively, to divorce his emotions
from what he sees, and to protect his
nervous system from repeated shocks that,
in reality, have nothing whatever to do
with him.

7. Does it upset you to see beautiful
furniture broken? Yes . No .

If it does, a psychiatrist might reason
first, that you love beautiful things; sec-
ond, that you resent the destruction of
something you would like to have your-
self; third, that you are one of the army
that believes that Hollywood is sinfully
wasteful. In any case, you are perfectly
normal. And just to make you feel bet-
ter, nothing really valuable is ever de-
stroyed on a set. The apparently beauti-
ful piece of furniture was made for a few
dollars right in the prop department, and
it was skillfully weakened by invisible
flaws so that it would break easily.

8. Do you associate yourself with the
heroine (or hero) ? Yes . No .

If you view them objectively, you are
more apt to appreciate good acting. If
you identify yourself with either of them,
you will enjoy the picture more, for you
will feel their feelings. You will drink
to the full the emotional cocktail of the
moment. This may indicate, also, that
you are potentially an actor, though not
necessarily, for, again, you may be the
person who lives vicariously. This type,

50

Accept No Substitutes! Always Insist on the Advertised Brand!

however, makes the best audience. So
cheer up— theatre managers love you.

9. Do you like war pictures? Yes
. No .

If you do, you are -either a hero-wor-
shiper, or morbid, or a very emotional
person whose life is empty. Or, (happier
thought) you might simply be able to
view all things objectively, going to the
picture merely to see good acting.

10. Do you become excited at jungle
pictures like Tarzan and Borneo"! Yes
. No .

Oho! What the psychiatrist knows
about you now! You are one of those
blessed (or cursed) with race memory.
Do you remember the long, agonizing
capture of the orang-outang in Borneo'7.
Did you feel sorry for the monkey?
Well, unconsciously you associated your-
self with him and that is a hang-over
from your anthropoidal days when you,
yourself, swung free and happy from
branch to branch in baboon bliss. That
unrecognized hope that the monkey will
not be captured is a link connecting to-
day with the days when your primordial
instincts rebelled against capture.

11. Does it annoy you when actors on
the screen extinguish their cigarettes
after the first puff? Yes . No .

Speak right up. Of course it does, and
we are dragging this question in, in order
to broadcast to all directors our pet hate.
This immediate extinguishing of ciga-
rettes calls attention to the mechanics
of the scene and is thoroughly and un-
necessarily aggravating. If you don't
mind it, you aren't quite normal.

12. Are you in love with Robert
Taylor? Yes . No .

Oh-oh. Your mental status quo is not
as mature as it will be some day. Mr.
Taylor appeals to the schoolgirl dreams
in women; their young, wide-eyed, rib-
bon and gingham dreams that sooner or
later they outgrow. (Don't blame me.
Dr. Fareed said it.) A mature woman
is much more apt to go for Spencer Tracy
or Charles Boyer.

13. Do you call screen stars by their
first names? Yes . No .

This is a sure sign of egotism, and is
on a par with identifying players with
their roles. You are an exhibitionist.
You simply want to call attention to
yourself; in the back of your mind is a
desire that the person to whom you are
talking will recognize that you know the
stars — whether you do or not — and that
you have some sort of mysterious rela-
tionship with them that he hasn't.
* * * *

Did you answer Yes to all the ques-
tions? Then you're pretty normal. After
all, fifty million Americans can't be wrong.

The persons who could answer No to
the questions make the poorest kind of
an audience, for they have a strict guard
on their emotions.

And after all, one of the main reasons
for attending picture shows is to lose one-
self; to escape from reality. Entertain-
ment is release. So trot right along, all
you yessers including the author of this
piece and have a swell time at the movies
crying and tearing up your handker-
chiefs.

(/if

you will if you go by

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When Answering Advertisements, Please Mention June HOLLYWOOD

51

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Tapping to the Top

Presenting little Ann Miller whose danc-
ing feet are carrying her fast to fame

ByED JONESBOY

H Take it from lovely Ann Miller, the
cute, fast-stepping little jigger out at
RKO, she is never going to be thoroughly
satisfied with her screen career — however
far it may progress — until she dances
in a picture as the partner of Fred
Astaire.

Figured conservatively on the basis of
fifty hoofers to every square mile of
Hollywood, there's probably a thousand
girls who would willingly wear out their
pretty legs from the soles of their feet to
the caps on their knees in a dance mara-
thon if they could realize an ambition like
Ann's. And if you don't think this sensa-
tional dancing darling, fresh from the
fogs of San Francisco's night clubs, isn't
puuing her best foot forward to accom-
plish her purpose, you've got another
guess coming.

Within a year she has become a topper
of the tappers and credit for her discovery
goes to Benny Rubin, an RKO writer who
caught her act in a San Francisco night
club and brought her to Hollywood the
next day. You saw Ann as one of the
new faces in New Faces of 1937. You saw
her as Ginger Rogers' dancing partner in
Stage Door. Right now she is having a
wonderful time with Ginger, Douglas
Fairbanks, Jr., Peggy Conklin and others
who make up the cast in her next picture
which, oddly enough, is Having a Won-
derful Time. And after that, you see her
go into her dance in Columbia's You
Can't Take It With You.

Ann's first public appearance as a
dancer occurred at the age of five when
she took part in a dancing school carnival
on the stage of the Majestic Theatre in

. + .;.:;■ :;'?=;■■:■ :r

:

WJB---

52

Accept No Substitutes! Always Insist on the Advertised Brand!

Madeleine Carroll's next film, The Adventuress, will be a romance played against the grim back-
ground of the civil war in Spain. Henry Fonda plays opposite, and Leo Carrillo has an important role

Houston, Texas. But so far as she, per-
sonally, was concerned, the carnival spirit
was entirely lacking.

"All the fond papas and the fonder
mamas were there to see us perform,"
says Ann, "and there I was, too, huddled
in the wings and shaking like a leaf.
Mother gave me a shove that sent me to
the center of the stage and somehow I
managed to do the first few steps of my
solo ballet routine. That was as far as I
got. The next moment I was back in the
wings literally frozen stiff with terror. It
was three full years before I got over that
terrible experience. I wouldn't so much
as take the tiniest of dancing steps in my
own home. Being slight of build, mother
had given me dancing lessons to improve
my health. After that solo experience I
told her I was healthy enough, now, to
forget dancing forever."

H When Ann was sixteen her mother
brought her to Hollywood. Like most
newcomers to this land of promise, they
were without influence. More often than
not they were without food.

"The bare cupboard of Old Mother
Hubbard was nothing compared to ours,"
says Ann. "We didn't have a legacy to
stand on, so to speak, despite the fact that
I could dance. Finally, though, I man-
aged to get on a guest artist program at
the Orpheum Theatre in Los Angeles and
the audience must have enjoyed my

tapping because the manager signed me
up for two weeks. Mother and I were
down to our last crumb and that job was
really a lifesaver."

From this job Ann went into a Holly-
wood night club with the fond hope that
the engagement would point directly to
an offer in pictures. All she got, she
admits, was callouses on her educated
tootsies and a chance to dance in a San
Francisco nighterie.

"I hated to leave Hollywood," she con-
fessed, "for fear I'd miss an opportunity
to get into films. But mother and I needed
to eat, and we couldn't eat unless I worked
so we moved to Frisco."

A move strangely enough, that proved
once again the truth in the oft-repeated
but seldom-followed advice: Get out of
Hollywood if you want to get into pic-
tures!

Which brings US right back to where
Benny Rubin brought HER back to RKO
and a career as promising as a youngster
could wish for. It will never be as
promising as Ann wishes, however, until
they promise that she can go into a picture
as Fred Astaire's dancing partner.

H We'll promise you this, knowing how
much they value their clever, 18-
year-old dancing star, Ann is likely to be
scheduled for that honor much sooner
than she thinks!

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53

BRIGHT TEETH MEAN A LOTTO
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Pictures Player

HOLLYWOOD COOKING SCHOOL

Gloria isn't satisfied being glorious on the screen, she
shines in the kitchen, too. Here are some of her secrets

By BETTY CROCKER

H Most women like simple recipes, but
not Gloria Stuart!

"Half the fun in cooking," she told me,
"is in surrounding yourself with lots and
lots of ingredients, and the other half is
in having something good to look at as
well as good to eat when you set it before
your lord and master."

Said 1. and m. is the author-playwright,
Arthur Sheekman, a whimsically witty
gentleman who is an exacting critic not
only of pictures but also of his wife's
culinary concoctions. Theirs is an un-
usual partnership as well as happy mar-
riage, for he writes pictures for Gloria
to act in. That's how they met — Arthur
was writing Roman Holiday for Samuel
Goldwyn in which Gloria had a role.
They fell in love, and, from all I can
gather, will live happily ever after.

But getting back to Gloria and her
kitchen:

"My favorite recipe is a baked tuna
casserole," Gloria continued. "Really, it's
easy to make although when I 'go into
production' you'd think it was going to
be super-colossal, to look at all the things
I put in it."

"Which reminds me," put in Arthur,
who has the sort of appetite women love
to cook for, "that I'm hungry. Why don't
you demonstrate for Betty Crocker in-
stead of just going over the script?"

No sooner said than done, and we were
thrusting the cook out of the way while
gathering the ingredients. Here's the list:

Gloria Stuart's Baked Tuna
Vz bottle green olives
Vz bottle ripe olives
Vz can pimento
% lb. whole mushrooms
Vz green pepper

Gloria Stuart is going to have a fine dish of baked tuna, if husband Arthur
Sheekman doesn't taste the mushrooms to see if they are done too often

SOLD AT NOTION COUNTERS EVERYWHERE

54 Accept No Substitutes! Always Insist on the Advertised Brand!

These Gloria, Arthur and I sliced, ex-
cept for the mushrooms which were
sauteed in butter and left whole. Gloria
had set a pan of noodles to cooking, and
when these were ready she drained them
and mixed them with three cans of tuna
fish. The minced mixture listed above
was then added. A white sauce, using
the mushroom butter, was poured over
the mixture, then a sprinkling of par-
mesan cheese. The whole was baked in
a hot oven for twenty minutes.

And is it delicious! The dish will easily
feed four people, and bring paeans of
praise from them all.

"Every housewife wants a good recipe
for a sour milk cake," remarked thrifty
Mrs. Sheekman. "This is my favorite: "

Sour Milk Spice Nut Cake

% cup fat

1% cups brown sugar

2 eggs

1 cup thick sour milk and

sour cream mixed

tsp. cinnamon

tsp. cloves

tsp. nutmeg

tsp. salt

cup broken nut meats
1% cups all purpose flour
1 tsp. soda
1 cup large seeded raisins

(each raisin cut in two)

Cream fat, add sugar gradually and
cream thoroughly. Add well beaten eggs.
Sift flour, measure and sift again with
the soda, spices, and salt. Add to creamed
mixture alternately with milk. Add nuts
and raisins with last addition of flour.
Pour into 2 well greased and floured
8-inch square pans and bake 30 minutes
in a moderate oven, 350° F. Spread white
butter icing between layers and over top.

Chocolate Nut Loaf Cake

2 cups cake flour

3 tsp. baking powder
Vz tsp. salt

4 tbsp. shortening
2 cups sugar

2 eggs

4 sq. chocolate (4 oz.) , melted

IY2 cups milk

1 tsp. vanilla

1 cup chopped nuts

Sift the flour once, measure and sift
again with the baking powder and salt.
Cream shortening, add IV2 cups of the
sugar gradually, then the well beaten egg
yolks, and cream all together thoroughly.
Blend in the melted chocolate. Add the
flour mixture alternately with the milk.
Beat just enough to make the batter
smooth (about 5 seconds). Blend in the
vanilla and nuts. Make a meringue by
beating the egg whites until stiff enough
to hold a point, then gradually beating
into them the remaining V2 cup sugar.
Fold this meringue into the batter. Pour

into well greased and floured loaf pan,
8x12 inches, and bake 50 to 55 minutes
in a moderate oven, 350 F. Cover the top
and sides of the cake with:

Mocha Icing

6 tbsp. butter

1 egg yolk

3 cups confectioners' sugar

1% tbsp. cocoa

1% tbsp. hot coffee

Cream the butter and add the egg. Sift
the sugar and cocoa together and add
alternately with the coffee. Spread be-
tween layers and on the top and sides of
the cake.

Besides collecting very tasty recipes,
Gloria fills in time between pictures at
20th Century-Fox by collecting antique
furnishings for her home. As an invest-
ment she purchased another home and
furnished it, too, in antiques, and did the
same with her beautiful dressing room
at the studio. Arthur writes a history
of each piece, many of these being amus-
ing little dramas which Gloria discovered
were strictly the product of his lively
imagination. Among Arthur's list of
pictures are two for Shirley Temple, sev-
eral for the Marx Brothers (which cer-
tainly shows versatility!) and Metro-
Goldwyn-Mayer is currently preparing
production on an untitled screen play of
his. Gloria's current starring picture is
Island in the Sky with Michael Whalen,
and also Rebecca of Sunny Brook Farm,
the Shirley Temple film.

Charming Young Star
Now Featured in Columbia Pictures

BETTY CROCKER RECIPES SENT FREE

Betty Crocker's kitchen tested recipes
are available to readers of HOLLY-
WOOD Magazine free of charge. They
are printed on cardboard in the stand-
ard size suitable for handy kitchen filing.
This month Betty Crocker features the
recipes listed below. Check the ones
you want and send the coupon with
stamped, self-addressed envelope to
Betty Crocker, c/o HOLLYWOOD
Magazine, Paramount Building, New
York City. Betty Crocker also will be
glad to supply, free of charge, a kitchen
tested recipe for practically any dish
you may ask for.

Fresh Raspberry Cake
Strawberry Festival Cake
Blueberry Buckle
Also please send me recipe for

Her Lovely Clothes
at Columbia Studios are
Mothproofed with LARVEX

YOUR clothes are just as important to you.
So, spray with Larvex as movie stars do
and forget your moth worries.

Moths starve to death on Larvex-sprayed
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Larvex is odorless, stainless and one spray-
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apply. An extra-easy way is to use your vacuum
cleaner sprayer.

Larvex is economical, too. One suit of clothes
costs less than 17c to mothproof when
Larvex is bought by the gallon.

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When Answering Advertisements, Please Mention June HOLLYWOOD

55

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PIMPLES

blackheads, and other skin

blemishes this simple,

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Your doctor will probably tell you that pim-
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Paramount employs a man who does nothing all day but
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the various executives' desks, thereby alleviating verges of
hysteria approached when those confounded cords become
twisted beyond all hope.

Goodbye

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Today, screen cowboys have to sing as well as declaim with conviction "Reach
buzzard-wards! Them cyards is marked!" and Jack Randall can do both

MEET THE NEWEST COWBOY

J Not so very long ago, cowboy stars
were rough and ready he-men who
appealed to children as heroes of two-
fisted battles. Today they are romantic,
handsome, songsters, who appeal to the
ladies as well as the boys. One of the
newest members to this group of Holly-
wood actors is Jack Randall.

He is tall, dark and handsome. He has
traveled all over the world. He would
rather dine out than at home. He loves
all sports and is an excellent athlete. His
family lives in one of the most beautiful
estates in Beverly Hills. He always has
been surrounded in luxury. But Jack
himself lives in a small apartment in
Hollywood. He lives simply and inexpen-
sively. "Money isn't everything," he says.
"I have traveled in many parts of the
world, all over Europe, the Canary Islands,

Gibraltar, Egypt. But the most exciting
thing in life is earning your own way, do-
ing the things you most want to do."

Jack was preparing for his American
concert debut when he suddenly decided
to throw it all over. He thought he wanted
to be a newspaper man like his father,
the late Edgar O. Randall. He soon dis-
covered, however, that the stage was his
medium of self-expression. "I was work-
ing on the Los Angeles Times when I got
my first chance at acting," says the six-
foot singing cowboy. "An American
Tragedy was playing there and I used to
hang around backstage a lot.- One night
one of the male actors was taken ill sud-
denly and he had no understudy. I was
asked to substitute. That was the be-
ginning."

He made the traditional trek to

56

Accept No Substitutes! Always Insist on the Advertised Brand!

Broadway and was given little encourage-
ment. So he gained experience in stock
and finally was given a small part in
Riddle Me This in 1931.

Then followed several parts until 1935
when he was called to Hollywood for mo-
tion pictures.

"I wanted to sing in films," he says.
"I had the vocal training necessary, I had
the acting experience, but I had to fight
for what I wanted."

Last Spring Monogram Pictures signed
him to a long term contract as a singing

cowboy. To date he has made three pic-
tures in this new field. Riders of the Dawn,
Stars Over Arizona and Danger Valley.
His latest picture is Land of Fighting
Men. His contract calls for eight musical
westerns a year — a heavy schedule.

Jack is unmarried and twenty-eight
years old. He has hazel eyes, black hair,
is six feet one and a half inches tall in his
stocking feet and weighs one hundred
seventy pounds. He has two dogs, Mr.
and Mrs. Macintosh, and has definite likes
and dislikes of people and things.

Heart-Breaker Horton

[Continued from page 24]

put it. So the demonstrator of the Cold
Pack Canning Process kept right on
eating!

■ The next morning at breakfast, the
campaign for the capture and enslave-
ment of the new boarder and his com-
panion began. Every one of those almost-
but-not-quite resigned ladies had a special
crimp in her hair, a shiny new ribbon, or
an extra-dazzling piece of jewelry on her
tremulous person.

But alas and alack! The handsome, the
aloof Mr. Horton, whose poetic expression
suggested unplumbed depths of tenderness
and understanding to those frustrated
damsels had no intention of being dis-
tracted from his career.

While Edward Everett ate chipped beef
and codfish balls and other New England
delicacies in modest silence, his fluttering
fellow-boarders — except the demonstrator
of the Cold Pack Canning Process — hung
on every gesture. Each one secretly
dreamed of the day on which she might
happen upon the actor as he sat learning
his part in some heroic drama, dreamed
that he might lay aside the book, lean
toward her, tenderly murmur such
flowery phrases as he gave to his leading
lady nightly in the theatre.

For, to make matters worse, Edward
Everett was playing melodrama. Seventy-
five percent of his audience was made up
of miners and their families. They were
used to violence and the unexpected in
their own lives, and they like their enter-
tainment strenuous, too. They liked lots
of action and lots of soulful embracing,
and Edward Everett, having been signed
as the heart-throb of the company, was in
for concentrated practice as a Great
Lover.

It had its effect upon his companions at
the boarding house. They took to sighing.
They took to dropping handkerchiefs, to
tripping on the stairs, to needing advice, to
taking walks just at the time he was leav-
ing the theatre. And there were eleven of
them.

■ Edward Everett began to regard with
envious eyes the uncomplicated life
of the carefree comedians of the company,
and he began pondering ways of escape.
Flight was out of the question. He couldn't
leave town until the season was over. But
he could create the "other woman" angle.

Once his momentous decision was made,
it only remained to put it into practice.
Which he did the next day at dinner by
paying sudden, unsolicited, unaccountable
court to the one person who had never
made a fuss over him: the chubby demon-
strator of the Cold Pack Canning Process.
He monopolized her attention. And when
the meal was over he asked her, in a voice
audible to all the other chagrined inmates
of the boarding house, if she would permit
him to read scenes out of Shakespeare to
her. The other ladies couldn't take it.
Their faces indicating various stages of
grief and desolation, they pleaded head-
aches— and retired to their rooms.

When the season ended, and Edward
Everett was free to leave, he appeared at
his last luncheon at the boarding house
with a handful of portraits of himself. The
demonstrator of the Cold Pack Canning
Process was given first choice. She se-
lected the prize of the collection . . . the
star in a crashing checked suit with a
chrysanthemum in the buttonhole. Other
photographs were gallantly presented to
the rest of the boarders, all with appropri-
ately high-minded and serious inscrip-
tions. Excepting the Cold Pack demon-
strator's. And no one ever saw hers.

But heart-breaker Horton has been a
comedian ever since.

lovely

MARY ASTOR

featured in the
Columbia picture

"There's Always
A Woman"

REST YOUR EYES

Clear eyes mean lovely eyes

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Allan Jones and Irene Hervey, otherwise
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cameraman all smiles in the middle of the
testimonial dinner given recently for Louis
B. Mayer, big boss at Jones' studio, M-G-M

HiJe-it

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When Answering Advertisements, Please Mention Jttnf. HOLLYWOOD

57

BUT
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Here is how to help keep skin-
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Don't let repulsive-looking hickies rob you
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out what the trouble may be, and take steps
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At the same time intestinal waste poisons
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1 2 KM I =M£*mVM flO!

1

2

3

4

5

7

3

9

10

II

12

13

14

15

16

17

18

19

20

21

22.

23

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25

26

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28 1

29

30

34

31

32

33

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46

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57

27.
29.
31.

33.

37.
40.
41.

42.
44.
45.
46.
48.
49.
50.
51.
53.
54.
56

ACROSS

& 6. Actress whose performance in The Good
Earth gave her Academy award (poss.).
One of Fred Stone's daughters.
Club sometimes used in golf scenes.
Whose role is that of Strings in Hawaii Calls?
His last name is Silvers.

.' the Octopus.

Initials of actor married to Virginia Valli.
Artificial setting for a movie scene.
Mr. Stander's initials.

Rose of the Grande.

Alice Brady's in In Old Chicago gave

her Academy award as best supporting actress

for 1937.

Star of Outside of Paradise.

Singing comedienne in The Goldwyn Follies.

What hero must do when heroine is in danger.

The Life of Zola was voted best film

for 1937.

Hepburn and Boyer co-starred in of

Hearts.

Autry's girl friend in The Old Barn Dance.

Actors must not syllables in talkies.

Slapstick comedians threw them.
First name of Miss Miranda (poss.).

Wolves of the .

Marlene's initials.
What Sonja skates upon.
Symbol for ruthenium.

A Yank Oxford.

Deanna Durbin stars in About Music.

on a Budget.

DOWN

Baby.

Klari in The Baroness and the Butler.
His last name is Clark; he plays in westerns.
& 57. Actor who won Academy award for
performance in Captains Courageous.

2. Bringing —

3. First name of actor who was Crawford in
The Buccaneer.

4. Cora Collins (poss.).

5. Noah is Wallace Beery's brother.

7. Passages in movie theaters.

8. First name of actress in Outlaws of the
Prairie.

9. To do as does Dopey, the dwarf, to register
assent.

10. Mr. Nugent's initials.

11. Actor given Academy award for best support-
ing performance.

13. Feminine lead in No Time To Marry.

15. Leo McCarey, another award winner, directs
these.

20. Disney's , The Old Mill, was consid-
ered best cartoon for 1937.

24. First name of Miss Borden, former star.

26. Judge Hardy in You're Only Young Once.

27. What cat does to register contentment in
sound films.

28. Western stars' spurs are secured to these.
30. Exclamation to express sorrow or pity.
32. Initials of Pat Paterson's husband.

34. The comical Yonnie in Happy Landing.
36. Russian comedian.

38. Shirley Temple is one (slang).

39. They propelled fishing vessels in Captains
Courageous.

43. First name of male lead in Women in Prison.
45. His last name is Lawrence.

47. Since Eve.

50. Bad of Brimstone.

52. Remember the Duncan sisters as Topsy and
?

53. Sing and Happy.

55. Initials of the banjo-eyed comedian.

(Solution on page 65)

58

Accept No Substitutes! Always Insist on the Advertised Brand!

Laugh It Off

[Continued from page 27]

hardest, is when she's built herself up to
having a pretty good opinion of herself.
"I'll never forget the time," she says,
'"when I got a pretty good opinion of
myself as a tennis player. For months I
took lessons from a professional coach,
Eleanor Tennant. Sure that I was an-
other Alice Marble, I challenged my hus-
band, Jack Pressman, to a set. He beat
me soundly, and I found that my ego
was slightly bent.

| There have been other laughs, too —
that time she drove through a stop-
light very slowly because there were no
cars coming in either direction. The
inevitable cop bounced out of the inevi-
table hideaway, eyed her, and said:

"Say — you're Claudette Colbert, aren't
you?"

She nodded very sweetly, and said that
she was. She was thinking that getting
out of this ticket was a pushover, and
she began courting the idea that it was
nice to be known.

The policeman had seen several of her
pictures and commented on them. In
fact, he and she had a grand time for
about ten minutes. After a while, he
said:

"Now, if you'll just give me your
license, I'll fill out your ticket."

And he did. The blow to Claudette's
vanity was quite a something. But she
laughed and the cop laughed, and she
drove away.

"The ticket was a lesson in not feeling
too important, and the laugh was the
tonic that took the sting off the lesson,"
she says.

Claudette is mighty grateful to such
pictures as The Gilded Lily, The Bride
Comes Home, I Met Him In Paris,
Tovarich, and now, Bluebeard's Eighth
Wife.

"You have to be able to laugh at yourself
before others will laugh at you. To make
people laugh, you have to surrender to
the idea of making yourself appear ridic-
ulous. And anyone who makes himself
appear ridiculous deliberately hasn't
much chance to develop a superiority
complex.

"This is true in pictures. And it's
always true in real life, too. No blow is
so great, whether it is mental or physical,
that it can't be laughed into good fortune
— if you laugh hard enough, and if you
mean it."

One of the highly dramatic scenes in Marie Antoinette is when the stately queen, played by
Norma Shearer, greets the romantic young Count Fersen, acted by Tyrone Power. The production,
one of the biggest to come from M-S-M this year, will be ready for release in the early fall

Jh/ijUlwiQ unth £>p*unq
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JOAN BENNETT

charming star of I Met My Love Again

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So Are Wives

[Continued from page 23]

continually things just exactly like those
worn by some other woman. I think this
is called keeping up with the Joneses. I am
clinging to my resolve not to mention any
names, as this is an impersonal article,
but the husband's name is Jack B. The
wife, or woman to whom I refer, is Mary
L. They advertise a certain kind of deli-
cious dessert with six flavors over the
radio.

"Mary L. has just bought the loveliest
dress!" the wife will say. "I think I should
get a new dress, too."

This worked out all right for a while,
until this Jack B. bought his wife a set of
star sapphires. Since this time, the two
husbands in the case have been working
together to put a stop to the ruinous com-
petition. They are trying to get the two
wives to start collecting something reason-
able, like marbles, which can be had in
great variety, with lots of different colors
and which are, in some cases, much pret-
tier than star sapphires, which are all one
color. So far, not much headway has been
made.

S3 There is more about clothes. The wife
will say:

"Georgie, darling, I haven't a thing to
wear," as she shuts the doors of three
closets so filled with clothes nobody can
get in to get anything out. The husband
mentions this and she says:

"Why, Georgie, those are nothing but
rags."

Then the wife, on going to buy clothes,
gets sets of things which are all alike, or
match, or something. This is where the
trouble comes in. She will buy a suit, a
hat, gloves, scarf, belt and shoes. Then
she will look them all over and say:

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Jackie Moran won fhe honor of taking Deanna
Durbin to the preview of Tom Sawyer when it
was shown in Hollywood. Here they are leaving
the theatre, looking very grown-up, too

"The hat is very pretty, but it doesn't
go with anything else."

So she buys a new hat, which does
match. And she has the extra hat. So she
gets suit, gloves, scarf, belt, shoes, and
purse to match the hat. The shoes are not
quite right in this ensemble, so she gets
suit, hat, gloves, scarf, purse and belt to
go with the shoes. As this system can go
on practically indefinitely, the husband
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"You're so unreasonable, Georgie! You
wouldn't want me to throw that extra hat
or those extra shoes away and absolutely
waste them, would you?"

The husband has been groping for the
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I cite a few more instances before clos-
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head.

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"Well, Georgie," replied the wife, "you
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It Takes Three to
Make a Love Affair

[Continued jroin 'page 19]

you insist on considering yourself less
alluring than the girl he's taken out for
an evening, at least don't be catty. Myrna
doesn't believe in catty-ness under any
circumstances. "Be bigger than the situa-
tion," she advised with a sage wag of that
auburn head, "or else you give him the
chance to say, 'Ho, ho, I was right. The
second girl is nicer.' "

H In a three-cornered crisis of this sort,
she proceeded, when the man of your
heart shows a right interest in somebody
else, the big thing is not to make any
phony gestures. For instance, don't say,
"She's such a dear; too bad she's bow-
legged." A man — yes, even a man — catches
on to that kind of sabotage after a while.

No, the thing to do is to do nothing.
This is one of the hardest things in the
world to do, and one of the most effective.

Take competition as a challenge. Per-
haps the other girl is nice, and it's up to
you to be nicer. Anyhow, in getting jeal-
ous you simply hurt yourself and oftener
than not help your rival.

H A mousey, diffident little girl whom
Myrna knew about went into a fury
of despair and indignation because her
boy friend took another girl to a dance.
Admittedly, it was a rather funny thing
for him to do, but he did it. Feeling that
right was on her side, she wasted no
time when she met him on the street next
day but immediately plunged into a hot
argument during which her voice grew
louder and higher. All mouseyness, all
diffidence, fled.

She embarrassed the man. As she saw
people pause in astonishment, she em-
barrassed herself. Abruptly she stopped
in mid sentence, but too late. "There!"'
she ended angrily, on a more subdued
note, "I've never made a scene in public
before. It's all your fault — I hope that'll
teach you something."

"It's taught me several things," replied
the man who had first admired her for
her appealing little-mouse quality. Among
other things it taught him that, as his wife,
the girl might unexpectedly make him
ridiculous in public or miserable in pri-
vate. He dropped her as if she'd been a
hot brick.

■ No, even under the most trying cir-
cumstances of this kind, the thing to
do (Myrna was repeating) is to do noth-
ing. And if you're very, very clever, you
not only do nothing; you say nothing.
That's the hardest, and cleverest move of
all. Let the one who has made the mis-
take and gone away be the first to come
back. For, look: If the situation doesn't
eventually smooth out, then — since the
erring one's affection wasn't any stronger
than that — it's a good thing the break
came when it did. Under those condi-
tions, it couldn't come too soon.

"When such a situation arises," Myrna
added, "when the man begins taking an-
other girl around, the strain generally

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brings out the first girl's worst qualities.
At the very time when she should be at
her best! She ought to put the situation
in the bottom drawer and leave it there
till the whole thing's finished, one way or
another; not keep dragging it forth to dis-
play to her friends or to weep over in
secret."

You must take these things, Myrna be-
lieves, philosophically. Though you don't
realize it at the time, it is probably na-
ture's way of working things out. Often
the damsel who wept and wailed over her
delinquent boy friend has found — rather
promptly, too — another boy with whom
she could be happier than she'd ever have
been with the first.

[ Take, for example, the maiden who
languished because the man of her
choice ever so often fell in love with a
new face. Fundamentally, he assured her,
he didn't absolutely love any of these les-
ser flames but he hated to be tied down
to one girl friend all the time. The maiden
reasoned, and her reasoning was good,
that if he cared a lot about her he wouldn't
flitter here and there with others; even
if he did come back to her when the new
interests began to pall.

One evening, abandoned in somewhat
cavalier manner at a night club for a long
hour while the gay Lothario tentatively
flirted with a new blonde on the terrace,
the maiden suddenly murmured an ex-
cuse to the rest of the party, wrapped her
cloak about her shoulders, and marched
to the door to summon a taxi. She was
going home. She was through. But at the
doorway she ran plump into a young man
so mad he gibbered when he tried to
speak. She recognized him as the erst-
while escort of her own Lothario's new
blonde. Misery loves company. The two
jilted ones joined forces, adjourned to
another night club to discuss their griev-
ances, and found that they both liked the
old-fashioned waltz and roast wienies.

They both liked dependability, too.
Consequently, each was dependable.
Therefore they married each other. But in
each case it had taken a third person to
help on the decision.

E This anecdote has a sequel. The de-
pendable one didn't roam from his
own fireside, but he had a temper. Still,
his wife had a sense of humor. One break-
fast he grew so annoyed about a tele-
phone message from the office that he
threw his (empty) coffee cup across
the room. Not at his wife, but at the
wall.

Did friend wife rush out to see her
lawyer? Not she; for, as Myrna points out,
love — when you come down to brass tacks
— can stand practically anything but dis-
loyalty. If more wives — and husbands —
would remember this and summon a sense
of humor before an emergency grew into
a crash, there'd be fewer decisions in
Reno.

When the husband stamped out of the
house, so mad he forgot the goodbye kiss,
this wife didn't feel that All Was Over.
She collected the coffee cup. That evening
at dinner when she brought in the coffee
pot she put a gleaming china cup at her

own place and a jagged fragment of
hubby's morning coffee cup, balanced
delicately upon a saucer, at his. Hubby
burst out laughing, and the incident was
closed.

Myrna thought this coffee cup di-
plomacy was about the best she'd ever
heard. For Myrna, despite her pronounced
femininity — notice those little hands mak-
ing graceful gestures while she talks — has
a man's viewpoint, and that's a rare thing
in woman. She knows, for illustration,
how to drop small discussions, small plans,
small differences of opinion, without mak-
ing a fuss about them; knows this better
than any other woman I've ever met. It
takes a matter of major importance to
make her grow serious to the extent of
insistence. And, incidentally, when she
does battle for a thing she considers im-
portant she does so with calmness and
good taste.

H In short, Myrna's convinced that the
great life-saver for engagements, and
for marriages, is appreciation of what you
have. Don't get so used to love that you
slight it. Getting used to love and slight-
ing it is why marriages have a "ten-year
lull," why they slump into the common-
place within ten years, and often sooner.

The girl who went into an ecstasy of
appreciation when her fiance brought half
a dozen roses is the same girl who doesn't
even say, "Thank you" when the same
man after ten years of marriage lets her
put a fur coat on the charge account for
which he foots the bills. On the other
hand, the fiance who brought roses may be
the same man who never dreams of
bringing home even a bunch of dandelions
now. It works both ways.

"A man likes the little, sweet atten-
tions," Myrna said, "the things you did
that made him think you were sweet
when you first met him; the things that
attracted him at the beginning. Keep
them up!"

13 It's a couple of days before the wed-
ding. Your fiance drops by to re-
mark modestly: "I went around the course
in 80 today." You leap to your feet, pal-
pitant with admiration, kiss him soundly,
and exclaim in accents of awed enthus-
iasm: "Dar-lin~! How won-derful!!"

Oh, sweet little woman! Who wouldn't
marry you, y_u pet?

Okay. It'c ten years later. Husband
comes home, beaming. "I broke 80 today,"
he brag;. You're reading a book. "So
what?" you snap. All right, all right,
Sourpuss; but if this were ten years ago
thare wouldn't have been any wedding
bells.

Well, that same evening, while you're
dining with friends, your husband says
to their house guest. "I broke 80 today."
"Really?" she squeals. "How won-der-
ful!!"

And pretty soon your friends begin to
hint how your husband and that red-
headed snip appear to get along very
nicely together and so on and so on and
so on. It takes three to show two where
they stand. •

See? See what Myrna means?

l)

GROWUHG'-

ICK

"Qui

cheer up with
a stick of Bee-
man's ! There's
nothing like that de-
licious Beeman's flavor to
drive off a grouch — that
fresh zip and tang is a tonic.

Do you know why it tastes
so refreshing? That airtight
package keeps the flavor
fresh and delicious as the
day it Avas made! Now don't
be selfish — I'll have a stick
of Beeman's too!"

Beeman's

AIDS DIGESTION...

When Answering Advertisements, Please Mention June HOLLYWOOD

<53

That
Something Different

In Your

Movie Short Subjects!

A peep into science's mysterious test tubes! A
look behind the giant wheels of industry! Latest
research and invention! Scores of interesting
facts you've wondered about before your eyes

IN NATURAL COLOR

in Warner Bros.' Unique Series of

VITA PHONE SHORTS

Filmed with the co-
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Magazine

^e\e»se

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Husbands Are
Exasperating

[Continued from, page 22]

I thought he gave the wife a very pretty
compliment. It came right after the sec-
ond wreck — the one the instructor had
when the wife put the car into reverse
instead of second gear. But even after
this recommendation the husband would
not let the wife drive the car.

Q Really, the husband gets angry with-
out the slightest reason. Recently,
the couple went to their producer to sign
a big, new contract, and the wife helped
out. She said to the producer:

"You've got to give us better pictures.
The last six have been flops. The ticket
offices are as lonesome as desert outposts."

The contract was supposed to be signed
that day, but there was some delay. The
husband, not understanding how the wife
had helped, flew into a rage.

Recently, the husband got provoked at
the wife again. The wife went out of the
way to get her husband material for his
air program, so you can see there was
no excuse. She was talking to Jack B.,
the man mentioned above, and Jack B.
told her a very good story which she re-
membered very, very carefully and told
to her husband, George.

"Gracie," the husband said later, when
he finally could talk, "Jack B. used that
joke in his latest picture."

The wife told him in a very calm and
unruffled manner:

"Well, if it was good for a picture, it
must have been just as good on the air."

But the husband only grew angrier.

■ The other day, when the husband was
away, the nicest man came to the

house. He was very much interested in
it. The wife wanted to help her husband,
George, and make this man think of him
as being very well-to-do and important.
The wife took the man all through the
house, and surprised him again and
again. The man thought that most of the
furniture was just old, second-hand stuff
but Grace, the wife, said they were an-
tiques, very valuable, and showed him
all the bills to prove it. She also pointed
out how expensive the oil paintings were,
and pointed out some he didn't see at all.
When the man went away he left his
card.

"Who was this man?" the husband
asked the wife when he came home.

"His name was Johnson or Paffendorff
or Vick," the wife replied. "I didn't quite
get it. But here's his card."

She handed her husband the card.
How did the wife know that this man
was the tax assessor, when she didn't even
quite understand his name? The fact
that the husband didn't speak to the wife
for more than a week shows what can hap-
pen when a wife really tries to help a
husband.

■ Then there was the time about the
clothes. The wife listened to a long

tirade about how she must economize.
So, when the funny little old man came

64

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HAPPY RELIEF
FROM PAINFUL
BACKACHE

Caused by Tired Kidneys

Many of those gnawing, nagging, painful backaches
people blame on colds or strains are often caused by
tired kidneys — and may be relieved when treated
in the right way.

The kidneys are Nature's chief way of taking ex-
cess acids and poisonous waste out of the blood. Most
people pass about 3 pints a day or about 3 pounds
of waste.

If the 15 miles of kidney tubes and filters don't
work well, poisonous waste matter stays in the blood.
These poisons may start nagging backaches, rheu-
matic pains, leg pains, loss of pep and energy, getting
up nights, swelling, puffiness under the eyes, head-
aches and dizziness.

Don't wait! Ask your druggist for Doan's Pills,
used successfully by millions for over 40 years. They
give happy relief and will help the 15 miles of kidney
tubes flush out poisonous waste frotn the blood.
Get Doan's Pills.

for old clothes she got some stuff out of
George's closet and sold them to him.
That night she very proudly gave the
husband the three dollars. The husband
smashed a very expensive vase against
the wall. How was she to know those
were his costumes for his next picture?
There should be no secrets between
married couples, I think.

When this famous pair came to Holly-
wood after important roles on the New
York stage, they soon had enough money
to install a telephone. George had this
done, and when the telephone book came
out, the wife was very upset to find their
names weren't mentioned, so she called
the telephone company and raised quite
a to-do. She felt they were entitled to
this publicity. The nicest people started
calling up, telling George about the won-
derful cars, lots, furniture and other
things he could buy, and talked about
charities and all. For no reason he tore
the telephone cord off the wall one day,
which was silly, because nobody could
call at all, then.

H Then the wife made some purchases
from a peddler who came to the house
and the unreasonable husband told her
never to do this again. She followed
these instructions implicitly, I think that
is the word, until the man came with the
beautiful new books which just matched
the wallpaper. She remembered her
promise and didn't buy them, but just
traded them for some dirty old books with
some scrawled writing all over the inside.

"Those were autographed first edi-
tions!" exclaimed George, in the midst
of a violent fit of temper.

"But really, Georgie," the wife said, "I
don't see why you're so exasperating.
I've seen you buy the first editions of the
newspapers every day — -and throw them
right away because they didn't have your
name or your picture in them."

I could mention the time that awful
old furniture came to the house, and I
painted it very carefully with that quick-
dry enamel only to find out later they
were antiques, I think George called
them. I mean, the wife did this. I could
write on, and on, but it just goes to show
how exasperating husbands can be.

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THERE'S MAGIC

in your eyes!

• Bring out the enchantment of
your eyes — reveal their depth and
brilliance with a frame of sweep-
ing lashes! Kurlash works this
magic in 30 seconds, curls lashes
so they look long, dark and allur-
ing. No heat, cosmetics or prac-
tice needed — $1 at any good store.
Learn — absolutely free — what
shades of eye make-up are becom-
ing to you — learn how to apply
them skilfully! Send your name,
address and coloring to Jane
Heath, Kurlash beauty consultant,
Dept. D-6; she will send you a
personal color-chart and complete
instructions in eye make-up!

THE KURLASH CO., Rochester, N. Y.
Canada, Toronto 3.

Copyright 1938, The Kurlash Co., Inc.

NOW SHE'S A NURSE

EARNING $25 A WEEK!

From an uncongenial job to a well-paid position a3
office nurse and assistant to the town's leading doctor!
No wonder Mrs. N. E., of New York, is happy and
enthusiastic about her Chicago School of Nursing
course!

Don't stay forever in a poorly paid job. Chicago
School of Nursing makes it easy to learn nursing by
mail in spare time. As a C. S. N. trained practical
nurse you will be well-paid, make new friends, live a
full, rich life of service.

EARN WHILE LEARNING
Mrs. S. E. P., Chicago, started on her first case after
her 7th lesson; in 14 months she earned S1900! H. S;
not necessary. Equipment included. Thousands of grad-
uates. 39th year. Men and women 18-60.
SEND COUPON NOW. Booklet shows how you can
win success, friends, happiness as a C. S. N. trained
practical nurse.

CHICAGO SCHOOL OF NURSING

Dept. 8(>. inn East Ohio Street, Chicago, m.
Enclosed ia 10c for book and 16 sample lesson pages.

Name Age

City State

When Answering Advertisements, Please Mention June HOLLYWOOD

65

Newest Wrinkles

Gathers and shirrings are the newest wrinkles in
this year's bathing suits, shown on this page by a
quartet of sunshine-minded beauties. Right to left,
you see Evalyn Knapp in the snug-fitting heavily
shirred Matletex suit that adjusts itself to the
figure. West Coast Manchester points with par-
ticular pride to the moulded waistline. Movita
posed on the springboard at the Ambassador pool
in her Allen A suit, distinctive in high-waisted
cut as well as for interwoven design. Jinx Falken-
burg's Gantner and Mattern suit has an interwoven
stripe under all of those gay leaves which is one
of the reasons it clings so snugly. Left is Virginia
Dale in her choice of the Allen A suits, a sun-yellow
wool model, made very festive by the raised design

66

JfmaameA&we/a

WINDOW SHADES

FOR
ONLY

/ 5 J-Oi/eluStulel to (inoole

You can select a 15c Clopay Lintone in a
style or color to match any decoration scheme.
There are fifteen Clopay styles in rich, solid
colors, gay "wallpaper" patterns or striking
lacework designs.

Clopays

FINISHED IN EXPENSIVE -LOOKING jCfrttcne

YOU won't believe your eyes when you
see and feel these gorgeous new 15c
Clopay Lintones! You'll say it's no won-
der Clopay is America's largest selling
window shade . . . chosen for beauty and
durability by over four million women!

Don't confuse Clopays with other low-
priced shades. Only Clopay gives you this
creped Lintone finish — in a cellulose fibre
material that hangs straight, rolls smoothly,
with amazing resistance to pinholes, cracks
or fraying! Women tell us they can see no
difference in appearance between 15c
Clopay Lintones and shades priced five or
ten times higher ! And they wear amazingly !

You can attach Clopays in a jiffy to your
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med strip — no tacks or tools needed. Or you
can get them already mounted on rollers —
Clopay molded button and Clopay Edge-

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See 15c Clopay Lintones at 5 and 10c
stores or neighborhood stores everywhere.

Another CLOPAY Super Value!

35c clopay Lintone Washable Shades

Here's another Clopay value sensation —
Clopay WASHABLE shades at 35c! The
same rich Lintone texture . . . the same
durable cellulose fibre . . . double-coated on
both sides with fine oil finish! Just plain
soap and water quickly
removes grease, grime
or finger marks — leav-
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watermarks. Note, too,
how rich they look
against the light — be-
cause of the exclusive

Clopay Lintone texture. See and compare
them — at all 5 and 10c stores, neighborhood
stores and leading department stores. Send 3c
stamp for color samples of Clopay Shades.

CLOPAY CORPORATION 'SUffiflBT

Makers of Duray Paint-Coated Wallpaper

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CLOPAY CELLOPHANE CURTAINS

Reinforced Edge . . . Won ft Tear

New improved type —
reinforced edge pre-
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laundering. Cleans
easily with damp
cloth. Moisture-and-
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surface sheds dirt.
Hangs straight or
draped. 50c pair at
leading 5 and lOcand
neighborhood stores.

INTED IN U. S. A

_

and Gkesterfields
for a lifetime of
MORE PLEASURE

r

better taste

. refreshing mildness

Copyright 1938, Liggett & Myers Tobacco Co.

R frieiid mus jonn CRAWFORD "IRRIV

■

II

mm

NSC

ARE THE

THREE COR1RRDES

GOOD FRIENDS

OFF STAGE?

STORY Oil PHGE 23

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FAWCETT'S BREEZY POINT LODGE

PEQUOT* MINNESOTA

A TIP ABOUT BATHING TO A

GIRL WITH A DATE TONIGHT

After your bath, don't fail to
give underarms Mum's sure care!

WHAT a wonderful lift a bath gives
to a girl who is going out in the
evening. It starts you off so gloriously
fresh and alive.

But even the most perfect bath can't
protect you all evening long. Underarms
must have special care— that's why smart
girls, popular girls, follow every bath with
Mum! They know that a bath only takes
care of past perspiration— but Mum
keeps underarms sweet through the
hours to come— makes odor impossible.

Many a girl who starts out fresh, loses
that freshness before the evening's over.
If you want to avoid worry about under-
arm odor— if you want to be a girl who
gets a second date and a third— remem-
ber, no bath protects you like a bath plus
Mum. Then you'll never risk offending

others, never risk spoiling your own
good times. Always use Mum.

MUM IS QUICK! Just half a minute is all
you ever need to apply Mum.

MUM IS SAFE ! Mum is completely harmless
to every fabric. And Mum is gentle, actu-

ally soothing to the skin. You can use it
immediately after shaving the underarms.

MUM IS SURE ! Mum does not stop perspi-
ration—it simply banishes all odor, all day
or all evening long. Hours after your bath,
Mum will keep you as fresh and sweet as
when you started out.

ANOTHER IMPORTANT USE FOR MUM

—Thousands of girls use Mum for Sanitary
Napkins because they know it's gentle, safe, sure.
Avoid worries and embarrassment with Mum.

ONE HALF MINUTE AND YOUR CHARM IS SAFE

Mum

TAKES THE ODOR OUT OF PERSPIRATION

When Answering Advertisements Please Mention July HOLLYWOOD 3

-SS*.

ss

^ 11 IMS ©C1B 381367 ~l

JULY, \<m
Vol. 27 mo. 7

W.H.FAWCETT
Publisher

LLEWELLYN MILLER, Editor

NEXT MONTH
Our roving extra spends a day
on the set with Danielle Darrleux
and has surprising things to re-
port. Ray Milland tells why he'll
never take another plane with-
out permission. Bob Burns com-
ments on the expensiveness of
the simple life, and in addition
there are stories and pictures of
doiens of stars. Watch for it
on the newsstands July 10.

Table of Contents

EXCLUSIVE FEATURE STORIES

They Called Her "Crazy" (Joan Crawford) by Katherine Albert 16

Gentle James the Peaceful Irishman (Cagney) by E.J. Smithson 19

So You'd Like to Have A Screen Test? by Winifred Aydelotte 20

No Sooner Said Than Dunne! (Irene Dunne) By James Reid 22

Three Comrades On the Screen — And Off by Sonia Lee 23

Don't Bring Rover by Edward Churchill 24

Never A Dull Moment! by Grace Simpson 28

"Gimme Glamour" (Martha Raye) by Jim Wright 32

Freezing the Hard Way by Emily Norris 34

PICTORIAL SPECIALS

Luise Rainer 15

Cary Grant and Katharine Hepburn 17

Merle Oberon 18

Summer in the South (Anita Louise) 26-27

Danielle Darrieux 29

All Around the Town 30-31

Splash! 58

EVERY MONTH IN HOLLYWOOD

Important Pictures by Llewellyn Miller 6

Hollywood Newsreel by Whitney Williams 10

Beauty Department by Ann Vernon 38

Hollywood Cooking School (Gail Patrick) by Betty Crocker 50

Movie Crossword _ 52

MOVIELAND TOURS 12

Pat O'Brien, Marie Wilson and James Cagney on the Boy Meets Girl set

RALPH DAIGH, Managing Editor

CHARLES RHODES, Staff Photographer

HOLLYWOOD Magazine is published monthly by Fawcett Publications, Inc., 1100 West Broadway, Louisville. Ky. Entered as second class matter at the post office at Louisiille,
Ky., under the act of March 3. 1879, with additional entry at Greenwich. Conn. Copyright 1038' by PawpRt Publications. Inc. W. H. Fawcett, Publisher; Elliott Odell. Advertising
Director. General offices. Fawcett Building. Greenwich. Conn. Trademark registered in U. S. Patent Office. Subscription -rate 50 cents a year in United States and possessions
and Canada; foreign subscription $1.00. Single issues five cents. Advertising forms close on the 18th of third month preceding date of issue. 1 rinted in i U. S. A. Member Auait
Bureau of Circulations. Send all remittances and correspondence concerning subscriptions to Fawcett Building, Greenwich, Conn. Advertising offices: I«w York, 1:,01 Broadway.
Chicago, 360 N. Michigan Ave.; San Francisco, Simpson-Reilly. 1014 Buss Building; Los Angeles, Simpson-Keilly, Garheld Bldg. Editorial offices, laOl Broadway, Isen lorK City.

«

JOS£ TstUMt OS

THE TOY HJIF1

. . . who lias youtk ana beauty ana all
the world to gamble it in . . . lile slips too
hurriedly by, so sip the cup ol Irivolity
ana danger while you may . . . you will
watch with beating heart this sensational
drama ol New Orleans gayest, maddest
era in Metro- Gold wyn- Mayer s glamor-
ous production. In the cast also: MELvYN

DOUGLAS, ROBERT YOUNG,

Barbara O Neil, H. B. Warner. Directed
by Richard Thorpe. Produced by Merian
G. Gooper. Screen Play by Zoe Akins.

When Answering Advertisements Please Mention July HOLLYWOOD

j

.4

DANDRUFF ITCH?

'*

Use This Antiseptic
Scalp Treatment

Skin specialists generally agree that effective
treatment must include (1) regular cleansing
of scalp; (2) killing germs that spread infec-
tion; (3) stimulating circulation of the scalp;
(4) lubrication of the scalp to prevent dryness.

To Accomplish This Is Easy With
The Zonite Antiseptic Treatment

Just add 2 tablespoons of Zonite to each
quart of water in basin . . . Then do this: —

1. Massage head for 3 minutes with this
Zonite solution. (This gives hair and
scalp an antiseptic cleansing — stimu-
lates scalp — kills all germs at contact. J

2. Lather head with any good soap shampoo,
using same Zonite solution. (This cuts
oil and grease in hair and scalp — loosens
dirt and dandruff scales. J

3. Rinse very thoroughly. (Your head is now
clean — your scalp free from scales.)

4. If scalp is dry, massage in any preferred
scalp oil. (This relieves dryness.)

RESULTS: By using this simple antiseptic
shampoo treatment regularly (twice every
week at first) you do what skin specialists
say is necessary, if you want to rid yourself
of dandruff itch and nasty scalp odors. We
believe that if you are faithful, you will be
delighted with results.

TRIAL OFFER — For a real trial bottle of Zo-
nite. mailed to you postpaid, send 10^ to Zonite
704 New Brunswick, ^&jf\ New Jersey

U. S. A.

ZONITE Is
9.3 Times More Active

than any other popular, non-poisonous
antiseptic— by standard laboratory tests

IIZI£4tlH2hflflniiJtl£i

By LLEWELLYN MILLER

ROBIN HOOD (Warners)

■ Leading the list of best entertainment
for the whole family is the new ver-
sion of Robin Hood, cast to perfection and
filmed in blazing Technicolor.

Surely the best of all adventure stories
is that of the gallant Robin who rebelled
against the cruelties dealt, not to himself,
but to the defenseless poor by wicked
Prince John. Surely one of the most sat-
isfactory of romances was the love of the
Saxon outlaw for the noble Norman
maiden, Marion. And surely beloved char-
acters never have been brought to the
screen with greater exactitude than in
this production of the familiar tale.

Errol Flynn makes a dashing, rollicking
Robin. Basil Rathbone could not be more
suavely menacing as the ruthless Guy of
Gisbourne. Ian Hunter' is noble and up-
right as Richard the Lion Hearted. Alan
Hale is just right for the belligerent, guf-
fawing Little John. Patric Knowles as
the fashion-plate of the outlaw band, Will
Scarlet, is as gallantly picturesque as
could be wished. Montague Love is menace
personified as the venal Black Canon, in
sharp contrast to the roistering Friar Tuck
played by Eugene Pallette.

Claude Rains as the ambition-bitten
ursurper of the throne is elegantly venom-
ous, relentlessly evil. Una O'Connor and
Herbert Mundin as Maid Marion's nurse
and Much the Miller's son are engagingly
comic. And last but very far from least
in appeal is Olivia De Havilland as the
spirited Maid Marion who risks her life
to warn of Robin's danger.

Don't miss your chance to renew ac-
quaintance with Robin and his merry
men. The story has endured for centuries,
but it is just as good, just as timely today
as when it first was told.

TEST PILOT (M-G-MJ

I Out of the welter of interesting, excit-
ing but fairly familiar situations in
Test Pilot emerges one of the most strik-
ing characterizations of the year. It is
turned in by Myrna Loy who has been
considered a delightful, but not a highly
emotional actress until now. She plays
Ann, who could see nothing more exciting
in her future than marrying a neighboring
farmer until romance dropped out of the
sky early one morning.

Jim (Clark Gable) was in an evil temper
as he climbed out of the cockpit of his
plane and examined the broken oil line
which had ended his chances at setting a
new record for cross-country speed. So
angry was he at the mishap that he did
not notice that Ann was a very pretty
girl, even though he had the reputation
of being an expert on pretty girls. Then
he took a good look, and swung into his
familiar routine of bedazzlement of just
one more smitten girl. No one was more
surprised than Jim when he discovered a

few hours later that he did not want to
leave Ann behind. No one was more
surprised than his mechanic, Gunner
(Spencer Tracy) when Ann climbed out
of the plane.

Nothing in Ann's upbringing on a pros-
perous middle-western farm prepared her
for the erratic life, the hazards and the
adventures of a test pilot's career. She
realized only one thing. If she persuaded
him to stay out of the air, he would no
longer be the person she loved. So she
waited miserably on landing fields while
he spun planes in power dives, took des-
perate chances in air races, flung the
planes through their first unpredictable
performances.

Throughout, the film is tense, exciting,
filled with carefully calculated strain and
suspense. But transcending the excite-
ment of the background is the playing
which makes three people come alive as
something more than characters in a
pretty love tale. Better see this one.

DOCTOR RHYTHM (Paramount)

H Even if this film had nothing more

than the delicate clowning of Beatrice

Lillie, it would be something special. But

it has much more, and all of it to the good.

On a certain spring night in Central
Park Zoo four young men might have
been seen going through a strange and
slightly alarming ritual, had not the place
been deserted. It was a strangely assorted
foursome, a successful young doctor
(Bing Crosby), Police Officer O'Roon
(Andy Devine), an ice-cream peddler
(Sterling Holloway) and the zoo keeper
(Rufe Davis) . They had gathered by the
light of the moon to run, once again, the
relay race which had won them a cup in
the good old days at Public School Num-
ber 43.

During the course of the hilarious eve-
ning, Officer O'Roon was inspired to join
the seal in the tank. From the ensuing
duel, he came off such a poor second that
it became impossible for him to act on
special duty as body guard for Judy
(Mary Carlisle), who planned to elope
with a fortune hunter (Fred Keating)
against the wishes of her aunt (Beatrice
Lillie).

The loyal doctor laid aside his stetho-
scope, donned the cop's uniform in a gal-
lant effort to save his friend's job. What
happens after that, you'd better see for
yourself.

FOUR MEN AND A PRAYER
(Twentieth Century-Fox)

■ When grim old Colonel Leigh was
dishonorably discharged from the
British Army, he sent four cables speed-
ing around the world, and left India for-
ever.

The four cables summoned his four
[Continued on page 8]

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Directed by RAY ENRICHT • Screen Play by Earl Baldwin and
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From an Idea by Jerry Horwin and James Seymour'* Music and Lyrics
by Harry Warren and Al Dubin • A WARNER BROS. PICTURE

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sons to a meeting in England. One reached
Geoffrey (Richard Greene) in the British
embassy in Washington. With scant cere-
mony, he broke a date with Lynn (Loretta
Young) and made arrangements for rapid
departure. Wyatt (George Sanders) was
in a barrister's gown in a London law
court when he received his summons.
Chris (David Niven) was wondering how
to extricate himself from overlapping dates
with three annoyed maidens. Rodney
(William Henry) was under a rowing
shell at school. All obeyed the summons
instantly, and were waiting when their
father, shoulders squared bravely against
the disgrace, arrived.

Colonel Leigh (C. Aubrey Smith) told
them only that he had proof of a con-
spiracy against him. What that proof
was, they never knew, because they found
him dead in his study an hour later.

The police called it suicide. The brothers
swore to prove it murder.

Their search took them to India, to
Egypt, with Loretta Young keeping up,
and did not end until they had been
through action in a South American revo-
lution.

Alan Hale as a suave, unscrupulous gun-
runner, J. Edward Bromberg as an in-
souciant revolutionary and Reginald
Denny as a cosmopolitan heel of great
charm contribute striking performances
in a large .and excellent cast. Most dis-
cussed of the players will be young
Richard Greene who stands out as a likely
candidate for quick stardom.

With the exception of the fact that none
of the characters seems to be able to resist
an open window, and make a habit of tell-
ing secrets the minute they get near any
source of ventilation, the tale is fine sturdy
well-constructed romance, and should
please a big audience.

VIVACIOUS LADY (Radio)

H When a staid young professor im-
pulsively marries a night club enter-
tainer on his first night in New York, and
takes her back to his college town, he may
reasonably expect raised voices, eyebrows
and fists. He gets all three to the intense
pleasure of audiences in this film.

Peter (James Stewart) set out to rescue
his cousin (James Ellison) from the
wicked wiles of the big town, and twenty-
four hours later found himself blissfully
married to Francey (Ginger Rogers). He
loved her, and he was proud of her, but
he did want to catch his family in a good
humor when he broke the news. His
father (Charles Coburn) was a man of
violent temper. His mother (Beulah
Bondi) had learned to resort frequently
to heart attacks to end arguments. The
girl he left behind him (Frances Mercer)
did not intend to give him up without a
fight.

Even if you begin to suspect that the
comedy is much ado about nothing before
it is half over, you won't care, because
you'll be having plenty of chuckles and a
good many loud laughs.

KENTUCKY MOONSHINE
(Twentieth Century-Fox)

H Does the news that the Ritz Brothers
do their own version of Snow White
in their new film make you feel that sum-
mer will go on forever? Then take a new
lease on life, because that is only one of
the giddy routines which range all the
way from hill-billy yippings to grand
opera warblings with dancing to match.

The film opens with Jerry (Tony
Martin) doing a telling swing time version
of Pagliacci. Audiences will think it grand
but the sponsor of Jerry's program is all
against it. In despair, Jerry sets off for
the mountains of Kentucky to get real
back-woods talent.

Driven to extreme measures by failure
to get jobs in New York, the Ritz Brothers
and Marjorie Weaver dash for the moun-
tains, and establish themselves, complete
with overalls, beards and gingham aprons
as a hill-billy family ready to be dis-
covered.

What they had not counted on were the
feudin' Hatfields (Slim Summerville,
John Carradine) and the complications
which arise when they are recognized by
one of their old friends.

Kentucky moonshine is noted for its
potency, and there was no mistake in the
title of this film.

COCOANUT GROVE ( Paramount)

■ Johnny (Fred MacMurray) was hold-
ing his band together by will power
and promises when the truant officers
descended because his adopted son (Billy
Lee) was not getting sufficient schooling.
So Johnny had to get a tutor, and that is
how Harriet Hilliard joins the band.
Johnny's one chance of getting a good
engagement and keeping his band intact
was to get to California and give an audi-
tion for the Cocoanut Grove management.
The main body of the picture is de-
voted to their struggles in getting across
the country in a trailer, with plenty of
music from Harry Owens' Royal Hawai-
ians on the way. Owens, composer of
"Sweet Leilani" plays a part, MacMurray
nourishes a saxophone, Harriet Hilliard
sings, Billy Lee goes to town on the drums
and Rufe Davis does his imitations so
things are never very dull.

THE BATTLE OF BROADWAY
(Twentieth Century-Fox)

■ The war has been over for twenty
years, but Big Ben (Victor McLaglen)
and Chesty (Brian Donlevy) still were
fighting it out along the same lines when
it came to girls.

With the American Legion, they came
to New York to enjoy the convention and
to wrest the boss' son from the clutches
of a designing woman.

They surrounded Louise Hovick, as the
first move in the offensive, not knowing
that they had the wrong girl. They did
[Continued on page 48]

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'""fcniH

The New Universal proujlv presents The American Debut of

DANIELLE OflfifilEUX

The girl whose exquisite beauty . . .
charm of performance... has made her
the most beloved stage and screen
star in all Europe . . . The star oj the
sensational MA YERLING ■ ■ ■ which all
America has taken to its heart!

DANIELLE DOUGLAS

D ARRIEUX ♦ FAIRBANKS, Jr.

THE RAGE

MISCHA HELEN LOUIS

AUER BRODERICK HAYWARD

Original Story and Screen Play by Bruce Manning

and Felix Jackson

Directed by HENRY KOSTER who made

"3 SMART GIRLS" and "100 MEN AND A GIRL"

Produced by B. G. de SYLVA
CHARLES R. ROGERS

I

MISCHA AUER

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By WHITNEY WILLIAMS

■'■:":r:-,.

Vacation time Is here, and everyone Is reading travel folders and planning vigorously. Dennis
O Keefe and Maureen O'Sullivan pose as "The Spirit of the Holiday" in a scene from their new

picture, Ho/a1 Thai Kiss

H Glenda Farrell's German house-
keeper, Teresa, is a thoroughly com-
petent little woman . . . and that's what
makes this story so funny. Glenda's
neighbor, and good friend, is Hugh
Herbert, who owns a country home near
hers. Hugh loves ranch life, tending his
chickens and milking his cows, both of
'em. Obviously, this type of farmer
doesn't go around dressed up. But when
he calls on Glenda the next time, he will,
in his best bib and tucker. And for rea-
son. . . .

When the be-whiskered, be-overalled
Herbert recently knocked at Glenda's
back door to proudly deliver a dozen
fresh eggs, Teresa mistook him for a
tramp and chased him off the property
with a wildly-flourished broom!

H If England gains a peculiar impression
of the United States in the near fu-
ture, blame it all on Virginia Field. Vir-
ginia, you see, is making a trip to her

native land to appear in a picture over
there . . . and before her departure col-
lected a bit of Americana to show her
friends.

Believe it or not — and I can vouch for
the authenticity of the following items—
the blonde actress took with her from
Hollywood:

Two meat grinders, to make ham-
burgers,

A case of Wienies (hot dogs, to you) ,

Two cartons of Coca Cola (it's not sold
in jolly old England), and,

An Indian head-dress, with feathers,
and a pair of beaded gauntlets.

Those, to the Virginia lass, were typical
of America. Wonder what the English
will think of us, now?

H Loud merriment on The Rage of Paris

set inspired your intrepid reporter

to ferret out the meaning of this outburst

of laughter. There was Danielle Darrieux,

[Continued on page 40]

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Warren William waves a gay greeting from
the porch of his home where he will enter-
tain Movieland Tourists at a cocktail party

If you want to see Hollywood from
the inside, a trip with the Movieland
Tourists gives you the key to the city

H You have a very short time to get
your reservation in for the First
Movieland Tour, which leaves Chicago on
July 3rd. But don't be too worried if
you can't make the First Tour. There are
two other tours this summer. They leave
Chicago on July 24th and August 14th.

So, all aboard! Let's go!

After your train pulls out of Chicago, it
heads straight for the cool north woods —
so cool after the torrid heat of the city —
and the Thousand Lakes district of Min-
nesota. When you arrive in Seattle you
will get your first glimpse of the Pacific.
After a journey across Puget Sound to
the Island of Vancouver on one of the
"Princess" boats, the train heads for San

Francisco. Here you will be conducted to
the bright spots of the city including
Chinatown, the Embarcadero and many
other famous places on the "Gold Coast."

Sunday morning you will arrive in Los
Angeles, where you will be greeted by a
screen star and presented a key to the city
in behalf of the Hollywood Junior Cham-
ber of Commerce. Last year Wayne Mor-
ris, "Kid Galahad" himself, did the honors.

The remainder of the morning, after you
are taken to your hotel, is left open for
anything you may care to do. Shortly
after noon, a battery of busses will take
you on a tour of Beverly Hills, Hollywood,
and surrounding districts where movie
stars live.

12

Accept No Substitutes! Always Insist on the Advertised Brand!

Then in the afternoon, Warren William
has invited members of the First Movie-
land Tour to drop in on him for cocktails
and to meet some of his movie star friends.

If you're a member of the second tour,
you will stop off at Harold Lloyd's estate,
where he will be on hand to greet you.

Bob Burns is entertaining the third
tour at his residence with a bit of southern
hospitality including an old-fashioned
barbecue with corn pone and all that goes
with it. And he probably will play his
bazooka for you without much coaxing.
If you want to take advantage of his offer
of a swim in his pool, be sure to bring
along your bathing suit.

For the Sunday night entertainment the
sponsor of the Tyrone Power air show has
invited the tours to visit the broadcast.
Although Tyrone Power will be off the
air this summer, there will be other top
notch stars in the cast to take his place.

Monday is open for anything you might
care to do — shop, browse around on Holly-
wood Boulevard, or take a short trip to
Catalina Island where so many of the
motion picture companies go on location.

Included in the plans for Tuesday is a
trip through Columbia Square, the new
home of CBS where many of your favorite
Hollywood programs are broadcast. After
that there will be a visit to Universal
Studio. Luncheon will be served in the
studio commissary where you will see
many of your favorite stars. Universal
is the home lot of Deanna Durbin, Nan
Grey, Henry Armetta, Wendy Barrie,
Kent Taylor, Charles Winninger, Boris
Karloff, Andy Devine and many others.
After a motor tour of the lot, our buses
will take you to the famous make-up
studios of Max Factor. Here you will be
shown all the little intricacies and secrets
of how milady's cosmetics are made.

Then comes another gala event of the
glorious vacation. A dinner-dance with
the stars at the Wilshire Bowl. Les
Parker's famous orchestra will supply
the music. George McCall, whom you
have heard many times on the Old Gold
Cigarette program, will be master of
ceremonies and will introduce the film
celebrities, who also will be guests at our
festive party. Last year Jimmy Stewart,
Bob Taylor, Judy Garland, Mischa Auer,
Hugh Herbert, Rosina Lawrence, Jimmy
Fidler (the I-DO -mean- YOU commenta-
tor) and many others were there. This
year we expect a group of equally famous
honor guests. So when we say "Come to
Hollywood and dine and dance with the
stars," you know we really mean it!

Movieland Tours,
Fawcett Publications,
360 North Michigan
Chicago, III.

Inc.,
Ave.,

H

Witho

ut obligation

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send

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the Movieland Tours.

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Address
City

State ...

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13

FROM GREAT STORIES COME THE GREATEST PICTURES!

WARNER

BAXTER • BARTHOLOMEW

in the role you always
wanted him to play

in his first picture since
"Captains Courageous"

ARLEEN WHELAN

the year's emotional discovery in her sensational debut

C. AUBREY SMITH -REGINALD OWEN

JOHN CARRADINE-NIGEL BRUCE-MILES MANDER
RALPH FORBES • H. B. WARNER • ARTHUR HOHL
E.E.CLIVE-HALLIWELL HOBBES- MONTAGU LOVE

and a cast of 5,000

Directed by Alfred Werker
director of "The House of Rothschild"

Associate Producer Kenneth Macgowan • Screen Play by
Spnya Levien, Eleanor Harris, Ernest Pascal and Edwin Blum

A 20th Century-Fox Picture J

Darryl F Zanuck In Charge of Production

A NEW TRIUMPH IN BIG-PICTURE ENTERTAINMENT

-r>:"l¥"..#-X.

14

Accept No Substitutes! Always Insist on the Advertised Brand!

LUISE Bl AIM It

The appealing winner of last year's Academy Award is preparing
still another highly individual characterization for the leading
role in M-©-M's The Toy Wife, love tale of Civil War Days

15

M*l

//

AAT4>

Wlicn Joan Crawford vaca-
tions in New York time is
short and there are a thou-
sand things to do. Here's a
rather breathless report by
a friend who tried to keep
np on her last vacation

■ From the title of
this story you have
every right to expect
that it is my intention to
palm off that old one about
"the new Joan Crawford".
But that's just what I'm not
going to do. It is my conten-
tion that America's Number
One Glamour Girl is a nut and
has always been one.

Sure, she can be serious.
She's usually in deadly earnest
when she talks to interviewers
(mostly because she's afraid of
'em) and that's why you read so
much about her charm as a hostess,
her love of music, (which is perfectly
sincere) her cultural activities. But
actually she's a crazy kid. And you've
got to live with her to know about that.

The last time she was in New York
Franchot was tied up in Hollywood mak-
ing a picture for the first week of Joan's
visit so I stayed with her at the Waldorf
until his arrival. It isn't exactly what
you'd call a chore. But I'm not quite over
it yet. And as proof of my admiring con-
viction that Crawford is goofy, I'd like to
tell you some of the things that happened.

First off Joan used her head and got
herself a secretary. Last time she was in
the big town she answered the telephone
herself, saw all the autograph seekers
personally, and took care of every letter
she received. That left her about two
minutes a day to have fun.

16

I didn't know how a secretary
was going to work out. Joan doesn't
like everybody by any manner of means.
And if a very crisp, brittle, efficient num-
ber had appeared Joan would have out-
crisped her and there would have been a
honey of an atmosphere.

But when Coule arrived I knew every-
thing would be all right. She's a dizzy
dame if there ever was one, French and
Viennese with a cute accent. (And don't
you think it's the last word in chic to have

KATHERINE ALBERT

a secretary with a foreign accent?). Coule
is an actress and looks like Luise Rainer.
Joan liked her immediately.
With the three of us there — Coule scream-
ing into the telephone in bewildered
amazement, Joan screaming over every
new parcel that arrived and me (well,
I've never been called placid) it was
like a girl's dormitory if the girls had
just poisoned the head mistress.
Merchants by the dozen were arriv-
ing every three minutes. "Would
Miss Crawford condescend to look
at this little muff of white mouse
fur or a leopard shower curtain
or cellophane gloves?" Hattie
Carnegie's fitters were in and
out all day long. John and
Fred were sending up their
most incredible hats. Dache
boxes were arriving on the
hour. Joan was discovering
Eric Moller and his amaz-
ing hats. Tappe was
sending gowns which he
hoped would throw
Adrian into a swoon.
Everyone was yelling
and laughing and Joan
was padding around in the
most enormous-shouldered house coat
and a pair of fur mules with bells on them.
Sometimes you couldn't tell whether it
was Joan or the telephone.

That's how things were when Mrs.
Travers arrived. To describe Mrs. Travers
and her two children will take a bit of do-
ing. She's the minister's wife from Rhine -
beck and when she isn't busy with ladies'
aid societies and foreign missions she de-
signs petit-point patterns. Joan has been
corresponding with her ever since she saw
an article about the patterns. Mrs.
Travers had a new stitch Joan wanted to
learn. She asked her for tea.

Mrs. Travers is a very nice woman —
tall, tanned, [Continued on page 54]

HOLLYWOOD

CARY GRANT AND KATHARINE HEPBURN

JULY, 1938

The charming comedy, Holiday, co-stars again the pair
who romped through Bringing Up Baby. Here they are
in the old play-room scene, recapturing the joy of youth

17

LIKE TO HAVE

By WINIFRED AYDELOTTE

H "A screen test is fun. . . ." "A screen
test is the gosh-awfullest ordeal any-
body ever goes through in Hollywood. . . ."
"A screen test is nothing to be afraid
of. . . ." "It gave me an inferiority com-
plex I'll never get over. . . ." "I'd sell my
soul for a screen test. ..."

You can hear anything you want to hear
about a screen test. Practically no two
people agree. Because every little screen
test has a story all its own. There are
two kinds of tests: Those given to es-
tablished stars merely as costume and
make-up tests, there being no question as
to their ability; those given to unknowns,
there being considerable question.

Annabella, Twentieth Century-Fox's
importation and certainly not a novice,
had quite a seige of it when she first
arrived in Hollywood. While hair-dressers
fussed over her coiffure or pounced on
her with spectacular wigs of all sizes and
colors, make-up men made eyebrows grow
where none ever grew on a human being;
they changed the contour of her mouth
and therefore the expression of her whole
face; they receded her chin; they made it
jut forth; they rounded her face; they
elongated it. They worked like demon
sculptors on a helpless victim, making a
hundred Annabellas out of one. Nobody
was satisfied with any of them. The demons
stood off, cocked heads, sighed, shrugged
hopeless shoulders, rolled mournful eyes,
pessimistically photographed all the Anna-
bellas, washed their hands of the whole
thing after seeing the tests run off . . . and
then renewed their attacks.

This went on for days; they got no-
where, unless their goal was reducing
Annabella to a state of complete physical
exhaustion and mental inferiority. Then
the star timidly suggested that they allow
her to make herself up as she always did.
In fifteen minutes, she was ready for the

At the top of this page is a portrait
of Annabella, who recently made her
first American film, The Baroness and
the Butler, and who starts her second,
Suez, shortly. Take a good long look,
and then see if you can guess how
many of the other pictures on this and
the opposite page are of Annabella.
Answers are to be found in the cor-
responding position on opposite page

20

camera. It turned . . . and smiles spread
over the lot. She was lovely, enchanting,
alluring — just as she was!

■ RKO tore Katharine Hepburn apart,
snarled over her and put her back to-
gether again a hundred times before decid-
ing to let nature — and Hepburn — take their
course. In this case, the tests were neces-
sary because Miss Hepburn did not fit into
the accepted Hollywood mold, and the
crew had to learn how to handle her before
the camera.

One afternoon on the set of Dr. Rhythm
I asked Beatrice Lillie if she had ever
had a screen test. "And how!" was her
characteristic reply. She told me about it
with wonderment and gusto, and, com-
paratively, it didn't amount to a thing. All
that happened to her were a couple of
hours of having various wigs tried on her
head and photographed, for her boyish
bob worried the powers that be. (Inci-
dentally, you will see Miss Lillie sans wig.)

There are three angles that are true
about screen tests for novices: First,
everybody wants one from Grandma to
Junior, because that reel or two of cellu-
loid is the knock on the door to fame and
fortune. Second, the purpose of a test is
to capture a concrete example of the
aspirant's individuality so that the pro-
ducers can know what kind of material
they own, how they can change it, how
they can enhance it as it is. Third, some-
times a screen test lasts about six weeks!

■ While you're gasping over that last,
let's go see one. It is scheduled at

Warner Brothers on Stage 12, and the
subject is Marion Jones, aged five, an
unknown. <

Through the giant doors of the giant
building we go, and as we step into the
vast gloom of its interior, it occurs to us
that if this cathedral of shadows is a stage,
so is Grand Central Station. Our steps
echo as we walk through the gloomy vaults
of space. Quiet everywhere. Silent sets
stand waiting; stairways spiral out of the
darkness and lead nowhere; doors of every
description loom suddenly, but open — no-
where. A child's voice saves us from stark
terror. "When you want me to start again,
just say 'action,' " it pipes. We hurry
toward a great flood of light, full of life. In
its center stands a little girl.

HOLLYWOOD

A SCREEN TEST?

There is much more to a screen lest than standing
before a camera for a few minutes and putting on
your prettiest smile, and here are some of the details

At the rim of this lively brilliance, men
murmur and move about. One man sits
on the floor at the child's feet and whispers
to her. This is the director. Another man
runs in with a metal tape measure
stretched from the huge camera in the
darkness to her shoulder. He makes a
note and disappears. Crew men murmur
over the lights, the cables, the micro-
phone, the boom. The director murmurs
to the child. In fact, everybody murmurs
except the little girl upon whom all this
intense work is concentrated. She stands
carefully upon the spot marked out for
her by chalk on the floor and talks to
anyone who will listen about her teddy
bear as tall as "up to here" and about
her daddy's moustache, as long as "out
to there;" when suddenly the word
QUIET comes, and then— ACTION!

■ Hardly taking an extra breath, little
Marion Jones leaps into a lively reci-
tation. This rehearsal is not only for her,
but for the men on the cat walk, the men
behind the camera, the men at the sound
box, the director. The lights ... do they
strike the right places? The sound man . . .
can he dial away all the little sharp high
notes of the baby voice? The camera . . .
at what point should it move in upon her?
The hair-dresser . . . should that curl fall
over her forehead or be brushed back?
The make-up man . . . did I make her eye-
brows too heavy? The head electrician . . .
should that spot be moved up? The man
with the whisk broom (there's always a
man with a whisk broom) . . . isn't that a
thread on her coat? The assistant di-
rector . . . well, it's cost about $300 so far.
And in the midst of all this, little Marion
Jones goes on with never a break in her
recitation even when she sees the tre-
mendous camera bear down upon her.
Then it is over. Untouched by the general
nervous tension, she smiles gaily at the
whole tea party. More murmuring; more
checking and re-checking. She is made
up in a different way; her hair combed in
a new fashion. There is a new chalk mark
for her to stand upon; a new system of
lighting. And another rehearsal. It all goes
on, over and over again. There are twenty-
five men working tensely; almost every
department in the studio has been touched
in one way or another by this screen
test; hundreds of dollars have been spent;

JULY, 1938

the resources of the studio have been con-
centrated this afternoon on this little baby
figure in all the light ... on the minute
chance that here might be another Shirley
Temple. But it is all a jolly tea-party to
Marion, even the final take hours later,
which will decide her entire future. She
is so young! As she skips away after it is
all over, it occurs to us that only she could
say, "A screen test is fun." And as she
runs blithely from the bright spot of light
through the shadows, past the dark wait-
ing sets, the stairs that lead nowhere and
the doorways that open nowhere, a hand-
some young electrician, grim with exhaus-
tion, gazes after her. Two years ago he
was given a tea party — only it was torture
to him. He didn't quite make the grade.

| Gloria Dickson had her first screen
test while still playing in the Federal
theatre in Los Angeles, where a scout
discovered her. How strange it seemed to
her to play a scene before an audience
consisting of an impersonal camera and a
crew of men who were intent upon every
mechanical detail around her but never,
apparently, upon her! Only the director
watched her. Like a hawk. She had dif-
ficulty in adjusting her voice to the micro-
phone.

"In fact," she told me, "when my voice
went over the mike for the first time it
nearly knocked the sound man out of his
chair. I learned immediately that it is one
thing to be confidential with a micro-
phone and quite another to be confidential
with the man sitting in the last row bal-
cony of the theatre. And I really felt pain-
fully shy about the crew. They were so
efficient and — well — busy. They crouched
a few inches from my eyes to find shadows
and angles; frowned as if there wasn't a
single thing about me that was right;
measured distances where I was to walk
and stand, [Continued on page 53]

Make-up artists are magicians in their
own rights, and nowhere do they prove
it more than in preparing a star for a
screen test. ALL of the pictures on
these two pages are of Annabella, and
if you look closely, you can see how
emphasis has been placed on eyes in
one picture, on cheek-bones, on mouth,
on forehead or on nose in others

*

21

■1

No Sooner Said Than

Some call her impulsive, and some
say that she is quick witted, but the
fact remains that there are advant-
ages to making up the mind in a hurry

By JAMES REID

■ "Impulsive? Am I impulsive?" Irene Dunne, curled up in
her favorite chair in the library of her Holmby Hills home,

asked herself the question I had just asked her. There was a
note of amiable vagueness in her voice. As if she had never
thought about the matter before. As if she wouldn't know the
answer offhand.

I had advanced the contention that, after years of being noised
and dignified and always-a-lady, she had gone amusingly
unpredictable in The Awful Truth. And that public surprise
at the extent of her impulsiveness in that script had been partly
responsible for public delight with the picture.

Irene, mulling the question, suddenly laughed in self-amuse-
ment.

"Well," she said, smiling, "I certainly was impulsive yesterday
morning. . . .

"You know, I have a pet car — a little one — that I like to drive
around by myself. When I have to go all over town, and be hours
in each place, I think it's silly to keep a chauffeur outside waiting
for me. So, on days like that, I just drive myself.

"Yesterday morning, I went out to get the car, and it wasn't
there. Frank — Dr. Griffin — had just eased out with it, without
'bothering' me. I was furious. My day was, to put it mildly,
ruined. I said to myself, between clenched teeth" — she illus-
trated— "I said, If I had him here with me, I'd choke him!'

"I couldn't wait for him to get back from wherever he might
have gone. I had to get out the chauffeur and the big car. We
were driving down Sunset Boulevard, and I was still fuming,
and keeping a weather eye out for my car, when I spotted it
coming from the opposite direction. I told the chauffeur to
honk at the Doctor and stop him. He honked — but the Doctor
didn't stop. Now I was positive that when I laid hands on him,
I was going to choke him.

" 'I'll bet he has a guilty conscience!' I said. I told the chauffeur
to turn around and chase him. We raced back, and as we got in
sight of him, the chauffeur kept honking. Still the Doctor didn't
stop. Finally, we pulled up alongside and then in front of him,
to force him to stop. I started piling out of the car. And — all
the things I was about to say died on my lips. The car wasn't
mine; the driver wasn't Dr. Griffin.

"This man looked at the chauffeur and me as if we must be
crazy people or as if I was a gun moll out hijacking with one of
the gang. 'So sorry — my mistake,' I said, weakly, and shrank back
into the limousine. And' then started laughing at myself and
what my fury had accomplished. And the fury evaporated
instantly.

"It's like that, with me. I can get so mad about things, so burned
up — and then I start laughing at myself, and it's all over."

■ Having this proof that Irene is at least as impulsive as the
next woman whose husband can be vexing at times, I set out

to discover if, perhaps, she wasn't a little more impulsive. If,

22

Lovely Irene Dunne looks serene and dignified here, but you
will see her as another slightly feverish heroine in the new
comedy, The Joy of Living. Her next film is The Sisters

perhaps, her whole life wasn't influenced by impulsiveness — un-
known to her public.

"Oh, I don't think so," she protested, mildly. "I'm pretty con-
servative. When it's something that really matters, I consider it
pretty carefully."

"Always?" I prodded.

"We-ell . . . perhaps not always . . . This career business cer-
tainly didn't start from careful planning . . . You know, I don't
think I've ever told before the whole story behind its starting. . . .

"When I was a little girl, I had never been anywhere, and I
never expected to go anywhere — particularly after my father
died and Mother and I went to live in a little town called Madison,
Indiana. I remember distinctly having the idea that I was going
to live there the rest of my life. Not that I liked the idea, parti-
cularly— but I couldn't get away from it.

"I was sixteen or so when, one day, there was a great flurry in
the house. Mother had had a letter from an old school friend who
lived in Memphis. And the old school friend said, 'Your daughter
must be quite a girl now. Wouldn't it be nice for her to come to
Memphis and visit us?' She even said, 'Don't worry about
clothes' — which was lucky, because I didn't have many. 'Girls
here wear lighter things than they do in the North. We'll see
that she gets fitted out after she arrives.' The next day, I was on
my way to Memphis, thrilled to death, filled with romantic ideas
about the South. Which, by the way, I still have.

"That friend of Mothers' was marvelous [Continued on page 46]

HOLLYWOOD

On the screen, they think and
act with one purpose. How do
they differ, once the spotlights
are dimmed and the camera
runs down?

Smiling at Margaret
Sullavan, who has the
leading woman's role
in their new film, are
the Three Comrades,
who are interestingly
contrasted in this
story, Robert Young,
Pranchot Tone and
Robert Taylor

ON THE SCREEX

By

IMhtt, CtonMtiUs

SOMA

| "Reloading," the cameraman chanted.

The brilliant lights winked off. For a brief moment the tension
on the set relaxed. Property men lighted cigarettes. Director
Frank Borzage consulted his script clerk. There was a buzz of
talk.

The three principals walked to their name-marked canvas
chairs for that welcome interlude of rest. They sat close together —
these three — Robert Taylor, Franchot Tone and Robert Young,
the illusion of their parts in Three Comrades still on them. In
their eyes and attitude lingered the spiritual comradeship of the
tale which they were bringing to life for the screen.

Three Comrades, by Erich Maria Remarque, author of All Quiet
on the Western Front, is the touching story of three men who
together have tasted the bitterness of War. Who together are
caught in the maelstrom of post-war adjustment, with its bitter-
ness and cruelty and disillusion. Caught like straws in the unrest
and instability of war's aftermath!

The only faith the three comrades have is in each other, in
the understanding which binds them together and gives them
enough strength ta live .and loyer-and die!

This is the epic theme, and events serve only to embroider it.
The story itself is fairly simple. The three are owners of a small
automobile repair shop, where Franchot Tone has built a phe-
nomenally fast racing car. Robert Taylor meets and marries a
girl with the mark of death on her. To give her needed hospital
care, Franchot sells the love of his life — his car. Bob Young, active
in a patriotic group, is killed in street rioting.

Franchot and Taylor revenge his death. Taylor's wife (Mar-
garet Sullavan) dies.

And so Robert Taylor and Franchot Tone are left to face the
uncertain future together — comrades!

Off the screen, the two Bobs and Franchot are friends, certainly,
but with none of the deep and thrilling comradeship which they
must portray on the screen.

It is a tribute to the individual abilities of Taylor, Tone and
Young, that on the screen they create the illusion of being
products of the same world, the same thought, and the same
troubled times, with similar backgrounds and experiences.

They play their parts with tenderness and integrity. They make

JULY, 1938

the story unfold vividly and brilliantly. They make of friendship
a tangible thing. They ARE three comrades, as alike as carbon

copies.

■ But in reality, Franchot and Robert Taylor and Bob Young
are distinctly different. In fact, they are representatives
rather of distinctive types in Hollywood.

Tone — the idealist, the man with the philosophical turn of mind;
the cultured product of New England, whose reserve and balance
has not been lessened by Fame and Fortune.

Robert Taylor — the Horatio Alger hero, if there ever was one.
A youngster who achieved world adulation overnight, became
king of a million feminine hearts, but still retained the liking
and respect of the men who know him.

And Robert Young — the enthusiastic [Continued on page 44]

23

■»

■~—

don't BtJUty TIwm,

Even if he does the cutest tricks, keep
Rover in the amateur class for the
Hollywoods are full of dog stars

By EDWARD CHURCHILL

■ Want to put your pet in pictures?

If he's smart and cute and you think
he has possibilities — he's got a chance . . .
about one in a million.

Maybe it's odd and maybe it isn't, but
animals are very much like human beings
so far as film success is concerned. They
either have it or they haven't it, and if
they haven't they might as well stay home
with the family. And would people try to
put their pets in pictures? Indeed they
would. Movie struck people the world over
are big-hearted that way. They don't draw
the line on children who look like Shirley
Temple. Anything goes. They'll spend
their life savings getting him, her or it a
break.

There was that Colorado lad, who had
a service station, tourist camp and a bear.
On occasion, the bear would annihilate a
bottle of pop. It would wrestle with the
Colorado lad in the cutest way. The pro-
prietor of the service station plus tourist

camp plus bear started writing Hollywood
about the bear. He forgot all about the
service station and tourist camp.

Eventually his letters found their way
to the North Hollywood home and me-
nagerie of one Rennie Renfro, ex-vaude-
villian, comedy star, who has trained
everything but hooded cobras for screen
work. Renfro wrote him a letter asking
him a lot of questions. The answers
sounded pretty good, so Renfro got the
bear a job in a picture. The proprietor
closed Up his camp, etc., etc., and started
for Hollywood in a trailer.

The bear didn't like
the trailer. The film
company was agog, as
they so quaintly put it,
and waited with bated
breath for the arrival
of trailer and bear.
Somewhere on the
broad plains in the

light of the stars the bear and the trailer
got a divorce. Weeks later, after another
bear had been secured, Renfro got a letter
from the proprietor.

"I finally caught the bear," the letter
stated, "and have a stronger trailer. We
will be with you soon."

"If the bear dislikes Hollywood that
much," Renfro answered, "keep him
home."

But the man and the new trailer and
the bear arrived. The bear drank his pop
very well, and he wrestled with his owner
and proprietor very well. Renfro decided
to do a little wrestling and the bear got
tough. Renfro, displeased, socked the bear
on the snout and told his friend:

"You and the bear go away. He won't
wrassle with anybody but you, and you
can't appear in all the pictures with him.''

Unconvinced, the man from Colorado
spent all his money, six months and any-
thing else handy to get bruin a career.
The final pay-off came when Pete Smith,
the commentator, a mild man, called for
the bear. The bear didn't like Pete, took
a swipe at him. The man, the bear and the
trailer went home.

■ Then there was the lady from San
Francisco who had the cat. This cat
was very, very bright, the lady said. So
Renfro told the lady she'd better stay in
San Francisco, so she brought the cat to
Hollywood. She could make the cat sit
up by holding a piece of fish about six
inches from its nose.

"That cat," said Rennie, "is no good.
Take him back to San Francisco."

His real name is "Skippy," though you know him as "Asta"
and as "Mr. Smith" in The Thin Man and The Awful Truth

Below, Rennie Renfro and his remarkable "Buster" go through
the reading lesson which is part of special training

24

HOLLYWOOD

"No, indeed," said the lady. She visited
studio after studio, finally learning what
Rennie had already told her— that she'd
have to work in the pictures with the cat
to hold the fish close enough to its mug
to make it sit up. And that wouldn't do.
So after spending a small fortune she went
back to San Francisco and, as far as
Rennie knows, she's been there ever
since.

"Cats are dumb," he says. "You can
make 'em come to you, go away, and stay
put, like when they are on the mantel-
piece. But that's all."

■ Rennie, who has fifty dogs, two
mountain lions given him by Clark
Gable, six cats, some fowl and a few odds
and ends tripping him up as he walks
around his house, ought to know. He's
been toying with pets — and loving them
— since he was old enough to get outside
the yard down in Denison, Texas, and
bring home a stray mutt.

He's boss of several well-known dogs.
Buster, now 15 years old, dozes in a chair
in his sitting room. Buster, in his time,
has made or has caused to be made, about
a quarter of a million dollars, much of
which Rennie spent trying to manufac-
ture a dog food which was too good for
the dogs. Buster was the star of Lucky
Dog, with Chic Sale — he was star of the
famous Barkies, which netted Rennie
$1,750 a week — and as a featured player
he has netted as high as $500 a week.

Buster is retired to a life of indolence.
Dogs today rate only as featured players.
A bright dog gets $7.50 a day for doing

Pete, the famous purp of Our Gang Comedies, is an hon-
orary Indian chief, and wears a war bonnet with authority

bits. A very bright dog will get $50 a
day, and you can get a college graduate
for that figure. Rennie's big number, a
mutt with sad eyes and a dead pan who
is brighter than you'd think, collects as
high as $250 a week, some weeks. But the
day of the money dog is gone. Rin-Tin-
Tin, greatest of the dog stars, made $1,500
a week every week under the guidance
of his master, Lee Duncan.

Strongheart didn't do badly — about half
that.

■ The big three of the dog men in Holly-
wood today are Renfro, with a dozen
"pay dogs," Karl Spitz, of the Hollywood
Dog Training School, who brought "Buck"
to the screen, and Henry East, trainer of
Mr. Asta, a wire-hair whose right name
is "Skippy." "Buck," who shared the
honors with Gable in Call of the Wild,
and later worked for Twentieth Century -
Fox in such pictures as Beyond the
Border, for a time netted himself $750 a
week. Mr. Asta, pal of Bill Powell in The
Thin Man and After the Thin Man, is good
for about $300 a week.

"Toughie," technically known as a
"mutt Shepherd," is the property of a
Wyoming cowboy. He walked into pic-
tures quite by chance, much as a human
actor might. Henry Hathaway, director,
was on location for Trail of the Lonesome
Pine with Fred MacMurray, Sylvia Sidney
and Henry Fonda, when he saw the dog.
The animal worked for $100 a week. Later
he was starred in Treve at Universal, but
only shared the billing.

"Dogs are the smart-
est of all animals," Ren-
fro says. "You pick 'em
and train 'em for six
months, and you have
something. I got Buster
from Henry Lehrman,
the producer. He was the
runt in a mongrel litter

of nine. Lehrman made me give him
$25 for him. Six months later he worked
him in a picture, tried to buy him back
for $5,000. I wouldn't sell him. I love
that dog."

■ Renfro says not to bring your dog to
Hollywood if he's a trickster.

"Trained dogs don't mean anything in
Hollywood," he says. "The kind of dog
that clicks is the animal that's got a smart
look in his eye. You take him, see if he's
as smart as he looks. If he is, you get
him used to you and then work him in
pictures. Once on the set, you tell him
what to do and he does it. It'll be different
every time, so there's no use in training
a dog to do a lot of goofy stuff he'll never
need. It's not education but natural brains
that count."

This spur of the moment stuff Renfro
illustrates by pointing out a couple of
tricks of Buster. On one occasion, Buster
went to a pile of sixteen articles and picked
them out one at a time. Renfro called for
"black shoe," "brown shoe," "light cap"
and "dark cap," and "horn with a bulb on
it." On another occasion, Renfro was
blindfolded, and directed Buster by means
of cards. The dog obeyed several cards
silently and then started barking. Renfro
had his direction card upside down. He
righted it and Buster went on with his
work. Walking "cold" onto a set, Renfro
got Buster to push an egg across a room
with his nose and get it under a bed in
five minutes.

H Hollywood has produced other
"money" animals. Pete, the pooch, no
longer with Hal Roach, made $500 as a
member of "Our Gang" — every week.
Henry Lucenay, his master, now has him
in vaudeville and successfully, too, while
Roach has found his own "Pete," owned
by the company.
The late and [Continued on page 47]

Buck is one of the best canine actors in Hollywood. Remember
his performance in The Call of the Wild some years ago?

JULY, 1938

25

■ Even though Anita Louise is busy at work in Marie
Antoinette and in Every Woman's Life, she has time
to think about summer clothes. Above and left you see
her in a white flannel lounging robe in her own pink and
white bedroom which depends on gold stitching for its
only decoration.

Above, under the biggest sun hat she could find, Miss
Louise poses with her rubber plant, known as the
gentlest of all possible pets. Notice the short coolie
jacket, worn with slacks to match.

Left, is a corner of the gold and white drawing room
which is so suitable a background for the owner's blonde
beauty. In the summer, Miss Louise indulges her passion
for prints, and this flowered dinner gown is typical of
many she chooses for warm evenings.

HOLLYWOOD

the South

Above, most sedate is the long cotton housecoat, bril-
liant with color, but the skirt can be slipped off in a
jiffy. Tailored tennis shorts are attached to the blouse.

The library of Anita Louise's home is decorated in
shades of gold, beige and brown, with ivory carpeting.
Above and right is the owner in a favored costume for
evenings at home ... a sheath-like black crepe dress
under shocking pink brocade jacket, decorated with
coral frogs down the front.

Right, in the elaborate court costume and high piled
hair of her role in Marie Antoinette, the actress may be
more stately, but she much prefers her own comfortable
wardrobe.

JULY. 1938

CarUatures by MfCmean M:

23

Heveia DuMfH&neHl!

When the postman rings at a star's
home, he may be delivering anything
from a live crocodile to a stuffed mouse

By GRACE SIMPSON

■ If you want to receive just about every kind of gift under the
sun, then become a movie star!

The Hollywood studios and private homes' of the film players are
deluged with countless packages from cranks, convicts, small-time
blackmailers, children and sincere admirers.

■ Often the gifts are of real value and beauty. These frequently
are returned by players, who wish to avoid the embarrassment

of being obligated to persons who are total strangers to them. But
the odd, clever, inexpensive items are accepted in the generous spirit
in which they are sent.

Bing Crosby, for example, recently received a tiny, portable "hot
dog" stand, complete with stove, fryer, grease, buns, mustard and
the quite necessary "dogs."

Rosalind Russell once received what is thought to be the largest
fan gift ever to find its way into Hollywood. It was a live oak
tree that some Southern admirer sent her for the backyard of her
home!

Typical of the presents that seem to be an expression of maternal
solicitude, each Christmas brings Jack Oakie a pair of hand-knitted
socks from an elderly lady in Sedalia, Missouri.

Another time, Jack received a wide belt, woven of twine, from a
San Quentin convict. In appreciation, Jack sent a five dollar bill to
the donor. Since that time, indicating the mouching element behind
some of the gifts, he has received thirteen such belts from different
prisoners.

| Sometimes there is a lot of humor connected with the sending
and the receiving of gifts from the fans.

Attempting to discourage a flow of expensively carved leather
gifts from a Mexican admirer beyond the Rio Grande, Joan Blondell
wrote and told him she was hereafter passing all the tokens onto
hubby Dick Powell. Wallets and such, she added, were a bit too
masculine for her.

That would be rebuff enough, she thought, if the gentleman knew
his Emily Post! But Joan hadn't reckoned with Latin gallantry,
and shortly thereafter received an air mail reply.

Since Joan wished to give those gifts to Powell, she could forget
it, the admirer wrote. He, the bes dam caballero in all Mexico,
would send the items of leather to Dick himself. As for Miss
Blondell, her gifts in the future, would be combs, lace mantillas
and other distinctly feminine frippery.

Gary Cooper once received a rusty six-shooter from a rancher in
Montana, who claimed he had found the old gun in a cave once used
as a hide-away by a notorious local outlaw named Jack Adams.

Not quite so acceptable was the expensive looking box of cigars
that Robert Woolsey recently received. They turned out, to his
dismay after smoking one, to be the exploding kind!

From a maiden lady in Hamilton, Ohio, Una Merkel receives a
sort of a progressive gift. During the past four years, every Christ-
mas, Easter and other holidays have brought Una a lovely piece of
Spode china, until now she has a complete set of dishes. But what
pleases Una most are the intelligent and charming letters that have
come from the gracious donor.

Una also recently received a collection of pennies, dating back to
1859, from an Eastern fan.

| But think how Joel McCrea must have felt when he applied

for a present some fan sent him and it turned out to be a

genuine A number 1 cow of no mean pro- [Continued on page 56]

HOLLYWOOD

DANIELLE DARRIEUX

JULY, 1938

Although her first American picture, Universal'! The Rage of Parh;
has not been released yet, the little French actress has become
the rage of Hollywood, and great things are promised for her

29

Ail Awund the, TWfe

From sets to circus and back by way of some parties went the candid
camera, and here are some of the highly contrasted activities of a
normal Hollywood day. I. Cary Grant and Doris Nolan in a scene
from the comedy drama. Holiday, at Columbia. 2. Janet Gaynor
and Tyrone Power, each with a handful of peanuts, at the circus.
3. Rita Hayworth, Columbia player, demonstrates the newest thing
in dressing rooms. 4. Marlene Dietrich, Douglas Fairbanks, Jr., Hedy

Lamarr and Reginald Gardiner at dinner in the Cocoanut Grove.
5. The war with the Indians still goes on with unabated zeal, as
Johnny Mack Brown demonstrates with the help of a couple of
redskins in Universal's Flaming Frontiers. 6. One of the circus
apes bends gallantly over Alice Faye's hand while Tony Martin
admires his technique. 7. Lovely Irene Rich has a good time with
Edward Everett Horton and Donald Crisp at the Tri-Guild Ball.

8. Clark Gable and Myrna Loy, caught in the middle of
rehearsal for a Maxwell House Coffee broadcast. 9. Carole
Lombard and Robert Taylor were interested spectators
during that same rehearsal. 10. Something new in trailers
was needed when Bill Boyd wanted to take his mounts in
from his ranch, so he designed the horse-trailer above.
II. Jane Withers was undecided about giving the peanut
to the elephant or eating it herself when this picture was
taken, but the elephant won. 12. You've seen her on the

screen as June Travis, but the Chicago White Sox think
of her as the daughter of general manager Harry Grabiner
when she joins them for a work out. That's catcher Luke
Sewell in the background. 13. Mary Lou with Papa Joe
E. Brown recommend the side show at the circus to Louise
Hovick. 14. Mrs. Gene Towne, formerly Betty Brown of
the Ziegfeld Follies, and a hat designed by her thoughtful
and talented husband. It's guaranteed not to wear out.

//y» •

Qhn#ne> QloufrtUb"

She's tired of being called '\\lout ha"' Ma ye, she sees red
when she hears herself named "'ultra-violent" Rare,
and longs wistfully for a chance to be a fatal woman

■ Martha Raye looked very pained, in-
deed, as she picked herself up off the
floor.

She couldn't so much as touch the
tingling, afflicted portion of her anatomy.
For one thing, a foot-square board was
appended there, belted on securely. At
each corner of the board was a roller-
skate wheel.

Thirty seconds before, on the gleaming
deck of the modernistic steamship on
which most of the action of The Big
Broadcast of 1938 takes place, six sailors
had picked up Martha bodily by arms
and legs, swung her one-two-three, then
sent her skittering across the deck.
And she was horizontal as she went.

So far as we know,
no one ever hit a deck B V «1 I M

in that particular way

before. No movie star — certainly no femi-
nine movie star — ever arrived, spread-
eagled, on a polished floor by that
particular route. Martha was pioneering.

Not that it was her idea. Well, hardly.

A gag writer on the picture dreamed it
up. He didn't try to do it, himself. But
he thought it would be funny if Martha
did it. So did everybody else connected
with the picture — except the martyr
named Martha. Being a minority of one,
she was talked into it.

That's Martha, all over. Can she be
temperamental? No. When everybody
else is saying "Yes," can she say "No"?
No. She's too good a sport. If the bosses
want her to try some new stunts, and
break the news to her

WRIGHT verv> verv gently—
eventually, she'll try it.

She'll try anything once. So she does it
once, and what happens? She has it to do
again. And again, while the camera
catches her from an assortment of angles.

I saw her hit the deck, for example, so
many times that I lost count. After the
last "take," she wobbled toward the side-
lines with her knees half-way to the floor
— in the manner of Leon Errol just before
his rubber-like legs cave in under him.
Pained as she unquestionably was, she
could still clown for the crowd on the set.
That's like Martha, too.

Helpers started taking off her skating
harness. I asked her, "Did you ever, by
any chance, think of this as an easy way
to earn a living?"

She sat down. (To my amazement, she
was able to sit down.) She exhaled a cloud
of smoke from her freshly-lighted ciga-
rette. She said, "Well, I'm still in one
piece. That's something."

She didn't shout, as she shouts on the
screen. If I hadn't been sitting right beside
her, I wouldn't have heard what she said.

That's, one of the surprising things
about Martha, in person: Her voice is
husky, but it's low. You don't believe
your ears at first. Any more than, at first
glance at her in person, you believe your
eyes. She is prettier than you'd suspect
after seeing her facial contortions on the
screen. She just doesn't open her mouth
that wide — in person.

She added, "You know, doing scenes
like this is a lot of fun — because I feel
so good when I'm all through." She
stretched out her shapely legs, luxuriating
in relaxation. "It's like hitting yourself
over the head with a mallet. It feels so
good when you stop.

■ "This scene wasn't so hard. Just the
floor was hard. You should have seen

some of the other little stunts I've had to
do for this picture. Like getting myself
tossed out through a big porthole — and
landing, sitting, on the anchor hanging
outside. The jar nearly brought my wis-
dom teeth in ahead of time. Then, one
other day, I had to flounder around the
tank on the back lot, half-drowning, but
swimming with a baby seal in my arms.

"Practically every time I turn around,
I have to get in positions no other girl in
Hollywood even has nightmares about. I
can't walk straight across any stage. I have
to prance, fall down, jump on somebody.
Or something. Something goofy.

"Sometimes, I wonder how it all started.
I opened my mouth — and they thought I
could do anything. So far, I've kept up
with their ideas. But, boy, am I getting
worried!

■ "I had to catch golf balls in my mouth
for Double or Nothing. That was the

tops in things-to-do. I mean: I thought it
was — then. Now I'm getting suspicious.
Maybe it wasn't.

"What do you mean — did I actually
catch 'em? That stunt wasn't done with
mirrors! I'm lucky to have all my teeth
still in my head. Not to mention my ton-
sils. ... If anybody should step up and
ask you: I do all my stunts, myself. I don't
use doubles. If I'm hurt, I'll be taken care
of. But doubles [Continued on page 36]

32

"SKIN-VITAMIN"

SCORES HIT WITH

WOMEN

Scientific findings in different countries awaken
interest of leading hospitals. A certain vitamin is
found to heal wounds, burns, infections, when ap-
plied direct to the skin!

New York! Tested in Pond's Cold Cream, the
"8kin-vitamin"bringsdefinite results! Slides thrown
on screen show skin of animals is rough, scaly,
when diet lacks "skin-vitamin" — show skin smooth,
healthy again, when Pond's Cold Cream contain-
ing "skin-vitamin" is applied daily.

Telephone Calls and letters greet the first Pond's
advertisement offering Pond's Cold Cream with
beauty-giving "skin-vitamin" to women (October,
1937, magazines).

A young Wife in Tarrytown-on-the-Hudson, N.Y.,
writes: "I have never used anything like this cream.
It's grand! In two weeks roughness was entirely
gone, my skin felt velvety and smooth."

7\

Society beauties tell of greater benefits from
Pond's Creams with "skin-vitamin" — (reading
down) FREDERICA VANDERBILT WEBB, now Mrs.
David S. Gamble, Jr.; WENDY MORGAN, now Mrs.
Thomas Rodd, III; MRS. ALEXANDER C. FORBES,
grandniece of MRS. JAMES ROOSEVELT— "Texture
finer." "Skin softer." "Color better than ever."

Druggists — answering increasing requests from
women for Pond's Cold Cream with the "skin-
vitamin" in it — explain to them that it comes in
the very same jars, with the same labels, at the
same price.

Announced nine months ago,
the "Skin-Vitamin" was quickly
accepted by Thousands of
Beauty Seekers

Thousands of women have already tried
Pond's Cold Cream containing the
"skin-vitamin," special aid in maintain-
ing skin health and beauty. New thou-
sands are constantly learning of its in-
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Women's satisfaction is recorded in the
mounting sales of this widely known
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When Answering Advertisements Please Mention July HOLLYWOOD

Cops-right, 1938. Food's Extnct ComcmBT

33

FREEZING

THE HARD WAY

Royce Finlay puts a few finishing icicles on "frozen" Harold Lloyd; an
assistant stands by with a mirror, his coat collar turned up in sympathy

The thermometer registered 84 degrees
on the stage where Harold Lloyd was
freezing, but he shudders at the memory

By EMILY > O II III S

■ For two days and nights the unfor-
tunate man had been accidentally
locked up in a refrigerator car, coldly
designed to deliver crates of frozen
lettuce to the East. His clothes were
solid ice, smooth and hard as a skating
rink. His eyes were frozen shut, with
icicles pointing stiffly downwards from
the corners, and frost whitening his
lashes. His ears and nose were cakes of

34

ice, and his hair needed defrosting.

Miraculously, he could still walk, al-
though with every step he sounded like
the breaking up of an ice floe. They
had to chop him out of his coat, chisel
his vest off, ice-pick him out of his shoes
and hack his pants off. A human
icicle!

These poor screen stars! What they
suffer for your entertainment!

Transforming Harold Lloyd into the
animated glacier seen in this picture was
quite a problem. But the problem was
solved by one of those Hollywood
magicians who are expert at making
things appear what they aren't. The
magic in this case was accomplished by
Royce Finlay, Mr. Lloyd's private magi-
cian, a good-looking young prop man
who works dozens of miracles a day
and usually thinks nothing of it. How-
ever, he admits that the problem of
"freezing" Mr. Lloyd gave him a head-
ache.

The story calls for the star and his
new leading lady, Phyllis Welch, to be
locked in the refrigerator car of a train
for two days. When they are finally
taken out at Jersey Junction, New York,
in company with several crates of frozen
lettuce, they are frozen also!

"Of course, we could freeze the lettuce,"
said Mr. Finlay, "but it was obviously
impractical to freeze Mr. Lloyd and Miss
Welch. I began to experiment. I soaked
one of Mr. Lloyd's suits in paraffin. It
dried stiff, all right, but there was too
much ice effect and the paraffin made
the suit many shades too dark.

"I appropriated another suit and this
time used less paraffin, but there was still
too much ice and the suit was still too
dark. When I had ruined five suits —
suits that had been expressly made for
Mr. Lloyd for this picture — and a hun-
dred dollar leather coat belonging to Miss
Welch, I had a definite feeling of frus-
tration, a feeling that was shared, inci-
dentally, by the stars.

"Then I got a brilliant idea. Line the
suits with buckram and paint the paraffin
on! Until two o'clock that night, I cut
patterns and lined another suit. I'd
never cut a pattern before in my
life.

"Then I bleached the suit white and
dipped it in dye much lighter than its orig-
inal color. Then I painted paraffin onto it;
on top of the paraffin I put rubber cement,
then more paraffin. Then I brushed it
hard to give it the sheen of ice. As a
final touch, I added about twenty -five
pounds of clear rosin. And lo! the suit
was properly 'frozen' and of the right
color."

■ To "freeze" the faces of Harold Lloyd
and Phyllis Welch, Mr. Finlay in-
vented a horrible concoction: beaten
whites of eggs and epsom salts. He made
the icicles dripping from the corners of
their mouths and eyes out of silicate of
soda — liquid glass to you. Liquid glass,
when it sets, is hard and brittle, and not
any too safe. All three — whites of eggs,
epsom salts and silicate of soda — went
on their hair for the frost effect. It took
the stars two hours every morning to
get into this frozen state and two hours
every evening to get out of it.

It required the combined efforts of
three strong men to pour Mr. Lloyd into
his ice suit. Two men stood up on a
packing box, lifted him off the floor and
lowered him gently into his trousers,
which were held by Mr. Finlay. The
only discomfort Mr. Icicle Lloyd suffered

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was the terrific heat of his paraffin
"armor" under the hot studio lights.

Mr. Finlay also tried soaking Miss
Welch's dress in liquid glass, to save the
trouble of the buckram lining, dipping,
dyeing and painting with paraffin. It
came out beautifully, giving just the
desired effect. Unfortunately, Miss Welch
sneezed a minute or so after getting into
the dress, and it broke in a number of
embarrassing pieces!

One of the simplest requests gave
Finlay the most trouble in Professor,

Beware! In one scene, the star was sup-
posed to eat alfalfa. Finlay was asked to
find something that looked like alfalfa,
but which was a little more tempting to
the human appetite. He tried celery tops.
He tried water-cress. He tried parsley.
He raided a green market in an attempt
to find something, anything, that might
be mistaken for alfalfa. But nothing
photographed right, so finally the star
graciously gave in and grazed his way
through real alfalfa, another noble sacri-
fice to realism.

'* Gimme Glamour"

[Continued from page 32]

wouldn't be. Oh, they'd get their hospital
expenses, all right. But the salary
wouldn't go on.

"That happened on Rhythm on the
Range, my first picture. I was supposed
to fall head first down a deep well. A
double did it, and got hurt, and that was
the end of her screen earnings for a while.
I haven't had a double since. I'm willing
to try any stunt, once. If I can do it, swell.
If I can't — well, we'll just skip that stunt.
So far, the only thing I've skipped has
been a rope. I've been doing all right by
the liniment companies. . . ."

H On the screen, Martha may have to
look as if she were absent when the
brains were passed around. Off the screen,
she doesn't have that blissful vacuity.

She proved it with what she said next:
"But it isn't a question of how long I'll be
able to do these crazy stunts and like 'em.
It's a question of how long I'll be able to
do them and have the public like 'em. So
far, there haven't been any complaints.
Well, not many. Not enough to count. But
I'd sure like to be able to do something
when, and if, the turnover comes.

"That's why I want to be a glamour girl.
Glamour girls last forever.

■ "I'm not kidding. I mean it. That's
what I want to be: a glamour girl.
More of one than I am, anyway. That
ought to be possible.

"Don't get me wrong. I don't want to
pull a Garbo or a Dietrich or a Hepburn
on the folks. I just want to have people
think of me as something besides a wild
woman who plays rough. Something be-
sides 'ultra-violent Raye.'

"I know they go to see that wild woman,
and I'm grateful. Where would I be if
they didn't? But I'd like to spread the idea
around that, maybe, in person, I'm dif-
ferent. Maybe I'm not that scatter-brained.
Maybe I'm not that noisy. Maybe — maybe
I've even got sex appeal. A little, anyway.

"How would you like to go skating
across a floor, with the skates anchored
where you sit down, and have people
thinking that you probably do that every
morning, before breakfast, just for exer-
cise? How would you like to have golf
balls popped into your mouth, and have
people think you'd rather do that than
be kissed, any day in the week. See what I
mean?"

What really sears her sensitivity,
though, is that nickname "Moutha."

"I kid about it, out loud, but — I can't

Toby Wing, now playing on the New York stage in You Never Know, helped Philco television
engineers demonstrate that images of blondes may be sent over waves just as easily as those of bru-
nettes. She is sitting before a television camera, ready to see her televised image in receiving set.

36

Accept No Substitutes! Always Insist on the Advertised Brand!

help feeling it, inside. I'm human. No girl
would like a nickname like that. And, be-
lieve it or not, a lot of fans object, too.
They put themselves in my place.

H "Between pictures, I went on a per-
sonal appearance tour a while ago.
And do you know what was the swellest
thing about that trip, to me? The number
of people — fans and reporters and the
like — who said, surprised -like, 'Why,
you're a lot nicer off the screen than
on!'

"When you know a million people think
you're the same, on or off, it's sweet music
to hear a hundred say they think other-
wise and that they like you better than
the character you've created. You wonder
what would happen if they got to think-
ing of you as a person apart from your
roles.

The way things are now, when the
camera isn't turning, people right here on
my own set think I'm sick if I'm serious
five minutes at a stretch. You hear Holly-
wood people talk about the too, too ghast-
ly experience of having to live your
private life in public. I'd like to see an
article sometime about being expected to
live your public life in private.

"Being so rough on the screen, I try to
be as plain and subdued as possible off it.
I have to wear such crazy loud clothes on
the screen, my off-screen clothes have
to be twice as simple as little Dolly Dingle -
berry's. Otherwise, I'd be 'trying to attract
attention' in private life, too. But nobody
seems to have thought much about that
non-violent Raye person. I'm going to
have to do something drastic. I'm going
to have to go languorous, or something,
in my photographs. And, boy, is that a
suppressed urge of every girl — to be lan-
guorous. It's another word for 'glam-
orous.'

■ "I said to somebody the other day
that I'd like to do a picture without
doing some hi-de-hi singing. And look at
what happened. Somebody else accused
me of going high -brow, wanting to sing
opera, instead. What I meant was that I'd
like to do a picture without having to
sing at all. Just for a change. Just to see
what would happen.

"It certainly is easier in this town to
be pretty than what I am now. When
you're pretty, other people worry about
how you look. When you're not, you do
your own worrying. Of course, that keeps
you on your toes. But, on the other hand,
you have to do so much more to get at-
tention.

"I'm not battling with the studio about
what I'll do on the screen. I'm just selling
them an idea by easy stages, the way they
sell me an idea. They're beginning to
design some good-looking clothes for me.
Wally Westmore — the make-up chief,
himself — is making me up these days. In
appearance, I'm improving a little bit, if
possible.

"Watch my smoke. Maybe I'll be a
glamour girl yet."

And maybe she will. Stranger things
have happened. Even in Hollywood.

Three mistakes
. . . in the bride's house !

1L -i

Spic— and— span new, the vanity skirt was something to make
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An important part of Ann Miller's career" it her beauty, so she gives
it particular care in the summer months, so hard on skin and hair.
You'll see the little dancer next in Columbia's You Can't Take It With
You, and after that with the Marx Brothers in Radio's Room Service

A drop in time of just the right beauty
article may save many tear-drops under
the hot summer sun

By ANN VERNON

fi Take a look at Ann Miller's pretty
dressing table and you'll see one of the
reasons why she and all the other Holly-
wood girls are eyefuls. Ranged in neat
rows are all the jars, bottles and tubes
that help to accent natural beauty and
to hide or correct any imperfections.
Ann's dressing table is always more

completely arrayed during summer than
in winter, for she has discovered that the
outdoor life she leads, comes hot weather,
plays tricks on her skin and hair — un-
less she resorts to antidotes in bottles
and jars. Then, too, so much more of her
is visible in warm weather, that there's
more territory to cover — beautifully

38

Accept No Substitutes! Always Iksist on the Advertised Brand!

speaking . . . Her toes, for instance. She
could get by without tinting them to match
her fingernails in winter, when they're
incased in shoes — but when they make
their debut in smart toeless clogs, they
must have the accent of polish in tropical
tones.

A bottle of sunburn preventive is an-
other "must" item on any clever girl's
beauty list. Peeling nose and shoulders,
or a skin that is tanned beyond the smart
limits of bisque or beige softness, just
don't go with the new deal in women's
fashions — a heightened femininity. . . .
Soak up the sunshine, for health and fun,
but eliminate the harmful rays with a
screen of protective liquid. How about
the one that was developed, several years
ago in Sweden, to protect skiers' faces
from the painful burning caused by sun on
snow? It's a thin, almost colorless, liquid
which applies and dries fast. . . . There
are sun glasses impregnated with the same
filtering ingredient that's in the liquid.

When you pack your beach bag with
suntan lotion and all the odds and ends
that make for beauty at the beach, tuck
in a box of small cotton squares for ap-
plying the lotion. The ones I refer to are
out now in a new mauve-pink window
package, as decorative as it is convenient.
You'll find that the application of any lo-
tion is easier, more economical, when you
use these sanitary absorbent cotton
squares. They make grand eye pads, too.

Ever noticed how leathery fishermen's
and farmers' skins get? That's because
they are out in sun and wind most of the
time. Your skin will react the same way,
unless you use a sun lotion, when actu-
ally outdoors, and then replace missing
oils each night by slathering on a good
emollient cream. Which cream? Well, I
can recommend a new all-purpose blend
of vitamins A and D, created by a house
that is definitely not new. . . . The cream
is white, light and fragrant, and the vita-
mins in it are the result of y'ars and y'ars
of chemical research. You can buy the
jars, with their green and black labels, at
the V and X for 10 and 25 cents.

■ Once your skin takes on the rich-
ness and depth of pigmentation that
old Sol brings, better no rouge and pow-
der at all, than the same ones you've used
all winter! Let your cosmetics deepen.
Wear, for example, the new champagne
shade of a famous face powder. It goes
beautifully with your summer skin, with
the new wheat -toned hats and accessories,
with all pastels. . . . There's a companion
lipstick of a warm, coppery red that's just
[Continued on page 49 J

If you'd like to have the names of
any of these summer beauty aids, or
special help with your summer beauty
problems, why not write Ann Vernon?
Her expert advice is free — just send a
stamped (3 cents in U. S. postage) re-
turn addressed envelope with your prob-
lem letter. The address is Ann Vernon,
in care of HOLLYWOOD, 1501 Broad-
way, New York City.

i

i * i ■

There's knitted witchery in B.V. D.'s
"String Bean" maillot. Just a slim length
of accordion rib knit in your hand— but
a sleek and silhouetting suit when worn.
Perfectly cut in every size, it clings with
a willowy, "poured-in" look that modern
mermaids adore. Cable halter and belt
in rainbow colors. $5.95.

1

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...we designed these *B.V. D.
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• That flash of slim grace is you— that
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ions make every girl a goddess in her
swim suit.

B.V. D.'» "Crow'» Nest" skirted suit (right)
fits like a dream. It gives you such triumphs
of B. V. D. design as the new "Crosstide"
stitch, self-adjusting elastic uplift and extra
seat-fullness. The heart-shaped bra is
smoothly lined (all B. V. D. skirted models
feature bust-lining— maillots are fully lined).
$5.95.

"Eflyptian" (below) — gay hieroglyphics
leave their imprint of beauty on this shim-
mering "*Sea Satin by B. V. D." Lovelier
than ever in texture, and in colors that defy
fading in sun or salt water. Designed with
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The Sea Horse is the sign
of beauty, of sculptured
lines and exclusive features.
Look for this emblem on
the smartest swim suit
fashions of 1938!

%.vp-

•Bet. V. S. P«t. Off.

The B. V. D. Corporation,
Empire State Building, New York City

When Answering Advertisements Please Mention July HOLLYWOOD

39

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Learn Profitable Profession
in QO days at Home

Salaries of Men and Women in the fascinating pro-
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costs. For beauty's sake, send Coupon TODAY!

TRIPLE "INDELIBLE

Hollywood Newsreel

[Continued from page 10]

Wallace Ford is accustomed to a stream of visitors rushing back stage crying "Magnificent" over
his performance in Of Mice and Men, voted the best play of the season by the Critics' Circle.
Stuart Erwin, who just has finished Three Blind Mice at Twentieth Century-Fox wanted to do some-
thing different, so he brought a custom built mouse with him as a tribute. Mrs. Ford and Una
O'Connor watch the presentation ceremonies with evident pleasure

10c, 20c and 25c

AT LEADING
5 S. IO< STORES

the new French star who enacts the title
role, standing helplessly in the center of
a room.

And the reason? Danielle couldn't say,
"sour puss," that good American expres-
sion. She was supposed to tell Doug
Fairbanks, Jr., "You come from a long
line of sour pusses," but couldn't for the
life of her manage to twist those two
words around her tongue. Time and again
she tried, but finally the lines had to be
re-written. The same thing happened
one time when Lily Pons couldn't utter
the word, "Bunk."

H When Johnny Downs walked on the
set of Algiers for his first day's work,
the head electrician approached him with
a grin. "I'm glad you won the part, Mr.
Downs," he informed the astonished
Johnny, clasping his hand heartily. "I
just collected $18 on you."

Eighteen candidates had been tested
for the role, it appeared, and eighteen set
workers each had chipped in a dollar on a
name. The electrician had taken Johnny's
name, and when he was cast in the part
won the $18 pot.

LIFE IN THE HOLLYWOODS: Rita
Johnson now wears the screwiest hats in
Hollywood . . . her latest could double
for a lampshade . . . Charles Boyer re-
sembles Paul Muni while working ... he
doesn't like to speak to anyone while on
the set . . . Mitzi Green had no sooner
arrived in town than Anne Shirley was

on the wire . . . they've seen each other
daily ever since, renewing old acquaint-
ance ... so enthralled did Lucille Ball
wax over the trailer she and Joe Penner
used in Go Chase Yourself that following
completion of that film she hied herself
to the nearest dealer and bought a beauty
. . . that reminds us that Fred Astaire
purchased a new car ... he bragged all
over town about it, and all his friends
thought it would be at least a nineteen
cylinder de luxe model . . . instead, it was
a second-hand station-wagon ... to Fred,
though, it still was sumpin . . . first act
of Mary Maguire under her new Fox con-
tract was to ask her wardrobe woman's
daughter to be her stand-in . . . nice ges-
ture, that. . . .

It must be really something to be a
movie star — Freddie Bartholomew is said
to have received more than fifteen hun-
dred presents on his birthday . . . how'd
you like to acknowledge that many?
Freddie, incidentally, attends school with
that new glamour-girl, Lana Turner . . .
yep, it must great to be a star . . . Bert
Wheeler's recent venture into the haber-
dashery business ended in his getting the
gong ... it went plop . . . Hugh Herbert
can pick up honey bees in his hands with-
out being stung — if you care . . . add
goofy touches — Glenda Farrell tints each
finger-nail a different color . . . just try it
gals, and see what happens when the boy
friend arrives . . . both Carole Lombard
and Alice Faye are confirmed bicycle
riders . . . they travel back and forth

40

Accept No Substitutes! Always Insist on the Advertised Brand!

between their dressing rooms and the
sets, if they aren't wearing too billowy
skirts . . . it's a thrill to glimpse Frances
Drake doing the rhumba with Tony
Moreno ... as this is being written, the
James Cagneys and the Robert Youngs
have just gone east for a holiday on their
respective farms . . . Cagney at Martha's
Vineyard and Young in Connecticut . . .
wonder why they don't buy farms closer
to Hollywood. . . .

Tony Martin attends the fights every
Friday night with George Burns and
George Raft, while Alice Faye remains
home and throws a party for her girl
friends . . . when Louise Hovick (but
she'll ALWAYS be Gypsy Rose Lee)
dropped by one of Los Angeles' most ex-
clusive furniture shops to buy linoleum
and such for her trailer, she was stopped

by a snooty clerk telling her "Madam,

we do not furnish trailers" . . . for the
first time on the screen, George Raft will
sing in Spawn of the North . . . he's danced
aplenty but never warbled ... if you'd
like to get in good with your friends, give
'em hand-done needlepointed backgam-
mon covers . . . that's what Kay Francis
is doing . . . she's become unusually ex-
pert at the art . . . good news that William
Powell is up and out again . . . many be-
lieved he'd never make another picture,
but he's already considering two. . . .

Frank Morgan now is the proud owner
of the yacht, Katinka, the one that took
Director Tay Garnett around the world
a year or so ago . . . it's a prize-fighter
now for Robert Montgomery . . . the actor
is backing a young fighter whose mother
is a waitress at Metro.

■ Oddity of the month concerns Ned

Sparks, the dead-pan comedian, and

his pet bulldog, Betsy Ann, who snores

like a retired army colonel.

Betsy Ann sleeps in a bed the perfect

Warner Baxter has finished his part in Kid-
napped at Twentieth Century-Fox, and all of his
thoughts are on his swordfish tackle. The chairs,
with built-in rests for heavy duty tackle, are
part of the special deep sea fishing equip-
ment for his 5 1 -foot yacht, 7"Ae Warwynne

NEW-TYPE [CE DEODORANT
Is greaseless and actually cooling
—checks perspiration I to 3 days

NOW, a deodorant that has every-
thing—an ICE DEODORANT!

It's easy to put on! It's actually
cooling! It's absolutely greaseless!
Its own fresh odor evaporates imme-
diately! It checks perspiration!

The wonderful new Odorono ICE
is based on a brand-new principle. A
gentle, cooling ICE deodorant that
goes on like a vanishing cream and
disappears completely. It is not
greasy or sticky.

And here's another thing about this
new ICE that will thrill you. It checks
perspiration the instant you apply it . . .
banishes worry over stained dresses and

offending odors up to three days !

Its texture, too, is delightful. So light
and easy to spread. And its clean, whole-
some smell of pure alcohol disappears as
soon as it's on, leaving you fresh, dainty
— cool.

After the first application you'll un-
derstand why so many of the women who
have tried it prefer the new Odorono ICE.
You'll never have another moment's un-
easiness about underarm odor or per-
spiration.

Try this sure, easy way of guarding
your charm. Get a jar of the new Odorono
ICE tomorrow . . . only 35i at all Toilet-
Goods Departments.

• "Safe — cuts down clothing damage, when
used carefully according to directions," says
The National Association of Dyers and Clean-
ers, after making intensive laboratory tests of
Odorono Preparations.

SEND 101 FOR INTRODUCTORY JAR

ODO-RO-NO

COOLING— NON -GREASY

ICE

RUTH MILtER, The Odorono Co., Inc.
Dept. 7-A-8*. 191 Hudson St., New York City
(In Canada, address P. 0. Box 2320, Montreal)

I enclose 10^ (15^ in Canada) to cover cost of
postage and packing for generous introductory jar
of Odorono Ice.

Name ,

Addn
City.

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When Answering Advertisements Please Mention July HOLLYWOOD

41

Pain stops the instant you
apply Dr. Scholl's Zino-pads.
Shoepressureand frictionon
the aching or sensitive spot
is ended. New or tight shoes
are eased by these soothing,
healing, protective pads and
corns, sore toes and blisters
prevented. Medically sa/e.

Corns, Callouses Soon Lift Out

Corns or callouses soon lift
out when you use Dr. Scholl 's
Zino-pads with the separate
Medication, included in every box.
MadeTHINand THICK in all sizes
and shapes for all conditions. For
FREE sample of Corn size also
Dr.ScholI's FOOT Boo klet,address
Dr. Scholl's, Inc., Chicago, 111.

D-r Scholl s

Zino-pads

I There is a Dr. Scholl Remedy, Appliance
or Arch Support for Every Foot Trouble

UNWANTED HAIR
GONE SAFELY

ALL HOLLYWOOD Is talking about LaBELLE, the now
Mildly scented DEPILATORY, tor use to EASILY HE-
MOVE and GET BID OF SURPLUS HAIR. Ideal for
face and neck— as It is PURE AND HARMLESS. See
your druggist, or by mall send only $1.00 for GENEROUS
SUPPLY — probably all you'll over need — $2.00 for large
size. If not satisfied, money refunded. LaBELLE
LABORATORIES. Dept. K-l, Suite 1124. 210 W. 7th
Street, Los Angeles. California.

for your Stockings

To be certain you will continue to look as lovely
as the minute you set out — carry RUN-R-STOP in
your purse. One drop will stop a run or snag per-
manently. Once used you will never want to be
without it. A HANDSOME RED & BLACK
VANITY protects the tube in purse. „* a
Ask for it at drug, chain, department | fll /*
and shoe stores. A \# w

Guaranteed by Good Housekeeping
as advertised therein

RUN-R-STOP

NFW FRFF flFFFR Send 10c for Camille's sensa-
■'"■ ri»t£ Urrtn Uonal new Mascara and brush
in handsome plastic vanity for carrying in purHe and
we'll also send FREE a purse-size case of Nail White in a
new convenient form . Address Dept. B .
CAMILLE INC. - 49 East 21st Street, N. Y. C.

replica of the one occupied by her master.
It stands beside Ned's, and even the bril-
liant bed-spread is the same. "What's
good enough for me is good enough for
my purp," Ned confides, as he exhibits
Betsy Ann's sleeping quarters.

Incidentally, it may be noted that Betsy
Ann lies out straight, instead of sleeping
— as other dogs do — curled up in a ball.

■ If you'd like to know how a star re-
duces, here's the actual diet Madeleine

Carroll uses to lose poundage. When she
returned from England to continue her
screen career, she discovered she was ten
pounds over-weight, and immediately set
about to remedy that.

Breakfast — black coffee and orange
juice.

Luncheon — cottage cheese and a to-
mato.

Dinner — fish and spinach.

■ The next time Claire Trevor decides
to play a joke on her gang at the radio

station where she broadcasts once a week
with Edward G. Robinson will be way,
Way, WAY in the future.

Claire arrived for her broadcast with
a large diamond adorning the third finger
of her left hand. Nobody knew it, of
course, but it was a prop ring she wears
in The Amazing Dr. Clitterhouse.

No more had she finished her broad-
cast than the company as a whole de-
manded to know the meaning of the ring.
When she reached home, her telephone
was ringing, with both friends and news-
papers hot on the trail of her "engage-
ment." Not until dawn did the phone
cease ringing, with Claire almost a nerv-
ous wreck from loss of sleep denying she
was on the verge of an elopement

■ Are you a short-wave addict? John
Boles is, and in his home has more
than $3,000 worth of radio equipment,
through which he converses with un-
known friends in various parts of the
world. South Africa, Australia, Europe,
Siberia . . . those are only a few of the
locations he speaks to regularly over his
broadcasting set. At least once a week
he'll devote an entire evening to such
talk. Mebbe, if you're lucky, you can
tune in and hear him.

LOVE IN BLOOM:

Constance Worth, once Mrs. George
Brent, glimpsed frequently with Charles
Richards, one of Hollywood's most pop-
ular casting directors. . . . June still a
romantic name to Vic Orsatti . . . form-
erly wed to June Lang, he's often seen
with June Knight . . . Carl Laemmle, Jr.,
and Alexander D'Arcy, the Egyptian
actor, vying for the smiles of Jane Stanton,
ace tennis player . . . you can always
depend upon Simone Simon to do some-
thing different . . . she's tossed Hollywood
overboard for a University of Southern
California football player . . . and is HE
the popular one on his campus. . . . That
Arleen Whelan-Richard Greene two-some
still going strong. . . . Hollywood can't
figure out the status of Joan Fontaine
and Conrad Nagel . . . seems to be one
of those off-again-on-again matters . . .
in case you're interested, it's GLORIA
Brewster and CLAUDE Stroud who are
so much together and its BARBARA
Brewster who is seen with Don Terry.

CUPIDATINGS:

Just TRY to find Priscilla Lane without
Wayne Morris . . . and vice versa. . . .

Fearless Bob Burns shows clinging-vine Martha Raye the best way to start a bull fight in

Paramount's Tropic Holiday

42

Accept No Substitutes! Always Insist on the Advertised Brand!

7Me>WU*hak!

The engaging Dopey is outstripping all the
other dwarfs by many thousands of votes in
the Seven Dwarfs Contest. Grumpy is the run-
ner-up, but it was evident, even in the first week
of the voting, that Dopey would walk away
with the honors. As this magazine goes to
press, the judges are tabulating the final re-
turns and arguing strenuously about the prize
winners. The list of those who win the handsome
awards will be printed in August Hollywood

| Anthony Averill — he's the new beau
gallant of Hollywood ... on succes-
sive nights he was seen with Dennie
Moore, Jane Bryan, Margaret Lindsay
and Susan Hayward . . . and he's been
reported wed twice already . . . one of the
handsomest couples we've seen lately is
Ilona Massey with Gene Markey . . .
Vicki Lester, Radio's blonde of blondes,
admits she and Dick Purcell will wed . . .
and soon . . . the Andrea Leeds-Jack
Dunn (he was Sonja Henie's skating
partner) romance seems serious ... so,
too, that of Barbara Pepper and Craig
Reynolds . . . Dick Baldwin and Cecilia
Farker . . . and Helen Mack and Gordon
Oliver . . . "Mr. Wanger is not divorced,"
Joan Bennett answers those who ask the
blonde star if she will wed the producer
. . . well, that's an answer . . . Eleanore
Whitney and Johnny Downs have split
up, romantically, but it's nice to see that
they attend each other's previews with
each other . . . mebbe there's hope yet of
their reconciling . . . add new combina-
tion— Carol Stone and George Mason, who
once was engaged to sister Paula ... is
Rosalind Russell forgetting Jimmy
Stewart for Producer Davis Lewis?
Romances marching month after month
include Phyllis Brooks and Cary Grant,
Frances Langford and Jon Hall, Lucille
Ball and Al Hall, Lona Andre and Bill
Faye, Barbara Stanwyck and Robert
Taylor, Janet Gaynor and Tyrone Power,
Cynthia Hobart and Russell Gleason.

BEECHIES are the candy-
coated individual pieces ofgum
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like best.

Always worth stopping for.

The use of chewing gum gives your mouth, teeth and
gums beneficial exercise. Beech-Nut Oralgene is specially
made for this purpose. It's firmer, "chewier'' . help*
keep teeth clean and fresh-looking.

When Answering Advertisements Please Mention July HOLLYWOOD

43

When Excitement
Makes You Perspire

WILL KEEP YOUR SECRET

Careful women avoid underarm odor
with DEW, the easy deodorant

Hot weather and exercise are not the
only things that increase perspiration.
When you are excited, you perspire.
And it is in exciting, intimate moments
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odor does not offend. The other person
will never mention it. You must be on
guard in advance. Use DEW.

DEW is kind to your skin and easy
to use. DEW is the choice of smart wo-
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Three Comrades On The Screen-

[Continued from page 23]

And Off

lad to whom Fame came slowly; who
worked for what he has achieved over a
period of years, who is similar in many
respects to ambitious men his age in every
walk of life.

■ By the very nature of his character,
Hollywood knows Franchot least of
these three. He is sensitive and intuitive.
He is not one of those hale and hearty
individuals who slaps a person on the back
on short acquaintance, tells the story of
his life, or reveals his cherished thoughts
at the drop of a hat.

As a matter of fact, his sole complaint
about the business of being an actor is
that the private affairs of a player become
the property of the world at large. The one
thing which made his courtship of Joan
Crawford less than ideal was the minute
report of its progress in the public press.

His circle of intimates is small. Robert
Taylor and Barbara Stanwyck are fre-
quently on the guest list of those attending
the charming dinners given by Mr. and
Mrs. Franchot Tone, when they entertain
a famous musician, a world-renowned
savant, or others who have won distinc-
tion outside the Hollywood world.

With the exception of the reception
Joan and Franchot gave for Leopold
Stokowski, they have never entertained on

a large scale. That is in keeping with the
graceful, gracious background which is
Franchot's. Son of an important figure in
America's business world, his childhood
was serene, his education comprehensive.

He attended private schools here and
abroad. He had tutors during the time
when family travels made school attend-
ance impossible. He is a graduate of
Cornell University. He has been awarded
the Phi Beta Kappa key — the mark of
scholastic excellence.

Franchot Tone is serious and studious —
with deep, untapped wells of reserve. He
makes friendships slowly, but once his al-
legiance is given, it is lasting and loyal.

Few know him, for he is not an easy
person to know well. But his brilliant
mind, his deep understanding of human
nature, his fine artistry as an actor have
achieved for him a deep respect in Holly-
wood, which is unmixed by envy or re-
sentment.

His interests are wide. Books, the
progress of the theatre, music, new trends
in thought and world events, engage his
attention. He takes his life and his work
seriously, but not himself.

H The meteoric rise of Robert Taylor

has obscured to some extent, his worth

as a fine person. It has interfered with

Rudy Vallee and the Schnickelfritz Band join in tome violent melody. You'll see them in Golddiggers
in Paris in even madder activities than this

44

Accept No Substitutes! Always Insist on the Advertised Brand!

the honest appraisal of him not only by
the world at large, but even by a few in
Hollywood.

As the calendar tells the story, he is
very young — just about the age when the
average young man is getting his first
foothold on the rungs of the success ladder.

Taylor reached the top instantly through
the force and pulling-power of personality.
The world has given him Fame — but
nevertheless has been unfair to him. It
has forced him into a manufactured shell
as protection against unjust barbs, criti-
cism without basis, and a watchfulness of
his every action which is an emotional
load for any one to carry.

I remember Bob Taylor before this
burden called Fame came to him. He was
gay, carefree, ambitious. He had a re-
freshing frankness. He was a wholesome
boy, just out of college, hopeful of the
future, eager to make friends, to be liked.
He was YOUNG.

There were no hidden places in his per-
sonality. He was a worthy product of
substantial, middle-western American-
isms. His life has been well-ordered. Son
of a physician, he has the average number
of advantages — music lessons, school ac-
tivities, college, all well-balanced by the
stiffening influence of vacation jobs, a
sense of responsibility to himself and his
heritage.

His becoming an actor, as you know,
was an accident — the result of being seen

in a school play by a studio scout, who
took Bob's mind away from his planned
profession of medicine and bent it to the
exciting life of acting.

Fame is a responsibility, make no mis-
take about that. Robert Taylor has paid
a considerable price for his prestige. He
has learned many a bitter lesson through
it. That there is injustice and envy. That
a man can be helpless even with a world
at his feet.

It has sobered Bob. It has taught him
to spot lip-service. It has taught him to
limit his spontaneous desire to be friends
with everyone. And it has taught him
that frankness can be a boomerang. In
self-protection, he has become reserved.

Not since Valentino has anyone been
subjected to such a vicious, malicious at-
tack as Robert Taylor has been. If his
eyes are a little tired, if he is older than
he should be, there is ample reason for
it.

And so the Bob Taylor that Hollywood
first knew — the boy so eager to live life
fully, to meet and know people, to be seen
everywhere, has given place to a man who
is quieter, far more self-assured, with an
active sense of what is reality and what
is illusion.

He differs from Franchot in that what he
is, he became quickly, and so is repre-
sentative of all of Hollywood's skyrockets.
He differs from Bob Young in that he
learned everything in the pitiless and
merciless glare of a spotlight, rather than

in the comfortable twilight of a career
built step by step.

■ The third comrade, Robert Young, is
the essence of the new Hollywood,
which works hard, lives unostentatiously
but normally, which is interested in the
multiple, small concerns of everyday life.

Unlike Franchot and Taylor, Bob did
not have the advantages of advanced edu-
cation, of ample funds, of a well-set plan
of life. His talents indicated that his place
was in the theatre. But his own and his
family's need again and again forced his
feet into other occupations.

But once begun, his acting career pro-
gressed surely, steadily. Today he is one
of Hollywood's substantial leading men,
with none of the discomfort of sudden and
sensational Fame.

He lives quietly, and only on occasion
does his exuberance manifest itself in a
super automobile, or some other extrava-
gance. He is married to his school-day
sweetheart. They have two small daugh-
ters. With singularly few exceptions, Bob's
life is in nowise different than if he were
the crack salesman for some large business
concern.

The three close comrades on the screen
are casual comrades in their interests and
their work. But the vital differences not
only in their beginnings and their back-
grounds— but in their personalities and
their present lives — make a good, if not
an intimate friend of the other two.

60 'WAY! you've

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45

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No Sooner Said Than Dunne!

[Continued from page 22]

to me. . I had grander clothes than I ever
had before. I had dates. I went dancing.
I 'rode to the hounds.' Every day brought
something new. I stayed four months. And
every moment of it was like a dream. I
went back to Madison, convinced that I
could never be contented there again.
But it still looked as if I would have to be.
"I had always sung. Mother had always
wanted me to 'go on with my music' But
I didn't see how that particular dream
would ever get me out of Madison. Music
study would take money — and money was
something we didn't have.

■ "Finally, I got tired of just sitting
around, doing nothing. I decided, im-
pulsively, to try an examination to be a
schoolteacher, I passed it and was given a
school in Hammond, Indiana — which
happens to be quite near Chicago. I went
up early, a couple of weeks before school
was to begin, to get settled and, maybe,
find a choir-singing job on the side.
Somebody happened to tell me about the
Chicago College of Music — the one found-
ed by Florenz Ziegfeld's father — offering
three musical scholarships, in public try-
outs.

"I obeyed that impulse. I got on a trolley
one morning and went up to Chicago and
sang in the try outs with fifty other con-
testants. I don't know how, but I won one
of the three scholarships. I resigned the
job I never actually held — the one as a
teacher. Some relatives in Chicago took
me in — some relatives I barely knew until
then. And I went to music school. . . ."

■ After the long course was over, and
Irene had won the gold medal at the

final concert, she went on to New York to
try to get into opera. In Chicago she had
known a friend of her mother's with a
daughter about Irene's age, for whom she
had stage ambitions. They went on to
New York at the same time Irene did, and

the woman mothered both girls. Irene
sometimes went along when they went
looking for jobs. And that was how, at the
tryout for the road company of the musical
comedy, Irene, she was picked off the side-
lines for the title role, and "went to all the
little towns in the world."

Back in New York after that road tour,
she walked into the New Amsterdam
Theatre Building to see a producer about
a job. Waiting for the elevator was a man
whom she recognized as Florenz Ziegfeld.

"On an. impulse, I was about to smile
recognition. On another impulse, I didn't.
On the way up in the elevator, I felt him
looking at me. At his floor, he stood aside
to let me off first. I indicated that I was
going up farther ... I had been in this
other producer's office about two minutes
when in rushed a girl who said, 'Are you
the young lady who just rode up in the
elevator with Mr. Ziegfeld? Why yes, I
was. 'Well, I'm Mr. Ziegfeld's secretary.
He'd like to see you right away/

"It seems he had guessed I was one more
girl coming to ask him for a job, and when
he had guessed wrong, I was of tremend-
ous interest to him. He had his secretary
ask the elevator man what floor I had gone
to, track me down, and ask me to see him
immediately. The Show Boat engagement
came out of that. If I had tried to see him,
probably I'd never have got past the appli-
cation desk.' That's life."

■ And that's what a couple of impulses
did for Irene Dunne's career before
Hollywood. Pin her down — and you can
get a further admission that one little
impluse led her into the present cycle
of comedies.

"I was so sick of magazine stories about
'Irene Dunne, the perfect lady.' I was so
tired of playing heroines who were always
on their dignity, no matter what. I was
hopelessly typed. Finally, making Show
Boat, I asked Jerome Kern, 'Isn't there
something I could do that would be a little

Of particular interest to those who shudder away from brushed-up hair is Norma Shearer's
modified page-boy bob, a very simple and effective hair dress in striking contrast to the towering

wigs she wears in Mon'e Antoinette

46

Accept No Substitutes! Always Insist on the Advertised Brand!

different?' He said jokingly, 'Well, you
might do one of those blackface mammy
dances.' I said, 'That's it! That's just what
I'll do!' He was flabbergasted. The studio
was dumbfounded. They tried to argue me
out of it. I kept insisting. 'This is pretty
important to me,' I said . . . And, well, you
know what happened. People collapsed,
when they saw me do that shuffle dance
in blackface . . . That led to Theodora Goes
Wild. Then The Awful Truth. And now
The Joy of Living."

So Irene had "never thought much
about being impulsive"? I asked her
about those surprise trips she is forever
taking without letting anyone, including
her press-agent, know. Are they carefully
planned?

"No-o, I guess they aren't," she ad-
mitted, reluctantly. "I guess they wouldn't
be as much fun if they were. Doctor
and I just got back from the grandest
trip. We were sort of planning a little
cruise somewhere, maybe to Hawaii.
Then, one night at a dinner party, some-
one happened to mention a place called
Painters' Cottage. I'll bet you never
heard of it. I know I never had until
that moment.

" 'Where is it?' I asked. It's a crispy
white little place run by a Mr. and Mrs.
Painter, on a little island near Victoria,
British Columbia. Nobody ever goes
there except artists, and not many of
them. And besides seclusion, it has
wonderful fishing. . . Well two days later,
we were on our way to Painter's Cottage,
which we liked so much that we stayed
three weeks. We left for there in such
a hurry, though, that we didn't have time
to shop for outdoor clothes. We got those
on the way, in San Francisco."

H She is full of impulses whenever she

is in New York. She always stays at

a certain hotel on Fifth Avenue in the

early Sixties — not because it is on Fifth
Avenue, mind you, but "because it's so
near Central Park Zoo." If a zoo is any-
where around, she can't stay away from
it. And she always eats the strangest
things, once she arrives in New York.
Like the time — one of the coldest nights
of the present century — when she and
Mildred Knopf walked forth in a blizzard
to find the nearest Schrafft's because they
had a hankering for Schrafft's ice cream
cakes. They consumed two apiece and
were still shivering three days later.
They weren't sick after the first twenty-
four hours, though.

Not that she is exactly unimpulsive in
Hollywood. Prop men at Columbia still
talk about the time, on the set of Theo-
dora Goes Wild, when Irene turned cart-
wheels— on a dare. When she has some
question on her mind about a picture,
far be it from Irene to mention the matter
to go-betweens. She obeys that impulse
and goes direct to the Top Man. ("I like
to know where I stand," she explains. "I
figure I'll keep out of trouble that way.")

Ej The fact that Irene's adopted baby is
the blue-eyed, flaxen-haired Mary
Frances — not some other child — also is
traceable to a spontaneous Dunne im-
pulse. Under pressure, she will admit
it; but only under pressure.

"Yes, I did think I wanted a boy. But
when I laid eyes on Mary Frances —
well, it had to be Mary Frances. I didn't
want to look any farther."

In short, there is an accumulation of
evidence that Irene wasn't unnaturally
impulsive in The Awful Truth. Enourh
evidence for Irene herself, curled up in
her favorite chair in her library, to say
amusedly, at the end of our interview:

"It sounds to me as if you almost have
a story that could be titled, 'No Sooner
Said Than Dunne.'"

Don't Hiring Rover

[Continued from page 25]

lamented Jiggs, the monkey, drew $300
a week.

Lesser monkeys get from $10 to $20 a
day. Trained lions get about $50 a
day. Renfro has had wild experiences
with lions. One bit his hand and he got
so mad at it he chased it into the corner
of a cage with a splinter of wood and
smacked it on the nose. He had no more
trouble with it but in a few months it
was credited with killing two other so-
called trainers. The mortality rate in this
field, among humans, has been rather
high.

"This is good money," Renfro says. "It's
good money when you get $150 a day for
an elephant, too. But you've got to figure
on feeding the elephant on the days it
doesn't work. There are a lot of days. I
worked a hundred dogs in Two Black
Crows with Moran and Mack. I got $7.50
a day apiece for those animals, which
were used in the dog-catcher scenes. But
not for many days. You've got to figure

that angle before you start bringing
trained animals to Hollywood."

Rennie is kind to his animals. In fact,
he's gotten so kindly that he now has
stand-ins for them. Jerry, who worked
with Ronald Colman in Lost Horizon —
he's a St. Bernard — had Tom for a stand-
in. Squeegee, one of the few trained
Pekes, who worked in Tovarich with
Boyer and Colbert, had Shanghai, his
mother, to go before the lights and cam-
eras until work really begins.

Why?

"Heat and lights and excitement bother
dog actors just as much as they bother
humans," he says. "They deserve a
break."

Renfro rates police dogs as most in-
telligent of all motion picture animals,
mainly because they have wolf in them,
and the wolf is the smartest of all ani-
mals, he says. Danes, St. Bernards, mastiffs
and terriers come next, with greyhounds,
Russian wolfhounds, and English bulls
well down on the list.

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47

Gentle James the Peaceful Irishman

[Continued from page 19]

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Name

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alist who is continually taking arms
against a sea of troubles and in the battle
ending them — pardon me for taking liber-
ties with Mr. Shakespeare — is all wrong.
I carry neither chips on my shoulders nor
shillalahs in my hands and as for me going
around looking for a fight to happen so I
can get into it, why, that's as far from
being the truth as it possibly could be!
The impression that motion picture fans
have of me has been gained through roles
I've played. Maybe it's my fault — perhaps
I shouldn't have played them so sincerely,
but my reel life and my real life are as far
apart as the two poles. I'm a friendly,
mild-tempered, easy-going Irishman who
keeps away from crowds and arguments,
a guy who permits himself to get pushed
around quite a bit before voicing an ob-
jection. I know — you don't have to tell
me. I'm supposed to be a fellow who'd
rather fight than eat, but that is even
farther from the truth than the two poles."
This, to us, was a confession of such a
startling nature that we inadvertently let
the little finger of our right hand slip into
our coffee cup and by so doing lost another
point in the doughnut dunking contest;
but fortunately, we retained enough con-
trol of our jangled nerves to remind
Jimmy of the two and one-half year
battle he had had with the very studio
for which he now was working. If that,
we said, wasn't one of Hollywood's super-
colossal arguments, neither was it a super-
colossal love feast. Maybe, as he claimed,
he'd rather sit by the fireside and read a
good book than get up and swing a couple
of hay-makers, but he could never prove

it by Exhibit A, the longest argument on
record in Flickertown where arguments
are as long and as frequent as gun-fights
in a 15-reel horse opera.

"That wasn't an argument in the true
sense of the word," Jimmy explained in his
best Irish manner. " 'Tis true we did take
a few verbal pokes at each other and 'tis
a fact that we used up a dozen or so of
our best dollar words when the going got
a little rough, but no damage was done
outside of the loss of time which probably
hurt me more than it did the studio.
Well, you can see for yourself. Here I am,
back in the fold and happier than I've been
in a long, long time. You know, there's
something about this studio — and it's no
plug for Warners, either, but the truth—1
that I like. You have all the freedom you
want or need, everybody's friendly from
prop boy to front office, the story depart-
ment leans backward to acquire the
stories you'd like to play in and if a guy
can't get along I'd say it was his own fault.
So I'm a softie? Well, you can put it down
that if I am, it's because I'm happy, and if
anyone wants to say there's anything
sappy about that I'll . . . ." Jimmy un-
clenched his fist and made a graceful
swipe at his coffee cup. ". . . . I'll be quick
to deny it!"

Well, he, himself, says that he is the
mildest-mannered, easiest-going Irishman
in these parts, that he is soft of tongue
and of fist, and that nothing makes him
mad, and frankly, we don't believe him.

But that doesn't mean that we don't
admire him immensely for fighting his
reputation as a fighter.

Important Pictures

[Continued from page 8]

not discover their error until many bat-
tles had been fought with bottles up and
down Broadway and the convention was
drawing to its uproarious close.

There is nothing subtle about this
comedy, but it moves the energy of the
convention, and from all we hear, the boys
had a good time.

GO CHASE YOURSELF (Radio)

B Wilbur (Joe Penner) was a bank
clerk who did not know from nothing.
Many people will readily appreciate just
why his wife (Lucille Ball) was so irri-
tated most of the time. When Wilbur won
a trailer in a contest, and was kidnapped
in it by some bank robbers, just what you
might expect happened. With the excep-
tion of a truly breath-taking dash of the
runaway trailer down a steep winding
road, the appeal of the picture is mainly
for Joe Penner fans.

COLLEGE SWING (Paramount)

1 | This energetic film has one of the

most promising openings seen in many

a day. The time is exactly 200 years ago,

and Gracie Alden (Gracie Allen) once

more has failed to graduate from school-
master Edward Everett Horton's class.
Driven to frenzy, her grandfather (Tully
Marshall) swears a mighty oath that his
estate shall not go to his heirs until
a female of the line shall pass final exami-
nations.

The scene changes to 1938. Another
Gracie is up for another final examination,
and after no more than two of her
speeches, it seems certain that she, too,
will fail.

But an enterprising tutor (Bob Hope)
has a different idea. He catches her with
the understanding that he will receive
ten thousand dollars when she passes the
test and inherits the college. Early in
the game he abandons any attempt to
make a permanent impression on Gracie's
mental blank, relying instead on the filch-
ing of questions and on a short wave radio.

Gracie's first act as president of the col-
lege is to install herself as dean of men.
Then she appoints Martha Raye as pro-
fessor of love and Ben Blue as physical
director. Betty Grable and Jackie Coogan
do a spirited version of the "College
Swing," but don't miss the first . . . it's
the funniest.

48

Accept No Substitutes' Always Insist on the Advertised Brand!

Be A Summer
Siren

[Continued from page 39]

right with the golden tan skin. Powder
costs 50 cents and lipstick, 75 cents.

Skin does not present the only summer
problem. Hair acts up, too. Not that you
can blame it, the way we cavort about in
salt water, dust and broiling sun. Here's
how to prevent your hair from getting as
dry as mattress stuffing: Wear a bandana
while outdoors; brush and brush at night;
use a shampoo especially made for dry
hair. This product has been on the mar-
ket since the first of the year, when it
was introduced as a companion product
to its already wildly successful sister — a
shampoo for normal and oily hair. The
new liquid lathers copiously, rinses out
with speed, and leaves your hair high-
lighted and manageable. The blue and
yellow package can be found at five and
dime stores in a trial size, at drug stores
in 60-cent and $1 bottles.

| I can't close a summertime beauty
article without a word or two on
cleanliness and personal daintiness. . . .
Especially when I have three such grand
products as a milk bath, a cream non-
perspirant, and a new, inexpensive ver-
sion of perfume to tell you about! . . . The
first is a terry cloth bath mitt filled with
powdered milk and a blend of other bene-
ficial ingredients. You soak this in water,
then use it as you would a wash cloth —
in your bath or shower. One lasts for an
entire body cleansing, and the results are
an epidermis that is clean as clean, and
deliciously white and soft. . . . Ten cents
each, or ten for 89 cents.

The cream non-perspirant (that means
that it checks as well as deodorizes per-
spiration locally) is as easy to use as a
hand lotion. . . . You simply rub a bit
under the arms — immediately after shav-
ing if you like — and go on with your
dressing. It is perfectly safe, of course,
and as effective as it is pleasant to use.
A pale blue and white jar of this "social
security" sells for 39 cents.

| A French perfumer whose exquisite
but costly scents have always set
me to dreaming, has my undying gratitude
— personal and professional. He has
brought out his six swooning fragrances
in what he calls "a new version of per-
fumes" at $1 for a large flacon. . . . This
means, dear reader, that you can now go
wrapped in the breathless aura of price-
less Parisian odors — for the price of a
pair of Sunday-go-to-meeting hose!
You get the same effect as Mrs. Much-
money — because you apply the fragrance
more liberally. And when I say liberally
— I don't mean dabbing it behind your
ears or eyebrows or on your hankie.
I mean for you to slosh it all over your
body as soon as you step from your tub.
. . . Then you'll be fresh and lovely all
through the day or night. . . . Besides being
presented in the six famous odors, there
are some new floral fragrances in this
same preparation — honeysuckle, magnolia,
sweet pea, verbena and gardenia.

|

Kay Francis Signs
Lifetime Contract!

A Baron takes a Queen. A nobleman
from Germany and a queen from
filmland have discovered each other
This we all know — but the public has
not been informed of the amazing
motive behind this scintillating star s
betrothal announcement!

Get the July issue of SCREEN BOOK
for a detailed, inside story in which
Kay Francis gives an exclusive inter-
view. Other absorbing stories in this
all-star issue include:

ROSALIND RUSSELL'S NIGHT OF
TERROR!

SECRETS OF A HOLLYWOOD
FORTUNE TELLER

Screen Book

i

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Gail Patrick takes careful notes
while Frederick of the Brown
Derby shows her a secret

HOLLYWOOD
COOKING SCHOOL

One way to learn about cooking is to
marry a restaurant owner, another
is to read what one expert has to say

By BETTY CROCKER

Ql Lucky is this Hollywood bride, whose
cooking problems are so neatly solved
as those of Gail Patrick who married
Robert Cobb, manager of the Brown
Derby restaurants. When Gail wants any
advice on cooking she just asks the head
chef!

"And if you don't think it's a handy
arrangement, just come with me," invited
the lovely Mrs. Cobb. "I'm going to get a
strawberry cake recipe from Frederick."

"Frederick" is Rudolph Friedrich, chef
at the Hollywood and Vine street Brown
Derby, familiar to all Hollywood visitors.

Rudolph Friedrich is his name. But he
is called "Frederick" by the screen and
radio stars who gather at the Hollywood
and Vine street Brown Derby. His spe-
cialties are world famous. The way he
cooks brook trout, smothered in almonds
sliced thin as paper . . . but Gail has led
us into the kitchen.

Frederick had a gorgeous strawberry
cake already cooked when we arrived, and
was starting another.

"One most important thing I've learned
from Frederick," said Gail, "is the value
of accurate measurements in following a
recipe.

"We even weigh ingredients," smiled

Frederick. "And also I tell Mrs. Cobb to
use only the best materials. A recipe is
only as good as the things you put into it!"
Frederick knew the recipe by heart, and
Gail copied it carefully. Then we tasted
the cake, and it was delicious. Here is the
way it's made:

STRAWBERRY CAKE A LA BROWN DERBY

V-/o cups whipping cream

(35-38% butter fat)
3 eggs

2V4 cups cake flour
or 2 cups all-purpose flour
3 tsp. baking powder
V2 tsp. salt
1% cups sugar
W2 tsp. vanilla

Whip cream until stiff. Beat eggs very
thoroughly and fold lightly into whipped
cream. Sift flour once before measuring.
Sift flour, baking powder, salt and sugar
together twice. Sift flour mixture slowly
into the cream mixture, folding it in gently
with a flat wire whip. Blend in flavoring
and mix well. Pour into well greased and
floured layer pans and bake 30 to 50 min-
utes in a moderate oven, 350° F. When
baked, remove from pans and turn onto

50

Accept No Substitutes! Always Insist on the Advertised Brand!

wire cake coolers. AMOUNT: Two deep
round 8-inch layer pans 1V4 inches deep
or two round 9-inch pans.

Put layers together with a whipped
cream filling. Whole hulled strawberries
have first been folded into the whipped
cream. (If desired, a little gelatin may be
added to the whipped cream, Vz tsp. gela-
tin to one cup of whipping cream. Soak
the gelatin in V2 tbsp. milk, dissolve it
over hot water and blend it into the
whipped cream.) Sweeten the cream with
2 tbsp. confectioners' sugar. Spread a thin
layer of the whipped cream over the top
of the cake and decorate with whole, un-
hulled strawberries.

"Mrs. Cobb has a recipe of her own
which is very good," said Frederick. "We
serve it at the Brown Derby. Why don't
you ask her about it, Miss Crocker?"

"It's an Apple Sauce Cake, and really
quite easy to make," said Gail. "Come on
into the Derby and we'll have some tea
while you copy it." And here it is:

MRS. COBB'S APPLE SAUCE CAKE

% cup shortening
2 cups sugar
1 egg

la/2 cups unsweetened apple sauce
27/8 cups cake flour
or 2V2 cups all-purpose flour
% tsp. salt
% tsp. cinnamon
V2 tsp. cloves
% tsp. allspice

1 cup chopped raisins
V2 cup broken walnuts

2 tsp. soda

Vz cup boiling water

Cream shortening, add sugar gradually,
and cream thoroughly. Blend in well
beaten egg. Add cooled apple sauce. Sift
flour once before measuring. Use a little
of the flour to dredge fruit and nuts. Sift
remaining flour with salt and spices. Dis-
solve soda in boiling water. Add flour
mixture to the cream mixture alternately
with the water. Add the floured raisins
and nuts. Pour into 2 well greased and
floured pans 8 inches square. Bake 45
minutes in a moderate oven, 350° F.

While I was busy with my pencil, Gail
Patrick was receiving congratulations
from her friends on her performance in
Mad About Music, in which she plays the
role of a movie star forced to conceal the
fact that she has a fourteen-year-old
daughter. Not many Hollywood actresses,
so young and pretty as Gail, would dare
play a mother part like that, but Gail en-
joyed this test of her dramatic ability. She
was just as convincing as a mother in this
Deanna Durbin picture as she was con-
vincing as a calculating golddigger in
Stage Door with Katharine Hepburn and
Ginger Rogers. In private life she is just
as you would picture her, poised, beauti-
ful, intelligent, a most happily married
young bride.

When I had finished taking down her
recipe for apple sauce cake, Gail brought
out another recipe — the one for the deli-
cious Cocoanut Butter Icing to be used on
the Apple Sauce Cake:

COCOANUT BUTTER ICING

% cup sweet butter

3 cups confectioners' sugar

% cup thick cream

V2 tsp. vanilla

6 ounces grated fresh cocoanut

Method: Cream butter and sugar to-
gether until smooth. Add cream and
vanilla and beat thoroughly (if necessary,
a. little more cream may be added). Add
one-half of the fresh cocoanut and mix
thoroughly. Put between layers and on
tops and sides of the cake. Put remain-
ing cocoanut on top and sides of cake.

I have kitchen tested these three recipes
and the results are excellent. And as
Frederick advised, be sure you use a good
cake flour and measure the ingredients
carefully.

In my files are thousands of recipes —
perhaps I have the very one you've been
searching for. Won't you write me, in
care of this magazine, describing the recipe
you want? Or use the coupon below for
this month's free recipes.

Betty Crocker,

HOLLYWOOD Magazine,

1501 Broadway, New York City.

Please send me your kitchen-tested
recipes lor

□ Summer picnics

□ Summer salads

□ Orange cakes
[] Noodle Goulash

Name

Address

City

State

Blind Alibi is Richard Dix's next film at Radio,

playing an important part is Ace the Wonder

Dog, grandson of Strongheart, beloved canine

star of several years ago

His smart wardrobe

at Columbia Studios is

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Larvex is odorless, stainless and one spray-
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cleaner sprayer.

Larvex is economical, too. One suit of clothes
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51

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■51 52 53
54 55

ACROSS

1. Swedish film star.

5. What Billy and Bobby Mauch are.

9. She had title role in Torchy Blane in Panama.

11. Dick Powell's wife.

12. Reginald Gardiner's initials.

14. Phillip Chester in Fools For Scandal.

16. George Brent was The Getter.

17. Swing Your .

19. Actresses wear dark glasses as protection from
this.

20. It identified Muni as Scarfact.

22. Standing Room Only (abbr.).

23. Wide Open .

25. Successful motion picture.

26. Popular place for film elopements.

28. Place for either of western stars' spurs.

30. Eddie Edwards in Over the Wall.

31. Part of instrument played by Baur in Life
and Loves of Beethoven,

32. Mr. Boles but not John.

34. What Hollywood's performing penguin is
called.

36. Donald Cook's native state (abbr.).

37. The First Hundred .

40. Initials of Director Marin.

42. Edith Fellows portrayed Little Rough-
neck.

44. Women Like That.

45. You're in the Now.

46. She Married Artist.

47. Hanging screen in a theater.

50. Double Nothing.

51. Bing Crosby has four.

52. Jean Hersholt is one by birth.

54. Her last name is Louise.

55. Mrs. Carpenter in the Crime of Dr. Hallet.

DOWN

1. Jack Hulbert and Patricia Ellis played opposite
in Gaiety .

2. Initials of a sister of 9 Across.

3. Bringing Up .

4. in a Million.

5. Bob O'Leary in In Old Chicago.

6. This Please (pi.).

7. Island The Sky.

8. Two-reeler.

10. Charles Laughton's wife.

11. She had title role in Checkers.

13. A star of Bluebeard's Eighth Wife.

15. The Of Roaring Camp.

16. Deanna's screen mother in Mad About Music.
18. Players who prepare to act as substitutes.

21. First name of comedian Conklin.

23. Baby Snooks in person.

24. What leader of Rippling Rhythm Orchestra
is called (poss.).

27. One of Three Stooges.

29. Joan Crawford has blue ones (sing.).

32. Stan Laurel's smile.

33. Nickname of Herbert Marshall.

35. Remember — Lincoln as Tarzan?

36. Fred Astaire's native city.

38. You must use these to enjoy sound films.

39. Featured actress in Midnight Intruder.
41. Ann in Test Pilot.

43. Ella Logan is one by birth.

45. Mrs. John Howard Payne.

48. Stuart Erwin's girl friend in Checkers.

49. His last name is Keith.

51. What Mr. Wills, Joan Davis' husband, is

called.

53. Initials of 10 Down.

52

(Solution on page 57)

Accept No Substitutes! Always Insist on the Advertised Brand!

So You'd Like To Have A Screen Test?

[Continued from page 21]

changed my make-up and coiffure a hun-
dred times. I'm still being tested all the
time. I never have a dull moment trying
to please everybody."

B We go over to New Universal to see
a girl rumored to be this year's screen
find. Inasmuch as it's all still in the sub
rosa stage and the girl herself hasn't a
glimmer of her sudden importance, we
will call her Mary Lou. A talent scout
discovery, she has had two screen tests
and is preparing for her third.

We find her panting in the school gym-
nasium on the lot. Badminton. In quest of
grace and co-ordination. All screen possi-
bilities discovered by talent scouts are
sent to studio schools for about six weeks
before their screen tests. Tests cost money.
Plenty. Hence the six weeks of training.

After the work-out in the gym, she goes
to the little school room, and "this year's
screen find" starts biting her lips over the
names in a mythology book, reading aloud,
snipping down a slight lisp which a micro-
phone loves to amplify a hundred times.
Around her sit about eight young men
and women Hired to Study for six weeks —
such is the faith Universal has in them
to become "good material." All different,
distinct personalities. All types, with one
similarity — individuality. "Guard the per-
sonality— keep it," is the credo of every
dramatic school on every studio lot in
Hollywood.

K We ask Mary Lou if she was fright-
ened or uneasy when she took her
first test.

"Not at all," she says, "but that was be-
cause I was so ignorant. I'd never seen
myself on the screen and I just didn't
know. I had to watch that hateful test run
off in the projection room seven times and
note down all the things I did wrong. My
left eyebrow moved up and down on every
other word. And my upper lip curled
strangely. Things like that aren't noticed
at all in daily life. I had to wear adhesive
tape on my lip for days as a reminder.
After two more weeks of training, came

my second test. This time I was scared.
So it was a flop. There were so many
little mechanical things to think about I
forgot my lines, my characterization —
everything."

Three more weeks of training. Daily
practice, concentration, coaching. "Why
did you look down at the floor at that
moment? Watch your eyebrow. Keep your
lip still. Don't cross your legs. Look up,
but never at the camera. Why did yoLi
pluck your eyebrows so high? Let them
grow in."

These are the eternal admonitions of
Speed Margolies, day in and day out. Each
student has his own particular problem.
Some have Southern accents that must be
modified, or nasal tones. Some have bad
facial habits. Some are afflicted with a star
fixation and unconsciously imitate the
star they most admire. All these prob-
lems are handled at Universal by school-
and-screen-test-director, Speed Margo-
lies, and his assistant, Peggy Vaughn.
Speed, so-called because he always moves
at such a slow, steady pace, is a slim,
black -haired young fellow with constant
humor in his all-seeing eyes. He knows
theatre. He was born into it. His easy
manner and clear-cut guidance are a god-
send to the bewildered neophytes prepar-
ing for their first screen tests.

We see Mary Lou's third test this after-
noon. One of her scenes for the test lasts
three minutes. She is supposed to be angry
at her boy friend; then she decided to
forgive him. She must get that into pan-
tomime completely within the allotted
time. And she does.

"This year's screen find" is told it is
"pretty good," and that with "some more
study she may have a few lines in a pic-
ture here and there." And so Mary Lou
returns to the school room to bite her lips
over some more vowels and consonants
and dipthongs.

All of which tends to show that one
good screen test leads to another — and an-
other. The first one settles only one thing—
whether or not you are worth the next.

Robin Hood was completed months ago, but Its influence still is felt on the Warner Brothers' lot.

On their way to luncheon, between scenes of Four's A Crowd, Patric Knowles and Errol Flynn

met. A duel for the benefit of innocent bystanders was the result

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They Called Her

Crazy but She

Didn't Care

[Continued from page 16]

vigorous, country. Her children— one
of each sex — aged about thirteen and
fifteen, are nice, polite well brought
up kids. The Travers are backbone of
America, salt of the earth, worthy citizens.
They came in with a tide of eight fitters,
six hat boxes and a man with five fur
coats.

The Elizabeth Arden girls had been
having their way with Joan so she just
slipped on the padded, rose sprinkled
house coat and tinkling mules and, brush-
ing aside eighteen yards of sequins and a
hat made to look like a cock's comb,
greeted Mrs. Travers,

"And now, dear," said Mrs. Travers, "I
want to show you how this stitch goes."
And there in that typically actress atmos-
phere, set and incidental characters right
out of "Royal Family", Joan and Mrs.
Travers surrounded by a dress called
"Daughter of the Regiment" and a hat
called "Carnival" put on their glasses
while the minister's wife from Rhinebeck
taught Joan Crawford a new stitch.

"That's right, dear, put the needle in
and skip two — careful of the corner."

And Joan, trying so hard to please, say-
ing as she peered through her horn-
rimmed glasses, "I think I have it right,
now."

After she had learned the stitch and bid
Mrs. Travers and the children good-bye
she bought two fur coats and fitted a white
evening gown with a decolletage that
would make a foreign missionary do
penance for a moment.

And the funny thing is that Joan didn't
see anything funny about the scene until
I pointed it out to her. She was too busy
trying on hats.

How many she bought while she was in
New York I wouldn't know I never got to
the multiplication table in arithmetic.
But since Joan has the perfect hat face all
the fancy milliners in town pounced on
her. Each creation looked more lovely
than the next and the creators of the hats
just stood around and gasped and she
gasped when she tried them on.

She graciously told every milliner that
his (or her) hats were divine and she
simply adored them and then, one day she
had a brain storm.

She had just shut the door on the last
beaming designer. That was the day, I
think, when she bought ten hats. Then
she turned to Coule and me with a wild
look in those big blue eyes. She came
toward us stealthily as we backed away
and in a low, Boris Karloff voice she said,
"If I tell you girls something will you
promise me you'll never, never breathe
it?"

We expected nothing less than a confes-
sion of murder. "No one — no one must
ever, ever know this," she went on. "Lis-
ten! I hate hats! I hate hats! I hate hats!"

"There, there," we said gently, "every-
thing will be all right. You've just seen
too -many hats today."

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"No," said Joan and her eyes were wild
again. "I've always hated hats. When I
was a baby I used to tear my bonnet off
my head."

"Then why?" we were going to ask why
she had bought so many but we saw she
was in no state to be questioned. Besides
she was no longer in the room. She had to
leave to get dressed for the theatre and
presently she appeared looking a little
worn but quite sane and wearing an
utterly adorable black velvet dinner hat
with real violets on it.

Her escort had arrived. "What a lovely
hat, Joan," he said.

Coule and I cowered in a corner. We
expected another outburst. Did we get
it? Not at all.

Miss Joan Crawford, star, turned her
star sapphire eyes on the young man and
said, "I'm awfully glad you like my hat.
It's one of my especial favorites."

"You're crazy!" we told her. But she
just gave us a sweet, understanding smile.

■ I think it was the next night that she
had what in future Crawfordana will

be known as her "coming out party."

She went to the theatre with Jerry
Norris, a lad she's known a long time,
and afterwards she and Bill Kirkland and
Peter Van Beuran went dancing. Although
Peter is now in the theatre it seems he's
society and he had an invitation to a
coming out party of a local deb. He sug-
gested that they all go. (I got this story
from Jerry who'll never get over it.)

Joan demurred at first. "I wasn't in-
vited," she said. "Nobody knows me there.
What will they say?"

It took quite a while for the three boys
to explain to her that her name was Joan
Crawford and that just having her there
would simply make a deb's party. Finally
she was persuaded to go (she had wanted
to go all along to see how the other half
lives) but when she arrived she sat in a
corner and said "yes, sir" and "no, ma'am."

This was Society and she didn't know
how they were going to take her. The
boys did, at once, as you can imagine.
And she felt better about crashing when
the father and mother of the debutante
told her they were happy to have her.
But the girls — well, it is sort of rough on
a bunch of little debs to have a dame like
Crawford in her ermine cape and those
Lily Dache flowers in her hair breeze in
with three young men.

She danced with Peter first and the
stag line made a circle around her. They
made that low animal noise peculiar to
stag lines when happy. It goes "Oooooooo-
wooooooo." The boys tried to cut in but
Peter knew if she started dancing with
stags the whole party would go to ruin.
So he refused for her and the girls sniffed
and said, "I knew she wouldn't dance
with anybody."

■ Maybe it was a catty girl or maybe
it was everyone's idea but somehow

a Big Apple started. Benny Goodman's
orchestra had been hired for the occasion
which will give you a rough idea how rich
these people are. And a girl said, "She'll
never dance the Big Apple. She'd think
it was beneath her dignity.

Jerry overheard this and repeated it
to Joan. It was all she needed to get right
in there fighting. She had never danced
the Big Apple before but, if you re-
member, she used to do all right on the
Charleston.

Suddenly someone called, "Shine, Miss
Crawford." Which meant they wanted her
to get into the middle of the circle and
go to town. By this time the girls had
stopped saying, "She'd never do that." For
Miss Crawford got out in the middle of the
floor and shone. The sun, which was just
coming up over the Empire State Building,
ducked under a cloud when it saw Miss
Crawford shining. Too much competition.

She got home at dawn with eight bruises
on her shin bone and her stockings in
tatters. Miss Crawford had not only shone,
she had come out!

B Joan is the demon shopper. She can
do more in an hour than I can in a
week, and she does it with crowds fol-
lowing her constantly. But — a thing she
can never make anybody understand — ■
she loves it.

One day we went to Dunhills where
everything is so too, too, divine you can't
bear it. The clerks all speak with such
thick British accents that you have to take
along an interpreter to buy a pack of
cigarettes.

There was, of course, a bowing and
scraping you could hear all the way to
the Battery when Miss C. put in her ap-
pearance. And if anybody ever rushed in
Dunhills (which nobody does) you could
say the clerks (pronounced dark) rushed
around to show her all the fascinating
little gadgets which make the shop so
different.

Everything was going very well and
very Dunhill when suddenly the doors
burst open and the howling fans mobbed
the place. In the midst of the hub-bub
a long distance call came for Joan. (That
crazy Coule over at the Waldorf had
calmly transferred the call to Dunhills.)
Everyone was thrown. How in the world
could Miss Crawford possibly talk on the
telephone with all those people milling
about?

She fought her way through the crowds.
She picked up the gilded 'phone and then,
in a sudden burst of inspiration, she put
her head in a glass show case to keep out
the noise. And if I live to be a thousand
I'll never forget Joan and the telephone
in that show case along with a gentleman's
gold tipped evening wallet, a meerschaum
pipe and a platinum pencil with a watch
in the end of it.

"I'm terribly sorry, Miss Crawford," one
of the Dunhill attendants said, "I'll have
these people out of here in a moment so
you can shop in peace."

But Joan didn't hear him. She was, at
that moment, engaged in deep conversa-
tion with a fan she had never seen before.
The fan was saying, "I love the way you
wear your hair in Mannequin."

And Joan was saying, "Do you really?
You know, I'm awfully proud of that
because I did it myself — rolled it up on
curlers every night."

And I honestly think that if at that
moment the completely demoralized Dun-

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Our roving extra works on The Rage of Paris set,
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"peeping Tom" when Danielle Darrieux goes into
her already famous disrobing act.

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hill staff had not called the police to clear
the place Joan would have shown the girl
just how she had rolled her hair up.

Dunhills, so used to the sweeping lor-
gnetted ladies who will have no truck (or
is it truckin') with the common people,
had never seen a star like Joan Crawford
before. And I'll bet they're still talking
about it, with or without British accent.

■ I like Franchot and all that but I did
wish Hollywood had kept him just a
little longer. When he arrived I had to
move back to my own little hovel and
although I was beginning to show the
strain of a week with Crawford it's nice
to live in luxury at the Waldorf. And
when I thought it all over I decided that
some of the things I had seen happen with
my own eyes just weren't true. Crawford
just won't be a picture star, that's all.
She just won't run true to form.

Then, the other night, I turned the radio
on to the Lux Theatre of the Air and
heard a great actress give a beautiful and
touching performance. You've guessed it,
it was Crawford. That girl is here again.
Her reading of the part was nothing short
of magnificent and I found myself crying
because her voice was so beautiful and
her interpretation so sincere.

And then I got mad. "She can't do that
to me," I said to myself. "That actress
on the radio, that artiste with the ability
to move me deeply — why, that's Craw-
ford, that's that goofy girl who dances
Big Apples and learns petit-point stitches
from ministers' wives and hates hats and
talks long distance in Dunhill show
cases."

I haven't been the same since. I may
never be again. Besides, I can't figure it
out. The only conclusion I can come to
is the one I originally concluded at the
beginning of this yarn. The girl is crazy.
But it's a kind of craziness that's a lot
of fun to know!

Never A Dull Moment!

[Continued from page 28]

portions. It was shipped to him by a man
who read in a magazine that Joel was
collecting blooded stock.

Going from cows to ants is a step, but
Betty Furness recently received from
some well-meaning fan a real "ant palace."
This odd gift was marked "special de-
livery, handle with care, ants inside in
glass!" The palace is housed between
two plates of glass with a three-inch space
between them. Vents at the top supply
air, and there is a stopper through which
honey can be fed to the ants. Within is
a small ant hill, with miniature houses and
the ants busily toiling everywhere.

A fan sent an unique gift to Joan
Crawford, a beaded bag into which is
woven descriptions of nearly every im-
portant incident in her life!

B A seemingly harmless interview
started Glenda Farrell getting a bunch
of presents — all the same thing!

The interviewer mentioned the fact that
Glenda wore a faded tan smock over her

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56

Accept No Substitutes! Always Insist on the Advertised Brand!

costume between scenes at the studio.
He also mentioned casually that it would
be nice if Glenda could dig up something
just a trifle more colorful. About a couple
of weeks later smocks began to arrive from
fans. The first was decidedly colorful —
red, white and blue stripes running in
barber-pole fashion! A Nashville lady
was the giver. Glenda was tickled, but
since she has received an average of three
smocks per week from all sections of the
country. Her thirty-third garment was
from a gentleman doing a long stretch for
forgery in a middle -western prison.

James Cagney is still wondering why a
fan sent him a small, handcarved wooden
alligator with the urgent request that he
always call it "Genevieve!" Yes, Jimmy
kept the odd gift and does call it "Gene-
vieve!"

Luise Rainer was even more baffled by
the gift of a very much alive baby alligator.

The oddest gift Maureen O'Sullivan ever
received came the other day in the shape
of a phonograph record that played "I
Love You" over and over, with the fan
"signing off" with "That's How I Feel
About You!" But her favorite gift of all
is a hand-made rug for her dressing room
sent her by a sailor admirer aboard the
17. S. S. Lexington.

Paul Muni was pleased, if a little baffled,
to receive a year's subscription to a
Chinese newspaper shortly after he played
Wang in The Good Earth.

Jean Muir was likewise pleased but just
a little bit astonished, too, to recently re-
ceive the biggest set of bagpipes she'd
ever seen, sent her from Scotland by a
fan named Donald Matheson.

Claudette Colbert recently received a
sterling silver vanity case, inlaid with
ziron, from Bangkok, Siam. A gift from
America which pleased her a lot was a
pair of hollow glass book-ends, which
form a miniature tank for tiny tropical
fish.

Virginia Bruce feels that she has to be
lucky from now on. Why? Because sev-
eral weeks ago, a fan wrote from Ken-
tucky saying he was going to "comb the
state" for a gift — which turned out to be
a pressed four-leaf clover, which Virginia
now carries as her good luck charm.

The wide publicity given to Warren
William's two wire-haired terriers, Jack
and Jill, resulted in a flood of rubber
bones. To one enthusiastic contributor,
who sent rubber bones every other day,
Mrs. William eventually had to write,
asking her to please, O, please desist!

■ They run from the sublime to the
ridiculous, do these strange gifts that
fans so delight in showering upon their
favorite celebrities. For Dick Powell
came the world's largest watermelon,
weighing a mere 195 pounds! And for
Hugh Herbert came a trained flea, weigh-
ing hardly a fraction of a sixteenth of an
ounce!

Kay Francis is still puzzling over why
someone should send her a large collec-
tion of oil-cloth tie-backs for window
curtains, plus a ball of red twine. And
someone sent Mae West a paid-up life
membership to the "Goody Goody Club"
of New York City, made up of six thou-

sand school children who are pledged to
purity of thought and deed. Recently a
Texas fan sent Robert Taylor a bulky
package containing a rubberized suit "to
protect him against the onslaughts of his
admirers!" Wrote this fan: "I hear that
when you appear in public, people almost
tear your clothes right off your back.
This suit, which I have invented, will
STAY on you and save you much embar-
rassment." Taylor has not worn the suit
in public — yet.

Patsy Kelly got a sport shoe through
the mails. A letter with it said, "Send me
your autographed picture and I'll send
you the mate to this!"

Sometimes these gifts are a real benefit
to the stars. For instance, fifteen famous
Juliets of the past fifty years stepped out
of an envelope when Norma Shearer
opened her morning's mail one day just
before starting Romeo and Juliet. They
came from a musty theatrical trunk, ac-
companied by a brief note explaining that
the writer had prized the collection for
more than a quarter of a century, but
wished Norma to hang them in her dress-
ing room to serve as an inspiration for
her own Juliet.

If you plan to send your favorite some-
thing bear in mind that gifts of food are
always taboo. Fear of cranks causes
studios to destroy them all.

An example of how much waste results
from this practice follows:

In a magazine yarn recently, Olivia de
Havilland mentioned fruit cake as her
favorite delicacy. To date, Warner
Brothers have had to destroy 12 large
cakes. The amount of fruit, candy and
jam that suffers the same fate in Holly-
wood each week would actually stock a
huge store.

Just one other "don't" if you're thinking
of sending something to some star. Don't
send it COLLECT! Of course, you proba-
bly wouldn't dream of doing such a thing,
but just the same, one fan did! And
heaven help the fan who sent Mary Boland
twenty quarts of ice cream, a piano, and
a truckload of furniture, collect, when
she catches up with him.

Crossword Puzzle
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ontk

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When Answering Advertisements Please Mention July HOLLYWOOD

57

Gay colors and new fabrics
are making the biggest
splashes in swimming suits
this year. Right, Marion
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Above, Eadie Adams is ready for a
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features a simulated crochet stitch, and
a removable skirt. Left, June Martel
poses as the spirit of Splash in her
gay little Allen A one-piece suit

The World Goes
Camera Crazy

even Hollywood is taking "candids."
James Stewart, MGM featured player,
is snapped taking a picture of a fellow
actor on the lot.

^rtttW DlfflTfirD ADlf V is ^e sensati°nal new 144-page book
UUU1J inU I UUFIH* fl I that tells you how to make better, more

interesting pictures . . . whether you use an expensive "minicam" or a modest Brownie.
Written in clean, understandable language, it describes the most practical ways to develop,
print, enlarge, crop, mount and frame photographs for best overall effect; how to make
numerous camera and darkroom gadgets; how to do all the hard little jobs the easy way. It
answers, once and for all, a question that everyone asks and is asked, "What is a Candid
Camera?" and it includes a handy reference list of available cameras, arranged accord-
ing to price, so that a prospective buyer can make an intelligent selection.

Although it is easily the equivalent of many books selling for $2.50, GOOD PHOTOG-
RAPHY costs only FIFTY CENTS per copy It is being hailed everywhere as the biggest
book bargain of the day. Buy your copy today at any newsstand or camera store . . . for
yourself, husband, son or sweetheart!

TO ORDER BY MAIL, use the convenient coupon below.
No extra charge for mailing. Do not send coins through the
mails; remit by check, money order or United States stamps.

FAWCETT PUBLICATIONS, Inc.
Fawcett Building, Greenwich, Conn.

Enclosed find 50 cents. Please rush my copy of GOOD
PHOTOGRAPHY to

Name—.

Street and Number

City... _

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(If you do not want to mutilate the magazine by clipping the
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DEWEY HUFflNE, tobacco auctioneer
like most other independent
experts -smokes luckies...

*K

WITNESSED STATEMENT SERI
Dewey Huffine Has Smoked
Luckies for 20 Years

DEWEY H. HUFFINE has been "in
tobacco" since boyhood. 13 years an
auctioneer, he has sold 1 00 million pounds.
So he knows tobacco from A to Z.

Mr. Huffine says: "I sell to all manu-
facturers, and pride myself on being im-
partial. But I've seen what tobacco Luckies
buy, and so I've smoked them ever since
1917 — about two packs a day."

Sworn records show that, among inde-

pendent tobacco experts like Mr. Huffine
— among auctioneers, buyers and ware-
housemen — Luckies have twice as many
exclusive smokers as have all other ciga-
rettes put together.

Remember this next time you buy ciga-
rettes. Remember also, that only Lucky
Strike gives you the throat protection of
the "Toasting" process which takes out
certain harsh irritants found in all tobacco.

ClGARETTES'i

"essi

Copyright 1938, The American Tobacco Company

View of the main
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You'd be more popular if you had a lovelier smile!"

A GIRL SMILES — and her face glows
with a touch of splendor. {Dazzling,
bright teeth — firm, healthy gums help create
that lovely moment.) Another girl smiles,
and her charm vanishes. {Dingy teeth
and tender gums halt your attention, tragic
evidence of carelessness and neglect.)

It's a shame when a girl ignores "pink
tooth brush" and risks the beauty
of her smile! True, "pink tooth brush"
is only a warning — but when you see
it — see your dentist. Let him decide.

Usually, however, he'll tell you that
yours is just another case of lazy gums,
gums robbed of exercise by modern
soft, creamy foods. Probably he'll ad-
vise more work for your gums, more
exercise. And, like so many dentists,
he'll probably suggest the healthful
stimulation of Ipana and massage.

For Ipana with massage is especially
designed not only to keep teeth bright
and sparkling but to help the health of
gums as well. Massage a little Ipana

into your gums each time you clean
your teeth. Circulation quickens within
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firmer, more resistant to trouble.

Start today with Ipana and massage.
Let this modern dental health routine
help you to a more attractive smile!
* * *

DOUBLE DUTY— Ask your druggist for
Rubberset's Double Duty Tooth Brush,
designed to massage gums effectively
as well as to clean teeth thoroughly.

When Answering Advertisements Please Mention August HOLLYWOOD

When Answering Advertisements Please Mention August HOLLYWOOD

BM

©cib 382591 VJUL -9 !93B

AUGUST, 1938
Vol. 27 No. 8

Hollywood

W. H. FAWCETT
Publisher

LLEWELLYN MILLER, Editor

w'*m&

-\'

Table of Contents

EXCLUSIVE FEATURE STORIES

Men Who Boss the Stars (Adolph Zukor) by Lupton A. Wilkinson 1 4

On the "Five of a Kind" Location by Llewellyn Miller 1 6

The Mystery that Haunted Herbert [Hugh Herbert) by Margo Kent 1 9

"Peeping Tom" on a Movie Set [The Rage of Paris) ..by E. J. Smithson 20

How One Man Shocked Hollywood by Llewellyn Miller 22

The Simple Life (Bob Burns) by Ted Lorch 24

Why Joan Fontaine Left Home by Sonia Lee 26

Dr. Bob — Bug Hunter (Robert Montgomery) by Terry Kelly 28

A Day With a Queen [Marie Antoinette) by Jessie Henderson 32

Song Plugger Number One (Alice Faye) by Elmer Sunfield 34

The Man Who Has Everything by Winifred Aydelotte 36

Catching Up with Clara Bow by Gladys Babcock 37

Landscapes on Wheels by Edward Churchill 38

PICTORIAL SPECIALS

Jean Arthur '5

Madeleine Carroll '°

All Over Hollywood 30

Norma Shearer 33

EVERY MONTH IN HOLLYWOOD

Hollywood Newsreel 6

Important Pictures by Llewellyn Miller 10

Beauty Department by Ann Vernon 42

Movie Crossword 46

Hollywood Cooking School (Ginger Rogers) by Betty Crocker 50

MOVIELAND TOURS '2

SEVEN DWARFS CONTEST WINNERS 54

_, ^HL

RALPH DAIGH, Managing Editor

CHARLES RHODES, Staff Photographer

HOLLYWOOD Magazine is published monthly by Fawcett Publications, Inc., 1100 West Broadway/Louisville, Ky. Entered as second class matter at the post office at Louisville,
Ky., under the act of March 3, 1879, with additional entry at Greenwich, Conn. Copyright 193S*fiy Fawcett Publications, Inc. W. H. Fawcett, Publisher; Elliott Odell, Advertising
Director. General offices, Fawcett Building, Greenwich. Conn. Trademark registered in U. S. Patent Office. Subscription rate 50 cents a year in United States and possessions
and Canada; foreign subscription $1.00. Single issues five cents. Advertising forms close on the 18th of third month preceding date of issue. Printed in TJ. S. A. Member Audit
Bureau of Circulations. Send all remittances and correspondence concerning subscriptions to Fawcett Building, Greenwich, Conn. Advertising offices; New York, 1501 Broadway:
Chicago, 300 N. Michigan Ave.; San Francisco, Simpson-Beilly, 1014 Kuss Building; Los Angeles, Simpson-Eeilly, Garfield Bldg. Editorial offices, 1501 Broadway, New York City.

i:MHT47f*I4»S2l:47Htl441

Gary Cooper, Mrs. Cooper, Basil Rathbone,
Myrna Loy and her husband, Arthur Hornblow,
Jr., snapped at the wedding of Rathbone's son

| The hottest new romance of the month
is the revival of an old one, that be-
tween Sonja Henie and Jack Dunn, the
two greatest ice skaters in the world today.

Hollywood broke up their romance two
years ago, after Sonja was suddenly
hoisted to stardom by 20th Century-Fox
studios. Jack just drifted for a while, but
after he signed his recent long-term con-
tract with Edward Small Productions, he
started stepping out with Sonja again.

Jack's intimate friends say that they
have been friendly all the time, but that
Jack did not want to seem to be usurping
any of the Sonja glory. Now that he is
about to start work on his first picture as
a star, playing the role of a West Point
cadet, Jack apparently is taking up his ro-
mance with Sonja where they left off.

Incidentally, Dunn's first picture will
give him a chance to show his talents not
only as a skater, but as an all-around
athlete, since he is considered expert in
tennis, golf, boxing, riding, swimming and
high diving.

fl Discovered at last! A poetic Dale
Carnegie in Hollywood and none other

than Wayne Morris who recently sent in

the following tender little four-liner to

yours truly:

Don't worry if your job is small,
And your rewards are few;
Remember that the mighty oak,
Was once a nut like you!

91 Front-paged the country over, the
Jackie Coogan case is attracting at-
tention to the film colony, but it fails to
call attention to another side of the issue.

Meaning that stars, in the money, are
cursed — and that is not an unfair word,
either — by relatives.

It's too bad that a listing of 'relatives'
cannot be published.

Rodion Rathbone takes his pretty bride, the

former Carolyn Fischer, down the flower decked

aisle in one of the most picturesque and pretty

ceremonies of the season

One feminine star has 16 relatives on
her pay-roll — and we don't mean that
they are doing anything in the way of
labor to earn their checks, either.

And of the 16 'relatives' eight of them
are far removed, fourth, and fifth cousins
whom the star had never heard of until
they arrived in Hollywood.

Rather a tough situation but nothing
can be done about it.

E3 An international star of stage, screen
and radio is about to be divorced by
his wife of many years. Which is nothing
unusual in Hollywood. But this particular
case IS unusual for if the suit is contested

Cesar Romero, Mary Pickford and Olivia De
Havilland were among the many distinguished
guests who filled the garden for the ceremony

it will be revealed that the wife suing is
actually the star's aunt. They are legally
married.

83 Hank Luisetti, Stanford University
student, famous as a basket-ball
player and rated the best goal maker that
an American college has ever produced,
has been signed to a contract by Para-
mount and will show some of his prowess
in his first picture at that studio.

Luisetti, a handsome chap, has made as
many as 50 points in a single basket-ball
game.

Harold Hurley, who will produce the
picture starring Hank, has a great theme
song for the basket-bailer's screen debut.

It's to be called Tip-It-In!

■ Norma Shearer made a special trip
to New York to see the stage pro-
duction of Susan and God. Therefore you
can make a bet that this brilliant play will
be Norma's next screen vehicle and that
she will play the role which brought so
much fame to Gertrude Lawrence.

H The Paramount gang is getting a great
kick out of the request Frances
Farmer and Lief Erickson made of the
studio for a leave of absence from their
contractual obligations at that studio.

They said they wanted to 'learn acting'
on the New York stage, which was quite
all right; but asking for a leave of absence
for five years to learn is what produced
the chuckles.

Incidentally, Paramount has served
notice on Frances and Lief that they had
better hold their punches when talking
about pictures and picture people in their
credited New York interviews.
[Continued on page 8]

Cagney meets O'Brien for the first time
since "Ceiling Zero.". . . And the stage
hit that tickled the nation slaphappy
for over two years, now floods the
screen in a deluge of joyous laughter!

TAGNEYJO BRIEN

WITH

marie Wilson RALPH BELLAMY

FRANK MCHUGH • DICK FORAN

Directed by LLOYD BACON

SCREEN PLAY BY BELLA AND SAMUEL SPEWACK

MAKE A DATE FOR "BOY MEETS GIRL" AT YOUR FAVORITE THEATRE

When Answering Advertisements Please Mention August HOLLYWOOD

MB

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Legs are in the spotlight! And men just
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Hollywood Newsreel

[Continued from page 6]

Frances, you movie fans may recall, was
once an elevator girl, and might be ex-
pected to know that elevators — and some
people — can go down as well as up!

■ Marie Wilson, bless her pretty blonde
head, is always thinking up nice things
to do for other people. Different things.
Last week, for instance, she played hostess
at a party which she gave in honor of
all the fan magazine writers who had ever
written stories about her! A thoughtful,
dog-gone nice girl, this Marie Wilson, and
long may she wave! And while we're on
this pretty blonde subject, you can dis-
count that newspaper rumor that stated
that Marie and her boy friend, Nick
Grinde, had called the whole thing off.
They are still very much that way.

H You've often heard or read of the
famous 'long-term' contracts which
are issued to motion picture players.
Usually they start at a very low wage and
increase as time goes on. What is seldom
mentioned is that an option comes up
every six months and rarely does a con-

tract remain in force for its full length,
except in the case of top ranking stars.

Mary Brian is the only feminine player
known to have acted out a contract of that
nature for seven years. After Peter Pan,
her initial picture, was finished at Para-
mount, Mary was given one of those 'long-
termers' that started out at $75 a week
and winded up with $2,000 a week, and
every six months the option was picked
up — which ought to be a record worthy
of an Academy Award. And here's a funny
sidelight. In all that time Mary was never
starred. When the contract ended she
decided to freelance and set her wage at
a minimum of $2,000 per week.

j San Francisco is noted for its lack of

sunshine and recently Richard Arlen,

who was in that city for a golf tournament,

telephoned Jobyna, his wife, that he would

be delayed a day or two.

"We're having a rainstorm," Joby.
"How's the Weather up there?"

"I dunno," said Dick. "I'll have to wait
until the fog lifts to find out."

"Oh, take me back to my coaster brakes and punctures," warbles Dick Foran as he spurs his faithful
bike over the range to The Cowboy from Brooklyn set

Accept No Substitutes! Always Insist on the Advertised Brand!

■ Henry Fonda's heart grew fonda on
Mother's Day and among his gifts to

his wife was half a horse! Both the star
and his wife's rancher brother wished to
buy the same animal at a Hollywood horse
auction, but finally arranged a deal which
satisfied all concerned. Fonda bought the
horse and presented it to his wife; then
gave it to her brother to have and to hold
excepting at such times as his wife might
be a visitor at the ranch.

■ The lengths to which producers of
motion pictures customarily go in

order to provide authentic atmosphere
and backgrounds for their screenplays is
aptly illustrated by Algiers, the Wanger
opus starring Charles Boyer and Hedy
(Ecstasy) Lamarr.

Having decided to film, the picture
Wanger sent detailed instructions regard-
ing certain needed scenes to the United
Artists offices in London where they were
relayed to Cameraman Lloyd Knechtel.
The latter journeyed to the Algerian capi-
tal on the northern coast of Africa and
after obtaining the required permission
from officials, shot more than 10,000 feet
of the native quarter for background
scenes. This footage was immediately
rushed to the United Artists studios in
Hollywood so that the selected bits might
be incorporated in the picture. Then
Knechtel returned to his base in London
to await another call to some distant point
in Europe, Africa or Asia.

M Ed Wynn is the favorite marrying
justice of the peace for filmdom's
elopees.

[Continued on page 47]

Janet Gaynor and Tyrone Power evidently found

the excitement of the Alexander's Ragtime

Band preview a lot of fun as they strode down

the long runway to the theatre

1

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When Answering Advertisements Please Mention August HOLLYWOOD

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1 1 z I Mil « :i m a m w a *i

By LLEWELLYN MILLER

KIDNAPPED (Twentieth Century-Fox)

H A law went into effect not so long ago
calling for the death penalty for
members of the snatch racket who muti-
late or injure a kidnapped person.

So far, there is no law providing any
penalty for the gentlemen of the films
who mutilate or injure a well-known
story when they put it on the screen.

In the filming of Robert Louis Steven-
son's Kidnapped, a number of changes
have been made, but, in this case, the
"crime" is its own punishment, for the
drama has been injured rather than aided
and the very handsome picture probably
will be only a moderate success.

Robert Louis Stevenson was not fond
of writing love stories. He left one out of
Kidnapped. So the film company put one
in.

Kidnapped is not an ideal screen story,
to start with. It deals with the adven-
tures of young David Balfour whose
wicked uncle has him kidnapped by a
rascally sea-captain so that the boy will
not claim his rightful inheritance. David
(Freddie Bartholomew) has numerous
exciting, adventures, by sea and by land,
and eventually wins his estate.

The second most important character
in the book is Alan Breck, Scottish loyal-
ist who is fighting the English king and
his tax collectors. Warner Baxter plays
the part and plays it splendidly. Little
Arleen Whelan makes a charming heroine
in her first screen appearance, but the
bitter fact remains that, in building up
the love story of Alan Breck, the story
cf David Balfour loses some of its vitality.
Many theatre goers, even if they never
have read the book, are going to feel that
they are seeing two stories at the same
time on the screen. And those who know
Robert Louis Stevenson are apt to com-
plain with some passion.

The film is beautifully photographed,
has many telling scenes and characteriza-
tions, a huge, brilliant cast, but just a
little too much of a good thing when it
comes to story.

YELLOW JACK (M-G-M)

B Love is a wonderful thing, and most
people are more vitally interested in
it than in any other subject. No argu-
ment there! But, for the second time in
a month, we have a striking example of
a film slowed, delayed, made something
less than gripping and great because love
interest was dragged in by the heels in
the studio rewrite of the story . . . and let
me be quick to say that the expression
"heels" is used metaphorically and does
not refer to the canny gentlemen who
gamble many thousands of dollars on such
productions as this.

Yellow Jack is the story of the grim
fight to stamp out the deadly, mysterious
fever which killed more men in the Span-

ish-American war than did sharp-
shooters' bullets. It was a gripping tale
when Paul de Kruif wrote it in his
Microbe Hunters. It was a successful
play. And it became a very good movie,
though it is not a great one, and it might
have been.

Robert Montgomery does a most en-
gaging job with his part as the Irish ser-
geant who has made his rollicking way
through the army without plan or ambi-
tion, unless it is to attract the attention
of the serious young nurse, played by
Virginia Bruce.

When the call comes for volunteers to
prove the theory that yellow fever is car-
ried by one kind of mosquito, the whole
army holds back. It has seen men . . .
too many men . . . die in horrible tor-
ment from yellow jack. Finally five men
volunteer for what later were called, "the
greatest acts of individual bravery the
army has ever known."

What goes on in those little experi-
mental huts built on a lonely small hill in
Cuba is a tale to fire the imagination and
stir the heart.

Of course the sergeant gets the girl, but
somehow you don't care, particularly.
Your imagination still lingers with the
scene where the gay young man, who is
having a fine time with his life, allows
the death-carrier to alight on his arm,
and watches with a little smile as it pricks
his arm with its deadly sting.

THREE COMRADES (M-G-M)

H When Camille was written, no one
knew that tuberculosis was conta-
gious, so the lovely young invalid's tragic
love affair had no distressing overtones.
No one thought Camille irresponsible
or criminally selfish, and sympathetic
audiences by the thousands wept over the
touching story.

But since that time, science has
marched on. No matter how touchingly
told is the tale of a heroine who marries,
knowing that she has consumption, the
sympathy of an audience cannot be won
for her.

That is one reason why Three Comrades
fails somewhat in appeal.

When three boys come out of the Ger-
man army in 1918, they return to a world
of turmoil and hunger and unrest. The
conscience of one (Robert Young) draws
him to a secret movement which is com-
bating forces which later will take shape,
one guesses, as the Nazi party. He is
killed in a street riot for his belief.

One (Robert Taylor) falls in love with
a disillusioned girl (Margaret Sullavan)
who deliberately takes her own life when
she realizes that recovery is hopeless.

The third (Franchot Tone) exemplifies
the staunch loyalty a man caii have for
his comrades.

Performances are excellent, and you'll
be interested as you watch it move across

Accept No Substitutes! Always Insist on the Advertised Brand!

warn

the screen. But, unless you translate it
into an argument against war, it will have
little connection with life today.

THE SAINT IN NEW YORK (Radio)

■ "It's a pity there has to be such vio-
lence," murmurs "the Saint" in well-
mannered regret as he pops off his seventh
victim (I think it was the seventh, but
I lost count about the middle of the
film).

Well, none of my friends think it is a
pity. You can have a lot of fun muttering
"Bang, bang, you're dead!" to your theatre
companion every time a new character is
introduced, and see how many times you
and "the Saint" agree on rubbings out.

This film is the start of another series.
"The Saint" (Louis Hayward) is an im-
perturbable gangster who has a striking
peculiarity. He preys only on criminals.
Kay Sutton, Sig Rumann and Jonathan
Hale head the supporting cast of this story
which deals with the wholesale slaughter
of enemies of society in New York.

SON OF THE SHEIK

■ If you are one of those who remem-
ber seeing Rudolph Valentino on the

screen, by all means make a point of see-
ing this film which has been equipped
with a music score and some sound effects
and is being reissued.

It was made shortly before Valentino's
death, was one of his great successes, and
will be a most interesting experience in
that it is a vivid reminder of your movie -
going past.

Times have changed and the movies
have kept pace. There is much that is
quaint, much that is a little absurd in the
film, but there is also charming photog-
raphy and you cannot fail to find plenty
of interest.

In the supporting cast are Vilma Banky,
George Fawcett, Montagu Love, Karl
Dane, Bull Montana, Binunsky Hyman
and Agnes Ayres.

Valentino played two parts with the
vigorous dash and fire that made him the
idol of millions, and there are splendid
fights and gallopings to the rescue.

Joan Bennett, who will be seen next in The

Texans, snapped leaving the Ice Follies with

Walter Wanger, producer

1

THE WORD THAT CAROL NEVER

hears is.. ."DARLING

a

No woman who offends
with underarm odor can
ever win out with men

She meets nice n:en — plenty of them.
And she still dreams that some day one
of them will fall in love with her. For
she's a charming girl— Carol!

She does worry, though. It seems odd
that men so seldom ask her for a second
date. Certainly she is pretty enough— and
easy to talk to! And she thinks she's care-
ful about her person. After all, doesn't she
bathe every day?

Foolish Carol— to trust a bath alone
to keep her sweet. For underarms must

have special care. Underarms need Mum.
A bath only takes care of past perspira-
tion, but Mum prevents odor to come.
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When Answering Advertisements Please Mention August HOLLYWOOD 11

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Left, Bob Burns on the steps of
his home in which Movieland
Tourists are to be entertained

Right: Harold Lloyd is
shown practicing putts
on his own green which
Movieland Tourists will
See this summer, for
the stellar comedian
plans to entertain them
in his home, one of
the show places of
the Hollywood hills

**>

LAST CALL FOR HOLLYWOOD!

There is still time for you to join one of
the Movieland Tours and see Hollywood
from the inside on your vacation

9 Almost as you are reading this, there
is a happy-go-lucky group of people
seeing Hollywood at first hand. They
are meeting stars . . . they are seeing the
sights of the movie capital. They are out
here where it is cool by night and pleasant
by day. Soon they will return to the
Clark Hotel to talk over the grand day
they have spent, and to look forward to an
even more exciting evening. They are
members of the first Movieland Tour of
the summer.

There is still time for you to get your
application in and to join one of the last
two tours, though time is growing rather
short. Read the following starting dates
carefully, make out your application blank
NOW and plan for the time of your life.

Tour No. 2 leaves Chicago on July 24th
and reaches Hollywood July 31st, and
Tour No. 3 leaves Chicago August 14th
and arrives here August 21st.

As your train pulls out of Chicago sta-

tion, you will travel across the vast plains
and towering mountains of the north-
western part of this country. Your first
sight of the Pacific Ocean will be at Seat-
tle, Washington. There you will board a
steamer and cruise the Puget Sound, re-
turning the same day to Seattle where you
will again board the train and head for
San Francisco.

And what pleasures the Bay City will
have to offer you . . . the famous Golden
Gate bridge, Chinatown, preparations for
the big fair next year, ships arriving in
the huge land-locked harbor from all parts
of the world. The trip down the western
coast is one of spectacular beauty, and at
the end you will find the Hollywood
Junior Chamber of Commerce on hand
with a great big key to the whole city.

B After welcoming ceremonies at the

station, you will be taken to your

hotel, The Clark, to unpack luggage and

12

Accept No Substitutes! Always Insist on the Advertised Brand!

call friends. Many of you will want to
attend church that morning. Others will
want to rest for the afternoon's activities
for your first afternoon here will be a big
one.

Early in the afternoon, comfortable big
busses will be waiting to take you all on
a general tour of Hollywood, Beverly
Hills and the beaches. Screen stars' homes
will be pointed out to you. You will be
shown their favorite night spots, their
shops, their country clubs. On the same
afternoon, another thrill awaits you. Mem-
bers of the second tour have been invited
to join Harold Lloyd in his magnificent
Benedict Canyon home for an informal
get-together. Members of the third tour
have been invited to join Bob Burns for a
swim in the pool of his new Bel Air estate.

Both tours have been invited to the
Sunday night Tyrone Power-Woodbury
radio show. Power, himself, will be off
the air for the summer, but the producers
of his show promise to have a good cast
lined up for the shows on both nights.

Monday has been left open for those
little side-trips that everyone will want
to take, or for exploring Hollywood's
famous shops. The beaches will be invit-
ing on that day. The mountains are near.
So are the desert and Catalina Island.

Tuesday will be the grandest day of
all, for that day has been set aside for you
to lunch at Universal Studios. Right after
lunch with the stars in the commissary,
you will be taken on a trip through the
famous lot where you will see exactly how
movie sets look and find out what goes on
inside the gates.

After our very thorough tour of inspec-
tion, we leave the studios for a tour of
Max Factor's world-famous make-up es-
tablishment.

Back to the hotel to prepare for an eve-
ning of dancing at the Wilshire Bowl. At
the grand farewell party you will meet
still more stars and dance to the tunes of
Les Parker's orchestra. George McCall,
ace air reporter, will entertain you as
Master of Ceremonies, introducing the
stars and telling the latest news.

Last year our guests had a chance to
meet Robert Taylor, Hugh Herbert, Mischa
Auer, Judy Garland, Jimmy Stewart,
Wayne Morris, and many others.

Hollywood's gates are wide open to the
Movieland Tourists, but we warn you,

FILL OUT YOUR COUPON NOW . . .
THIS IS THE LAST CALL!

H

USE THIS COUPON

Fawcett's Movieland Tours,
360 North Michigan Boulevard,
Chicago, III.

Without obligation on my part, send
me your complete, illustrated booklet
describing the Movieland Tours.

Name

Address

1

When your baby is suffering
KNOW what to do !

Don't be helpless when an emer-
gency arises! Every mother
should know what to do. Don't trust
to luck that your household will
escape emergencies. You may be next.
Be prepared!

At your drug store you can now get
(while they last) a copy of Dr. Allan
Roy Dafoe's new book — free with a
purchase of "Lysol" disinfectant.
Few doctors have had to deal with
home emergencies as Dr. Dafoe has.
Great distances, hard travel, in the
Canadian back country forced him
to teach his people what to do in
emergencies till he got there. Now
the benefit of this experience is yours,
free! Accept "Lysol's" offer of first-
aid facts. Ask, when you buy "Lysol",
for your copy of Dr. Dafoe's book.

Used in the care of the

Quintuplets since the day

they were born , . .

FREE! Dr. Dafoe's Book on Home
Emergencies, 32 pages, 53 sections.

Do you know how to . . . Dress a wound ? Treat
animal bites? Give artificial respiration? Re-
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asphyxiated person? These are just a few of
many subjects this book covers, in clear, simple
language anyone can understand. Free with
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If your drug store cannot supply you —

mail this to

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(Enclose "Lysol" carton front. Dr. Dafoe's
book will be sent at once, free and post-paid.)

Name .

Address-

Copyright 1938 by Lehn & Fink Products Corp,

When Answering Advertisements Please Mention August HOLLYWOOD

1/Vlu% k/ko. Bo&$ ike Stabs

ZUKOR- DEAN OF THEM ALL

By LIJPTON A. WILKINSON

B Adolph Zukor is not only the dean of
the motion picture business; so far as
the American feature picture is concerned,
he is the father of it.

Moreover (hold your breath!) he in-
vented the motion picture star.

"Papa Zukor," as his New York office
nicknamed him (it's a lie; he's the proud
grandfather of five) was born in Ricse,
Hungary, nearly seventy-five years ago.
One side of his family had been respecta-
ble, small storekeepers for centuries; the
other side had bred teachers and Rabbis
for generations.

Adolph and his brother, Arthur, were
orphaned early. An uncle, himself thread-
bare poor, took care of the very small,
earnest boys. Arthur followed the career
the family chose for him and became one
of the most famous Rabbis in Europe.

Adolph asked for a business career. He
got it. At thirteen, just out of grade
school, he was apprenticed to a store-
keeper for three years.

The storekeeper had five children. One
of them smuggled into the house Hun-
garian translations of Deadwood Dick,
Nick Carter and Frank Merriwell at Yale.
Other translations, too: Bunyan's Pil-
grim's Progress, which Zukor still re-reads
frequently; The Count of Monte Cristo;
Robinson Crusoe. The very small Adolph
(he has never reached five feet four)
dreamed of stories — and America.

After three years, he started drawing a
salary — two dollars a month. The orphan
was to receive a tiny inheritance at 21,
but he couldn't wait. He persuaded the
State Orphan's Board and his stern
guardian to give him the pittance and
begged the storekeeper, who didn't want
to lose such a clever clerk, to release him.

The money was enough for a steerage
passage, plus forty dollars, which Adolph
sewed inside his shirt. He was afraid to
take off his clothes during the dirty, sea-
sick, seventeen-day voyage. He arrived
in New York, eighteen years old (there
was just one skyscraper then, twelve
stories high, No. 1 Broadway) and soon
was doing better. After breaking down
at manual labor, he landed a job in a fur
novelty shop — two dollars a week now
instead of two a month!

Adolph rose. A clever workman, he
was a showman, too. When somebody

conceived the revolutionary idea of a fur-piece composed of the
whole skin of an animal, with the head attached, and bead eyes,
Adolph took his savings, jumped to Chicago and capitalized there
on the new style. There he made the even more radical step of
making neck-pieces of two animal skins, each with head and
bead eyes.

Zukor guessed ahead of his time on short fur capes and went
bust. He made substantial stakes and again went bust several
times in the fur trade. But he always found some more money,
hatched some new ideas and paid off every cent he owed.

Adolph Zukor of Paramount looks back
along the exciting road which brought him
as a lad from Hungary. His career has
been a series of dramatic gambles with
success, and his story also is the story of
the movie industry from the very start

M About the time Adolph started for
America, two Hungarian families, the
Kohns and the Kaufmans, took up govern-
ment homesteads in North Dakoto, to raise
wheat. Their story is epic. Early snows,
droughts, prairie fires made their lives un-
certain. But they stuck it nearly ten
years, piecing out their living by trading
with the Sioux Indians, for fur pelts on
behalf of a fellow back East named Zukor.

The Kaufmans chucked the prairie first.
Their three daughters had grown beau-
tiful. Mrs. Kaufman thought they ought
to have a chance in the city. All three
married well. Lottie married Adolph.

Lottie Kaufman Zukor is fit subject for a
scenario. Many times she was quietly to
sell the jewelry Adolph had given her in
prosperity and hand him cash in hard
times; many times she was to move from
a fine home to a tiny apartment and start
over again with the daring, hard-working
husband whose credit was always good,
who always came up with new ideas, new
success, new clean-up of all debts. Her
faith has been gloriously justified. No
woman asks more than that.

H Adolph went into motion pictures be-
cause he couldn't help it. It was a
gamble in a new field and he couldn't
resist it. He was a principal partner in
the original Penny Arcade, on Fourteenth
Street, New York, where you peep-showed
thirty seconds (but no dirt, not with
Adolph) for a copper cent.

Then he and William A. Brady were
partners in a chain of gadgets where the
patron sat in a fake railway car that
bounced up and down while the scenery
ran past on a screen at the end of the car.
Customers came once for the novelty.
Then — blooie! The equipment had been
expensive. Before you could say Freddie
Bartholomew (in fact, thirty years before
you could say it) the firm was $80,000 in
the red.

"It's amusement luck," Brady shrugged.
"We can't hang on. Let's put the company
in bankruptcy."

Long afterward the large Mr. Brady
chuckled: "That little man came at me
with both hands outstretched, like he was
going to beat me up."

They compromised. Adolph could go

ahead, but no more dough. Adolph had

some savings left, and one-reelers were coming in. This was an

example of the times Mrs. Zukor sold jewels and moved to a

cheap flat.

B Zukor rented old stores, put benches in them or borrowed
chairs from undertakers. He exhibited none of the filthy
junk that was beginning long years of police and censorship at-
tention to the struggling art-industry. In two years he had met
all obligations and paid Brady a twenty per cent dividend on the
original investment. [Continued on vage 49]

14

JEAN ARTHUR

and the brilliant big cast of Columbia's You Can't Take it With You. Left
to right, Halliwell Hobbs, Donald Meek, Mary Forbes, Edward Arnold,
James Stewart, Jean Arthur, Lionel Barrymore, Ann Miller, Mischa Auer,
Spring Byington, Sam Hinds, Dub Taylor, Lillian Yarbo and Eddie Anderson

15

ON THE

Tm><4

World Copyright 193$. NEA Service. Inc.
Above, right to left, Cecile, Annette, Marie, Yvonne and Emilie demonstrate their
varying ideas of the dance which they will perform for their new film, Five of a Kind

Here is the first story on the new Quintuplet film,
with news of how the hahies prepare their parts

It v LLEWELLYN MILLER

"We won't treat the children like a circus," says
Dr. Allan Roy Dafoe, above, and his consistency has
won respect, and affection of the movie company

16

"And I want one, too, Doctor!"
said the breathless lady tourist,
running up to join the group around
Jean Hersholt, and handing him a
picture of the Dionne quintuplets to
autograph. "I think you're just
wonderful, the way you've kept
them alive!"

We were standing at the entrance
of the Dafoe Hospital in Callander,
Ontario, in the gentle sunlight of a
May morning waiting for director
Herbert Leeds and cameraman
Daniel Clark. It was an exposed
position, and the actor had been
kept busy.

Hersholt smilingly pointed out
that he had no claim to the title,
"Doctor," though he was in Ontario.

to play, once more, the country
doctor in another quintuplet film,
Five of a Kind. He reminded the
breathless lady tourist that it was
Doctor Dafoe who was the very
great man responsible for guiding
the five little girls to lusty health on
their fourth birthday.

"Of course, if I'd stopped to
think!" said the lady tourist and re-
tired in somewhat flustered triumph
with her prized autograph.

Hersholt rather ruefully admitted
that the confusion is not unusual.
He gets a considerable amount of
mail all year long asking for medical
advice and for instruction in the
care and feeding of children.

I meant to ask Dr. Dafoe if he. in

HOLLYWOOD

■1

LH

# Itittd LOCATION

his turn, received many requests fer point-
ers in acting in the movies, but forgot that
question in the interest of his conversation
about his famous little charges. The talk
with the "little doctor" came later in the
day, and hours intervening were packed
with such absorbing events that no re-
porter could be blamed for missing one un-

it has been two years since the five little
girls made Reunion. They were babies,
then, and naturally no effort was mads to
plan any special parts for them in the
film. Now they are talking,' so in the new
film they will have rather more to do with
the plot and will be revealed as singing
stars, in addition.

Above, the house where the famous
babies were born, four years ago,
and in which the parents still live

important follow-up question.
The first contingent of the
Twentieth Century -Fox had
been in Callander only three
days when I took off from
the Newark Airport in a driv-
ing rainstorm to see how the
quintuplets were handling their
parts in the new feature length
film, Five of a Kind. The vast
outlines of greater New York
fell out of sight almost immedi-
ately and the big plane swept
smoothly through thin grey
mist, tossing hundreds of miles
behind it in a few hours. The
speed and comfort of the flight
on the powerful transport
marked the sharp contrast be-
tween the overwhelming
wealth, the nervous enterprise,
bustling uproar of the biggest
city on this continent and the
primitive peace of the little
village tucked away in the
lake country of backwoods
Ontario.

AUGUST, 1938

| Never were parts more painlessly
learned. The children do not even
know that they are busily preparing for
a picture that will carry their images to
millions of people. They love to sing, and
their repertory of songs in French is quite
large. Their chief contribution to Five of
a Kind will be a pleasant jingle dealing
with their unbelievable similarity of ap-
pearance.

"Who am I?" chirps one. "You're Cecile
. . . no . . . you're Annette," sing the others.
"No, I'm Annette, so you're Yvonne," pro-
tests another, and so the song goes.

The children love it, and put a good deal
of spirit into the rehearsals. The song is
being learned, along with others, as part
of their well-organized routine of work
and play.

One of the nurses sings it as she plays
it on the piano. The children repeat the
words with her. Before they have a
chance to grow tired or bored, the tune is
changed, or the singing lesson gives way
to sandpile digging.

■ On this particular morning, Herbert
Leeds was responsible for breaking up
his own rehearsal. Ever since his arrival
in Callander, Leeds had been "conducting"
rehearsals by sauntering quietly into the
playground with Jean Hersholt and Dan
Clark and sitting for an hour in the sun-
light while the children went through the
regular routine of the day. This system
had been wisely decided upon to accustom
the little girls to the presence of strangers,
so that the sudden introduction of many
new people would not be upsetting to their
carefully controlled lives, and so that they
would not be self-conscious when actual
filming started.

On this particular morning, all five were
sitting in a lawn swing when Leeds passed
by the sentry at the stout gate, and
dropped down [Continued on page 57}

Above, Director Herbert Leeds
and Llewellyn Miller inspect the
washing in the Dionne side yard

Right, Jean Hersholt, Azalee
Leeds, wife of the director, and
cameraman Daniel Clark show
the editor of HOLLYWOOD
Magazine sights of Callander

MADELEINE CARROLL

will be seen next in Walter Wanger's dra-
atic story of war-torn Spain, Blockade

18

■■

THAT HAUNTED HERBERT

All Hugh Herbert wanted was quiet and
fresh air when he bought a raneh. And
then he found that the place was haunted

By MAR GO KEXT

H "You think the smoked salmon is good?" Hugh Herbert inquired.
"It's fresh — it's fresh. It should be good — it should be good." The
waitress was committing grand larceny right under Hugh Herbert's
nose, taking unto herself his trade-mark, and double-talking her
recommendation of a luncheon goodie.

"But I don't like colcf fish. Heat 'em up for me, will you?"

The waitress was obliging, but the culinary soul of the chef rebelled.
The girl came back bearing disquieting tidings.

"The chef says, Mr. Herbert, that it'll spoil the fish to heat them,"
she retorted.

"Well, I don't like cold fish; never could eat cold fish. Tell the chef
to spoil a couple of pieces for me. Woo — Woo!"

With the luncheon problem well out of the way, we turned oui
attention to the fascinating tale of the cows who found the gold-mine.

Every man has a secret yearning. Hugh had suppressed his success-
fully for years, but eventually that suppressed desire could no longer
be held in check. Visions of the simple life of a farmer made his nights
restless and his days incomplete.

If the glamour gals and boys could go in for raising race-horses, in
dungarees by Adrian and Travis Banton, there was nothing to stop
him. Of course, he might not make the fashion gazettes in his overalls,
but he would certainly get a lot of fresh air.

A cow or two, a flock of chickens, and maybe half a dozen orange
trees, from which he could snatch his breakfast every morning, would

be just the sort of thing to make a man feel at
peace with the world. And so Hugh went ranch
hunting. Real-estate agents heard about it, and
his life became so complicated that he had to
sneak home after dark, and sneak into the studio
for his daily laugh chores in a Mickey Mouse
disguise.

The great discovery was made on a placid
morning when the only clouds were on the face
of the gentleman who was temporarily squatting
on the acreage. It was a perfect spot; the ground
was gently rolling and a mosaic of mountains in
the distance made a breath-taking background.
The air was uncontaminated by fumes from motor
exhaust pipes.

"You lookin' at this place 'spectin' to buy it?"
the temporary tenant inquired. " 'Tain't what it
looks like," he added, with an ingratiating air.
"I wouldn't want honest folks to get stuck with
it. Maybe I better let you drink the water from
the spring in the south pasture. It's bad. My
dog took a drink of it and I ain't seen him since."

Hugh obligingly walked down to the spring,
but he didn't have to drink it. He could smell
it ten feet away. There was undoubtedly some-
thing the matter with it.

However, except for the water, the place was
ideal. So Hugh signed on the dotted line and
became a rancher, with a spot of his own, forever
entitled to pull weeds and worry about too much
rain and not enough rain.

He and Mrs. Herbert built a small house and
moved in. They then acquired a couple of cows,
a horse and sundry chickens, ducks and geese.
There was no doubt about it — this was the life,
even though they had to haul water in. After
all, they couldn't ask self-respecting cows and
their little feathered [Continued on page 44]

19

"P^rt

p*^«*

Holly wood Magazine's favorite extra reports
with unmistakable enthusiasm on Danielle
Darrieux and her first American picture

By E. J. SM1THSOX

ot*

*°

tf&

Dear Editor:

Well — you've lived in California and
know how it is. The native sons claim
the air is almost good enough to eat, but
I haven't found it so, although I'm will-
ing to admit that it's very invigorating,
and well worth an extra sniff or two
providing you have the time and the
strength to make the effort. But so far
as I'm personally concerned, I haven't
been able yet to consider our sun-satur-
ated ozone as food. At least, not the kind
I've been accustomed to eat between five
and six o'clock and two pretty blondes at
Joe's De Luxe Open Air Hamburger
Stand, and which I couldn't eat, now,
unless I could find a dib or two in my
pantaloons since Joe refuses to take
markers or let you put it on the cuff.
"Pay First — and Then Eat" is Joe's hard
and fast rule.

Well, there I was with nothing in my
pocketbook but a leak! I called up my
agent (maybe I forgot to tell you that
after working in Professor, Beware, I got
myself one of these ten per-centers for
no reason at all except that he promised
me steady work with only half of his
usual cut) and gave him the nudge for
a couple of bucks so I could eat and he
gave me a turn-down colder than -an old
maid's kiss. I could take my pocketbook
to a garage, he said, and get it vulcan-
ized. Not only that, but I could take our

Lovely Danielle Darrieux is fast be-
coming the rage of Hollywood.
You'll see her first American pic-
ture, The Rage of Paris, soon

agreement and try peddling it off
at Joe's place for a "cuppa coffee
anna sandwich" — if Joe was that
dumb! Well, it turned out that Joe wasn't
that dumb, so it became very clear to me
that unless I wanted to eat the wolf at
my door I'd better see about landing a
job.

Extra work, I discovered as soon as I
started phoning, was harder to knock off
than a rebate on your income tax, and it
wasn't until I called up the publicity
director at Universal Studios, that I finally
promoted a couple of days' honest labor
in The Rage of Paris.

Believe me, it was a revelation — when
shooting of the first sequence began
Monday morning. Danielle Darrieux, the
French beauty who plays the leading
feminine role, was revealing; the polished
performance of Douglas Fairbanks, Jr.,
playing opposite her, was revealing; and
lastly, the directorial technique employed
by Henry Koster was likewise revealing.

Now let me reveal what actually hap-
pened.

That first sequence was a honey — and
I'm not forgetting to put in a good word
for the delectable Danielle who is as
lovely an eyeful as she is a fine actress.

Frank Shaw, the 1st assistant director,
and Vaughn Paul, the 2nd assistant direc-
tor, took me aside after I'd been on the
set about ten minutes and patiently told
me what I had to do and just how I was
to do it and then, after priming me with
directions, informed me that I could take

it easy since I wasn't to be in the first
scene. Which was okay by me since it
was about as easy a way to earn my wages
as I could hope for.

The set represents the luxurious office
of a great advertising agency operated
by Fairbanks, and when the cameras
begin to grind, Danielle, as a lovely, un-
sophisticated French girl, comes tripping
in, starts to undress — and you should
have heard the gasps that literally whis-
tled from the throats of the two hun-
dred visitors who stood around. The
director says, Cut!" and looks mad
enough to toss everybody out on their
respective ears, but he thinks better of it,
being a kindly man, shrugs his shoulders,
smiles a little, and says, "Let's try it
again," and a minute or two later,
Danielle, looking a trifle nervous, comes
tripping in again.

Off comes her hat. Off come her gloves.
Off come her shoes. Then she slips out
of a tight-fitting sweater. Then she slips
out of her skirt. Then she slips out of a
couple of silky thingamagigs — and I come
mighty near slipping off the chair I'm sit-

hflMVMma

ting on! I'll confess that I don't know much
about acting, but I doubt very much if
there are many American actresses who
could have done this scene as splendidly
as did Danielle. I doubt very much if there
will be much of this disrobing act in the
finished film, but I'll say this — if there is,
neither the Mr. Pecksniffs nor the Mrs.
Grundys will find occasion to take offense.
The whole thing was done with a delicacy
and charm happily combined.

The "how ccme" of this clothes-shuck-
ing business was explained to me by
Vaughn Paul, the 2nd assistant director.
Danielle plays a girl stranded in New
York who becomes desperate when a
Model Agency refuses her work. From
a clerk's desk she grabs a slip of paper
bearing the address of an artist who has
requested a girl to pose in the nude, and
with this paper in her hand she dashes
from the building. Unaware that in her
haste she has taken the wrong address,
Danielle goes to the office of James
Trevor (Douglas Fairbanks, Jr.,) and
timidly starts to disrobe. This takes us
right up to the point where she starts
pulling off her stockings and right up to
the time when Trevor enters and lets
cut a yell (but not until he takes a good,
long look at Danielle) that he's being
compromised, and that she's trying her
lovely best to trick him. Well, you can
imagine Danielle's embarrassment! Sans
hat, sans gloves, sans shoes, sweater,
skirt, and stockings, she finally realizes
her terrible error, somehow manages to
fling on her duds, and then flees in tears.
Director Koster says, "Cut!", and smiles
as though Santa Claus had just paid him
a visit.

■ After the cameras stopped turning,
Danielle borrowed a cigarette from
her husband, Henry Decoin, put on a
blue dressing gown, and came over to
where I was and said: "I was very nerv-
ous that time, but I can do better. You
watch."

Director Koster, who, with her hus-
band, used to write screen plays for her
in Europe, spoke to her in French. When
he was through with his parlez vousing
she smiled and then said very emphat-
ically: "No! I speak English!"

The dainty little French girl not only
speaks English fluently, but must possess
a camera mind. And Til give you an
example.

Bruce Manning, who, with Felix
Jackson, collaborated on The Rage of
Paris script, wasn't satisfied with the dia-
logue of the sequence that was to follow
and neither was Director Koster so, whils
the lights were being arranged, Bruce
jumped to his typewriter, rewrote two
full pages of dialogue, handed Danielle
her copies and believe it or not just as
you chose, it wasn't five minutes before
she had every word down pat and was
leady to rehearse! And nary a single
prompting did she have to have from
either Manning or the director!

The next scene was where I was sup-
posed to earn my money, but didn't, due
to another quick and clever rewrite by
Scripter Manning; but being eased out
of the film made no -never -mind with

me because by now Id rather watch
Danielle than go through with my awk-
ward motions of trying to be an actor.

When Director Koster said, "We're
turning 'em," again, we were on a set
representing the bedroom of Trevor's
mountain lodge and Danielle, looking as
pretty as you please and maybe prettier,
was in Trevor's bed telling him that she
isn't as "bad" a girl as he thinks. It's a
tender, pathetic, tear-jerking little speech
that finally gets under Trevor's skin and
he admits that he believes every blessed
word she says.

This scene didn't go so well for some
leason and Koster, who has the happy
faculty of keeping the cast in good
humor, kept blaming himself for the mis-
haps that necessitated the eight "takes."
Doug, not to be outdone, kept walking
around while he muttered "ham" to him-
self, and Danielle kept pretty close to
her handsome husband, who kept patting
her hand while he consoled her in whis-
pered French. When the ninth "take"
won a "print it!" order from the director
everybody patted everybody else on the
back.

■ When the hired hands were called
for lunch that first day only two
were fast enough to beat me to the
studio commissary. Gordon Clark, stand-
in for Fairbanks, was one; and Frances
Hayden, stand-in for Danielle, was the
ether. And both very interesting young-
sters, by the way.

Gordon could easily be mistaken for
an identical twin. He looks like Doug,
little moustache and all, he talks like
him and displays all of the mannerisms
of the talented actor. He was born in
New York state but has spent most of
his life abroad where he has been very
active in the theatre. He springs from
the Von Thranes, for more than 400 years
a family of the nobility in Denmark and
he could, if he so wished, tack on the
title of "Baron" to his name. "The family
dropped all titles seventy-five years ago,"
he says.

Gordon has appeared in a number of
French films and came here primarily to
study our modern studio methods which
he plans on applying abroad when he
goes into the business of producing
foreign films. He was visiting the Selz-
nick studio while The Prisoner of Zenda
was being filmed and there met Fairbanks
whom he had known previously in Eng-
land. More in jest than anything else,
Doug suggested that he stay and act as
his stand-in and Gordon agreed.

H Frances Hayden, as pretty and as
wholesome a little trick as one could
ever wish to gaze upon and who will go
places once she is given a start, was a
child actress from the age of two until
six. Her mother is a famous character
actress and her father, Frank Richardson,
worked as assistant director for Fair-
banks, Sr. Richardson has been making
pictures in England for the past eight
years and is regarded as one of the top
men in his field by our over-seas cousins.
Well — the gabfest went on and on and
the only sour note that sounded from

soup to nuts was when I said The Rage
oj Paris had all the signs and portents of
being another of those semi-slap-stick
comedies. It took Frances to "mow me
down" on that one.

■ "The Rage of Paris is definitely NOT
a slap-stick comedy," she informed
me. "On the contrary it's a gay, romantic,
adventure story — and you're going to see
the difference when it's released. You
see, it's this way —

"Musette — that's Danielle — is stranded
in New York and she's alone, penniless,
and very hungry and when the Model
Agency refuses to give her a job she
becomes desperate. In the first scene this
morning you saw what happened.

"A casual acquaintance, Gloria— played
by Helen Broderick — sees a chance to
make some money in the unspoiled Mus-
ette and she persuades a guy named Mike
— played by Mischa Auer — to sell his cafe
and back her scheme to land a wealthy
hubby for Musette. Mike agrees and the
three of them move into a fashionable
suite at the Waldorf-Astoria. Gloria
poses as Musette's aunt, and Mike be-
comes "The Count." His job is to make
violent love to the girl so that eligible
millionaires will become interested in
her. She is introduced as "The Rage of
Paris," in this country so that European
ncblemen will stop killing each other
over her.

"Musette soon becomes a sensation in
New York. Bill Duncan, young, wealthy
and of good family, seeks to marry her.
but her heart is filled with dreams of
James Trevor who is always popping up
at odd moments and threatening to ex-
pose her. He warns Bill about her and
Bill smacks him on the jaw for his trouble
To save his friend Trevor kidnaps Musette
and takes her to his mountain lodge.
You saw that scene this morning, too
Musette, after telling Trevor all about
herself, runs away and returns home
Back in her own little nest she gives
friend Bill the air, packs up her bags
and disappears. Trevor discovers that
she is working in a gown shop, goes to
the shop and orders a wedding gown
demanding that it be modeled on the
girl. When she appears he leads her out
into Fifth Avenue where, wedding gown
and all, they walk up the street and head
for a church, wedding bells and rice."

After this recital there was nothing to
do but agree with Frances about the
type of story. It certainly wasn't a slap-
stick and it did look like a gay romance.

Well — I'm eating at Joe's De Luxe.
Cpen Air Hamburger again between five
and six o'clock and the two pretty
blondes. I was on The Rage of Paris two
days and unless they shot me when I
wasn't looking, I wasn't in a foot of cel-
luloid! There were times when I thought
I would be but ever so often Director
Koster and Bruce Manning would take
the script, give the scenes I was scheduled
to appear in a swift rewrite and I'd find
myself crowding up to Joe Valentine, the
cameraman. I remember Joe saying
"Thank God!" when I told him I was
through.

Maybe you'll say the same thing when
you reach this last line.

21

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LLEWELLYN MILLER

How One

■ Poison at the boxoffice!

All Hollywood winced under what it
considered a foul blow, decidedly below
the belt, one bright Monday morning re-
cently when the full page advertisement,
reproduced above, appeared in The Holly-
wood Reporter.

The Reporter is a trade paper widely

read in the cinema capital. It is on the

desk of every executive. It is in the

dressing room of every star. It is to be

found sometime during every day in

the hands of every person of importance

in the industry. It is a fine place to get

the attention of the entire film colony

when you have something startling to

say.

Seven stars gasped on that bright

Monday morning when they read that

their outstanding quality was not

PERSONALITY but POISONAL-

ITY, according to one man who

represented 240 theatre owners in

New York.

■ Then the fun began. Tele-
phones started to ring, and
the words that went over some
of the wires were scorching
with indignation. Reporters
jumped into their cars and
dashed for studios and inter-
views. Friends called stars.
Stars called producers. And
a number of producers called
a certain gentleman a few
harsh names. And all be-
cause one man had decided
to speak his mind in public.
Let's take a look into that
mind and see why Harry Brandt, owner
of 80 theatres and president of a group
of 240 theatre-operators calling them-
selves The Independent Theatre Owners

»<»B

■I

Man Sktitkid Hollywood

1

Association of New York, decided to wage
a one-man battle on the picture industry.

In the first place, he denies that he and
the exhibitors he represents are waging
a "battle."

"We are in love with the picture busi-
ness," he says emphatically. "It has given
us everything we have. And we are not
trying to destroy stars. We are not trying
to beat down star salaries, when they
bring money into the box-office. Any
star is entitled to as much money as he
or she can get, provided the cash cus-
tomers come to the theatre. But we are
trying to see that stars who no longer
make money for us are not used against
the box-office. After all, it is the theatre-
owner who created the star in the first
place. It may be the producer who
actually signs the pay check, but it is
the nickels and dimes and quarters and
dollars that go through our box-offices
that really pay that salary. We are the
final paymasters, and because of that we
think we have a right to complain when
a star's salary is all out of proportion to
the money that star brings into our
houses."

| To understand the complaint of
Harry Brandt and his fellow ex-
hibitors, it must be remembered that
major studios sell a year's product, usually
52 features, in advance to theatre oper-
ators. The theatre man has the privilege
of cancelling about ten percent of those
films, if he does not wish to play them,
but the rest he must pay for, whether
he plays them or not. This system is
called "block-booking," and has many
advantages and many disadvantages. An
advantage is that it allows the owner of
a small house to book a year's pictures
without maintaining an expensive book-

ing office. It also saves him from sharp
competitive bidding from his neighbors
for the more important films. A dis-
advantage is that the theatre owner may
have to play, at high cost, a picture that
was intended for a super-special by the
producers, but which, after the invest-
ment of a million or more dollars, has
proved to be something less than a smash
hit.

| It also should be remembered that
no producer deliberately sets out to
make a picture that is going to lose
money, that no producer deliberately
tries to lessen the value of his contract
stars by making poor pictures. The show
business always has been one of im-
mense gambles, immense rewards, im-
mense losses. No one can estimate in
advance just how a film will be received.
That is why so many harsh words were
to be heard about Harry Brandt for many
days after the bright Monday morning
when his first advertisement appeared in
The Hollywood Reporter.

| Joseph M. Schenck, chairman of the
board of Twentieth Century-Fox,
dismissed the whole matter with "Ridic-
ulous! How can any exhibitor, on the
basis of what a film does at his theatre,
know how it goes generally? He has to
have more information than his own box-
cffice receipts to gauge the drawing
power of stars. Statements of that kind
don't do the business any good, and they
harm those who make them. They
boomerang."

It is interesting to notice that Mr.
Schenck's indignation is quite imper-
sonal, since none of the stars mentioned
by name are on the Twentieth Century-
Fox contract list. [Continued on page 55]

He called the people whose
famous faces adorn these
pages "Poison at the box-
office" and started a fight
that is apt to rage all year.
Then he started a campaign
for single bills. Unless you
understand what is behind
this fight, you don't know
what is going on in Hol-
lywood's inner circles

The imple Life

It's easy to buy diamonds and sables and
imported cars in Hollywood but the simple life is
harder to find and very expensive to maintain

By TED LORCH

■ Lincoln did a lot of thinking while
splitting rails. Theodore Roosevelt
preferred deepest Africa when things got
complicated. Then consider the case of
Bob Burns, who's stuck in Hollywood
while spinning the simple philosophies
of the Ozark people.

You can get rich in Hollywood if you're
lucky. You can develop a broad "a".
You can be fashionable as all get out. But
brother, if you want to remain simple
and unchanged — that's hard! Yep, it's got
Robin Burns, the sage of Van Buren, a
trifle worried.

He couldn't take to splitting rails. He
couldn't move to Africa. In fact, he can't
even get very far from Hollywood,
because he has to be in the heart of it
nearly every day. That's why Bob did
everything but advertise for the simple
life.

Bob has been an expert on such things
as poverty. He spent a good portion of his
life doing enforced research along those
lines. Bob can still remember when the
smell of good food inside a restaurant
while he was passing by had to serve as a

24

Above, Bob Burns at
ease in front of his
study. Right, the most
expensive log cabin in
all of the Hollywoods

square meal. But it doesn't change the
lamentable fact that Bob has struck it rich.

"Sure, it's lamentable," Bob says quite
frankly. "I got where I am because life
was so doggone simple for me. Back in
Van Buren we didn't have any complica-
tions to keep us from seein' things the way
they were or ought to be. But now — well,
it's a heap different."

A film star has many obligations that
come with fame. In the first place, he
must dress the part. In the second, he
must live it. Bob was told all these things
when he "arrived" — was told them even
while a brand new business manager was
delivering the usual "don't be a spend-
thrift" lecture.

Much against his wishes, Bob did what
everyone advised. He got himself a nice
home out in Bel-Air. And if you don't

know what that means, then use your
imagination. In Bel-Air they look you
over carefully before selling you a lot
They tell you what you can and cannot
build. They even supervise your building
it, just so you won't get the economical
jitters at the last minute. In a word, Bel-
Air is exclusive.

Well, one bright morning Bob awakened
to find himself in the lap of luxury. It
rather appalled him. Some men seem to
their best cogitating amid a nightly mass of
modernistic mahogany masterpieces, or
at least a considerable collection of
chromium calmatives. But not Bob.

No, sir. His pappy found solace and
wisdom in a simple home in Van Buren,
and his grandpappy before him lived
happily in a cabin constructed of heavy
logs. There was nothing in this scheme

HOLLYWOOD

to get in the way of a man's thinking.

All these things occurred to Bob in due
time. Of course he had to have that
initial period of trying out things. Over-
stuffed furniture was easy on the spine.
Beds so soft that he fairly disappeared
in their luxurious laps were highly tempt-
ing. Oh, Bob found it all pleasant enough
— until he began realizing that it drugged
his priceless common sense. And at that
stage it became alarming.

Finally he went to the Mrs. about it.
She had seen it all coming, of course, but
had decided to let Bob find out for himself.
So when he finally confessed his confusion,
the wise Mrs. Burns merely said, "Well,
Robin, you'd better do something about
it." You see, she had a hunch that Bob
should work it out for himself.

■ So Bob got to thinking, and he remem-
bered that a man's best friend was his
dog. Maybe things would seem less com-
plicated if he had a pooch or two around
to keep him human.

"I knew well enough what I wanted in
the line of dogs," Bob confessed one day,
"but I thought maybe Bel-Air had some
building restrictions in the matter of
breed. So I did a little investigatin'. You
know, I had an Uncle down in Arkansas
who was a detective once, and he always
told me that I had the makin's of a first
class Sherlock Holmes if I'd develop my
intuition a bit.

"So this seemed like a pretty good time
to take my uncle's advice, and I went
prowlin' around the neighborhood. You
know, it's surprisin' what I found. Most of
them people with imposing brick homes
topped with a coat-of-arms went in for
the finest blue-bloods of dogdom. Their
canines were so doggone snooty that they
practically carried their pedigrees around
on the end of their noses.

"But it's always been my private
opinion that the smartest dog is one that
can't explain his ancestry at all. If he's a
common pooch he has had a chance of
pickin' up some sense somewhere along
the line.

So after sizin' up the neighborhood, it
seemed like a good idea to run down to the
police station and inquire. I got down
there and found the desk sergeant was a
pretty square guy. 'Good morning,' I says,
and he nods pleasantly. I'd like to ask you
just one question, mister sergeant. Is
there any buildin' restrictions in the
matter of dogs in Bel- Air?'

"The sergeant looked at me kind of
funny and said, 'Dog houses have got to be
decent lookin' and in accordance with the
architecture of your place, Mr. Burns.
And Bel-Air frowns on large kennels.'

"Mister sergeant, I aint a-talkin' about
acquiring a pound,' I explains carefully.
1 aim on building a dog accordin' to my
own specifications. And I don't want no
blue blood. I'd a heap rather find some
almost-cocker spaniel, with some airdale
in him. But I was wonderin' if the com-
munity is too exclusive for that?' "

Bob poured himself a drink of nice cold
ice water and prepared to finish his story.
"Well, the sergeant promised to keep my
secret, and said maybe he'd like a dog of
that type, too. So I made arrangements,

AUGUST, 1938

and one day two pups were delivered to
me. They were cuter than all get out —
little black fellows with white chests.
Brothers, about six weeks old.

"Well, at first we couldn't tell tham
apart, but now they're growin' up, there's
very little the same in either of them.
That's what comes from mixing breeds,
and that's what makes them good dogs."

■ Bob paused, and we found an entering
wedge. "And did they make life
simple for you?"

He looked a bit disgusted. Naw, they
didn't. I love those dogs like nobody else
could, but the little devils just took too
much of my time when they were in the
house. I couldn't think at all. If I wasn't
pettin' them, I was answerin' the phone
twelve times a day, or pryin' into house-
hold matters that should concern no one
but the missus. So finally I struck my
solution."

Bob was smiling now, and looking pretty
pleased with himself. "I told you," he
resumed, "that my great grandpappy found
everything to his likin' in a little old log
cabin that was just barely nailed together."
We nodded. "Well, I decided then and
there to build my own log cabin."

"What— in Bel-Air?"

"Yep — in Bel-Air. You see, I figgered
that if I could have dogs the way I want
them, I might be able to fool the boys
some more. But it wasn't no easy job. Not
by a long shot.

"A mess of building inspectors and
other officials came out and tried to
reason with me. But I took 'em all to the
back end of the property, which is pretty
rustic anyhow, and showed them just
what I wanted to do.

"You know, even a buildin' inspector is
human. Those fellows thought it was a
pretty nifty idea, and kind of wished they
could have one, too. But don't get me
wrong — they sure had their ideas on what
a Bel-Air log cabin is like.

"And friend, my grandpappy would
blush with shame to see what resulted.
It is positively the most luxurious log
cabin, from the outside, that you ever saw.
It's a wonder they didn't make me use
solid mahogany logs. It's so purty, even
so, that it looks like a fake. But only on
the outside!

"I got the inside of that place fixed to
my suitin'. There's no phone in it, and
nothin' else that seems too civilized. Some-
times I kin plumb forget myself and think
I'm back in Arkansas. If I want to, I can
take off my shoes and wiggle my toes
comfortable-like. There's no one in there
to tell me different, and there's goin' to be
no one.

"When I settle myself to write for the
newspapers or the radio, I just stay there
until the thoughts come tumbling out.
And if they don't tumble right away, then
I sit and think about the old Arkansas
River, the one that goes through Van
Buren, and how I u§ed to take an old
wobbly houseboat down the river when I
was a kid. Then suddenly things seem
awful clear, and I start to scribblin'. Yes
sir — I guess I've found the simple life at
last."

■ Bob finished off his long explanation
with a pleasant grin. We grinned, too,
and said that the solution came pretty
easy after all. But Bob didn't agree. He
found simplicity, yes — but it wasn't a
simple task. He still had a lot of fresh
visions about those building inspectors,
you see.

"Why, those fellows wouldn't let me get
by with one single simple thing on the out-
side," he explained, working himself into
a reminiscent frown. "I had to have every
log just so — it was against the law to have
the place look natural.

"In my grandpappy 's day things were
easier. He'd just say, 'Son, hustle down
to the store and get me a dime's worth of
nails. We're agonna build a cabin today.'
I'd get the nails and there we were. No
more expense a-tall. Grandpappy would
chop down a few choice trees, then hand
the axe to me while he marked the ground
with a stick. I'd trim the logs, notch them
so they'd cleave together. Then we'd stack
'em up, build a little fireplace, and you
had it.

"But here — why, the hardware for the
door cost me mor'n a whole cabin down
in Arkansas.

H Bob's a persistent cuss when he begins
something. There was a lot of grief
before he finally had that cabin finished,
but it's done now, and how Bob uses it!
It's confidential — but we'll tell you one
more plan of his. He's going to put in a
horse shoe pitching ground, and ask Bing
to bring a few shoes from his racing
stables.

Of course Bob hasn't asked the building
inspectors about it yet. We don't want to
borrow trouble for him, but he's liable to
find that indulging in this simple pastime
is frowned on in Bel-Air.

If you see him tossing gold-plated shoes
at shiny spikes in the sod, you'll know
they read about his plans and caught up
with him. You've got to do things right in
Bel-Air!

Even though a good deal of finery seems to have

gone to his head in Tropic Holiday, Bob Burns

remains quite unimpressed with bull, alive

stuffed or verbal

25

JOAN

The average girl of twenty would not
dream of living alone. The average girl
of twenty would not be allowed to live
alone by her family. But fame does
strange things to people. And those
who win fame are exceptional enough
to make rules of their own. Read how
one girl felt when fame chose her, as
well as her sister, for the spotlight

■ Can a girl be too sheltered? Yes, says Joan Fontaine.
Particularly so if she wants to be an individual, if
she wants a sturdy, well-balanced career, which requires
periodical solitude for progress.

Less than two years ago, a girl as fragile as a cameo,
as delicate as a miniature on ivory, was introduced to
the public as a potential new. She carried the intriguing
name of Joan Fontaine.

No mention was made by her studio that her sister
was Olivia De Havilland, already entrenched with Fame.

In a town where every family connection is capital-
ized,where every lasting bit of pull is used, this was a
curious and an amazing situation. Without equal in an
industry where forty-second cousinship is claimed, if it
will do any good.

Neither Joan nor Olivia ever discussed the other.
Interviewers caught on to the idea, and tactfully
refrained from asking the wrong questions.

Yet the reason for this was simple. Here were two
girls who had made a pact not to be a sister act, but to
be individuals, to develop independently as human be-
ings, and not to borrow Fame one from the other.

Recently — and this is known to less than half a dozen
people even in Hollywood — Joan rented a house of her
own, and established herself as mistress of it.

She explained the reason for it in this way: "I happen
to be one of those who easily borrows the mannerisms,
the voice inflections, even the habits of thought, from

A background of quiet beauty and charm is the quality
Joan Fontaine sought for in her new home. Above is the
house of her choice. The living room with its Georgian
influence uses as a color motif desert sand, French blue,
beige and coral. The dining room, right, has a mura
design in dubonet toning into an off-white, and silk
poplin drapes. The graceful lines of the exquisite
Duncan Phyfe furniture lends added charm and beauty

26

FONTAINE LEFT HOME

By SOMA EEE

those I love. If I want to develop a distinct personality,
one that will be marketable at the box-office, I must
not be in too intimate contact with others.

"I am one of those," and her broad, gray eyes were
wells of seriousness, "who must live alone. If I
don't I can't possibly maintain the integrity of my
individuality."

Joan is young- — just twenty. For her, this separation
took courage — for the home nest is sheltered and com-
fortable. But she is a girl with an unusual history, which
is the key not only to her courage, but to the personality
which requires solitude.

She has the will-power to do things as she sees them.
The same will-power which has saved her life time and
again, by the very tenacity to remain alive.

From infanthood, Joan was frail. How the spark of
life continued in that little body was a miracle. Wise
physicians couldn't quite understand it. It seemed so
impossible that a veritable baby would have so much
fight in her.

She was born in Tokyo, Japan, and for the first two
years of her life lived in the International Settlement.
Her father had business interests in that country.

For the sake of Joan, the mother took her two small
daughters to the United States, where the climate was
more equable. They settled in Saratoga, California,
where Olivia and Joan grew up.

| Childhood for Joan Fontaine was defined primarily
by long weeks in bed, interspersed with only
occasional periods of well-being, when she could play
and study like other children.

So, from the very beginning, loneliness was part and
parcel of her life. She learned to depend on her own
resources. She learned the value of doing only those
things which were good for her. [Continued on page 48]

^afeJP

The game room, left, for those occasional bridge games
has a cool green leather card table set, light yellow
sofa, dark brick red chairs and antiqued knotty pine
walls. Above, one of the bedrooms. The massive bed has
a luxuriously tufted head in shades of peach. Color motif
is French blue, aqua blue and green. The breakfast
room is blue and white with growing plants in the
window. Certainly all this is the perfect background
for her blonde loveliness. Top, Olivia De Havilland

27

WE. 3

HUNTER

In his role of the reckless Sergeant O'Hara, Robert Montgomery gaies with a fatalistic
humor at the imprisoned mosquitoes which may mean death to him and safety to millions

Inspired by Yellow
Jack, Robert Montgomery
undertook independent
research into the cause
and cure of the dread
disease "Hollywooditis"

By TERRY KELLY

■ Yellow hell was loose in Cuba.

It was the turn of the century, and
thousands were dying of a plague — a
plague of inexplicable cause, and there-
fore all the more horrifying. People were
normal one minute, then delirious with
wild fever the next.

They called it Yellow Fever, and it
wiped out whole families at a swoop, or
again picked out one victim among twenty

28

huddled together. Superstitions about the
plague ran wild — people fled in terror
when each new case developed. More
American soldiers were dying from it than
from the booming cannonades of the
Spanish-American war. . , .

The great turning point of this Yellow
Fever siege was being re-enacted on Stage
Fifteen of the Metro-Goldwyn-Mayer
studios when I walked on the set. It was
a critical, dramatic moment.

The scene was an accurate, detailed rep-
lica of Camp Lazear, at Quemados, Cuba.
It was so real that you forgot this was
Hollywood, and wished silently that you
had a gas mask or something better than
that to protect yourself from this dread
disease.

■ It is a brilliantly sunny day — and hot.
The sun and heat is supplied by the

biggest sunlamp in Hollywood — an appa-
ratus scorching the set with 1,000,000
candlepower.

Isolated in a hot tent is a young man
of the American army who is about to
verify, he hopes, the conclusion of the
great Dr. Reed that Yellow Fever is con-
tagious only through the bite of one lone
type of mosquito. The soldier keeping a
rendezvous with death is Sergeant O'Hara
(Bob Montgomery). His doctor-superior
is played by Lewis Stone. And the woman
who urged Sergeant O'Hara to thus sac-
rifice himself is a young nurse, played
by Virginia Bruce.

All around the camp people pause, ter-
rified by the inexplicable spread of this
deadly disease. They cover their faces with
cloth, hoping to avoid contagion. The des-
perate doctors of the Yellow Fever Com-
mission, are preparing to gamble with
death for the life of the man, in order
to save lives of millions.

■ O'Hara, alone in his tent, holds a jar
full of mosquitoes in his hands. His

tent is sterile, isolated, comfortable, airy,
but death is locked in with him if the
doctors are right in believing that mos-
quitoes carry the disease that is wiping
out the army. Will they kill him, thus
proving that one single type of insect is
to blame for this horrible massacre?

O'Hara slowly unfastens the lid of the
jar. For a moment he shudders involun-
tarily. Then he hesitates no longer. Firm
to his purpose, he allows the mosquitoes
to crawl out upon his arm.

One of the insects poises as if to bite.
O'Hara lifts a hand to slap it into eternity,
then stifles the motion in mid-air. He
must be bitten, not once, but many times.
Calmly he holds still, and his arm is punc-
tured by tiny beaks.

Everyone is grimly silent as the cameras
record this fateful moment. You feel as
if you, yourself, are undergoing this awful
experiment. And then, suddenly, it is

HOLLYWOOD

over. Sergeant O'Hara has been bitten.
Inevitably, he comes down with Yellow
Fever. Nurse Virginia Bruce and Doctor
Lewis Stone, radiant over proving a great
point, suddenly turn to the grim task of
trying to save a hero's life. . . .

Robert Montgomery, who for years was
the screen's ideal playboy, is horribly
convincing in this dramatic moment. Just
as he scored so triumphantly in the weird
film, Night Must Fall, again he turns
serious in Yellow Jack, the Metro-Gold-
wyn-Mayer film version of the famous
stage play.

And that is the astonishing contradic-
tion of the man. He is superb in both types
of roles, and off the screen he can be
equally versatile as a human being.

■ I talked with him soon after he fin-
ished this critical moment of Yellow

Jack. Was he serious — in a mood inspired
by such a performance? Well, let us see . . .

"I've been a bit of a scientist myself
since the start of this picture," Bob
Montgomery said, in all seriousness. And
I suddenly had visions of him working
alongside scientists in a clean white labo-
ratory, searching for new discoveries to
help human beings.

"Yes sir, I've had quite a project under
my scrutiny. In fact, I designed a micro-
scope of my own — a very unusual one —
that I might study a type of alleged infec-
tion peculiar to our modern times."

Whatever it was that the unpredictable
Montgomery was going to say after that,
was suddenly cut off when they called him
back for another scene. It was out of
sequence — that is, in the finished film this
latest "take" will appear before the one I
have just described for you.

■ The scene was supposed to be any-
thing but funny. Bill Henry, playing

the role of one of the martyrs to science
down in that Cuban hell hole, has just
collapsed, a victim of ^Yellow Jack.

Natives and soldiers alike are alarmed.
Perhaps they, too, will get Yellow Jack
by contagion!

In this scene Montgomery goes over to
the prostrate figure of Bill Henry, picks
him up without hesitation, and strides
across the camp grounds with the latest
victim of the disease. It is a moment of
momentary heroism, revealing innate
courage and strength, his ability to meet
hidden danger. Psychological stuff, build-
ing toward that climactic moment when
he, himself, falls victim of the disease.

The cameras are all ready. Lights flare
up. A make-up man walks over to
Montgomery with a fly spray, squirts min-
eral oil on his face. On the film, it will
look like sweat from the intolerable heat.

Montgomery stands there while a last
minute adjustment is made on the camera.
Then the sound man calls, "Speed." That
means film and sound are both going.

Bob steps before the camera, stoops
over to pick up Henry. He tugs. He tugs
again, surprised, he lifts hard, and finally
gets Henry's body over his shoulder.
Funny a man of 165 pounds seems so
heavy! Honest perspiration breaks out on
Bob's face. But he hides the surprise and
staggers off with his burden.

AUGUST, 1938

Suddenly Bob's face portrays realiza-
tion. It is not called for in the script.
Bob staggers on another step or two, and
then suddenly makes up his mind. Quite
unexpectedly he gives a little lurch, and
Bill Henry crashes to the floor with an
awful thump. Anything softer than oak
planking would have been splintered.

And Bill Henry was wishing for some-
thing softer. As he hit the floor, the grin
on his face disappeared magically — and
out of his blouse tumbled hunks of heavy
lead. One, two, three, they rolled out —
and more. They must have weighed
seventy pounds.

Ruefully, Bill Henry found his little joke
backfiring, with Bob Montgomery and
everyone else roaring cheerfully as Bill
got up, rubbing a couple of places gingerly.

■ And that's the way it continued to go
on the set — always some ribbing to

mitigate the grim drama of the film. As
Bob came back to the subject of his re-
search, I ought to have known what was
coming!

"This has been a desperate research I've
been doing," Bob said without a smile.
"If this microbe exists, it is a very deadly
bug, indeed.

"For the purpose of my discussion, I
shall label this frightful disease Holly-
wooditis. It is an allegedly deadly result,
revealed among allegedly great stars, pro-
duced by an allegedly murderous microbe.
We will assume, for the moment, that the
bug has not yet been isolated. I, of course,
have held firmly to the assumption that it
has never bitten me. In fact, I have never
seriously believed in its existence.

"The presence of a disease does not
prove a microbe is there, too. A man may
have the big head, but you cannot assume
as a consequence that he is a bit buggy, too.

"In this case one might say that a person
comes to Hollywood, he becomes famous,
and certain frightful things result. Why?
Well, the man in the laboratory tries to
find a theory and then prove it. So I
formulated one, too. I assumed that all
actors are bitten first by an often-dis-
cussed microbe — the bug for acting. In
itself it seemed to be a deadly creature.
But does this bug also give you Holly-
wooditis?

"In my own sacred laboratory of
thought, I built a new type of ultra-micro-
scope. I began a desperate search. I ex-
amined every alleged case of Holly wooditis
I could find, but in no case could I isolate
the microbe.

■ "After great research I concluded that
Hollywooditis, if the disease really did

exist, was a psychological reflection pe-
culiar to the unusual condition of being
famous.

"Let's take the sad case of Mr. X, as-
suming he is a great star. Perhaps people
say he has 'Gone Hollywood.' Chief
symptoms are head swellings, brain re-
duction. He doesn't speak when spoken
to, with a lot of et ceteras, celery and
bologna.

"We take our star back to his home town
for a moment. We tell him to act like he
did in Hollywood. And what happens?
He wants a new car and gets it. The town

sees nothing wrong in that. He wears good
clothes— and why not? He sparks with
the girls. They love it.

"But bring him back to Hollywood—
and look out! He does everything wrong,
my friend — even if he is acting just like
he did back at home. He is under the
scrutiny of a harsh, discerning world. He
is heartily criticized along with the home
town drunkard, the Einstein theory of
relativity, and the Reorganization Bill.

"In Hollywood, a great many things in-
dicate the dread disease. Let a star buy
and fly a plane — he's gone Hollywood, de-
veloped Hollywooditis. If he demands a
pay raise or forgets to autograph some
fan's book, his head has started to swell.
If a star stays quietly at home in Holly-
wood, he's a darned recluse. If he goes
out, he's trying to get publicity. If he
dresses well, his money has warped his
sense. If he doesn't, he's a tight-wad. If you
aren't married, you ought to be to stifle ru-
mors. If you are, they all say it won't last.

"So, after all this careful study under
my special microscope, I cannot help but
conclude that these symptoms, developed
elsewhere, are innocent enough. But here
in Hollywood, they suddenly point to the
lamented, dread disease of Hollywooditis.
And all the time there isn't even an Irish
microbe around."

■ Having thus concluded that it is all
a state of mind, our eminent scientist,

Mr. Montgomery, still has a cure for this
imaginary ailment which does not exist. I
shall allow him to continue, unmolested:

"Critics without portfolio make good
doctors if a star will only listen. Some
movie fans are kind enough to pan an
actor. I seem to have many considerate
followers.

"Some of the letters I get seem down-
right insulting, but boy, what a cure they
are for this alleged Hollywood plague! A
man couldn't ail for long with Holly-
wooditis if he read the comments that
Uncle Sam brings in every day. And I'm
glad to get the adverse remarks, because
no man ever gets better through flattery.

"I take those letters home at night, read
them carefully, study the intelligent ones
to discover my weaknesses which they
are frank enough to point out. Some of
those letters have had a profound effect.
They are, perhaps, clinical diagnoses,
aimed to save me from the microbe I
claim does not exist. They have, I must
admit, helped me in my career.

■ "Whenever I think I am getting some-
where— getting a little bit good, I get

out those panning letters. A couple of
them will deflate the worst ego. Usually
I don't sleep that night, but at least I go
to work the next morning with greater
determination."

So there you are. Bob Montgomery
couldn't find the dread microbe of Holly-
wooditis. And he searched hard enough,
at that. But perhaps his diagnosis is just
as good — it's a state of mind. Behind Bob's
humorous analysis, in any event, is some-
thing worth thinking about — something of
value both to the stars in Hollywood, and
the carping critics of the world. Right?

29

All Over

Never a dull moment in the life of a cameraman! Here are some of the brighter
moments. I. William Powell and Carole Lombard enjoy a radio rehearsal in
different fashions. 2. Little Edith Fellows takes time out between scenes of
City Shadows for some exercise. 3. Cesar Romero and Ethel Merman had a
sudden attack of shyness at the preview of Alexander's Ragtime Band and
avoided the crowds by entering under the ropes. 4. June Martel, Mabel Todd
and Lillian Bond take a long look at Hollywood's newest fad, the star-auto-
graphed kerchief. 5. Patricia Ellis and Robert Coote forestalled gossip by a
neat little sign when they lunched together at the Brown Derby. 6. Vilma
Banky and Rudolph Valentino in a scene from Son of the Sheik, now being
reissued. 7. Ruby Keeler, Donnie Dunagan and Anne Shirley during the filming
of the beloved story, Mother Carey's Chickens

Hollywood

8. Nona Massey's spectacular evening wrap is white wool, heavy with brilliant
embroidery. She wore it with sensational effect when Michael Whalen took
her to the preview of Alexander's Ragtime Band. 9. This picture was one of
a series showing Victor McLaglen posing for "What the well-dressed man will
wear," and pretty unhappy he looks about it, too. You'll see him next in The
Devil's Party- 10. For the first time in 19 years, Dorothy Gish returns to Holly-
wood. She flew in from New York to make a test for a part in The Young in
Heart. I I. Rosalind Russell tucked a copy of The Citadel under her arm when
she left, with her mother, for England to make the film version of the best
seller. 12. Jack Dunn, world's champion male ice skater and former partner
of Sonja Henie, is in Hollywood to star in Edward Small's The Duke of West
Point. He is shown greeting Laverne Busher, featured skater in the Ice Follies.
13. James Cagney and Pat O'Brien have fun in the costume department in
Boy Meets Girl. 14. Mischa Auer does not seem impressed by Helen Broderick's
first sweater. Snapped on The Rage of Paris set

A.

'is > : *"

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UK

M

m mid

£

A *|

The exquisite Marie Antoinette knew only vaguely that there was starvation in
France, and misery and injustice, until a rabble, such as the one pictured above,
burst into her palace. Norma Shearer plays the colorful life of the tragic queen

A Day With a 6uet*t

| Marie Antoinette was fed up, trying
to get married. Finally she laughed,
plumped down on the scarlet cushion that
lay on the altar steps, heaped her hoop
skirts in a diamond-sparkle froth, and
hugged her knees. The Dauphin (Louis-
Sixteenth-to-be) slid out of his splendid
ermine cape and lighted a cigarette.

"Save the candles!" shouted Director
William S. Van Dyck.

A grip in overalls flitted through the
Versailles palace chapel and, using a
hooded contraption on a long rod, began
to kill the gigantic candles behind the
carved stone altar. Plop! went each
orange flicker of light, and shadows
deepened around the wedding party.
Marie Antoinette leaned her chin on a
hand that flamed with jewels. This was
the fourth attempt she and Louis had
made to get married that afternoon.
Something went haywire on each occa-

32

Here is an absorbing
report of one day spent
on the set during film-
ing of Marie Antoinette

By JESSIE HENDERSON

"These royal weddings take time," ob-
served Marie Antoinette -Norma Shearer
with a smile.

"Back in the 1770's they negotiated
three years for it," admitted the Dauphin
bridegroom resignedly. He's Robert
Morley, the personable young actor whom
M-G-M "discovered" not long ago in
England.

Just now the delay in the nuptials was
due to a camera angle. So the entire

French court relaxed right where it stood,
flopping to the floor in a rustle of taffeta
and a clink of swords. The Dauphin
strolled outside for a bottle of lemon pop.
The bride, pausing for a word with
brother Douglas Shearer, chief sound
technician for M-G-M, went billowing
away to her portable dressing-room that
was equipped with garage doors eight
feet wide to accommodate those farflung
hoops. She had every right to rest be-
tween takes. Norma weighs 110 pounds,
and the silver and jewel studded wedding
gown, plus train, weighed 108!

Bf While, for a very special shot, the
camera crew tinkered over gadgets
eighty feet above the sound stage, the
French court broke into animated talk.
They chattered casually of things that
would have made the original French
court's powdered hair stand on end in
superstitious [Continued on page 40]

mmtmmmt^

S&tg, PiuyqeA* VUunfak One-

It is amazing but true that
Alice Faye can't read a single
note of music but just the same
she is adding to her musical
laurels with many songs in
Alexander9 s Ragtime Band

■ Alice Faye can't read a single note
of music,

A flat, to her, is just a place to live in;
a cleft has something to do with the
palate; a minor is a child under age; a
major is an officer in the army; and if
someone tossed such musical terms at
her as fortissimo, nonlegato, rinforzando,
and diminuendo she'd probably say "Cut
out the double talk!"

All this may be a trifle on the exagger-
ated side, but it still remains startlingly
true when one considers the astounding
success that has come to her since the

34

By ELMER SUNFIELD

day she was led out of the manager's
office of the Zeigfeld Follies and told to
go home and grow up before bothering
him about a job in the chorus:

Alice can't read a single note of music.

She's never taken a music lesson in
her life.

Yet Cole Porter and Irving Berlin say
they'd rather have her plug their songs
than any singer in the country. The

late George Gershwin said the same
thing which should, and does, make it
unanimous for the rest of us. Just let
her have a new song and sing it for the
first time over the air or on the screen
and that song within a week or two is
going to be on top of the Hit Parade
or a mighty close second.

That's why she's called America's song
plugger No. 1!

And if you think that is an empty honor
you're not keeping up your musical score
nor adding to your knowledge of the show
business!

HOLLYWOOD

MH

We went out to her home a few days
after she and her husband, Tony Martin —
a mighty fine singer and actor, if any-
body should ask you — returned from their
Honolulu vacation. We wanted to dis-
cover, if possible, how she had risen to
her high estate in the popular music field
without any professional training. Maybe
it was all done with mirrors. Maybe she
was fooling her public by permitting the
publicity department of 20th Century-
Fox build up this "non-musical" yarn.
Maybe—

"It's true," she said with a smile, "I
don't know one note from another and
probably I never will, but it doesn't seem
to matter, really. I just like to sing. I
always have. Just songs that the average
person likes. Ballads. Something that has
a let of sentiment. We call them 'com-
mercial' songs in the show business. I've
never attempted anything beyond that
over the radio or in pictures because, for
one thing, I know that my voice isn't
adapted to what you might call the classics
and for another thing, I'd much rather sing
the songs I do. If I attempted anything
else I would have to learn music, and if
I did that I'd unconsciously change my
style of singing, and if I did that I wouldn't
be Alice Faye. It all sounds pretty much
involved and perhaps it is, but I do know
this — the moment I lose what naturalness
I have when I sing, I'll be sunk. No, I just
rather be Alice Faye and the way she is
now, unable to read a musical note than
to be an Alice Faye with grand opera
aspirations."

■ "Perhaps it isn't polite to point," said
our favorite song singer," but if you'll

look at that table near the window you'll
discover a partial proof, at least, of my
non-musical education."

Alice pointed, and we looked. What we
saw was a table piled high with envelopes
of all shapes and sizes. We mentioned
something about fan mail.

"No, it's not fan mail," she smiled.
"Every envelope on that table contains
a new song written by someone who wants
me to sing it in a picture. I get them
every day. Hundreds during a month.
But what can I do about it? I can't read
a note of music so I can't judge them even
if I had the time. All my songs are
written by song-writers under studio
contract, so these manuscripts are re-
turned with a little explanation that I
hope eases the disappointment of the
young composers. And there's another
thing, too, that prevents me from helping
them even though I could. I'm restricted
by studio rules that have to do with un-
solicited manuscripts."

■ It occurred to us that being unable
to read music might be a great handi-
cap to her during the production of a
picture. How, we asked, did she go about
il ? How long did it take her to memorize
the words and music? Who helped?
When was it done? And so on and so on.

Well, according to Alice, who should
know, the whole business is as simple
as falling off a composer's piano stool.

"When Gordon and Revel, who have
written the majority of my motion pic-

AUGUST. 1938

ture songs, are assigned to a production,
they get a copy of the script, read it
through carefully for spots where a song
would fit in. With that decided upon,
they go to work upon the lyrics and
score, and with that finished to the satis-
faction of the producer and director, they
call me in. I go down to their bungalow
which is located on the studio lot, and
they play the numbers over until I have
both the words and music memorized.
Once in a great while there is a little
difference of opinion as to just how I
should sing a certain number, but in the
end they're kind enough to let me do it
as I've done so many others. No, it
doesn't take me long to learn a song.
Not more than three or four hours. After
that comes the recording with an orches-
tra and then the playback on the set.
As simple and as easy as that. You see,
I really don't have to know do, re, mi
from fa, so, la to get by."

■ Well, there you are girls and boys.
If you have your eyes on radio or

motion pictures, toss your musical edu-
cation out the nearest window and try
climbing the ladder of success the way
Alice has done. Just try! But before you
do it, remember that there's only one
Alice Faye in Hollywood. On second
thought you'd better stick to your sharps
and flats!

H She's never taken a lesson in voice,
elocution, or acting in her life! And
it's more than likely she never will!

"I thought it might be a good idea to
acquire stage presence," she admits.
"That was right after my first picture,
George White's Scandals so I hurried off
to a teacher and told her I wanted to
learn how to act. The first thing she
did was to put a book on top of my head
and ordered me to walk across the room.
Well, I said to myself, if that's the way
they teach acting I'll quit right here and
now. Which was exactly what I did
before I had taken ten full steps. If you
want to be precise you can say I took
one-tenth of an acting lesson and let it
go at that."

Which is exactly what we did.

■ Bill, her brother and business man-
ager, came in about then, and after

a hello all around sat down and horned
into the interview. Bill came out to Holly-
wood a while back to enjoy a well-earned
three months' vacation after serving a
14-year grind in the investment banking
business in New York, and Alice, being
a smart girl, signed him up to look after
her interests. Bill has not only done that
to her complete satisfaction but has found
time to branch out as a business manager,
an actor's agent and as a publicity agent.

It was Bill who began bouncing the
ball of conversation our way to give us
a number of interesting facts and facets
in the life of America's song plugger No. 1.

"She used to sing around the house."
he offered, "but so far as we could tell
there wasn't a lick of difference between
her voice and the girl's next door. Maybe
leuder, if that's worth mentioning; but
no sweeter. Finally, though, to have a

little quiet in the house, we got her to
take part in church and school programs
and that seemed to calm her down a bit.
About the time she was ten she began
to throw out hints about preparing her-
self for a stage career. Every little girl
has that in mind, so the hints went in one
ear and out the other. She began to take
dancing lessons just in case. And that
was all right with the family, too. 'Little
girls should learn to dance,' Dad said.
Did she tell you about the time she
sneaked off to the Ziegfeld Follies and
tried to get a job as a chorus girl? She
did? She was fourteen, then, and as mad
as any 14-year-old girl can be when
someone told her to go home and grow
up. . . ."

"You bet I was mad," Alice broke in.
"I thought I was grown up. I knew I
could dance as well as any of the chorus
girls and I was as good-looking as half
of the girls in the line. Well, there was
nothing to do but wait for another chance
and that's what I did for the next twelve
months during which time I learned as
many dance routines as I could. It was
a lucky thing for me that I did because
when I applied for work in a Chester
Hale unit I got a job and kept it for a
year. That was step No. 1 in my theatri-
cal career. Step No. 2 arrived when I
went to work at the Hollywood Gardens
in Pelham Parkway, and Step No. 3 was
my successful try-out for a spot in the
George White's Scandals chorus. . . ."

i "Alice had never given singing a
thought up to this time," Brother Bill
interrupted impolitely. "She was making
good as a dancer and that seemed to be
about enough. Oh, sure, she sang her
head off around the house and in the
dressing rooms, but nobody appeared
much interested in her vocal gymnastics.
That is, nobody appeared interested until
the night she sang a song at a George
White Scandals party given after the
show. Hyman Bushel heard it along with
the other guests, heard it and liked it,
and later made her sing it for recording
on a 25c phonograph record. Bushel, who
was Rudy Vallee's legal counsel, took the
record to Vallee, asked him to hear it —
and right then and there Alice said
"goodbye" to her dancing and "hello" to
singing. In no time at all she was singing
on the Connecticut Yankees radio pro-
gram and knocking the dial twisters
dead. . . ."

"Then," said Alice, giving her brother
a rest, "the Yankees came to Hollywood
to add their bit to the picture version of
the Scandals and I came along with them
just for the trip. All I had to do was to
sing one song. You may remember that
Oh, You Nasty Man number?"

We said we remembered something
else, too, about that number, about
the picture, and about the grand break
she got. We remembered, we said, that
Lillian Harvey, about the time the picture
was hitting its production stride, up and
took a walk-out powder on the show,
upsetting shooting schedules, driving ex-
ecutives crazy. We remembered, we said,
how someone \Continued on page 53]

35

A. C. "Whitey" Wilson
points with some pride to an
eighty-five-year-old victoria
which may be seen in Jezebel

He has everything from an ash-tray to a
stuffed zebra and what is more, he has a
use for every one of his many belongings

By WINIFRED AYDELOTTE

■ A certain door at Warner Brothers
Studio is lettered "A. C. Wilson, Prop
Department." Step through it and you
find yourself in the setting of the world's
most gigantic fairy tale, where anything
you could wish for could be placed in your
hand in a minute. It is presided over by
The Man Who Knows Everything; the
man, futhermore, who can rub Aladdin's
lamp as many times as he wishes, while
a hundred genii jump to do his bidding.

A picture, they say, begins in the prop
department. So Mr. Wilson must know the
name, purpose, origin, size, shape, price
and whereabouts of every possible prop
a director might call for, and he can
supply it at a moment's notice. He knows
all there is to know about architecture,
furniture, fashions, interior decoration,
art, vehicles, electricity, animals, and
history, and his knowledge covers all
periods up to the present — and a little
beyond.

Once there was no such thing as a prop
department in the picture business.
Lamps, furniture, wagons, objects d'art . . .
whatever was needed was rented or bor-
rowed from private individuals and small
renting companies. When Mr. Wilson
started handling props for the picture,
Main Street, a prop department came into
being. He was it. He went around to all
the second hand stores in Long Beach and

Pasadena and bought all their old-fash-
ioned furniture and what-nots for the
"K e n n i c o t t" home. Those purchases
formed the nucleus of what appears today
to be the largest department store, junk
shop, art store and merchandizing center
in the world, larger than any metropolitan
department store you ever saw.

■ The one object I can think of that is
not in Wilson's department is a whale;
whaling, however, is represented by every
prop necessary for a whaling picture.
I tried to catch him, and asked for various
things .... a needle and No. 60 thread; a
can of dog food; a set of false teeth; a
stuffed bison's head; a corsage of orchids;
a bow and arrow; an Eighteenth Century
shoe buckle; a quart German beer stein
(he wouldn't fill it for me although on
a shelf was a can of beer in case a director
called for it) ; a first aid kit; an Indian
head-dress; a copy of "The Blue Boy"; a
spittoon .... my imagination ran riot.
Wilson rubbed his Aladdin's lamp, mean-
ing that he yelled for George or Alec or
Jim, and a minute later the object was
brought to me or I to it. I even asked for a
rabbit's foot. That was in what he calls the
"Valuable Room," which contains every
choice bit you can think of from a $5,000
violin to a glass eye. I was allowed to
look at — but not touch — a $25,000 crystal

chandelier. Around the corner, I was mo-
mentarily horror-stricken at coming face
to face with a stuffed eel.

I walked miles through all the depart-
ments: artificial flowers, weapons, drapery,
electric fixtures, new and "character"
furniture, lamps, wagons and carriages of
all kinds, art, bric-a-brac, household
utensils, rugs ... oh, just make a list of
every known object in the world. There is
also a department devoted to the names
and addresses of all livestock needed for
pictures. There is the mill department, in
which are built and made all furniture
and props that are not to be rented or
bought.

■ One of Wilson's most valuable genii is
a man named Richardson. Richardson
is a shopper who would make Doris Duke
Cromwell look like a peanut buyer. Every
morning he leaves the studio in his truck
for Los Angeles. He makes an average of
twenty purchases a day. He knows value
and where to find it. He knows where to
find the bedroom suite for a glamour pic-
ture and the old bedstead for the home-
stead picture; the parrot that can say "Kay
Francis," or a tire for a 1913 Maxwell.
Richardson telephones Wilson every
twenty minutes from wherever he happens
to be to check on any possible new
demands that must be filled immedi-
ately. For example, during the shooting of
Jezebel, the director wanted a certain kind
of watch fob worn by Southern gentlemen
of New Orleans just prior to the Civil War.
When Richardson telephoned, Wilson told
him about it and dispatched a motorcycle
boy to meet him at a certain corner in
half an hour. Richardson knew where to
get the fob — it's his business to know — and
in half an hour he handed it to the boy on
the motorcycle, who promptly turned
around and roared back to Warners. In
exactly one hour the director had the fob
on the set. That's service!

Richardson has a tough job. Remember
the day you went downtown to buy that
mattress? It took you all morning.
Shopping is hard work. And the prop
department is run on a budget as unyield-
ing as yours. In one day, Richardson might
buy a box of cigars, a bed, a tennis racket,
a set of dishes, three rugs, one statue, a
roulette wheel, a lamp, some vegetables,
some chow mein, a school blackboard,
an elephant's tusk, a pair of 1860 duelling
pistols, a stew pan, a thermometer, a
French grammar and some Mexican
jumping beans.

| Mr. Wilson receives thousands of
letters, photographs and catalogues
yearly from furniture companies and
private individuals who have things to
sell. The announcement of every new
picture brings a flood of these letters and
photographs. From all this mass of
material he makes perhaps 75 purchases.
He buys, he says, from intuition. "You
can't live year in and year out with all
this," waving his hand at the appallingly
large and stuffed department, "without
knowing its weaknesses." The letters
from private persons invariably claim
possession of [Continued on page 52]

36

HOLLYWOOD

Above is the newest portrait of the "It" Girl who has been spending the last tour
years as Mrs. Rex Bell on a big Nevada ranch

CATCHING UP WITH CLARA BOW

What are the changes that four years retirement
have made in most famous of all the flappers?

By GLADYS BABCOCK

■ When bewitching, red-headed Clara
Bow, sparkling star of a hundred
movies, "It" girl and flapper de luxe, came
out of a four-year retirement a few months
ago, moved back to Hollywood, and, with
her husband, Rex Bell, entered into the
cafe business, thousands believed she was
angling for a movie "comeback."

Certainly, reasoned Hollywood wise-
acres, returning to the screen was the nat-
ural thing for her to do. But that is where
they were wrong.

Clara merely smiled, recalled old times
and gave old friends a hand clasp that was
sincere and strong, and let it go at that.

AUGUST. 1938

What Hollywood never dreamed of in
its gay welcome, was that Clara Bow, in-
stead of getting lonely in Rex Bell's re-
mote Nevada ranch-house, had fallen
genuinely in love with a new life — with
her home, and her plans for a family. Few
in Hollywood ever gave the more serious
side of Clara Bow a thought. She had
been the outstanding example of the frivo-
lous mad-cap flapper. Because she looked
as young and gay as ever, it was taken for
granted that she still was the fun-loving
girl who had danced out of Hollywood
over four years ago.

"The first few months after I moved up

to the ranch and Rex and I began to build
our home there I was dreadfully lonely. I
did miss the studios and the hustle and
bustle of the sets; I missed the autograph
hunters and the crowds. You can't just
turn your back on a career and forget it
in a moment. But I did find that being a
wife and planning a home was quite the
most wonderful job in the world.

"When the weeks turned into months
and the duties of the ranch and of guiding
the baby's first steps came, I completely
forgot I had ever been a movie actress,
believe it or not, until a souvenir hunter
came along.

"I found that we had almost as many
'souvenir hunters' up on the ranch as they
have in Hollywood. In a studio and on
personal appearances visitors frequently
took handkerchiefs, props from the sets
or other personal and studio property for
souvenirs. Up on the ranch — and 600,000
acres is a lot of front yard to watch — we
found there were 'souvenir hunters' who
would drive up at night in trucks and take
ten or twenty cattle at a time. In the old
days they used to call them cattle rustlers.
Today they call them something more ex-
plosive. The rustlers with the taking ways
use ten ton trucks instead of ponies. We
lost more than 200 cattle in one year to
these souvenir hunters.

"I've been back in Hollywood a dozen
times since the first baby was born but
with no thought of going back into the
studios again. When the opportunity to
go into business in Hollywood presented
itself, Rex and I decided to divide our
time between the ranch and the city but
I did not move back to California with any
thought of making overtures for a new
movie career; I came back to be closer to
Dr. H. H. Blodgett, my physician, and
better nursing facilities, knowing that our
second baby was no longer just a dream."

Clara's career as a wife and mother has
been an expensive one. Since her retire-
ment she has had three offers for long
term contracts with major film companies
ranging from $100,000 to $175,000 per pic-
ture, an offer of $150,000 plus a percentage
for one picture, and two offers from inde-
pendents which didn't stipulate any set
figures, being profit sharing arrangements,
an English film contract also was sug-
gested.

And there were other bids — offers for
radio,' for endorsement of various products,
for personal appearances, and for Broad-
way shows.

One Broadway producer offered the "It"
girl $12,500 a week straight salary for a
run-of-the-play contract. Another offered
$11,000. Then there was an offer of $20,000
a week for a personal appearance tour of
ten weeks, another at $12,500 and another
for an American and European tour as-
suring a net salary (taxes and expenses to
be paid by the sponsor) of $10,000 a week
for the term of the tour. The answer was
always politely but definitely "No!"

"Later — a year from now, maybe," Clara
told them all, "But for some time to come
I want to concentrate on being a mother."
And she meant it, went back to her Holly-
wood hillside home, took baby Rex and
his wooden horse [Continued on page 44]

37

Landscapes on Wheels

Readymade forests, perambulating gardens, and
louring orchards are ordinary sights in Hollywood

By EDWARD CHIRCHILL

| As Joyce Kilmer wrote, only God can
make a tree. But Hollywood, with
ever greater enthusiasm, is moving
several hundred thousands of dollars
worth of them each year — the next best
thing to making them. The trees you see
in your motion pictures these days are,
for a change, real, live trees. Because you
demand realism. But it doesn't stop there.
Stars, famous over night or in six months,
want to feel that they've been that way
permanently. A couple of days later a
200-year oak and a 50-year old olive tree
grace the front lawn and everybody's
happy.

Or, consider Edward Everett Horton,
who is a regular patron of a "tree farm"
on West Pico Boulevard.

Horton, purchaser of a bare knob of
eight acres in San Fernando valley, has
imported trees along with his antiques to
the extent of fifty or sixty, and today his
estate looks as if it had been there since
his Grandpa Orr came to this country in
1840. He has ten acres more, now, and
Bob Hamsher, who transports and sells
more trees than any other man in the
world, is very happy.

Hamsher's trees cause trouble. In fact,
not long ago, Claudette Colbert and
Horton met at a dinner party and there
was considerable confusion for a while.
Claudette accused Eddie of buying all
Hamsher's trees, leaving her nothing but
a few small ones to pick from. Only one
tree so far has Eddie stumped. It's an
Atlantic cedar in a nine-foot box, weighs
about 35 tons and Hamsher wants $1,250.

"I'm going to buy that tree yet," Horton
says, every time he comes in — which
means that sooner or later he will.

The truth is that the stars love trees.
When you drive by an estate or a home
owned by a player in Southern California,
you're probably mystified to see a huge
cedar, an orange tree with fruit on it, or
some rare and exotic palm holding down
the front lawn. Particularly when the
house behind the tree looks only about six
months old. The stars go shopping for
these trees.

■ Hamsher paints a picture of Joel Mc-
Crea coming into his "tree farm" in
battered cowboy hat, soiled trousers and
shirt open at the throat, to buy a pepper.
Joel has a 1,000 acre cattle ranch.

"I've got to get some shade for the cows
down on the south end," Joel says, pulling

38

himself out of the car. "They're getting
too much sun by the well."

Joel and Hamsher go into a huddle,
and two or three trees are selected.
Hamsher employs seventy-five men, has
one hundred pieces of equipment. The
trees, weighing from 10 to 35 tons, are
loaded onto a truck and trailer and off
they go to the ranch. Boxes bigger than
9-feet can't be transported. They'll
weigh more than 50,000 pounds, have a
spread of more than 40 feet, and will
be more than 50 feet tall. Moving the
house to the tree would be a lot easier,
Hamsher says.

A twenty-foot palm tree arrives, none the
worse for wear, after a 15-mile jaunt through
Hollywood traffic to go to work in a film

Will Rogers used to be a steady cus-
tomer, mostly for large vines. Hamsher
remembers his visits. Rogers came in first
in a dumpy model-T Ford to get his vines.
His estate is covered with every variety
today as the result of his shopping in this
strange place where there is a man-made
forest in boxes, and a tree is apt to go
scooting down the highway at any minute.
Rogers, after making his selections, always
said:

"Now I'll have to ask maw."

"Maw" was Mrs. Rogers, and he always
asked before he returned and made the
final purchase.

Even as rare and spectacular trees grow
at the McCrea ranch, the Colbert home,
the Horton estate, and many other places,
so do they thrive at Gary Cooper's new
home in Brentwood Heights. Gary
languidly drops in for a tree or two
every now and then and his modified
Bermuda home in Brentwood is sur-
rounded by thousands of dollars worth
of the finest specimens that can be
found.

| Hamsher can't remember the names
of all the stars who have bought his
ambulant products since his start in the
business ten years ago. One of the earli-
est of his customers was Ann Harding,
who got eight or nine trees for her
guarded estate in the hills. California
hills are notably barren of large trees —
Beverly Hills was once a sage-brushy
place akin to a desert — and it's not hard
to see why they're in demand. Myrna
Loy and Arthur Hornblow, Jr., the pro-
ducer, have eight or nine trees on their
estate in Hidden Valley, above Beverly
Hills. These were brought in by truck
and lifted to their property on inclined
slides. Al Jolson, Richard Dix, and many
others have bought trees valued as high
as $1,500 apiece.

This is a far cry from the early days,
when Charles Ray electrified Hollywood
and the Paul J. Howard Horticultural
Establishment by investing $30,000 in
landscaping.

Currently, the prize for a large assort-
ment doesn't go to Horton, Hollywood's
consistent Number One tree buyer, but
to Jack Warner, the producer. The
Warner estate, which will outdo every
other motion picture property in Southern
California, now boasts about 50 trans-
plantations.

■ Trees are not only gracing motion
picture estates, and thus confounding
the sightseer who heard the places had
just been built, but are becoming more
and more important on motion picture
sets. In the old days — five years ago, let
us say — trees brought onto inside sets
were cut down, sawed apart, and then
bolted together for picture work. The
drawback to this was that the sets might
be used for thirty days or so and, during
that time, the leaves of the trees would
show up shopworn on the film which
finally reached the screen. Undoubtedly
you have seen backgrounds which would
have made better kindling wood.

In Zoo In Budapest, for instance, a
bunch of youngsters dived from a huge

"assembled" tree into an artificial pond.
The tree's foliage had to be renewed
every other day. This got to be very
expensive.

The result is live trees. Remember that
beautiful shot of Jeanette MacDonald be-
neath the tree in Blossom Time, and how
very real it seemed to you? That tree
was a Hamsher tree in a nine -foot box.
Weighing about 35,000 pounds.. It was
the biggest tree ever moved into- a motion
picture set. It had a spread of forty feet.

Then there was that old tree with the
gnarled trunk used in Lost Horizon. The
limbs grew out oddly and grotesquely,
and that answered Frank Capra's demand
for a weird thing to fit the mood of the
production. Hamsher spent three weeks
locking for the tree, finally found a
Brazilian pepper in a back yard in Ingle-
wood, a Los Angeles suburb. He bought
the tree, transported it to the Columbia
ranch 25 miles away, planted it with cedar
trees in the courtyard there. So much for
realism for you.

Another Brazilian pepper was used in
the Louisiana scenes in Paramount's
Valiant Is The Word jor Carrie. This
tree was transported to the Paramount
ranch, and Jackie Moran swung from it
during his visits to Gladys George, if you
recall.

That was a permanent, live and beauti-
ful tree you saw in the "Colonial house"
setting in Mr. Deeds Goes To Town, with
Gary Cooper. Recall the house he in-
herited? The desert courtyard which
Twentieth Century-Fox used for Under
Two Flags, with Colman and Claudette
Colbert, was the real thing. Brazilian
peppers, palms and olive trees all were
moved in to give the scene the realism
which it finally had.

■ "So great has become the demand
for realism in pictures and for old
trees to grace new estates," Hamsher
says, "that I have one man who is a 'tree
scout'. He works just like a baseball or
football scout. He goes around the coun-
tryside, spotting healthy specimens, try-
ing to buy them up. Whenever we find
such trees, we box them, bring them to
our 'forest' on West Pico Boulevard.

"As we are finding fewer and fewer
available trees, we are planting our own
groves and transplanting reasonably
small trees into them. I have ten acres in
San Fernando valley, and soon expect to
have more."

So now maybe when you see such pic-
tures as Ro77ieo and Jxdiet, with sets in
which real trees grow, or you visit Cali-
fornia and see the new homes of stars
graced with forty-foot olive, palm, oak
cedar, and pine trees, you'll know that
you're not dreaming — and that one more
strange business has grown up in this
equally strange place called Hollywood.

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39

A Day With a Queen

[Continued from page 32]

awe— such things as telephone calls, the
radio, last night's movie.

Following the Dauphin out to the soft
drink stand, went a figure in sober gray
and black. That man could have given
Louis at least a hint as to the electric
age to come. Benjamin Franklin, intent
at the moment on a beaker of buttermilk
while awaiting his own appearance in a
later scene, was — you recall — the man who
sent up a kite in a Philadelphia thunder-
storm in order to learn about electricity.

He didn't introduce radio to the French
court during his visit there as envoy from
the infant United States, but he's the
grand-dad of radio just the same. And
of all modern electrical items, including
the movies.

As in Quaker hues he rubbed elbows
with the rich plush and satin of French
nobility, somebody exclaimed how Walter
Walker (that is "Benjamin Franklin")
had made himself up to look exactly like
the picture of Franklin on a hundred-
dollar bill. I wouldn't know about this.
But 1 do know that Robert Morley in
make-up so resembles the true Louis
Sixteenth that they don't mind photo-
graphing him side by side with an au-
thentic portrait of the monarch.

| Behind Louis Sixteenth and Franklin,
and headed toward the ice cream
wagon, came Louis the Fifteenth, grand-
father and predecessor of Louis the Six-
teenth and sponsor of the latter's mar-
riage. Despite the heliotrope brocade,
he was unmistakably John Barrymore.
When Norma first saw him on the set she
forgot her lines; not account of the helio-
trope brocade but account of admiration.
She'd never met him before! No fooling.

Since her own start in pictures he had
been one of her great favorites of stage
and film. Once, in the earlier days, they
were working in adjoining sets and
Norma, then nearly unknown, used to
dart out the back way and over to his
set in order to watch him from afar. But
they had never happened to meet. Not
even during the production of Romeo and
Juliet, for they didn't appear in the same
scenes.

Louis Fifteenth was joined at the ice
cream wagon by the Due d'Orleans
(Joseph Schildkraut) , the meanie of
Marie's reign, all the time stirring up
trouble. And by Mme. la Motte, as played
by Mae Busch of the silent cinema.
Norma, because she also hero-worshipped
this actress when Mae was a star and
Norma only a beginner, sent her own car
to bring Mae to the studio when tests of
her for the role were to be made.

gf Lafayette sauntered up for a straw-
berry ice cream cone, followed by a
detachment of the Swiss guard on the
same errand. Here came the studio
trolley that ambles about the lot and de-
bouched a lady in waiting, her emerald
skirts carefully spread. Hopping briskly
to the ground she lifted the hoops high
to avoid the dust. Everybody roared. It
was a rather cool day and beneath the

40

hoops she was wearing bright red slacks.
They looked like flannel underwear.

The sight mightily intrigued the royal
choir boys grouped nearby. They whistled
in unison, to the lady's confusion. These
little tykes, short brown wigs forever
wildly a-flying, pulled more tricks daily
than a harried supervisor could anticipate,
stopped the heartbeats of the wardrobe
department by shinnying fire escapes in
their white surplices, and intermittently
at the proper signal turned their faces
heavenward and broke into beatific song.

[ I was having a root beer with
the Princesse de Lamballe, Marie
Antoinette's dearest friend (Anita
Louise), in turquoise with mountainous
plumes to match — when the nobility be-
gan to dash back to the sound stage for
another go at the wedding. Norma and
Morley had been sent for, but their stand-
ins still knelt before the altar, looking as
if their knees were pretty tired of it all.
To "Skats" Wyrick, ex-football star at
UCLA, and stand-in for the Dauphin,
somebody had sympathetically handed a
cigar and "Skats" was carefully keeping
the ashes away from his blue velvet coat.

The Cardinal, in crimson robe, delicate
lace and little round cap, sat fast asleep
on a stool. Tyrone Power, the romantic
"Count Fersen" of the picture, the
young Swedish aristocrat whom Marie
Antoinette loved, came suddenly through
a doorway talking to Norma Shearer.
Tyrone who had no part in this marriage
scene, wore modern brown tweeds and
probably couldn't realize how odd he
looked next to a lady in a gown like a
white balloon and a coiffure like piled-up
soapsuds.

g "Ready, baby?" inquired Director
Van Dyck. He was speaking to
Norma Shearer; and the first time he
called her "baby" and "kid" everybody
looked as horrified as if he were address-
ing Marie Antoinette herself. Everybody,
that is, but Norma. She didn't mind at
all.

Indeed, to this first picture she has
made since the death of her husband,
Irving Thalberg, (it is also the first picture
in which Van Dyck has directed her),
Norma brought her own brand of cour-
age; the kind of courage that can smile.
She left her private grief outside the
sound stage door and, the moment she
crossed the threshold — despite the sharp
memories that must have tormented her
— she became Norma Shearer the actress
and the gracious friend. Almost the last
time I had seen her was during a se-
quence of Romeo and Juliet when Irving
Thalberg looked on so proudly as she
danced in the great banquet hall of the
Capulets.

"Ready!" she smiled now at Van Dyck
and took her place before the chapel
altar.

In accents like cream and Chinese
gongs Nigel de Brulier as the Cardinal
read the rolling Latin of the marriage
service. "Okay," called Van Dyck, "But

it is Greek to me! Can we have it in
English?"

Nobody knew it in English. Scurry,
scurry. Find a translator. Find a type-
writer. Tap out the Latin lines in English
and hand 'em quick to the Cardinal. Boy,
will that pair NEVER get married?

Two wardrobe assistants brought a low
stool for Marie Antoinette (the French
court had once again dropped en masse
to the floor) and arranged her wedding
gown with its garlands of shirred ribbon
so it wouldn't crumple.

9 Marie was fond of ornate clothes.
In this picture, the action of which
covers twenty years, Norma wears 34
costumes, each over 52 pounds in weight,
not to mention 18 wigs.

Each dress was draped over a steel
hoop which in turn was fastened to a
foundation so adjusted that the weight
hung from the shoulders. The hoop had
a petticoat under it, a second frilled petti-
coat fastened to it, and a much more frilled
petticoat over it . . . although the ladies
of the real French court are said to have
worn no lingerie whatever, tsk, tsk.
Moreover, Norma's wigs, and those of the
others, had metal framework of con-
siderable weight to keep them in shape.
When the real Marie Antoinette held
formal court, she wore a coiffure so lofty
that a page had to follow behind with a
wooden prop to hold it in place till she
was settled in her chair of state.

"Which only proves," commented
Norma, "that a woman can get used to
any kind of clothes!"

Incidentally, it took a lady of the French
court, in this most extravagant epoch
woman's dress has ever seen, a good five
hours to climb into her formal apparel,
including the coiffure. Thanks to talon
fasteners for clothes and whatnots to hold
wigs in place, an M-G-M lady of the
French court could leap into her formal
attire in five minutes.

■ Van Dyck summoned the principals
once more to their wedding. The
high, sweet chant of those impish choir
boys arose. The English translation had
come. Having been wed in Latin, Marie
and Louis were now wed in English. And
then, for good measure, in Latin again. . . .

Thoroughly married, they proceeded in
the cockeyed but (believe it or not) effi-
cient Hollywood manner to do the scene
before the one just completed. That is
to say, they next did the wedding pro-
cession which comes before the marriage.
Two wardrobe women carried Norma's
train as she disappeared beyond the en-
trance archway of the chapel. Organ
music burst forth in a joyous strain
Slowly through the archway paced the
bridal party, a tossing crest of pastel
plumes, a following surf of brocade and
velvet topped by a foam of white wigs
with here and there a flash of jewelled
sword hilt or of coronet.

The bride ... if Norma thought ai
that moment of her own wedding day, or
of how she and her husband together
had planned this very picture for her
there was no sign on that calm, faintlj
smiling face. She moved forward, the
veil frosted with silver falling about hei

!

^^^m

like a spent wave. And thus, cinemati-
cally, the 15-year-old Austrian Arch-
duchess and the 16-year-old Dauphin
who liked his blacksmith shop better than
his palace, began what proved to be their
march toward the guillotine. But that
was twenty years ahead of them.

[ In the meantime, several days before
the wedding scene was shot, they had
filmed the sequence in which the royal
couple's first child was born! Norma
startled her own doctor who for some
time had been eager to watch a movie in
process of production. "Come right over
to the studio," Norma telephoned him
hurriedly one noon, "I'm going to have a
baby. About two o'clock, they think. I
mean — " He came right over.

And shortly after the birth of her child,
Marie Antoinette — thanks to what can be
done on celluloid — was dancing the
minuet. One of the most dramatic as
well as most magnificent minuets ever
screened.

For it, the ballroom at the palace of
Versailles had been reproduced from dear
knows how many photographs and
sketches. Big enough to hold French
royalty and a large slice of French his-
tory, the real ballroom wasn't colossal
enough for Hollywood and camera angles.
Hence, the one built on the M-G-M sound
stage is 250 feet long and, 125 feet wide,
about twice the width of the original.

They reproduced the grand staircase
exactly; the crystal chandeliers like pyra-
mids of ice; the marble pillars, brownish
pink, with their gold encrustations; the
famous ceiling in panels of rose, green
and gold, its nude figures symbolizing
whatever they symbolize. Filled with a
rhythmic pattern of dancers that swept
through the deliberate figures of the
minuet, the room presented a spectacle so
glowing and varied that the real French
court could hardly have excelled it.

That dance was given, at the insistence
of Louis Fifteenth, to end a feud between
Marie Antoinette and Louis Fifteenth's
girl-friend — Madame du Barry. Marie
Antoinette had at length consented to
"recognize" the du Barry socially by
speaking to her in public instead of sailing
past with nose in air. The music would
stop, Marie Antoinette would edge over
toward du Barry, and — say something.
"What weather, Madame!" is the remark
which history says Marie made.

| The Due d'Orleans was looking al-
most with apprehension at Marie
Antoinette; the Due — or, rather, Joseph
Schildkraut — hadn't known how to dance
till this picture when he took special
lessons. First off, his rapier caught in
Marie Antoinette's feathered gown while
they practiced and the hoops flew up, the
feathers whirled to her shoulders.
"Clodhopper!" Van Dyck called him after

that, ribbing him unmercifully, telling
people they had to follow him around the
dance floor with needle and thread.

B "Louis Sixteenth lived to be 39
years old, and he had 26 baths in his
whole life," remarked George Richelavie
pensively at my elbow. Richelavie, the
technical advisor, knew everything about
everything. "They were great events,
those baths. He noted them in his diary."

In and out hurried a busy figure with
dark, bobbed hair; the navy blue dress
very utilitarian by contrast. Albertina
Rasch, who from 600 applicants selected
64 couples and taught them the minuet in
two days.

"Only 64 couples dance, but there are
more than 500 people in this scene — "
Richelavie began. He was interrupted by
the measured beat of the minuet sounding
for a rehearsal. Stately bows and curt-
sies; hands daintily uplifted, palm out-
ward; the pretty and delicious artificialty
of the gentry of the age. No Benny
Goodman. No — my gosh! — big apple.

"All right!" Van Dyck called through
the loud speaker, "now for the real thing.
Camera! And you, Schildkraut, keep
your big feet off Shearer's dress." He
spoke to the Queen of France. "Ready,
baby?"

"Ready," said Norma. With grace the
company advanced, retreated, glittered . . .
C'est la vie, hein? While it lasted.

JUST TRY TO GET AWAY

When Answering Advertisements Please Mention August HOLLYWOOD

41

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WILL KEEP YOUR SECRET

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Your beauty bath kit need not be expensive
but it should be extensive in the hot month
thinks June M arte I, shown with some of
the preparations she considers essentia

BaUUttty foi Beauty

Summer can be tolerable if your
beauty baths are properly planned

By ANN VERNON

| Dog days mean just one thing to me.
Stacks of letters from readers who
want to keep as cool as an ice cube. Now
that hot weather is here again, you may
be interested in my advice on the subject.

Q. No matter how much I bathe, come
summer, I'm never cool and fresh. What's
wrong with my methods?

A. Most people' think that cold baths
and showers are cooling. Not so. The
cold water shocks the system, sets the
blood running faster, makes you warmer
than before you bathed. The trick is to
take a luke-warm shower or tub, cleanse
yourself thoroughly with a quick lather-
ing, dirt chasing soap, rinse well in fresh
water, then pat yourself dry. If you rub
yourself, you'll stimulate the circulation.

I can recommend a pure white toilet soap,
cherished by movie stars, that answers all
qualifications of a good skin cleanser. The
rich lather (quickly produced even in
luke-warm water) sets about its work
immediately, and the fact that excess
moisture and air is "milled" out makes
one of the oblong cakes last and last. I
like the delicate bouquet scent so much

that I keep my supply of soap in with my
undies. A few cents buys the soap in its
dainty cross-stitch sampler wrapping.

Q. Summer evenings find me looking
limp and feeling that way. What can I
do to correct this, so I'll enjoy going out?

A. Run a tub full of luke-warm water,
throw in a handful of snowy starch crys-
tals,watch the water turn milky. Then
make a mask of the same product (mix it
with milk) and spread it over your jaded
puss. Then climb in the tub and let this
luxury bath relax your body while the
mask tones up your face. When you
emerge from tub and mask, your skin will
be soft as fine linen, and you'll feel — and
look — ready for anything! A large blue
and white box of the corn product costs
only ten cents at your grocery.

Q. I've been hearing so much about
perfumed baths — but I like showers. Is
there any way of spicing them up a bit?

A. Yes, indeed! Have you tried scrub-
bing yourself thoroughly with a shower
brush? That'll give you a tingling new
slant on showering. Or try the new
smooth-as-silk powder that you dash over

42

Accept No Substitutes! Always Insist on the Advertised Brand!

■■■■■■

your skin before stepping into the shower.
It dissolves as the water hits you, and
rinses away to leave you a brand new
"body complexion," satin smooth. What's
more, you'll step from your shower smell-
ing like an old fashioned garden full of
heliotrope or lily, honeysuckle or pink
clover. A dollar buys it. Want the name?

Q. I feel cool and fresh as lettuce after
my morning shower, but the feeling van-
ishes after I reach the office. How can I
keep that morning freshness till I pop
into the tub at night?

A. Have you tried pouring a few drops
of cologne into your morning tub, to make
it that much more cooling? Another nifty
idea is to slap it all over yourself after
your bath — a small square of cotton satu-
rated with your favorite cologne will do
the trick nicely. That will help you pro-
long the cooling effects of your bath.

One of my favorite colognes, and one
that is priced just right for most pocket-
books (50 cents, 90 cents, $1.50) comes in
vertical ribbed bottles that handle easily,
won't slip out of the soapiest hands. You'll
like the springlike scent — it'll cool you off
the most torrid of days — and the green and
lavender floral decor of the bottles.

Be sure, too, that your morning self is
really fresh. Hot weather is no time to
slip up on perspiration control (as though
you would at any time!). There's a white
cream that does a slick job of taking the
odor out of perspiration. It's easy and
harmless to use — half a minute (right after

shaving if you wish) is all you'll need to
rub it into the skin thoroughly. The small
ten cent size of the white jar, with its
leaf-wreathed screw cap, is easy to carry
in the purse, to the office, for reapplication
when you want to be surer than sura.
The larger (35 and 60 cents) ones belong
in your bathroom. Want the name?

Q. Even though I rub myself down
thoroughly after my bath, I still wage a
tug of war with my girdle — and that makes
me warmer than ever. What to do?

A. Pat, don't rub, yourself thoroughly
dry. Then dust over yourself a fine, fra-
grant powder. I'll be glad to send you
the name of an alluringly scented talcum
powder which will keep your body cool
and comfortable all day long, make your
girdle slip on quick as a flash. You can use
the shaker can liberally, lavishly, because
the powder sells at the surprisingly low
price of 25 and 75 cents.

Q. My husband objects to a cream-
covered face, but my skin looks like an
old shoe when I slip up on the creams. I
work during the day, so that's out. When
shall I lubricate my face?

A. Why not apply your lubricating
cream just before your bath, leave it on
while you soak. The warm air of the
bathroom will relax your pores, help the
softening oils penetrate further and faster,
do a better job in less time. There's a
fluffy white all-purpose cream that lubri-
cates while it cleanses, leaves your skin
soft and smooth so that make-up clings

perfectly. The rose capped white jars
come in 10, 20, 55 and 83 cent and $1.38
sizes — the largest contains enough to last
you for five or six weeks, depending on
how often you "teaspoon" out the cream.

Q. In summer you can almost see the
hair grow on my legs. Is there anything
I can do to control this?

A. Naturally hair grows faster in sum-
mer, when the warmth and the sun stimu-
late it. You'll just have to make up your
mind to use a hair remover oftener then
For week-end trips, why not tuck into
your suit case a convenient hair removing
mitt? You rotate this, for about three
minutes, over your shaggy surfaces. (For
best results, be sure that your skin is
completely dry.) It will leave your arms
and legs as smooth as a baby's.

Do

you

know how to keep cool

and

sweel

and

desirable in hot weather. If

not,

write

to Ann Vernon about

your

special beauty problems today! She

will

be g

ad to send you the names c

the

prodi

cts described here. Just ser

d a

stamped,

self-addressed envelope

with

your

lette

(U. S. postage, please

) to

Ann

Ver

n o n, HOLLYWOOD,

1501

Broac

way.

New York City.

"You see, Colgate's
special penetrating
foam gets into the hid-
den crevices between
your teeth that ordi-
nary cleansing meth-
ods fail to reach . . .
removes the decaying food de-
posits that cause most bad breath,
dull, dingy teeth, and much tooth
decay. Besides, Colgate's soft,
safe polishing agent gently yet
thoroughly cleans the enamel —
makes your teeth sparkle!"

When Answering Advertisements Pi ease Mention August HOLLYWOOD

Corns come back

BIGGER-UGLIER

unless removed

Root* and All

DON'T take the risk of
home paring or other
old-fashioned methods—
don't suffer needlessly from
painful cornsthatkeepcqm-
lng back bigger and uglier.
Now you can remove them
quickly— safely — easily —
root and all! Blue-Jay, the
modern double-action corn
plaster stops pain instantly,
by removing pressure, then
in 3 short days the corn lifts
out root and all (exception-
ally stubborn cases may re-
quirea second application).
Blue-Jay i s tiny. Easy to use.
2 5 i for a package of 6. Same
price in Canada. At all drug
and department stores.

BLUE-JAY CORN PLASTERS

* A plug ot dead cells root-like In form and position. It
left may serve as focal point for renewed development.

WAKE UP YOUR
LIVER BILE-

Without Calomel — And You'll Jump Out
of Bed in the Morning Rarin' to Go

The liver should pour out two pounds of liquid
bile into your bowels daily. If this bile is not flowing
freely, your food doesn't digest. It just decays in
the bowels. Gas bloats up your stomach. You get
constipated. Your whole system is poisoned and
you feel sour, sunk and the world looks punk.

A mere bowel movement doesn't get at the cause.
It takes those good, old Carter's Little Liver Pills
to get these two pounds of bile flowing freely and
make you feel "up and up." Harmless, gentle, yet
amazing in making bile flow freely. Ask for Carter's
Little Liver Pills by name. 25c at all drug stores.
Stubbornly refuse anything else. ©tese.c.p. inc.

MERCOLIZEDteCREAM

Make your skin young looking. Flake off the stale,
surface skin. Reveal the clear, beautiful underskin
by using Mercolized Wax Cream regularly. Give
your skin the combined benefits of cleansing, clear-
ing, softening, smoothing and beautifying in every
application of this single cream. Mercolized Wax
Cream brings out the hidden beauty of the skin.
Use Saxolite Astringent Daily

T^HIS tingling, antiseptic astringent is dellght-
•*■ fully refreshing and helpful. Dissolve Saxolite
In one-half pint witch hazel and apply.
Try Phelactine Depilatory
For quickly removing superfluous hair from face.
Sold at cosmetic counters everywhere.

Catching Up With Clara Bow

[Continued from page 37]

and his fluffy little pooch and went out
for a walk, pending Papa Rex's arrival
from the ranch, for dinner.

Few film stars have ever known the
fame and adoration that Clara Bow has
enjoyed. There was a time when her fan
mail averaged more than 37,000 letters a
month. Even today — four years after
the release of her second Fox picture,
Hoopla (which she didn't like and which
fans didn't care so much for either) Clara's
fan mail totals several hundred letters a
month and she tries to answer them all.

"Children were the one thing inter-
viewers never discussed with me in the
old days. But you could have written this
story ten years ago. I felt the same way
about children and marriage then. I'll
always feel that way. I had to work
darned hard to keep on top when I was
in pictures but the hard work proved
worth while. When I was ready for mar-
riage and a family I was able to concen-
trate on them, and not divide my time.

Clara Bow Bell and young Rex Larbo Bell
stopped in the middle of a romp to give the
cameraman two bright smiles of welcome

The Mystery That Haunted Herbert

[Continued from page 19]

friends to drink that odorous water gush-
ing out of the earth!

The fly in the ointment, the mote in
the eye, the pain in the neck, came along
all too quickly. A couple of dawns after
the Herberts had settled down and were
thinking about a house-warming, Hugh
was out on the back porch — gulping great
breaths of invigorating ozone — when his
discerning eye caught a break in the
fence marking the dividing line between
his acres and those belonging to his pleas-
ant neighbors.

Kindly Hugh, who makes a habit of
taking home stray cats and dogs and
telling fibs to save other people's jobs,
the big brother and father-confessor to
half of Hollywood, felt a twinge of an-
noyance. The trespasser had evidently
used a baby truck to make the break.
The intruder, he thought to himself, might
at least have used the gate. And then he
would have been made welcome in the
regular Herbert manner.

But in a moment or two, Hugh dis-
missed the whole matter, finding half a
dozen excuses for whoever caused the
damage. He ordered the fence mended
and promptly forgot about it.

Two mornings later, by the calender,
his eyes almost fell out of their sockets
with surprise. There was another gapping
hole in the self-same spot in the fence.

"There was a hole there two days ago,
and it was fixed. I'm sure it was fixed,"
he lamented to his wife. "I saw it fixed
myself, and there was no hole there yes-
terday. So somebody made a hole since
then."

Something was definitely wrong, not to
say mysterious. If there are breaks in a
fence with appalling regularity, a little
sleuthing was in order.

Now, while Hugh isn't a Sherlock

Holmes, he can very modestly claim some
practice in the art of deduction. In his
long and honored experience as an actor,
he had presented to the world critically
acclaimed interpretations of those wily
gentlemen who instantly link a sudden
corpse with a murder. He would he in
wait for the vandal and collar him in the
deed!

However, his plans for the nonce, were
set aside. The production to which Hugh
was contributing his priceless humor was
scheduled to go on location, and Hugh
was forced to be absent from his field of
operations.

When he returned, he discovered that
the fence had been mended half a dozen
times. "What's more," Mrs. Herbert ex-
plained, "I finally had to give up. What's
the use of repairing it? It's broken the
next morning. I think this is a matter for
the police."

There was another situation which
made Hugh's cup of tribulation overflow
He looked at his cows. They were thin —
actually skinny. His neighbor's cows,
grazing contentedly in the adjoining pas-
ture, were sleek and shiny and fat. He
compared notes with their owner. Evi-
dently both sets of cows were eating the
same alfalfa which came from the same
feed stores.

If anything, the Herbert cows were a
little more greedy. Their feed bills were
higher!

"There isn't a juicy steak between you,"
he told Ethelreda and Ethelinda, the two
cows, and he added a spiritless "Woo-
woo!"

Alas, and alack Hugh Herbert bought
a ranch to get away from it all, and in-
stead he had walked right into a hornet's
nest of perplexities and problems.

44

Accept No Substitutes! Always Insist on the Advertised Brand!

■I

lunnifiMI

Broken fences! Mysterious intruders.
Cows who were eating him out of house
and home, but were getting thinner by
the minute! It just wasn't fair that the
cows across the fence looked so self-satis-
fied, while his own moo-ed mournfully.
It didn't occur to him at the moment that
the fat cows and the broken fence had any
relationship to each other!

|| He began his sleuthing in earnest.
Long before the Hollywood Hills were
out of their nightcaps of darkness, he was
cautiously opening the back door. He
avoided stepping on the third plank of
the porch, because it always squeaked at
the wrong time, and then Hugh melted
into the darkness still surrounding the
tall fence.

The birds were caroling the approach
of a new day, but Hugh's ears were tuned
to another sound, as of a heavy body
moving through the tall grass.

He strained his eyes to see into the still
pervading gloom of early morning, and
his eyes saw what his senses refused to
believe. Three bulky shapes in single file,
like elephants on parade, were moving
with assurance towards the break in the
fence. As they went through the gap, they
knocked down another plank or two.

Could these be the marauders? Hugh
followed them at a discreet distance. The
cows seemed to know where they were
going. And they weren't wasting any time
getting there by stopping for a mouthful

or two of luscious grass on the way!

It seemed incredible, but it was true.
They were heading straight for the pool
of evil -smelling spring water — the water
Hugh scrupulously avoided permitting his
own cows to drink!

The three cows drank long and deeply
and with seeming relish, and then with a
swish of their tails and a frisk of their
heels they went loping across the pasture,
through the broken fence and into their
own bailiwick.

H Hugh could hardly wait for the next
twenty-four hours to pass. He was
unwontedly silent on the set that day. The
long stories with which he delights his
co-workers weren't forthcoming. Every-
one on the set was solicitous. It was evi-
dent that something was bothering Mr.
Herbert. But Hugh kept his own counsel.
Two and two made four in any man's
arithmetic and he was going to double-
check. He wanted to see those cows drink
that water just once more.

He did! Bright and early the cows came
through the fence gap, drank at the pool,
swished their tails and kicked their heels
and went home.

■ Promptly after breakfast, he filled a
gallon jug with his very own spring
water. He drove into town to a chemist
and asked that a test be made. In a very
few hours he had the report.

"Mr. Herbert." the chemist said to him,

"you've got a gold-mine. This is a very
rare water. In only a few places in the
world are such health -giving springs
found."

"Would it make cows fat?" Mr. Herbert
inquired, with only one thought in mind.

"Not only cows, but it's awfully good
for people."

Hugh delayed no longer. He drove home
as fast as the traffic cops would let him
and went directly to where his cows were
grazing.

He coaxed them over to the spring. He
expounded its virtues. He hoped they'd
take a lap or two and find the water to
their liking.

They evidently got the idea, for today
Hugh's cows are nice and fat, and in grati-
tude to the neighbor's cows, that fence
has never been repaired. They can come
and go their familiar way at will.

But not only Hugh's cows, but his
friends too, are now hale and hearty. Let
one of them complain of a pain or an ache,
and the next hour Hugh's messenger is
delivering gallons of the water to the com-
painer, with the terse injunction "Drink
Yourself to Health." There's a sanitarium
idea playfully tugging at his fancy. If the
Herbert Ranch should become the Herbert
Sanitarium, that all-gone feeling in
Hollywood's ranks will be a thing of the
past. They'll all be tensing enormous
muscles and turning handsprings and
radiating charm at the brink of the spring
— in testimony of its magic power.

Lovely Patricia Ellis pro-
tects the freshness that first
won her a successful screen
test. She's 5 feet 5; weighs
1151 loves to swim and ride
horseback. (See her in Repub-
lic's 'Romance On The Run. ")

Freshness
wins Fans

for young star.and Old Gold

f

Qtodi

STARS have risen, gleamed
brilliantly for a time — and
faded out of popular sight. Why?
Their talent was no less. Their
looks were not lost. Yet some-
thing was lacking; something
that makes the difference between
greatness and mediocrity. Fresh-
ness. In a star or a cigarette, fresh-
ness gives you an extra thrill that
no other quality provides!

Old Gold spends a fortune to
bring you the flavor-thrill of prize
crop tobaccos at the peak of ap-

pealing freshness; each pack pro-
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dust, by two jackets of moisture-
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TRY a pack of Double-Mellow
Old Golds! Discover what real
freshness means — in richer flavor,
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TUNE IN on Old Gold's Hollywood Screen-
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Every pack wrapped in 2 jackets of Cellophane; the OUTER jacket opens from the BOTTOM.

Copyright, loaa. JiyP.LorinarrlCo f

Whfn Ansvverivc Advertisements Please Mfntion August HOLLYWOOD

45

IN EYE MAKEUP

WHEN NEW LOTION
CLEARS EYES

TIRED, dull eyes . . . veined and red . . . ruin
eye make-up. Now, a great new advance in
eye lotions clears up dull, veined look due to
fatigue, exposure, etc. In seconds eyes look
thrillingly brighter, whiter, and therefore larger !
Use Eye-Gene before eye make-up ... for spark-
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fresh tired, irritated eyes wonderfully! No other
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EYE-GENE

| Good KouicHt^pinflJ

SECRETARIES, STENOGRAPHERS
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1

2

3

23

4

5

6

7

9

10

II

I9|

12

20

27

13

14

15

16

21

17

18

22

1

■

37

24

30
39

■
■

41

,

36

33

28

"

32

34

,!

36

40

42

49 1

43
50

44

45

46

47

46

51

52

53

54

1.

! u-

j 12.

J 14.

15.
j 16.

! 17.
I 18.

20.
21.
22.
24.
25.
26.
28.
29.

30.
32.
34.
36.
38.
40.
42.
43.
44.
45.
46.
47.
48.
50.

52.
53.
54.

ACROSS

Blonde in College Swing.
Her actor husband.

LaRocque.

It furnished musical accompaniment

many silent films.
Barbara Stanwyck and
starred in Breakfast for -
Bill Gargan's brother.

for
Herbert Marshall

4 Yank

father in

What Taylor did as track star

at Oxford.

Annabella's native land (abbr.).

Initials of Claudette's screen

Bluebeard's Eighth Wife.

Sheriff in Wide Open Faces.

Actors stop working at this command.

Elder of Beery brothers.

Short for Mr. Howard, English actnr.

The Adventures of Marco .

Color of Charlie McCarthy's hair.

Tap dancer in Start Cheering,

First name of one who portrayed the reporter

in Making the Headlines.

Sally Eilers' screen father in Danger Patrol.

Maureen O'Sullivan's native land (abbr.).

First name of star of Code of the Rangers.

Measure of film (pi.). ^-

Bovine player in In Old Chicago.

Comedian in Reckless Living.

Oliver Hardy is and funny.

A star of Romance in the Dark.
Greta Nissen's native land (abbr.).
Miss Rutherford's initials.

The Girl Young.

Initials of a star of The Joy of Living.

Take Romance.

Shirley Temple was born in • Monica,

California.

High card in gambling scenes.

Pat in The Cowboy from Brooklyn.

Gene Raymond and Olympe Bradna star in

Heaven.

1.

2.

3.

4.
5.
6.

7.

8.

9.
10.
13.

19.
21.
23.
25.
27.
28.
31.
33.
35.
37.
38.
39.
41.
49.
50.
51.
52.

DOWN

English actor in Four Men and a Prayer.
The Three Mesquiteers starred in Wild

Horse .

Notice telling what is playing at your favorite

theater (abbr.).

Initials of Merle Oberon's co-star in Divorce

of Lady X.

He had the title role in Adventures of Robin

Hood.

This is as famous in Chaplin films as his

derby (pi.).

Love - Toast.

Miss Tobin's initials.

The Truth.

His first name is Barry.

First name of Miss Page, seen in Crime

School (poss.).

Mrs. Ozzie Nelson.

Mrs. Barton in Test Pilot.

Change of .

Claudette Colbert's native city.

Paroled to .

High is a musical film.

This is My .

G-man in Tip-Off Girls.

Remember Olive ?

First name of Mr. Foxe.

Nick Shane in There's Always a Woman.

Famous screen siren (poss.).

What Bergen supplies for Charlie McCarthy.

Laura Plante.

Initials of Stanley Andrews.

Blondes Work.

His last name is St. John.

[Solution on page 56)

46

Accept No Substitutes! Always Insist on the Advertised Brand!

Hollywood Newsreel

[Continued from page 9]

In other words, Ed Wynn of Yuma,
Arizona, is the boy who ties the knots
when Hollywood couples flee to the desert
to become man and wife.

B Jane Withers is probably the only
child in the world whose name may
be included in the board of directorship
of a business organization with voting
power equal to that of a membership
including bankers, railroad magnates,
university presidents, merchants princes,
public and church dignitaries. The unique
distinction has been accorded Jane by the
California Zoological Society because of
her love for animals, because she was the
first to contribute funds during the recent
near-starvation plea for money, and
because she made several constructive
suggestions regarding the welfare of the
zoo inmates. Jane will sit on board meet-
ings with Allan C. Balch, millionaire
philanthropist and a director of the
California Institute of Technology; D. W.
Pontius, Chairman of the Board of
Directors of the P. E. Railways; Joseph
Scott, noted attorney; Irving Hellman,
banker; Tom May, president of one of
Los Angeles' largest department stores;
Bishop W. Betram Stevens; Archbishop
John J. Cantwell; Rufus B. von Kleinsmid,
president of U. S. C, and many others.

Here !s the latest picture of W. C. Fields, still
swinging high as he rests up after his latest
Paramount picture, The Big Broadcast of 193S

With the notification of her membership
came a note explaining she will be ex-
pected to ignore the usual admonition that
'children should be seen and not heard.'
She promptly agreed to attend all meet-
ings.

f$ Eddie Collins, former burlesque star
who was Walt Disney's inspiration of
'Dopey', and now under contract to 20th
Century-Fox was so embarrassed he
couldn't utter a word when he found that
the 'distinguished guest' the M. C. was
introducing at 'The Drunkard' was him-
self. Collins was busy craning his neck to
see if Clark Gable or Robert Taylor was
in the audience when the M. C. finally
called his name.

H Because Loretta Young provides them
with coffee and doughnuts daily on the
set of Suez, the crew presented her with a
silver coffee service. Incidentally, Alan
Dwan, director of Loretta's latest picture,
recently celebrated 30 years of directing
films. Asked how many pictures he'd
directed Dwan began to calculate. He be-
gan with the old American Film Company,
directed 3 Flying A pictures a week for
five years which would total more than
600 right there. Then he did one or two a
week for the next three years. He recalls
that stars of the Flying A pictures were J.
Warren Kerrigan and Wallace Reid, while
his very slim and youthful juvenile was
the now rotund Eugene Pallette.

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Why Joan Fontaine Left Home

[Continued from page 27]

She developed a will-power which
defied illness and inactivity to make her
unhappy.

Instead of the normal life every child
has — parties and movies and school and
out-of-doors games — she substituted a
life of her own making.

As she grew older, her companionship
was with adults who were gentle and
kind to the delicate child. The old ladies
in the neighborhood told her stories of
their own childhood, in which pioneers
and Indians and cowboys moved in stately
procession. The child came to think that
courage was after all, the only important
quality to possess.

Joan had a lot of time to think. Long
hours, immovable in her bed. Time to
dream, to work things out for herself.

Her body had limitations. Her mind —
none!

Today, Joan's interests are those of a
mature person. She is beyond the age
mentally of girls whose calendar years are
no greater than hers.

As we sat across the luncheon table, I
looked at this girl with her ingenuous,
forthright eyes, her pixie face, her sunny
hair which caught the sun from the open
window in such a manner as to leave no
doubt that her blondeness is nature-
endowed.

Her flowered gown, which she was
wearing for scenes in Ground Crew, had
an old-fashioned mood. The quaint skirt
was three-tiered like a wedding cake.

Outwardly, she was the essence of de-
pendence, of the kind of a girl who re-
quired protection and sought it; who must
be kept in cotton wool to shield her from
the harsh realities of the world. In con-
trast to her appearance, was her honest
and frank attitude toward the- independ-
ence a career-woman finds essential.

"It's so difficult to make people under-
stand that loneliness is essential to some
people," she pointed out.

"For me, living alone is imperative. I
find rest and peace and a renewal of my
energies when I'm away from crowds.
After all, if we are honest with ourselves,
there is nothing others can do to lessen
that sense of loneliness which is deep
within all of us.

"At crucial moments in our lives we are
all, always alone. No one — no matter how
dear they are to you — can really help.

"I like being independent. I like the
sense that I am free. When I was fifteen,
I was sent to Tokyo to school, for a term.
When school closed I traveled all through
Japan and crossed the Pacific Ocean to
San Francisco without a companion. I
had a beautiful time, and wasn't a bit
lonely or afraid. Nothing happened to
me. My mother didn't know I was even
leaving Japan until I telephoned her that
I had arrived in this country."

BE Joan is self-possessed, self-reliant,
with infinite resources within herself.
Her way of life is simple. It has color and
beauty, not so much by what she does, as
by what she thinks.

Almost Garboesque in her need for
seclusion, she defines her leisure hours by
reading, by an occasional game of bad-
minton with one of her rare callers. Her
idea of a perfect Sunday is to spend it in
the kitchen cooking an impressive dinner,
or learning how to prepare a new dish.

H Loneliness and freedom — under its in-
fluence she expands, grows emotional-
ly, digests the things she has read, the
things she has seen, or thoughtor discussed.
What Joan Fontaine is really doing is,
storing up emotional and mental reserves
for the requirements of her career. Society
interests her little. She isn't one of the
dancing mob at Hollywood night spots.
She admits that she possesses one evening
gown,, and aside from an occasional con-
cert or attendance at a play, she goes
nowhere.

"Right now," she points out, "I have a
career to consider. I have an infinite
number of things to learn; I have many
qualities to acquire before I can consider
myself an actress.

"I have to make certain sacrifices to my
ambition. I have to be independent — live
alone — so that I can see things clearly in
my own way.

"I don't dare depend on others for what
they can give me emotionally — a sense of
comfort, a sense of security — because I
believe too much dependence, too much
need of others weakens your fiber and
your courage."

Joan's wisdom in living alone, in gov-
erning her own destiny, will undoubtedly
show in her progress as the months go by.
There have been dozens of cases in Holly-
wood of promising young actresses who
didn't get anywhere because mentally and
emotionally they have been too dependent
on their families.

Those girls didn't have the courage to
strike out for themselves, fight their own
battles, establish their own homes as Joan
has done. "Mama's girl" may indicate a
beautiful relationship between mother
and daughter. But it also indicates that
a girl hasn't enough of what it takes to
stand, on her own feet.

Girls can be too protected. It keeps
them from growing up as fast as they
should. And an actress must be able to
translate adult emotions if her Fame is to
increase. The perpetual ingenue gets
exactly nowhere.

"Frequently the right thing is the
hardest thing to do," she says. "It isn't
easy to strike out on your own. But for
me it is essential. If there is to be a Joan
Fontaine, she has to develop by her-
self."

To develop in loneliness. A loneliness
with which she has walked through most
of the days of her life. A loneliness which
has come to be a friend.

It was vital that Joan develop as a
separate entity. She realized that. Too
much sheltering wasn't good for Joan.
Not for Joan Fontaine, the actress.

It took a lot of courage to make the
break! But Joan has a lot of that!

48

Accept No Substitutes! Always Insist on the Advertised Brand!

Men Who Boss the Stars

[Continued from page 14]

All that time, the small man with the
hazel eyes had had a double dream. First,
there should be real stories in pictures,
not just episodes, and a picture should be
long enough to furnish a whole evening's
entertainment. Second, people would
come to love and support "starred" per-
sonalities, just as they did in the theater.

Up till then he had been considered a
daring business man who took his own
losses. Now even his best friends were
sure he was a crack-pot.

The fight went on, with Zukor spending
every spare minute at the studios where
Griffith and others were developing movie
technique. The old Patents Company,
"the trust," were holding everyone to two-
reelers.

H Bang! In one of Zukor's low financial
spells, somebody in Europe photo-
graphed Sarah Bernhardt in the stage
play, Queen Elizabeth. Four whole reelers!
Zukor raised $35,000 to buy the American
rights. The man was crazy!

Even before Queen Elizabeth clicked,
the adventurer who always paid off had
persuaded his bank to lend him money to
start Famous Players. He carefully filmed
his old favorite, Monte Cristo, but the
trust beat him to it with a short quickie
of the same name. So the first American
feature length picture released was — A
Prisoner of Zenda. It wowed.

Will Irwin has written a splendid book,
"The House That Shadows Built," on
Zukor's rise. In 1912 Adolph was an
obscure exhibitor on Fourteenth Street.
By 1916, "the term of a college course," as
' Terry Ramsaye puts it, he and the courts
had licked the trust; Zukor stood at the
head of a $25,000,000 combination, domi-
nating the industry.

■ Were there crises? At the time of the
Monte Cristo steal, Zukor came to the
point where he couldn't meet his pay-roll.
Everything seemed bound to crash. Daniel
Frohman had carefully put away for his
old age $50,000 in bonds untouched for
years. He learned of Zukor's plight, sold
the bonds, handed the cash to the harried
producer, saying only, "Pay me when you
can."

Bank loans had risen to $200,000. That
was enough to lend, even to Honest
Adolph, when the only security was the
negatives of four unprinted feature pic-
tures, that couldn't pay off for a year. A
fire burned the studio. The films were in
a newfangled "fireproof" safe. Would
celluloid withstand that red heat?

It took three days for the safe to cool.
Zukor went frenziedly about arrange-
ments for continuing the production. He
refused even to be present when the safe
was finally opened. The films were un-
harmed!

H During all this the Kohns and the
Kaufmans rallied 'round. They must
be a fighting tribe. During the world war
thirty-eight sons of the Zukor-Kohn-
Kaufman clan, abroad, served in the Aus-
trian army. Of the younger branch, in the

United States, seven boys were eligible.
All joined up, under the Stars and Stripes,
early. And one other. Eugene Zukor,
Adolph's son, was so far under draft age
that he had to fib outrageously to enlist in
the U. S. Navy. He did.

Away back yonder in 1896, Adolph
Zukor, then 23 and barely at the five-year
residence requirement, had taken out
United States citizenship papers. He
hadn't been fooling!

M That second dream of Adolph's — to
create and maintain popularity for
personalities on the screen — came true,
also. He made it come true. When he
lured Mary Pickford away from Biograph
at nineteen, he promised her $20,000 a
year, but he promised her more than that.
Her name would go on the picture and in
the advertising. That was unheard of.
In three years he was paying her $10,000
a week. She left him because the best
deal she could get from him, in another
year, was $225,000 a picture plus half the
profits. First National topped that ... So
we have stars.

Zukor's leadership has been felt
throughout the industry's history. His
love of clean pictures was one of the
principal factors that caused the creation
of the Hays Office, and he has backed Hays
consistently. Much of the present-day
respect in which motion pictures are held
by churches and educators can be credited
to the wisely wielded influence of Adolph
Zukor.

B Every industry, like most individuals,
was caught short in the 1929 crash.
The bankers moved in on Paramount to
"protect" their interests. They thought
Zukor was a wonderful old gentleman.
"Mighty good in his day, no doubt." So
they eased him into the dummy job of
Chairman of the Board of Directors. Par-
don us, while we laugh. When Wall
Street had tried its hand at making pic-
tures, the financiers were glad to persuade
"the old gentleman" to leave his thousand-
acre estate on the Hudson and come out
to Hollywood, in sole and complete charge
of production.

Why did he come? He loves stories.
He always would rather have been the
creative man than the business man.

Zukor is remarkably modest. He has
always had a knack for recognizing other
men's brains, and giving them room. He
also has an uncanny faculty for seeing into
the future. He now says of picture-mak-
ing:

"Once the business was all mechanics,
with what appeared on the film as a sec-
ondary consideration. That passed. In
later years, some have tried to make the
creative work itself mechanical, like a
factory. That must pass, too."

At Paramount now, Zukor is gathering
little groups of brilliant men, on the unit
system, and giving them very nearly full
rein to do their stuff. But quiet hazel
eyes watch it all. About one thing no one
argues: the lot's master showman is "Papa
Zukor."

"FELLA, it's already gone!
You see — I found that pack-
age of Beeman's you slipped
in my pocket! Some flavor,
I'll say! I like that luscious
smoothness — that clean tans!

Look at the package — see
that tight sealed foil? Keeps
the air out and the fresh
flavor in — no wonder Bee-
man's has such fresh snap
and go! Let's stop in for
more Beeman's right now!"

Beeman's

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49

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Outdoor Party Food

Informal meals need
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are served in a garden

Ginger Rogers, shown at the helm of her own soda fountain, takes time off from work
in Carefree, with Fred Astaire, to give some of her favorite recipes for outdoor meals

By BETTY CROCKER

K It seems that everyone in Hollywood
has a backyard grill, or "barbecue
pit," but the one I found when I went to
visit Ginger Rogers is quite the grandest
one I saw. It is constructed at the end of
the delightful patio which opens off her
play room, and the big, rambling tables
and benches and the old-fashioned high
cupboard which equip it make you want
to stay on and on to partake of the luscious
food which comes off the charcoal grill.
We were discussing favorite foods,
Ginger and her mother and I, in the com-
fortable chairs alongside her swimming
pool.

X Of course steaks and chops and ham-
burgers are always in order at out-
door parties, but the dish that is still near-
est to Ginger's heart is her mother's south-
ern fried chicken. Frying the chicken is
a fine art if done in the fashion which
has made Mrs. Lela Rogers' dish famous
in Hollywood. You must follow every
step, just as she described it to me, if you
would turn out a masterpiece in goodness.
"Disjoint a young fryer, weighing from
two to three and a half pounds," Mrs.
Rogers explained. "Use a skillet, and heat

about a pound of lard or vegetable oil to
frying heat, and keep it over a low fire.

"Now you carefully roll each piece of
chicken in flour. Don't put any salt in
the flour. Place the pieces in the skillet
with the flat sides on the bottom of the
pan. The fat should be deep enough to
half cover each piece. Never add water
at any time. You should treat each piece
as carefully as though it were being fried
alone.

"Cover the pan and allow the chicken to
fry slowly. When golden brown on one
side, turn the pieces over. Salt each piece
after turning. Turn only once.

"As pieces are removed from the skillet,
place them on heavy brown paper which
will absorb excess oil. Some of the larger
pieces may not be quite done, so tip the
skillet until the fat is in one end and di-
rectly over the fire, frying these pieces a
few moments in deep fat.

"To make the gravy, which is as impor-
tant as frying the chicken, drain off the
excess grease. Leave the cracklings and
about four tablespoons of fat in the skillet.
Stir one -half cup of flour gradually into
the fat, allowing it to brown to a rich gold.
Slowly add a pint of milk, stirring con-

50

Accept No Substitutes! Always Insist on the Advertised Brand!

^H

■■

stantly to prevent its becoming lumpy.
When thick, serve."

The biscuits, too, are part and parcel
of southern fried chicken, and these
are made in the kitchen and brought
piping hot to the grill. They may be made
from a good, kitchen-tested prepared bis-
cuit flour requiring only the addition of
milk or water. It takes but a few minutes
to turn the dough, pat, round it up and
fold several times, and then roll lightly to
about an inch thickness before cutting.

B We got around to the subject of what
she serves with her meats when she
entertains at her outdoor suppers and
Ginger said that they almost invariably
served an aspic salad of some variety, fea-
turing either vegetables or fruits. And
here's the recipe for the basic aspic which
they use:

ASPIC SALAD

2 tbsp. plain gelatine
juice of 1 lemon

1 cup cold water

2 cups boiling water
1 tsp. salt

% cup sugar
% cup vinegar

Soak gelatine 5 minutes in the cold
water. Add boiling water and stir well;
then add rest of ingredients and set aside
to cool. When the mixture first begins
to jell, add 3 cups of mixed chopped
vegetables — carrots, celery, radishes, cu-
cumbers, etc., as well as cold cooked
chopped vegetables — and turn the mixture
into a ring mold. The center of the mold
may be filled with mayonnaise when it
is turned out on a plate to be served. This
same recipe is used as a foundation for
fruit salads, too, substituting mixed fruits,
well drained, for the vegetables.

Italian spaghetti is another dish that
is a favorite among Ginger's guests,
especially when served with a mixed grill
consisting of tiny grilled steaks, calves
liver and bacon, and lamb chops. The
spaghetti is prepared in the kitchen and
brought to the patio steaming hot on a big
platter. This is the way it's made:

ITALIAN SPAGHETTI

1
1

1
1
%

lb. of ground round steak

small onion

can tomatoes

lb. good Italian spaghetti

cup grated Italian cheese

salt and pepper

Brown the meat in a little fat and add
the onion cut small. Saute these together
and season with salt and pepper. When
the onion and meat are brown add the
tomatoes and let cook slowly for one hour,
being careful to stir it frequently. Cook
the spaghetti in plenty of boiling water
until tender and drain. Place it on a hot
platter, sprinkle with cheese and pour the
meat sauce over all.

■ The desserts are the high spots at
these outdoor meals, because every-
one makes his own dessert at Ginger's real

soda fountain. Ginger's favorite is choco-
late ice cream with chocolate sauce, but
she says she has come to the conclusion
that everyone she knows in Hollywood
has a suppressed desire for banana splits
because that is what practically everyone
makes. And don't get the idea that this
is just a make-believe soda fountain, be-
cause it's the real thing — fizz water and all.
There are compartments for six varieties
of ice cream and more than a half dozen
different sauces and syrups. There are
always plenty of chopped nuts and nice
gooey concoctions to pour over the ice
cream.

After supper — several hours afterward,
when everyone has reached the nibbling
stage — great cans of popped corn always
put in their appearance. Sometimes the
guests pop corn at the open fire place in
the play room, too.

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The Man Who Has
Everything

[Continued from page 36]

items like Napoleon's shoe buckles, Wash-
ington's first bridgework, or Daniel
Boone's leather pants. He files them all
carefully, for who knows when he might
want a shoe buckle or a good set of
uppers?

He goes once or twice a year to Chicago
and New York on a buying spree. Pictures
must keep a jump ahead of the trend of
interior decoration and fashion, so he
knows a lot about the production schedule
for the coming year when he goes East to
the great furniture marts. If he knows
that the year will feature a preponderance
of Bette Davis and Kay Francis pictures,
he veers off Grandma's rockers and bric-
a-brac and orders chromium and white
leather even before the public knows
what is happening to tomorrow's swanky
salons. But he steers clear of conspicu-
ously exotic objects of art. Such objects
attract so much attention that they cannot
be used more than once. Indeed, they can
cause a bit of embarrassment here and
there, when they become more important
than the actors!

B Here's a bit of information for you,
if you are tempted to offer Wilson an
old or valuable painting: he won't buy it.
Old masters are invariably copied at the
studio by artists hired for that purpose.
They bring out certain lines and colors and
subdue others. When their copy is photo-
graphed it looks to the audience more
authenic than the original would. A real
Rembrandt just won't photograph at all,
for example. Too muddy!

I picked up an ancient, musty cross-bow
which fascinated me. As I handled it, I
seemed to feel the brave and gallant
vibrations of some Battle in the dim past.
"Made day before yesterday in my mill
department," said Wilson, grinning wick-
edly. His department made all the
wagons, swords and cross-bows for
Robin Hood not to mention ten thousand
arrows, hundreds of pewter mugs and
greasy, scarred tables. It was cheaper by
far to make these things than to rent them
for six months, the duration of the
picture's shooting. And that's how prop
departments grow and grow.

The hardest things he had to get for
Jezebel, amazingly enough, were fifteen
old-fashioned coal oil lamps. In his depart-
ment he has hundreds of parts of these
lamps, but could assemble perhaps only
ten whole ones out of the parts. "It's
always just like a director," said Wilson,
"to decide to have a fight on the set and
shoot up the best lamp I have."

Mr. Wilson reads every script weeks
before the pictures start and from them
makes a prop list and budget. The script
might mention one hundred soldiers.
"When an extra is hired for $10 a day to be
a soldier," said Wilson, "you're just begin-
ning. His sword costs $25; put him on a
horse and that's another $5. And there's
a man caretaker for every five horses who
gets $10.50 a day. That's the way my
budgets mount by leaps and bounds."

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The kidneys are Nature's chief way of taking the
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Frequent or scanty passages with smarting and
burning shows there may be something wrong with
your kidneys or bladder.

An excess of acids or poisons in your blood, when
due to functional kidney disorders, may be the cause
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of pep and energy, getting up nights, swelling, puffi-
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■ Another of Wilson's genii is the
duster. Imagine dusting the largest
department store you ever saw, where
every inch of space is utilized; where even
the small passageways leading from one
room to another are hung with pictures,
tapestries, weapons or stuffed animals.
The duster dusts with a compressed air
hose such as you and I use to fill tires in
gas stations. I don't know where the dust
goes after it is blasted off the properties,
but I suppose it is just too discouraged to
light on them again.

One of Mr. Wilson's most valuable
possessions is his little black address book.
He read off just a few names to me. They
are names of Army and Navy officials
whom he contacts when Warners want to
make an air or sea picture and need help;
there is the name of a gambler who pro-
vides him with a complete and elaborate
gambling set-up when it is needed, in-
cluding slot machines and information as
to all cheating tricks! He also has the
telephone number of a lighthouse keeper,
just in case, as well as a professional bar-
tender and a reformed convict.

Also subject to Mr. Wilson's Aladdin's
lamp are ten trailers, each one a miniature
prop department in itself. These trailers,
smaller than those in which Mr. and Mrs.
Public are scurrying around these days,
are assigned to various sets for particular
pictures and have places of honor on the
stages. They may also be hitched to
trucks and taken on location. They con-
sist of innumerable padlocked cabinets,
trays, drawers and closets. Each truck
carries three thousand items, packed with
diabolical cleverness in an apparently im-
possible conservation of space. Again
Wilson played a game with me. I asked
for a chair. Each trailer carries five chairs
for directors and for portable dressing
rooms. I asked for a canteen. There it was,
hanging on the wall. Everything I asked
for was there . . . old coins, first aid kits,

dog food, coffee and percolater, electric
stove and fan, can opener, jack knife,
ladies' and men's wrist watches, a scarf, a
pair of bedroom slippers, a revolver,
needle and thread, shovel, axe, rug, pipe
tobacco, a desk lamp, some candy and
gum, cuff links, a stretcher and camp cot,
books, magazines, high rubber wading
boots, a wallet, several boxes of breakfast
foods, a garden hose . . . well, I'm not
going to list three thousand items. What
a trailer to take on a camping trip! Mr.
Wilson told me that besides all these
items on all ten trailers, eighty-seven
thousand items yearly are checked in and
out of the department proper. Which are
several thousand reasons for having a
hundred genii.

B Mr. Wilson finds enough adventure
in his job to satisfy even his restless
spirit which brought him, a mere boy, to
Los Angeles in 1906 with vague aims but a
definite drive. He got a part in a picture
directed by Lois Weber because he hap-
pened to be wearing a suit. Nobody else
had on a complete business suit. He then
looked after props for Universal until the
war came along. They gave him a gun,
but he prefers to talk about the fun he had
handling the distribution of that extra-
ordinary army newspaper, "Stars and
Stripes," edited by none other than
Alexander Woollcott and Harold Ross
who is the present editor the The New
Yorker. As editorial men, they got out a
scintillating newspaper, but they didn't
know what to do with it once it was
printed. Wilson saved the day by taking
charge of its circulation among the dough-
boys.

Back in Hollywood, he gave up dis-
tributing and took up collecting. Props
and more props. Eighty-seven thousand
of them. As you read this, send a prayer
to his hundred genii. They are busy with
an inventory of the whole department'.

<&?*'

"'1

Song Plngger Number One

[Continued from page 35]

ran off a bunch of rushes that included
the Nasty Man song and how quick this
someone was to nominate Alice Faye to
take the Lillian Harvey part. That was
Step Nos. 4, 5, 6, 7, clear up to 100 so far
as her screen career was concerned, we
said. And Alice nodded her agreement.
"They had quite a time making me
sign a long-term contract," she ad-
mitted. "I was all for going back to New
York where I thought I belonged. The
idea of being a leading lady in pictures
didn't appeal to me, but I finally signed
up — and here I am."

B Now for a few vital statistics.
Alice was born May 8, 1915.

She stands five feet, four inches high
in her high-heeled slippers.

She can swim like a fish and she could
probably show her dainty heels to a lot
of professional girl swimmers in races
of the shorter distances.

Since she returned from Honolulu she's
spending the remainder of her vacation

trying to learn the native Hawaiian dances
and doing exceedingly well at them.

She's a whiz on the badminton court,
but says she's going to give that sport
up to become a divot digger on the fair-
ways.

She felt so sorry for a horse named after
her that during the Santa Anita racing
season she went out to buy it with the
purpose of retiring it to a nice green
pasture for the rest of its life. It hadn't
won a race until the day she saw it when
it came in first to pay $37 for a two-buck
mutuel ticket!

She doesn't like jewelry nor fair-
weather friends. The latter she can spot
a mile off.

She doesn't know how to read music.
For all she knows a bar is something you
find in saloons, a scale is something for
weighing things, a key is something you
use to open doors with — but — Lordy, how
America's song plugger No. 1 can sing —
and act!

.■'

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When Answering Advertisements Please Mention August HOLLYWOOD

53

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54

HERE ARE
THE LUCKY
WINNERS!

Nothing can be more final than the vote of
the people. And it was the people, the readers
of HOLLYWOOD Magazine, who settled the
arguments, raging the world over, about which
of the Seven Dwarfs is the most popular

■ The engaging little Dopey is the
nation's choice in the Seven Dwarfs
popularity contest beyond any doubt. His
nearest competitor, Grumpy, brought in
only 20 per cent as many votes. Good old
reliable Doc tried hard, but he drew only
10 per cent of Dopey's staggering total.
Happy rates next in popularity. Then
comes Bashful and Sneezy. Little Sleepy
trails the field with only one-half per
cent of Dopey's high rating. Five hundred
souvenir pictures of the Dwarfs as well as
the prizes already have been shipped to
the clever writers of the best letters.

The Grand Prize, as you will remember,
is a beautiful cedar chest. The First Prize
is an original sketch in color of Snow
White and the Seven Dwarfs. Second
Prize is a 15 inch Snow White doll. The
Third Prizes are sets of Seibling Rubber
Dolls. The six Fourth Prizes are Snow
White dolls, too. The twelve Fifth Prizes
are the new games called "Snow White
and the Seven Dwarfs." The twelve Sixth
Prizes are beautiful little hand-bags. The
twelve Seventh Prizes are "Snow White
and the Seven Dwarfs" books.

Here are the winners:

GRAND PRIZE—
Helen Keller, Normandie Apts. No. 1,
McKeesport, Pa.

1ST PRIZE—
William R. Batty, 74 Mill St., Middle-
town, Conn.

2ND PRIZE—
Myrtle Reese, 1224 Seventh St., Lorain,
Ohio.

3RD PRIZES—
Nancy Louise Wright, 8 McClure Ct.,
Lakewood, Ohio; Edwina B. Lucas, 313

Accept No Substitutes! Always Insist on the Advertised Brand!

THE SIN
I DARED NOT

CONFESS

"I was greedy for life — mine was a
wild craving for something different,
something exciting. That's how I
came to be living a double life — and
that's why I feared to come forward
with testimony to save a man on trial
for murder. For that would mean
revelation of my own scarlet romance.
Yet my secret haunted me, until—"

Ah

thi.

so in this issue:

NO RIGHT TO HIS RING

Complete Short Novel

Plus:
TOO EAGER FOR LOVE

Because she was innocent

HAS HE A RIGHT TO OUR BABY?

A poignant problem story

DANGER IN HIS KISSES

Could she trust her heart?
-and other thrilling confessions

AUGUST

ISSUE

NOW

ON

SALE

m^Btm

Main St., Bristol, Conn.; Doris Stod-
dard, Route 6, Spokane, Wash; Shirley-
Sargent, Apt. 103, Worthington Apts.,
Portland, Ore.; Freda E. Soecknick, 17
Arundel Place, St. Louis, Mo.; Rose
Kedski, 41 So. Main St., Milford, Mass.

4TH PRIZES—

Mrs. W. O. Spurling, 506 S. Morley,
Moberly, Mo.; Mrs. Thomas W. Arm-
strong, Richmond, Quebec, Canada;
Marilyn Myer, 4326 Lafayette Ave., St.
Louis, Mo.; Loretta G. McGann, 182
Academy Ave., Providence, R. I.; Bar-
bara Ann Burgert, 3941 Bales Ave.,
Kansas City, Mo.; Miss C. E. Whelan,
3910 Cass St., Omaha, Neb.

5TH PRIZES—

John Ulm, 2840 Capitol St., McKeesport,
Pa.; Ruth Gaspard, 123 W. Buchanan
St., Carlinville, 111.; Ellinor Erna Crellin,
1485 Elbur Ave., Lakewood, Ohio; Toni
Pentila, 408 First Street South, Virginia,
Minn.; Arthur V. Sarnataro, 2347 East
1st St., Brooklyn, N. Y.; Tom Downs,
1621 Lyndon St., So. Pasadena, Calif.;
Gene Berryhill, 29 W. 28th St., No. 6, In-
dianapolis, Ind.; Patricia Clafford, 1431
Edgewater Ave., Chicago, 111.; Helen
Carlson, 2825 Second Ave., Pueblo,
Colo.; Barbara Burke, 110 Eutaw St.,
East Boston, Mass.; Maude Chenoweth,
214 North 19th St., Richmond, Ind.;
Lloyd Ira Miller, 1031 N. 21st St., Allen-
town, Pa.

6TH PRIZES—

Mrs. A. C. Walker, 616 W. 20th St.,
Pueblo, Colo.; Edith Stahl, 354 93rd St.,
Brooklyn, N. Y.; Camille Houidobre,
2721 O'Reilly St., New Orleans, La.;
Dolores Hruska, 1807 East Ave., Ber-
wyn, 111.; Barbara Balcom, 53 Chestnut
St., Halifax, Nova Scotia, Canada.; Mary
Jane Call, 700 E. Maywood, Peoria, 111.;
Jessie Yokabowski, 225 Jarvis Ave.,
Winnipeg, Manitoba, Canada; Dorothy
Majdek, 72 Fairmount Ave., Newark,
N. J.; Betty Lois Gibson, R. F. D. No. 1,
Redfield, S. D.; Edith Hitz, 302 So.
Main St., Franklin, Ind.; Connie M.
Estes, 27 Westgate Rd., W. Asheville,
N. C; Virginia Richards, 911 Strong St.,
Schnectady, N. Y.

7TH PRIZES—

Ivy Gardner, Box 212, Taber, Alberta
Canada; Virginia M. Gibson, 3546 31st
St., San Diego, Calif.; Carloss M. Jones,
Lorado, W. Va.; George Sprit, 2153 8th
St., N. E., Canton, Ohio; Ray Beatty,
Parkside, Saskatchewan, Canada; Ralph
Wagner, 2243 So. Fifth St., Milwaukee,
Wis.; Clara Brody, 3730 E. 52nd St.,
Cleveland, Ohio; Beatty Stambaugh,
1602 No. 47th St., Seattle, Wash.; Ruth
Blue, 108 S. Calvert St., Baltimore, Md.;
Marie Le Pain, 11 Berendo St., Spring-
field, Mass.; Mrs. Herman Raitz, R. F.
D. No. 7, Box 523, Toledo, Ohio; Jean
Nuttall, Box 11, Dragoon, Ariz.

How One Man Shocked Hollywood

[Continued from page 23]

But they might have been, for a fact
that all Hollywood must face is that
stars do fade and that the spotlight does
not stand still. The spotlight of public
fancy is an uneasy background. It
swings restlessly, ever on the search for
new faces, new personalities, new appeals.

Great stars, like Greta Garbo, hold the
spotlight for years, but eventually, she,
like everyone else, must watch the radi-
ance dim. One of Garbo's great claims
to continuing success through the years
has been her enormous popularity abroad,
and the huge revenue her pictures bring
in from across the seas.

That, of course, has nothing to do with
you and me and all of the rest of the
American theatre-goers who are seeing
films in the little theatre around the
corner. That, of course, has nothing to
do with the man who operates that
theatre. He may be glad, in a friendly
impersonal sort of way that the studio
is making money on the film in its
London release, but if people are staying
away from his Main street theatre, it
does not give him much comfort.

■ But should a star be blamed for the
fact that the movie industry is a
complex business? Is a star responsible
for the success or failure of a film?
Should a star be pilloried in public, and
should the somewhat embarrassing label,
"Poison," be hung on a player, who, after

all, is just a part of the process of enter-
tainment manufacturing?

There seems to be a certain difference
of opinion.

Several producers have been seen smil-
ing with quiet satisfaction over the whole
matter. They are the men who have been
having difficulties with players who
wanted to choose stories, dictate on pro-
duction details, control directors, choose
the cast and generally run the show. These
producers feel that it is a well deserved re-
proof and will have a healthy effect on
stars who have been difficult to handle.

| But most producers feel that stars are
not to be blamed for the failure of
pictures.

'A great star does not necessarily make
a great picture," is the consensus, and
most executives agree that a star must
have a good story and good direction to
maintain that enviable rating on the top
of the talent field.

Harry Cohn, president of Columbia Pic-
tures, just has placed Katharine Hepburn
tinder contract after her contract with
Radio Pictures was terminated, and he
also has made a deal with Marlene
Dietrich, though Paramount just dropped
the contract which it has held for many
years on her. He says, "All any of these
players need is one good picture to bring
them back."

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vertisement, letting actions speak louder
than words, ond offering Joan Crawford
a new five year contract which she signed.

Mae West recently completed her last
commitment in Hollywood, and has not
been resigned.

Garbo has been off the screen since she
completed Conquest, and there is possi-
bility that she may carry out her threat of
many years standing to retire.

Kay Francis, a splendid business
woman, already had made arrangements
with Warner Brothers to appear in "B"
pictures.

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star Edward Arnold, since that fine actor
has to have rather specialized parts — such
as his Diamond Jim Brady — to carry a
film.

■ That catches you up on the salient
facts of this outstanding news of the
years, but you'll have to keep on going
to catch up with Harry Brandt. There
are some people who have been unkind
enough to say that his purpose in this
startling publicity is not entirely unselfish,
and that Mr. Brandt would like to see
himself the head of a much bigger group
of exhibitors. There are some people sus-
picious enough to think that Mr. Brandt
is playing a shrewd political game in the
formation of a new group of exhibitors.
About the truth of that, I do not know,
beyond the fact that Mr. Brandt freely
admits that in union there is strength, and
that he advocates a stronger association
of exhibitors.

| But there is much to think about in
the advertisement that followed the
first one week later.

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picture business is in the doldrums," and
pointed out that there is no ill the box-
office suffers from today that cannot be
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tures.

"To play a 'B' picture with an 'A' picture
is like taking a ham sandwich to a ban-
quet," stated the ad trenchantly. "To play
two 'B' pictures on a program is like serv-

Crossword Pnzzle
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i »• . ■

ing a huge portion of ham. To play two
'A' pictures on any program is giving your
patrons movie indigestion."

Brandt plays double features in most
of his theatres, but he claims that he
is forced to. Unless all theatre operators
act together, this practise has to continue,
he says, and he points gloomily to the
added stunts which are creeping into the
show business like the giveaway contests,
the china and money awards, and various
other crowd pullers to which the desperate
theatre man is driven in order to persuade
people into the theatre.

Brandt believes firmly that the public
will draw a deep sigh of relief, and return
to the theatre in droves, when theatre men
return to the policy of showing one good
film, a newsreel and a cartoon or short
comedy. He believes that the public is
worn out and impatient with mediocre
films. He believes that the public is edu-
cated to the point where it will patronize
enthusiastically a really excellent film,

but is reluctant to sit through a poor filler
picture in order to see a good one. And
he is campaigning vigorously to bring
back the single feature.
What do you think?

| The editor of this magazine will ap-
preciate greatly having your opinion.
Write it in one line or cover a piece of
paper, but do write to Hollywood Maga-
zine, 1501 Broadway, New York City, and
let us know whether or not you'd like
theatres to go back to single bills.

Every answer is important, so don't
think that yours will not count if you
forget it. Do it now! This is your fight,
and if enough of you speak your minds,
and if enough of you are of the same
opinion, you may get your way just by
the writing of that one little letter.

There are no prizes for the best letter.
You won't win anything but a chance to
have your theatres run the way you want
them. But that is important, isn't it?

On the "Five of a Kind** Location

[Continued from page 17]

on the grass. He waved, and the children
waved back. Already they were accus-
tomed to his presence and accepted him
as another friend.

A nurse was sitting with them, and her
white shoes made gentle pushes at the
floor of the swing, swaying it in the
rhythm of the song. The five little girls,
looking like an animated bouquet of bright
pink flowers, swung with her, their loud
baby voices chirping the words with a
gay French accent.

They were dressed in five minute pink
wool coats, smartly tailored. Five pairs
of sturdy legs in long white stockings
waved with the swing. Five pairs of
small white shoes kicked in the air. Five
yellow ribbons bounded on top of five sets
of glossy dark curls. Five little brunette
faces bobbed back and forth while ten
great smiling brown eyes watched the
nurse intently.

■ It was Yvonne whose gaze drifted to
the brand new hat that the young di-
rector was wearing. It was Yvonne whose
shrill cry of discovery called the attention
of her sisters to the wonderful new experi-
ence that it offered. The song stopped in
mid-chirp. An instant later the swing was
deserted, and the five were making a rush
play down center field. In moments like
this, their team work is excellent.

Now Herlert Leeds' courage is above
question. If he had a trace of coward in
him, he would not be directing this pic-
ture. But he surrendered the hat without
a struggle, though it was new, dear to his
heart, and he suspected that he was send-
ing it to quick doom. No good picture is
made without a certain amount of personal
sacrifice, thinks Leeds. The new hat was
his first contribution. Yvonne tried the
hat on first. Then, though it cost her an
effort to relinquish it, she passed it to

Annette who basked in its somewhat over-
whelming glory for a while. Then she
tried it on Cecile.

Cecile is of an adventurous and inven-
tive turn of mind. She scorned to wear
the hat in conservative fashion, and care-
fully adjusted it so that the bow rode
rakishly in front. The effect was devas-
tating, and Cecile knew it. She pressed
her advantage by going into her flirting
act.

Somewhere lately the children have
picked up a quite spectacular flirting rou-
tine. They look out of the corners of their
eyes, drop their brown lashes coyly, and
then glance up again with the practised
ease of fatal beauties. The effect is very
funny.

Already the little girls have been trained
into the art of community living, which is
an achievement very few of their elders
anywhere in the world have been able to
manage to any great degree. The hat
episode demonstrated their capacity for
give and take nicely. And even if it did
leave the hat sadly battered and experi-
enced looking, it spoke wonders for their
willingness to share with each other.

Each youngster wanted the fascinating
"chapeau," and wanted it badly. But
each one passed it along with good grace
to a sister after she had had it for a while,
evidently realizing that, in justice, each
had to have her turn.

| Emilie probably has daring talents as
a milliner, if that morning's enterprise
has any bearing on her future. When the
hat fell into her hands, she set it firmly on
the grass and punched it vigorously into
a shape which would have astounded the
manufacturer, but which seemed to please
some creative urge in herself. Then she
tried it on with that satisfaction that comes
only with successful self-expression.

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When Answering Advertisements Please Mention August HOLLYWOOD

5?

■ Even though the children look exactly
alike from a short distance, already
they are developing marked differences in
temperament. Yvonne seems to be the
natural leader with Annette a close
runner-up. They are apt to sing the loud-
est and the most surely, though each little
girl has one particular song that is "hers"
because she knows it best, and so they
have turns at being prima donna. Marie
is the steady one, and was the first to
master the tune of the new song. She
carries it conscientiously all the way
through. Emilie and Cecile are the most
inventive. They are the ones who are
apt to discover that a table, turned upside
down in the sandpile, is an exciting new
toy, and that words rearranged at calcu-
lated random in a song are a good joke on
the others.

Their similarity of appearance is star-
tling to visitors who have seen newspaper
pictures of the small faces and have been
able to compare and note the little differ-
ences. At the distance of even a few
feet, you have the amazed feeling that you
are looking at one little girl reflected in
four mirrors. No sooner than you feel
that you have spotted Marie, for instance,
than she bobs in among her sisters and is
lost so far as your eyes are concerned.

Visitors stare fascinated through the
screened windows of the viewing gallery,
trying to spot favorites, and usually be-
coming involved in heated but whispered
arguments about the matter.

The children are on view for half an
hour each morning and afternoon
when the weather is good. The viewing
gallery is a covered runway built around
three sides of the quite large playground.
Screens are set at such an angle that
visitors are only dimly visible from the
inside. The children know that people are
there, but they pay no attention for they
never have known anything else. Guards
are courteous but very firm about any
attempt to attract the attention of the
babies. And so fascinating is this morn-
ing and afternoon play period that all
members of the movie troupe attend it
regularly!

No admission is charged though a tre-
mendous revenue could be had by even
the smallest fee, for during last summer
as many as 7,000 people turned up in one
day to see the famous youngsters.

Dr. Dafoe is adamant on that point,
however. "Children aren't a side-show,"
he said in his quick, clipped speech. "This
way we keep control. If any visitor gets
noisy, we show him out. If he paid a
quarter, he'd argue and we'd have all
kinds of trouble. The kids don't come out
in bad weather. If we advertised appear-
ances and charged for them, people would
kick all the time if they came up and the
kids weren't on view. Isn't a good idea
to treat them like a circus. So we don't."

B The "little doc" is just as consistent in
his alert guardianship of the children
during the filming of the picture. He has
bound the movie company to rules which
are without precedent in Hollywood ex-
perience, but there is not a person in the
company who does not speak of him

fondly, and with great respect as well as
with admiring devotion.

Filming is allowed for one hour a day,
and no more, so, in order to get three days
work done, the company will be in Cal-
lander for at least three weeks. No one
minds, because everyone is convinced that
the doctor asks himself only one question
on any decision, "Is it good for the quints?"
And when he says "Nothing doing," and
shakes his head with a bright, good-
natured smile, he means that nothing is
doing, and there is no use to argue. The
fact that the little girls are up to normal
in height and weight after starting with
the appalling handicap of premature birth,
speaks for his good judgment.

H At no time was that careful judgment
more clearly demonstrated than in the
way Dr. Dafoe handled the quints' "birth-
day party." Last year there was quite a

Marcia Ralston's bathing costume is a dramatic

contrast of black silk jersey suit and voluminous

white cape. You'll see her next in Men Are Such

Fools opposite Wayne Morris

celebration, but this year's anniversary
was notably quiet, except that the young-
sters tasted ice-cream for the first time.

Because there had been comparatively
so much excitement in the lives of the
little girls in the past week, the party was
kept a strictly family affair. The children
are still too young to know the significance
of the day, so Dr. Dafoe urged the movie
company to refrain from presents and to
celebrate the occasion by taking fishing
trips while Mr. and Mrs. Dionne joined the
little girls at their noonday meal, which
was to be made a dazzling event by the
addition of ice-cream to their regular diet.

In the past the children have taken
surreptitious licks of snow, so the experi-
ence of chilly food was not altogether
strange, but sweet snow, with the de-
licious extra flavor of vanilla was some-

thing else again. The first taste brought
forth a chatter of surprise. The second
brought resounding approval, as each
child checked up on the reactions of her
sisters in a flood of delighted French.

Dr. Dafoe believes that the important
thing in the lives of the little girls, right
now, is to keep them on strict routine, and
not to let them realize how set apart they
are from the other youngsters by the fact
of their unique numbers. "All the privacy
they'll ever have, they'll have to buy," he
says. "No matter what we do, they'll be
set apart from other children. So that's
why we're glad to see the movie company
come . . . and glad to see it go," he added
with a bright grin at Frank Perrett of the
company who had taken me over to the
little red brick house where the doctor
has lived for twenty years.

| Since their rather embarrassing first
meeting, Jean Hersholt has built a
warm friendship with Dr. Dafoe. Hersholt
is convinced that he had the hardest as-
signment an actor ever undertook in the
portrayal of Dr. Dafoe in the first quintu-
plet film. When they were introduced,
each man sized the other up, but though
neither showed it, each was self-conscious.
That quickly wore away, though Hersholt
still claims that nothing is more difficult
than trying to portray a man who is stand-
ing behind the cameras and watching you
do it.

All members of the company, down to
the last man, are absorbed in the trip. The
country is beautiful with little rolling hills
set around innumerable small lakes. The
trout fishing is excellent, and country
roads running through clumps of second
growth birch are charming. Many small
houses built of logs squared by the axe,
are dotted through the country-side in the
middle of cleared plots of stony ground.
Except for the sudden wealth poured into
the town by tourists, the country is pov-
erty stricken, and the French-Canadian
population makes a meagre living by cut-
ting and selling pulp pine. The town, itself,
has a prosperous look, however. Oliva
Dionne's big curio store does a hearty
business over which he presides, a small
man whose dark eyes are like those of his
famous daughters. He speaks good En-
glish, but is very adept as well as courte-
ous about maintaining silence most of the
time.

■ "Figure it out for yourself, he's in a
spot," said one of the clerks in the
store to me later. "Any man who has
five girls all at the same time gets a lot
of kidding. And any man can get pretty
sick of kidding in four years."

Dionne was finishing off the last auto-
graphs, which he sells for a quarter, for
the 400 visitors who had come up on a
special train from Toronto. He turned and
went out to the little house where the
quints were born, and which he refuses
to leave for more commodious quarters.
He kept a stiff poker face turned to the
road, but one suspects that it takes a good
deal of an effort, because even the most
experienced poker player never looked
down into a hand and found himself hold-
ing Five of a Kind.

58

1

•. •. \

ST1EI1

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t£3

U^ersal's Z"*0** the pe,;,

of humo° V he Hs ' "* Pop!

Nonces l^ * ^!>' "n£

^e/Qfes ho'*om.fh/ "< o9rees

C^oonSo°fVodo2en^ao^ne/s

m°»mAULIU

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Vjrac£ Moore
in Magnolia Gardens

C/iesterfield time is

pleasure time everywhere

Copyright 1938. Liggett & Myers Tobacco Co.

■■Dl

4#

Oic^Jfi-'

wetland Prtscilla Lane

^■^^^MM

&^§k

Nurse Sues for
JEntire Estate of

The toaghgny.

WeaUh, p.,i.„,^jAj4

f*2

■Mi-- Ml ,.«« ■. ^&»^ •■ «^ ' — _. ■ ^i-!i£conipanion and nurse of the late Otto/ "»f I II MIL 1/1 «_

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THE whole drama of existence pulses through
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Congressman Alfred W. Beiter

Rabbi Alexander T. Lyons

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Rene Belbenoit

Heywood Broun
George Seldes
James Thurber
John O'Hara
Hon. Algernon I. Nova

Judge, Kings Co. Court
Alfred W. Batson
Irving W. Halpern

Chief Probation Officer

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Eugene Cunningham

Stanley Walker

Rex Noville

Harold G. Hoffman

Former Governor of
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FAWCETT PUBLICATIONS- INC

TRUE CONFESSIONS ROMANTIC STORY

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MECHANIX ILLUSTRATED

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WE ALL HAVE DATES WITH ANOTHER GIRI "

You can't offend with underarm odor and still win out with men

She's DOOMED to unpopularity right
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TAKES THE ODOR OUT OF PERSPIRATION

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CLARK
GABLE

"TOO HOT
TO HANDLE"

MYRNA
LOY

The best news since "Test
Pilot" with that rare pair of
romancers, M-G-M's tantaliz-
ing twosome. Clark's a dare-
devil newsreel man — Myrna's
an airdevil aviatrix . . . Action !
Heart-pumping paradise for
thrill and fun-loving picture fans!

with WALTER PIDGEON • WALTER CONNOLLY

LEO LiAKKlLLU * Screen Play by John Lee Mahin and Laurence Stallings
Directed by Jack Conway* Produced by Lawrence Weingarten«A Metro-Goldwyn-Mayer Picture

©C1B 387555

H

SEPTEMBER, 1938
Vol. 27 No. 9

Hollywood

W. H. FAWCETT
Publisher

° 1938

LLEWELLYN MILLER, Editor

k> i;

Table of Contents

EXCLUSIVE FEATURE STORIES

Fans Can Be Pests by Llewellyn Miller 20

Vagabond Honeymoon (Claudette Colbert) by Helen Bunch 22

Milland Gets the Air by Terry Kelly 23

He Had Plenty of Nothing (James Stewart) by Katharine Hartley 27

What Color Is Your Personality? (Lola Lane) by Jessie Henderson 28

Sweet as a Rosenbloom by Ed Champion 31

Hexed by a Pekinese! (Nigel Bruce) by Kay Proctor 32

Worry, Worry, Worry (Merle Obe'ron) by E. J. Smithson 33

Honey Chile's Secrets (Patricia Wilder) by Jule Butler 35

Offside at Lakeside by Whitney Williams 38

Licked by Success (Frank McHugh) by Serena Bradford 46

Penny's from Broadway by E. J. Smithson 65

PICTORIAL SPECIALS

Benchley vs. Baby 8

Magnificence! (Norma Shearer) , 24

Ginger in Action 26

Back to School (Deanna Durbin) 30

Mickey's Career Marches On 34

EVERY MONTH IN HOLLYWOOD

Important Pictures by Llewellyn Miller 10

Hollywood Newsreel 16

Beauty Department by Ann Vernon 40

Movie Crossword 57

Hollywood Cooking School (Joan Fontaine) by Betty Crocker 58

\i

Jean Arthur in a scene
from Columbia's You
Can't Take It With You

RALPH DAIGH, Marking Editor

' CHARLES RHODES, Staff Photographer

HOLLYWOOD Magazine is published monthly by Fawcett Publications, Inc., 1100 West Broadway, Louisville. Ky. Entered as second class matter at the post office at Louisville.
Ky., under the act of March 3, 1S79, with additional entry at Greenwich, Conn. Copyright 193S by Fawcett Publications, Inc. W. H. Fawcett, Publisher; Elliott Odell. Advertising
Director. General offices, Fawcett Building, Greenwich. Conn. Trademark registered in TJ. S. Patent Office. Subscription rate 50 cents a year in United States and possessions
and Canada; foreign subscription $1.00. Single issues five cents. Advertising forms close on the 18th of third month preceding date of issue. Printed in V. S. A. Member Audit
Bureau of Circulations. Send all remittances and correspondence concerning subscriptions to Fawcett Building, Greenwich, Conn. Advertising offices: New York, 1501 Broadway:
Chicago, 360 N. Michigan Ave.; San Francisco, Simpson-Reilly, 1014 Buss Building; Los Angeles, Simpson-Reilly, Garfield Bldg. Editorial offices, 1501 Broadway, New York City.

THE CANDID CAMERA PREVIEW'S

SPAWN of the NORTH

Paramount 's Roaring Drama of America's. Last Frontier « « , .

George and Dorothy caught in
a clinch.

IT'S a busy day on the big Paramount lot in Hollywood. Director
Henry Hathaway, famous for his ability to bring the drama of
primitive emotional conflict, of thundering action, to the screen,
is guiding Paramount's "Spawn of the North" through the final
stages of production. On the set are such famous players as
George Raft, Henry Fonda, Dorothy Lamour, Akim Tamiroff, John
Barrymore, Louise Piatt and Lynne Overman. Beautiful Dorothy
Lamour has forsaken her famous tropic sarong for the rough dress,
the laced boots of a daughter of the northern wilds. Raft and
Fonda are wearing oilskins. For "Spawn of the North" is set in
Alaska of 1908, when feud law ruled as brother fought brother,
friend fought friend for the priceless rights to the silver horde
King Salmon.

We ask permission to take a few candid camera shots to show
you picture fans. Permission is granted and we snap away. The
results speak for themselves. You can see Henry Hathaway has a

(Continued on next page)

George Raft mans the harpoon gun. on the prow of his seal boat, transformed
into a fighting ship for the battle of the salmon grounds.

As the opposing craft comes into range, its decks lined with gun-toting battlers,
George lets drive with his deadly missile, foundering the enemy ship.

The candid camera catches George and Dorothy doing
the 1908 Alaskan version of the Big Apple

It's a waltz now with these two hardboiled youngsters
refusing to admit that love really calls the tune-.

Alaskan Indians playing the ancient festival music,
tribute to King Salmon who gives them life.

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picture to rank with his "Trail of the Lonesome Pine," his
"The Lives of a Bengal Lancer." But Paramount Producer
Albert Lewin insists we visit a projection room to see the
"rushes" as they come from the big cameras on the set. And
we agree with him that no still shots can half do justice to
"Spawn of the North." For candid camera shots can't give
the thundering action. They can't give the breadth and the
sweep of this story of America's last frontier of romance.
They can't give the emotional impact of this drama of two
.men whose devotion to each other is greater than the fear
of death itself. Nor can they reveal the poignant beauty of
the romance which we believe makes "Spawn of the North"
one of the great women's pictures of the year.

The luckiest shot of all. George Raft, Dorothy Lan
for us between scenes.

our, and Henry Fonda pose

ADOLPH ZUKOR presents

77ie candid camera snaps a shot of
George and his pal, Skipper, the
smartest seal in all the Pribilofs.

SPAWN of the NORTH

starring George RAFT
Henry FONDA . Dorothy LAMOUR

and featuring Akim Tamiroff = John Barrymore
Louise Piatt • Lynne Overman

DIRECTED BY HENRY HATHAWAY . PRODUCED BY ALBERT LEWIN

Screen Play by Jules Furthman • Based on a Slory by Barrett Willoughby

A PARAMOUNT PICTURE

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It is vitally important to use this treat-
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BENCHLEY vs. BABY

OR HOW TO USE DIPLOMACY IN THE HOME

Here are the first still's
on dear old Uncle Bob
and his film How to
Bathe a Baby, R*ule one
is "Get the baby in a
pleasant frame of mind
and off his guard, other-
wise you're licked be-
fore you start," he says

Rule two: Never let the
baby see that you are
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uncertain about what to
do next, because he is
sure to argue that bath
salts are meant to eat if
you'll give him a chance

Rule three: If the baby
shows signs of refusing
to co-operate, put a
good deal of emotion
into taking the bath's
temperature. That will
impress the baby with
your scientific knowl-
edge and put him at an
instant disadvantage

Rule four: Never let the
baby suspect that you
are asking him to do
something you wouldn't
do yourself. Dear under-
standing Uncle Bob had
to go to extremes, but
he is getting the baby
bathed though the baby
seems to have him down

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Worlds of i/xoUc Women/

*&

Women beyond the law's reach
. . . living their own lives, fight-
ing their own game . . . each for
HER MAN . . . dark, romantic
Charles Boyer in the year's
most intriguing melodrama.

i

"*>£

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WALTER UJANGER

CHARLES BOYER

w\.

ALGIERS

with SIGRID GURIE
HEDY LAMARR*

JOSEPH CALLEIA • ALAN HALE
GENE LOCKHART • NINA KOSHETZ

Directed by John Cromwell • Screen play by John Howard

Lawson • Additional Dialogue by James M. Cain

Released thru United Artists

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By LLEWELLYN MILLER

BLOCKADE (United Artists)

■ This picture has stirred up contro-
versy out of all proportion to its value
as entertainment, or, for that matter, to
its power as propaganda. Though the
Civil War in Spain is approached rather
evasively, and it never is directly stated
on which sides are the characters, the im-
pression is clearly given of sympathy for
the Loyalist forces.

Those who believe the Loyalists are
right are disappointed to a certain degree.
Those who believe that the Royalists
should win are indignant. And everyone
has a fairly unhappy time. I was disap-
pointed because the film is so expertly
photographed, there is so much talent and
time put into it that it might have been
one of the great preachments against war
instead of just another spy melodrama.

Madeleine Carroll plays the daughter
of a professional spy who will work for
any side that pays his price. John Halli-
day is number one menace as the head of
the spy ring. He believes that war is a
racket, and that the canny man turns any
war to his own profit. On her way to de-
liver important information, the girl spy
meets a peasant (Henry Fonda) and his
friend (Leo Carrillo). She meets him
again when he has been driven from his
quiet home land by heavy shell fire.

The girl spy and the peasant boy
are entirely opposed in background, train-
ing, idealogy, and experience, they fall in
love, and from there on save each other
from firing squads and other disasters.

You'll not forget for a long time many
memorable scenes in this film. You'll not
forget the worn faces of the starving
peasants as they watch the food ship sink.
You'll not forget the helpless rage of the
men who see their homes demolished and
their quiet fields ripped by shells, not of
their making, not of their desire. You'll
not forget the anguished cry of the peas-
ant boy who turns to the audience at the
end of the film and demands "The world
could stop it! Where is the conscience of
the world?"

And then you probably will join in the
argument that follows Blockade wherever
it is shown.

WHITE BANNERS (Warners)

B Almost every worn-out adage rela-
tive to the virtues of turning the other
cheek is incorporated in this film which
quite bristles with inspiration and uplift.
But, so brilliant is the performance of
Fay Bainter, that it will be a tremendous
success, and justly. In the hands of a
lesser actress, the preachy quality of the
dialogue would seem dull to many and
sickening to quite a few, but in her ex-
pert hands, the story becomes touching,
believable and fascinating to follow.
It is the tale of Hannah, who, half frozen

by a winter storm, stops to warm herself
by the kitchen fire and remains to be the
guiding spirit of the Ward household.

Mr. Ward (Claude Rains) is a violent,
charming, impulsive p r of e s s o< r who
struggles with first one invention and then
another in the determination to make a
fortune, while Mrs. Ward (Kay Johnson)
struggles unsuccessfully to make his
meager salary meet the needs of the
family.

Hannah sells old furniture, glorifies
cheap cuts of meat, comforts the woes of
the young daughter (Bonita Granville),
Hannah sublimates the trouble of a leaky
refrigerator into plans for an ice-less ice-
box, and watches with tender concern
over the problems of a boy (Jackie
Cooper) adopted by neighbors. Hannah
becomes the inspiration of the whole
household.

The story is hackneyed, but very few
people will escape the excitement of many
of the situations, or the irresistible ap-
peal of Fay Bainter's performance. Better
see this one.

LORD JEFF (M-G-M)

■ It is hard to tell just what the affinity
is between child stars and the stolen
jewels, but have you ever noticed how
often the little ones become involved with
gem thieves on the screen?

Well, it seems that Freddie Bartholo-
mew is the youngest member of a gang of
extremely clever and sophisticated rock
snatchers. All dressed up in an Eton
collar, young "Lord Jeff" visits a smart
jeweler. In the middle of pricing a gift
for his imaginary and wealthy "mater",
a pretended heart attack gives an accom-
plice opportunity to make away with valu-
able property.

When the law finally catches up with
them, the gang disappears, leaving Lord
Jeff to face his future alone. He is sent
to one of the famous Barnato schools,
which prepare orphans for various trades
and occasionally for professions. Lord
Jeff, haughtily refusing to select his own
career, is arbitrarily sent to train for the
merchant marine service.

The story is the always absorbing one
of a boy adjusting himself to new values.
Add to this a background not before
touched by films, and you have one of the
most entertaining of the Bartholomew
movies.

Of course the boys catch the jewel
thieves, but the acting of the fine cast
takes the sting out of that routine climax.
You'll like immensely Mickey Rooney's
performance as an under-graduate sea-
dog, and that of Herbert Mundin as the
old-timer. Charles Coburn, Gale Sonder-
gaard and a most appealing child with a
Scotch accent are only a few of those who
deserve especial comment.

[Continued on page 12]

10

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OUT IN HOLLYWOOD . .

where a Complexion Care
has to work—

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11

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Important Pictures

[Continued from page 10]

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Face Powder. I enclose 10£ (stamps or coin). (150
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Check Shade of D Flesh D Rachel Q Light
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Name .

(Please Print)

Address
City

- State

THE AMAZING DR. CLITTERHOUSE
(Warners)

■ Here is a fine, challenging idea, with
a new plot that puts the film into the
super-chase and thriller class among
gentleman-crook dramas.

Clitterhouse (Edward G. Robinson) is a
doctor with an extensive practise among
the wealthy. But his real interest is his
book upon crime. In order to gather ma-
terial for it, he has been planning and
executing a series of perfect burglaries,
and testing himself for nervous and emo-
tional reactions, before and after. Feeling
in need of a wider field for investigation,
he manages, with some difficulty, to be-
come a member of a gang. He directs
their activities on an enormous scale, but
insists upon listening to hearts and tak-
ing other tests, right in the middle of the
wholesale looting of a fur warehouse. It's
fine! Especially when Slapsie Maxie Ros-
enbloom, Humphrey Bogart, Allen Jen-
kins and Bert Hanlon as the gangsters get
all baffled and irritated by having their
blood pressure taken all the time. Claire
Trevor makes a satisfactorily tough mob
leader. Edward G. Robinson is not very
convincing as a disinterested scientist,
after all these years of being "Little
Caesar", but the story is unflaggingly in-
teresting and'the finale is a complete sur-
prise.

HAVING WONDERFUL TIME
(Radio)

B A lot of us like nothing better than
to see Ginger Rogers dance. A lot of
us think that she puts over a song in fine
fashion. So a lot of us will be disinclined
to write no more than "Having a fair to
middling time" when we are seeing her
newest picture.

It is a pleasant enough little drama, but
it does seem like an oversight to leave
dancing out of a Ginger Rogers film.

The story deals with a stenographer
who goes for her vacation to the romping
uproar of Kamp Karefree to get a com-
plete rest. Douglas Fairbanks, Jr., plays
the romantic lead and featured in the cast
are Lucille Ball, Peggy Conklin, Lee
Bowman, Red Skelton and Donald Meek.

COWBOY FROM BROOKLYN
(Warners)

B Jordon had two ambitions in life. One
was to make a success of his banjo
playing. The other was to keep away from
animals. Jordon (Dick Powell) was
scared stiff of all of our four-legged-
friends . . . any kind from a cat to a cow.
While Brooklyn was comparatively free
from animal life, it offered no encourage-
ment to his musical ambitions, so Jor-
don set out for the west as a non-paying
guest of an unsuspecting railroad. When
he was tossed off at the gate of a dude
ranch, things began to happen. For one
thing, Jane (Priscilla Lane) decided that
he was her man, even though he did beat a

frantic retreat every time a calf or a dog
or even a chicken showed up. For an-
other, a booking agent arrived for a com-
plete rest, heard one warble from the
Brooklyn cowboy, and, convinced that he
had discovered a genuine hill-billy at last,
hustled him aboard the next train for
New York.

Pat O'Brien makes this part a very
funny caricature of a high pressure thea-
tre man. The finale is unexpected and
very funny when the phony cowboy has
the choice of bull-dogging a very angry
steer in a rodeo or being exposed as a
fake.

ALGIERS (United Artists)

■ Probably the most important thing
about this film is the introduction of
Hedy LaMarr who is extremely pretty and
seems to be a talented actress with an
extraordinary appeal.

For the rest, it is pretty much a good old
cops and robbers chase, very handsomely
mounted and photographed and brilliantly
cast.

Charles Boyer plays Pepe Le Moko,
jewel thief, who is safe to direct the ac-
tivities of his henchmen so long as he stays
in the grim native quarter of Algiers
where the police do not dare to venture.

The drama depends upon his sudden,
passionate infatuation for a French sight-
seer, and his evasion of the various traps
set to lure him out of his stronghold by
the not quite wily enough police.

Gene Lockhart is sure to get much ad-
miring comment for his part of a rabbit-
hearted informer. Alan Hale adds an-
other colorful characterization to his long
list as a receiver of stolen goods. Joseph
Calleia does a fine, oily police agent.
Sigrid Gurie is effective as a native girl.

SHOPWORN ANGEL (M-G-M)

H Daisy was tough and cynical and
beautiful. Daisy had been through the
mill, and one cannot help suspecting that
it hurt the mill more than it did Daisy.
Daisy could take it.

When the war started, Daisy was doing
nicely with the star part in a Broadway
show, and the devotion, apartment and
car of the show's backer.

Daisy wasn't interested in the war or
anyone in it. Any guy making $30 a
month simply wasn't Daisy's sort. Then a
gangling, innocent, idealistic boy from the
cow country came along.

Even the fine emotional equipment of
Miss Margaret Sullavan fails to make
Daisy's subsequent mental processes quite
understandable. There she is, madly in
love with the nice charming producer
(Walter Pidgeon) who loves and under-
stands her, but, just because the cowboy
(James Stewart) thinks she is an angel,
she feels that she should marry him and
send him off to war happy.

The film is played intensely, and is ab-
sorbing while it lasts, but when it is over

12

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you are apt to feel that you just can't wait
to see the good old unsentimental news-
reel.

THE RAGE OF PARIS (Universal)

| Cute as a kitten is Danielle Darrieux
in the gay little comedy designed for
the vacation trade. She rolls her eyes, she
scrambles her English ever so slightly,
she over-acts with a delicate precise
charm, and audiences come out of theaters
gasping that Universal has a discovery.

It really isn't fair to tell the plot of the
story, because the plot is an old friend.
But the dialogue is new and the cast is
fine, so all you need to know is that
Douglas Fairbanks, Jr. plays the leading
male role as a young business executive of
vast wealth; that Mischa Auer and Helen
Broderick persuade the little French girl
that she must marry for money; that she
starts to pursue a willing millionaire
played by Louis Hay ward; that everyone
has a lot of fun with the mixed up
romances.

TROPIC HOLIDAY (Paramount)

| Just the idea of Bob Burns dressed
up in a bull fighter's costume is funny.
It gets funnier when he really fights a
bull. So does Martha Raye. There is a
romance between Ray Milland and
Dorothy Lamour in a picturesque Mexican
setting, some songs, some dances, and,
for good measure, Binnie Barnes bur-
lesquing a movie queen.

JOSETTE (Twentieth Century-Fox)

| Miss LeBlanc (Simone Simon) was
just the tobacconist's daughter, but
she wanted to go on the stage. So she
became the wardrobe mistress in a New
Orleans night-club. Her big chance came
when Josette, (Tala Birell), new star of
the floor show, hooked old man Brissard
(William Collier, Sr.) and fled with him
to New York just before her first show
opened.

In the meantime, the two Brissard boys
(Robert Young and Don Ameche) were
waiting out front and congratulating them-
selves at having hustled papa out of town
so that they could buy off the scheming
Josette behind his back.

Bert Lahr as owner of the night club,
Joan Davis as the companion of the enter-
prising Josette, and Paul Hurst as a won-
derfully swacko patron add greatly to the
comic confusion which follows Miss
LeBlanc's masquerade as the missing
Josette.

Simone Simon gives generously of the
familiar mannerisms which have endeared
her to quite a number of people.

WHEN WERE YOU BORN? (Warners)

■ Anna May Wong, looking more exotic
than ever, helps the police solve a
mystery murder by the aid of astrology,
and helps audiences have a lot of laughs
by some pointed remarks about character-
istics of people born under different signs
of the zodiac. The picture is a novelty
in that, at some time or another, every
person in the audience can take part of
the dialogue personally.

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Colonel Burns discusses with Miss Barbara Ann Burns the problem of growing hair. Miss Burns was
three months old when this picture was taken, and already she is getting many gifts from papa's fans.
Papa, who is also famed as the inventor of the bazooka, is to be seen currently in Tropic Holiday

Q When Max Reinhardt took out his
first citizenship papers three years
ago — a fact which for some reason has
failed to come to light until now — he had
in mind the idea of creating in Hollywood
a festival season of arts that would be
even more impressive and artistic than
the one which brought world renown to
his beloved Salsburg.

As an experiment in the realm of fes-
tival Reinhardt produced the glorious
fantasy, Shakespeare's A Midsummer
Night's Dream in the Hollywood Bowl in
1934, and did it so successfully that it
was taken to San Francisco, and Berke-
ley, California, for two more very satis-
factory showings. In fact, the success of
this pageant temporarily shelved Rein-
hardt's festival idea, for Warner Brothers
offered him so much money to make a
film version of A Midsummer Nightfs
Dream that he decided for the time at
least to let art go chase itself, at least
insofar as festivals were concerned.

But the movies took Reinhardt's artistic
temperament and put it through a
wringer in accordance with Formula A
and thus chased him back into the festi-
val business, though not in Hollywood.
In fact, he pulled up stakes and returned

to Salsburg where he again took up the
work began seventeen years before when
he started with an idea and built it up
into an institution.

Despite continued success in Europe,
he never lost sight of his idea for a Holly-
wood festival. So last October he re-
turned to the film capital to see what
could be done about it. After several
months' work his planning has begun to
bear fruit. In fact, a Hollywood festival
season is now promised this coming sum-
mer, calculated as the film capital's bid
for international recognition as the
World's new capital of dramatic culture.
Reinhardt says he will never return to
his native land. He will soon be an
American citizen. He did not know, when
he left Salsburg late last summer, that
his castle of Leopoldskron and all the art
treasures he had assembled there these
past thirty years would be confiscated by
the Nazis, that in fact his homeland would
be taken over by the Hitlerites and a new
form of government established. He
could not foresee such things. However,
it was fortunate that he was in Holly-
wood when they occurred. For it meant
that the artistic and cultural glory that
were Salsburg's may be permanently

16

Nationally Advertised Brands Are Your Assurance of Value and Protection

transferred from the gem of the Austrian
Alps to the hem of the Hollywood hills.

There will be three events in Rein-
hardt's festival season in Hollywood.
First, a colorful production of Faust, sec-
ond a presentation of the new Thornton
Wilder play, The Merchant of Yonkers,
and last, the fantasy by Maeterlinck, The
Bluebird, with a cast primarily of chil-
dren— hundreds of them, in the Holly-
wood Bowl.

To provide talent for these attractions,
completely overcoming hampering re-
strictions of studio contracts which
harassed Reinhardt during the production
of A Midsummer's Night Dream, and
also with the very definite idea of de-
veloping new talent, there will have been
opened by the time you read this, Rein-
hardt's "Workshop of the Theatre," a
crucible in which to test talent, to explore
the capabilities of potential and prospec-
tive stars in all branches of dramatic art.
It is Reinhardt's ambition to make this
workshop the greatest institution of its
kind in the world. To that end he has
already gained the cooperation of a score
or more of major celebrities who have
joined him as associates on the workshop
faculty. Such men and women as Paul
Muni, Bette Davis, Basil Rathbone,
George Jessel, Walter Huston, Constance
Collier, Ralph Bellamy, Franco Averardi,
William Dieterle, Nikolai Remisoff, Lisa
Sokoloff, Erich Wolfgang Korngold, Karl
Freund, Tony Gaudio, Isaac Van Grove,
Edward G. Robinson, Catherine Willard,
Konstantin Shayne, Rudolph Mate, Wil-
liam Bacher, Charles M. Hamp and Vladi-
mir Sokoloff have already signed up as
faculty members and others have pro-
fessed a willingness to sign so that when
the workshop faculty is finally completed
it will be an imposing one. Never before
in the history of the film industry has
anyone been able to make teachers of
stars, but Reinhardt has accomplished it,
and the new enterprise is apt to be one
of the most interesting ones ever started
in Hollywood.

| Driven into a mild frenzy by con-
stant ribbing and practical joking at
the hands of Mischa Auer, Ann Miller,
dancing comedienne, finally turned the
tables on her tormenter the other day
when Mischa was called away from the
set. In his dressing room he found a
"stink pot" burning and giving off an
odoriferous perfume. But that wasn't all.
Once he had removed the "pot" he found
a stuffed effigy of himself hanging from
the ceiling, the furniture overturned,
paper scattered about and his wardrobe
piled in a heap. Mischa hasn't spoken a
word of Russian since he came to Holly-
wood, but at the sight of the wreckage he
certainly went right into the role of the
Volga Boatman. As for Ann, she did a
few Russian steppes of joyous revenge for
an Auer or more.

■ What with budgets being cut, over-
head being trimmed to the bone, and
general expenses around the studios
pared down to the quick, Producer Sol
Lesser has gone the efficiency experts and
auditors one better in their attempts to

Watch For Sonja Heme's Big Contest!

knitnear courtesy of Friedman-Blau-Farber Company
NEXT MONTH Sonja Henie is sponsoring a contest to celebrate the release of her new Twentieth
Century-Fox film, My Lucky Star. The contest is going to be a lot of fun in itself, and it also will
give you opportunity to win some delightful prizes. The little skating star has given one manu-
facturer the right to make gay sweaters, graceful dresses, colorful caps, scarfs and mittens author-
ized by her. Each garment has her name woven into the label, so prize winners can be sure
that they are dressed just like the star when they wear their awards on the ice this winter.
Pictures of the prizes and rules of the contest will be printed in the October issue of HOLLY-
WOOD Magazine on the stands the first week in September. Better not miss it!

cut additional corners. Sol has not only
cut down expenses with the rest of the
producers, but he has cut down the size
of his actors! The cast of his full-length
western, The Terror of Tiny Town con-
sists of 80 midgets. The half -pint players
have been signed to extended contracts
and Producer Lesser has plans of utiliz-
ing them in a series of Class "A" features
burlesquing current hit films. And if this
isn't an original idea to make both ends
meet we don't know what it is!

OFF AGAIN!

Gloria Youngblood and Rudy Vallee
have put their romance in the cooler
for good . . . ditto for the Joseph Schenck
— Mary McGuire which wears an ice-
pack . . . Peggy Moran, a Warner Brothers
kutekid, has homesteaded Owen Crump's

heart leaving Isabel Jewell to hold down
second place in the Dan Cupid Derby . . .
Robert Wilcox has quit squiring Joy
Hodges around and now hits the night-
spots with Helen Mack. . . .

ON AGAIN!

Hedy Lemarr and Reginald Gardiner
are like twelve o'clock about each other
. . . Nancy Carroll now being beaued by
Allan Wilson . . . the Judith Malcolm-
Milton Berle twosome getting hotter . . .
Ethel Merman and Cesar Romero still
continue to hit the gayspots on all sixes
. . . Fay Wray and John Monk Saunders,
two very, very nice people, may reconcile
which will be great news to their friends
. . . Richard Greene, one of the Four Men
and A Prayer players, now the ONE with
Sim one Simon . . . Glenda Farrell step-

17

HERE THEY COME!

THERE THEY GO!

Fred MacMurray, Elizabeth Patterson and
Bing Crosby, tense with controlled emo-
tion in a scene from The Unholy Beebes

ping out with Harry Priester, her a few-
years-back boyfriend . . . Rosemary Lane
and Jeffrey Lynn are getting "that way"
about each other . . . ditto Doris Nolan
and Richard Carlson.

■ Travis Banton, former submarine
commander and now the Hollywood
fashion designer whose clothes for Carole
Lombard, Marlene Deitrich, and Claudette
Colbert, having made him internationally
famous, was invited recently by the U. S.
Navy to renew his officer's commission by
the expedient of appearing on a test cruise
with the new type of underseas craft.

B Pat O'Brien tells about a Shriner
friend of his who returned to his hotel
after one of the innumerable social affairs
given during the Shrine Convention held
in Los Angeles in June. Having imbibed
a bit too much of the cup that cheers,
said Shriner friend, according to Patrick,
was having trouble in locating the
keyhole of the door.

"Is that you, William?" called
out his anxious wife finally
alarmed at the scratching and
fumbling at the door.

"If it isn't," replied William,
after a long wait, "I'm gonna get
me a divorshe!"

H Columbia is conducting a
search for a "Golden Boy" to
take the title role in the picture to
be made from the Clifford Odets
play of that title. The other day
a middle-aged man called to see
Julius Evans, the studio official in
charge of the search.

"What do you wish to see him
about?" a secretary asked.

"I don't want to see him. He
wants to see me," protested the
visitor.

"Did he make an appointment?"
the secretary inquired.

18

Eddie Cantor seems to be in considerable pain
as he looks over programs at the new Hollywood
track, but maybe he is just holding his hat on

"He is looking for a Mr. Goldenburg,"
said the man emphatically, "and that's
me!"

If you don't get his angle try it again
with a touch of the New York Toity-Toid
Street accent!

There is something wrong with this picture . . .
the Ritz Brothers should be wearing the chaps
instead of Hobart Bosworth who is giving them
the signal to start in the Shriners' parade

Aaaaaaaaaaw! Bing knows all about mo-
ments like this, because he operates the Del
Mar track, himself, and he has seen it happen

■ Most unusual sight of the month!
Watching Edward G. Robinson, the

Little Caesar of the Fillums, learning to
do a bit of truckin' with Wendy Barrie
in a night club scene. To see him re-
hearse the intricate steps with a pipe in
his mouth is really som'pin!

■ Anyone want to buy a horse? Dick
Foran, . popular Warner star, has

picked up his boots and skedaddled from
his large stable due to the fact that the
studio has promoted him from westerns
thus giving him little time to ride. And
if you ask Dick he'll tell you it wasn't
much of a promotion because if there's
one thing he'd rather do than eat it's to
straddle a giddyap and ride around them
thar hills.

All Hollywood is wondering who the
young lady was who called Jimmy
Fidler during his gossip broadcast and
gave him the MIS-information that
Simone Simon had eloped to
Yuma with Gregg Bautzer, prom-
inent filmland attorney. True that
Simone has been seen here, there,
and everywhere with Bautzer, but
we have good reason to believe
they both have their romantic in-
terests elsewhere.

H On the set of Crime Ring at
RKO the other day, Frances
Mercer and Allan Lane were lis-
tening to Director Les Goodwins
relate some of his early experi-
ences in the motion picture in-
dustry. Goodwins believe it or not,
made his debut as a bull ape in
the original Tarzan series starring
Elmo Lincoln! For 18 weeks he
cavorted about inside a hot and
uncomfortable monkey suit, and
he still bears numerous scars
received in a fight with a lion
— the lion .having no human
double.

IT ROCKED BROADWAY FOR 82 WEEKS!
NOW IT'S THE LOUDEST LAUGH ON THE SCREEN!

Boy meets girl! . . . Cagney meets and swept the whole nation from
O'Brien! . . . And the great stage coast to coast, becomes the love-
triumph that panicked New York and -laughter picture of a decade!

FROM THE STAGE PLAY PRODUCED BY GEORGE ABBOTT

Starring

JAMES CAGNEY
PAT O'BRIEN

pw« »d^ MARIE WILSON • RALPH BELLAMY

FRANK McHUGH • DICK FORAN

Directed by LLOYD BACON

SCREEN PLAY BY BELLA AND SAMUEL SPEWACK
Ask Your Druggist About NATIONALLY ADVERTISED BRANDS WEEK, September I to 10 19

Joe Penner thought it was the last round-up at Pomona County Fair when the thunder-
ing herd of usherettes decided to ask him for his autograph, but his flight was all in fun

Certainly the stars love us. Certainly the stars are
grateful for our attention. Of eourse the stars value
our devotion, but there have been times when
fans have been no less than blights and burdens

By LLEWELLYN MILLER

■ Once upon a time a nice quiet editor of a fan magazine was walking
across a sunny street in Hollywood. She had parked her car, and was
going into Columbia Studios. The editor was quietly dressed. She had
on a dark blue suit, white shoes and gloves. She looked neat. She looked
respectable. She might have been any one of thousands of neat and

respectable people who attract no attention
as they go about their business in Holly-
wood except for two things: she had on a
wonderful spectacular new hat and she was
wearing sun glasses.
The hat was pretty rakish. It wasn't so

A common occurrence! Carole
Lombard and Clark Gable
tagged by a fan between
theatre and car after a show

HOLLYWOOD

Fans by the hundred bought
these seats outside the Carthay
Circle theatre, and sat for hours
waiting for celebrities to arrive

Good natured police had to
resort to riding the crowd off
the sidewalk in front of the
Astor theatre when In Old Chi-
cago opened and the crowd was
so dense the entrance was blocked

awfully big, but it had a certain something. It had
dash, that hat. It had appeal. It had personality. It
had a quiet drama ... in a nice way, of course. Its
dark blue brim curled in an adventurous fashion, and
it took a courageous woman to wear it.

No one who does a great deal of driving along the
dazzling white highways under the blazing California
sun goes without sun-glasses. The fan magazine
editors's sun-glasses weren't tricky. Let other people
go in for white rims and gaily colored lenses. Hers
were for service, ro they had big sturdy grey shell
rims and the lenses were the heavy duty grey that
looks black from the front . . . the kind you wear if
you really want to cut the glare from the sun, but also
the kind you wear if you want to disguise yourself!

Quietly the editor walked across the street. She
was trying (Oh, vanity!) to catch a glimpse of her
splendid new hat in a window, so she did not notice
that half a dozen youngsters were racing after her
until a hand caught rather rudely at her arm, and a
shrill voice cried, "Can I have your autograph?"

The editor stopped. She had to. You can't trample
over little children or strong-arm the younger genera-
tion, even if their mothers haven't taught them that
you mustn't grab. From under her dark glasses she
gave the children a grin. "Why?" she said.

"Aren't you somebody?" the children demanded.

Now there was a question!

"No," said the editor. "I'm just a hat."

The children took a doubtful glance at the dashing
hat. "Aren't you an actress?"

"No. I'm not. Really."

"Take off the sun-glasses." demanded the children
without ceremony.

"All right," said the editor
obligingly, and she did.

The children took a long look,
and the leader batted a con-
temptuous hand. "She's not any-
body," he shrilled disgustedly, and
without farther waste of time they
turned in a body and dashed back
to the entrance to ambush
someone who was "some-
body."

The editor walked
thoughtfully into the
studio, realizing that,
while it is fun to be im-
portant, no one wins fame
in Hollywood without
[Continued on page 61]

SEPTEMBER, 1938

All Robert Taylor wanted to do
was pay a quiet call on some o
his former teachers at Pomona

College,
students

but
had

hundreds
different

Fans go everywhere! Ginger
Rogers does not seem to mind
giving an autograph, even in
the middle of the formal Texas
State Society banquet. Gover-
nor Allred and John Boles
do not seem to mind, either

^

\/a^a^hd IkHUttncMH

<L'

When a movie star determines to get away
from the glamour of her career, it really
can be done, and Claudette Colbert proved it

By HELEN BUNCH

■ Waving her arms frantically,
Claudette Colbert stood in the center
of one of those winding, twisting streets
in Lyons, France. The reason for the
gyrating arms was that her husband's
modest roadster of American make was
stalled, and he was changing a tire.

"You'll have to go around!" she yelled
in French.

Disconcerted taxi drivers — the French
brand with the little horns that go "beep,
beep!" — slammed on the brakes, skidded,
swerved and scooted around the three-
wheeled Colbert chariot. They grimaced,
narrowly missed the car, narrowly
missed the husband, too.

Not one guessed that they were mak-
ing snide French cracks at the beautiful
American motion picture star. For the
simple reason that Miss Colbert was
thoroughly incognito. She and her hus-
band were wandering modestly about
France, her native land, without trap-
pings, without ballyhoo, and without
giving much of a hang about doing any-
thing but enjoying themselves.

They did that as "Mr. and Mrs. Jack
Pressman".

"I wanted to show Jack what France
was like and wanted to do it in peace,"
Claudette told me today. "Eight years
ago, when I [Continued on page 55]

>

*.

N»,.

Part of Claudette Colbert's honeymoon was
spent in the Tyrol, and here she is with her
skiing instructor, now she is back to make Zozo

MJllaU

(fdsike-AU

■ Ray Milland stood at the edge of
Metropolitan Airport doing a slow-
burn.

"Listen," he said to Bill Wellman, who
is rather well known as one of Holly-
wood's most successful film directors,
"what's an air epic if you can't fly? I
can't be a hero in Men with Wings if I
have to stay on the ground. I want to get
in on the fun."

Bill Wellman never has stampeded
easily. So he gave Ray one of those
amused, easy-going lcoks of his and said,
"Don't see why we should take any
chances with you. There's quite a bit of
cash invested in your hide."

Wellman was a World War ace. He had
flown those ancient crates over the lines
— and come back. Paramount picked him
to direct Men with Wings because he knew
all the hazards of flying, and all the
answers. The film was scheduled as a big
expensive production, and a firm, smart
director was needed. Answer: "Wellman."
And Wellman's answer to Milland:
"No!"

Ordinarily that might have ended the
whole thing. But Ray, who has piloted a
plane innumerable times in the past, was
not willing to give up. That's why, a while
later, he wandered in among the pilots
who were getting ready to do a big battle
formation scene. Finally he found Al
Lary, the "movie-mad stunt pilot," as he
is billed in the hinterlands.

"Listen, Al," Ray began. "You make
fifty bucks a day flying your crate for
these scenes. Let me take your place for
just a few hours — please."

Al shook his head slowly.

He wanted his own way, and

he got it, but there were

some surprises added for

fun and good measure

By TERRY KELLY

"Aw — Al. It's a matter of principle to
me."

Al still didn't like the idea. He had
heard Wellman's refusal a few hours be-
fore.

"Al, that guy won't know until it's all
over," Ray wheedled. "It's worth fifty
bucks of my cwn money to be able to say
I flew in this picture — how about fifty
bucks?"

That's how come Ray waddled like a
duck to Al's war-time Fokker ship a few
moments later. Like a duck is right, too.
He had on a heavy, fur-lined flying suit.
And a parachute was strapped on like a
pillow. So he waddled.

One by one the ships took eft. Ray's
was among the last few. Finally they dis-
appeared over the trees. They
were to come back a few
minutes later in formation.
The scene would be shot from
the ground and from the air,
too, in full technicolor.

Bill Wellman made a last
minute check of his ground
crew, glanced above him and

saw Paul Mantz circling in the camera
ship. Then the distant roar of motors told
him the planes were coming back.

This scene had been done five times in
rehearsal. Wellman had considerable rea-
son to expect the formation to be perfect.
So he cast a critical eye aloft and saw the
planes sweep past. Every ship seemed to
be in formation. Well, almost every ship.
A black and white Fokker was about one
length behind and quite a little too high.
Somehow it just couldn't wobble into
exact position.

"Who's that?" Wellman howled, waving
the cameras to quit.

"It oughta be Al Lary," somebody just
above a Yes-man status suggested.

"Well, flag 'em down," Wellman shouted
"I think we'll have a little conference."

It was Bill Wellman's turn to do a slow-
burn when Ray Miland waddled out of
that ship, waddled like a duck, with a wide
grin on his face.

Technically, Red had won his point.
He had flown during the making of Men
with Wings. [Continued on page 53]

Ray Milland can maintain this nonchalant pose, until he thinks

of a harrowing experience that happened during the filming

of Men with Wings

ere was hunger in the
among the people
her teens, became a
urt which was to dazzle
splay of wealth, power,
een her life and that of
it part, from the young
ecame a synonym for a heedless
not been equalled since her time

Adrian of M-S-M designed the spectacular gowns

which Norma Shearer wears in the title role of Marie

Antoinette, one of the most expensive films ever

produced by Hollywood. Expert needle-women spent

if hours in the fashioning of precious fabrics,

aces, feathers, ribbons and jewels to the

specifications of the designer. On these

iven of the most beautiful of the thirty-

>stumes. They are worth careful study, for

sure to have its effect upon the fashions

. Marie Antoinette co-stars Tyrone Power with

ill be released in the late autumn

(jinqtA, Ut Action

Carefree is the name of Ginger
Rogers' new picture, and she
certainly looks as if she is taking
the title seriously as she plays a
fast set of tennis between working
hours. Once again, she is co-
starred with Fred Astaire. A new
dance routine is introduced
by the pair, and it is said
to combine the vigorous romp
of "The Big Apple" with the
grace of the minuet. You can't
imagine it? Try again! It's easy!

He Had Plenty

Everyone laughed when
he got up to act. He is
having the last laugh now

By
KATHARINE HARTLEY

■ Most all of our movie heroes had
something in their very young youth
which gave promise of a heart-throb
career. Bob Taylor, even before pictures
spruced him up, had those undeniable
good looks which made every girl reach
for her mirror — and her leaping heart —
the minute she beheld him. And it was
the same with Clark Gable. Not exactly
handsome in his pre-acting days he never-
theless had brawn and a vigorous and
untamed quality which sent shivers
down young female spines. Ditto Mr.
Boyer, who had the lovely ladies of Paris
sending him fragrant billet-dour by way
of the stage door, long before picture fame
caught up with him. And so it has been
with most all of them. There was always
an obvious something which made others
know that they were one of those "should
oughta be in picture" boys. All, that is,
except Jimmy Stewart. Tall, lanky, shy,
fast-blushing, slow-speaking Jimmy
Stewart. On his own admission, there was
nothing, simply nothing, about his early
life or personality to recommend him to
a future career devoted to female heart-
fluttering.

"Jimmy, an actor! Oh, come now. He's
a smart boy, but he's so skinny!" That
was the reaction of the home town (In-
diana, Pa.) when it first heard that
Jimmy, off there at Princeton, was ap-
pearing in a number of the Triangle shows.
And not a few of the old home towners,
remembering a certain school-day inci-
dent when [Continued on page 42]

of Nothin

James Stewart turned shyness and awk-
ward mannerisms to good account, and
proves it by his parts in two important
pictures soon to be released. He has the
male lead in M-G-M's Shopworn Angel.
On left he is shown with Jean Arthur in
a scene from Columbia's much heralded
comedy, You Can'f Take It With You

27

1

Lola Lane is a "blue" personality, with turquoise predominant.
You'll see that personality next in Warner Brothers' Sister Act

There is a new game in
Hollywood, and it is keeping
the town busy trying to
assign colors to person-
alities. Lola Lane gives yon a
sample of how it is played

By JESSIE HENDERSON

28

■ This is the strangest interview you
ever saw. But how it makes sense!
After Lola Lane says what they are,
you can see they're exactly that. And
this is true even though you'd never
have dreamed, before, that Tyrone
Power is amber and Marlene Dietrich
dusky pink and the Ritz Brothers
maybe a Scotch plaid.

The subject came up because Lola
sees people as colors. She's kind of
psychic, or perhaps it's psychological.

Dumb clucks like you and me (all
right, all right, like me) see people as

I

WHAT COLOR

so many scrambled features and a couple
of hands and feet. But the instant Lola
meets an individual, she envisions that
individual surrounded by a color — oh, a
quite imaginary color, of course — and the
color not only expresses this person's real
personality but invariably turns out to be
the color which this person ought to
wear. Becoming, you know; and one
which makes the wearer feel happy and
well dressed.

"Bette Davis is apple green," Lola said,
"she's also the soft green under the apple
tree in the orchard. Alive! She's more;
she is dauntless. She's the wind that
billows round the corner through the pine
tree. She's the green of a Florida hurri-
cane."

Lola erased the frown of concentration
and laughed. "Or am I too poetic? That's
how I visualize Bette, anyway. I don't
know whether she has a lot of green
dresses, but she ought to have. I visualize
her in apple green taffeta with a tight
bodice and flowing skirts — she would be
at her best in that. There ought to be
plenty of green in the decorations of her
home, she should have green about her
always. She is soft as grass and irre-
sistible as the wind, and if that sounds like
blank verse I can't help it. She is."

■ From the time Lola Lane was a
youngster, fond of color herself, she
has classified folks in terms of the rainbow.
Partly it's a gift and partly it's a matter
of study. Her feeling for tints is so sensi-
tive that they mean more to her than to
most of us. She can be actually, physically
miserable in a room where the hues are
discordant and, when renting a house,
she slip-covers the furniture in the shades
of which she is fondest. Lola could be a
topnotch interior decorator, with a dash
of costume designing on the side.

A dash? Better than that. She designs
nearly all her wardrobe and selects the

Clark Gable's color is light
beige

HOLLYWOOD

islf&UA

PERSONALITY?

color combination for each outfit. Lola is not
only a beautiful girl, she's a beautiful girl
beautifully dressed, who insists upon beautiful
surroundings. Not necessarily expensive, mind
you, but beautiful.

So there she sat, hugging her knees, on the
white fur rug before the fireplace in a room
touched by turquoise. "What a peaceful
room!" visitors exclaim. Those touches of
turquoise are, it seems, the reason. Any
player, Lola contends, absolutely needs a
restful room in which to loaf between pictures.
She was resting up at the moment after the
completion of Women Courageous, the Warner
Brothers picture in which all three of the Lane
sisters appear.

Lola was wearing London tan, which ap-
peared to bring out the warm lights in her
brown hair, with a blue brooch at her throat;
and either the rich leather shade or the brooch
brought out also the deep violet of her eyes.
It isn't everybody who has violet eyes. Isadora
Duncan had; a fact which pleases Lola, be-
cause Isadora was a genius whcm she greatly
admires.

In addition to the brooch, and the turquoise
flecks in the room, there were other items of
blue in the immediate surroundings. A dark
basalt vase on the table, the river tint in a
little picture, the shadowy pansies in a clear
glass bowl.

For Lola is a "blue" personality; which
doesn't mean in the least a melancholy one.
She likes the blue of outdoors, night skies,
day skies,, lakes and ocean. No matter what
color her costume may be, she doesn't feel
right until she has added a trifle of blue to it,
anything from the delicate white-blue of an
ice tone through electric blue to midnight; a
belt or a piece of jewelry or a flower.

I But it was of Olivia de Havilland she was
talking at the moment; another "blue"
personality, by the way. "Olivia is the loveli-
est shade in the whole blue range; that pale,
sweet periwinkle that's a combination of royal
purple, yellow and red.

"Yellow stands for an ethereal quality, red
for terrific vivacity, the purple for ancestry
and breeding. Put all these shades together
and you have the exquisite periwinkle which
to me means Olivia."

■ Surprisingly enough (the talk had turned
to Robin Hood) she added "that Errol
Flynn is pearl gray. You'd have guessed
crimson, orange, a shade more striking. But,
no; Lola stuck to it. Pearl gray.

"Possibly you never analyzed pearl gray,"
she suggested, "it's iridescent, a solid tint yet
intangible. You can almost look through pearl
gray, but you look again and it's opaque.
True pearl gray sometimes appears on a cloud
just before sunset; a very subtle, fine tint.
The cloud looks material enough so that you
might think you could grasp it, but, if you
tried, it would elude you. I imagine Errol
would look better in a pearl gray suit than in
anything else he could put on."

But, I objected, pearl' gray is such a neutral
tint.

"Oh, is it?" Lola retorted, "it's among the
most remarkable tints in existence. Don't you
realize that any color is a complement of pearl
gray? That no matter what color you choose,
pearl gray goes well with it, looks all the
richer for it, and makes the color look richer,
too? And haven't you noticed how Errol and
each of his different leading women on the
screen have complemented each other, bring-
ing out in each other the best, the most
dramatic qualities?

"Lily Damita" — (that's Mrs. Flynn, of
course) — "is clear flame. And, have you ever
noticed, there's nothing else so magical with
pearl gray.

"There, look!" Lola picked up the turquoise
pottery ash tray and indicated the cigarette
ash that she had just dropped into it. "That
cigarette ash is a genuine pearl gray. You
see the fire smouldering beneath it? It's the
fire, smouldering beneath, which creates the
pearl shade, like the sunset on the cloud . . .
you don't have true [Continued on page 36]

Bette Davis' personality is
apple green

Errol Flynn's color is pearl
gray

Joan Crawford is white. Do
you know why?

Olivia De Havilland is
periwinkle blue

SEPTEMBER, 1938"

And it's navy blue •for Gary
Cooper

Shirley Temple is the yellow
of sunlight

Read the story to find out
about Hugh Herbert

29

Back to School

Deanna Durbin is a star in her
own right, but she still has to
go back to school. Above is the
pencil blue culotte dress which
she wears when she is riding her
bike to class. The belt is white
suede. The. sweater is flesh pink.

Even if you are only in the middle
teens, a dark blue afternoon dress
can have a certain dash if it has
a high neck, high waistline, and
accessories to match in color

When it is raining on the Uni-
versal lot, and Deanna has classes
between shots of That Certain Age,
her next film, she pops into a black
and white weather-proofed fabric
raincoat, and ties a matching off-
the-face bonnet under her chin

Autumn is the perfect time for a
gay plaid in colors to match the
leaves. If it has pleats in the
front and a stiff white Eton
collar, it is sure to be a success

Deanna's favorite dress for dinner or the
theatre is made of heavy rough silk in shrimp
color with a ruffled lace blouse, a double
patent leather belt and brown velvet bows

SWEET AS A

jlovtto&lootn

Slapsie Maxie is the first to admit that he is
beautiful, grand, wonderful and smart, too,
since he finds time for five professions

By ED CHAMPION

Slapsie Maxie working out to
music so he will be in shape for
night-club appearances too

| Less than an hour alter he had given
young Lou Nova, a strapping ambi-
tious heavyweight, a ten-round boxing
lesson and had won the California State
heavyweight championship for his fistic
chore, Slapsie Maxie Rosenbloom, Jack of
five professions and master of them all,
jauntily entered his popular night club
to receive congratulations from his
friends.

Instead, no sooner had he set foot inside
than he was greeted by a storm of catcalls
and boos from members of the Hecklers'
Club, an organization recently formed by
Comedians Ben Blue, Bob Hope, George
Burns. Milton Berle, Jack Benny, Hugh

Maxie," Milton
din, "you wear

Slapsie Maxie, the actor, at
work in Tne Amazing Dr. differ-
house. Below, Slapsie Maxie
explores one of the gentler arts
with help from Claire Trevor

Herbert and a score of other stage and
screen funnymen for the express purpose
of embarrassing the good-natured, broad-
shouldered Maxie in his own caravan-
serie.

"Whatever they say,
Berle shouted above the
that ear!"

"When are you going to let the air out
of it?" Jack Benny asked.

"Looks like Lou gave you a shot of
Nova-caine!" George Burns quipped.
"And is your face red!"

As a matter-of-fact, it was. Young and
ambitious Nova, some day due to be a
challenger for the world's heavyweight
crown if he mihds his fistic P's and Q's,
had managed now and then to slip over
a fistful of leather during that ten-round
brawl and Teacher Maxie 's mug showed
the effects of the knuckle treatment. His
face, as George Burns said, did have a
carmine tint. But Maxie, apparently,
didn't mind that. His face "had been
tinted before during the 300 and
more ring battles he had engaged in
since he had taken up the ungentle
art of fisticuffs. The hecklers could
heckle and the booers could boo for
all he cared, and so, still smiling
broadly, he stepped upon the tiny
orchestra platform and
waited for Cully Richards,
the master of ceremonies, to
introduce him in the manner
in which he was accustomed.
Which happens to be some-
thing like this:

"Ladies and gentlemen,
presenting the man
with the big left ear.
black hair, and finger-
nails to match! Here
he comes! The Jewish
Seabiscuit!"

A split second after
that Maxie began his
[Continued on page 52]

Rosenbloom, man of the hour
and Hollywood Magazine' s
Dream Prince, practicing ex-
pressions for his part in The
Crowd Roars

MFk

H If anyone knows how to break the hex
of a dead Pekinese, for heaven sake,
will they please write Nigel Bruce in
Hollywood at once.

One has been haunting him into making
so many false moves that his friends —
such as he has left — are calling him
"Boner" Bruce, the man with the gift for
doing it wrong. It absolutely is taking all
the sweetness and light out of his life. It
is making a mouse, albeit a 206-pound
one, out of a man and something has got
to be done about it.

You knew who Nigel is, of course. He's
that Scotsman (and don't call it Scotch-
man if you value your health) with a
burrrrrr a mile long who is such a darned
swell actor, that he has worked in some
thirty feature roles in the four years he
has been in Hollywood. You've seen him
most recently in The Baroness and The
Butler and Kidnapped. Currently he is
working in Suez with Tyrone Power and
Loretta Young.

Ordinarily Bruce is a man of tremen-
dous good nature but this hex business is
getting him down. And I mean down!

It all started, really, when he "cut the
cloth" some years ago in England. I'm not

so sure about America, but cutting the
cloth in England, it seems, is a pretty
heinous offense. Practically one against
The Crown. Almost a hanging matter.

Nigel had been invited for the weekend
at Lord and Lady Whosis' impressive
stone castle near Gloucestershire, some
180 miles from London. (He's not
mentioning real names because there is
a chance they have forgotten the whole
unhappy chain of events even if he never
will.) It was all veddy veddy and a lot of
fun in a nice, quiet way.

One morning, having nothing in parti-
cular to do with himself, he strolled into
the billiard room, racked the balls, and
started potting at them. Now the billiard
room in Whosis Castle is really something.
Not only is the table an exceptionally fine
and large one but it boasts a cloth of
extraordinary quality. It is, in fact, quite
the pride and joy of the
entire household.

Suddenly Nigel froze in
horror. Attempting a diffi-
cult shot, he committed the
most blasphemous of sacri-
lege. He cut the cloth!
There, where his cue had

slid across the table, was a long, jagged
cut! In panic he replaced the balls and
cue, raced to his rooms, stowed his clothes
in his bag every which-way, and stealthily
departed Whosis Castle forthwith. Next
morning he sent an abject note of apology
and a sizable check in amends.

But neither the note nor the check
could salve his conscience. Day and night
his crime haunted him. Even a trip to
America and the passing of two years
failed to erase the awful memory. Back
in England again he decided to take the
bull by the horns. Like a criminal return-
ing to the scene of his crime, he went back
to Whosis Castle in person to again
apologize. That way, he hoped, he could
find peace.

His arms were filled with the most
luxurious blooms he could find in London
when he arrived [Continued on page 60

No one could be so unfortun-
ate unless malign influences
were at work, claims Nigel
Itruce. who suspects that he
is haunted by the vengeful
ghost of a Pekinese that
will not forgive and forget

Ilv KAY PROCTOR

32

Hexed fy. a ?>eUi*te*e>!

/

■ Merle Oberon's very
wise and very pretty
little head was bothered by
a number of very big
worries as she waited for
the first studio call that
would bring her in front of
the Samuel Goldwyn cam-
eras set up to shoot the
opening scenes in The Lady
and the Cowboy.

And worry No. 1, among
a host of others, arose from
the charming English star's
discovery that all is not gold
that glitters — even in Hol-
lywood. And the reason
she had classified this fact
as worry No. 1 was because,
after wearing down three
pencils to their respective
erasers, she had finally fig-
ured out that despite the
upper bracket salary she
would receive from Mr.
Goldwyn for her work in
The Lady and the Cowboy
and Wuthering Heights,
she would have the stagger-
ing sum exactly nothing to
represent her cinematic
labors when the cameras
stopped rolling.

"It begins to look as
though I came over here
this time merely for the
ride," she declared the day
we visited her in her Santa
Monica home. "You can
see for yourself,'' she
added, picking up a handful
of papers upon which she
had regimented row after
row of tiny figures. "The
more I work the less I'm
going to have, and if I stay
in Hollywood too long I
may have to have a bene-
fit!"

We hinted in our best
diplomatic manner that perhaps she had
been detoured somewhere by an error in
her arithmetic, that she had confused
herself somewhat by placing her financial
cart before her financial horse, and that
while all play and no pay didn't make
Jack — to paraphrase an old and honora-
ble maxim — it might be well, before her
worrying became a habit, to order a fresh
supply of paper and pencils and start all
over again in her calculations.

Her answer to this was an emphatic
shake of her very pretty little head.

"There's nothing wrong with my arith-
metic," she insisted. "All these figures

Even though Merle Oberon
is one of the most success-
ful stars, life holds many
worries for her, too

By
E. J. SMITHSON

come from my attempt to work out my
income taxes. I use the word in the
plural and there's nothing wrong in that,
either, because I have to pay both the

British and American gov-
ernments a part of my
earnings. Not that I dis-
like or object to paying an
income tax — or taxes. As a
matter-of-fact I think any-
one who pays an income tax
should consider herself
very lucky. But after I di-
vide up part of my salary
between England and the
United States, and then pay
all my other expenses, there
really isn't enough left to
bother about. So when I
say that I'm working for
Mr. Goldwyn for nothing I
really mean it."

And she really meant it
when she said she'd be
broke if she stayed too long
in Hollywood because one
doesn't have to be a mental
giant to figure out that
there's a bottom to every
pocketbook — even those
well -filled ones owned by
the top stars of the motion
picture colony.
And that's worry No. 1.
Not only that, but it's
reason No. 1 why this tal-
ented and gracious young
English beauty is seriously
considering, even now,
plans for her return to
British studios immediately
after her second picture,
Wuthering Heights, is com-
pleted late this fall; and no
one can blame her if she
does, because after all,
there's little sense, if any,
in working — even in the
MOVIES— for nothing.

Worry No. 2 springs from
her dual contract with
Alexander Korda in Lon-
don and Samuel Goldwyn
in Hollywood.
"When Darryl Zanuck borrowed me
from Mr. Korda for his Hollywood pro-
duction of Folies Bergere de Paris in
1935," Merle explains, "my speech was
decidedly British in accent and, since I
knew I was scheduled to appear in other
Hollywood pictures, I studied hard to
Americanize -it. And then, just as I was
beginning to talk like a native daughter
of California I was called back to London
to make two pictures for Mr. Korda and
my speech had to become British again.
Now here I'm back in Hollywood again
and once more I'll have to iron out my
accent so that [Continued on page 63]

33

MICKEY'S CAREER MARCHES ON

No aclor can be considered a finished
Thespian until he can handle a GREAT
LOVER'S scenes, and Mickey Roonev is
no exception. His chance came re-
cently during the making of Love
Finds Andy Hardy. Here are some
of the results you'll see on the screen

Honey Mutes Secuis

"If you want to get yourself a beau,
take up knittin' — you'll have all the
fellas you want — and some you don't
want!"

That's Patricia Wilder's advice to
would-be belles and the sad-eyed wall-
flowers. One of filmdom's most popular girls, "Honey
Chile," gave the romantic tip from the set of My Lucky
Star at Twentieth Century-Fox.

"There's somethin' about knittin' that gets 'em every
time — hits 'em right between the eyes." The actress
drawled the words out slowly, in that soft southern accent
familiar to thousands of radio listeners and now destined
to gain her a flock of new fans on the screen. "Ah don't
care what they say to the contrary," Patricia persisted
on her theory, "most young fellas can't get past the old-
fashioned idea that a woman's place is in the home. Now
you know there's somethin' awful home-like lookin' about
knittin'."

It might be just a coincidence (although Patricia admits
she's been "doin' some talkin' aroun' ") but most of Holly-
wood's prettiest unmarried belles have taken to knitting,
and on the sets between scenes, it's become a rage.

As a matter of fact, filmdom femmes usually pay atten-
tion to what the Wilder has to say. She seems to have
this matter of beau psychology down to a system — and
the system must work, what with such names as Frank
Parker, Bruce Cabot, Jon Hall, Don Terry, Bentley Ryan
(young Hollywood attorney), Winston Frost (southern
socialite) appearing consistently in her date book.

"It's impossible," she claims "to be a success with men
unless you abide by a strict set of rules — and ah'm fixin'
to tell you a few right here and now.

"Rule number one," Pat settled down earnestly to the
discussion, "Don't call 'em up!

"Forget you ever heard of a telephone where men are
concerned. Don't go to alibin' yourself by thinkin' they
may have lost your phcne numbah. No-o-o ma-am!
There's no more resourceful man in the world than the
one who's lost the numbah of a girl he wants
to talk to. He'll turn the whole town upside
down, the telephone book inside out, the infor-
mation operatah into a panic, but, honey, he'll
wind up with your numbah if he has to call the
grocery store where he thought you once bought
some cheese.

"An' nevah accept a last-minute date." The
Wilder was emphatic on number two. "This
puts you in the 'nth fiddle' class. An' don't
forget, there's been many a swell undahstudy
who nevah got a lead.

"An' don't believe the story 'he just de-
cided to take in the fraternity dance at
the last minnit'. He's had his tux and
trimmin's ready for days. Don't you all
know boys nevah [Continued on page 49]

oney Chile, otherwise known
s Patricra Wilder, as she ap-
pears in her next film, My
Lucky Sfar, soon to be released

She has roles about telephone technic as well as
about knitting but it all adds up to popularity

By JULE HITLER

V%

^

What Color is Your Personality ?

[Continued from page 29]

pearl gray without it. Moreover, you
can't pin pearl gray down, so to speak;
you can't dictate to it, I mean. Because,
put pearl gray under a bright light, ar-
range things the way you think they
should be — and it simply disappears.
Yet, while you lose it when you try to
circumscribe it and 'bring it out' (as you
can do with less unusual tones), it's
there just the same ready tc emerge . . .
on its own terms. Pearl gray, iridescent
and independent, is pretty nearly unique
in the color gamut."

B Not merely her acquaintances but
likewise the members of her family
are subjected to this color test of Lola's.
Though they may not be aware of it, she
sees her sister Priscilla as silver and her
sister Rosemary as a Paisley pattern. Sort
of nice, either notion.

"Silver sparkles," Lola explained, "yet
if you turn a piece of silvercloth in a
certain way it has no color at all. I've
seen that kid, Priscilla, sparkle like a
diamond, then become like marble. She's
the real silver you see in an old wedding
ring, silver symbolic of an old soul in a
very young girl. Silver comes out of the
ground and goes through fire, and you
put it in the sun and it sparkles. Or in
a dark corner of a mine you suddenly see
a light — and it is silver.

"A silver personality like Pat is the
kind who could drive a covered wagon
to a new country, and love it."

H Rosemary is very different, she went
on. People right in the same family
can have colors so different that it's amaz-
ing.

"A Paisley," Lola repeated, "that's
Rosemary. A combination and apparent
conglomeration of colors, but a definite
pattern nevertheless. From the maze of
colors you can pull out one tint in a
Paisley that shines above the rest. Pos-
sibly it's chartreuse. Without losing any
of her Paisley pattern, Rosemary, I'd say.
has more chartreuse than any other
shade; it predominated, and through the
Paisley it has a pattern of its own.

"Chartreuse is yellow and green to-
gether. The green is deeper than apple,"
Lola meditated, half closing her eyes,
"and the yellow doesn't exactly mix with
it and still the two shades do blend. The
yellow is a wonderful complement to
brown, and Rosemary has chestnut hair.
Yes, golden brown and green make the
yellow glow I see around her. It's the
shade of the moss you see in the tops of
the highest redwood branches. There it
is, far away, remote, but a beautiful thing
for you to look at.

■ "Joan Crawford is white, and white
as you know is a combination of every
color. You've almost got to be perfect to
wear it — your skin, your hair, must be
just right — and Joan wears it often.

"White is sc symbolic of what Joan
stands for. Anything that's strong, that's
staple, no matter what color it starts out;
anything strong enough to be washed by
the ocean, for instance, and not be de-

stroyed by it, as a rock or a length of
good, staple cloth — shines white in the
sun. In fact, it turns white. Even the
side of a rock, if you catch it in a shaft
of sunlight after the waves have swept
over it, has a white shine on it.

"Joan's continual desire to improve
herself projects a shine of white about
her. I can see it every time I look in her
direction. White is sincere. There's no
fleck in it. It isn't anything but white.

| "I see Gary Cooper as navy blue.
His isn't a color that changes or fades.
It's a versatile color, too; you can wear
it with anything, and it wears so well
and it is always navy blue. The shade
is conservative, yet it enhances any par-
ticular attribute you happen to have.
It's fundamental, dependable, and there-
fore always popular, forever in style. It
is there. Gary looks his best in navy,
incidentally.

When the Shriners held their convention in
Hollywood, Charlie McCarthy turned out in
tails and monocle. That's Bergen in the topper

H "People frequently wonder why they
happen to wear a certain color so
much. It isn't," Lola claims, "a matter of
'happening.' Look at your own wardrobe,
and you'll probably find that you have
more clothes in one special color, or
shades of that color, than in any other."

There's no mystery about it, either.
If you say it's because the color looks
well en you, in a way you are putting
the cart before the horse. Why does it
look well on you? Just because you
express that color, or it expresses you.
There is one color which evokes the best
in you, whether looks, disposition, mood.
This is true of everyone, she explained,,
and about the worst mistake you can
make is to wear black if you're a gold
individuality or gold if you're a cerise
or . . . but you get the idea.

Nor is this so other -world and improb-
able as it may at first appear. Psychol-
ogists say a good many of the irritable
moods that beset our daily lives would
vanish if the heliotrope people stopped
living in vermilion homes, and the ver-
milion people stopped trying to work in
chocolate brown offices.

JK When they began to delve into the

whys and wherefores of technicolor

in Hollywood, discovering why this com-

bination of shades "did something" to the
face of a star and wherefore another
combination of shades didn't, they ran
across the psychology of color and began
to investigate it pretty carefully. They
found that color on the screen could
establish a mood in the audience. If you
remember Becky Sharp, you'll recall how
the red of draperies, of wine and of uni-
forms grew more prominent as the threat
of war and bloodshed grew nearer. With-
out the audience realizing it, this height-
ening of reds put them into the frame of
mind to expect conflict.

Nobody starts a fight simply because
there's a red rug in the living room, even
though the words "seeing red" indicate
how much the color red supposedly is
connected with belligerency. But many
an individual has been vaguely irritated
by a certain living room, has felt ill at
ease in it and snappish, and has blamed
on the dinner or the hostess what may
have started as a kind of reflex protest
against this red rug- That is, if he's the
sort of person who re-acts badly to red.
Lots of people love it.

■ "Now, Shirley Temple — she's bright
yellow," Lola observed, "she couldn't

be anything else. She is sunshine. You
never saw a more sunshiny child, or one
who gave more sunshine to others. To
me, the way she moves around and speaks
is like sunbeams flickering over some-
thing dull and changing it to something
bright and wholesome."

■ The importance of color in people's
everyday existence, Lola proceeded,

can hardly be overestimated. Whether
you know it or not. "Everybody wants
color," she said, "he may get it sym-
bolically from the person in whom he's
interested; that person to him is a 'color-
ful character' — or else he isn't interested.
He may get it from his daily work, or else
he speaks of his life in terms of color as
'drab.' The spectrum, actual or symbolic,
is a thing from which nobody can es-
cape."

| Bye and bye I happened to mention
Clark Gable. What item of the spec-
trum does the screen's greatest hero
represent?

"Clark Gable," said Lola, "is the shade
of natural wool. That strong, light beige.
He's real and homespun, he's durable, he
is always himself. If Gable had lived in
another age, he'd have been a frontiers-
man."

■ And this color idea works! Going
home, imbued with the thought of

everybody wrapped in his psychic pig-
ment, I ran into a crazy -quilt. Yes, sir,
a crazy-quilt, criss-crossed with all tints
and tones, standing at the corner of
Hollywood and Vine. Right away I
realized that I'd gone psychic, too, and
was beholding a color aura beneath
which at second glance appeared a brown
suit and maroon tie.

"Oh, hullo!" said the crazy-quilt,
waving his hands and giving that
chuckle, "Woo-woo!"

It was Hugh Herbert.

36

Now— Apply Vitamin

Tajpt^o

Right on Your Skin

OK lEARS we have been
learning about the importance of
the various vitamins to our health.
A-B-C-D-E-G — who hasn't heard of
them?

Now comes the exciting news that one of
these is related in particular to the skin!
Lack of this "skin-vitamin" in the skin pro-
duces roughness, dryness, scaliness. Re-
store it to the diet, or now apply it right on
the skin, and our experiments indicate that
the skin becomes smooth and healthy again!

That's all any woman wants to know.
Immediately you ask, "Where can I get
some of that 'skin-vitamin' to put on
my skin?"

Pond's Cold Cream now contains
this Vitamin

Pond's Cold Cream now contains this "skin-
vitamin." Its formula has not been changed
in any way apart from the addition of this

vitamin. It's the same grand cleanser. It
softens and smooths for powder as divinely
as ever.

But now, in addition, it brings to the
skin a daily supply of the active "skin-
vitamin."

Use Pond's Cold Cream in your usual
way. If there is no lack of "skin-vitamin"
in the skin, our experiments described in
the next column show that the skin is capa-
ble of storing some of it against a possible
future need. If there is a lack of this vita-
min in the skin, these experiments indicate
that the use of Pond's Cold Cream puts the
needed "skin-vitamin" back into it.

Begin today. Get a jar of Pond's, and see
what it will do for your skin.

Same Jars, same Labels, same Price

Pond's Cold Cream comes in the same jars.
with the same labels, at the same price.
Now every jar of Pond's contains the ac-
tive "skin-vitamin" — Vitamin A.

MRS. ALEXANDER C. FORBES, young New
York society woman, grandniece of MRS. JAMES
ROOSEVELT: "With Pond's Cold Cream, my
skin looks soft — not rough or dry."

MRS. WILLIAM RHINELANDER STEWART,

beautiful as when she came out: "The use of
Pond's Cold Cream has helped me to keep my skin
fresh and bright and smooth."

Most People don't know

these Facts about Vitamin A

and the Skin . . .

First Published Reports

In 1931 and 1933, deficiency of Vitamin A ("skin-
vitamin") was first recognized as the cause of
specific skin disorders. In the cases reported, a
liberal Vitamin A diet made the dry, roughened
skin smooth and healthy again. Later reports
confirmed and extended the evidence of this.

In hospitals, other scientists found that Vita-
min A ("skin-vitamin") applied to the skin
healed wounds and burns quicker.

Tests with Pond's Creams

Experiments were made concerning possible causes of
deficiency of "skin-vitamin" in the skin.

I. Dietary — The skin may lose "akin-vitamin" lroni
deficiency of it in the diet. In our tests, skin faults were
produced by a diet deficient in "skin-vitamin." ^ ithoui
any change in the diet, these faults were then treated by
applying "skin-vitamin" to the skin. They were cor-
rected promptly.

II. Local — Our experiments also indicated that even
when the diet contains enough "skin-vitamin," the
stores of this vitamin in the skin may be reduced by
exposure to sun, and also by exposure to warm, dry air
together with frequent washing. In further tests, marked
irritation resulted from repeated use of harsh soap and
water. This irritation was then treated by applying the
"skin-vitamin." The skin became smooth and healthv
again. It improved more rapidly than in cases treated
with the plain cold cream or with no cream at all. The
experiments furnished evidence that the local treat-
ment with "skin-vitamin" actually put the "skin-
vitamin" back into the skin!

All of these tests were carried out on the skin ot ani-
mals, following the accepted laboratory method of
reaching findings which can be properly applied tu
human skin.

Even today it is not commonly known that the skin
does absorb and make UBe of certain substances applied
to it. Our experiments indicated not only that the skin
absorbs "skin-vitamin" when applied to it, but that
when "skin-vitamin" is applied to skin which already
has enough of it, the skin can store some of it against
a possible future need.

The Role of the '-Skin-Vitamin "

The "skin-vitamin"- functions like an architect in
regulating the structure of the skin. It is necessary lor
the maintenance of skin health. When the skin is seri-
ously deficient in the suppiy of this vitamin, the skin
suffers.

Signs which may indicate
"Skin-Vitamin" deficiency

Dryness, Roughness, Scaliness resulting in a Dull Ap-
pearance.

Copyright, 193 8. Pond's Extract Companj

Ask Your Druggist About NATIONALLY ADVERTISED BRANDS WEEK, September I to 10

37

OFFSIDE AT LAKESIDE

Lakeside is the golf club of the stars and
that is where you can see picture people
at play, if you're lucky enough to belong

By WHITNEY WILLIAMS

| Midway between the First National
and Universal studios, hard against
the fern bordered shores of Toluca Lake,
lies Lakeside.

What makes Lakeside interesting and
different is the fact that it is to Hollywood
what the Racquet Club is to the New
York's fashionable sport-minded, what
Newport and Miami symbolize to the east-
ern rich.

Lakeside is the playground of the stars
— the golfing stars, especially. The club
house is a low rambling structure, built
along Spanish lines, with a mammoth
tiled swimming pool in the rear, and
open-air patios on three sides. It is
vine-covered, and overlooks one of the

acknowledged ten best courses in the
United States.

B It was here that Humphrey Bogart,
one of the leading lights of the club,
gave me some of the more intimate low-
down on some of the members. We were
sitting in the grill. Our table adjoined that
of Bing Crosby. At other tables were
Richard Aden, Adolphe Menjou, Edgar
Kennedy, Grantland Rice (the sports
writer), Jimmy McLarnin (formerly
welter-weight champion of the world),
Radio -columnist Jimmy Fidler, Frank
Shields (the tennis player), Director
Gregory La Cava and William Wellman, a
dozen other celebrities whose names mean

Left, Helpful Bing Crosby reminds Bob Burns, who doesn't seem to know his
own strength, that skill rather than brute force is the secret of success on the links

Above, Humphrey Bogart, one of the ranking
players, took time off at the nineteenth hole
to tell some tales on his fellow members

much in the world of pictures and sports.
"Bing is the club champion," remarked
Bogart, who himself shoots in the
seventies, as the crooner rose to go out on
the fairway. "And not only once did he
achieve this distinction, either . . . two
years running he's been the champion."
Bogart, as unvillainous in his sport
shirt and grey slacks as he can be das-
tardly on the screen, began to warm to
his subject.

"Probably more things out of the ordi-
nary happen here than at any other golf
club in the country. For instance . . .

"Bing, of course, plays the game every
possible moment. At the studio, when-
ever he sees he won't be needed for an
hour or so, he jumps into his car and
speeds for the course . . . telling the assis-
tant director where he may be found. It's
a good four miles, but no matter.

"When they're about ready for him on
the set, the club is telephoned, and word
relayed by caddies from hole to hole un-
til the message catches up to him . . . then
he dashes back to the studio. It's trying
on the studio's nerves, I've heard, but
Bing has never yet held up shooting.
With overhead five thousand dollars
or so an hour, that would be pretty
costly. [Continued on page 50]

38

L

et refreshing

4

Uouble Mint gum

eep you coo

The fickle male has an eye for girls who
jire- not only good dressers but who have a taking
smile as well. And now healthful Double Mint gum gives you
both — style and smile. Millions enjoy this double-lasting
mint-flavored gum. It helps assure sweet breath, relaxes tense nerves,
makes your mouth feel cool and refreshed — whereby your whole self seems
lovelier. Then too, chewing is nature's way to wake up sleepy
face muscles (promoting young contours) and to brighten your teeth
so that your smile reflects a new loveliness to attract friends.
-- However, it is smile plus style that wins. A perfect example is

lovely Sonja Henie, acclaimed world famous artistic skater
and distinguished Hollywood star. Asked by Double Mint gum
Sonja Henie has designed for you this delightful, cool looking dress, left-
adapted from her applause-getting Norwegian skating costume
which she also designed. Smart. Becoming. And by
Double Mint made available to you in
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delicious Double Mint gum keeps

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enjoy this non-fattening sweet. Also
remember it aids digestion. Sold
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Left, Sonja Henie Double Mint gum dress. Designed and
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Ask Your Druggist About NATIONALLY ADVERTISED BRANDS WEEK, September I to 10

39

Do you want to keep
your hair piled high
as Danielle Darrieux
does in 7/ie Rage of
Paris! There's a hint
for you in this story

Half the
party do
the pains
and he
some s h

■ A party may mean refreshments by a
caterer ... a swing band . . . formal
frocks and dinner coats ... or it may mean
a front porch gathering with homemade re-
freshments and homemade frocks . . . and
canned music. But no matter how elaborate
or informal a party is, it's always loads of
fun. I mean fun for the girl who knows how
to "pretty up" for it! The wall-flowers at
any party are the ones who didn't take the
trouble to make themselves extra-attractive
for the big occasion. Don't be like that! Be
smart about your party preparations and
you'll be a sensation, not a wall-flower!

Put extra thought and time on your
beauty routine. Put a little extra z-z-zpmh
in your hairstyle and your make-up. For instance, WHY NOT —

— ACCENT your eyes (so they won't fade out wearily under
electric lights) with blue mascara that's applied with a spiral
brush? Twirl the brush lightly against your upper lashes (never
the lower ones — that would just make you look old and hard and
tired of it all), pushing upward slightly to give your lashes a
synthetic curl. If blue mascara strikes you as too theatrical, there's
black or brown to please your conservative soul. . . . This
mascara gives your lashes a silkiness as well as sootiness, and
it's lasting and harmless. Comes in a metal tube about the size
of a lipstick, and the brush fits neatly inside. Costs 25 cents.

— TREAT your eyes, before you make them up, to a cleansing
bath in a waterclear lotion? It will remove bloodshot traces, make

fan of a

pends on

you take,

re are

or t cuts

By AKftf VERXOX

them feel clear and refreshed, ' add to their
brilliance. I'll be glad to send you the name
of an eyelotion that is made from an oculist's
prescription, comes in an attractive blue glass
bottle, with dropper-stopper ready for use.
One of the three sizes — 20 cents, 60 cents and
one dollar — will find its place in your party
budget. You may want to carry the smallest
in your purse, to rinse away irritation when
smoke gets in your eyes.

— FLATTER yourself with a facial before
starting to make-up? Cleanse your skin
first with a cleansing cream, remove that
with absorbent tissues, pat with cotton soaked
with a stimulating skin tonic or astringent.
Next, an emollient or tissue cream. Pat it
well into the skin with upward, outward finger motions. Remove,
and again slap on astringent to tighten the pores somewhat, help
counteract the oiliness, before smoothing on protective cream as
a base for your make-up. I'll be glad to send you the name of
an attractive pink and white beauty kit that contains all the
essentials for this routine (and excellent preparations they are),
as well as a softening lotion for hand and face use, a large box
of fragrantly fine face powder. Cost is $2.50, a' bargain if there
ever was one — so do write me for the name.

— TINT your cheeks with a new rouge that is a pale orchid in
the box, but just the right blush shade for your skin when it's
applied? The secret of this powder rouge is mat it does not paint
the cheeks with an opaque color. Instead it tints the natural oils

40

of the skin with a transparent color which
combines with the skin tone beneath,
produces the perfect match for any skin.
Apply sparingly, and rub it in well with
your fingertips, till you have the desired
blush tone. One application will last night
and day, survive a rain storm, yet yield
readily to the cleansing efforts of soap
and water or cream. Fifty cents in your
nearest drug store.

— PERFUME your whole body by slosh-
ing a perfumed cologne over yourself, or
by patting it on with a square of cotton,
after you step from the tub? Write me
for the names of two "scent events" from
a certain Parisian parfumeur. The first
cologne has a tang-y perfume, the other,
a caressingly mellow one. Both contain
all the refreshing properties of cologne,
are equally kind to your purse. One
dollar brings a stunning flacon to your
dressing table, lets you luxuriate in the
fragrance for nights to come.

— SLENDERIZE your fingers by wearing
your nails long? I'll gladly send you the
name of a transparent and colorless polish
foundation which will help protect your
nails while they are growing out, keep
your polish smooth and intact once they've
reached the mandarin stage. Over this,
flow on a coat of salon-type polish to
harmonize or contrast with your gown,
make your nails sparkle like jewels. If
you've never worn dark nail polish, try
it now — your hands will seem whiter,
more fragile, by contrast. You'll like the
muted rose and orchid shades, the low
price (35 cents) of this creamy polish.

— CURL the ends of your hair, and pile
them high on your head for one of those
pre-war coiffures? Instead of moistening
your hair with water (which won't hold
the curls in place for very long, and may
prove harmful to your crowning glory)
dip your comb into a bottle of a new
amber-colored curling lotion. This, you'll
find, lets your hair dry quickly, sets the
curls securely, and gives them a polished
brilliance. Ten cents buys a four-ounce,
wide-mouthed bottle, smartly labeled in
black and yellow. Want the name?

— PIN those high-piled curls in place
with springy bob pins? I can recommend
some that hold their shape through thick
hair and thin, won't let you down at the
wrong moment. The outer side is coated
with a dull, non -glaring finish of black or
brown, so that the pins are practically
invisible once they're in place. If you are
having trouble discovering a new hair-
style, then the chart on the bob pin card
may prove helpful. The coiffures are up
to the minute, shown clearly enough so
that you or your hairdresser will be able
to copy them easily. Thirty -six pins for
ten cents — and cheap at the price.

STEPPING OUT THIS SEASON?

Then write to Ann Vernon for the names of
these party-going products. She will be glad
to help make you over into the popular girl
you've always wanted to be. Just send your
picture, and tell her whether you're troubled
with large pores and blackheads, dandruff,
excess weight or brittle nails. Remember to
enclose a self-addressed stamped envelope
(U. S. postage, please) for her answer. Ad-
dress your letter to Ann Vernon, HOLLY-
WOOD Magaiine, 1501 Broadway, New York.

^ atizi Wac£/

JUDY* "He nagged and acted so terribly mean, it sure looked like a
bust-up for a while. I really felt sorry for Jane."

ALICE: "Aw, be fairl Tom raised cain— but so
would you if you always had to go around in
tattle-tale gray. Jane was to blame for using
lazy soap. It left dirt behind! Tom's shirts
and her whole wash showed it."

SALLY: "Well, I'm glad the fuss has
all blown over! If we'd only told
Jane sooner how Fels-Naptha's richer
golden soap and lots of naptha hus-
tle out every last speck of dirt — the
whole mess wouldn't have happened."

MAHYJ "Better late than never!
Since she listened to us and
switched to Fels-Naptha Soap,
everything's peaches again and
they're off for a second honey-
moon !"

COPB. t998. FEL8 * CO.

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Ask Your Druggist About NATIONALLY ADVERTISED BRANDS WEEK, September I to 10

41

He Had Plenty of Nothing

[Continued from page 27]

Jimmie had appeared on the school plat-
form to "give a little talk," further added,
"Gee, a fellow has to have poise to be an
actor, doesn't he? Well, do you remember
this . . . ," and so the old story was re-
called again and again, so that ex-school-
mates, now grown and some of them mar-
ried, recalled it to their spouses across the
dinner table, and in a short time the whole
town was laughing.

The incident had been this. Jimmy as
a young boy, in his awkward teens (and
he has never quite outgrown them physi-
cally), was a radio addict. That was in
the days before radio was the all-talking
show that it is today, and if Jimmy even
got music over any one of his fifteen home-
made sets, he was deliriously happy. His
sets were made of oatmeal boxes, labori-
ously wound around with a fine wire.

His bedroom was one mad scramble of
wires, antennae and control panels. He
had one panel covering one whole wall on
which there were fifty different switches.
"One of those foolish things where you
pull all fifty of the switches and then
maybe one little thing happens," as he
has since explained.

When the loud speaker horns came in,
so that Jimmy no longer had to rely just
on ear phones, he made a special trip to
Pittsburgh, bought a loud speaker, came

back on the train carrying it in his arms,
guarding it and cuddling it with as much
fond care, as though somebody had en-
trusted him with a baby. Then, to see how
good the horn really was, he attached it
to the radio, set the radio in the window,
then got into his father's car and backed
the car off down the street, to see how
many blocks away he could still hear his
radio. Which is just to give you some idea
of what his family, even with cotton in
their ears, had to put up with.

■ Came the time of the Harding inaugu-
ration, and the announcement that it
was to be broadcast. Jimmy had never
yet heard any "talk" on any of his radios,
but for this great event he prepared weeks
in advance, and his efforts were success-
ful. Jimmy, with a fanatic frenzy on his
face, heard every syllable and band note
of the entire proceedings, and when he
went to school the next morning, he
couldn't help telling some of the other
boys about it. Word spread from boys to
teachers, and later in the day at the school
assembly, Jimmy was invited to tell the
school all about it, too. From this moment
on, his interest in radio waned. After that,
he could never quite disassociate it with
the embarrassment and the misery it
caused him on this never-to-be-forgotten

occasion. It was bad enough to be shoved
out there on the platform. It was bad
enough to just stand there, feeling all
hands and feet (he had already reached
the six foot mark and was destined to
grow further). It was bad enough to see
countless rows of grinning, smirking faces
swimming there before him. But to have
to talk on top of all that!

What his speech finally amounted to
was mostly a series of stammerings and
stutterings with numerous "Well's" cast
here and there, but eventually it came
out that there had been a lot of talking
by them, there in Washington, and a lot
of band playing, then more talking, and
then the final band selection, which as
Jimmy finally managed to blurt out was
that grand old selection, "Columbus, the
Germ of the Ocean!" If he had said it in
the embarrassed mumble, like the rest of
his speech, he might have gotten away
with it, but in his relief to have finished
with the whole miserable business at last,
he fairly shouted it.

That was enough; it brought the place
down; even the pictures of past presidents
on the wall shuddered and shook — and
from that day to this, the mention of any
patriotic song has Jimmy in a jitter, re-
membering the embarrassment-boner of
his first public appearance.

| Nor was Jimmy any more at ease with

young women than he was in front

of an audience. "Somehow or other, I

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never had any dates of my own," he has
recently explained. "I jusl never got
around to asking anyone myself, so at the
last minute one of the other boys would
undertake to get somebody for me — you
know, blind date stuff — " and Jimmy's
chagrined expression foretold the out-
come. "I tell you, it's the truth. If there
was a fright within fifty miles I always
got her! And that's — well, that's bad for
a boy. It discourages him, makes him in-
different right from the start. At least it
did me. I got so I didn't even try to make
conversation any more. Besides, I was so
wrapped up in my other interests — after
radio it was magic, and after magic it was
motion picture projectors, and after that
it was architecture; it was always some-
thing. And when I'd try to enter the con-
versation by way of an antenna, a Gothic
arch, or a chemical solution, I never got
very far, because the girl wouldn't know
what I was talking about and naturally
preferred a subject on which she was at
home. So after a while I just gave up.
I could dance a little — in fact I liked to
dance — but there was a problem there
too, the problem of picking on somebody
my own size. As seen from the four cor-
ners of the dance floor it usually looked
as though I were dancing with myself. It
was always such a surprise when a space
cleared and there was the girl, poor
darling, not even able to wink at some-
body else over my shoulder. Our town
was full of short girls.

"But it was the same even when I
went to Princeton. There, even if I
could get a girl who was tall for myself
for a dance, how was I going to be sure
that the other fellow's date was tall, when
it came to 'exchange' dances? No, it was
a real problem, and I avoided it, pre-
ferring the stag line.

"I did invite one girl once to a house-
party and afterwards regretted it, only
that, in a way, was my accordion's fault.
I had met her somewhere on the Triangle
tour; hadn't known her very long, but
she was tall and cute too, and so I asked
her on the spur of the moment. A shy
fellow always does things either on the
spur of the moment, or not at all, and
usually one is as disastrous as the other.
Well, she arrived at the houseparty, and
during the first part of the first evening,
everything went fine, until twelve. The
dance orchestra had to quit at twelve, and
after that they pounced on me and I had
tc haul out my accordion, and a couple
of the other boys with guitars and banjos
joined me, and we were the carry-on band
until five in the morning. I have never
seen her or heard from that girl from
that day to this. Oh, I was a male wall-
flower in other ways too. I was always
the sort of fellow who, three days later,
thought of what I should have said or
done on some particular occasion. The
realization of how I could have turned
the dull moment into one scintillating with
laughter was something that kept me
awake nights crying over the unspilt
humor. But then I guess I don't have to
go into all that; already you have some
idea, I'm sure, of what a sour date I
was."

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43

BS Today, of course, all that has changed.
Today there isn't a girl in Hollywood
who wouldn't jump at a date with Jimmy,
and notably among those who answer his
phone calls without the usual star- stalling
are Singer Rogers, Rosalind Russell and
Eleanor Powell — a triple threat to his en-
tertaining prowess. A few years ago
Jimmy couldn't have discussed anything
more discussable than the weather prob-
ably, but today he's one of the most en-
tertaining and delightful young men on
the whole Hollywood scene (screen, too,
for our money! ) . The answer is that
through his acting career he has overcome
his complexes. The career may not have
fit him in the beginning, but eventually
he forced himself to fit it, and the gratify-
ing result is his personal, as well as pro-
fessional success. (Five pictures in a row,
gives an idea of his record; the last-made,
Shopworn Angel, and his next, You Can't
Take it With You, for Columbia.)

H But it wasn't one of those hocus-
pocus overnight changes. Jimmy, back
there in the beginning, suffered as only a
shy, ill at ease boy can suffer when things
go wrong, but because things did go wrong
he is where he is today. A few of his own
recollections of those nightmare moments
will suffice to show what we mean.

"There were, first of all, those horrible
experiences at the Cape, at the first little
theatre where I worked with Maggie Sul-
lavan and Hank Fonda, and the others.

Half the time we worked without sufficient
and proper props, and I'll never forget,
on an opening night, coming to a part in
the play where I had to come onto the
stage with a new-born baby in my arms.
About half a minute before my cue I sud-
denly discovered that there was no baby,
not even a doll. Josh Logan said, 'Think
nothing of it,' and whipped out a hand-
kerchief out of his coat pocket. He shook
it out, gave it a couple of flips, tied up a
section of it to faintly resemble an in-
fant's head, and handed it to me. With that,
cooing and clucking at it, I went out onto
the stage. Hilarity? That's not the word
for it . . . tie up a handkerchief yourseli
and see how big a baby you get! But it

Jack Oakie has a new and fatal
charm. No longer is he man-
mountain Oakie, for in a sudden
burst of energy, he took off 60
pounds in as many days. Exactly
how he accomplished this miracle
of figure-moulding is told in next
month's

HOLLYWOOD MAGAZINE
on the news stands the first week
in September.

was going through things like that which
finally rid me of all sensitiveness.

K "Again, on the opening night of a play
in New York, I had to play the part
of an Austrian boy, Austrian blade, no
less, and oh, I was really a rascal! The
play was already a very tired play, having
toured all the outlying suburbs; then for
several months the producers had lost all
hope and had stored its scenery some-
where and fired its actors. But, somehow
or other, hope had been revived, and so
had the cast — with me, as an addition.
Opening night, mind you, and the scenery
still with a cloudy halo of warehouse dust
all about it. It was the scenery which un-
did me. The set was a hotel suite. Came
a knock on the door, and unsuspecting I
went to open it. But it didn't open. It had
no intention of opening. But it had to, for
there was another actor on the other side
of it, waiting to come in. I struggled and
strained, then thinking that maybe it was
stuck at the bottom, with one Herculean
effort I lifted — and then pulled. It gave.
So did one of the hinges. After that the
door sagged inwards and kept swinging
back and forth all during the rest of the
act. But that was nothing. As the door
gave, so did the phone give out, with one
long ring.

"Well, the phone was supposed to ring
all right, but not until after the actor
who had just come in had left again, but
it had taken me so long to let him in

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that there was the phone ringing already,
and it was impossible to say what I had to
say on the phone while he was still there,
because it was about him. Nor would he
just skip the whole thing and go — actors!
you know actors! why of course he
wouldn't leave until he had spoken his
bit. The phone kept ringing. I finally an-
swered it; made a great to-do of say, 'Yes?
Who? No, you must have the wrong
number' and hung up, hoping that the
prop man would get the idea and give me
another ring a little later. Oh, I know it all
sounds like something out of a gay-
nineties' comedy, but Scout's honor! this
is the truth. And that isn't all. Another
door on the right suddenly swung open,
thrown out of line by the giving-in of the
first door, probably, and twice I tried to
shut it and make it stay shut. The third
time just as I reached for it, so too did a
backstage hand, like some ghoulish hand
in a murder mystery. Everyone in the
audience saw it, everyone who hadn't al-
ready left I mean, and in that instant I
do believe I gained my final victory over
that old embarrassment ailment. '

"Having gone through that, I figured
that nothing could or would ever em-
barrass me again, and I was right. Inci-
dentally, one of the critics reported in his
paper that 'James Stewart wandered
through the play like a befuddled tourist
on the banks of the Danube.' Considering
everything, I think his criticism was very
mild."

All these experiences gave him more
than just confidence. They also gave him,
though he may not be aware of it, a very
special and unique sense of humor, which
is a definite part of his charm today, and
no story about him would be complete
without at least mentioning it. He has, for
example, the very surprising talent for
telling a story, in which the laugh is on
him, without letting you know that he
also knows it. Yet you laugh, anyway, be-
cause you feel at home with him, and be-
cause he isn't one of those temperamental
handle-with-chopstick boys either. You
laugh right in his face, and he sort of
cocks one eyebrow and says, "So?"

But he's not embarrassed; he has long
since grown out of that; now it's just sort
of a gag with him. Of course all this
touches on a very fine point, and perhaps
it needs explaining. There's many a mad-
cap in this town who will burst into an
office with, "Say, did you hear about the
joke that so-and-so played on me!" All
of which comes under the heading, not
of Humor, but of Self Advertisement.
Jimmy's humor isn't like that; it's a very
special brand, the kind that isn't often
advertised in Hollywood. It's fine and
subtle, like his acting.

In fact, everything about him is that
way. His Appeal is made up of a dozen
pleasant modicums. He is gracious and
courteous, but not insipidly so. He is a
wag and a buffoon, but not outlandishly
so. He is modest and simple, all those nice
things that you hope your stars may be,
but rarely find that they are. It's hard to
put your finger on his main attraction,
because it's made up of so many little
things, but whatever that Something is,
he certainly has plenty of it.

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45

Frank McHugh claims that fate patted him on the head,

but also socked him neatly on the jaw. So he should be

able to play the title role in Mr. Chump, his next for

Warner Brothers, with real feeling

Licked by Success

He wanted to work and win
but Hollywood never would
give him a fighting chance

By SERENA BRADFORD

■ Across the Warner Brother's lot
stamped Frank McHugh, mild blue
eyes brightly indignant, brown hair posi-
tively crinkling. He didn't even pause to
toss a crumb into the goldfish pool where
in finny content dwells Charlie who re-
minds Frank of a lawyer he used to know
in the home town of Homestead, Pa. — the
same nosey look, the same cold, fishy
stare.

"So there it goes again, hey?" McHugh
was muttering, "Gone! Wow! Like that!"
He made a kind of whoosh gesture. "Zam!"

At least, it sounded like zam. Naturally,
anyone would stop the poor fellow and
ask him what's the matter.

"I want to be a lawyer!" McHugh
howled.

Well, why don't you? I inquired.

"Why DON'T I?" For a moment I
thought the man was going to strike me.
"I've been trying, haven't I?" he de-
manded, "haven't I?" He ran a hand over
his brow. "Since I was a kid in knee
pants I've been trying to take a bar exam
but I can't ever catch up to one. And
today, just when I'm getting all set again,
they — " He rolled his eyes heavenward
in splendid despair and flapped his hands
in the justly celebrated McHugh gesture.
— "they put me in another picture!"

That's terrible, I agreed.

"Not," McHugh added hastily, "that I
don't want to be in pictures, you under-
stand. I love Hollywood. I love my art.
But I want to be a lawyer, tooooooooo."

■ They've been threatening at Warners',
to make him a star. He's never
yearned to be one, but if they say
he's it, that's fine with him. Only — he'd
still like to be a lawyer, and, by gravy,
he's going to be a lawyer if it takes him
one hundred and fifty years.

"Which, from present indications, it
will," he admitted with a gusty sigh.

But why this attorney complex?

"Because a lawyer can sit down prac-
tically his entire life," McHugh retorted
gloomily.

It seemed as good a reason as any. Yet,
seriously, McHugh for years has looked
forward to taking his examinations and
becoming a full fledged attorney with the
right to wag his finger under a witness'
nose and loose off resounding speeches to
the jury. He desires to be a criminal
lawyer; that is, not criminal himself but
an expert on criminal law and such, for
he thinks there's more human nature and
drama in that branch of the practice.

Corporation law? Bah! They don't
very often have beautiful lady witnesses
or, for that matter, beautiful lady clients,
when corporation law is in question. But
let a good crime come along and the wit-
ness chair is full of debonair damsels. . . .

"With nice ankles," said McHugh in
roguish mood.

H The way he got interested in law
studies, he was a lad leaping with
the rest of the McHugh family (six of 'em,
including Ma and Pa) from this one-night
stand to t'other in such offerings as East
Lynn, Uncle Tom's Cabin wherein during
an emergency he once played "Little Eva,"
and Thorns in Orange Blossoms — when all
of a sudden he saw an actor reading a
book. A law book. Frank asked the actor
what good was a law book and the actor
told him.

It seems, from reading up on such mat-
ters, the actor knew what law the company
manager infringed when he failed to pay
salaries. And if the actor had only taken
the exams and become a sure enough at-
torney, he could probably have collected
the salaries, at that.

To Frank it seemed wonderful that any
human being could have such power.
Haul people into court! Tell about 'em
to the judge! Frank decided then and
there to become a lawyer himself.

Easier said than done, as he soon dis-
covered. For after he'd read law with his
fellow actor for many months, he set
about finding an examination to take.

Well, hey-nonny-nonny. The comedian
had squeezed in a good grammar and
high school education, between shows, at
Pittsburgh; and here and there, in sec-
tions, he'd managed junior college like-
wise. But in New York, where he was
located by now — "located" meaning he'd
be there maybe a year, maybe six months,
depending on the theatre business — it ap-
pears they required a university degree
before you could so much as sniff at a bar
examination.

46

Nothing daunted McHugh made ar-
rangements to skin up to Fordham day-
times and betweentimes to hold down
whatever theatre work came his way and
he'd just about fixed it up to snatch time
off from college for matinees and was
learning what Blackstone, the great legal
authority, thought concerning this and
that — when somebody gave him a job as
stage manager for a stock company over
in Pennsylvania.

■ "That's how it's always been,"
McHugh grumbled, "not but what I
appreciated the job, you understand. But
every time I get set to bone up on law
and finally take the bar examination, a
theatre or movie job comes along that I
can't afford to miss. That I don't want to
miss, either."

His whole career, in fact, has been a
staunch struggle against success. McHugh
decided to become a lawyer, and Fate de-
cided he'd become an actor. If he'd con-
tinued as a stage manager, stage director,
or a producer of small shows in any one
of half a dozen towns where he "settled
down," he'd have found time to study for
the bar and to realize his ambition. Or if
he'd been left to himself he'd have worked
his way through college and law school
and, again, realized his ambition.

"I never drew a long breath and de-
cided that here — wherever it might be —
was my lifework/' McHugh declared, "but
what pretty soon I'd be booted out into a

better theatrical setup. I tried my darndest
in the early days to swap acting for a law
office. Result? I landed in the movies!"

■ Success, as a matter of fact, licked
him. His success on Broadway, for
instance, in 7s Zat So? and in London in
The Fall Guy. Success kicked him up the
theatrical ladder when all the while he
was hanging back with a copy of Black-
stone hugged to his bosom; it is to his
achievements as an actor that he owes his
failure to knuckle down and become a
lawyer. He simply didn't have time to be
both.

Oh, but he tried. He made the best at-
tempt you ever saw to elude Lady Luck,
to fight against any laurels from Broadway
— you'd have thought they were poison
ivy.

While he produced small shows in
Pennsylvania he sat up nights with Black-
stone. He was about ready to get going
on exams in that State when suddenly he
found himself managing a show company
in Iowa. So! So he sat back, reached for
Blackstone, and got himself ready to apply
for a chance to become an attorney in
Iowa; and discovered that he was a stage
director somewhere in Ohio.

Many an aspiring legal student would
have given up and cried, "Okay, okay,
then I'll BE an actor!"

Not our Frank! He kept on studying.
Twice again he was absolutely prepared
for bar examinations. Twice, just be-

fore he took them, the legislatures tight-
ened up the requirements in the State
where he dwelt at the time and auto-
matically made him ineligible.

"Like the cowboy that got thrown out
of the dance hall three times," McHugh
observed lugubriously, "sometimes I think
they don't want me, anyway." He bright-
ened, the eternal optimist. "Of course,
that was only two States. There's forty-
six left, you know." He thought a mo-
ment. "And Alaska. And Hawaii."

He's had a lot of fun, though, trying.
Learned a great deal about different laws
in different places.

■ "I'm in favor of bigger and crazier
laws," he remarked facetiously, "gives
us attorneys more work. You often hear
people say, "There ought to be a law.'
Matter of fact, there probably is. Seems
to me whenever I dig into the subject
that there's a law to cover everything you
can imagine, and some things only a legis-
lator could imagine.

"Why, in Massachusetts — well, I haven't
studied Massachusetts law lately, though
that's one place where I thought of taking
the exam. Anyhow, it used to be and
perhaps still is against the law to play
baseball on Sunday there, and policemen
would even stop you from throwing a
hand ball back and forth. And you could
give a 'show' in a vaudeville house week
days, but on Sunday it had to be a 'sacred
concert;' which means it contained no

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dancing but might otherwise be the same
show. But that's all right. I think any
community's entitled to exactly the kind
of laws and ordinances it wants."

This law study was often diverting, not
only in Massachusetts. In Oklahoma, for
example, the sheets on beds in hotels had
to be at least six feet long. In Colorado
you can't fish on horseback. In Boston,
you can't have hatpins sticking out more
than four inches beyond your hat, nor —
according to the old Blue Laws — kiss your
wife on the Sabbath day.

In California, you mustn't pick cactus.
In Maine you had to wear a bathrobe
over your bathing suit unless you were
actually on the beach or, presumably, in
the water, and in several States women
bathers still could be compelled to wear
stockings. You can't sing on a main
thoroughfare in a bathing suit in one
Florida town and in one California town
you can't ride a bicycle past a fire truck.

Yes, and they passed a law in California
making it illegal for two. people to take
a bath simultaneously in the same tub!
What these lawmakers won't think up!

■ Of course McHugh didn't spend every
moment studying law. He spent some
of his time getting acquainted with more
stage actors who were eventually to be-
come Hollywood movie actors than any
other actor who has ever come here.
McHugh didn't need to meet people when
he arrived on the West Coast. He knew
everybody already.

When he first began to learn from his
law studies that you can't legally hitch
horses to shade trees in certain localities,
he was at the Empire Theatre in Pitts-
burgh where Guy Kibbee was the prime
favorite. By the time McHugh had un-
covered the legal fact that in certain other
localities you are obliged to wash your
milk bottles spick and span, he was in a
Des Moines stock company of which the
leading lady was Eloise Taylor. McHugh
introduced to Miss Taylor a fellow by the
name of Pat O'Brien who dropped into

town with a road show, and Miss Taylor is
Mrs. O'Brien now. The leading man of
the Des Moines stock company was Robert
Armstrong. When he left, John Litel
(now at Warner Brothers with McHugh
and O'Brien) took his place.

And no sooner had McHugh attained
the knowledge that in some cities you can
be pinched for jay-walking while in
others you can't, and that in some States
you can shoot buzzards and in others
you dassent, than there he was in Balti-
more playing stock with Spencer Tracy.
And thence to London with James
Gleason.

He had ploughed through the second
volume of Blackstone before he met Frank
Morgan, starred on Broadway in Tenth
Avenue, which also had McHugh in the
cast, and he was again making a stab at
law school in New York when he played a
role in Excess Baggage. -Miriam Hopkins
was the star.

But while he'd met everybody and
everybody wanted to entertain him as
soon as he joined the movie colony,
McHugh continued to devote a fair amount
of time to his law studies. You can't shake
off a McHugh, once he sinks his teeth into
an idea. He built shelves in his den at
home, he put his law books on the shelves,
he fixed a chair and a light; and by gosh,
he studied law.

I "California bar examinations are
pretty tough." he sighed, "But it looks
as though I might settle in Hollywood long
enough to make it this time. Honestly, it
does. Say in the next fifty years."

He looked thoughtfully for a moment in
the direction of the goldfish pool and
Charlie-who-looks-like-a-lawyer. "May-
be I'd better make it sooner," he amended,
"or sell the station wagon."

He grinned broadly. It's no secret that
he and Stu Erwin were given tickets by
a speed cop the other day for racing their
new station wagons down an empty stretch
of Ventura Boulevard — and that he needs
a lawyer for that hearing next week!

your Dackafire ci
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48

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Honey Chile's Secrets

[Continued from page 35]

decide to take in a fraternity dance at
the last minnit? What's really got him
is, the girl he asked first decided to take
in the dance with someone else. So don't
fall for that 'just decided' gag. If you
do you'll feel like a pcor fish before the
evenin's ovah."

"Nevah let a man think you're fixin'
to catch him," she continued. "Now, you
know what I mean, honey. Let him know
you like him a little, if you do, that is.
If you don't, 'taint upright to say any-
thin'.

"An' let him do all the talkin' on the
love business. You jus' listen. Let him
think you believe every word he says.
Smile sweetly, but by all that's propah,
don't fluttah your eye-lashes. And out
you'll go with the gentleman if you try
it. But not out dancin'!

"An' don't flirt with your girl friend's
beau. It's not cunnin' or smart, or modern.
It's plain obvious. You'ah tryin' to natter
your ego, or worse, tryin' to make your
own fella jealous. And all the same time,
provin' you'ah a sap! By the time the
evenin's ovah, if the other girl has half
a brain and your own date isn't losin' his
eye-sight, you'll be pinin' away — well —
behind the eight ball, without a cue in
sight."

And that appeared to settle it as far as

Patricia was concerned. She'd read us
the book, and we could borrow or buy
it. The rules were simple, sane, logical.
And proven, I was reminded as the phone
rang. The Wilder looked at it, smiled
impishly. "Ah forgot to tell you — nevah
ans'ah the first ring."

The bell had rung for the fourth time
when Pat lifted the receiver. "Hello-o-o
. . . Ye-ah . . . this is me . . . Ah know
... ah got your message. (Hm-m-m,
thought I, she does practice the rules) .
"Dancin' tomorrow night? ... ah can't
make it, honey . . . Saturday night?
Shu-ah, ah'd love to go Saturday night
(That would be rule number two, 'Nevah
accept a last-minnit date') . . .Oh,
tha-a-ank ycu, kind suh . . . but don't
let me catch you tellin' that to all the
girls. (Right to form, the Wilder gal.
'Let him do the talkin' on the love busi-
ness,) Huh-mmm . . . time foah your
birthday . . . Ah'm knittin' on it now . . .
Well . . ah'U be fixin' to look pretty for
you Saturday night . . . 'bye now."

Hollywood's most popular girl was
chuckling softly as she hung up the phone.
She tackled her needles again and clicked
away earnestly at the intricate rope stitch.
"Like I tol' you, honey," she grinned, "it
gets 'em every time. So really, all ah've
got to say is 'tend to you'ah knittin'."

P5S

Ws

FT

1

Ah, with what grace and
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fire Edward G.
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[Continued jrom page 38]

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"For years, there"s been a feud on
between Bing and Dick Arlen. The
best of friends, on the course they're
deadly rivals.

"Bing is always relaxed, and steps up
to the ball and makes a perfect shot, as
a rule. Dick, whenever he plays with
Bing, is inclined to be over-anxious, he
tightens up and as a result usually over-
plays his ball.

"Another feud that has existed a good
many years is between W. C. Fields and
Gregory La Cava. Of course. Bill Fields
hasn't been able to play since he's been
ill, but prior to that you would have
thought they were about to slaughter each
other.

"I remember one occasion, in particular,
during an important match. La Cava
made a shot, and the ball landed in a
gopher hole. How the hole got there on a
perfectly-kept course we'll never know,
but there, nevertheless, it was, and Greg's
ball snuggled neatly inside it.

"Greg studied the situation. 'What'll I
do?' he asked Fields. 'Play it!' Bill roared.
La Cava was burned, but he carried
through, like the good sportsman he is.

"A few holes later, Greg came upon
Fields standing in a sand trap. And Bill's
ball, this time, lay directly behind a large
rock, as though it had been planted there.

" 'What'll I do?' it was Fields' turn to
ask, and he inquired in no uncertain
terms. An unholy light appeared in La
Cava's eyes ... he still was burning. 'Play
it!' he yelled, in all his Latin heat. To
play it meant breaking the club, but Bill
was in a spot . . . and knew it.

"Murder filled the atmosphere. But it
always does whenever those two play.
Especially that day when Greg broke
Bill's putter— the one he's used for more
than twenty years — over his knee — in
showing his caddie what he meant by
ordering him to take his own putter over
to a tree and make a letter U of it . . .

"You can believe this or not, just as
you please . . . but I'll swear it's true,
and others will back me up. Jack Mulhall
was so mad one day that he knocked him-
self out!

'We'd been playing around, and Jack
made one dud shot after another. Finally,
he missed a putt even a baby could have
scored.

"He threw down his club, called himself
names in particularly flowery language
. . . then, before we knew what he was
about to do, gave himself such a hard right
uppercut to the jaw that he knocked him-
self out cold. It took five minutes to bring
him out of it. He hasn't repeated that, but
now, whenever he misses an easy putt, he
bends over and orders his caddie to kick
him as hard as he can.

"You'd never think it, to see him on

the screen, but Adolphe Menjou is the

most excitable player we have in the club.

"I'll never forget the time he went out

with a foursome in which I was playing,

and after every stroke heatedly demanded

of his caddie what was wrong with his
playing. What's wrong with me?' he'd
shout.

"We came to the fourteenth hole. 'What
am I doing?' he shouted at his caddie, after
a remarkably dub play.

You're losing a lot of money. Mr.
Menjou,' the caddie replied, in all serious-
ness. Adolphe was so mad he chased the
caddie all the way back to the clubhouse.

"Then there was the time Oliver
Hardy, Andy Clyde, Robert Mc-
Gowan and Bill Seiter (the latter two
directors) were playing a match. Oliver
always wears brilliant colors, and that day-
he was particularly resplendent in gor-
geous raiment.

"Nothing was said, however, until they
reached the eighth hole. 'Oliver,' asked
McGowan, as the comedian was right in
the middle of a difficult putt, 'just where
did you get that suit?'

"Hardy missed completely, but he didn't
say a word. Not until they were on the
seventeenth green, nine holes later, did he
open his mouth in speech.

"Bob then was poised for a putt. He
carefully measured his distance, studied
the lie of his ball, drew back his putter.

" 'Hart, Shaffner & Marx." Hardy an-
nounced, abruptly, in answer to Mc-
Gowan's earlier question. And McGowan
missed!

M "Golfing does something to a man
Like the time Bert Wheeler broke
ninety.

"He came back to the clubhouse wild
with excitement. 'I did it,' he yelled, . . .
'I broke ninety.' Then turning to one of
the members, he asked if he knew of any
house for sale in the neighborhood of the
club. 'I'm really going in for golf, now,'
he explained.

"There was a house that overlooked the
links, at the other end. Bert heard about
it, and immediately went over there. He
didn't know the owner, but that didn't
prevent him from trying to tell him just
how he had broken ninety that day. But
the owner wasn't interested. 'What do you
want?' he demanded of the slightly-de-
mented Wheeler.

"The outcome of the conversation was
that Bert bought the house on the spot.
'NOW,' he said, a glint in his eye, 'you're
going to listen to how I broke ninety.' And
for the next half hour he regaled the ex-
owner with the story of his prowess."

■ Andy Devine dropped by the table,
chuckling.

"Just played with George Murphy," he
proclaimed, in his gravel-voice, "and was
he MAD. He threw his pet niblick into a
tree, and it landed in the top branches.
Took him nearly an hour to get it down."

"That reminds me of the time Frank
Woody, Helen Twelvetrees' ex-husband,
made himself famous on the river hole,"
Bogart resumed. "Frank has a terrible
temper whenever he misses an easy shot
that he should have made, and this day

50

Nationally Advertised Brands Are Your Assurance of Value and Protection

.

he was in top form ... he was missing
everything.

"One by one he selected his clubs, and
threw them solemnly into the river. The
other three players didn't say a word;
just stood and watched. Finally, Frank
didn't have any more clubs to throw. He
had even tossed in his golf bag.

"Did that stop him? It did not. He
backed up a few paces; then, sprinted for-
ward and threw himself into the river.
That's one of the classic stories we re-
member around the club.

"Johnny Weissmuller is another who
throws clubs. I don't heave any put-
ters or mashies, but there was the time
I flicked the air after having missed a putt
. . . and hit Jimmy McLarnin, the fighter,
right on the heel. It was a good thing for
me Jimmy and I are friends.

"For a long time Joe Penner was our
pet goat around the club. At first,
Joe was terrible ... he could scarcely hit
a ball, and the boys began to bet on him.
It got so that some of them were making
money regularly on him, by betting how
bad a score he'd bring in.

"Joe didn't get on to this for months.
But when he did discover it, he got so mad
he started taking lessons . . . and one day
showed up and took some of the lads for
plenty.

"Once in a lifetime, an actor gets a

break. He stars in a situation that

even he could not better, were it up to

him to plot. This happened not so long

ago to Alan Hale.

"A road runs past part of the golf
course, and one of the sight-seeing com-
panies routes its buses along this thor-
oughfare, so that very often the tourists
will get a glimpse of some celebrity. On
this day I have in mind, Alan stood near
the fence, and he could distinctly hear the
barker says, 'Ladies and gentlemen, there
is that talented menace of the screen, Alan
Hale, about to make a hole in one.'

"Alan is a good golfer, but even the best
could get rattled at that remark . . . espe-
cially, when he was stripped to the waist,
and one leg of his trousers was rolled up
above his knee. He looked everything
disreputable, and everything but an actor
. . . and a golfer. Nevertheless, he strode
forward and addressed the ball.

"He swung . . . and the ball soared
through the air, the most beautiful shot
he had ever made. It landed on the
green, rolled toward the cup. At about
six inches from the pin, it stopped. It
was a perfect show . . . and Alan took it
big. Swaggering past the crowd of gaping
tourists who applauded lustily, Alan spoke
airily, with a deprecatory wave of his hand
. . . 'Nothing at all folks . . . usually, it
goes in the hole!' "

DON'T FORGET!

In October HOLLYWOOD Magazine
Sonja Henie's big contest starts. It's lots
of fun, and there are dozens of the Sonja
Henie knitted sweaters and scarfs and caps
and mittens as well as dresses for winners.

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Sweet as a Rosenbloom

[Continued from page 31]

routine. He smiled, held his hands high
above his head as ring gladiators do before
the first round bell rings, and then, making
a sound that was supposed to be a hum
but which was more like a buzz saw
going through a keg of nails, he started
his floor show with a theme song written
for him by his pianist, Tommy Riley. The
song, known in the show business as
"ultra corn," is a parody based on the hit
tune Rosalie, written by Cole Porter.

"And now," grinned Maxie, after his
humming, "I'm going to sing a song about
that grand infestimal actor that you all
know. You love him, I love him, we all
love him —

Rosenbloom, you're wonderful,
Rosenbloom, you're grand,
Rosenbloom, you're super -dynamic,
you're the best actor in the land.

Rosenbloom, you're beautiful,

You're gigantic, dynamic, and grand.
So I've stopped my fitey-fighting to do this
nitey -nigh ting
Rosenbloom, you're the greatest in the
land!"

With the song ended, Maxie paused to
draw a deep breath and the Hecklers'
Club, augmented by those in the cafe who
knew the second verse, started singing a
parody on Maxie's parody, and when this
loud and raucous festival of song was
over, some movie great, under the gay
pretense of being utterly and deeply dis-
gusted with the performance, got up,
shoved Maxie aside, and put on a show of
his own that lasted a full hour. It was
all informal, a lot of fun and among those
who enjoyed it the most was the Fighter
Maxie himself.

The night we were there Maxie told us
he was soon to present nightly a bur-
lesque on Snow White and the Seven
Dwarfs. It was to be called, he said, Rifka
and the Seven Schtunks, which means,
according to Maxie's translation from the
Hebrew, "Rebecca and the Seven Dumb-
bells."

Richards, the master of ceremonies man,
often varies his introduction by saying:
"Maxie Rosenbloom — a nice guy, in an
abnoxious sort of way," and this goes over
big with the crowd.

B Hollywood was set back on its collec-
tive heels the other day when it
learned that Maxie was taking diction
lessons. Up until this announcement he
had been running Samuel (The Great)
Goldwyn a tight race in abusing the En-
glish language.

"I figgered it out this way," Maxie ex-
plains. "Since I've become a movie actor
and a nightclub owner and performer. I
gotta pronounce words correckly, see, and
so why not hire me a teacher so I can pro-
nounce each syllabus okay?"

Well, why not?

Maxie even went so far as to change
his name and he now calls himself M.
V/elton Rosenbloom. But all changes in

his speaking voice and name have some-
how failed to do the work. He still makes
his amusing grammatical fumbles.

Just the other evening, when some
heckler stood up and called him a "ham"
after the first floor show, he cracked right
back at his critic with: "I should sue you
for definition of character!"

When he first opened his cafe he an-
nounced along Hollywood Boulevard that
he was going to add a 10-cent cover charge
to keep out what he called the "ribble-
rabble," but the scheme failed to have
the proper effect and a month later he
announced: "I have to cut it down to
5 cents because the other price made me
too exclusive!"

The night Anatole Litvak, the director,
appeared in the cafe for the first time,
Sammy Lewis, Maxie's partner, turned to
Maxie and inquired seriously, "That's
Mr. Litvak, the great director, isn't it?"

"Sure thing," Maxie replied.

"He's Russian, isn't he?" Lewis asked
next.

"No, you dope," Maxie explained just
as seriously, "everybody knows he's a
Litvak!"

Not so long ago a number of French-
men visited the famous fighter's now
famous nightspot and they liked it so
well that they stayed almost to closing
time.

Finally a woman of the party asked
for the check by saying to the waiter,
"L'addition."

Maxie, at a nearby table, heard it, came
over, and said, "Lady, we don't serve that
stuff in here!"

Slapsie Maxie's, as his cafe is known,
not only contributes hugely to the gaiety
of Hollywood's best stayer-uppers among
the movie colony, but it also contributes
to the well-being and employment of a
number of old-time vaudeville folk. For
instance —

The bartender used to be in a circus
and also in vaudeville.

The chef was a former monologist on
the Keith circuit.

Two of the waiters used to be singers
in vaudeville.

One waiter was a dancer doing a solo
act.

The head waiter, Al Roth, is the famous
shimmy dancer.

Even the colored porter has done his
turn — he used to be in a colored sideshow
with the Ringling Brothers Circus.

So much for profession No. 1.

■ In his 17 years of fighting during
which he has thrown leather at more
than 300 different opponents, including
among these such ring noteworthies as
Harry Greb, Larry Johnson, Ace Hudkins,
Tiger Flowers, Young Jack Stribling, just
to list a few, Maxie has knocked out only
17 men, an average of one a year. Only
once, in all his long, hard years of fighting,
has he ever been knocked out and that
was by the hard-hitting Jimmy Adamick.
He won his first fight when he was 15 in
New York City where he was born.

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George Raft, Paramount star, was his first
manager. He won his first title from
Jimmy Slattery in Jimmy's home town of
Buffalo and lost it five years later to Bob
Olin in Madison Square Garden. He has
never taken a drink of hard liquor in his
life nor has he ever smoked tobacco in
any form. He was, in his heyday, and
despite his clownish antics in the ring,
one of the most-feared fighters who ever
swung a pair of gloves. One of the most
amazing items in his ring history is the
fact that no one has ever seen him train
seriously for a fight. They say that when-
ever a ring battle is in prospect he goes
into training by running home from a
nightclub about 2 o'clock in the morning
and going to bed with the window open!
After his next fight which is with Bob
Pastor he's going to hang up his gloves for
good and devote his talents to his acting
and nightclub hosting. One thing is sure.
When and if he does forget the lure of the
ring, no one will ever have to give him a
benefit nor will anyone ever see him
rocking on his heels and cutting out paper
dolls because, despite his 300 fights and
the punishment he received from them,
Slapsie Maxie is in full possession of his
faculties. He's a very smart cookie who
knows how to make an honest dollar and
how to keep most of it when he does.
So much for profession No. 2.

B Maxie's greatest ambition has been to
become an actor. Not, by any means,
a John Barrymore sort of actor— just a
plain, run-of-the-mine screenster in the
comedy classification — and it looks as
though his ambition is to be realized.
Perhaps you may recall that small part
he had in Nothing Sacred where he talked
over the telephone to his brother Moe?
Well, whether you remember it or not,
a number of producers and directors did,
and it wasn't long before he found him-
self in front of the cameras during the
filming of Mr. Moto's Gamble. A bigger
and better part this time, and following
it in quick succession came comedy roles
in The Kid Comes Back, The Amazing Dr.
Clitterhov.se and The Crowd Roars. It was
easy, Maxie says, to carry out the title of
this last picture for that is exactly what
he's been doing at his nightclub ever since
it started. Other pictures are scheduled
for him for the rest of the year and it

really looks as though the good-natured,
32-year-old leather pusher has got an-
other career down for the count. At least
that's what all Hollywood hopes because
Maxie, since his arrival, has grown into
one of the "real" characters in Movie-
town.
So much for profession No. 3.

■ Nightclub owner, professional boxer,
up-and-coming comedy actor — and

to these you can now add an excursion
into the field of sports.

Just to keep himself busy he recently
purchased the Hollywood Stars girls soft-
ball team, rechristened it Slapsie Maxie's,
and every Wednesday night you can find
him under the arc lights urging his young
ladies to do or die for dear old Maxie.
Eight thousand softball fans packed the
park the last time the girls played and
fortunately for Maxie's heart they won.
He likes the team so well — it hasn't lost
a game since he bought it — that he'll bet
any amount from a buck to $500 that his
Slapsie Maxie girls cop the title at the
end of the season.

A man of five professions, that's Maxie!

And the fifth is horse-racing. Every
day, during an off moment, Rosenbloom
can be seen reading a form sheet and
following the races at every track in the
country — and losing, like all hoss players,
more money than he wins. Incidentally,
he always refuses to bet on long-shots,
preferring to lay his actor-boxer-night-
club-sports money on an odds-on fa-
vorite. All losses, apparently, bounce off
his pocketbook as harmlessly as his
sparring partner's gloves do off his body.
His win tickets he saves for three or four
days in case he should get cleaned out on
a bad day, but unfortunately for Maxie
his winning days are few and far between.

■ The next business he wants to enter
is midget auto racing. He feels that

he has time for another profession, now
that he has given up his diction lessons.
"After taking $69.15 worth of diction
lessons," he told us, "I thought I would
surprise mama in New York. So I put in
a long distance call and when she came to
the phone I said, 'Hello, Mother,' just the
way I'd been taught and she said to me,
'I want to talk to Maxie, get off the line,
you dope.' So what's the use?"

Milland Gets the Air

[Continued jrom page 23]

He was not a land lubber. Bill Wellman
might have been willing to call it quits,
but somehow the story kept coming up to
haunt him. And the director of a Holly-
wood air opus has quite a load on his mind
without being haunted all times of the
day.

It's difficult to put the finger on the
fellow who really was behind the idea.
Surely Bill Wellman, the old war-time
pilot, was by now far too conservative to
dream up a revenge like this. But that's
getting a little ahead of the story.

Did you ever hear of Tex Rankin? Well,

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was too late now, and Tex already was in
the air, ready to show Ray and a hundred

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spectators below a few new items in the
line of maneuvers.

Tex climbed to four thousand feet be-
fore he idled the motor and shouted back
to Ray: "Be sure your safety belt is tight.
I'm going to do the Andy Devine Stagger.
It's a new flip motion."

■ The motors started howling. Ray
cinched his belt tighter, suddenly felt

the plane make a quarter turn to the left.
They were flying on one side now. In
front of him, and just out of sight, a metal
tool box moved with the ship. It clattered.
So did Ray's teeth. Then the ship flipped
another quarter turn. Ray looked down
and saw the sky. He looked up and saw the
ground. Then the tool box clattered again.
Think you can't hear a box clatter against
the motor of a plane?

Well, you can — especially if you think
it's a wing breaking off!

The Milland fellow thought so as he
hung by his safety belt. He kept an eagle
eye on Rankin — as best he could. If the
pilot suddenly dropped out of that ship,
Ray would, too. Or would he?

Suddenly — flip. The Ryan monoplane
was on its other side now. Ray's brains
tried to achieve a new balance, but some-
how most of his energies were being con-
centrated on his stomach. It seemed to be
having a little trouble adjusting itself.

If that was the Andy Devine Stagger,
how about the Paramount Roll, the Well-
man Wiggle, the Campbell Capers? That
Tex Rankin can do more dizzy things in
five minutes than a magazine can describe
in hours. You've got to see him in action
to really understand what whirling, wild,
dangerous things he does with a plane.
It's uncanny. You'll practically break
your neck watching his ship perform.
The best way to do it is to lie flat on the
ground, so your neck won't be out of
whack for a week.

■ You can take it for granted that Ray
Milland got properly initiated into the

Rankin school that day. The most im-
portant thing was the last thing that
happened to them.

Tex straightened the ship out after a
session of upside down flying about 300
feet above the ground, climbed four or
five thousand feet or maybe more, and
said to Ray, "You look like you'd make a
good stunt pilot."

Ray grinned a bit sickly at him. "You're
the best, Rankin. I'm getting better all
along." It never occurred to Tex that Ray
might have been talking about the balance
of his solar plexus, the delicate reactions
going on in the mid-section of the human
torso.

No — all he was thinking about was
flipping that Ryan around non-existent
corners, diving between clouds like mak-
ing a hole-in-one on a golf course. So,
quite naturally, he said, "Try the crate
once, Ray. See how easy it takes a loop."

Never say a Milland doesn't try. There
was plenty of elevation — no excuse for
nixing the suggestion. So Ray grabbed
the stick a bit grimly and sent the boat
into a swooshing, singing dive.

It didn't seem so much now, this roaring
dive. Not after the Devine Staggers. So

Ray picked up what he thought was proper
speed, then hauled back on the stick. The
plane's dive stopped. Sky replaced ground
far below. Up, up, up she soared, grad-
ually arching on its back. And then — then
things didn't work quite right!

The plane should have zoomed on down
a-la-roller coaster. But it didn't. For one
endless second it seemed to sit right on its
tail, held up strictly by suspense. Then
it fell off backwards. It was quite un-
orthodox. Ray heard his seat creak under
the strain. In his mind he suddenly
wondered how many screws kept that
safety belt — and himself attached to the
plane. Then things began to whirl, and the
next few minutes were quite beyond
recollection.

■ Ray Milland recalls having been in an
inside tail spin once before in his life. He
knew the remedy — shove on the stick, kick
opposite rudder. That's what Ray did. He
pushed and kicked for three thousand
feet, but the spin kept on just as wild as
ever. And there's no use in trying to tell
you how wild that is. A tail spin is a
highly personal experience. You've got to
be in one to appreciate its full possibilities.

But Tex Rankin saved the day. He did
something, and the Ryan miraculously
pulled out of the dive about a thousand
feet above ground. They idled around the
field for a landing position, and Ray said,
"What did you do, pal?"

Rankin grinned. "I just happened to
think that we weren't in an inside spin.
It was an outside one. That's different.
You don't shove on the stick — you yank
it back. Makes all the difference in the
world."

Yes, Ray thought, all the difference —
the difference between this world and the
next, among other things. He reached for
a handkerchief and mopped honest per-
spiration from his brow. No make-up
man was needed here with a fly spray gun
loaded with mineral oil!

■ When the plane landed, Bill Wellman
was standing there, grinning a little

suspiciously, they tell me. But he didn't
say anything — at least, not for several
days.

Then, one bright morning, Bill walked
up to Ray and said, "Want to do some war
scenes today?" He had no intention of
letting him do them — it was more a case
of a ripe raspberry.

Ray's sharp glance was a shade bellig-
erent. "You thought you cured me, huh?
Well, you didn't. I'd go up again any time ;
a chance presented itself. But somebody
else fixed me."

Wellman raised a questioning eyebrow
— but strictly between you readers, he
aopeared to be doing a bit of ham acting.
Like he really knew what Ray was going
to say.

"Yea," Ray continued, "from now on I
gotta do my flying on commercial airlines
alone, where it's nice and safe. Somebody
told on me, and Paramount's legal talent
did the rest. My contract says I can't fly
in private ships."

At last reports Messrs. Wellman and
Milland were getting along about as badly
as you'd expect.

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Vagabond Honeymoon

[Continued from page 22]

had no money, I toured the country very
modestly — and had fun.

"This time, I thought at first Jack and I
should do it with real style, and soon
found out my mistake. I started off from
Hollywood as a very fine lady. I had my
maid, Therese Frank, my identity, and
everything.

"Jack and I were going to have a delight-
fully formal time on our long planned
honeymoon. We'd been married a year
and a half and we'd never had it. So we
swept through Paris and were off to play
at San Moritz and St. Anton, two winter
sports spots, one in Switzerland, the other
in the Austrian Tyrol.

"For a while it was fun, but after the
first thrill of skiing wore off, the candid
cameras, newspaper people, formal func-
tions, and very, very social receptions
became too much the Hollywood pattern.
We resolved to be informal."

The informality was a lot of fun. The
trip was conducted on such a modest basis
that before Claudette and her husband
had seen everything they wanted, she was
down to doing her own washing!

Claudette came home showing the bene-
fit of being absolutely herself. She has a
calm serenity, a lack of nerves, a natural
buoyancy which she hasn't had for years
— and several of those years have been
dropped by the wayside, as well.

"We spent a month forgetting about
work and who we were and who we were
supposed to be," Claudette said. "I
promised Jack I'd show him the country-
side and I did. I discovered parts of it I
never knew existed. It was glorious! I
was tired after it was over, but it was the
kind of tired feeling you enjoy."

Claudette laughed.

■ "The informal trip happened a bit by
accident," she said. "After we left
San Moritz and the Tyrol we came back
to Paris at loose ends. We faced a lot of
rushing around. One night I told Jack
what I thought we ought to do and he
agreed on the spur of the moment. We
put Terry, the maid, all my finery in a
Paris hotel. Jack got a drive-yourself car.
And away we went."

Claudette was humming happily as the
car rolled into the Parisian suburbs. In
her hand was a guide book published by a
tire manufacturing firm. In the back of
the roadster were her two bags and one
which belonged to her husband. It was
the romantic month of April, when the
woods were just beginning to turn green
and the orchards were just beginning to
bud. Romance?

"We found it at every turn in the road,"
she said. "Quaint peasants in old-world
costumes. Wagons, carts and horses and
little one-way roads. And the guidebook
was a peach! We arranged our tour so
that we stopped at odd little places where
the food was good for lunch, took time to
walk through the provincial towns. Nights
we planned to stop at cities which at least
boasted of hotels which had rooms with
baths. We covered about one hundred
and fifty miles a day, just loafing along."

There were no praise agents, ballyhoo
artists and advance notices within hun-
dreds of miles.

"But I very nearly got caught up with
in one town," Claudette revealed.
"Nobody had been paying any attention
to us. We'd registered under my hus-
band's name. In this particular hotel, we
followed the same routine. We had the
bags brought in, registered, and Jack went
out to put the car in a nearby garage.

"When Jack returned to the lobby, the
clerk said:

" 'Pardon me, sir — but your wife bears
remarkable resemblance to an Ameri-
can film player named Colbert — Claudette
Colbert.'

" 'Yes, indeed — ' Jack assured him.
'We've been told that before.'

"He hurried upstairs to tell me. We
were worried lest the village turn out, and
everybody 'd get very formal. Anything
but that! We noticed that we were eyed
warily when we went to dinner. We re-
tired, and the next morning prepared to
leave bright and early. Jack brought the
car to the door. I was jus; about to leave
when the clerk, who was again on duty,
asked me:

" Will the madame please sign the
special guest register?'

"I saw a suspicious twinkle in his eye.
So I signed 'Claudette Colbert' and then
beat a hurried retreat. The word sped
like wildfire and by the time I got into the
car heads were sticking out of windows."

| The hours of travel were long and
each day was full. Claudette didn't want
to waste any of the precious time. They
rose at seven. They dressed hurriedly
for the next adventure. They breakfasted.
And then they were off to explore new
worlds.

"One of the biggest thrills," Claudette
related, "was when we were travelling
through the 'castle country.' We saw one
chateau which particularly intrigued us.
It was gaunt, and forbidding, and the
walls had wasted away through the years.
It sent a shudder down my spine and I
discovered that Jack got the same reaction.

"We decided that such a place must hold
a large assortment of sinister secrets and
investigated. We found out that a blood-
thirsty gentleman named Gil de Retz, the
original 'bluebeard' of history, had erected
it. This was an odd coincidence, after I'd
just finished making Bluebeard's Eighth
Wife, which wasn't a bit sinister, but
sounded so."

At another tiny village, where the
peasants wore lace caps and full skirts
and wooden shoes, Claudette discovered
an antique shop which was filled with
treasures. She explored it, found that the
proprietor wasn't there. She left her Paris
address, explaining:

"There are several things I would like
to have."

She pointed them out, gave her hus-
band's name.

"And the antique dealer apparently
wasn't at all impressed, because I never

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heard from him," she concluded. "I'm
glad— it proves I was just another tourist."

9 "One strange way that I preserved my
incognito," she explained, "was to speak
English. The French people, some of
whom suspected that I was an actress,
were completely disarmed by this
language. Odd? Not at all. You see, they
are used to seeing me in American pic-
tures onto which French voices have been
dubbed. They believe that Claudette
speaks French all the time!"

Had Claudette, feeling like a child out of
school, suddenly decided to go formal,
there would have been big turnouts,
especially in the larger cities.

"American films play there, all with the
French dubbing, as I've explained," she
said. "In fact, one of the biggest laughs
of the trip came when we decided to sneak
into> a picture show just to see what it
would be like. It was a typical 'cops and
robbers' affair, with Jimmy Cagney, Frank
McHugh and Pat O'Brien in the cast.
When we heard Jimmy lisp — 'Oui, maman'
— it was too much for us. The idea of
Jimmy talking that way sent us into
hysterics. The French audience, out-
raged, turned and stared at us as if we
were crazy."

H Claudette made one concession to her
profession. She carried her camera
with her. And she snapped pictures as the
merry tour took them to and through
quaint Brittany, along the chateaus of the
lovely, winding Loire, down to the
Pyrenees, grim and forbidding, to Biarritz,
to old fort at Carcassonne, to Nimes and
Aries in the old Roman country. Each day
of travel became more enchanting.

On the winding, carefree journey they
stopped at the little village of Le Blanc.
Parenthetically, it was at this time that
Claudette, fresh out of make-up and
fresh out of stockings, took to washing
them out and hanging them up to dry in
the modest rooms which they had engaged,
even as you and I! LeBlanc was doubly
interesting for it was here that Claudette 's
grandfather lived, and here that she spent
her summers as a child.

"It was amazing to approach that quaint
town and see it unfold just as my memory
had pictured it for so long," she said. "You
see, I left there when I was just seven. I
thought that memory would have been
mistaken. But when we started sloping
down toward the river, I told Jack:

" 'To get to grandfather's house, you
cross the bridge and turn up the first
street to the left.'

"I pointed out a certain house. Jack
stopped the car. I got out. It was a fresh,
sunny, Easter morning. Two old men ap-
proached us, shuffling over the broken
pavement. In French, I asked them if the
house had not once been owned by the
family Chauchoin.

" Yes,' one replied. 'Old Chauchoin
had a son, George, who went to America
to find his fortune, taking his family.'

" 'Why, that was my father!' I exclaimed.
After this identification, the old fellow
told me many fascinating, half-remem-
bered things. As he talked I noted the
house no longer had a balcony. It had not

been replaced since the day it had caved
in with me while I stood on it watching a
parade pass."

| Days drifted by, and finally Claudette
found herself on the Riviera, in
Southern France, just beginning to wa-rm
beneath the benign spring sun. After that,
Marseilles for b!ouillabaiss.e, which
Claudette had promised would be a treat.
It was. Then back through the Dauphine
province to Paris — through Grenoble,
along the road of Napoleon.
Paris in May.

H For a month, Claudette and her hus-
band slipped into their old routine,
"did the town." She had met the Duke of
Kent while skiing. Now she met the Duke
of Windsor and his charming wife, the
former Wallis Warfield Simpson.

"It was at a soiree given by the former
Elsie De Wolfe, now Lady Mendl," she
said. "The Duke was his gallant, yet quiet
and unassuming self. To be perfectly
frank, I didn't remind him of the time he
came to America in 1918 and I, a New
York school child, met him aboard the
cruiser, the H. M. S. Renown. I repre-
sented the French school girl making good
in America. To prove how good I was
I wore a white, starched dress, waved an
American flag and recited a blundering
little speech. During the time that I spoke
and the other little girl, who was a typical
American making good in America, said
her bit, he was quite bored, and I hardly
blame him. I remember how he dug the
scabbard of his sword into the toe of his
boot, and I wanted to give up and
run."

Claudette laughed at the memory.

"The Duchess of Windsor proved far
more fascinating than I had imagined she
would be," she continued. "She is not a
tall woman and yet, because of her dignity
and charm, she appears tall. She is
beautifully groomed, beautifully dressed,
reserved, and with a definitely winning
personality. The photographs which we
see in America don't treat her fairly. In
real life, she is far more the woman you
would expect her to be."

There were many other gay parties and
formal events and receptions and func-
tions. Claudette and her husband were
gay in their rounds, quite formal and
polite.

"And," Claudette confesses, "I found
myself looking back on our vagabond
jaunt as the thrill of the trip and the thrill
of my life. Usually, when one goes back
to recapture things which in retrospect
seem beautiful, they disappoint. This
time it was just the opposite. My husband
found my country beautiful, interesting,
even fascinating. To me, it enriched the
present as well as brightened fading
memories.

Coming back through the customs to
America, Claudette had nothing of great
value to declare — just a few French gar-
ments which she hadn't been able to
resist.

"The things of value which I brought
back," she told me, "are not the kind one
declares at customs. They're locked in
my heart."

56

Nationally Advertised Brands Are Your Assurance of Value and Protection

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6

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22

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24

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26 |27

26

29

30

31
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37

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42

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44

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1.

7.

10.

11.
12.
14.
15.
16.
17.
19.
21.
22.
24.
25.

29.
31.

3$.
35.
36.
38.
40.
41.
44.
46.
47.
49.
51.
52.
53.
55.

56.
57.

59.
60.

ACROSS

Carroll-Fonda film.

She sang in Walking Down Broadway.

Charles Bickford and Ann Dvorak starred in

of New York.

The Bride Wore .

Neil Hamilton's initials.

What late Mr. Chaney was called.

Famous It girl.

Initials of one who portrayed Bmile Zola.

His last name is Alvarado.

Descriptive of Frankenstein films.

Andy Devine was one in Dr. Rhythm (slang).

Kind of dance executed by Ann Miller.

Standing Room Only (abbr.).

C. B. DeMille gained fame with scenes of

this.

Comedian teamed with Louise Fazenda in
Swing Your Lady.
A star of Kidnapped.
Exclamation to register inquiry.

on the Run.

Article used in French movie titles.
Actress wed to Errol Flynn.
His last name is Pearson.
Bette Davis has blue ones.

Cedric Hardwicke.

It meant an affirmative in silent films.
First name of Mr. Lease.
Lassoed a steer, as in westerns.

She's Everything.

Eric Stanley's initials.

What The Kid grew up to be.

Mickey Rooney likes to chew this.

Sylvia Sidney and George Raft are

starred in You and Mc.

Dennis in Joy of Living.

Whose role was that of Mrs. Sydney in

Sinners in Paradise.

Hank Hatfield in Kentucky Moonshine.

Comedienne appearing in A Slight Case of

Murder,

DOWN

1. Alexander's Raatii

2. Director Garrett's initials.

3. Hollywood movies are made in this state
(abbr.).

4. Dangerous To . ,

5. Remember Ayres?

6. Miss Sebastian's initials.

7. Katharine's screen brother in Holiday.
S. Short for Mr. Robinson.

9. Mark Braden in Crime School.

11. Male lead in International Crime.

13. Water was a Jones Family film.

15. He was teamed with Dorothea Kent in Good-
bye Broadivay.

16. His first name is Victor.
IS. Mrs. Walter Huston.

20. Errol Flynn's nationality (abbr.).

21. Receptacle for storing a film.
23. A Trip To .

25. Star of Hawaii Calls.

26. He had title role in The Lone Wolf in Paris
(poss.).

2S. Janet Chapman is one.

30. To perform in a screenplay.

32. Pepper Clancy in Prison Nurse.

34. Leroy's last name.

37. Lupe Velez was born here (abbr.).

39. Ace. of Blind Alibi, is one.

42. Mr. Pichel's initials.

43. Singing star of Outside of Paradise.
45. One of Disney's dwarfs.

47. Dorothy's co-star in Her Jungle Love.

4S. He had lead in Living on Love.

50. What Miss Wing is called.

52. Pla\ers appeared thus in silent films.

54. First name of Miss Clarke.

56. George Irving's initials.

57. Time To Marry.

58. Initials of a star of Swiss Miss.

(Solution on page 66)
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Joan Fontaine likes to cook in her stream-lined kitchen and does so

frequently, now that her part in Ground Crew gives her time at

home for a few weeks before her next film starts

Details are important and a good cook is
temperamental about them says one star

By BETTY CROCKER

■ "You can always tell a good cook,"
Joan Fontaine said sagely, "by her
temperament. If she's fussy about the
gravy, or secretive about a recipe, or has
some kitchen idiosyncrasy, then you can
safely say 'Aha! There is a good cook.' "

From one so young this seemed a rather
penetrating observation to the ears of a
veteran at cooking. We had come out of
the kitchen and were sitting in her living
room, walls lined with books, chairs deep
and comfortable, and all done in a sim-
plicity of style that was enchanting — and
quite like Joan.

But I soon discovered that Joan had
other surprises. Seeing her in one RKO
picture after another, I had judged her to
be bound up only in her career, and doing
splendidly at it. But Joan had an avoca-
tion that also interests her. And it's cook-
ing. She really adores to cook. I
know — because she has her own cooking
temperament.

She insists, for instance, upon people
sitting down while the dinner is hot;
dawdling and letting a dish get cold an-
noys her no end. She dislikes "appetizers"
because she believes they destroy appe-
tite, and a good meal should be enjoyed
with a sharp edge. Above all, I noticed
how orderly she is in a kitchen; every-
thing must be timed — the lettuce crisped,
potatoes peeled, ingredients and utensils
laid out ready — everything proceeding
with precision so that the meal reaches
the table complete in all details. Right
there is a good lesson to learn in our
Hollywood cooking school.

Q "A lot of girls in school," Joan was
saying, "declared they didn't want to
learn to cook because they intended hav-
ing servants when they set up housekeep-
ing. That's not my reasoning. I did the
buying for the family, looked to details,
and loved to cook. And whether I have

58

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a large establishment or small, I'll be glad
for this training. I guess it started when I
was a tiny tot, at the resort where we spent
our summers. A Swedish woman was the
cook there, and she still sends us her
almond cakes and other specialties. I was
always underfoot in her kitchen. And right
now I'd give plenty to have the recipe
for her almond cakes, but she won't even
tell her granddaughter how they're made!

"Every cook should have her specialty,
I think. I can't make up my mind which
I like best to make. I have so many
dishes I like to prepare."

"Then let's write them down and let
Hollywood's readers decide for you," I
smiled. And here they are — with Joan's
comments:

CLOVERLEAF BISCUITS

1 cake compressed yeast

1% cups water

% cup shortening

% cup sugar

IVz tsps. salt

1 cup mashed potatoes

2 eggs

IVz cups all-purpose flour

Crumble yeast into a cup and add %
cup of the water (at 80° F.). Cream short-
ening, sugar and salt together and blend
in the freshly mashed potatoes. Add well
beaten eggs and yeast mixture. Sift flour
once before measuring, and spoon lightly
into cup to measure. Add half the flour
with the remaining water (at 80° F.) and
beat well. Mix in remaining flour with
hands. Knead in bowl or on lightly floured
board until smooth. Set to rise in well
greased bowl. Cover with damp cloth.
Keep dough at 80 to 85° F. (Dough should
not feel warm to the touch but rather
slightly cool.) Place it out of draft. If
kitchen is cold put it in a closed cup-
board with a dish of hot water beside
bowl of dough. Let rise until it has doubled
in bulk — about 2 hours. Punch down, rub
surface with softened butter. Return to
bowl, cover tightly with heavy waxed
paper, then with damp cloth and place in
refrigerator. Dampen cloth occasionally as
it dries. When ready to use dough, remove
from refrigerator, cut off amount needed
to make the number of rolls desired and
return remaining dough to refrigerator
again. Let dough stand in warm room
about an hour to "come back" before
shaping into rolls. To make Cloverleaf
Rolls form dough into balls the size of
large marbles. Place 3 balls in each well
greased muffin cup. Other shaped rolls
and coffee breads may also be made from
this same dough. Let dough rise to double
in bulk, about 30 to 40 minutes and bake
until golden brown — 15 to 20 minutes in a
hot oven, 425° F. This makes about 4 dozen
rolls.

WINE JELLY DESSERT

Another of Joan Fontaine's specialties
is this one, easily made. Follow directions
for making plain gelatin, except to sub-
stitute wine for the fruit juice — any sweet
wine you like will do. When the gelatin
is ready for serving, decorate with ro-
settes of whipped cream and a cherry.

CROOKED NECK SQUASH

Joan's method: Halve a crooked neck
squash and cook in a pint of cream with
a quarter pound of butter — a very rich
dish, but delicious.

MACARONI A LA FONTAINE

Next time you make a macaroni en cas-
serole try Joan's mixture: pimento cheese,
fresh mushrooms, strips of bacon on top.
Always a good dish for late parties.

JOAN'S SALAD DRESSING

2 tbsps. lemon juice

1 tsp. mustard

V2 tsp. salt (or to taste)

2 tbsps. Worcestershire sauce
Mix these ingredients, then prepare:

% cup tarragon vinegar
Vs cup wine vinegar

% cup of best grade Italian olive oil
Drop in a clove of garlic and keep in a
bottle. This sauce is excellent for vege-
table salad or jellied salads.

Which of those recipes sound the most
tasty? I confess they're all delicious.
Joan's group of friends in and out of the
film colony of Hollywood like to have im-
promptu parties, and you can understand
why they like to drop in on the Fontaine
establishment. Joan's ice box usually has
a bowl of dough for biscuits ready, there's
a bottle of her exciting salad dressing
mixed, and in no time at all a delightful
repast is ready.

For a planned dinner, Joan likes no more
than three courses, and her preference is
for roast beef, cooked with onions, carrots
and potatoes in the same pan. She is ex-
ceedingly particular about cooking
meat.

The biscuits Joan had put in the oven
to bake while we were talking, now were
ready. Fluffy, delicious, she served them
with honey and tea and we talked about
movies and travel and people. But I think
you now know that Joan Fontaine has
every right to honors in cooking as well
as acting.

If you wish for kitchen-tested recipes
for any particular dish, just write to me
in care of this magazine, enclosing a
three-cent stamp. Remember, my
files contain recipes of every kind and
description, so do not hesitate to make
use of your cooking department in
HOLLYWOOD MAGAZINE for any
special recipe you may want.

FOR THIS MONTH'S SPECIAL OF-
FER use this coupon.

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HOLLYWOOD MAGAZINE
1501 Broadway
New York City

Please send me your set of Six Peachy
Recipes (desserts using peaches).

Name

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Hexed By a Pekinese!

[Continued from page 32]

at the castle. Rare and exotic flowers
that had cost him a pretty penny. With
a thumping heart he went into the draw-
ing room to await Lady Whosis to> whom
the butler was announcing him. His
knees felt wobbly beneath him and he
plumped his 206 pounds down into the
first handy chair, a beautiful thing up-
holstered in gold brocade.

"Yi-i-i-ip . . . ugh!"

A yapping scream faded into a dull
moan. Then silence. He bolted from the
chair.

Lying in the seat were the inanimate
remains of what once had been Ching,
Lady Whosis' adored Peke. Lady Whosis
didn't think any more of Ching than she
did of her right eye. Everyone in Glouces-
tershire knew that.

Nurmi or Jesse Owens never made
faster tracks than Nigel did from the
drawing room out of Whosis Castle. Along
his trail were strewn the exotic blooms
with which he had planned to make his
peace.

"I am afraid it was the end of a beauti-
ful friendship," Nigel said mournfully.
"I've never been back to make sure."

13 It may have been the end of a friend-
ship but it was the beginning of the
Hex of the Peke. Of that he is sure. For
right on its heels came The Affair of the
Note of Condolence.

He was appearing in a play called Why
Marry? when word came to him of the
sudden death of the wife of a very close
friend. It was doubly tragic since the
couple had been married only eight days.
Nigel happened to be in the manager's
office when he heard the news. Hastily
taking a blank piece of paper from the
desk, he wrote of his sincere sympathy,
paying beautiful tribute to the dead
woman.

Several weeks later he met the be-
reaved husband face to face.

"You know, Bruce old boy, no one in
the world but you could have made me
laugh on the day of my wife's funeral,"
the friend said eventually.

Nigel began to quake in premonition.
Good God, now what had he done? That
certainly was a straight-away, sincere
note of condolence he had written the
chap.

"Why . . . how . . . what . . ." he stam-
mered.

"I've saved it to show you," the friend
said and passed over the note. Nigel read
it through. Nothing wrong there. Cer-
tainly nothing to occasion a laugh on so
solemn an occasion.

"Turn it ever," he was instructed.

He did and his face crimsoned. On the
back of the note, printed in two-inch high
black letters were the words WHY
MARRY? In his haste he had seized
stationery which the theatre manager
used in advertising the play! So sorry
your wife's dead, old chap. Why marry?

■ It's been going on like that ever since.

One boner after another. As a matter

of record, he pulled one the first day he

arrived in Hollywood and they haven't
stopped razzing him about it yet.

You perhaps have heard about the
famous "high fogs" that hang around
mornings over Los Angeles and Holly-
wood. Californians, ever loyal to the
highly touted climate, are pretty sensitive
about them. They may look like rain, feel
like rain, and sometimes be darned near
as wet as rain, but by gosh, they aren't
rain! They're just "high fog."

A "high fog" blanketed everything in
gray gloom the first morning Nigel started
for the studio. Canny Scotsman that he
is, he wasn't going to be caught in any wet
weather. And so he arrived, wearing
rubber overshoes, bundled up in a macin-
tosh, and — perish the thought — carrying
an umbrella! That was more than a
boner; that was rank heresy. People aren't
too sure he means well even now.

"All the fault of that sniveling little
beast," he defended himself. "Never did
like Pekes anyway. Poor excuse for a
dog."

H Then there was the sidewalk con-
ference after the preview of an unim-
portant little picture. Producers, directors,
publicity men et al. solemnly were dis-
cussing the epic they had just witnessed
in the theatre.

"It's great!" one said.

"It's terrific!" a second added.

"It's colossal!" concluded a third. "What
do you say, Bruce?"

"I think it's a good picture," Nigel said
seriously.

The group viewed him with a good deal
of suspicion as he walked away. Nice
chap, sure. Very good actor, too. But
was he quite bright? Something rather
strange about a man who would call a
picture "good" and let it go at that. It
wouldn't do to trust him too far.

"So now I'm not invited to any more
sidewalk conferences," Nigel mourned.
"First Whosis Castle and now sidewalks."

B Just the other day he pulled a prize
one. For days the sets of Suez, in
which he has an important role, have had
hundreds of extras milling about them.
All were garbed in the colorful baggy
trousers and bright silk blouses of the
native Egyptian and atop hundreds of
heads were bright red fezzes gaily
festooned with gold braid.

As affable a chap as ever was, Nigel
often strikes up conversation with the
extras. He learns, he says, all sorts of
interesting odds and ends of information
from them. They in turn think he's a
swell fellow and darned democratic for
the brother of Sir Michael William Selby
Bruce, 11th Baronet of Stenhouse, and a
man who missed the baronetcy by a cat's
whisker. So the other day he strolled
over and started chatting with two of the
be-fezzed gentlemen. One happened to
have one of those diminutive "tooth
brush" mustaches.

"I say, old chap," Nigel said to him. "I
don't think I'd wear a make-up like that

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in this picture. That mustache looks sort
of silly and out of place, don't you think?"
He was, he insists, only being helpful.
How was he to know that a couple
of Shriners attending the national con-
vention had managed to wangle their way
on to the sound stage, and that he had in-
sulted the hirsute adornment of no less a
personage than the illustrious potentate of
the temple of Whatchamucallit, Kansas?

| It happened again the very day we
were lunching in the 20th Century-
Fox commissary and Nigel was telling me
this sad story. We had been discussing a

certain scene in the picture and with that
enthusiasm of which we all are guilty now
and then Nigel proclaimed:

"I wrote my own best line myself!"

Two heads at the neighboring table
turned to stare at him. They belonged to
Gene Markey, the associate producer of
the picture, and Philip Dunne who wrote
the script!

Dunne smiled archly. "Have to look
out for these foreigners," he told Markey.
"Subversive tendencies, you know. Defi-
nitely a bad influence."

Bad influence, my eye! It's the Hex of
the Peke.

Fans Can Be Pests!

[Continued jrom page 21]

paying and paying and paying. Had the
editor been a star, the crowd would have
grown rapidly to a screaming, pushing,
good-natured mob, bristling with waving
autograph books. Such public acclaim is
a beautiful tribute, certainly, but violent
scenes of excited devotion can be very
inconvenient at times, to put it mildly.

■ Take the time last year when Sonja
Henie was a guest star on Al Jolson's
air show. All across the country,
listeners beside their radios heard her.
No doubt their imaginations pictured an
evening filled with glamour for the popu-
lar little skater. They knew that she had
had an interesting day at the studio
where everything possible had been done
to make her comfortable and happy.
Deft maids had dressed her hair and
changed her costumes. An understand-
ing director had waited until the last
moment before calling her to the set so
that she might not become wearied while
lights were being changed. Her com-
panions were distinguished actors and
actresses, sophisticated people who were
good company. When the day's work was
done, she was whisked home in a power-
ful big car. Certainly stars have a soft
life, thought the radio listeners. Ah, but
there was more to come!

The evening was chilly, so Sonja wore
a light ermine cape to the broadcasting
studio. It was a new cape, distinguished
from all other capes by a fringe of little
tails for decoration.

The broadcast went off according to
schedule, and Sonja made her way to the
street. A crowd was waiting, and it fell
on her with glad cries. Sonja signed
books as fast as she could for twenty
minutes. Then she started to move to-
ward her car. The fans on the outside
of the crowd were eager. They jammed
against those in front. They in turn
jostled against the star. Sonja smiled and
signed, but it was fifteen minutes more
before she reached her car. Once under
way, one can imagine that she took in-
ventory rather grimly. Her slippers
were badly trampled. Her hair was in
disarray. Her flowers were gone. So
was her handkerchief, and it must have
taken a good deal of determination to
keep that smile when she looked at her

new cape. On the front was a smeared
blotch of ink from a too heavily loaded
fountain pen. Where a fringe had swung
before there was a ragged uneven range
of tails. In the excitement and confusion,
a dozen fans had helped themselves to
souvenirs!

■ Oh, certainly the stars love us. Cer-
tainly the stars are grateful for the

devotion which has made them famous.
But can you blame them if they grow
a little timid about making public ap-
pearances? Think it over, the next time
you wait in a railroad station or the lobby
of a hotel, hoping to catch a glimpse of
your favorite. And think twice before
you say in disgust, "She's high-hat! He's
stuck-up!" when one of the movie great
skulks out the back way like a fugitive
from justice.

When young players are seeking ca-
reers in Hollywood, they are tested for
photographic effectiveness and for acting
talent. It is a wonder that they aren't
tested for football prowess, as well. Be-
cause some time or other, every star has
to buck that line, and go through a scrim-
mage that would not be out of place on
the gridiron.

■ Such things happen not only in
Hollywood. In fact, Hollywood is ac-
customed to such emergencies, knows
how to anticipate most of them. But
when fan fever breaks out in other parts
of the country, police frequently are
taken unaware. They are prepared for
riot calls. They know what to do when
a five alarm fire breaks out. They can
handle traffic snarls with ease. But the
joyous enthusiasm of fans on the hunt
for sensations is a matter difficult to
handle, once it is under way.

When a film has a formal opening in
Hollywood, an especial corps of cops is
detailed as a matter of course to keep
the entrance of the theatre clear. Side-
walks are roped off, and the audience has
a reasonable chance of getting into the
theatre quietly. More than many times,
however, gardenias have been snatched
off evening wraps, handkerchiefs have
been grabbed from pockets by long armed
fans who reached over the ropes for a
souvenir.

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■ When In Old Chicago opened in New-
York, the sidewalks were not roped

off because, ordinarily, that is not a neces-
sity for the average premiere away from
Hollywood. But word had gotten around
that Alice Faye was to attend, and by
the time she reached the theatre, the
crowd had taken possession of the lobby.
The sidewalk was packed solidly with
laughing pushing fans who bobbed under
the arms of the police and back into the
center of the throng the minute they were
shoved aside. The police were not help-
less. They could have cleared the side-
walk in five seconds, had they wished to
use as much violence as the crowd, itself,
was using. But it would have spoiled
the evening for everyone if a crowd of
movie fans had been tear-gassed or ar-
rested, so the big officers pushed and
grinned and shoved, until finally they de-
cided that drastic measures had to be
used, and a mounted policeman carefully
edged his horse up on the sidewalk and
cleared a way through.

Your first reaction, on seeing a pic-
ture of a mounted policeman "riding
down" a crowd, probably is one of in-
dignation. But how would you feel if
you were a star and discovered, after
going through a mob of fans that someone
had snipped one of your curls off? It
has happened!

■ Ironically enough, many stars are
blamed for the very thing that they

cannot help. When Dick Powell and Joan
Blondell went to see Helen Hayes star
on the stage in Victoria Regina in Los
Angeles a few weeks ago, they realized
that there would be heavy traffic and
probably some delay in getting into the
theatre, so they left home unusually
early. They were right. The crowd was
enormous, and it was impossible to get
into the theatre until after the curtain
had gone up. Embarrassed, they slipped
down the aisle as quietly as possible, but
that did not prevent an item in the paper
the next day: "Mr. and Mrs. Dick Powell
arrived in true movie-star fashion . . .
LATE!"

U This discussion has nothing to do
with the pathetic people who are
mentally unbalanced, and who become
such difficult problems. Every few
months, some pitiful person turns up
claiming to be the long lost mother,
daughter or former sweetheart of some-
one prominent in Hollywood. Such cases
always are painful, because no argument
and no proof is convincing to those poor
clouded minds. And frequently the pub-
lic is left with an impression of something
unpleasant and underhanded about a
star through no fault of his own.

A case in point is the recent trial of the
woman who claimed Clark Gable to be
the father of her child. The story was in
headlines for days, and though it was
proved beyond shadow of doubt that the
star never had seen the woman before,
and that she was completely mistaken,
many people remember the charges, and
forget that they were proved to be false.

This discussion deals with those people
who admire stars sufficiently to wait for

hours outside theatre and hotels in order
to catch a glimpse of a favorite. It deals
with those people who, having imagina-
tion enough to admire brilliant personali-
ties, might reasonably be expected to
have enough imagination to realize that
stars are people, too.

S Take that time when Gertrude
Michael was keeping a luncheon date
that had an extremely important bearing
on her career.

She had been delayed at the studio,
and she was late. When her car stopped
in front of the Brown Derby, there was
a slight frown of anxiety between her
brows, because lateness is never a good
idea, and this time it was especially em-
barrassing.

There was a crowd of perhaps fifty fans
lying in ambush at the entrance. They
fell upon Miss Michael with whoops of
joy, waving autograph books.

"I can't stop now, I'm late for an en-
gagement," she took time to explain as
she pushed her way determinedly to the
door. "I'll be glad to sign for you when
I come out."

The fans didn't like that. Wasn't she a
movie star? Wasn't she a favorite? Then
who did she think she was, having the
nerve to make dates when they were
waiting?

They took an unkind revenge.

When Miss Michael came out later,
there was a big sign chalked on the white
stucco wall: "G MICHAEL IS HIGH
HAT WE THINK SHE IS LAUSY"

Funny? Well, suppose it had happened
to you? In front of your friends?

Bj Devotion from fans is a wonderful
and heart-warming thing. Most
stars are genuinely grateful. Most stars
are touched and warmed by the ad-
miration and affection that comes to them
from thousands of unknown admirers.
But can you blame a dignified and sincere
artist for being a little shocked and a
little hurt when a fan yelled out of a
crowd, "Hey, Joan, when you divorce
Franchot, will you marry me?" That
happened to Joan Crawford, who is noted
for the careful consideration she gives to
the public and for the gratitude she has
expressed many times to her fans.

■ Then there is the case of Janet
G a y n o r and the determined fan.
Janet was his favorite, so he determined
to see her. He traveled all the way across
the country. When he reached the studio,
he was denied admittance. Naturally.
A studio is a place of business. No one
gets inside unless he has a business
errand, or unless he has very influential
friends on the studio staff or on the press
who can have the rule set aside.

He tried to climb the fence, and was
stopped by the studio police. He tried
to ride in on a truck, and once more was
stopped. Undaunted, he managed to dis-
cover her home address. Her house is
set rather apart from other houses and
the grounds are heavily planted with
shrubbery. That gave the fan his chance.

As Janet's car swept up the driveway,

62

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the early California dusk was falling, and
the porch was in heavy shadow. As the
little star ran up the steps a big, and what
seemed to her menacing figure stepped
silently out of the concealing shrubbery.
She says that now she knows what
writers mean when they say, "her heart
leaped to her throat." She was scared
all the way through with one of those
unreasoning terrors that are like night-
mares. It was the combination of dusk,
the silent swift appearance of a desperate
looking stranger where she had expected
nothing more alarming than her own
geranium bed.

Once he had won his point, the fan was
satisfied. Fie said that he just wanted to
be sure that Janet was as lovely in real
life as she looked on the screen, and
he went away satisfied after a good look.
But little Janet confesses that she went
straight to a mirror, half expecting to find
her hair white from fright.

H That was thoughtlessness which can
be excused, but some of the incon-
siderateness that is of daily occurrence is
hard to understand.

When Jeanette MacDonald and Gene
Raymond were first engaged crowds fol-
lowed them wherever they appeared.
One of their favorite entertainments was
the outdoor concerts in the Hollywood
Bowl. The Bowl holds some 20,000
people, and frequently is sold out because
the concerts are fine and there are many
music lovers in Southern California. But
not all the people who go to the concerts
are music lovers, and during intermis-
sions, fans who go for no other purpose

than to get autographs carry their books
from box to box.

The engaged pair signed graciously
enough during intermission, though they
had guests with them, and it was a rather
trying interruption. But surely the all-
time high of inconsiderateness was
reached when a fan tip-toed down the
aisle, right in the middle of Beethoven's
Second Symphony, and whispered a re-
quest for signatures.

The stars were saved the embarrass-
ment of refusing by infuriated box-
holders around them who hissed, '"Be
quiet! Sit down! Go away!" furious
over the interruption.

Most of them realized that Jeanette and
Gene were helpless but one particularly
angry music lover blamed them for the
whole thing.

"These movie stars think they own the
world!" she commented audibly. "They
stop at nothing! Imagine signing auto-
graphs in the middle of the concert! They
pretend they don't like it, so why do they
do it? If they all got together and re-
fused they could put an end to it in a
week!" And that, of course, is true.

But most stars are long suffering. Most
stars have their troubles on the way up.
Most stars have a real sympathy and a
real gratitude for the interest in them
that keeps admirers standing for hours
waiting for a chance to see them. Most
stars feel that signing an autograph book
is a little favor to grant, if it gives
pleasure. But most stars do wish, and
fervently, that fans would Stop, Look
and Listen before they dash in where
friends would be too considerate to tread.

Worry, Worry, Worry!

[Continued from page 33]

my role of a Washington, D. C, society
girl in The Lady and the Covjboy is to
be authentic. By the time my speech be-
comes Americanized again I'll have to
return to England to fulfill committments
with the British studios and once more
I'll have to pick up the accent I dropped
in America. It's going to be pretty con-
fusing and difficult to keep my tongue
'in character,' so to speak, but perhaps
I can manage it."

. Worry No. 3 springs from her belief
that she's going to have a hard time living
up to the nice things that have been said
about her since her return to American
pictures. Being a hard-working, sincere,
and studious actress who isn't at all bash-
ful about criticizing her own efforts, she
wants to pay off her admirers with the
best performances of her career.

That worry, if we know anything about
the lovely English lady, can be canceled
right out of her mind. And we took a
great deal of pains to tell her so.

We reminded her of her splendid per-
formances as Kitty Vane in the Dark
Angel, as Anne Boleyn in The Private
Life of Henry VIII, (the English picture,
by the way, that provided the springboard
for her leap into the American spotlight) ,
and of her out-standing work in the
Scarlet Pimpernel — just to convince her

that in our own undercover way we had
been keeping close tab on her career. To
convince her further we asked her if it
weren't true that her first pay check was
for extra work in a British-Gaumont film
called Alf's Button.

''I was given a line to speak in that
one," she laughed, "and received ten dol-
lars a day for three weeks. I'll never for-
get it. When the picture was released
I went to see it, but much to my embar-
rassment I did not hear myself speak
my expensive line; and as an added in-
dignity I caught but one fleeting glimpse
of myself on the screen. Alfs Button!
I hope you're the only person who re-
members it! Of course I've made a little
progress since then, but I'm still worried
about what's going to happen to me dur-
ing my second appearance in American
pictures."

3 And talking about second appear-
ances, Merle says that she finds
Hollywood just as terrifying as the day
she arrived in 1935.

"Everything and everyone moves so
fast that it's hard for me to keep in step.
Everything is motion pictures and every-
one talks ^shop' and it's practically im-
possible for an actor or an actress to have
any semblance of privacy. Perhaps that,

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as one director told me not long ago, is
the reason why American pictures are
so much better than those filmed abroad
— the very intensity of everyone con-
nected with the industry helps .produce
a superior product. Well, that may be
true, but it's difficult to become accus-
tomed ot the Hollywood way of living.
In England, when I'm not working in a
picture, I can find seclusion, and rest, and
perfect enjoyment away from the studios.
No one keeps urging you to do this and
that for publicity's sake, no one asks you
questions about your motion picture
work, no one intrudes on your time and
so you are able to live the life of an
ordinary human being. But here, every-
thing is so frenzied and frantic that an
easy-going person like myself is thrown
off-balance. But I'll say this — it's all very
exciting and stimulating and if my nerves
hold out I'm sure I'm going to enjoy it."

3 An exciting, exceptional, extremely
talented English girl, this Merle
Oberon, who is as lovely as she is wise.
It's been three years and over since her
first visit to Hollywood and in case you've
forgotten some of the facts and fancies
that have built up her fascinating back-
ground it might be well to remember
that:

Her real name is Estelle Merle O'Brien
Thompson, her birthplace is Tasmania,
and that from the time she was seven
until she was seventeen, she lived in
Calcutta.

She was known, then, to her friends,
as "Queenie," a nickname that her mother
still uses.

She didn't like school and as soon as
she was old enough she found employ-
ment in a large commercial firm.

When she was seventeen her uncle got
army leave for a trip to England and took
her along. The couple toured France,
Italy, and Switzerland but when it came
time to return, Merle objected. Many of
the people she had met, struck by her
exotic beauty, had told her she should
be an actress — told her so often that she
had grown to believe it herself.

Her uncle finally capitulated to her
pleas, gave her a return ticket to Cal-
cutta and with it $100. When the money
was spent she was to take the first boat
home.

On her own, she cashed her steamship
ticket, spent the money for clothes and
set about finding a job in the show busi-
ness.

She labored obscurely in films for two
years with such rewards as bit parts in
Ebb Tide, and Aren't We All. Next came
a role in Fascination directed by Myles
Manter who changed her name to Merle
O'Brien. Alexander Korda, on the look-
out for new talent, gave her a test and
later a part in Wedding Rehearsal star-
ring Roland Young. Korda it was who
made the second change in her name, this
time to Merle Auberon. A day or two
later it was discovered that there was a
dressmaker by the name of Auberon
working in the studio and it was Korda,
again, who suggested another switch —
this time to Oberon, an artistic steal from
the king of the fairies in A Midsummer
Night's Dream.

Because I Was
A Secret Bride

If her parents heard about
the marriage, they were sure
to have it annuled. That's
why they kept it a secret. If
only they could have foreseen
the grief and shame that was
ahead — because the world
didn't know they were man
and wife.

Read the whole story in
the September ROMANTIC
STORY, plus these gripping
confessions:

I WAS A LOVE PIRATE

A Playboy's Confession

GAMBLE FOR A WEDDING
RING

Married — in Jail!

I MARRIED A HEAD
HUNTER

Romance of a Girl Explorer

TOO EAGER FOR LOVE

Branded — By Her Mother's Sin

OUT OF MY CLASS

She Dared to Love Him
And others

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64

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PENNY'S

B According to the
newspaper reports
of the theatrical event,
Penny Singleton's New-
York stage debut went
over with the loudest
bang ever heard on
Broadway!

Ever since she was
eight — the year that

marked the beginning

of her professional

career — the bright and

talented Penny had

kept her twinkling blue

Irish eyes on the Big

Town's theatrical hori-
zon, and at the age of

thirteen, and as a mem-
ber of Anatole Fried -

land's Anatole' s Affairs,

she had finally caught

up with it. Her one

girlish ambition had at

last been realized. She

was on Broadway. On

a Broadway stage. She

was ready and eager to

prove to a critical

Broadway audience

that there was rhythm

in her educated feet

and melody in her

beautiful voice.

"I wanted to be at my

very best that first

night," says Penny in

recalling the experi-
ence, "because someone

had told me that Alan

Dale, the famous critic,

was to be present. If

my act could squeeze

even one little line of

praise from him I felt

that I would never

again have to worry

about success. When I

came out from the

wings and began my

dance, my heart was

beating time to the tap-
ping of my feet, but I

knew I was getting

along fine because the

orchestra conductor

would smile and nod

his head every time I

looked at him. Maybe,

I kept saying to myself,
I'll do so well that Mr. Dale will give
me a whole paragraph in his review!
And then it happened! Just as I started
my spotting tinsicas'— the technical name
tor a series of fast dance whirls— I lost my
balance, flew headlong over the foot-
lights, and landed kerplunk on a kettle-
drum! The drummer caught me on the
second bounce, lifted me back onto the
stage without missing more than five
beats, and I went right back into my
dance routine!

"Heart-broken
was the word for
Penny when I got By E. J. SMITHSON

Penny Singleton

FROM

BROADWAY

She wanted sunshine
in her declining
years, so9 when she
retired at the ripe old
age of twenty-four,
she chose Hollywood.
And now look what's
happened!

back to the wings. Be-
sides losing my balance
I was certain that I had
lost whatever chance I
ever would have to ap-
pear in New York
again. My clumsiness
and Alan Dale's re-
view would take care
of that. That the audi-
ence was giving me the
well-known 'great big
hand' help dispel the
cloud of despair that
engulfed me. The ap-
plause was more out of
sympathy, I thought,
than anything else. I
learned later that it
was given in apprecia-
tion of what was be-
lieved to be the most
startling and original
bit of dance routine
ever witnessed on a
New York stage!"

■ Well, the bright
Penny was pretty
dull in thinking that
her career was ruined.
In the first place the
famous critic had failed
to cover the show, and
in the second place, a
Shubert scout who did,
liked her act so well
that he signed her up
the next day and be-
fore the talented little
dancer knew what it
was all about she
learned she had been
cast in her first musical
comedy, Innocent Eyes.
When this hit had com-
pleted its run she was
immediately assigned to
a starring role in Good
News and followed this
up with another part in
Follow Thru.

Believe it or not,
that's what this little
girl got for falling for
a trap drummer!

And then, at an age
when many girls are
merely struggling to get
started in a professional career, she re-
tired from the stage, gave up her footlight
ambitions, said farewell to her theatrical
aspirations, and took up her residence in
California with no other thought in her
pretty head, says she, then to settle down
to a life of ease and comfort at the decrepit
and cranky old age of twenty-four!
Strange people, these Irish!

"I felt," explains the vivacious Penny,
in trying to give us the low-down on her
odd behavior, "that
I had earned a rest
after 16 years of
hard work. All I

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65

wanted from now on was a rocking chair
to rock in, some of the famed California
sun to sun myself in, and a sequestered
place from which I could watch the rest
of the world go by. And then, after I had
rocked, sunned, and watched long enough,
I might try my hand at other things be-
sides acting. Writing, for instance. And
painting. The movies? Honestly I never
gave the screen a thought."

■ Well, you know how it is in Holly-
wood. Before she had time to give
the rocking chair a good work-out, she
was visited by an emissary from Metro-
Goldwyn-Mayer. He had come, so he
said, for no other purpose than to pay
his deep respects to a famous Broadway
star. It developed later during his visit
that as a matter of studio routine he had
brought along a contract and a pen just in
case Miss Singleton might be intrigued
by the idea of motion picture work. The
second feminine lead in After The Thin
Man was hers for the mere signing of a
bit of paper and so beguiling was his
tongue, so slick his approach, that before
he left he had Penny half-way out of her
retirement complex and her name on the
dotted line. She was such a sensation in
that picture that before she had time to
read her flattering review notices another
emissary — from Warner Brothers, this
time — paid her what he insisted was
merely a social call, parked on her front
door-step and, social call or not, refused
to budge until she had agreed to do the
feminine lead opposite Humphrey Bogart
in Swing Your Lady. Before the shooting
had reached the half-way mark, Warner
Brothers, fearful of losing her, signed her
up to a long term contract and now the
little old lady of twenty-four is back in
motion picture circulation for good. Or
so everybody hopes.

A few weeks after she had inked in her
name to the above mentioned contract
she did it again — but this time on a mar-
riage license — so becoming, you might
say, a movie star and a housewife at one
fell swoop of the pen. She's now Mrs.
Lawrence Scroggs Singleton in private
life — and Penny Singleton to you.

"Ever since I've been married," claims
this Penny-wise film star and housewife,
"good luck has been with me. For years
I've been trying to break into the writing
game but without a sign of success until I
married Dr. Singleton. Now it all seems
so easy! Good Housekeeping Magazine
just bought a poem of mine and I've also
managed to sell several short stories."

I Modesty is almost a fault with this
young lady. In passing over her writ-
ing ability, she neglected to tell us about
the two story ideas in which she inter-
ested Sam Bischoff, a producer at Warner
Brothers, almost before the ink was dry
on her contract.

Penny slipped into Producer Bischoff s
office late one afternoon during the first
week's shooting of Swing Your Lady to
give him one of the real surprises of his
motion picture life. Being new to the
studio he thought at first that she came to
discuss roles. Like all actresses she prob-
ably had some naive ideas along that line

"Baby Snooks" Fanny Brice !s all agog over
Joan Crawford's gaucho chin strap and polka-
dotted handkerchief as they talk over the news
on the "Good News" broadcast

and he was ready to head her off.
Bischoff, being a very busy man, was on
the point of telling her what was being
done, what would be done, and what she
had to do so far as her talents were con-
cerned, when she beat him to the gun.
She wasn't here to discuss her career as
an actress. Whatever Warners did, she
said, was perfectly satisfactory to her.

Well, if you know Hollywood you know
how the producer felt! Here, right in
front of him, was a smiling little lady, a
new-comer, a Broadway star, who abso-
lutely refused to talk about her parts!
It was unheard of! It was positively in-
credible. It was—

It was right about then that Penny
broached the subject of story ideas and
she broached them so well that before
she left Producer Bischoff had okayed

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both of them and told her to develop
them as screen possibilities. The story
goes around the studio now that before
the year is over she'll not only be acting
in pictures but writing them as well!

■ "The thrill was too much for me,"
Penny says. "During the filming of
an exciting sequence the next day I not
only 'sunk my teeth' into my role, but
swallowed them as well! They weren't
my real teeth, of course, but porcelain
caps. The studio hurried me to the den-
tist who made another set and I swal-
lowed them the next day! Back to the
dentist for another 'fitting,' and then back
to the set where I put on another tooth-
swallowing act. It cost the studio $450
to keep me in porcelain spacers for my
lower jaw, and I guess I was lucky the
production manager didn't charge the
expense up to my salary. But he got
even. During the final editing and cut-
ting he left in a sequence that shows me
with my fingers in my mouth trying to
press the caps into position. I wasn't
supposed to be in that scene at all and
I must say it isn't very flattering. It
certainly caps the porcelain climax!"

| Penny was born Mariana Dorothy
McNulty and is the daughter of
Bernard Joseph McNulty, a newspaper
man, and Maria Louisa McNulty. She
has one aunt who was one of the original
orphans of the famous play, Orphans of
the Storm. No other relative that Penny
knows of has ever been connected with
the stage.

Her education was completed at the
Alex McClure School in Philadelphia and
at Columbia University where she took
a course in Journalism and Dramatics.
She's a member of Beta Sigma Phi so-
rority and has contributed a number of
articles and poems to the sorority's maga-
zine, The Torch. She started her pro-
fessional career at the age of eight sing-
ing illustrated songs on a Philadelphia
movie theatre and landed on Broadway
four years later.

"I learned to dance in Al White's Danc-
ing School," she says. "Jeanette Mac-
Donald was a student, too, and I still have
a vivid remembrance of the red-headed
Jeanette singing Shadow Man, My
Shadow Man in one of our recitals."

Eliminating the old-age-retirement
complex that placed her in a rocking
chair on her arrival in California a year
ago, the bright and shining Penny is one
of the most active and industrious young
ladies in or out of the studios. Between
pictures, if she has any time at all to
devote to it, she busies herself with the
child welfare work of Beta Sigma Phi,
and if there is a spare moment left over
she gives it to the Business Women's
Association of Westwood Village where
she resides, and to the Rotary Club. Being
a direct descendant of Daniel Boone she
says that just as soon as there is a lull
in her studio work she's going to scout
around for more outside work to do!

Penny-wise, but by no means pound-
foolish is an eight-word garbled proverb
that aptly describes this gay and viva-
cious young new-comer to the screen.

66

another Way to a man's Heart

EVERY woman knows that well-worn
phrase, "the way to a man's heart
is through his stomach." If you're care-
ful to see that your favorite male . . . boy
friend, husband, father, brother or
second cousin twice removed . . . gets
enough of what he likes to eat, you're
bound to stand high with him. That's
one way to his heart.

But there are other ways . . .

That favorite male of yours is fussy about

his reading, too. He has a difficult time,

perhaps, finding the kind of thing he

enjoys . . . the kind of reading matter that

is aimed directly at him and which he can enjoy as fully and completely as he

does a satisfying meal.

The answer to his reading problem is really pretty simple, and you can solve it
by walking to the nearest newsdealer and buying him a copy of FOR MEN. In
the September issue, for example, he'll devour with relish E. Hoffmann Price's

description of a piscatorial paradise, in
"Angling a la Creole"; shortly he'll find
himself engrossed in Georges Surdez's
intriguing tale of the Foreign Legion,
"An Officer and /or a Gentleman"; Jack
Miley's word-portrait of that rollicking
Cleveland catcher, Rollie Hemsley, will
be right up his alley; we're willing to bet
he'll read Earl P. Hanson's Misunder-
stood Male of the Month sketch of Sir
Hubert Wilkins without looking up once;
and Will Cuppy's "How to Become Ex-
tinct" is guaranteed to put him in a fes-
tive mood for weeks.

All this in addition to two dozen color
cartoons which are aimed straight at
his funny bone.

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SEE PAGE 23

1 l:-1i: |j|J:l |i|;{>M:;i-|

!

t TERCH PEW

Photography Made Easy

Gentlemen:

I have Just purchased both your publications
entitled: "Good Photography," and "Photography
Handbook."

I, am writing to you to compliment you on the
fine work put into these magazines, and I regret
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Though I am a professional photographer
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of these photographic handbooks.

Will you kindly keep my name on file and
let me know when you publish any more of these
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y yours,

Qespectfy

PAUL C. BTOTON *»<7M-'-
Specialist in Child Portraiture

Melville Photographers, 40 Jefferson Avenue, Jersey City, N.J.

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books, post paid. Your order will be promptly filled

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Fawcett Building, Greenwich, Conn.
Please fill my order as indicated by check mark below. The books I order
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remember to enclose remittance and state
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"This explains it-
I'm letting 'Pink Tooth Brush' spoil my smile!"

Protect your smile! Help your dentist keep your gums firmer
and your teeth sparkling with

Ashamed of yourself, quite
ashamed, aren't you? You
knew about "pink tooth
brush." Your dentist had
warned you. But you
wouldn't follow good ad-
vice. You thought you were
different— that you'd get by! What a shock
to find you didn't! You're regretful note!
How miserable to feel that your own careless-
ness has put your smile in danger.

But now you're wiser! Now you're going
straight back to your dentist! And this time
when he stresses special care for your gums as
well as for your teeth you're going to listen.
And if he again suggests the healthy stimu-
lation of Ipana and massage— you're going to
folloiv his advice.

No Wise Person
Ignores "Pink Tooth Brush"

IF you've seen that tinge of "pink" on your
tooth brush— see your dentist. Let him de-
cide. Usually, however, he will tell you that
yours is a case of gums grown lazy and ten-
der—gums deprived of hard, vigorous chew-
ing by our modern soft, creamy foods. He'll
probably suggest that your gums need more
work and exercise— and, like so many den-
tists today, he may suggest "the healthful
stimulation of Ipana and massage."

For Ipana is especially designed not only
to clean teeth but with massage to help the
health of your gums as well. Massage a little
extra Ipana into your gums every time you
clean your teeth. Circulation in the gums is
aroused— lazy gums awaken— gums tend to
become firmer, healthier— more resistant.

Get an economical tube of Ipana at your
drug store today. Adopt Ipana and massage
as one helpful way to healthier gums,
brighter teeth— a brilliant smile that wins
admiring attention.

TO

It

.r.-* _

IPANA TOOTH PASTE

When Answering Advertisements Please Mention October HOLLYWOOD

■fa.

Vol. 27 No. 10

/

W. H. FAWCETT
Publisher

SEP

.0 !938

LLEWELLYN MILLER, Editor

Table of Contents

EXCLUSIVE FEATURE STORIES

Tito Comes to Town (Tito Guizar) by Elmer Sunfield 10

Tyrone Knows an Answer by Son/a Lee 19

Five Day Brawl [The Valley of Giants) by E. J. Smithson 20

Streamlining Jack Oakie by Kay Proctor 24

Judy Keeps a Date (Judy Garland) by Katharine Hartley 25

"Ooooops, Sorry!" (Fredric March) by Jessie Henderson 26

The Name Is Familiar by Llewellyn Miller 28

Ma rcia from Australia (Marcia Ralston) by Ed Jonesboy 34

Plans Are a Headache (Melvyn Douglas) by Serena Bradford 40

60 Candlepower Star (Lionel Barrymore) by Marge Decker 44

Nice Young Man (Patric Knowles) by Ruth Rankin 50

PICTORIAL SPECIALS

Change Your Partners! (Fred Astaire and Ginger Rogers) 22

Frances Dee and Ronald Colman 27

Janet Gaynor 29

The Breakdown of a Cowboy (Gary Cooper) 32

How to Take the Bad News (Harpo Marx) 66

EVERY MONTH IN HOLLYWOOD

Hollywood Newsreel 6

The Show Goes On by the Editor

Important Pictures by Llewellyn Miller

Beauty Department by Ann Vernon

Movie Crossword

Hollywood Cooking School (Billie Burke) by Betty Crocker

CONTEST

Sonja Heme's Lucky Star Contest

8

14
48
57
58

30

Gary Cooper and Merle
Oberon in a light-hearted scene
from 77ie Cowboy and the Lady

!

Mi

RALPH DAIGH, Managing Editor

CHARLES RHODES, Staff Photographer

HOLLYWOOD Magazine is published monthly by Fawcett Publications, Inc., 1100 West Broadway, Louisville, Ky. Entered as second class matter at the post office at Louisville,
Ky., under the act of March 3. 1S79, with additional entry at Greenwich, Conn. Copyright 1935 by Fawcett Publications. Inc. W. H. Fawcett, Publisher; Elliott Odell, Advertising
Director. General offices, Fawcett Building, Greenwich. Conn. Trademark registered in TJ. S. Patent Office. Subscription rate 50 cents a year in United States and possessions
and Canada; foreign subscription $1.00. Single issues five cents. Advertising forms close on the 18th of third month preceding date of issue. Printed in TJ. S. A. Member Audit
Bureau of Circulations. Send all remittances and correspondence concerning subscriptions to Fawcett Building. Greenwich, Conn. Advertising offices: New York, 1501 Broadway;
Chicago, 300 N. Michigan Ave.; San Francisco, Simpson-Iteilly, 1014 Buss Building; Los Angeles, Simp son- Reilly, Garfield Bldg. Editorial offices, 1501 Broadway, New York City.

n

All of us . . kids together . - we have been reading about Marie Antoinette . . the
of France. Of her virtues . . her intrigue §/w/M and brilliance
. . more than anythinq else . . we read of (£§§££]) her scarlet history

ft (h,

as the playgirl Z- / of Europe . . . <i?i^f] of her flirtations . . her escapades with the

extravagances even while her subjects
screen gives us.. MARIE
woman y)j^ ..we see her, as

noblemen of her court . . her
starved. ^K Now the

ANTOINETTE" the

tho through a keyhole. . not on the pages of history... J$m but in her boudoir

. . in the perfumed halls of the palace of Versailles .
nights in her \\ garden .. A rendezvous with her lover ^\l

through

on the moonlit

i>f. ,we tollow her

triumphs and glory .. midst the pageantry of that shameless court .. we

tottering of her

> \ ' . /

throne . . the uprising of her people . . her

arrest and imprisonment . . and we c\t Jife%w>; follow her on that last ride through the

streets of Paris to the guillotine. J>*

NEVER., not since the screen found

voice .. has there beenj^f^/;,'*1— £_£ j-U-"^ a drama so mighty in emotional

conflict., so sublime in romance .. so brilliant in spectacle .. so magnificent
irr performance . . truly "MARIE ANTOINETTE" reaches
the zenith of extraordinary entertainment thrill;

NORMA

TYRONE

NEVER HAS THE SCREEN
WITNESSED A GREATER
PERFORMANCE THAN
THAT OF NORMA SHEARER
AS THE "ROYAL BAD-GIRL"

SHEARER - POWER

in Metro • Goldwyn • Mayer's Finest Motion Picture

The Private Life of

MARIE ANTOINETTE

JOHN BARRYMORE • ROBERT MORLEY
ANITA LOUISE* JOSEPH SCHILDKRAUT /

Gladys GEORGE • Henry STEPHENSON %

Directed by W. S. VAN DYKE II • Produced by HUNT STROMBERG

ROMANTIC TYRONE POWER
AS THE MAN WHO OFFERED
HER THE LOVE SHE
COOLD NEVER FIND IN
HER STRANGE MARRIAGE

V

When Answering Advertisements Please Mention October HOLLYWOOD

i:MHT47I«I4»9:i47ftcl44l

B Whoever started the rumor that ice-
skating queen, Sonja Henie, is a
r.ickle-nurser must have taken a couple
of deep puffs of the poppy. After finish-
ing her latest picture, My Lucky Star,
European promoters offered her $80,000,
plus expenses, to make personal appear-
ances while abroad, but little Sonja turned
it down — and for what, do you suppose?
Well, because the tired little star wanted
a vacation, a good long one, and no mere
$80,000 was going to stand in the way of it.

H Robert Cummings is just about ready
to give a lot of his friends the air. The
Department of Commerce just okayed his
instructor's license and he's now entitled
to give flying lessons in ships weighing up
to 7,000 pounds. Just to show him what
it thought about the honor, Paramount
grounded him for the duration of Touch-
down Army, which recently went into
production.

| Marlene (Legs) Deitrich may be poi-
son to a lot of independent exhibitors,
but she's going to be plenty busy in front
of the lens when she returns from Europe
in September. Columbia has her about
set for a picture and when that is com-
pleted Darryl Zanuck, the 20th Century-
Fox, has just about decided she's the gal
to play Lady Esketh in The Rains Came.
And while we're mentioning this future
opus, you should listen to the plotting and
planning and conniving that's going on at
the Fox studio among the stars who want
roles in the picture.

H Bette Davis, bless her sturdy little
heart, isn't backing away from speak-
ing her piece whenever she thinks she's
right.

Out on The Sisters set at Warners,
Director Anatole Litvak expressed his
disapproval of the manner in which Ian
Hunter was leading Bette in the polka.

"In Russia," Bette said very quietly,
"the women may lead the men, but in
America the man leads the woman."

The Sisters set was smothered by a com-
plete and painful silence for a full minute
with prop boys, electricians, and tech-
nicians waiting tensely for war to break
out, but Litvak, being a wise director as
well as a good one, shouted "Action" —
and the show went on.

M -^hil Regan and Bill Gargan have been

friends for years but only the other

day, during a luncheon powwow, did they

Penny Singleton dancing with a handsome
youngster who seems to be having a fine time
with the Movieland Tourists and the stars
during a dinner-dance at the Wilshire Bowl

discover that they had much in common.
They learned by comparing notes that
they had been born in the same county
and had attended the same school in
Brooklyn. Much to their surprise they
discovered also that they had both mar-
ried Irish lassies in the same church, the
St. Francis; that both were once street car
conductors, that each had been blessed
with two sons and that they both con-
tributed to the same charity. The same-
ness ends, however, when they get talk-
ing about baseball, Bill being a rabid
Giant fan and Phil a staunch supporter
of the daffy Dodgers of Brooklyn.

E§} Isolationist No. 1 is Filmman Jimmy
Cagney, who recently laid $32,000 on
the line to become sole owner of an island
lying near the westerly tip of Balboa
Island in Newport Bay. Along with the
purchase went a large residence and a
number of guest houses all ready for oc-
cupancy when Jimmy and his Irish pals
want to play hookey from Hollywood.

H Spencer Tracy, whose numberless
deeds of kindness often go unmen-
tioned, added another to his long list the
other day when he went to bat for the two
sons of the M-G-M gardener, Tony Men-
doza, and saw to it that the youngsters got
their chance to make their screen debut in
Boy's Town.

B| Marital discord in the Errol Flynn-
Lili Damita menage broke out afresh
last month when Errol, winging into the
Union Air Terminal from San Francisco
— where he'd gone to grow a beard for a
picture — refused to embark when he saw
his wife waiting for him; Ordering the
pilots to go ahead after all passengers
had left the plane, Errol ducked down
into his seat while the ship taxied to a
[Continued on page 65]

Buddy Westmore staged a make-up show at the "It" Cafe
for the Movieland Tourists, and here is pretty Pauline
Moore finding out how it feels to be a Hollywood star

Wayne Morris and Rochelle Hudson with two of the younger
Movieland Tourists who came well equipped with pencils
to get those prized autographs from favorite players

IK

Pat in a grand new
part... a night-world
king who rules with
a glad hand !

^mjjMw"^™

A dashing new per-
] sonality fights and
\ loves his way to
! Hollywood's heart!

SSStp^t^ mot.cn Tf^rrS:i!AR!

with surprises! Be mere w — -\^ P^L

WARNER BROS. PRESENT

OF THE

'm^gjfi

■».

T, .NO SWG CATS • JOHNN.H OAV,S • ««Y COLONS*
JOE VENUTI AND Hlb !»win _ _ _

,

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fe- ^v,

"Everybody but me \
turns in a five-bell
performance."
— Jimmie Fii

*•■■?$$

I The greatest
Lindsay you've
ever seen ... in a

i role that's the soul
of romance f

DIRECTED BY BUSBY BERKELEY . Screen Ploy by Jerry Wald and Richard Mocoulav
From the Saturday Evening Post Story by H. Bedford-Jones and Barton Browne • Music
and Lyrici by Horry Warren, Al Oubin and Johnny Mercer • A First National Picture.

Hear these greol new song hits.- "GARDEN OF THE MOON," "LOVE IS WHERE

YOU FIND IT," "CONFIDENTIALLY, " "THE LADY ON THE TWO-CENT STAMP.,"

"GIRL FRIEND OF THE WHIRLING DERVISH,'"

When Answering Advertisements Please Mention October HOLLYWOOD

-S*

FOR A WOMAN IN LOVE. ..If

you want to attract him, use the lipstick
he likes! Men detest lips that look too
bright and "painted". Use the lipstick that
gives your lips a smooth, natural glow.

LIPS ARE ROSY AND SMOOTH

when you give them the magic touch of
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AND ROUGE TO MATCH. ..In the

Creme or Compact form, Tangee Rouge
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gives your cheeks a delicate, natural tone.
It suits every type of coloring — perfectly!
Try Tangee Rouge and Lipstick tonight!

BEWARE OF SUBSTITUTES! There is
only one Tangee — don't let anyone switch you.

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ENDS THAT PAINTED LOOK Theatrical.

| 4-PIECE MIRACLE MAKE-UP SET

I The George W. Luft Company, 417 Fifth Avenue,
New York City ... Please rush "Miracle Make-Up
I Set" of sample Tangee Lipstick, Rouge Compact,
1 Creme Rouge and Pace Powder. I enclose 100
I (stamps or coin). (1&( in Canada.)

I Check Shade of npiesh nRachel nLight
Powder Desired Rachel

Name.

Street

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F108

iis!*i:wvjr*]«t>i^i

H An editor's lot is not an easy one,
and editors of movie magazines have
the hardest times of all. If you don't be-
lieve it, ask any fan magazine editor.
They'll tell you that the unexpected
always happens.

But this month, serenity reigns in the
offices of Hollywood Magazine. Placid
smiles have smoothed the normally fur-
rowed brows of the staff, as fine a set of
worriers as you'll find in the publishing
business.

For one thing, our circulation manager
just strolled in, all abeam, with facts and
figures to prove that Hollywood Magazine
sells more copies in Hollywood and Los
Angeles than any other magazine devoted
to the movies.

That was such good news that, impul-
sively, we offered the circulation manager
the pickle off our sandwich. On the day
the magazine goes to the printer, luncheon
always comes in on a tray, and, as every-
one knows, they never send enough
pickles on a tray luncheon, so the offer
was pretty magnificent. He declined the
pickle, remarking rather tactlessly we
thought, that he was on his way to the
Hunting Room at the Astor. So we told
him he was a fine fellow to sell all of those
magazines. He made us a pretty bow and
said that we deserved the medal for find-
ing stories and pictures and news that in-
terested, not only the whole country, but
the center of the movie industry, itself.
So we gave him the whole sandwich.

M Another thing that makes us feel fine
is the way letters continue to come in
about double features in theatres. In the
August issue, we asked readers to let us
know whether they preferred to see two'
pictures or one when they went to a show.
Two days after the magazine was placed
on sale, we began to get letters, and they
have been coming in ever since! We have
been busy sending thought-waves saying
"Thank you!" to all of those fine letter
writers who have helped us find out just
how the paying customers would like to
have their theatres run. So far, for every
person who liked double bills, there have
been four and three-fourths people who
wanted single bills. And the letters still
come. We'll give you another report on
the voting next month.

■ Speaking of next month, we have
some extra special features under way
for the winter season. Two of the most
challenging are questionnaires. The first
one appears in the November issue, and in
it Miss Loretta Young lists sixty-four
questions which she claims will reveal the
hidden self of any young man. Our great
weakness is a marked tendency to be
dazzled by a soft voice, a flamboyant wit
and a touch of smouldering sorrow. Some-
times those attractive attributes cover a
heart of gold. But they also may be worn
effectively by 90 proof heels. So immedi-
ately we tried out the system on six un-
suspecting gentlemen, and it works! Life
should be much simpler from now on.

Miss Young calls it, "The 'Regular Guy'
test," and we think you ought to have it
in your files. The following month, Mr.
Robert Montgomery is producing an
equally searching set of questions for the
ladies.

H In our files right now is a wonderful
picture of Mr. Robert Taylor at the
age of two, dressed in a rather sensational
combination of suit and dress. He seems
to be in full charge of a hand bag about
twice his size which undoubtedly is filled
with equally interesting and fashionable
attire. It was taken just before his depar-
ture for his grandmother's home, and we
plan to print it with the story about that
same grandmother. She is a very deter-
mined little lady, and you will laugh with
her (and with Taylor, too) when you read
about her one-woman battle against the
star's screen name.

H Our favorite extra, Mr. E. J. Smithson,
has been working pretty steadily, and
if you enjoyed his adventures in other pic-
tures, you will be glad to know that he
still is all in one piece, even after working
in You Can't Take It With You, which he
tells about next month. In our last letter,
we asked him why he always seemed to
get hit by things every time he went to
work in the movies. He said it was be-
cause he is too much of an artist to look
behind him, but he thought he ought to
have an expense account for bandages.
Our last word from him came from the
Mount Whitney location of the Gunga Din
company. It came in a wire which we
haven't answered yet: HAVE JUST BIT-
TEN RATTLESNAKE WAS HE SUR-
PRISED DO YOU WANT PICTURES.

Anne Nagel and Jack LaRue, all
in circus spangles, for their parts
gram's Under the Big Top, take

done up

in Mono-

a stroll

Accept No Substitutes! Always Insist on the Advertised Brand!

When Answering Advertisements Please Mention October HOLLYWOOD

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QUEEN d LOVE ?

I COURTED AND ADORED— lovers sighed and (
poets sang of the intoxicating perfume that made
her the loveliest of women . . .

EVERY GIRL A QUEEN when she borrows for
her own the enchanting fragrance of Djer-Kiss
Talc. ..provocative and Parisian.

Start your day the Djer-Kiss way! Bathe
your entire body with this delightful
talc each morning. Djer-Kiss keeps you
dainty and refreshed all day . . . Helps you
stay cool, for it actually lowers body tem-
perature. Clothes feel more comfortable . . .
Makes you alluringly fragrant. Use Djer-
Kiss generously, for the cost is surprisingly
small. Buy it today at drug and toilet goods
counters— 25c and 75c sizes. Liberal 10c
size at all 10c stores.

The same delightful fragrance in Djer-Kiss
Sachet, Eau de Toilette and Face Powder.

YOURS FREE— the exciting new book,
"Women Men Love— Which Type Are You?"

—full of valuable hints on

how to make yourself

more alluring. Just send

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Parfums Kerkoff, Inc.,

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... genuine imported talc
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perfume by Kerkoff, Paris.

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2?y KERKOFF • PARIS

TITO COMES TO TOWN

Tito 4*nizar*s career has taken hint half way
around the world, hnt now he has arrived
in Hollywood, and he expects to stay

B> ELMER SUNFIELD

■! | Every time Tito Guizar, Paramount's
handsome, romantic baritone opens
his mouth in song he opens up a new
market in Mexico and South America for
this studio's screen product. Which cer-
tainly doesn't hurt the handsome Tito any
more than it does the studio.

Tito, you may recall, was added to the
cast of The Big Broadcast of 1938 more
or less as a Mexican-South American
"feeler," so to speak, and his special mu-
sical number turned out to be the high-
light of the picture. All of which made
Tito feel pretty good about his initial
success, made Paramount feel better be-
cause of the promise of bigger and better
foreign sales, and best of all made movie
fans feel very happy because of the
studio's promise that they would soon
have an opportunity to see their new
favorite in bigger and better roles.

After having seen the rushes of his
second picture, Tropic Holiday in which
he co-stars with Dorothy Lamour (the
same picture, by the way, in which

Martha Raye fights and throws ze bool
like an old-time toreador) we can truth-
fully say that producer, director, and
front-office, alike, have done more than
their share to live up to their agreements.
For Tito, with his guitar or without it,
sings and acts in a fashion that will win
him more raves than he used to get on
his radio broadcasts. In other words, he's
going to be a sensation.

H Tito's early ambition in life was far
removed from the realm of music.
Above all else he wanted to follow in the
footsteps of his illustrious grandfather,
General Francisco Tolentino, who was
once President of Mexico.

"The only music I enjoyed when I was
a boy," says Tito, "was the roar of the
cannon and I studied good so that when
I became beeg I could be an artilleryman
in the Mexican Army. A wagon soldier
I theenk you call them in America. But
my mother, who loved music and who
once sang with Bouche, the famous

10

Accept No Substitutes! Always Insist on the Advertised Brand!

eSS?

*"}&

FRED ASTAIRE
GINGER ROGERS

CAREFRE

Lyrics and music by

IRVING BERLIN

Come on, Ginger! Hurry, Fred!

Slap that floor and paint it red!
Sing it, swing it, make gloom scram —

Heat your feet and do THE YAM!

Here they come! . . . Dancing to your heart's con-
tent ! . . . Dashing, bubbling, floating on a cloud of
rhythm through a romance that will make you sigh
as much as you laugh, and thrill as much as you
tap your toes! WELCOME, FRED AND GINGER,
IN YOUR BIGGEST HIT OF ALL!

with

RALPH BELLAMY

LUELLA GEAR
JACK CARSON
CLARENCE KOLB
FRANKLIN PANGBORN

A PANDRO S. BERMAN PRODUCTION
. . . Directed by Mark Sandrich

Screen Play by Ernest Pajano

_ and Allan Scott Story

and Adaptation by Dudley

Nlcbolt and Hagai Wilde

When Answering Advertisements Please Mention October HOLLYWOOD

11

BE THE FIRST IN YOUR
CITY WITH THE LATEST
FROM HOLLYWOOD!

HERE'S an opportunity for you to
buy direct from Hollywood the
thousand-and-one novel and unique
products continually originating in the
film capital... new fashions introduced
by the stars, sports and spectator sports
clothes, ready-to-wear, cotton play-
clothes and housefrocks, negligees,
colorful California pottery, home-ware,
gifts, novelties and delicious California
fruit confections.

YOUR HOLLYWOOD SHOPPER
offers this free shopping service to you
with no obligation whatsoever on
your part.

MONTHLY BULLETINS
TELLING FASCINATING
STORY OF NEW HOLLY-
WOOD PRODUCTS...
SENT TO YOU FREE!

Every month YOUR HOLLYWOOD
SHOPPER will mail you a profusely
illustrated bulletin, telling you about
her visits around the Hollywood manu-
facturers, and giving you advance
information about new Hollywood
styles, gifts, novelty items, etc., being
planned and manufactured. In this way,
you'll have an opportunity to buy these
style and gift items direct from Holly-
wood at regular retail prices, months
before your local stores will have them
in stock. All merchandise sent you post-
paid, and on a money-back guarantee.

Mail the Coupon
Below TODAY!
Receive Yo u r
First Bulletin
I mmediately!

PASTE THIS ON A

PENNY POSTCARD

MAIL IT TODAY!

I Your Hollywood Shopper

,| Suite 1028 Equitable Bldg. Fl°

Hollywood, California

Please send me'your free monthly Hollywood
Shopper's Bulletins.

Name

Address
City

Slate-

operatic tenor, she very soon says, 'No,
Tito. You are to be a singer like me
when you become a man — only much
better.' Yes, she says that and so you
see how it is. I studied music as
she say. First in Mexico City when I
was young, and then later in Milan,
Italy, under Pasqual Amato, the great
baritone. In 1931 I make my stage
debut in the opera Manon played at the
New York Hippodrome by the Chicago
Opera Company. After that I sing in a
number of others."

After his Hippodrome introduction Tito
did concert and vocal specialties at Cen-
tral Park Casino, the Ritz-Carlton Hotel,
and the Arcadia night club and, switching
from classical to popular music he began
to draw more than his share of raves
from the boys and girls who write about
sharps and flats for the New York news-
papers. It wasn't long before he was
broadcasting over th3 NBC and Columbia
networks being billed, now, as "Tito
Guizar and his guitar."

H Tito was first introduced to American
audiences as early as 1929, but it
doesn't count, according to Tito because,
as he admits, he just didn't seem to "take"
and this, he admits further, was probably
due to the fact that he refused to sing
anything but native songs.

"My voice, it was very nice the critics
said," Tito declares, "and the people in
Mexico and South America liked to hear
me, but the Americans — not so much. So
my wife, who is a very smart woman as
well as a very beautiful one, she say:
'Tito, you learn to speak English good
so you can sing English songs. It will
put you over beeg, you wait and see.'
That is what my wife, Nanette, she say
to me and sure enough I learn English,
sing in English and it's like — what you
call it — falling off the log. That was nine
years ago and I theenk I speak good, don't
you theenk?"

We said we thought he spoke excellent
English. Which he does. Save for a slight
accent his speaking voice is like that of
any American you can name, and in a
crowd you'd mistake him for a triple-A
Yankee. He's that much Americanized.

S We told Nanette, who was sitting be-
side us at a Brown Derby luncheon
table, that it was very nice of her famous
husband to give her the credit for making
him learn our language. A lot of Ameri-
can husbands, we said, don't like to give
their wives credit for anything except at
the stores.

"Yes," she smiled, "Tito is very nice
that way. I theenk he's a very good
husband. I theenk I speak very good
English, too, don't you theenk?"

Which she does, and we were going to
say so when Tito interrupted.

"My wife she's of the theatre, too," he
said. "For a long, long time she was a
big favorite in Mexico City. Then she
go to Europe with her own troupe and
won what you call them — bouquets — in
all the beeg cities and when she come back
she introduced the rhumba in New York
City. No, I didn't know her when I lived
in Mexico City. You see, she went to

Laredo, Texas, to school and when si t
come home I was in Milan studying for
the opera. We meet when we are on the
same bill at the Ritz-Carlton and just
like that, we are married. Which was
very lucky for me, too, don't you theenk?"
We agreed and then asked her why she
hadn't appeared in pictures.

9 "Mexican hosbands, like Tito, don't
want their wives to work," she said.
"So — I quit and be just a wife. But I
fool him once. . . ."

"She fool me this way," Tito smiled.
"When I was at the Ritz-Carlton,
Winfield Sheehan he heard me and
offered me a screen test. After it was
okay I was signed for the lead in a mu-
sical picture called Argentina. So I come
out to Hollywood and I sit around and
sit around, drawing my salary every week
but never once starting to make the pic-
ture, never once going on a sound stage.
There was what you call it — a shake-up
at the studio and the picture was never
made. But Nanette. With her it was
very different. She come out with me
with no idea of ever being in the movies
and she got in a picture quick! A
Spanish picture. She sing and dance
which makes me very angry. Here I
was, the what you call it — -the beeg shot —
of the family, with a contract, a beeg
salary and just like that my wife she,

what you call it beat me to it. That

experience was enough for me so I say
goodbye to Hollywood for good. Never
again I say to myself. But — see, here I
am."

Tito fulfilled an engagement or two in
New York after his "goodbye Holly-
wood forever" decision and then signed a
contract to make a picture in Mexico
City, an all-Spanish picture called Alia
en el Rancho Grande and immediately
the Mexico City newspapers began to
take, what we call it — picks on him. In
the first place, they said, a Spanish pic-
ture would never sell in the States much
less in South America. In the second
place, this Tito Guizar, while admittedly
fairly good over the radio, wasn't an actor.
Furthermore, if the music critics were any
judges at all, he wasn't much of a singer,
either. In the third place, this Tito
Guizar wasn't a native of Mexico. He
was, if the truth were known, a poseur.

That Tito was more or less hot under
his Mexican collar when he read all this
goes without saying. But being a stub-
born young man as well as a smart one,
he made a lot of Mexican vows that be-
fore he was through with his critics he'd
make them eat every line they'd written
about him.

■ "It had been a long time since I had
been on a ranch," explains Tito, "and I
had forgotten almost everything of ranch
life, and I knew I never could start my
picture until I was very sure I could
make my character natural and true to
life. So I went to my father and worked
on his ranch. Soon everything came
back to me. What clothes to wear, how to
mount a horse, how to roll a cigarette —
lots of little things like that. Then we

12

Accept No Substitutes! Always Insist on the Advertised Brand!

make the picture, Alia en el Rancho
Grande. And then we try to sell it. It
was no good, they say. One studio in
Hollywood, through its New York dis-
tributing branch, it offered $6,000! South
Americans, they say, wanted American
pictures, the big pictures with the famous
stars like Clark Gable, Spencer Tracy,
Robert Taylor, Myrna Loy, Shirley
Temple, Don Ameche, Loretta Young and
so on. This Tito Guizar, he was an un-
known in pictures and so he was poor
competition against the Americans. $6,000
was a good price and we could take it or
leave it. There were other offers, of
course, but not much better. So you
know what this no-good Tito does?"

We said no we didn't and before we
could add another word, Tito was at it
again.

§1 "So I say, what you call it — okay —
Tito will take the picture down into
South America himself and you see two,
three months from now what a beeg mis-
take you make. First I take the picture
to the beegest movie theatre in Buenos
Aires in Argentina. But the manager he
laugh when I — what you call it — proposi-
tion him. He say his theatre runs only
beeg pictures like San Francisco, Mr.
Deeds Goes to Town, Anthony Adverse —
pictures like that. His theatre he says
to me averages 40,000 pesos a week. Alia
en el Rancho Grande would be lucky to
take in 1,000 pesos a week. That was —
what you call it — a sock in the puss, eh?
Finally I say, after a week of talking,
that I will guarantee one-half of his
average weekly take — see, I know that
one — or 20,000 pesos. That wasn't enough
so I get another man, a Paramount sales
representative, to guarantee another
20,000 pesos and the next week Alia en el
Rancho Grande was doing business in the
beegest theatre in Buenos Aires. And
you know how much business it did? No,
I guess not! The first week it took in
40,000 pesos! And the second week 65,000
pesos! It was a smash, a wow — see, I
know those words, too. When I left
Mexico City on this trip only sixty-five
people see me off — everyone of them
relatives of mine. But when I come back
mere than 20,000 people were at the sta-
tion to greet me! Yes, indeed. This fel-
low Tito Guizar was — what you call it —
some pumpkins, eh? That was in 1936.
South America wanted more pictures
with Tito in them. So did Mexico —
American pictures. So I sign a contract
with Paramount and already I have been
in two and soon there is another coming.
And more after that if Tito continues to
be the beeg shot in South America and
Mexico. But I am smart. I see them come
and go in the movies, and I am prepared.
I go into opera and on the radio in case I
become a little shot quick."

We think we're smart, too, especially
after seeing the rushes of Tito's recent
picture, Tropic Holiday. He's going to be
here in Hollywood and in films for a long
time to come. Paramount thinks it is
smart, too, for the studio has signed him
to a long term contract.

Well, what do you theenk?

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MARIE ANTOINETTE (M-G-M)

■ The opening scene in this mammoth
production establishes the scale for
the entire picture. The camera is trained
on a long, long, long, long, long, high, wide,
handsome corridor. Far, far away at the
end a door opens, and a little figure scur-
ries with a girlish bounce and skips down
its vast length. It is little Marie Antoinette
of Austria, hurrying to her mother's apart-
ment in the palace to hear that her mar-
riage to the Dauphin of France has been
arranged.

And for close to three hours, the pic-
ture continues on the same scale. Faith-
fully reproduced, we are told, was the
great ball-room at Versailles, with the
single exception that it was made almost
twice as big. Gowns of truly breath-tak-
ing grandeur crowd the screen and vie for
attention with an equally magnificent cast.

The first part of the film deals with the
pathetic attempt of Antoinette (Norma
Shearer) to make a success of her life
with the clod-like Dauphin (Robert
Morley) , and to win the loyalty of the .
court from Du Barry (Gladys George),
strong-willed mistress of the aging Louis
XV (John Barrymore).

At no time in the first part of the film
is the poverty and the misery of France
mentioned, which is right, because such
things were not a part of Antoinette's life,
and so little known to her that, when
someone told her that the people were
without bread, she shrugged her soft
shoulders and flipped the retort, "Then,
let them eat cake!" That quotation is not
heard in the film, incidentally, cut in the
interests of showing the warmer side of
the ill-fated queen.

With the second part of the film, the
threat of the growing resentment of the
populace begins to show, and the the-
atrical contrast between the wretched,
desperate mob and the extravagant, in-
different court makes for high drama.

Robert Morley gives one of the out-
standing performances as the slow-witted,
doomed Louis XVI in a cast packed with
famous names: Henry Stephenson as the
courteous old ambassador, Anita Louise as
a lovely lady in waiting, Cora Witherspoon,
Barnett Parker, Reginald Gardiner, Henry
Daniell, Alma Kruger, Joseph Calleia,
George Meeker, Scotty Beckett, Marilyn
Knowlden.

Tyrone Power gives a serious, telling
performance as the loyal Count De Fersen,
and acknowledgment should be made to
Adrian who designed the gowns as well
as to the thousands of musicians, tech-
nicians, craftsmen and needlewomen
whose work contributes so much to the
magnificence of this film.

Perhaps the real star is Director W. S.
Van Dyke whose skill is so great that the
film, which is nearly three hours long
does not seem to last for more than . . .
well, a little over two.

LOVE FINDS ANDY HARDY
(M-G-M)

■ This is one of the funniest, one of the
most expert, one of the most admira-
ble comedies you'll see in many a day, and
if you have a teen-age great lover among
your friends, pick him up and join him in
laughter at Mickey Rooney's troubled ca-
reer as a social lion.

As the story starts, Andy Hardy is
hounded by the gnawing necessity for a
car of his own in which to take his girl
(Ann Rutherford) to the big dance of the
year. Stung to action by irresistible de-
sire, he pays $12 down on a dazzling road-
ster, trusting to luck and various devices
of his own to complete the rest of the
twenty dollar down-payment before the
big night.

And that started the troubles which
lacerated his tender sensibilities until the
once light-hearted Andy was hardly rec-
ognizable as the gloom-laden, worry-
weighted boy who had hardly enough fight
left to continue his running guerilla war-
fare with his sister. First he had a girl and
a car. Then he had two girls and no car.
Then he had a car and no girl.

Judy Garland turns in a charming per-
formance as the little girl who comes to
visit next door. She is about a year
younger than Andy's set, and so is dis-
tinctly a social blight. Andy is indeed
hard-driven when he indulges the mad
impulse to take her to the dance. Judy
sings three delightful songs, the dialogue
is a delight, and you will be very sorry
if you let this one go without seeing it.

SKY GIANT (RKO-Radio)

H Richard Dix is the dashing air pilot.
Chester Morris is the dashing student
pilot. So they play a lot of tricks on each
other and fall in love with the same girl,
Joan Fontaine.

The girl is an impulsive little lady, and,
because Morris will not promise to stop
flying, she breaks her engagement with
him and marries Dix. So right away after
the wedding Morris and Dix have to take
off together on an experimental flight over
the frozen Alaskan wastes. Toward the
end of the film you can see a smile cover-
ing a breaking heart almost anywhere you
look. The whole thing is quite routine
except for some of the shots of a big
school for pilots.

PROFESSOR BEWARE (Paramount)

■ Faster and funnier than ever, the
standard Harold Lloyd comedy in its

new disguise as Professor Beware main-
tains a giddy speed from start to finish.
Lloyd comedies always follow the same
formula, and I, for one, would resent it
mightily if the star should venture any
basic change. Once more, he plays the
innocent be-spectacled young man who

14

Accept No Substitutes! Always Insist on the Advertised Brand!

regards the world and its way with a
mild awe until aroused, and then he
fights like a lion.

This new film is apt to be rated among
the very best of the Lloyd pictures be-
cause of the variety of resourceful gags
which decorate the rapid action. The
star plays an Egyptologist who believes
that his life parallels that of one of the
ancient Pharoahs, who had a mighty hard
time before the villains finally did him
to death.

Phyllis Welch proves to be a most at-
tractive leading woman and the dazzling
cast of supporting comedians includes
Raymond Walburn, Lionel Stander,
William Frawley, Thurston Hall, Cora
Witherspoon, Sterling Holloway, Spencer
Charters, Montagu Love, Etienne Giradot,
Christian Rub, Guinn Williams and Ward
Bond.

It is hard to tell which is the funniest
sequence: the clothes changing scene, the
auto that flees across country under a
tent, the race on top of a freight train as
it enters a no-clearance tunnel, or the
fight on the yacht. You'll have to pay
your money and take your choice.

ALEXANDER'S RAGTIME BAND
(Twentieth Century-Fox)

] There could not have been a happier
inspiration than to build a picture
around the songs of Irving Berlin, for the
entire nation has been dancing to them,
humming them throughout the major
portion of the twentieth century, and they
are singularly dear because they bring
memories to every member of every au-
dience.

The story, as you might expect, deals
with a young band leader (Tyrone
Power), his best friend (Don Ameche)
and a girl they both love (Alice Faye).
They have fights and misunderstanding.
They go to war. They put on shows. And
it all adds up to a good excuse to play an-
other Berlin hit tune. Jack Haley, Jean
Hersholt, Helen Westley, Ethel Merman,
John Carradine, Paul Hurst, W a 1 1 y
Vernon, Chick Chandler, Eddie Collins,
Joseph Creehan, Dixie Dunbar and dozens
of others contribute to the success of this
film which is, essentially, a dramatized
jazz concert.

SING YOU SINNERS (Paramount)

There was never a dull moment in the
Beebe household, and nearly all of
the distress and trouble could be traced to
Joe. Joe (Bing Crosby) couldn't get any-
thing but part time work. In other words,
Joe always got fired before he completed
his first day's labor on a new job. As a
result, Mrs. Beebe (Elizabeth Patterson)
was jumpy, quarrelsome and tearful by
turns, Dave (Fred MacMurray) had to
turn all of the profits of his job into the
family, and Fred's girl (Ellen Drew) was
trying to be a good sport about their three -
year engagement, with no hope in sight.
The only member of the family who was
having any fun at all was Mike (played by
an exceptional young actor, Donald
O'Connor) and he enjoyed playing coffee
and doughnut dates with his brothers at
small cafes.

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Joe is sure that his home town never
will appreciate him when he is fired for
starting a swap shop when he is left alone
with his new boss' gasoline station. Vow-
ing to become a success, he takes off for
Los Angeles. After a few months, to every-
one's surprise, he sends for his mother and
small brother amid general rejoicing. It
is a very different story when they arrive
and discover that he has traded his good
business for Uncle Gus, a race horse.

Besides being a very funny cross-section
of family life, there is plenty of tension in
the race scenes, a fine fight and plenty of
comedy and songs.

MOTHER CAREY'S CHICKENS
(RKQ-Radio)

§SS With the exception of the performance

of Fay Bainter, who is so talented

nothing can stop her, this film version of a

famous story is a little on the sorry side.

For reasons hard to follow, changes
have been made in the story, which is
known and loved by quite a number of
people, and they are all for the worse.

Of necessity, Captain Carey's family was
always on the wing as it followed him
from one army post to another. When he
was killed in the Spanish-American war,
they decided to settle down, once and for
all, in a charming old place in a tiny town,
and there live quietly until the four chil-
dren are grown.

A good many army officers, not to men-
tion their wives, are going to be very

much surprised to see how the film treats
this situation, for, before Mother Qarey
decides to take boarders, she is driven to
working in a factory. One can only sup-
pose that her pension and the allowances
for the children were lost in the mail every
month.

No one objects to changes in stories
when emphasis of drama or of character
is needed in transferring the written word
to the moving picture. But such changes
as this are irritating when they serve no
good purpose.

Anne Shirley, Ruby Keeler, James
Ellison, Walter Brennan, Ralph Morgan,
Frank Albertson, Alma Kruger, Jackie
M o r a n, Margaret Hamilton, Virginia
Weidler and the very attractive little
Donnie Dunagan play leading roles.

RACKET BUSTERS (Warners)

Hj Those of us who think that it is a ter-
rible waste of talent for Humphrey
Bogart to play anything but those black-
hearted bad-all-the-way-through villains
which he does with such grace and finesse
will be pleased over his performance as a
racketeer in this new film. He is bad.
He is mean. He is out to get pay-offs from
the dealers of food-stuffs, and he doesn't
stop at anything. Very satisfying.

George Brent plays an Irish truck-
driver who won't take orders from any-
one. Allen Jenkins is seen as his some-
what less independent pal. Gloria Dickson
and Penny Singleton play the women in

The bride, Claire Trevor, takes a sip from Edward G. Robinson's glass for good luck while the
groom, Clark Andrews stands by for the cake cutting

16

Accept No Substitutes! Always Insist on the Advertised Brand!

Big strong Leo Carrillo is a man to look to in
time of trouble, think Penny Singleton and
Helen Mack in one of those uncertain mo-
ments at the Rollerdrome

their lives. Walter Abel has an important
part as the special prosecutor who has
much trouble rounding up the racketeers
because the intimidated victims refuse to
talk. Lots of fighting in this one.

LETTER OF INTRODUCTION
(Universal)

Without any effort whatever, the re-
doubtable Charlie McCarthy wraps up
this film and walks away with it to the
immense delight of the audience.

Plenty of footage has been allowed, and
plenty of bright dialogue has been sup-
plied for Bergen and McCarthy, so that
those who complain that there never is
enough of these two in a film will have no
protest to make over this one.

The success of McCarthy does not de-
tract from the effectiveness of the rest of
the film, which has a most interesting story
and which is excellently acted. Andrea
Leeds plays an ambitious young actress.
Her dearest possession is a letter of intro-
duction to the most famous matinee idol
of the day (Adolphe Menjou.) The letter
contains the astonishing news to him that
she is his daughter, and he is beset with
conflicting impulses. One emotion is of
pride in his charming girl but the other
is a shrinking reluctance to let the world
know that he is old enough to have a
grown daughter. So they keep the news
to themselves. Naturally the girl's fiance
(George Murphy) is concerned, sus-
picious, jealous when she spends hours on
end with the Great Lover. The ending is
unexpected. The cast is fine. You won't
make a mistake in seeing this one.

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the happiness of countless marriages.

Don't risk offending in this most
personal way. Be sure of complete
exquisiteness. Follow the "Lysol''
method of efficient feminine hygiene.

Ask your own doctor about "Lysol"
disinfectant. He will tell you "Lysol"
has been used in many hospitals and
clinics for years as an effective anti-

FOR FEMININE HYGIENE

septic douche. Directions for use are
on each bottle.

Six reasons for using "LysoV for
feminine hygiene —

1— Non-Caustic . . . "Lysol", in the proper
dilution, is gentle and efficient, contains no
harmful free caustic alkali.

2— Effectiveness . . . "Lysol" is a powerful
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3 — Spreading . . . ''Lysol"' solutions spread be-
cause of low surface tension, and thus vir-
tually search out germs.

4— Economy ... "Lysol" is concentrated, costs
only about one cent an application in the
proper dilution for feminine hygiene.
5 — Odor . . . The cleanly odor of "Lysol"
disappears after use.

6— Stability . . . "Lysol" keeps its full strength
no matter how long it is kept, how often it is
uncorked.

•

Also, try lysol Hygienic Soap for bath, hands
and complexion. It's cleansing, deodorant.

What Every Woman Should Know

SEND THIS COUPON FOR "LYSOL" BOOKLET
LEHN & FINK Products Corp.,
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Send me free booklet "Lysol vs. Germs" which tells the
many uses of "Lysol."

Slate

Copyright 19S8 by Lehn & Fink Products Corp.

<

i

When Answering Advertisements Please Mention October HOLLYWOOD

17

A MODERN GIRL HAVING A MODERN GOOD TIME
SWANK CLOTHES, SWELL DATES, SWEET ROMANCE.
THAT'S SONJA NOW, SO DAINTY, SO DESIRABLE, SO INCREDIBLE!

All dressed up, and plenty of
places to go, as the queen of
a co-ed campus ! Laughs sail
through the air like ski- jump-
ers! Love calls in the good
young American way — for-
ever and ever ! And the sump-
tuous ice climax will bring
you to your feet with shouts
of wonder and delight !

Jeep i" 'he *«***i .
SnoW-deep, . Revel!

of Gordo" * -

-Could ^°u „,n Swing
-By a

■^

A-

SONJA HENIE

and

RICHARD GREENE

JOAN DAVIS
CESAR ROMERO
BUDDY E BSE N

Arthur Treacher • Billy Gilbert
George Barbier • Louise Hovick
Patricia Wilder • Paul Hurst

Directed by Roy Del Ruth
Associate Producer Harry Joe Brown

Screen Play byHarryTugend and Jack Yellen • From
an original story by Karl Tunberg and Don Ettlinger

o 20th Century-Fox Picture
Darryl F. Zanuck

in Charge of Production I

\

s*

Every woman in
America will be
crazy about Sonja's
twenty - eight new
Fal 1 costumes
styled by Royer!

18

Accept No Substitutes! Always Insist on the Advertised Brand!

Tyrone Knows an Answer

Above, Tyrone Power with Annabella
and Loretta Young in a scene from Suez
which follows Alexander's Ragtime Band

M It was undoubtedly the incident
of the sour -pickle crock which
first impressed upon Tyrone Power
the saving grace of meeting situa-
tions which promised to be embar-
rassing armed with a sense of
humor.

He must have been all of seven
when he was discovered mapping
out a first-class tummyache by stuf-
fing himself with the crunchy, dark-
green, tempting but forbidden deli-
cacy.

There was practically no pause
between his mother's demand for
an explanation and his glib reply.

"Teacher," he explained seriously,
"called me sweet. It's sissy for boys
to be sweet. So I'm eating pickles."

There was no answer to that alibi.

Ever since then, Tyrone has been
turning away wrath, extricating

Young Mr. Power has a hot
temper bat he also has a
quick wit and he has learned
that one is much more useful
than the other in any career

By SONIA LEE

Left, Power can put up a good fight,
when necessary, as he demonstrates in
Marie Antoinette, to striking effect

himself from delicate situations, get-
ting at least a laugh a day by that
quick wit and subtle sense of humor.
"It's a bit earlyish for philosophy,"
Tyrone observed, taking measure of
the eleven o'clock sun, "but life is a
roller-coaster, and the job is to keep
your hat on your head when you
make the dizzy drops and take the
steep curves. You can't do it unless
you get a lot of fun as you go along."

| As a test of a man's innate
sense of humor, nothing better
has ever been devised than desert
sequences. In Suez, Tyrone's latest
production, much of the action is
concerned with the building of the
canal, uniting the Red Sea and the
Mediterranean. Twentieth Century-
Fox carted something like twelve
hundred [Continued on page 60]

19

14

Twe> day. duurt

Pretty bitter is our favorite extra after they smeared
his grease paint in the biggest fight of the year

Dear Editor:

This may impress you as the ravings
of a deranged mind, but believe me, if I

had known as much then as I do now about the way editors in
general — and you in particular — work their wonders to perform,
I never in this world would have obeyed your request to get
myself an "extra" job on The Valley oj the Giants picture now
being filmed out at Warner Brothers' Studio. Never. Not in this

By E. J. SMITHSON

vale of tears and jeers! And I'll tell you
why.

Well, you know me. I needed the
money, I liked the actors in the film, and I thought it would be
very pleasant, indeed, to put in a couple of days on the lot with
them. Besides, I'd heard that this picture about the lumber
camps was to be in Technicolor and I wanted to see how I'd look
in the pretty reds, blues and browns.

It took me a couple of days to get the job, what with interview-
ing William Keighley, the director, Chuck Hanson, the 1st
Assistant director, and Johnny Prettyman, the 2nd Assistant
director, but I finally wrangled one and reported for work on a
Monday all dressed up in long woolen underwear, heavy spiked
boots, Mackinaw jacket and all the rest of the clothing a regular
honest-to-goodness lumberjack wears. And lady, did I swea —
I mean perspire, wrapped up as I was with all that clothing.
About 200 other guys were dolled up like I was and one of them,
a Richard Phillips who claimed to be 112 years old and the oldest
living Welshman in the world, said we were to do a bar-room
brawl.

This Richard Phillips, by the way, reported at eight o'clock and
faced the camera twenty times that day. Years ago he did extra
work in Call of the Wild and Ben Hur. He told me that he never
figured there was much opportunity in Hollywood and so he gave
it up. He had a job in a service station until last year. Now
the government takes care of him. He was born April 18, 1826,
in Cardiff, Wales. Said he had no idea why he has lived so long
except maybe keeping away from wine and women has something
to do with it. Richard went to work for the Hudson Bay company
in the early fifties, prospected around Oroville, Calif., and was
in Frisco when the earthquake wrecked the town. He fought
in the Modoc war of 1873 and is now applying for a pension for
that service. I hope he gets it. Says he doesn't plan on doing
any more picture work and I can't say as I blame the old fellow.
Well, so much for 112-year-old Phillips.

While I'm adjusting the pillows to ease my strained back and
ankles, let me say that this bar-room should be one of the high-
lights of the picture. I ought to know since I was right in the

Above, Wayne Morris leads with
his left in one of the opening
scenes of the brawl that lasted
five days during the filming of
The Valley of the Giants. At the
right, Alan Hale expresses a cer-
tain amount of disapprove
the bar room, scene of the fight

20

middle of it trading punches with Wayne Morris. And let me
say here that I'm a mighty poor trader when it comes to exchang-
ing knuckles with a big guy like this fellow Morris. Lady, he
sure lays 'em smack on the button!

| Most likely you've never been in a real life bar-room brawl
and if you have I'm mighty ashamed of you, but those I ever
took part in never lasted more than ten minutes. By that time
the fighters were usually hors de combat, to use my parlor
French. Either that, or someone called the coppers and we were
hawled off to the hoosegow.

But this bar-room brawl was different.

The Valley of the Giants Donnybrook lasted five full days!
Fact! Five full days with the air full of beer mugs, fists, chairs
and axes! Lumber story or. not, many a chip fell from the old
blockhead. It's too bad Charley McCarthy wasn't in it! For four
days Alan Hale battled single-handed with 30 or 40 of us syn-
thetic lumberjacks, and on the fifth day Wayne Morris came to
his rescue and he and Alan emerged victorious. And here's
something funny. I saw the script and Seton Miller, the scenarist,
devoted only one page to this scrap. He simply wrote that Hale,
as Ox Smith, comes into the saloon looking for Charles Bickford
as Fallon, the black-hearted villain, and when he can't find him,
wrecks the joint. Finally Morris, as Cardigan, the hero, appears
and helps Ox make his escape. That's all Miller wrote. But
it was plenty. This fight won't be long on the screen — possibly
five or six minutes — but to get that much Director Keighley shot
10,000 feet of film. And before a blow was struck, he mapped out
every movement. As he explained to us before we started swing-
ing, the tempo of the scene had to start slow and end with a bang.
It certainly did!

■ The first day of the battle Hale swung a double-bitted hewing
axe. And how he did swing! Along about five in the after-
noon he sinks the head of it deep into the top of the bar and
the handle breaks off which is okay by me since I'd gotten pretty
tired of ducking.

The second day he used the handle, wielding it as though he
thoroughly enjoyed the experience. Occasionally he would ex-
change the lethal weapon for one of balsa wood and would bring
it down upon the pates of us lumberjacks. He seemed to enjoy
that experience, too.

The third day of the brawl was given over to the smashing of
a mirror behind the bar. Because flying glass is dangerous the
mirror was made of plaster, but I couldn't tell the difference. I
didn't have time. I was swinging a chair in a very manful at-
tempt to crash it down over Mr. Hale's head. Mr. Hale finally
gets really provoked, picked up a chair of his own and it goes
over the bar and away goes the plaster mirror. Now Miss Editor,
all this sounds simple maybe, but believe me it wasn't. The scene
was first made in what we old-timers call a long shot' with two

Technicolor cameras on it. Then it was made close-up by close-
up as all fight scenes are put on celluloid. In the long shot I got a
chair right in the middle of my back and was through for the day.
Director Keighley who got so excited he forgot he was directing
and got a heavy sharp-edged piece of plaster on the side of the
face when Hale broke the mirror — and he was out of the fun and
frolic for more than an hour.

■ Then, thank heaven, Wayne Morris came along on the fifth
day. By that time Hale was getting pretty much bunged up.
Us lumberjacks and a few gamblers were closing in on him,
smacking him with chairs and getting smacked in return. But
this Morris guy! He was like an old fire horse who hears an
alarm. He came charging in, taking picks with those big fists of
his, and unfortunately for me, before the five o'clock whistle
blew I had managed, with my usual finesse, to get my head right
in the way of his hay-makers. As I said in the beginning, man
and boy I've been in a few bar-room brawls and they were
dandies, too, but nothing like this five-day Donnybrook! I
managed to walk under my own power to Wayne's dressing
room and while I was resting up and [Continued on page 37]

Left, Alan Hale refuses to take
it lying down, and winds -up for
another round. Above, this is
said to be one of the quieter
moments in the brawl which kept
the hospital at Warner Brothers'
Studio busy with bandages,
splints, splinters, scratches,
bruises and general wear and tear

21

■^Mfi^

Cl*a*iqt>

VamImmI

Study these pictures, and, by the time the new Astaire-
Rogers film. Carefree, has reached your neighborhood
you will be able to dazzle other dancers with one of
their new dances. Ginger and Fred have quarrelled, at
the beginning of the dance, and he resorts to hypno-
tism to give himself opportunity to explain everything

Ginger fights against the hypnotic spell,
but continues to sway baclt and forth

Fred sways rhythmically from side to side. Ginger follows his
movements ever so slightly in the first few measures of the dance

Ah, the hypnotism is beginning to work!
Ginger is almost entirely under the spell

22

HOLLYWOOD

Fred extends his right arm, and Ginger
joins him in the ballroom position,
with a dip forward on her right foot

Then she whirls back, they go into the
open ballroom position and advance
smoothly and easily in a gliding waltz

Then Ginger places her left hand in
Fred's left hand and they continue in
that position for a circuit of the floor

They move closer together, both left
arms advanced, Fred's right arm guid-
ing until she breaks away in a whirl

The hypnotic spell is wearing thin!
Fred follows her in an attempt to
get her back under his "power" but

She bends far to the right, still in a
dream, so that Fred must move quickly
in order to catch her before she falls

Back to the open ballroom position,
with the hypnotic spell working once
again, they continue for a few bars

OCTOBER, 1938

Then Ginger turns and they find
themselves once more in the straight
ballroom position, waltzing happily

Ginger decides that she may as well
stop being angry, and the two stars of
Carefree retreat to a graceful end

23

-^

wm

n

_

Shca**tUhiHU jack Ocduc

BEFORE

Just a few months ago, Jack Oakie weighed
210 pounds. His friends assured him so many
times that you can't have too much of a good
thing that he began to wonder if they meant
exactly what they said, and put it to a test

24

Beat the drums and toot
the flutes;

Let the news get 'round.

Oakie's not the man he
was

Not by sixty pounds!

By KAY PKOCTOB

| And wait until you get a load of
him! Seeing may be believing,
but in Jack's case, you're not sure
your eyes aren't playing tricks on
you, and you should have known
better than to take that last one. It's
incredible, it's fantastic, and it's true.
He has streamlined off so much
weight, he's playing romantic leads
again and what's more, he has the
figure to get away with it.

You remember how it was, even so
short a time ago as Radio City Revels,
his last picture. As he himself de-
scribed it, his midriff would come on
a scene and the rest of him would
follow ten seconds later. He carried
three chins where one suffices for
the average man, and his puss could
double in brass from a full moon any
day. He weighed 210 pounds in his
bare tootsies.

Now the scales say a flat 150.
Tyrone Slats Oakie, they call him,
The Heart Throb Boy.

How did it all happen? And why?

The "why" is fairly simple. Jack
just decided it was high time he and
his middle got together in the busi-
ness of making motion pictures. And
he was tired of wide brimmed hats.
They were the only style he could
wear, you see, with his forehead,
chins and cheeks forming a perfect
circle the way they did.

The "how" is a little more compli-
cated, involving diets, dogtrots, and a
flock of "don'ts." Jack clowns a lot
about it all now. He'd have you think
it was no trick at all to shed sixty
pounds in a couple of months. But
anyone who has tried it knows better;
it demands tremendous will power,
sacrifice, and hard work. It's a tough
row to hoe, particularly if you love
food and fun as much as Jack did;
and if you want to come out of the
ordeal with firm, healthy flesh and no
telltale sagging lines as he has.

It all started on March 29. Jack
remembers the date very well. He
and Venita had celebrated their second
wedding [Continued on page 46]

AFTER

Result, Mr. Oakie streamlined down to
a mere shadow of himself, now weighs
in at 150, and, in case you think this is
a trick of the camera, see for yourself in
his next picture, The Affairs of Annabel

HOLLYWOOD

A

Judy Garland and Mickey Rooney carry the ro-
mantic interest in the delightful comedy about
the much younger set, Love Finds Andy Hardy

Judp Iteefi* a Date

■ Clark Gable sent her lovebirds.
Robert Taylor sent her flowers.
Jimmy Stewart sent her candy.
Marlene Dietrich sent her a cable
from half way across the world.

To a little girl lying there in a white
hospital bed, it was like some fantastic
dream come true, a dream such as all lit-
tle girls have now and then. But Judy
Garland pinched herself and knew it was
real. She tasted the candy and smelled
the flowers, cooed at the love birds, bap-
tized them Clark and Carole, and re-read
the cable.

"But that isn't all," the doctor said.
"More flowers have come. They're being
arranged now. And Billie Burke sent you
a bedspread."

Judy tried not to look too elated. She
determined to put all these giddy gloating
thoughts under her pillow along with the

OCTOBER, 1938

How late does a very young
star stay out when she has a
date with a boy? You'll find
the answer in this story
about the little girl who
is to play the beloved Dor-
othy in The Wizard of Oz

By
KATHARINE HARTLEY

cable, and looking up at the doctor, she
seriously said: "Tell me, what was that
medical term you taught me yester-
day?"
The doctor smiled: "Polycythemia hy-

potonia. But I bet you don't remember
what that means."

"Oh, yes, I do! Well, that is, I know how
you cure it." Judy sat up straight — in
spite of her three broken ribs and a punc-
tured lung. "To cure it you perform a
venous action!" she recited proudly.

"And what's that?"

Judy's brow wrinkled; she sank back
into the whiteness again. "You got me
there, pal, unless it's some kind of a blood
transfusion."

"Well, that's close enough. Nurse Gar-
land, you have passed the questions for
today." He bowed formally and turned
to go. "I'll be seeing you!"

■ All this sounds strange and perhaps a

bit fanciful. But it happened, and not

so long ago. Judy had been working late

at the studio and [Continued on page 521

25

^^

How a Star Learned to Say:

"0<HHHty$, $0Mty!"

Above, Fredric March having some difficulty saying "Ooooops, sorry!"
during a scene with Virginia Bruce in There Goes My Heart. His
next picture is Trade Winds with Joan Bennett playing opposite

It took a good many hard knocks
to shape Fredric March's gay,
gallant philosophy and yon may
learn some unsuspected things
about the star by reading this story

By JESSIE HENDERSON

■ With all the ingenuity and desperation of a cinema journalist, Fredric
March ("Bill Spencer") was trying to interview Virginia Bruce ("Joan
Butterfield") aboard the Butterfield yacht at Quarantine. The chance of
a lifetime! If he could coax a few words from the tempestuous heiress,
he'd not only make the front page but get in good again with the demon
city editor. It meant his rep. His job.

But — one well placed shove, and Fredric March was over the rail and
into the sea, his hair plastered wetly to his brow, his natty suit swooshing
as he began to swim. "Go away!" screamed the heiress, "you annoy me!"

"Ooooops! Sorry!" March answered out of the briny deep.

The retort brought surprised laughter from [Continued on page 54]

HOLLYWOOD

FRANCES DEE and RONALD COLMAN

OCTOBER, 1938

High drama, rousing romance, colorful costumes

a big, handsome cast should make // / Were King

one of the most tempting films of the fall season

Warner Baxter, Freddie Bartholomew and Arleen Whelan in a scene from Kidnapped,
film based on Robert Louis Stevenson's famous story of the same name. While many
thousands, who had not read the book, enjoyed the rousing action of the film, Other people
resented the changes in the plot and filed a complaint with the Federal Trade Commission

7&e Ha*ne> is TatniUak . . .

■ Have readers any rights?

Should a story, beloved by many
generations, be regarded as a sacred
trust when it is made into a picture?

Is a movie company committing "fraud
and deceit" when it changes the plot of a
novel, known and loved by many genera-
tions of readers?

Is a movie company guilty of "false and
misleading representations" when it uses
the title of one famous literary work on a
completely different story?

There are some people who think so,
and they feel so deeply about the matter

28

Ah, yes, we recognize the
title, bat vie don't quite
plaee the plot. More than
a few times, famous stories
have been changed for the
screen. Sometimes the pub-
lic has approved and some-
times. . . well, read the story

Bv LLEWELLYN MILLER

that they are taking legal action. As this
issue of Hollywood Magazine goes to press,
the Federal Trade Commission is consider-
ing the charges quoted above in a test case
which may have far reaching effects.

H It is much easier to cite examples of
beloved stories brought to the screen
with faithful care than it is to find ex-
amples of drastic meddling with classic
tales. But, on quite a number of occasions,
big changes have been made in famous
stories. Each time such a change has been
made there has [Continued on page 62]

HOLLYWOOD

4

V

m

HHHHHn

JANET GAYNOR

OCTOBER. 1938

You'll be seeing her in two pictures this fall. One, The Young in Heart
is the screen version of the magazine story The Gay Banditti which deals
with the escapades of an impoverished, impractical, but delightful family.
The other is Three Loves Has Nancy, which sounds good, too

29

Knitwear, courtesy of Friedman-Blau-Farber.
Skate;, courtesy of Nestor-Johnson.

Sonja Henie demonstrates one of the
dazzling bits of figure skating which she
does in jier next film, My Lucky Sror

■ Though Sonja Henie has worked . . .
and worked hard . . . for every bit of
her well-deserved success, she claims that
luck has played its part in her brilliant
career. She thinks she was lucky to have
a family that appreciated her talent for
skating when she was a youngster, and
cheered her on her way as an Olympics
star. She thinks she is lucky to be under
contract to a big studio which has sup-
plied her with clever stories and brilliant
supporting casts. She thinks she is lucky
to be right up among the headliners in
popularity.

That makes the belief in luck unani-
mous. Her family feels lucky to have such
a spectacular little relative. The studio
feels lucky because her success has justi-
fied belief in her. And audiences feel
lucky when a new Sonja Henie picture is
under way.

And readers of HOLLYWOOD Maga-
zine can feel lucky because the little star
is giving such charming prizes in her
"Lucky Star" contest.

The contest, itself, is fun. In addition,
you may play an important part in Sonja
Henie's career! So put on your thinking
cap, and see if you can find just the right
title for a picture for her.

A good title for a movie is very im-
portant, and conference after conference
is held at the studio before one is chosen.

30

especially when a star so important as
Sonja Henie is concerned.

WHY DON'T YOU HELP TITLE A
SONJA HENIE PICTURE?

It isn't easy, because a title that is ideal
for a Sonja Henie picture should include
several ideas.

Second Prize

The winner of the Grand
Prize in this contest will
receive a pair of figure
skating blades, attached to
a pair of skating hoots, just
like those worn by the star
as well as a complete outfit,
including the garments
shown in pictures 2, 5
and 6. The FIRST PRIZE
is a pair of the skates, com-
plete with the white boots

HOLLYWOOD

Stab Contest

61 Handsome Prizes !

How clever are you? If you think you are pretty good, enter
Sonja Heine's Contest and make a try for some of the hand-
some prizes which the little skating star is giving to the
elever winners. The rules are easy. Better have a try at it!

There should be something about the
title to give the impression that the film
is about skating, that the production is a
big one, and that there is music and
comedy featured. Miss Henie's first film
was called One in a Million. It was fol-
lowed by Thin Ice, Happy Landing and
very soon you will see My Lucky Star.

WHAT DO YOU THINK IS A GOOD
TITLE FOR ONE OF HER NEXT FILMS?

Read the rules carefully, fill in the
coupon, and see if you can't win one of
the. delightful prizes shown on this page.

RULES

1. Prizes will be awarded for the best
titles indicating: (1) A skating picture,
(2) Miss Henie's personality, (3) A big
production, (4) Audience appeal. The
title suggested should have one or more
of the above qualifications. In case of ties
duplicate prizes will be awarded.

2. All entries must be in the mails by
October 10.

3. The contest is open to all with the
exception of employees of Fawcett Pub-
lications and their families.

4. Sonja Henie and the editors of
HOLLYWOOD Magazine will be sole
judges. Entries will not be returned.

5. Neatness will be a consideration in
judging.

6. All title suggestions become the
property of Fawcett Publications to be
given to the studio, and to be used or not
as Twentieth Century -Fox Studios may
decide.

PRIZES

H There are sixty -one beautiful prizes,
and they include the most attractive
knitted garments you've ever seen. They
should be, because Sonja Henie has given
the manufacturer, Friedman-Blau-Farber,
her personal endorsement for every gar-
ment. Her name appears on the woven
band in each one, so you may be sure that
you are dressed just exactly like the little
star if you are one of the lucky winners.

Sonja Henie L
HOLLYWOOD

icky Star Contest
Magazine,

1501 Broadway,
New York City

N.

Y.

1 think a good
Henie is

title

for a film starrir

g

S^r

i<>

1 .

2.

(Stbrr.it

two

titles, if you

ike

1 wear size

dress: .

sho

es

Name

Address

GRAND PRIZE— One complete Sonja
Henie outfit, including a green wool suit
trimmed with nubby black wool, a dash-
ing green turtle -neck wool sweater, a big
thick white wool scarf embroidered with
bunches of gay wool flowers, a white cap
and a pair of fluffy white mittens to match.
In addition, a pair of figure-skating
blades, attached to a pair of white shoes
just like Sonja wears in her new film.
These are the skates endorsed by the star
and manufactured by the Nestor-Johnson
Manufacturing Company.

FIRST PRIZE— A pair of Nestor-John-
son figure-skating blades, attached to the
white skating boots, will make the clever
winner feel like an Olympic star!

SECOND PRIZES— One of the striking
green and black wool suits will be sent to
each of the four contestants who submit
the next best suggestions for titles.

THIRD PRIZES— Ten of the enchanting
red and white double sweaters go to the
ten winners in this division.

FOURTH PRIZES— Ten red and white
sweaters in the smart checkerboard de-
sign go to the clever ten whose titles are
winners in this division.

FIFTH PRIZES— Fifteen white cap and
scarf sets, gay and warm, are awaiting for
the next fifteen winners.

SIXTH PRIZES— Even if you don't win
one of the big prizes, you may consider
yourself a lucky winner to get in on the
consolation prizes: Twenty sets of fluffy
white brushed wool caps and mittens.

Here you go, and good luck!

A

Third Priz

Fourth Prize

Fifth Prize

Sixth Prize

OCTOBER, 1938

31

The Breakdown of a Cowboy

These pictures, made
between scenes for
The Cowboy and the
Lady tell the touch-
ing tale of how Gary
Cooper shot himself

'Grrrr! Paint and powder!"

"Wonder what's in here?"

"Just a powder puff."

'Wonder if I could hit the director?

Or Merle Oberon, Nope! Missed.

'Maybe I can get the cameraman's
range . . .

or a bead on the prop boy. Missed

'So I'll just have to shoot myself!"

again

32

d*F-

7>a%»

...ALL FOR THE
GIRL WHO KEEPS
SKIN THRILLING

Smart Girls cream EXTRA "SKIN- VITAMIN"

INTO THEIR SKIN. . . FOR EXTRA BEAUTY CARE *

■^H^'

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WHEN SKIN LACKS
VITAMIN A, THE

}

"SKIN-VITAMIN", IT GETS

■ '

ROUGH AND DRy — WHEN

"SKIN-VITAMIN"iS

RESTORED, IT BECOMES

SMOOTH AGAIN

HCtt f%C^^

•

I ALWAYS CREAM

EXTRA "SKIN-VITAMIN"

INTO My SKIN By USING

POND'S COLD CREAM...

IT HELPS PROVIDE AGAINST

LOSS OF THIS NECESSARy

VITAMIN FROM My SKIN

Men fall for soft, smooth skin. When skin lacks Vitamin A,
the vitamin essential to skin health, it gets harsh and dry. Now
Pond's Cold Cream contains this necessary "skin-vitamin.',

• All normal skin contains Vitamin A — the
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• Now this "skin-vitamin" is in every jar
of Pond's Cold Cream! Pond's has not
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Use it as always — night and morning and
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• Statements concerning the effects of the
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Tun* in on "THOSE WE LOVE," Pond's Program,
Mondays, 8:30 P. M„ N.Y. Tim*, N. B.C.

MARGARET BIDDLt
Philadelphia Deb

If skin has enough "skin-vitamin," Pond's brings an Extra Sup-
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beauty care to help provide against loss of the "skin-vitamin."

AND PONDS IS
THE SAME GRAND
CREAM. ITS USE
HELPS GIVE SKIN
A SOFT GLOW-
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THRILLING/

Copyright, lD.iS. Pond's Kxtract Company

When Answering Advertisements Please Mention October HOLLYWOOD

33

^o* ""*«^

Her resemblance to several other
actresses is striking, but she is very
much a person in her own right

By ED JONESBOY

■ Strangely enough, this up-and-com-
ing new-comer of the screen, Marcia
Ralston, wasn't lured away from the land
of "down under" by the dulcet blarney of
a motion picture talent scout, nor was she
the winner of a beauty contest offering as
first prize a career in the fillums. Nothing
like that. As a matter of plain and honest
truth, she was going about her pleasant
and fairly lucrative business as leading
lady in the J. L. Williamson musical
comedies in Sidney, and had it not been
for the appearance of Phil Harris, the
orchestra leader who was making a tour
of the Antipodes with his band, she'd
probably be there yet and, without doubt,
knocking the Antipodians dead with her
good looks, voice and acting.

But Phil, the "tall and handsome"
maestro of the strings, woods and brasses,
came along, met her, and almost before
Dan Cupid could catch his breath and say
"bless you, my children," they fell in love
and put a quick and happy beginning to
their romance by becoming man and wife.

That was eleven years ago.

"For several years," says Marcia, "I
stayed in the background. And of my

34

own free will and accord, too. Phil and
I had agreed that one professional in the
family was enough and that's the way it
was for a number of years. But finally
I began to be bothered by an urge to go
back to the stage and when I told Phil
about it he surprised me by saying that
he'd like nothing better than to have me
dance and sing with his orchestra! And
that's what I did until a Warner talent
scout saw me and later signed me to a
long-term contract. I can't recall how
many pictures I've been in since then."

| But we can. Pretty close to fourteen
during the eighteen months she's been
at the studio and in the list you'll come
across such outstanding screen fare as
The Singing Marine, Fly Away Baby,
Ever Since Eve, Men Are Such Fools, Gold
Is Where' You Find It and Fools jor
Scandal.

Not a bad score, seems like, for a girl
who came from the land of the kangaroo,
the duck-billed platypus and the bear
that lunches on eucalyptus leaves!

"Phil is just as proud of my success as
I am of his, but oddly enough, he appar-

ently has a burning ambition NOT to
see me on the screen. Maybe it's be-
cause he sees so much of me during the
day. Or maybe it's because he doesn't
think I'm in his class. He likes to point
out that his musical short entitled
So This Is Harris won an Academy award!
At any rate, he's seen me in only one
picture and I can't get him to say when
he'll ever see me in another."

■ Marcia was educated in a convent.
Her father, John Ralston, was a

musical comedy star with a fine flair for
the Gilbert and Sullivan operas. Her
mother was a famous dancer.

"Neither of my parents wanted me to
become an actress," she says, "hence the
convent schooling. But as I grew older it
became more difficult for me to keep my
thoughts away from the footlights. The
stage was in my blood and when I was
fifteen years old I definitely decided that
what had been good enough for father and
mother should be good enough for their
daughter. And so — when they left for
China, I left the convent. My first theatri-
cal job was in the chorus of the J. L.
Williamson productions. After a while
I moved up a notch to become understudy
to the leading lady, and later moved up a
bit higher to become a leading lady, my-
self, in musical comedies produced by
the same company. Then Phil came along
— and here I am."

■ Marcia's real name is Mascotte, a
slight contraction of La Mascotte, the

French opera her father was playing in
at the time of her birth.

"It's a nice name and certainly an
unusual one," she agrees, "and I like it.
But when I entered pictures they made
me change it because there's a film com-
pany called Mascot Productions. More
than likely I would have changed it
sooner or later because I was beginning
to get a little tired of trying to explain
how I came by it. Phil calls me 'Scotty'
and I prefer that.

■ When "Scotty" isn't playing in front
of the cameras she's a great hand at

playing farmerette on the seven-acre
ranch she and her husband bought a little
more than a year ago from Adolphe
Menjou.

"It's roomy, rural, and restful," is the
way she puts it. We have the Al Jolsons,
the Edward Everett Hortons, the Spencer
Tracys, and the Don Ameches for nearby
neighbors and good company. The loca-
tion reminds me cf my home in Sidney,
and don't think that Phil and I have gotten
over the thrill of ownership. Believe me,
after almost ten years of living in hotels
from coast to coast, this little spot is really
'home, sweet home' in the fullest sense
of the three words. It's a dream come true
despite an occasional bit of family trouble
that calls for diplomacy. For instance,
after the house was built and we moved
in, we decided that we could keep every-
thing spick and span only by a division of
labor. The flower and vegetable gardens
were to be under my supervision, and to
Phil went the care of the chickens, the
horses, and the dogs. Well, it has worked

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When Answering Advertisements Please Mention October HOLLYWOOD

35

out beautifully until just the other day
when Phil discovered that he'd placed a
setting of duck eggs under his pet hen.
Now he wants me to let him and his web-
footed friends have the use of the swim-
ming pool. He's probably correct when
he says that his ducks need a daily duck-
ing, but I'm correct, too, when I say that
it's asking too much of a wife to compel
her to swim in a pool full of little quackers.
And I don't mean wise-quackers, either."

Asked if she ever thought of allowing
marriage to interfere with her screen
career she shook her head very emphati-
cally.

"Maybe I'm a bit old-fashioned. Maybe
I've been married too long to one man.
Or maybe it's just because a quiet, restful
place like this gives one a different slant
on things; but whatever the reason, mar-
riage comes first. Phil has been on the
Jack Benny radio program two and one-
half years and recently signed another
contract to continue, and we both feel,
now, that Hollywood is our last stopping
place. We're here for good. But if it so
happens that he has to take his orchestra
on tour to make a living, I'll step out of
movies and go with him. A motion picture
career won't mean a thing to me. A career
shouldn't mean anything to any girl faced
with a decision like that. Well, as I say,
I'm old-fashicned, more than slightly
rural in my thoughts, and what's more, I
don't care who knows it. On the screen
I'm supposed to be glamorous and per-

haps I am, but I'm certainly 'not the type'
down on the farm."

■ Because she has been mistaken on
several occasions for Fay Wray,
Joan Crawford, Gloria Swanson, Eleanor
Powell and Sylvia Sidney, Phil says she
cculd be the "female Paul Muni of a
thousand faces" and she wouldn't have to
try very hard, either. Well, he's right.
She showed us some photographic studies
of herself and her resemblance to the
above named stars is remarkable.

"I do a number of things, but none of
them well," is her own frank description
cf herself and not quite a fair one even
when she adds "that whenever worst
comes to worst, I could get a job and do
it well as a stand-in for a lot of famous
feminine stars."

Marcia, being a smart little lady, keeps
her eyes "on the trends" as we say in
Hollywood.

"If I had my way about it," she says, "I
wouldn't allow a player to sign a con-
tract. I believe that all of us could do
better for ourselves — artistically, at least
— by free-lancing. The studio stock com-
pany casts, I'm happy to see, are grad-
ually being laid on the shelf, and motion
picture patrons are going to have an op-
portunity to look over new faces and
figures. You're going to see more new
supporting players than ever before and
the time will come when you can go into
a theatre and not see the same actors on

the same double-bill. My, here I am
talking like a front-office executive!"

Scctty's favorites on the screen include
Clark Gable, Norma Shearer, Ian Hunter,
Leslie Hunter, Paul Muni and Bette
Davis. Her favorite food is Irish stew,
and her favorite sport, as a looker-on, is
boxing. She's a cross-word puzzle fan
and she can sew a very fancy seam. Right
now her particular hobby is amateur
photography. She has a dark room in her
ranch home where she develops and prints
her own pictures. No candid camera stuff,
however. When she gets tired of putter-
ing around the snap-dragons, pansies,
petunias and geraniums she hops in her
high-powered car and roars through the
quiet country-side until the Al Jolscns,
the Spencer Tracys, the Edward Everett
Hortons and the Don Ameches put in a
call for a traffic cop to slow her down.

But as usual, the girl from "down under"
comes out on top — even in a wordy battle
with a policeman. "I've never got a ticket
yet," she grins, "despite the complaints of
my motion picture neighbors."

And this is Marcia of the films, Mascotte
of Australia, and just plain "Scotty" to
her adoring husband, Phil.

NEXT MONTH
Don't miss Loretta Young's amusing set of questions
which she calls the "Regular Guy" test. She claims
that you can get a good rating on any young man
with the answers to her questionnaire, and you'll have
fun trying it on your boy friends.

foam gets into the hid
den crevices between
your teeth that ordi-
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removes the decaying food de-
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dull, dingy teeth, and much tooth
decay. Besides, Colgate's soft,
safe polishing agent gently yet
thoroughly cleans the enamel-
makes your teeth sparkle!"

36

Accept No Substitutes! Always Insist on the Advertised Brand!

Five Day Brawl

[Continued from page 21]

counting the aches and pains that were
announcing themselves from my ankles
to my head, Claire Trever came in along
with Jack LaRue and John Litel. This
the Valley of the Giants film, by the way,
has, for its main locale, the little lumber-
ing town of San Hedrin, California. The
time is away back in the year of 1902 and
while we were sitting in Wayne's dressing
room I learned from my sympathizers that
1902 is memorable for:

The 1st Tournament of Roses game.
Michigan 49; Standford 0.

"Skidoo" was current slang for
'nuts to you'.

More electric autos were sold than
gasoline buggies.

The pianola was the latest passion
of society.

Ice cream was being introduced in
many cities.

Chewing gum and fountain pens
were the latest things.

First motorcycle was put on the
market.

The ukelele hadn't been invented,
but the mandolin caused just as much
suffering.

Milk was five cents a quart and
butter twenty cents a pound in New
York City.

Emile Zola and Brete Harte died.

Daily papers, morning and evening
were one cent a copy.

There were 45 stars in the Ameri-
can flag. Arizona, New Mexico and
Oklahoma were territories.

King Edward was crowned.

There were no World Series Base-
ball games. The first one was in 1903.

World's first radio broadcast was
held in Fairmont Park, Philadelphia.

Marccni was able to send and re-
ceive wireless messages 100 miles.

First ads for razor blades appeared.

Milady wore high top button shoes.

Sensation of the music world was
the phonograph.

Best sellers were Raffles, Mrs.
Wiggs of the Cabbage Patch, and
Teddy Roosevelt's Strenuous Life.

Department stcres, office buildings,
and the finer homes used gas for
illumination. Magazines carried oil
lamp and chimney ads.

Norfolk suits were very snappy
with the better tailors and stores
quoting $20 for the best.

I never knew that I'd be writing
about this in 1938!

You didn't either!

H It was John Litel who told Wayne,
while we were sitting there, that he
was flying into the face of superstition in
playing the lead in the film Valley of
the Giants.

In the first version, John, told us,
Wally Reid was hurt in the runaway
train sequence and never fully recovered
from his injuries. This first version was
filmed in 1919.

Milton Sills, who starred in the second

HED BE THE CUTEST BABY AT THE
PARTY IF THAT SUIT WASNT SO FULL OF
TATTLE-TALE GRAY

fHIS POOR MOTHER MUST BE USING/
LAZY SOAP. I WISH TO GOODNESS SHED
SWITCH TO FELS-NAPTHA AND LET ITS
RICHER GOLDEN SOAP AND LOTS OF
GENTLE NAPTHA GET CLOTHES
REALLY CLEAN AND WHITE/

It

Embarrassing? It certainly is —
and then some — when people
whisper about your clothes!

So why take chances with tattle-
tale gray? Lazy soaps can't wheedle
out every last bit of dirt — no matter
how hard you rub and rub. There's
one sure way to get all the dirt — use
Fels-Naptha Soap!
Get whiter washes! Try it and

see if you don't get the snowiest,
sweetest washes that ever danced on
your line ! See how much easier and
quicker its richer golden soap and
lots of naptha make your wash!

Change to Fels-Naptha! Get a

few golden bars from your grocer on
your next shopping trip. You'll save
money. And you'll save your clothes
from tattle-tale gray.

n

BANISH "TATTLE-TALE GRAY' PEPPIEST FLAKES EVER!

TRY FELS-NAPTHA
SOAP CHIPS, TOO!

COPR. 1938, PELS & CO.

When Answering Advertisements Please Mention October HOLLYWOOD

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silent version in 1927, fell from a tall red-
wood stump and was seriously injured.

Wayne scoffed at the idea that things
happen in threes and that therefore he
may be the third victim. But you can bet
that the studio doesn't, for it gave the
order that every possible precaution must
be taken when its up-and-coming young
star performs before the cameras. It
seems a miracle to me that he wasn't
crowned good and proper in that bar-
room sequence.

So far as I could see it was every man
for himself with precautions thrown to
the high winds.

The Valley of the Giants is a Peter B.
Kyne story and its plot is built around
the scheming of Howard Fallon (Charles
Bickford), an eastern millionaire lumber
pirate who turns his attention westward
and discovers that through a legal techni-
cality he can steal thousands of acres of
redwood timber from the homesteaders.
Enlisting the aid of Lee Roberts (Claire
Trevor), owner of a Milwaukee gambling
palace, and her partner Ed Morrell (Jack
LaRue), he sends them to San Hedrin,
California, with seven hundred people.
These seven hundred people are paid
three hundred dollars apiece to sign land
claims.

Lee and Morrell open up a gambling
hall in the little town to win back this
money. The land claims are turned over
to Fallon.

Fallon wants, most of all, a valley of
giant redwoods which is owned by Bill
Cardigan (Wayne Morris), an inde-
pendent millman. The wily crook gets
Lee to make friends with Bill and help in
the plot to rob the millman of all his hold-
ings. Bill falls in love with the gal and
admits to her that the bank holds his
note for $50,000 and that the note will soon
fall due. Lee wastes little time in relaying
this information to Fallon. From then on
the fun boils to a climax, when Ox Smith
(Alan Hale), one of Fallon's assistants,
rebels and joins forces with Bill. Bill is
beaten up by Fallon and his men and
when Ox hears of it he goes into Lee's
gambling hall and wrecks the place. (I've
told you about that.) Then he goes to the
land office, breaks in, sets fire to the build-
ing and all the new filings made by the
bogus homesteaders are burned.

Blocked in this direction, Fallon takes
over Bill's note from Andy Stone (Donald
Crisp) , the banker, and demands that Bill
pay up. By now Bill realizes he has been
betrayed by Lee and calls on all his log-
gers to help him get his logs to market.
Fallon, of course, sets out to prevent it.
and Lee goes to Bill's camp to warn him
but he isn't there. Which makes it pretty
tough on her since one of Bill's men lock
her up in the caboose of a logging train.
One of Fallon's men releases the brakes
and the long string of cars heads for de-
struction. But Bill is right on the job and
the train is stopped. Well, things keep
getting more mixed up all the time until
Bill puts a happy ending to the story by
beating the living daylights out of Fallon
and taking Lee in his arms for the final
fade-out.

It's an exciting story, Miss Editor, built
along the lines of Gold Is Where You

Raymond Massey is an artist at make-up as well
as at acting. Above, you see him ready to play
the title role in the stage production of Abe
Lincoln in Illinois, Robert Sherwood's play
scheduled for this fall. Below, in character for
the villainous East Indian potentate in the
striking Technicolor film, Drums

38

Accept No Substitutes! Always Insist on the Advertised Brand!

Find It and Warners is spending a mint
of money on it and you want to spend a
little to see it on release date.

| After the five-day bar-room scrap
which laid me lower than a snake's
tummy, I was called in to take part in the
big fire sequence that was shot at two
o'clock in the morning. I'll say this for
Director Keighley's fire. It was a good one.
So good, in fact, that it come nigh burning
down the whole studio! Keighley had to
call in the firemen right in the middle of
it to rescue a dozen extras, a $16,000
Technicolor camera, and a mighty fright-
ened cameraman by the name of Sol
Polito!

Filming a fire scene isn't an easy job I
found out. For one thing you can't take it
over if anything slips. So Keighley re-
hearsed us for more than two hours before
he applied the torch. He told us what to
do and we did it again and again until he
finally said he was satisfied. The action
wasn't so complicated, but what there
was of it had to be just so. Alan Hale had
to break into the land office in San Hedrin
to steal the phony claims filed by the
villain. Hale was supposed to kick over his
lantern and thus start the fire, and then
climb out of the window and stand across
the street with Wayne Morris and Donald
Crisp while all the residents of the town
came a -running to see the fun. Keighley
gave his instructions over a public address
system and he must have seen me cavort-

ing in the street because he shouted: "Hey,
you with the blue pants! You're all ex-
cited! Calm down a bit. All you're sup-
posed to do is to be tickled to death that
the land office is burning. You stand
on the sidewalk and watch her burn."

So I stood there just as the director
told me to and minded my own business.

"Action!" Keighley shouts and the
cameras begin to turn. I saw Hale pry up
the window and crawl through, carrying
his lantern. Pretty soon I saw the light
moving inside. Then I saw a faint glow
and Hale climbs out unhurriedly and
saunters across the street. Then the
flames begin to shoot up inside. Men and
women began to pour out of the buildings
yelling. A buggy suddenly went lickety-
split around a corner. Two horsemen
rode up shouting. But there I stood like
the little boy on the burning deck who
ate peanuts by the peck. Sol Polito's
camera began to smoke as the flames rose
higher and higher and I began to burn
with excitement. Suddenly I found my-
self in the street running with the rest of
the extras and then I found myself flat on
my stomach in the dusty street which
would have been okay except that every
time I tried to get up up some big lumber-
jack knocked me down. Not only that,
but spikes from those heavy lumber shoes
began to jab into my back. I don't know
what would have happened to me if
Frank Mattison, the unit manager, hadn't
run up and shouted to Keighley that

another set was on fire. Keighley took one
look and put in a hurry-up call for the
studio fire department and it was lucky for
Warners that the fire laddies arrived when
they did because, when I crawled back
to the sidewalk where I belonged, three
other sets were ablaze! Sol Polito was the
only guy who seemed sore about the
whole thing. "Another minute," I heard
him tell Keighley, "and the building
would have caved in. It would have been
a fine shot!" That from a guy who came
pretty close to being burned to death!

■ Well, I was pretty sore about the
whole thing, too, but not for the same
reason. I've still got those spike marks on
me. Not only that, but my jaw is still sore
where Wayne Morris clouted me. But
you know how we actors are — it all comes
under the name of good, clean fun!

But for Pete's sake, Miss Editor, the
next time you want me to perform as an
extra, can't you be satisfied with a sort of
society drama picture. After what I've
been through I'd like to have a change.
Something, say, where I could put on a
dress suit and just take it easy. Either
that or I'm going to be permanently dis-
abled and I'll be dog-goned if I want that
even for the sake of my art!

Sonja
Take
easy
entry

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39

MB

Plans Are a Headache

Why one man adheres to the plan of
not making any plans for the future

By SERENA BRADFORD

■ There happened to be on the table a dish of those little, hard,
bright candies. Melvyn Douglas scooped up a handful and tossed
them with a strewing gesture on the table top. They scattered and
skidded across the polished surface in shiny pebbles of clear green,
red, amber, like a thin drift of tiny hailstones, and just as hit-or-miss.

"See?" said Melvyn, "that's the way life ought to be. That's what
I mean. I've no design for living, and, heaven helping me, I never
will have! Anybody that has is a stick-in-the-mud.

"Plan your day? No, sir! Just let it happen. Design your life? Not
me! Designs have a tendency to grow standardized. Why should I
live Bill Brown's existence? Or he, mine? Let him live his own life,
and let him let me live my own life, and probably mine wouldn't do
for him at all but it suits me. It suits me swell. Cut your work and
your fun to a pattern? What a horrible notion! I want a life that's
different."

That's the kind he got, too. He got it because he wouldn't take any-
thing else. He wouldn't live on schedule. "Life isn't a railroad train,"
he pointed out succinctly. So he doesn't make it a habit to rise at seven,
take a brisk shower, eat breakfast and rush off like mad so that he
won't be late for his game of tennis or whatever. When recently he
worked at Columbia Studios with Joan Blondell in There's Always a
Woman, he arrived on the sound stage promptly at nine a.m. They could

Above, the distinguished Mr. Douglas shows how even the
thought of a plan affects him

have set their watches by him, for irresponsibility
isn't part of his scheme of things; not, probably, that
he'd admit to having a scheme of things in the first
place. He and wife Helen Gahagan save their money,
entertain their friends, run their delightful, tree-
shaded Beverly home with efficiency and charm,
but . . . they WILL NOT bow the knee to routine.

■ "To begin with, I hate an alarm clock," Douglas
confessed, and scowled in a quite daunting
manner, hazel eyes narrowed. His six feet, one and
a half inches, of height, and his 180 pounds, grew
tense and his light hair for a moment practically
stood on end — that's how much he hates alarm
clocks. Well, don't we all? "I may get up at five to-
morrow morning to play golf, or at 11: 45 to eat lunch
in the garden, or at nine to read a book and not eat
any lunch. I don't know; and I don't want to, till to-
morrow.

"All I want is to do what I want when I want.''
He slanted his eyes belligerently. "That's reasonable
enough, isn't it?"

Sure, sure, Mr. Douglas, you soothed him.

"But here's the point," he continued, "I'd rather do
what I don't want than get into a rut. It's variety

Douglas is one of the busiest players in town. Left, he is
shown with Luise Rainer in The Toy Wife. He also is appear-
ing currently in Fast Company. Soon to be released is
That Certain Age in which he appears with Deanna Durbin,
and then he will make a sequel to There's Always a Woman
under the title There's That Woman Again with Joan Blondell

that keeps you on your toes. I'd rather
wade through a snowbank now and then
than always walk exactly the same way
home. Not of course that we have snow-
banks in Hollywood," he added patri-
otically with a twinkling glance at the
acacias and calla lilies in full cry beyond
the window sill.

Wading through snowbanks every day
(speaking purely in metaphor), the
Douglases wend their joyous way on-
ward. Because, fortunately, wife Helen
Gahagan when not on schedule for movie,
concert, or radio jobs, concurs heartily
in Melvyn's gone-with-the-wind pattern
of life which isn't a pattern at all.

■ "We're flibbertigibbets," Melvyn an-
nounced very proudly. For example,
it was a nice morning with warm scent
drifting into the breakfast room from the
corner of the patio where talisman roses
are planted. Melvyn said: "Let's go for
a little ride." Helen slung on a sweater,
leaped into the car, and they started, for
nowhere in particular. Maybe along the
coast, up toward Santa Barbara for a few
miles, huh? Okay. They rolled up toward
Santa Barbara. Neither had any work
to do that forenoon. Lunch, as usual,
wouldn't be till they returned, no matter
if the hash (they like hash) did get too
brown.

But as they bowled on through Malibu
a chilly breeze poured in from the Pacific.
"Let's go inland," Melvyn suggested, and

pointed the car up through the Malibu
mountains looking for a hollow between
peaks where the sun again would shine
down glowing and friendly.

They left the crisp breeze behind and
were ready to swing toward San Fernando
Valley when Helen spied a tumbledown
shack that looked as though it sheltered
an old prospector. So, as they flashed by,
the talk turned to gold nuggets and aban-
doned mines, and suddenly they both
realized with a start that neither of them
had ever seen a "ghost town." The idea!
And ghost towns right within motoring
distance of Hollywood. Well, it was per-
fectly disgraceful, the way they had
neglected those ghost towns; the thing to
do was to hunt a ghost town this instant
and explore one of the few remaining
items of romance left in the West . . .

Again Melvyn turned the car. This time
he headed for the High Sierras that
beckoned on the horizon. Bye and bye
they began to climb among the pine trees.
Plenty of altitude; and plenty cold again.
Really cold, this time. Hollywood sweaters
weren't enough. They stopped at a way-
side store, a decidedly rural emporium,
and bought lumberjack coats, brilliant in
plaids of crimson and purple.

At the next stop, some thousand feet
higher up the mountain, they bought red
flannel underwear and flannelette pa-
jamas and 'phoned home that they
wouldn't be there for lunch, because by
now it was getting dark and they were

all set for supper and a night's lodging in
a wayside boarding house. They were
above the snowline then.

In short, they started for a little drive
along the coast on Friday in thin slacks
and openwork summer sweaters. And
they got back on a broiling Monday after-
noon with a full line of ladies' and gents'
furnishings in winter weight, including
wool socks, knitted stocking caps, and
knee length calfskin boots. But they'd
had fun. They had found a ghost town;
explored it thoroughly; added another
gem to their collection of oddments of
experience.

| "And one morning I look up from my
omelet," Melvyn proceeded, "to see
Helen in a tailored suit, with her hat on.
She snatches a piece of toast and a swallow
of coffee and says, 'Goodbye, dear, I'm
catching a plane for New York. There's
a play with a part in it I might do — agent
wired me,- but it's simpler to talk it over
face to face — ' So I say, 'Call me the
minute you get there . . .' and she's gone.
Well, it keeps things from growing mo-
notonous, anyway."

■ But the pay-off was that time Helen
went to Paris. She had a singing en-
gagement over there and Melvyn, who
loves Paris, was disconsolate because pic-
ture work kept him in Hollywood. He
was finishing one picture and going im-
mediately into another, and he and Helen

'A

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spent some hours mourning over the
places they could visit together in Paris
if only they could both be there at the
same time.

In due course, Helen departed, full of
excitement. Next afternoon, Melvyn,
much fuller of excitement, hurled himself
out of a taxi at the airport and hurled
himself into a plane that was poised for
the take-off, and started merrily for Paris,
too.

One picture had finished ahead of
schedule. The next picture had been post-
poned for a couple of weeks. Melvyn
caught the boat by the skin of his teeth,
sailed with Helen for France, spent four
days in the French capital and darted
home again. It stands as one of the
speediest trans-continental trans -Atlantic
round trips on record. A matter of 12,000
miles for 96 hours in Paris.

"And worth it," Douglas declared.

H Must have been a gypsy somewhere
on the family tree? But, no. Born in
Macon, Georgia, he comes sedately of
Scotch and English ancestry on his
mother's side and of (perhaps here we
have it!) Russian concert pianists and

composers, internationally known, on his
father's. His father's name was Edouard
Hesselberg; Melvyn took Douglas for his
stage name because he was so intrigued
by the exciting stories his mother, a des-
cendant of the Douglas clan, used to tell
him about the Black Douglas of Scotland.

From the start Melvyn set out to be
different, to avoid bogging down in mo-
notony and uniformity or having anybody
cut out his life for him in a neat little
shape. His father wanted Melvyn to be-
come a concert pianist, his mother wanted
him to become an attorney, so he decided
to become a poet. But the varied and in-
tensive education bestowed upon him,
ranging from Germany to England and
from Tennessee to Toronto, landed him
temporarily in the Lincoln, Neb., high
school where he played the role of a Hindu
in the school theatricals and decided, heck
with poetry, he'd go on the stage.

On the stage he accordingly went. But
not so simply as that. He couldn't be
commonplace about it. The stage was in
his mind, but first he tried to join the
Scotch Highlanders in Toronto, lying
about his age. His parents snaked him
home again. Then, during the War, he

You'll see dazzling little Hope Hampton soon in The Road to Reno, her fi rs+ picture for Universal
Here she is on the set with her pet monkey, Junior

42

Accept No Substitutes! Always Insist on the Advertised Brand!

' enlisted to drive an ambulance in France
but found himself, for the duration, with
a medical corps at Fort Lewis, Washing-
ton, and durn near decided to be a doctor.
After the Armistice, though, he met an
actor friend who gave him a part in a
show and one thing led to another till
Melvyn found himself in the anteroom of
a New York producer's office, hoping for
a job however minor in some good offer-
ing on Broadway. He had letters of in-
troduction to the producer but they made
no difference; he couldn't get past the girl
at the desk.

"It proves what I've always said,"
Douglas insisted, "that success is
ninety percent luck. Every plan I made,
according to the fine old advice about
being systematic and so on, had gone
blooey. Then luck stepped in."

The girl at the desk in the anteroom
was sending him away and he had turned
to go out the door when the producer
strode forth from his office. Naturally,
Melvyn turned back from the door to look
at him. "Are you an actor?" the pro-
ducer snapped. Melvyn admitted it.
"Precisely the type I've been hunting for,"
the producer rejoined, and signed him up
for three years.

■ Consistent in not cutting life to a pat-
tern, he didn't make elaborate plans
for his marriage, either. The leading lady
in the stage success, Tonight or Never

(David Belasco's final production) didn't
have to look at him twice before he knew
that if he could manage it she was going
to become Mrs. Melvyn Douglas. He met
her and married her; just like that.

For nearly a year after the wedding
they didn't have time for a honeymoon.
Then, suddenly — as things like to happen
in the Douglas family — Melvyn, by then
in Hollywood, made up his mind that nine
pictures in nine months were too many.
Besides, he didn't care for some of the
parts. Heck with pictures, how 'bout a
little trip around the world?

Fine! They set out in leisurely and
practically unplanned fashion to see the
fascinating countries and sights they'd al-
ways wanted to see. That Taj Mahal.
Sunrise in Singapore, where the ripe
pineapples out of the field are so sweet
they don't need sugar. The wild shores of
Borneo and the crimson and gold temples
at Nikko in Japan.

It took them months and months. They
returned to Hollywood in the nick of time
for Peter Gahagan Douglas to be born
there.

| Most people who work with him go
around telling how he could be one
of the best producer-actor-directors in
town if he weren't kept so busy just act-
ing. He directed and produced stage
plays in New York, and whenever a di-
rector on one of his pictures is stuck for
a situation or a nuance of timing or a

gag, it's probably Melvyn who smooths it
out. "And it isn't guesswork, either," his
colleagues report, "he's always right."

It's no wonder, therefore, that M-G-M
lately persuaded him into a seven-year
contract, which permits Columbia to have
him for two pictures a year — already there
are tentative plans at the latter studio to
team him some more with Joan Blondell.
"Persuaded" is the correct word in con-
nection with that contract. Douglas felt
complimented and pleased, but after he
signed he rubbed his head thoughtfully.

"How does anyone know what he wants
to do seven years from now?" he inquired
with a touch of worriment.

In spite of this departure from his gen-
eral determination to have no design for
living, he clings to the determination
sternly in all other respects. It gets on to-
ward dinnertime, say, and all of a sudden
Melvyn remarks: "Why don't we have
compn'y? Let's call Ralph Bellamy. . . ."

Before he's through he has called the
Browns and the Blacks and the Smiths
and, quite without being planned for,
there's a gay and diversified crowd about
the dinner table. A violinist, an attorney,
a band leader, an author of wide fame,
two or three actors. A crowd as diversi-
fied as Melvyn's tastes, which include
Eleanor Duse and W. C. Fields.
Shakespeare and Tarzan, tennis and
Shelley's poems, symphony concerts and
nut sundaes.

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43

Lionel Barrymore and Jean Arthur in one of the scenes of
hilarious family life from their film, You Can't Take It With You

What happened when an admiring

cast gave a beloved star a cake on his

sixtieth birthday

By MARGE DECKER

■ They had just set befere Lionel Barry -
more a cake on which sixty tiny points
of flame were flickering, and he was look-
ing pleased. But he couldn't suppress be-
wilderment.

"For heaven's sake, don't tell me sixty
is that many!" he exclaimed.

Frank Capra laughed like a small boy.
He had called a halt for a few minutes
of the filming of You Can't Take It With
You so that the troupe of Columbia actors
and workers could congratulate Barry-
more on his birthday.

"I'll bet you could tell us a hair-raising
yarn for every one of the sixty!" suggested
the director.

Barrymore registered horror.

"I couldn't tell a thing!" he protested.
"Nobody can remember sixty years!"

"Oh, you're foolin'," said Jean Arthur.
"Let's make him tell!" Barrymore gazed at
her reproachfully. "All right," the young
star compromised. "We'll let you off easy,
Mr. Barrymore. Now, take a big breath
and blow out the candles. If you blow them
all out, you don't have to talk. But re-
member, for every one that stays lighted
you've got to tell us something about your
past!"

"I don't like this," mumbled Barrymore.

But the smiling faces of the company
offered no compromise. So, deliberately
tracing the circles of dancing flames, he
blew a steady, long breath. Twisting
strings of blue smoke sprang up from the
circle where the flames had danced, but
six tiny flames still flickered. Miss Arthur
told them off rapidly— the 8th, the 12th,
the 24th, the 31st, the 39th and the 53rd.

"That's nice," she remarked. "One for
each decade. So give out, Mr. Barrymore!"

He turned to Capra. "How much time
have I got for these true confessions?"

The director made quick appraisal of
the many heads turned in anticipation to-
wards the frosted wedges of pastry Miss
Arthur was deftly cutting. He calculated
rapidly.

"Well, there's about eight cake-man-
hours work there. But there'll be 50 cake-
consuming units operating simultaneously.
I'll give you ten minutes."

"Six pages out of my life and ten
minutes to think them up in!" said Barry-
more. "That's worse than vaudeville!"

He glanced about for sympathy and
found nothing but attentive eyes, so he
pushed his fingers through his gray hair,

and his blue eyes looked out into space.
"The eighth candle— when I was eight
we kids were living with our mother
on 90th street, New York, waiting for
father to get back from a tour. I
don't remember much about the apart-
ment, except that there were a lot of books.
I think Ethel and I discovered 'Les Miser -
ables' about that time. Father's homecom-
ings were always triumphs — laughter and
flowers and presents, and something
special for dinner. This time he led in a
funny little bear cub he had bought in
Kansas City. We kids were delighted. But
mother put her head down on the table
and began to cry. We couldn't understand
that. A little later we caught on. We didn't
have anything special for dinner, because
father had spent all his money! There
wasn't any less gaiety for that, though.
Mother laughed with the rest of us over
father's adventures. But after that, when
father toured, mother toured, too, while
Ethel and John and I would stay with our
grandmother in Philadelphia, where she
managed the Arch Street theatre.

■ "Now for the 12th candle. That's easy.
"I think I was 12 the year of the big

cholera scare. We were spending the sum-
mer on Staten Island. We lived with
Grandmother — Mrs. John Drew, Sr. — at
the boarding home of Mme. Bourquin next
door to the quarantine station. The har-
bor was crowded with ships that summer.
There were hundreds of great vessels lying
at anchor, waiting for cholera inspection.
Dr. Jenkins was the doctor of the Port of
New York. He had been working night
and day trying to clear those ships. Some-
one had given us a monkey for a pet. A
dog chased the monkey into the water and
it caught cold. A practical joker told us it
might be serious and we ought to take it
to Dr. Jenkins. We were just kids, and
we believed everything that was told us
in those days. We trooped over to Dr.
Jenkins' house with our sick monkey. The
doctor was just getting into bed for his
first sleep in three weeks. He hit the
ceiling when he saw that monkey. Then
he laughed and gave the little animal some
quinine and told us to fill him with whis-
key and he would die happy. He did, all
right.

■ "Say, couldn't I trade one of those
other candles for another 12-year

story? I ought to tell you how the Three
Barry mores staged Camille and got their
first dramatic criticism. We collected a
cent apiece from our relatives and friends
for admission. And afterwards Grand-
mother told us sternly we had charged
entirely too much.

"No? Shucks! What's the next candle?

"The 24th. . . . Well, I had started my
real stage career when I was 15 and had
been trouping in small parts when I wasn't
in school. At 24 I had plenty of experience
— four seasons of Broadway and a couple
of tours. I was starting my second Broad-
way season with Uncle John Drew and
didn't amount to a darn, as near as I could
see. EtheJ had gone ahead like wildfire
and was in her third season of stardom.
And now Jack had grown tired of draw-
ing weird beasts to illustrate Brisbane's

44

editorials in the Journal and was turning
actor in Ethel's road company of Captain
Jinks of the Horse Marines. Competition
in the family was getting terrific. Uncle
John gave me the part of an Italian organ
grinder in The Mummy and the Humming
Bird and I decided to put everything I had
into it. I loafed around where I could
watch and listen to Italians and I acquired
quite a few tricks of dialect and manner-
isms. I put them all together and when
the show opened I got a hand that was en-
tirely unwarranted by the importance of
the part. I was pleased with myself, but
half expected some reproof from Uncle
John. After all, he was the star. I did his
generous soul an injustice. Uncle John
seemed delighted at my success and took
me around introducing:-

" 'My nephew, in whose production I am
playing a quite minor part.'

"I began to wonder if I hadn't really
overdone the thing, but it did get me better
parts and, a couple of seasons later, a show
of my own. By 1906 I had saved enough
to quit the stage and study art in Paris
for three years.

"That gets me up to that 31st candle.

On my return to New York in 1909, I
found an astonishing innovation in the
theatrical business. Actors were working
in the summer time! You went down to
14th street to an old mansion that had a
sign reading 'Biograph Studio,' went in,
and asked for Mr. Griffith. Acting engage-

ments were for only a few days at a time,
but there were no lines to learn, and there
were no performances! You were paid for
a series of scene rehearsals and an orgy of
ad-libbing. Your audience was half a
dozen workmen and a funny-looking
camera. With the camera they made what
they called a moving picture. Most of the
Broadway actors would have nothing to do
with such a ridiculous enterprise. No lines
and no audience! What was the profes-
sion coming to? Where was the glory?
There wasn't any. But there was some
money at a time of year when actors gen-
erally ate on the cuff. I found these mov-
ing pictures very interesting — and useful.
And I made the acquaintance of charming
people. I worked with Mary Pickford, the
Gish girls, Blanche Sweet, Bobby Harron,
Henry Walthall, and Mack Sennett. So
you see, in pictures, I pre-date the custard-
pie."

■ There was an interruption.

"Ten minutes!" said one of Capra's as-
sistants.

"Well, I guess we can skip those last two
candles!" he exclaimed.

"Don't do that, Mr. Barrymore," said
Capra. "I'll extend your schedule two
minutes."

"Well, then, I'll make these quickies,"
said the veteran star. "I know what time
means on a motion-picture set. I used to
be a director myself. I was sort of figur-
ing on telling how I directed my sister

Ethel in a picture for the old Metro com-
pany in 1916, but I'd better get on to that
39th candle. It was the biggest year in
my life up to that time. I went on in The
Copperhead in New York and really won
my star rating — after about a quarter cen-
tury of hit-or-miss trouping, the follow-
ing season, after I did The Jest with my
brother John, Hollywood called in no un-
certain terms. I came out here for the
filming of The Copperhead and played in
picture after picture for ten years. Then
talkies came in. They called for somewhat
more of the stage technique and I decided
maybe I should be a director. So you see,
Mr. Capra, I was one of your competitors.

■ "What's that last candle, the 53rd?
That fits in just fine. That marked my
return to the business end of the camera.
I played a drunken old lawyer in A Free
Soul. The Academy gave me a gold stat-
uette for it — and here I am!"

"Well," said Capra, "That's a lot of
mighty fine performances in between that
you haven't accounted for."

He gave the high sign to the assistant
director.

Barrymore, his eyes gleaming, looked at
Capra.

"I wouldn't be surprised if you hadn't
seen nothing yet," he hinted. "You Can't
Take It With You may be worth the 60th
candle."

"More candlepower to you!" laughed
Capra.

/

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6ASYTOBRYTEN ClUAO POWUCK HARDTOSRYTEN

Streamlining Jack Oakie

[Continued from page 24]

anniversary in handsome fashion and on
top of that, he just had returned from
Dallas, Texas, where he had attended a big
testimonial dinner for an RKO executive.

"I not only looked like a balloon but I
felt like one," Jack told me. "When
Pigeon (that's Venita) made some crack
about now having twice as much as she
bargained for, I decided it was my cue to
go into action. After all, I could keep
away from mirrors but she had to look
at me all day."

He consulted his doctor. The doctor put
him in a local hospital for a thorough
check-up. It's a good idea to find out if
you are organically sound, you know, be-
fore undertaking any strenuous reducing
regime.

"Sort of a break-in date for my new
act, 'Jack Oakie in How to Lose Weight
When Your Wife Isn't Looking,' " he
laughed, because his campaign was started
behind Venita's back. Ironically enough,
she was twenty pounds underweight at
the time and was concerned about regain-
ing weight. Obviously it would be silly
to expect peace and quiet to reign at a
single table where two diametrically op-
posed food battles were being fought. And
so Venita went to Honolulu. After the
hospital regime, Jack was scheduled to go
to Del Monte.

"You've heard of the man who broke
the bank at Monte Carlo?" Jack asked.
"Well, I'd like to write a book some day
about a guy at that hospital, the man who
broke the Oakie yen for food. His system?
He fed me a slug of castor oil three times
a week for three weeks! I dare anyone to
have an appetite after that. Imagine pay-
ing a gent to give you castor oil."

■ Fifteen pounds of Oakie fat had
melted into thin air by the time he

left the hospital for Del Monte. From
that point on he was on his own. Whether
or not he followed the doctor's prescrip-
tion of no liquor, plenty of exercise, and
a 1,000 calorie a day diet was strictly up
to him. Nobody would be on hand to
police him into it. It was fifteen down
and forty-five to go.

He hadn't been in the lodge half an hour
before everyone suspected something was
up. He strolled up to the bar with two
or three friends. The bartender nodded
greetings.

"What'll it be?" he perfunctorily asked,
reaching for the Scotch.

"Tomato juice," Jack said. "And let me
have it straight!"

The bartender is reported to have looked
very pained but everyone else thought it
was very funny and laughed merrily. That
Oakie! Anything for a gag! Jack drank
the juice, said good-night, and went to
bed.

■ The next morning he ordered break-
fast. Orange juice, one boiled egg, a

special kind of rye toast and black coffee.
He asked the waiter to remove the butter
from the table, then and for the remainder
of his stay. He said he wouldn't need the

sugar either, since he carried his own with
him in the form of pellets of saccharine.
It wasn't long before the manager came
a-running.

"Look here, Jack," he chided. "Fun's
fun, but you're giving the place a bad
name. People are complaining they are
seeing things."

"They ain't seen nothin' yet," Jack
promised.

Dropping the kidding, he explained the
purpose of his visit and convinced the
manager he was serious. When he ordered
vegetables without butter, he wanted them
without butter. Not a pat or a part of a
pat. When he ordered a small portion of
meat, he meant small. He didn't want to
see a potato the whole time he was there,
and when he left a call for 7 a. m., he ex-
pected to be called at seven.

"Hallelujah, brother, it's a miracle," the
manager exclaimed.

"Hallelujah, brother, it will be if I do
it," Jack answered.

But he did.

A thousand-calorie diet isn't much fun,
however much you dress it up with fruits,
vegetables and salads. It leaves you sort
of hungry nine-tenths of the time, and
I've never heard of anyone who enjoyed
that feeling. But that is the real point of
it, Jack said. Any doctor will tell you the
sensible, healthy thing to do is to get up
from the table wanting more food whether
you are on a diet or not.

■ "Eating is nothing more than a habit
anyway," Jack expounded. "Or rather,

overeating is a habit. It's too bad it's such
a pleasant one. By the same token, it is
amazing how little food the human body
requires to keep it in perfect running
order."

How little? Getting down to concrete
facts and figures, here are sample menus
of what Jack ate every day.

For breakfast: Vz cup orange juice, one
boiled egg, 3 pieces of rye toast, 1 cup of
coffee with 1 level teaspoon of sugar and
1 tablespoon of top milk.

For Lunch: 1 cup clear beef broth, 1
serving of pineapple and cottage cheese
salad, 3 pieces of rye toast, 1 small scoop
of vanilla ice cream, and 1 glass of
skimmed milk.

For dinner: 1 cup chicken broth (with-
out fat), 1 piece (4x3x1 inches) broiled
beef steak, % cup beets, xk cup carrots, 3
pieces of rye toast, Vz cup unsweetened
applesauce.

Basically, Jack's diet was governed by
two rules only. Number One said no
starches (which meant no potatoes, bread,
cake, pastries or starchy vegetables) and
no fats (which included butter, cream, or
fatty meats like bacon). Number Two
said cut down radically on the portions
of every food.

■ So much for the diet part of his re-
ducing regime. The second of the doc-
tor's orders concerned exercise to tighten
up muscles and keep the skin from be-

46

Accept No Substitutes! Always Insist on the Advertised Brand!

coming flabby or lined as the flesh beneath
it rolled away.

"Boy, did I exercise!" Jack said, "Well,
get a load of this!"

"This," started with fifteen minutes of
setting-up exercises at 7 a. m. Then came
breakfast and then a round of golf. And
what golf! It took the other lodgers a
full week to convince themselves a lunatic
v/as not loose in their midst. The first
morning a solemn-faced old gent was
standing on the second tee, preparing to
drive, when Oakie came running up. He
glanced at Jack in mild surprise, drove
his ball, and continued down the fairway.
Surprise deepened to consternation when,
after every stroke, he saw a heavily-
sweatered, rotund figure chasing after
him.

Again he was preparing to drive on the
third tee when Jack came running up. He
put his club down and turned.

"Young man," he said. "You seem to be
in one helluva hurry. Perhaps you'd like
to go through?"

"Who, me?" Jack beamed. "I'm in no
hurry. I've got all morning to knock off
these eighteen holes."

"Then perhaps, sir, you'd tell me why
you're running like the devil was on your
tail," the man requested.

"Oh, that's simple," Jack answered. "I
was racing a butterfly. Beat him, too."

The old man shook his head slowly. "In
that case, you had better go through," he
advised. "J came out to play golf!"

The truth of the matter was, of course,
that Jack simply had figured out for him-
self that he'd get a lot more exercise if
he dogtrotted from lie to lie.

| Nor was the daily game of golf the
end of his exercising. Far from it.
That just started the day off. After golf he
played two sets of tennis, which brought
the clock around to the luncheon hour.
Next came an hour of fast swimming in
the lodge pool. At four o'clock he went to
the gym where he worked out on the
rowing machine for an hour. He followed
that with a session in the steam room and
wound up the day on the masseur's table.

The third ingredient in the doctor's pre-
scription, you remember was the "No
liquor" edict. He's still on the wagon, and
what's more, intends to stay there. He
likes the driver's seat; it's a darned com-
fortable spot to be sitting, he says. And
Hollywood just will have to get used to the
sight of seeing him order a "Black Cow"
(that's a remarkable concoction of coca
cola and chocolate ice cream) instead of a
gin sling.

| When he returned from Del Monte,
Jack had lost fifty pounds. A good
ten years had rolled away with the excess
weight from his appearance. By the time
Venita returned from Honolulu he had
lost another ten just to prove to himself
that he could make his system work as
well in Hollywood as in Del Monte.

He was wearing a well cut gray suit
which fitted him like the proverbial glove
when he met Venita at the dock around
the first of May. As soon as her natural
amazement at the transformation had died
down, Jack began to strut.

"Like my new suit, Pigeon?" he asked.
She assured him it was a pip, and said that
buying a lot of new clothes to fit that
grand new figure of his was a swell idea.

"New clothes, my eye!" he retorted.
"This, my little love mate, is one of those
old suits you've been nagging me to get
rid of for the past two years! As I recall
it, you said I'd never have any use for
them again. Yah, Smarty!"

He has given all his "new" clothes to
Barnes Animal Circus, he said, because
he noticed their tents were getting a bit
shabby the last time they played in Los
Angeles. Out of his entire wardrobe, only
his socks and shoes still fit. He was telling
an electrician on the Affairs of Annabel
set about this sad state of affairs the other
day.

"Jeepers, I'm wearing a suit I bought in
1931," he said.

"Yeah?" said the electrician. "Aren't
we all?"

NEXT MONTH

Young

M

ickey

Rooney became

very

political-minded

from playir

g in

Boy's

Town,

and

has outlined some

of tr

e re-

forms

he

would

advocate

f he

were

mayor

of

Hollywood.

//I

^Private Iife of a box of KBgaraaSS'

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47

BEAUTY HINT

from

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NAME

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Dorothy Lamour's lovely hands are beautifully groomed, which makes
them doubly effective. You'll see her next in Spawn of the North

Beauty Hand-Outs

Winter is on its way, and it is high time
you took a tip from the stars and guarded
against the results of rough weather

By ASS VERXOX

| The vogue for longer nails is one that
has my loud and hearty cheers. Not
just because long nails flatter any hand —
but because women always pay more at-
tention to details of hand and nail groom-
ing when they start to let their nails
grow . . . And all that any pair of hands
needs to be lovely is some daily attention.
Even those slim white hands of Dorothy
Lamour's wouldn't be included in prac-
tically every studio picture of her if she
neglected them!

Hands and nails usually present their
ugliest side in Fall and Winter. That's
why this advice is apropos. Begin to follow
it now and you can baffle cold weather,
even if you live in Montana . . . Buy a
sleek new manicure set to start you off
with enthusiasm. And use it. Then keep
your mind on your hands until you ac-
quire the hand care habit so thoroughly
that you can't break it.

For beauty's sake, WHY NOT. . . .

BABY your hands while doing house-
work by wearing chiffon rubber mittens?
Frequent contact with grime, grease and
hot water will make the smooth hands of
a sixteen-year-old look like those of a
pensioned scullery maid . . . But you
needn't shirk the supper dishes or fail to
dust the parlor when you have these
handy mittens around. They fit snugly
at the wrists but leave plenty of room
for your fingers; and they come in pastel
colors (blue, green, pink, maize) to match
your dirndl house dresses. They're as
light as a handful of soap bubbles, but
sturdily constructed. The manufacturer
makes all sorts of rubber garments so
maybe that's why he can sell these for a
dime a pair. Want the name?

STRENGTHEN your nails and soothe
your cuticle by applying a pink cream
nail conditioner at least once a day? Used

48

Accept No Substitutes! Always Insist on the Advertised Brand!

faithfully, it is death on brittle nails and
ragged cuticle — those two enemies of
long, glamorous nails. Rub it well into
the cuticle and around the base of the
nail, leave it on all night to lubricate
longer. It also does a grand job of soften-
ing crepy knuckles and eradicating the
accumulated layers of tissue that form
callouses, so if you have any of the
pests after your summer golf and tennis,
get after them with this cream. A half
ounce jar costs 50 cents.

DISGUISE your stubby nails or com-
plete lack of half moons by covering them
all over with an opaque nail polish? A
grand shade for Fall, with the new Fuchsia,
purples and wines is one of a quartette of
tropical tints. You can double the life of
this polish (which is long lived anyway)
by applying first a coat of colorless liquid
that's just fresh from lab tests. It dries
quickly and has no effect on the color of
your polish — but it does provide a protec-
tive film. Use another coat over your
polish — for extra lustre and extra life.
No more chipping at the edges with this
nail sheath. A large bottle costs a quarter.

SOFTEN the skin on your hands and
keep it soft, by using a creamy white
lotion containing a new type of oil and a
new solvent that prevents stickiness? This
lotion lubricates the driest skin with speed
and ease. It has enough body to cling
closely and form an invisible film that
protects the skin from cold winds and
other roughening agents. Start using it

regularly — I mean a drop or two after
each hand washing — and your hands will
match your new velvet dress in texture.
A white bottle, easily gripped, has a slick
push-in dispenser, a black label.

BURNISH your nails while you re-
move old polish? You can do same by
using some glycerated polish remover
pads. A tall jar containing 40 of these fat
pink pads costs 50 cents — and lasts nearly
a year. Even with two coats of polish or
with two coats of base and one of polish,
I've found that one of these pads does a
thorough job on all ten fingers. No dry,
greyish nail surface after these. The
glycerin leaves the nails looking buffed.

DECORATE your nails with tiny blue
butterflies — and acquire a reputation for
being amusingly different? Or if you don't
like the idea of decalcomania butterflies
fluttering at your fingertips, you can sub-
stitute minute gardenias or pink rose de-
signs. I've had lots of fun stamping these
little decorations over my nail polish. You
can wear one on each finger or two or
three on each hand. They won't come off
until your nail polish does, if you put them
on carefully and then brush a coat of
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SCRUB your hands two or three times a
day with a mild soap, warm water, and an
amusing turtle-shaped brush? The bristles
are stiff enough to remove the most stub-
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the tender skin of the hands. The tiny

tail of the turtle, you'll discover, is per-
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colors, as well as black and white, is of
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brings you this clever hand accessory —
want the name?

PROUD OF YOUR HANDS?

Or do you always try to hide
them because they're red and
sand papery, with broken nails
and rough cuticle? If so write to
Ann Vernon. She will be glad to
tell you the correct shades of nail
polish to wear with your favorite
colors, and give you help with
any other beauty problem. The
only fee for this service is a
stamped (3 cents U. S. postage)
self-addressed envelope sent with
your letter* The address:

Ann Vernon

c/o HOLLYWOOD Magazine

1501 Broadway

New York City

Freshness

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When Answering Advertisements Please Mention October HOLLYWOOD

49

'SUCH SMOOTH

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Patric Knowles is crazy about cars

Patric Knowles also likes cars

V

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He has lots of other emotions about cars

But anything on wheels will do

He was brought to Holly-
wood because he looked
like Errol Flynn, but he has
made a place for himself

By RUTH RANKIN

■ Patric Knowles has this in common
with politics and the war in Spain:

his friends cannot discuss him without be-
ing emotional.

When a juicy role is handed to someone
else which his friends feel should be played
by Pat, they take umbrage as if they had
received an insult direct. They discuss it
feelingly, with bitterness and rancor —
and usually it is Pat himself who ends the
discussion by telling some outrageously'
funny story — perhaps an experience when
he was touring Ireland with a Shakes-
pearian troupe and the entire company
got fleas. You can imagine Hamlet with
a flea in his tights . . . Pat has a delicious
(but not always delicate) sense of
humor.

■ Pat was born in Horsfort, Yorkshire,
and grew up in the town of Oxford. He

bicycled over every millimetre of it, was
exposed to culture in every pore — but he
never attended any of Oxford University's
thirty-odd Colleges, of which the oddest
is named Magdalen and pronounced
"Maudlin." One can understand a frivo-
lous youth resisting Colleges called
Trinity, New, Queens, or Wadham — but
how any young man with his career to
carve in a disorganized world could resist
getting a head start in a College called
"Maudlin" is utterly beyond me. Maybe
Pat just figured he'd come to Hollywood
instead.

However, one cannot — or can one? — be
immune to the proximity of erudition,
which is like the propinquity that begets
love. Pat must have absorbed intelligence
and culture by the simple process of
osmosis. (What a pleasure to aim these
two-bit words at all you bright and
beautiful readers of HOLLYWOOD, who
can be depended upon to know what they
mean. I wish I did.)

Of course Pat went to school — there can
be absolutely no doubt of it from the way
he tosses the King's English for a touch-
down every time, and keeps his check-
book balanced. But he did not make a
fetish of it. He saved some time for bicy-
cling around delivering parcels (an
Englishman can get anywhere on a
bicycle) and soliciting advertisements for
his father's local publication, up until the
age of seventeen. He learned to be a good
salesman; not the fast-talking resistance-
breaker-downer, but the quiet forceful
type, infinitely more deadly. He experi-

50

Accept No Substitutes! Always Insist on the Advertised Brand!

merited a little with setting type in the
pater's print shop, but one can imagine
the senior Knowles found it more profit-
able to have him exercising charm on
the prospects. It would be downright
extravagant to hide anything like Pat in
a linotype machine.

H Pat's major passion is motors — even
over flying, fencing and archery. He is
an ardent trader and during his two years
in Hollywood, has had every known kind
of motor-driven vehicle.

Every now and then he gets fed up with
being an actor — the way you get fed up
with being a lawyer or a school-teacher
or a Fuller Brush Man — and threatens to
quit and be a "motor mechanician." They
will live on Enid's income until he gets
good and started, and none of his finag-
ling around and stewing which attends a
career in pictures. Yes, sir; the only happy
men are men working with their hands,
building things, putting motors together,
getting inky dirty, living the simple life;
this limelight stuff is highly overrated.
Enid (Mrs. K.) merely remarks, "When
do we start?" So Pat takes the Countess
(Doberman) for a run over the hills back
of the house, and returns temporarily
cured of his divine discontent.

He is mad about aviation, is a licensed
pilot with more than a hundred solo hours,
and awards for spot-landings and things
in competitions. But soft-pedal on this- — ■
the studio frowns, and Mr. Knowles has

lately been pulled out of the air, so to
speak.

23 Early after his arrival here, Pat ran
true to type and went Western. He
loomed three inches taller in cowboy
boots, making a grand total of six feet
four, and quite a spectacle. Indulged in a
belt designed with fancy scrolls in gold
and silver, rolled his own cigarettes, shot
at targets, and went riding every day. This
was before the battle sequence in the
Charge of the Light Brigade which was
filmed during a delirium of heat seldom,
if ever before experienced in our benefi-
cial climate. Pat rode through the Charge
fully dressed in ten pounds of cutlery
and a skin-tight woolen uniform — but
seldom in his right mind. The experience
sort of took the edge off horses. He started
flying.

H Pat's resemblance to Errol Flynn has
been both boon and handicap. Because
of it, he was brought to Hollywood, and
that far it stood him in good stead. But
there is a limited number of roles in every
studio for each type — and when you have
two of the same type, it adds up obstacles
for the last fellow in. Pat figures he has to
work that much harder. This lament is
mine, not his. Things are as they are, and
Pat does not waste his substance in vain
repining.

He can play an adventurous swashbuck-
ling fellow with plenty of fire and he has

something more — something women value
even above adventure: a dependable
quality. The love-'em-and-leave-'em en-
dearing rogue is all very interesting, but
women in audiences are increasingly wise
and practical as well as romantic, and
their heroes must have some of the
good old reliable bring-home-the-bacon
quality.

Nothing about Pat is artificially culti-
vated. That slight stoop forward, the little
attentive listening smile — all attention —
is all a part of his bringing-up and his
naturally beautiful manners. He was
listening that way to his nurse, in his
cradle — a tender, detached admiration in
his eyes which said, "You're a damned
charming woman, Nannie, and nobody
really understands you as I do" ... It
doesn't mean a thing, but it has lots of
umph. When a lad happens to have the
gift of it together with personal charm and
good looks, plus talent, he is apt to go
rather far in the picture business.

Bi You may be wondering, but be too
polite to mention it, how an inter-
viewer could happen upon this variety of
information in one sitting. So there is
nothing to do but reveal ourselves in our
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Knowleses emerged from this acid test
covered with glory. They took tender care
of ridiculous personal treasures; they are
conscientious book-guarders in a town
which borrows books as casually as a cup
of sugar, and returns them maybe. They
gave no wild parties. They held up even
during the awful din of building on
additional rooms, with carpenters carpen-
tering from seven a. m. In short, they were
the champion tenants for all time. In a
world where people are always suing
people for breaking the china and bring-
ing up puppies on the rugs, this seems an
isolated example which should be graven
on the stone tablets of history.

When the Knowleses and this family
have an evening together, the men go in
for protracted sessions of chess, during
which not a word is spoken for an hour.
Enid and I toast before the hearth and
sew baby-clothes for the Knowles' young-
est. This is known in the vernacular as
a "wild night in Hollywood." Similar
orgies go on in more local homes than you
would ever suspect, my friends, and some-
thing should be done about it. It leaves
the burden of upholding Hollywood's
reputation squarely upon the shoulders of
a rough dozen or so who are even now
forming a Union with the battle-cry:
"Happy marriages are unfair to column-
ists"— an army terrible with banners

bearing their emblem of a Winchell-
Sullivan rampant in a field of key-holes.

H The young Knowleses are, without
fear of challenge, among the most
beautiful persons in Hollywood. Both
exceptionally tall, slender, with superb
carriage, keen as sword-blades — they
seem to be fore-runners of a super-race.
Th'ey have the look of race and breeding
that cannot be forged or imitated. There
are no rough edges or sharp surfaces on
them, and they are perfect complements
of each other. Cruising down Hollywood
Boulevard in the most inconspicuous
manner possible, people always turn to
look.

You see them on the tennis court and
decide the human race is at its undeniable
best in shorts — until you see them dressed
for a swank party.

They believe it is bad form and bad
luck unduly to publicize the fact that they
are conspicuous by their happiness, so
we shall not be guilty of exploiting any
such rare reticence. Too much publicity
on the subject has driven many a local
happy marriage in desperation to the
divorce court — with the result that some
of the most serene alliances in town are
between divorced couples no longer under
obligation to live up to their publicity.

Judy Keeps a Date

[Continued from page 25]

when she left she asked for a studio car
to drive her home. Mama Garland usually
drives her to and fro, but Mama herself
had been in the hospital and had just left
it at four that afternoon.

Another car, speeding through a red
light, caught Judy's car in the side.
It was a bad accident, a crowd gathered
quickly, and when they searched for Judy
in the wreckage she wasn't there. They
found her a few minutes later in a drug
store three blocks away. She was tele-
phoning: "Mom, I just called you to tell
you I'd be a little bit late, but not to
worry." It was good that they arrived
there at that moment, because as Judy
hung up the phone she fainted dead away.
At six she had been laid on the same bed,
in the same room which her mother had
vacated two hours before. At six-five the
doctor who examined her said that he
didn't believe that a little girl could walk
three blocks in such a broken, shaken
condition. But there were witnesses to
prove that she had.

So Judy not only lives in a wonderland,
but she is a bit of a wonder child herself.
On each of the twelve days which she
spent there in the hospital some token of
love and affection, like those already men-
tioned, arrived, and she was a marvel in
that respect, too, since she did not let it
swell her head too much. Some little girls
would have never gotten over it had they
received the note from Robert Taylor that
Judy received, along with his flowers:
"Dear little Judy: I hope these will help
you to feel better. From your sincere
friend and admirer, Bob." But Judy is

not some little girls. Judy loved every
leaf, bud and word, but there is some-
thing that she loves even more, as you
gathered when she turned to the doctor
and asked him about thing-a-ma-jig
Polycythemia, etc.

■ Ever since Judy was high enough to
reach up into the linen closet (in her
own home and in innumerable hotels),
and to sneak out sheets and towels and
anything out of which she could make
bandages for her dolls, she has been a
little Florence Nightingale, bent on nurs-
ing and doctoring the world. Her first
words to us, when she left the hospital
were: "I'm the luckiest girl in the world!
You know what? My doctor has prom-
ised to take me with him on his settlement
calls and he also said I could come and
assist him any time I want. Dangerous?"
Judy scoffed. "Say, don't you think we
in the profession know how to protect
ourselves against contagion?" and she
made a gesture across her mouth, indi-
cating that she'd go all mouth-masked in
white gauze.

Under her arm, at that time, she was
carrying a copy of the novel about an
English doctor, "The Citadel." She heartily
resented our inference that that must be
just a "prop." "No, sir! I've read every
word of it! I'm just taking it back to the
library now, and I'm exchanging it for
"Fight For Life." Say, did you read "Men
Against Death"? No? I think it's won-
derful. Gee, I'd like to find somebody
who's read it so I can talk to them about
it. Don't you like to talk over books?"

52

Accept No Substitutes! Always Insist on the Advertised Brand!

B Her genuine, very simple enthusiasm
precludes any possible thought that
Judy might be a little precocious about all
this. Precocious is the one thing which
Judy just ain't. In fact it's the one thing
she hates, above everything else and for
several years now she has tried to wash
herself clean of the very first line which
she had to deliver on the Metro lot. She
had been at Metro for a year without
doing anything, and then came her first
break in Broadway Melody. In her first
scene, she had to look at Sophie Tucker,
playing the part of Mrs. Clayton, her
mother, and say, "Aw, the Claytons are
all a bunch of hams!"' Judy rebelled; she
felt it was too fresh, and she begged and
begged to have the line omitted or at least
changed. Being a very great respecter
of her own mother and her father (he
died two and a half years ago), Judy
couldn't understand how any child could
make such a bold remark.

But she was forced to go through with
the line, and after that all through the
picture she was a very unhappy child.
She is never happy with such lines and
parts, and not until Love Finds Andy
Hardy, the latest Judge Hardy picture,
did she have a part which she really liked.
Then there is the Wizard of Oz, which she
is looking forward to. Mervyn Le Roy
selected her for the prize-plum part of
Dorothy, and Judy is beaming, not only
because the part is wonderful, but be-
cause the picture is to be in Technicolor,
and she is going to wear a light wig with
long golden curls.

■ "Of course I want to be beautiful!"
she said, "And Adrian — he's doing

my costumes — says I am going to be beau-
tiful in this one! And I want to grow up
to be very beautiful too." Then her cute
little face with its up-at-the-end nose
suddenly looked sad. "Only I probably
won't. But I do try. I take awfully good
care of myself. I won't ever smoke or
drink — I hate anything that has even the
littlest fizz to it, even coca-cola. And I
pay a lot of attention to my hands and
even to my — " Then she stopped and
looked embarrassed. But her eyes gave
her away. They went quickly to her feet,
to the low-heeled, open-toed sandals, out
of which dainty pink and white toes
peeked. "Isn't that silly?" she laughed.
"I cold cream my feet every night, just
like I do my hands and face!"

Far from silly, it's a sane tip that every
young girl should incorporate in her
beauty ritual. Naturally, being in the
midst of the world's most famous glamor
spot, Judy is more conscious of the search
for beauty than most little girls. She also
has quite a bit more experience with other
things — dates, boys, clothes and social
life, and all those things which fill the
dreams of every fifteen-year-old.

■ Judy, for one thing, has not been
spared the beautiful misery of having

a crush on a movie star. One afternoon not
so long ago she went to a picture with a
little friend, Betty Jane Graham, and they
both sat enraptured as Tyrone Power
moved before them there on the screen.
Afterwards, in the glaring sunlight, they

both looked at each other, blinked and
each saw the story written on the other's
face. They had both fallen madly in love
with Mr. Power. "That's bad," Judy rea-
soned honestly, as they moved on down
the street, toward the nearest drug store.
"You know how it's been, when we've
both been in love with the same boy be-
fore?"

"Yes, I know, we were almost not
friends," Betty remembered sadly.

"All right," said Judy, suddenly in-
spired, as they reached the soda fountain.
"Two chocolate cones, double," she told
the boy behind the counter. When they
each had their cones in hand, Judy raised
hers aloft and made a toast: "Here's to
never allowing the name of Tyrone Pow-
er to cross our lips. We will never speak
of him again." Betty nodded in solemn
agreement, and with an elaborate lick
against the chocolate cream they sealed
the bargain and drank (or shall we say
dissolved) the toast down!

IE Among her real life beaus are Jackie
Cooper, Leonard Sues, Billy Hallop,
one of the Dead End boys, and occasionally
Mickey Rooney. But they do not call Judy
for a date. As any well-mannered young
man should do (also a diplomatic one),
they get mama on the phone first. Mama
usually says, "Yes, Judy would like to
go." (Judy at her side, all whispers and
grins, has already told her so.) Then the
young man asks what time Mrs. Garland
will want Judy to be home. If there is
just a movie and a bite to eat afterward
on the schedule, Mrs. Garland usually
sets eleven as the time and that does not
mean one minute after. Or if there is a
party and it's a Saturday night one, she
allows a little longer. On a Saturday or
so ago, when there were two parties,
Mrs. Garland gave them until twelve
o'clock. At twelve promptly Mrs. Gar-
land was aroused from her slumber to
hear young Master Jackie Cooper's voice
on the phone. "Oh, Mrs. Garland, let me
tell you what happened. We went to the
first party and it wasn't very good so we
went to a movie, and there were two fea-
tures and three shorts and we only arrived
here at the second party just a little while
ago, and there's no sign, of them bringing
out food yet, and I just wondered. . . ."

"All right, Jackie, make it twelve-thirty,
then."

A half hour passed and Mrs. Garland
had just dropped off to sleep when the
phone rang again. "They never did bring
out the food, Mrs. Garland! So, if it's all
right with you we thought we'd stop at a
drive-in. We're going there now, and you
needn't worry because you know I drive
carefully."

"That's all right, Jackie, I understand.
You just get something to eat and then get
here as quickly as you can."

She was only allowed a fifteen minute
interval of peace this next time. "Well,
I asked for it," Mrs. Garland said to her-
self as she fumbled again for the light.

"Mrs. Garland, I'm sorry, but it's so
crowded here at the drive-in and the serv-
ice is so slow. . . ."

Judy's mother had a bright idea. "Jackie,
why don't you all come here? There's

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"Oh, thank you!" shouted Jackie. "That's
v/hat we were hoping for in the first place!"

9 Kids are kids, even Hollywood kids,
and five minutes later they were there!
But of all Judy's loves, Clark Gable is
the closest to her heart. She does have one
other too, and he is Roger Eden, who has
written several songs for her and who
makes her arrangements. But her adora-
tion for him is a little different. Of him,
she says, "I know no one could ever really
take my father's place, but Roger comes
the nearest." It was Roger, too, in a way
who introduced her to Gable. Over a year
ago he wrote a song for her which was
called "Dear Mr. Gable," and Judy was
asked to sing it to Clark at his birthday
party. Judy stood at one end of the piano
and Clark stood at the other. They had
never met, but across the width of the
piano Judy, stage-frightened for the first
time in her life, sang him the song-letter
which told him of her love. After that
they became good friends, but that is not
the finale of the story. A year passed and
another Gable birthday rolled around; an-
other party was to be given for him on the

set; and Roger wrote new words for the
"Dear Mr. Gable" song, and Judy was
asked to sing it to him again. But when
Judy read the words she saw that they
were full of ribbing and teasing, too full
of "love stuff." "Oh, no," she said, "I can't
sing that. He might not understand."
Gable not understand a joke! They told
her that that was impossible, so in the end
she agreed.

However, it was still a trembly little girl
who stood up there a second time to sing
to her idol. Her yellow-brown eyes
watched his intensely. It's a foregone con-
clusion that if she had not seen the grin
spread over his face, she would have
burst into tears.

As she sang the last line, "King Gable,
I still love you," the audience and Gable,
too, responded with much laughter and ap-
plause. Then in the midst of the excite-
ment, Clark felt a gentle tug at his hand.
"You're not mad?" whispered a fright-
ened voice. "I should say not — and listen
here, young lady, get on your tiptoes be-
cause I've got a whisper for you too!"

What he whispered Judy won't tell, but
we have an idea that it was the last line
of the song, but with Judy's name substi-
tuted for his own.

How a Star Learned to Says "Ooooons. Sorry

99

[Continued from page 26]

the cast of There Goes My Heart, Fredric's
new Hal Roach picture, for the words were
not in the script. Yet they were typically
Fredric March. Those words, or the mood
behind them, are characteristic of March
whenever a real crisis arises in his ex-
istence or his career. To him the exclama-
tion has come to mean the summing-up
of his philosophy of life. More, this jaunty
lament over bad luck has often in March's
experience been the prelude to luck far
better than he had dreamed. Even in the
picture, when the newspaperman adopts
an "Oops" attitude toward the yacht in-
cident, he wins not only the interview but
also the heiress.

The March philosophy, a subject on
which Fredric never talked before, has
occasionally startled into delighted laugh-
ter a bigger audience than that which saw
the actor tossed off the yacht. Once it
convulsed New York.

On the day after Fredric's stage play,
Yr. Obedient Husband, closed on Broad-
way last season (for various reasons it
flopped with a dull clunk! within one
week), March and his associates ran an
ad in the paper. Never has there been an
ad to top it, an ad so regretful and gay.

It was a reprint of a sketch from The
New Yorker, showing two trapeze per-
formers in mid air. One, whose heels are
securely hooked over a bar, has failed to
catch the hands of his fellow performer,
who consequently is hurtling downward.
The one on the bar says politely: "Oooops!
Sorry!"

March had missed. He knew it. He was
sorry — yet he was not in despair. Matter
of fact, he means to go back to Broadway
some time and try it again, but that's an-
other story.

HI It wasn't easily, but by a devious and
painful route, that March arrived at
the philosophic attitude which today en-
ables him to say, "Oooops!" instead of
other assorted words when things go
wrong. His father and the Orientals were
the early influence.

" 'Everything works out for the best,'
how often my Dad told me that," March
said when, in dry clothes again, he was
back in his trailer-dressing room on the
Hal Roach lot. His keen, dark face grew
thoughtful, his brown eyes went quizzical,
at this remembrance of his boyhood. "And
if you have the patience to wait, those
words are likely to come true. Things
work around, fall into place. There's a
bit of Oriental wisdom, also — Confucius,
isn't it? — that's helped me over many a
hard spot: 'This, too, will pass.'

"I've discovered a peculiar thing about
that saying. Not only does 'this, too' pass
(whatever rotten luck it may be), but
generally you find yourself the better off
for having gone through it. If it's grief,
you come out with greater sympathy for
the grief of others. If it's poverty, you
come to appreciate money when you have
it. Keep that ancient four-word promise
in mind and nothing can get you really
down."

■ The first time Fredric said, "Oooops!"
to a sharp emergency, was in his home
town of Racine, Wisconsin. Fredric came
home from high school one noon, swinging
his senior Latin and Algebra books on a
strap, to find his father, white-faced, in
the hall. "The bank has failed," his father
said.

He didn't need to say more. It meant, as
Fredric knew, that his father's money — he

54

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was head of a manufacturing concern —
was also gone. It meant that Fredric must
quit high school and go to work. The eager
dreams of college were over.

"We worry too much," March observed,
'"Somebody says half our lives are spent
worrying about things that never happen.
I thought my schooldays had gone ka-
fooey, my career, too; at this time I wanted
to be a lawyer.

I March kept saying, "Oooops!" or its
equivalent for two years before he
earned enough money to enter (goal of
his hopes!) the University of Wisconsin.
His zest for college life lost nothing from
the delay and he threw himself into half
a dozen activities: football, fraternities,
track, and, very conscientiously, his stud-
ies. He joined the college dramatic so-
ciety and did pretty well in undergraduate
performances.

But he still wanted to be a lawyer. He
was all set to enter law school when, again
in his senior year, came interruption. The
newsboys were yelling something. March
bought a paper. Standing on the campus,
he read that the United States had entered
the World War. Well, the immediate need
seemed to be for soldiers, not attorneys;
March volunteered for the artillery. Time
out — for another year.

"When the War ended. I'd picked up a
terrible yen to see far countries," March
resumed, humor glinting in his eyes, "and
I decided the best method would be

through the National City Bank of New
York, because Frank Vanderlip was taking
college men there and training them for
work in foreign branches. They went to
Spain, South America, France. It sounded
fine."

And it was fine, for eight months. Then
two things happened. The bank installed
a new president, who changed its policy.
And March came down with a brisk attack
of appendicitis.

9 Ooops, indeed! Double Ooops!

"But, wait," March admonished. He
gazed around the trim little dressing room
with its mirror outlined in lights, its com-
fortable brown couch, its couple of sturdy
chairs (he's six feet tall and weighs 170),
as if he saw instead a Brooklyn Heights
lodging house and himself in a knot on the
bed, listening for the ambulance.

"Wait," he repeated, "till you hear. The
landlady, a former actress, began to tell me
stories of the theatre, to while away the
time. I had enjoyed those parts in school
plays, and as they made me ready for the
operating room, I kept remembering the
landlady's anecdotes. It appeared that the
banking business wasn't turning out to be
as romantic as I'd expected. I came out
of the ether with my mind made up to go
on the stage."

He laughed. "Took an operation to get
me there!"

Yet his first professional performance,
as it happened, was as a member of the

crowd in a picture. It was made in New
York; called Paying The Piper. Soon
afterward, March found a footlight job,
because he had taken the earnings from
the picture and spent them for intensive
dramatic coaching, and following a season
of summer stock in Denver he married
his leading lady, Florence Eldridge.

Naturally, they wanted to be together.
Therefore they both signed, gleefully, for
a road tour with the Theatre Guild
Repertory Company.

The ink had hardly dried before their
telephone rang. "March," said an au-
thoritative voice, "how would you like to
play the leading male role with the New
York company of The Royal Family?"

March nearly dropped the receiver. "It
was a swell opportunity," he explained the
other day, "one for which I'd have given
my right arm. It meant Broadway, a
future . . . But I had to say, 'Sorry, I'm
all signed up to go touring.' No, I didn't
regret getting married; but, boy, how I
wanted to play that role. Ooops, Ooops,
and Oooops. Difficult to be philosophical
that time, all right.

"But — and here's the uncanny thing
about it — that apparent stroke of mis-
fortune was one of the best things that
ever happened to me. It brought about my
first real chance at pictures. In the first
place, if I'd been with The Royal Family
in New York, I should have been tied up
there for the long run the play had: and
in the second place I shouldn't have been

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playing The Royal Family with a road
company in Los Angeles.

"I never thought, when in New York
I had to turn down the role on the stage,
that about two years later I'd be playing
it on the screen."

H For it was in Los Angeles that the
movie talent scouts nailed him. After
a few preliminary films, his appearance
in The Royal Family of Broadway (the
name of the celluloid version) brought
him stardom. And yet he did not progress
without the need of an occasional "Ooops!"
when the going grew tough.

"I was dying to play in The Lost God,"
he confessed, "but they gave the role to
Dick Arlen. It was a blow. Then I had
my heart set on Farewell to Arms. I even
argued with 'em about it, but they gave it
to Gary Cooper and tried to soothe me
by saying they needed me for Sign of the
Cross, nobody else could do it, and so on."

"And one of the biggest Ooops! hap-
pened in the middle of Dr. Jekyll and Mr.
Hyde.

"That picture! I made tests for weeks
and weeks. I did enough feet of make-up
tests to fill out a full length feature. Be-
fore the film actually began, I was fed up
till I didn't know whether I could go on
with the darned thing.

"But that phase wore itself out, and we
all grew enthusiastic and everything was
going fine, when we began staying late at
night. Now, I had to get to the studio
before six in the morning to have that
doggone make-up put on. By nine at
night, after a day's shooting, I'd be all in.

"One evening I'd done the rain scene
over and over. In fact, I'd been doing it
the whole afternoon. The last straw was
the information that we'd have to work
most of the night. I was worn out, and
soaking wet, and mad.

"So I left the stage and rushed over to
B. P. Schulberg's office, determined to take
my troubles right to the producer himself.
'You weren't here at any six in the morn-
ing,' I said, 'you haven't been working
since the break of day. You don't have to
hang around till midnight' . . . There was
lots more of it. I didn't care at the mo-
ment whether I kept on being an actor at
that studio or not.

"Mr. Schulberg kept his face straight — "

March threw himself back on the couch
in the trailer-dressing room and burst into
hearty laughter. "Mr. Schulberg kept his
face straight," he repeated, "but it's more
that I can do when I visualize how I must
have looked.

"Can you imagine a producer glancing
up from his desk to see 'Mr. Hyde' on the
office threshold? That horrifying make-
up, and mad as fury, and dripping the
last sound stage rainstorm all over the
rug? Besides, over my own I had false
teeth for the 'Mr. Hyde' effect, and if I
didn't watch out they got in the way —
Can you imagine those teeth, gnashing? I
must have been a sight, no mistake!

"Mr. Schulberg, however, was courte-
ous, attentive, and serious. He didn't hint
it at the time but he told me afterward that
he had all he could do not to roar, he'd
never seen anything so funny in his life.

Well, we went home early that night,
anyway."

Incidentally, it was for his Dr. Jekyll
and Mr. Hyde that March won the
Academy Award in 1932.

9 Of course the impulsive dash to the
Schulberg office was not strictly in ac-
cordance with the "Oooops!" idea. When
he stops to reflect, March is of the opinion
that few untoward events short of tragedy
rate more than an "Oooops!" in passing.
What seems like the blow of misfortune
"may be a wallop wheeling you round in
the right direction."

But never was the March philosophy
more taxed than during that brief run on
Broadway of Yr. Obedient Husband.
"Everything happened," March reflected,
"except anything good." His smile was
candid for he isn't one to dodge facts:
"The critics were right, I wasn't up to
snuff. But, while I hate alibis, there's
something to be said ... It was 'Oooops!'
all over the place, from start to finish."

First, a delay in opening because March
suffered a leg injury that took him to the
hospital; the leg still bothered him on the
stage. Next, a boy actor developing a cold
that turned out to be smallpox. Next, Kay
Johnson doubling for the lad and inno-
cently wearing his clothes. Next, the ill-
ness of A woman actor, and Kay
also doubling for her. Next, learning
about the boy and watching Kay to see
if she intended to break out into spots —
"She didn't, thank heaven. It was the
only break, if you get me, that we got!"
Then, Fredric's leg growing worse . . .

March heaved a gusty breath "I cer-
tainly was glad that show didn't last more
than a week!" he sighed.

Again, as the ad pointed out, it was a
clear case of "Oooops! Sorry!" And
Fredric March, returning to the Coast,
stepped right into the type of role, speedy
and funny — that for a long time he's been
anxious to play. Seems to be sort of a
fatality about it, eh?

Sky elopements are the thing. Screen actor Scott
Colton and socialite Azadia Newman are shown
making their marriage vows at the picturesque
altar at the Phoenix, Arizona, Airport which
is only two hours by air from Hollywood

56

Accept No Substitutes! Always Insist on the Advertised Brand!

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■43

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45

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46

ACROSS

1. Dickie Moore had title role in My .

4. First name of feminine lead in Fast Company.

10. Her last name is Wilde and she plays in
westerns.

12. Merrily We .

13. Mad Music.

15. Three Blind .

16. Mr. Donlevy's initials.

17. Descriptive of the ingenue.

IS. She was famed for her beauty in silent films.

19. Spanky is one.

20. Wayne Morris portrayed Galahad.

21. A star of Stolen Heaven.

22. Paradise Three.

23. Initials of one who had title role in Shopworn
Ann el.

24. Remember Negri ?

25. He co-starred with Hepburn in two recent
films.

27. Hungarian actress in The Buccaneer.

28. Measure of film.

29. First name of Director Walsh who made
College Swing.

31. The girl in Tarzan's Revenge.

32. Initials of one who portrayed Nurse from
Brooklyn.

33. Home of Hollywood stars (abbr.).

34. The Adventures of Robin .

35. What Tracy sailed in Captains Courageous.

36. / My Love Again.

37. Room in prison sequences.

38. Nickname of Miss Ellis.

39. Love a Headache.

40. The Beloved .

41. Dolly in King of the Newsboys.

43. Spool on which film is wound.

44. His last name is O'Donnell.

45. A star of Alzvays Goodbye.

46. Short film of current events.

DOWN

1. Hastings in Speed To Burn.

2. Star of Professor Beware.

3. Mary Lender.

4. Initials of Mr. Stone, but not Lewis.

5. First name of tiny Miss Brasno appearing in
Little Miss Broadway.

6. Last name of 4 Across.

7. Miss Arden's first name.

8. Initials of a star of Girl of the Golden West.

9. Last name of 8 Down.

11. Gold Is Where You Find .

14. Rabbit in The Amazing Dr. Clittcrhouse.

15. Beatrice in Men Are Such Fools.

16. When Were You ?

IS. Marie in Algiers.

19. Another name for Slave Ship.

21. Over the .

22. The Cowboy Brooklyn.

24. Jerry in The Devil's Party.

25. — ' Diggers in Paris.

26. Places where stars of this puzzle appear.

27. One of animals in Heidi.

28. for Scandal (sing.).

30. The Easy , of radio fame, appear in

shorts.

31. Star of Reformatory.

32. Usher escorts you to this.

34. Late comedian.

35. Educational Pictures are known as the

of the program."

36. Little Thoroughbred.

37. Those who manned 19 Down.

40. First name of one who was Papinoff in Saint
in New York.

41. Mr. Pidgeon"s initials.

42. She hatched the Pathe rooster.

43. Richard Arlen's initials.

44. Suzanne Kaaren's initials.

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B Once in a blue moon we all have to
do something extra special in the way
of a dinner party, so this month let's go
formal! We'll take for our guide the
lovely Billie Burke, who is considered an
authority on the art of entertaining.

I'm going to tell you about a conversa-
tion that was overheard during the pro-
duction of the David O. Selznick picture
The Young Heart in which Billie Burke
is playing. This picture stars Janet Gay-
nor, by the way, with Douglas Fairbanks,
Jr., and Paulette Goddard.

Billie Burke had just been telling a
friend who was visiting with her that she'd
had to cancel a dinner party that day in
order to work. She and her companion
then fell to amusing themselves by imag-
ining a "perfect" meal, one that could be
served with pride and distinction.

"First we must consider the guests,"
said Miss Burke. "The secret of the per-
fect hostess is knowledge of individual
tastes — which ones take half coffee, half
hot water, for example.

"Men prefer roasts to chicken, and so if
the dinner is especially for men, a roast
can be chosen, or for variety, if game is
available, serve roast duck.

Here is the menu, which after some de-
bate they decided on for the dinner:
Chicken Bouillon

Fillet of Sole Tartar Sauce

Roast Lamb Browned Potatoes

Peas Cauliflower au Gratin

Cloverleaf Rolls

Tangerine Glace or Peach Melba Coffee

"Before dinner, of course, we must con-
sider the hors d'oeavres," Miss Burke con-
tinued. "Let us say fresh crabmeat balls

58

Accept No Substitutes! Always Insist on the Advertised Brand!

on sticks. Or it is also a grewing custom
merely to serve a large jar of imported
caviar, set in a dish of chopped ice, with
a platter of crackers and slices of lemon.
This goes well with a glass of vodka and
has novelty. The caviar, of course, must
be the best. Some also add appetizers such
as chopped egg and onions. The bouillon
should be well flavored with bits of
parsley and a dash of whipped cream to
float on top.

"Coming to the fish course, fillet of sole
can be relied on as tasty, and an excellent
prelude to the roast.

''I like a special course of a vegetable.
It should be an unusual dish to qualify as
a separate course. Let's say cauliflower
au gratin. The cauliflower must be cooked
while the meat is being served. If you
choose asparagus, by all means have Hol-
landaise sauce to go with it. But if you
do not have facilities for cooking the
vegetable while the meat course is being
served, abandon it completely, and sub-
stitute a salad. And by all means a salad
if you do not serve a fish course. I like to
serve cheese wafers with a salad.

"For dessert, something colorful is in
order, a happy climax. It should be light.

"Finally, the coffee. This is served in
the sitting room, unless — and this is an
important decision for the hostess — un-
less the guests are involved in a most in-
teresting conversation and it would break
up the party to interrupt.

Miss Burke's Favorite Recipes

CLOVERLEAF ROLLS

2 cakes compressed yeast

2 cups milk (scalded and cooled to

80° F.) or lukewarm water (80° F.).
V2 cup sugar
2 tsp. salt
2 eggs (or 4 egg yolks plus 2 tbsp.

water)
7 cups all-purpose flour.
\'o cup soft shortening (part butter

for flavor)

Crumble yeast into bowl. Add luke-
warm milk (80° F.). (If room and flour
are cooler than 80° F., use milk a trifle
warmer than 80° F. If room and flour are
warmer, as in hot weather, use milk cooler
than 80° F.). Add sugar and salt, and stir
to dissolve completely. Add the well-
beaten eggs (or egg yolks and water).
Sift flower once before measuring. Spoon
lightly into cup to measure. Add all the
flour to the liquid at once, working it in
thoroughly with the hands. Work in the
soft shortening. When dough is well
mixed, knead gently in a bowl or on a
lightly floured board until smooth and
elastic. Round up and set to rise in a well
greased bowl. Cover with a damp cloth.
Keep dough at 80 to 85° F. until double in
bulk (about 2 hours). (Dough should
feel neither warm nor cool to the touch —
just "in-between." Place it out of draft.
If kitchen is cold, put dough in a closed
cupboard with a pan of hot water beside
it.) Punch down, and let rise again until
almost double in bulk (about 45 minutes).
Remove from bowl. Knead lightly to
round up on lightly floured board. Cover
with a damp cloth, and let stand 15 min-

utes (to loosen up) before shaping into
Cloverleaf Rolls ... by forming dough
into balls the size of large marbles. Place
3 balls in each well greased muffin cup.
Bake 12 to 15 minutes (depending on size
of rolls), in a hot oven, 425° F.

LIMA BEANS AU GOURMET

Vz lb. small dried lima beans

2 slices bacon, diced

% cup mushrooms, sliced

3 tbsp. butter

3 tbsp. all-purpose flour

1 can pepper pot soup (plus sufficient
water to make 2 cups)

2 tbsp. Worcestershire sauce
2 tsp. curry powder

1 drop Tabasco sauce

1 blade mace

8 whole cloves
Wash lima beans, and soak in water
over night. The next day, cook them until
tender (about 112 hours) in a large
amount of salted water. Cook bacon in
frying pan until crisp. Remove from pan.
Saute mushrooms in same pan. (If mush-
rooms are not available, they may be
omitted.) Melt butter in saucepan. Blend
in flour. Slowly stir in pepper pot soup
and water. Cook until thickened, stirring
constantly to prevent lumping. Blend in
cooked lima beans (drained) , crisp ba-
con sauted mushrooms, and seasonings.
Pour into a well-greased baking dish, 10
inches in diameter and bake for 10 min-
utes in a moderate oven, 350° F. This will
make 6 servings.

SUNSHINE PEACH MELBA

For each individual serving, place a
mound of ice cream on a slice of Sunshine
Cake. Lay a peach, curved side upward,
on the ice cream. (The peach should be
first cooked in a thin syrup just until very
tender and then chilled.) Over each serv-
ing pour a thick sauce made by smashing
fresh red raspberries with sugar and al-
lowing them to stand in the refrigerator
until cold.

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Tyrone Knows an Answer

[Continued jrom -page 19]

carloads of sand from the Santa Monica
Beach to the studio, and created a tidy little
desert of its own, complete even to the
oasis and dim blue mountains in the dis-
tance.

For weeks everyone in the Suez com-
pany ate and breathed sand. When the
wind machines were set in action for the
typhoon scenes, everyone took on that
misty pallor which a nice coating of sand
gives.

Tyrone spent an hour after his daily
stint was done, digging sand out of his
hair, his eyes, his nostrils and his ears.

You would think that under those con-
ditions Tyrone's ability to get fun out of
any situation would temporarily go into
moth-balls. On the contrary it seemed to
thrive. Perhaps, because it challenged his
funny-bone.

H The matter of the donkey was definite-
ly a challenge. Now the animal-actor
was used in the scene where Tyrone meets
Annabella, who plays the part of Toni, the
impish girl who loves Ferdinand de Les-
seps, (Tyrone Power), the builder of the
Suez.

The donkey hired was of a tractable and
gentle temperament. It obeyed its trainer's
commands perfectly. It made friends with
every person on the set.

With everyone except Tyrone. No mat-
ter how many juicy apples and succulent
carrots he offered, no matter the pleading
tones in his voice, the donkey would look
at him arrogantly, swish its ears, and trot
off disdainfully. The company made cluck-
ing noises of sympathy at Tyrone's be-
wilderment.

Tyrone didn't see the trainer making
signs behind his back. But he knew that
all wasn't on the up-and-up. No one sus-
pected that his deepening gloom was the
fore-runner of planned mischief.

That evening Tyrone made an excursion
to Daisy's stall. With him was a man who
had been training animals for the movies
for years. He was leading Bessie, who
might have been Daisy's twin sister.

Daisy was gently led away. Bessie took
her place- — a tutored Bessie, who in an
hour of intensive study learned to take
commands only from Tyrone, to follow
him at a movement of the hand, to nudge
him affectionately.

The following morning, the scenes of
the day before which included the don-
key, were continued. But with what a
difference! No one could do a thing with
that blamed donkey. In addition, Daisy's
trainer had been called away by a seem-
ingly urgent message, and he had been
told not to hurry back because no trouble
with Daisy was anticipated.

And here were scenes to be done. The
sun was hot and getting hotter. The sand
was scorching. And tempers were getting
short. Who would have thought that nice,
amiable and obliging donkey would hold
up production?

"Suppose you let me see what I can
do?" Tyrone suggested mildly.

"You?" everyone chorused. "That don-
key won't have anything to do with you.

Or did you forget about yesterday?"

But condescendingly, Tyrone was per-
mitted to try anyway.

And wonder of wonders! That donkey
did everything but turn somersaults when
Tyrone spoke to her. The scenes went
through without a hitch. In fact, at amaz-
ing speed!

No one could figure it out! There was
mystery in this! For a week the puzzle
of the donkey haunted those who had tried
to fix up Tyrone. They were losing sleep
over it. And finally they asked Tyrone
for the answer.

"So you want to know, do you?" Tyrone
asked. "Well, Daisy wasn't Daisy. She
was Bessie!"

Tyrone hadn't had so much fun in a
week of Sundays as he did watching the
crestfallen faces of the conspirators. Def-
initely, but definitely, the joke was on
them.

9 Even the law has come off second-
best in a bout with Tyrone's wit.

When he was serving his acting appren-
ticeship in New York, he shared a walkup
apartment with a friend. Both boys were
a bit on the loud side when they came in
from their theatre chores at one or two
o'clock in the morning.

The tenant below them had no appre-
ciation for the artistic temperament. And
he would howl loud and long over their
disturbance of his sleep.

His special manner of retaliation was to
stick a wad of gum against their bell at
five o'clock in the morning, the hour he
went to work. The bell would continue
sounding its alarm until one of the dis-
gusted boys would come down to pry out
the gum.

It went on for days — this noisy feud.
And so the boys thought it might be a good
idea to give the gentleman a taste of his
own medicine. Every night when they
came in, they rang their neighbor's bell
persistently. The clatter would have
waked the dead.

One night the shopkeeper was in a spe-
cial fury. He'd fix 'em. He'd fix those two
good-for-nothings. Actors, humph! He
called the police. And a couple of uni-
forms suddenly materialized at Tyrone's
side, while he was taking his turn at bell-
ringing.

"Want somebody?" they asked.

"Yes, yes indeed," Tyrone came back
quick as a flash. "There's an early re-
hearsal and I am trying to wake up Tyrone
Power. That guy sleeps like a log."

The officers were perplexed. "We got a
complaint somebody was creating a dis-
turbance. But you gotta a right to ring
the doorbell of somebody you know. Let's
go up and pound on your friend's door."
Cops could be very suspicious characters.

Up went Tyrone flanked by the law.
For an instant he lagged behind as the
door opened. Just long enough to signal
his buddy to keep quiet.

"Oh, there you are, Mr. Power," Tyrone
didn't give anybody a chance to say a
word. "Say, you certainly sleep hard.

60

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_

"I've been ringing your bell for twenty
minutes. Rehearsal tomorrow, early.
We've been trying to get word to you for
hours."

The officers scratched their heads in
perplexity. They were murmuring —
"People are crazy," as they clattered down
the stairs.

"Whew, that was a close one," Tyrone
sighed in relief. Jail just wasn't on his
program.

Their neighbor moved from there!

| The most amusing story Tyrone tells
points his special and distinct sense of
humor.

He was appearing in the New York pro-
duction of Romeo and Juliet, and for the
purposes of his part, he had to wear his
hair long. "Almost a Garbo bob, it was!"
Even today he recalls that embarrassing
haircut with resentment.

"It was late December but the Christ-
mas Spirit had passed me up. I wasn't go-
ing to expose myself to the stares of shop-
pers. As it was, I was skulking between
the theatre and my room, taking the alleys
to do it. I did shove my hair under my hat,
but I looked sort of peculiar with my hat
perched precariously on the very top of
my head.

"But the last day before Christmas, I
decided people would be too busy to look
at me closely, even with my hat sticking
on so queerly. So I went shopping, with
my hair carefully tucked up under my
biggest, tightest hat.

"All was well. No one had given me a
second glance. I was returning home with
parcels dangling by their strings from
every one of my fingers. And a long roll
of Christmas tissue under my arm.

"I had fished out a nickel to pay my bus
fare before getting on, but in the rush for
the doors my coin slipped and dropped to
the floor. The conductor wasn't obliging.
He wouldn't pick it up. So somehow, I
scrooched down to the floor, and by luck
retrieved it. But my hat had remained in
the air, resting peacefully on the shoul-
ders of two passengers.

"I stood up, wormed into my hat. But
my hair had dropped down. Instead of a
passable -looking boy, I suddenly emerged
under the gaze of the horrified passen-
gers, as some strange creature with dan-
gling locks.

"The bus swayed and I hit with a thud a
passenger's midriff. I turned around to
apologize and the roll of tissue swatted
the gentleman behind me smack in the
face. I was becoming a menace. Every-
one was glowering and growling at me.
But we were packed so tight that for ten
blocks, I am certain, my feet didn't even
touch the floor, and no one could move
away from my immediate and dangerous
vicinity. My Christmas Spirit was rapidly
oozing out.

"When my stop came, everybody was
eager to pull the bell for me. I was a good
riddance — this person who looked like a
fugitive from a psychopathic ward."

But Tyrone's troubles weren't over. The
driver was in a hurry to get going. The
bus started before Tyrone, packed down
like a truck horse, had completely left
the step. He went sprawling in the icy

slush, his packages scattered aver the im-
mediate landscape.

Suddenly Tyrone threw back his head
and laughed until the tears came. It had
been a nightmare ride — but, gosh, it was
funny! And the passengers had looked so
satisfied when he had gone kerplunk.

He waved his hand at the general direc-
tion of the disappearing bus. "Merry
Christmas, everybody!" he called after it.
To this day he believes the passengers
thought he was crazy!

K But laughs aren't so easy to get now
that Tyrone is a star. He is so quickly
recognized — automatic deference smooths
the road for him.

When they do come, he treasures them.
For example, not long ago, he was work-
ing on the old Fox lot, and the custodian
of the gate had never seen him.

Tyrone drove in. He was stopped.
"Where do you think you're goin'?" the
voice of authority stopped him. Tyrone
was properly meek. "I'm to report on
Stage two."

"What's your name?"

Tyrone murmured — "Power."

"Howard? Never heard o' you. Gotta
pass?"

Well, it was an old situation which the
public didn't believe any more. But at
least, this would brighten up his day for
him, Tyrone thought.

So he made profuse apologies for not
having a pass. He didn't correct the gen-
tleman on the name. This could go on for
minutes on end.

But his fun was cut short. A breathless
gateman who knew Tyrone rushed up.
"They're waiting for you, Mr. Power.
Stage two." He waved him on.

In the rear vision mirror he saw Gate-
man No. 1 shaking his head in consterna-
tion. And Gateman No. 2 was gesticulat-
ing wildly, probably advising his brother-
worker to get up on his movies.

H When he was working on Alexander's
Ragtime Band, in one sequence, he as
well as the extras were in khaki uniform.
Tyrone had crawled up to the cat-walk
which the electricians use, to get some
candid camera shots.

"Hey, buddy," an electrician reminded
him, "they're calling all you guys down
there."

"I don't think they mean me," Tyrone
replied.

"Boy, you extras sure try to get out of
all the work you can. Well, it's O. K. with
me, buddy, but you better not let 'em
catch you with that camera."

The electrician stood guard while he
took his pictures, and waved him down
the ladder with the hope that the director
wouldn't find out he hadn't been among
those present when the extras lined up.

Tyrone thanked him. But not for the
world would he let him know his identity.
After all, the man was doing his good deed
for the day!

And so life to Tyrone is an arena for
laughs. He gets them where he can.

Laughing your way through life is a fine
formula for living, Tyrone has found.

"And boy, does it get you out of jams!"
he adds.

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The Name is Familiar

[Continued from page 28]

been a subdued matter of annoyance
or of ridicule from the more widely
read of the great movie audience.
But, until recently, no action has been
taken. Now the spotlight of publicity is
focused on such changes by a complaint,
filed by Mr. Irving Schneider, New York
attorney, representing a group of inde-
pendent exhibitor's.

H These certain exhibitors feel pretty
strongly about the film Kidnapped,
based on the book of the same name by
Robert Louis Stevenson. They claim, in
dignified legal language, of course, that
not only was some of the original plot
kidnapped, but that some of their potential
audiences were kidnapped as well! They
claim that, because the film was advertised
as "Robert Louis Stevenson's Kidnapped"
patronage was diverted from their theatres
to those theatres playing Kidnapped,
because advertising conveyed the impres-
sion that it was a faithful reproduction
of Stevenson's story. They claim, further,
that those theatre owners who did contract
for the film, under the impression that it
was a faithful screen version of the book,
ran the film to their detriment and finan-
cial injury as well as to the detriment and
financial injury of other motion picture
film producers who truthfully advertise
and represent their film productions.

Mr. Schneider's clients feel strongly
about the matter because they claim that
they have been injured in their pocket-
books. There is no telling how the indivi-
dual theatre-goer feels about changes in
famous stories, because the theatre-goer
is a pretty good sport. He buys his enter-
tainment sight-unseen, without a sample.
If he doesn't like the picture, he shrugs
his shoulders, and goes away from there.

■ While Stevenson's story, Kidnapped,
is one of his famous works, compara-
tively few people out of the great movie
audience have read it, and for that reason
quite a lot of people are going to wonder
what all of the shouting is about. Those
who are not familiar with the story will
see a rather exceptionally well photo-
graphed film that seems to be trying to
tell two stories at one time. The first story
deals with the adventures of young David
Balfour, an orphan whose rascally uncle
first attempts to kill him and then has
him kidnapped by an equally rascally sea
captain. So far, the film follows the book
faithfully. The drastic change is the intro-
duction of a love affair for Alan Breck,
and this is a serious matter because there
was no such thing in Stevenson's tale,
and has proved to be quite irritating to
those who love the Stevenson book. They
claim that this studio-manufactured love
interest changes the entire character of
fiery, impulsive, belligerent little sawed-
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angry at the idea of Alan Breck, whose
great devotion was to the Scottish rebel
party, taking any time off for the murmur-
ing of soft nothings to any heroine what-
ever.

The third side of the matter is the
studio's. Producers gamble hundreds of
thousands of dollars on productions such
as Kidnapped. Experience has taught that
a film without a love story is, all too fre-
quently, a film, without an audience. Un-
doubtedly the producers reasoned that
Alan Breck probably did have a sweet-
heart, so why not put one in the Stevenson
story, just as a sort of bonus, thus harm-
ing no one, and making everyone happy.
That is what the producers thought.

So far as the lovers of Robert Louis
Stevenson's writings go, it hasn't worked
out that way. What will be the final out-
come is in the hands of the Federal
Trade Commission, and upon its decision
rests the future of many beloved tales
which have not been brought to the screen
as yet.

| It should be remembered that the
Federal Trade Commission was set
up to prohibit deceptive trade practices,
false and misleading advertising and gen-
eral fraudulent and misleading representa-
tions in connection with interstate com-
merce. In other words, it can control any
commodity, manufactured in one state
and shipped, for sale, to another by issu-
ing what is called a "cease and desist"
order, if the Commission finds that such
product has been falsely advertised and
misrepresented after thorough investiga-
tion*.

The Federal Trade Commission does
not award damages. Following a "cease
and desist" order, legal action may be
taken in the courts, and they award
damages or not as the judges see fit.

The Federal Trade Commission deals
with any commodity that crosses state
boundaries for sale. One week it may be
considering the claims of a manufacturer
of rubber tires for his product. The next
week it may be dealing with electric light
globes, or watches, or shoes, so the public
may feel confident that national ad-
vertisers are making true statements about
the products.

H So far, the question of changes in
famous plots for the screen or the
use of well-known titles on new material
has not come before the Federal Trade
Commission, to my best knowledge, ex-
cept in the instance of a film called In His
Steps. The book of that title was written
by Dr. Charles M. Sheldon, and was a
story of profound religious concept. As
such, it had an immense appeal, and is
said to be the greatest selling novel pub-
lished in this country. We do know
positively that many thousands of copies
were printed and sold, and that the title
as well as the story is familiar to an enor-
mous number of people. The film story is
not the same as that in the book. That mat-
ter still is pending, and the Federal Trade
Commission has planned further hear-
ings this fall.

But ther» have been some amusing and
some amazing instances of startling alli-

ances between title and story, quite un-
related until the films brought them to-
gether.

Remember Dante's Inferno and how it
reached the screen as a pretty elaborate
thriller, all about a fine tough guy who
ran a beach concession that was a fire trap
and how his finer self was revealed when
his his own dear ones were threatened?

The case of The Dance of Life is a funny
one, though it really does not add any-
thing to this particular discussion. One of
Havelock Ellis' better known and most
distinguished contributions to literature
is a book of essays on the arts. It was pub-
lished under the title The Dance of Life.
One calm morning, so the story goes, Dr.
Ellis was called to the telephone by Holly-
wood. Hollywood wanted to know how
much he wanted for the copyrighted title.
They say that Dr. Ellis was surprised but
he quickly pulled himself together, and
set a good high price on it. So the title of
the book of essays was bought, and served
very nicely indeed as the name of the
screen version of the play Burlesque, a
rousing back-stage melodrama. And that
was fair enough. Certainly it would have
been confusing to advertise a film called
Burlesque. Some of the customers would
be bitter if they did not see a burlesque
show. And a lot of people might stay away,
thinking that the film was a farcial stage
show usually associated with that title.
No one was deceived by such a usage of
a title.

But do you remember I Cover the
Waterfront? That collection of reminis-
cences by the San Diego reporter, Max
Miller, was exceedingly popular when it
first was printed. Of course, anyone who
had read the book was well warned, be-
cause it had no central plot, and it was
obvious that the studio had run one of its
own under the widely advertised title.
But how about these people who saw a
water-front melodrama, and went away
from the theatre convinced that they had
caught up with their reading by seeing
the film?

And how about The Call of the Wild,
one of the greatest of all stories by Jack
London? It is the story of Buck, who was
stolen from his serene life in a California
valley, shipped to Alaska during the gold
rush, and sold as a sled dog. After his be-
loved master was killed, Buck found him-
self free to answer the wolf pack which
had been singing with primitive appeal
in his ears ever since he had reached the
Yukon.

Many grace notes were added to the
film, the most outstanding being the love
interest supplied by Miss Loretta Young
who looked very fetching in lovely furs
and charming make-up. Tins film was an
immense success. Audiences loved it. It
was an outstanding financial success, but
I wonder what happened when people
bought the book, after seeing the film,
and discovered that most of the plot was
missing?

■ In Hollywood they love to tell the
story of the producer and the tactful
scenario editor.

It happened shortly after Oswald
Spengler's long exhaustive treatise on the
state of western civilization was published.

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Twentieth Century-Fox studios, which have been on the
alert in bringing great talent to the screen, stole a march
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standing. Charles Farrell was signed for the big male part
in the new Shirley Temple picture, Around the Corner,
while George Bancroft will greet his legion of fans from
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Considering that "The Decline of the West"
was not fiction, was definitely heavy read-
ing and was filled with gloomy conclu-
sions as to the fate of the western world, it
has an immense popularity. For week
after week, it had a place on the list of best
sellers, and the producer noticed that fact.

He called in the man who was in charge
of buying stories for his studio.

"This 'Decline of the West'," said the
producer. "It's selling big?"

"Indeed it is."

"Then buy it," said the producer. "We
haven't done a western in a long time."

The scenario editor was in somewhat of
a spot. He cringed from the thought of
telling the producer that the book had not
even the hint of a plot, that it had nothing
whatever to do with cowboys and cattle
thieves, that it was strictly non -fiction.
That would be unnecessaarily embarrass-
ing for the great man. He searched his
alarmed mind for the tactful way out, and
chose the evasive answer.

"Well, sir, in my opinion it is hardly
material for a feature film. So terribly
long, you know. After all, two big thick
volumes. . . ."

The producer waved a lordly hand, and
smiled the patient tolerant smile of one
who is accustomed to solving difficult
problems easily.

"It's a good title, isn't it? And it's sell-
ing, isn't it? So buy it. If it's too long for
a feature, we'll make a serial out of it."

Whether this tale is true, or whether it
is the product of the poisoned imagination
of one of the embittered young men who
■>have seen great literary properties treated
with something less than entire respect on
the screen, I don't know.

But it does illustrate, to a rather comic
and exaggerated extreme, the way some
studios have handled some famous titles.

H By and large, children of this genera-
tion are fortunate beyond the wildest
imaginations of their parents and grand-
parents. Even so short a time as twenty
years ago, comparatively few youngesters
owned libraries that contained all of the
great stories written for children. And,
even when the books were available in
public libraries, not all parents read ex-
tensively to the little ones, or saw that the
bigger ones were provided with the best
of stories.

Today, there are very few families in-
deed who cannot dig up a dime for the
Saturday matinee where the youngsters
may see such faithfully filmed, brilliantly
acted, charmingly produced films such as
Little Women, David Copperfield, Little
Lord Fauntleroy, Robin Hood to mention
only a very few among the splendidly
produced stories which have been known
and loved in book form for many years.

But there have been exceptions, and
strangely enough two of the most drastic
changes have been made in films starring
Shirley Temple, adored by the whole
nation, and for that reason capable of con-
fusing more people with one film than any
other star. There was some astonishment,
but no- public outcry when her studio
changed the sex of Kipling's Wee Willie
Winkie and made him a little American
girl instead of a little British boy. Though

I Begged
For His Love

p\OES a woman have any right to
a husband and child when she
neglects them both, and is concerned
only with her own selfish comfort?
What if the child is desperately in need
of care, and another woman is willing
to give it? Suppose that woman,
against her will, falls in love with the
baby's father? These are the prob-
lems, Laura Steadman, the "other
woman," faces in I Begged For- His
Love. Read the absorbing confession
in the October Romantic Story.

Also in this issue:

WHY I DECEIVED HER
TOO MANY SWEETHEARTS
SHOULD I FORGIVE HIS PAST?
WE WERE TOO YOUNG TO KNOW
OUT OF MY CLASS

— and others r ,,„,,

NOW ON
SALE

64

Accept No Substitutes! Always Insist on the Advertised Brand!

quite a few people wondered why the
studio didn't call the film Shirley in India,
and save the fine story of Wee Willie
Winkie for some little boy to play at a-
nother time.

But more than a few people have been
noticed coming out of the theatre after
seeing what is known as Rebecca of
Sunnybrook Farm, brushing imaginary
spots from in front of their eyes, and won-
dering if they could believe their vision.
Rebecca is one of the best known of tales.
It has been a favorite in book form for
years. In addition, it is well known to
movie audiences, because it has been
filmed twice before the 1938 edition came
along, once by Mary Pickford and once
by Marian Nixon.

The new Rebecca is filled with much to
attract Shirley Temple's huge audience.
The film starts with the little star playing
the part of an orphaned and unemployed
radio artiste who is left by her money-
grabbing step-father with her maternal
aunt in the country when she fails to get
a contract. The film ends with Shirley
making a tremendous hit over a national
hook-up after having united two pairs of

bewildered hearts in matrimony. And that
is all very fine, and appealing to hundreds
of thousands of us who like to see Miss
Temple in anything. But it bears abso-
lutely no relation to the story of the little
girl who went to live with two aunts in the
red brick house. And a great many of
us liked that story, too. The tragic part is
that a great many of us would have been
enchanted to see Shirley play Rebecca a
few years from now when she is of the
same age as the little girl in the story. As
it is, plenty of mamas were baffled, after
giving their little ones a vivid outline of
the remembered story, only to have those
little ones regard them as distinctly mis-
informed and ill-read after they saw the
show.

Ah, it is easy to find fault. On one case,
a producer is praised to the skies for mak-
ing slight changes for the sake of em-
phasizing drama or establishing a char-
acter. And the next time he does the same
thing, with equally good intentions, he
finds himself involved with hearings be-
fore the Federal Trade Commission, whose
decision in the case of Kidnapped is sure
to be of vital interest to all movie-goers.

Hollywood Xewsreel

[Continued from page 6]

hangar. Wife Lili, mad as a hatter
because of this very unhusbandly treat-
ment, burst through the gate and scooted
down the runway, clothes fluttering in
the propeller breeze and back of her
trotted an airport guard. Back of him
came an airport car and back of them all
the loud laughter of onlookers. The air-
port car finally caught up with Lili and
carried her out the gates. A studio car
took Errol home. The studio where Errol
works explained the fun as a "slight mis-
understanding." According to our Op-
erative No. 11000, the couple indulged in
another slight misunderstanding at the
House of Murphy the other evening — only
more so.

■ Whether shes married to Charlie
Chaplin or not, Paulette Goddard

signed her name on a Del Monte hotel
register as ''Mrs. Charles Chaplin" and
the socialites of the summer resort ac-
cepted this pen-and-ink exhibit as a con-
firmation of the long-standing rumors of
her marriage. After a ten-day visit
Paulette departed for Cape Cod, Mass.,
where she plays roles in summer stock
with a Little Theatre group. In the mean-
time Charlie is readying up a script for a
picture that may go into production this
faU.

■ Buddy Rogers didn't mind, he says,
when someone tossed an orange at

him while he was directing his orchestra
during an engagement at San Luis Obispo
but it was fruit of a different color when
a smart-aleck, out for a laugh, squirted a
siphon bottle in his face while he was
signing autographs during an intermission.
Buddy dropped his pencil, doubled up his
right fist and smacked the heckler so hard
that it was five minutes before he quit

hearing the birdies sing. After finally
getting to his feet, the victim begged off
from further combat, and to escape fur-
ther knuckle massaging from the bellig-
erent Buddy, scurried out of the hall.
This Buddy guy, by the way, is an expert
duke swinger and we're passing the in-
formation along just in case.

H Mike Whalen, the 20th Century-
Foxer, has taken up a new hobby
that's as dizzy a one as could be imagined.
When he isn't working in front of the
cameras these days he's down at the Gil-
more Stadium where the midget car races
are staged. Saw him last week buzzing
around the quarter-mile saucer in Mel
Hansen's gasoline bug and taking the
turns at fifty miles per hour. Mel claims
that Mike could be an ace midget driver
if he'd quit the movies.

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65

HOW TO TAKE

BAD NEWS

Harpo is so sensitive, so emotional, so
talented that he seemed the perfect
person to conduct this month's
etiquette department. He took time
out from his work in Room Service,
to show how to behave at the races

Forgot to place the bet!

An ugly thought creeps in

Count ten! Count it again!

Why does this have to happen to ME?

66

WHY ADVERTISING?

FEW persons are aware that most magazines cost
the publisher more to produce than he receives
for their sale.

Who, then, pays the publisher's loss?

The answer is: THE ADVERTISER.

Advertisers last year spent $1,659,195.55 for adver-
tising in this magazine and others owned or controlled
by Fawcett Publications.

Look through the advertising columns and see which
advertisers help pay for your magazine.

To co-operate in supplying you with reading enter-
tainment is only one service conducted by advertising.

A long time ago there was no advertising. Every man
with something to sell had to tell people about it per-
sonally and individually. This was not a great handicap
in those days, for no one had very much to sell.

But as soon as large-scale manufacturing was begun,
it was necessary to find a way to tell many people about
products, and to tell them quickly and all at one time.
To fill this need, advertising naturally developed as a
universal business process. Without it we could not
operate large factories, making goods for millions of
consumers, paying salaries to millions of workers.

You might argue that in the end, because you buy
advertised products you pay more, inasmuch as the pur-
chase price must pay for the advertising and, indirectly,
some of the cost of the magazine that publishes the
advertisement.

Quite the contrary. Advertised goods cost less.

A good example of how advertising results in lower
prices to the consumer is in the records of a camera
company. Ten years ago a certain camera sold for $30.
It was advertised extensively, sales increased and
overhead costs were reduced because of the increased
volume of business. Now, with larger production, the
manufacturer is able to operate more economically, and
to sell a better camera for only $15. The advertising
cost amounts to 45 cents per camera. The saving to the
customer on each machine is $14.55.

In a similar way, advertising has helped lower the
price of goods you buy in every store, the very goods
advertised in this magazine. Advertising, then, is a force
working for you. Advertising is responsible for some of
your wages, no matter what business you are in. Adver-
tising makes it possible for you to buy cheaper, whether
it is magazines or the advertised products.

KNOW YOUR ADVERTISERS AND DE LOYAL TO THEM

:d in u. s. a.

Unkr of the Day

...(^hesterfielas

firMORE PLEASURE

'his new uniform
is now the order of
the day for dress in
the U. S. Army.

. . . and everywhere
every day, the order of the
day among smokers is that
up-to-the-minute pack of
Chesterfields.

Chesterfield's refreshing
mildness, better taste and
more pleasing aroma give
more pleasure to more
smokers every day.

ions

Copyright 1938 Liggett & Myers Tobacco Co.

ONLY 5 CENT MOVIE MAGAZINE IN THE WORLD

TRY THE

LORETTA YOUNG

REGULAR GUY

TEST ON YOUR

BOY FRIEND

2 1 " '

$250,000 MOVIE QUIZ CONTEST NOW AT YOUR LOCAL THEATRE

METRO-GOLDWYN MAYER PROUDLY PRESENTS THE SEASON'S GALA HIT!
EVERYBODY'S RAVING! EVERYBODY'S SINGING! EVERYBODY'S CHEERING!

a** MacDONALD

SWEETHEARTS

EDDY

VICTOR HERBERT Love-Songs:
Thrilling melodies by the composer
of "Naughty Marietta"! Hear your
singing sweethearts blend their
voices in "Mademoiselle", "On
Parade", "Wooden Shoes", "Every
Lover Must Meet His Fate", "Summer
Serenade", "Pretty As A Picture",
"Sweethearts". . . (Based on the
operetta "Sweethearts". Book and
Lyrics by Fred De Gresac, Harry B.
Smith and Robt. B. Smith. Music
by Victor Herbert)

A CAST OF FUNSTERSI

From left to right — garrulous Herman
Bing, hilarious Frank Morgan, nimble-
footed Ray Bolger, and Mischa Auer,
that straight-faced, merry man . . . plus
lovely Florence Rice in the background
for extra romance!

HEAVEN MADE THIS MATCH!

Their greatest musical romance! Thrilling
as they were in "Rose Marie" and "May-
time", you've never seen (or heard) Jeanette
MacDonald and Nelson Eddy so pulse-
quickening! Their love story will wring
your heart! Their love-songs will charm
you as never before ! They're breath-taking
in technicolor.

BRAINS

AT THE

HELM!

Produced by Hunt Stromberg... Directed
by W. S. Van Dyke II. They're still taking
bows for "Marie Antoinette" — and who
can forget their "Naughty Marietta" and
all their other great hits!

ITS ENTIRELY IN BEAUTIFUL

TECHNICOLOR!

A feast for the eye ! Dazzling spectacle
becomes even more superb by the
magic of Technicolor! Wait until you
see the colorful "tulip scene" and other
eye-filling spectacles !

A Metro-Goldwyn-Mayer Picture with

FRANK MORGAN
RAY BOLGER

FLORENCE RICE
MISCHA AUER
HERMAN BING

Douglas McPhail • Betty Jaynes
Reginald Gardiner * Gene Lockhart

Directed by W. S. VAN DYKE II • Produced
by HUNT STROMBERG • Screen Play
by Dorothy Parker and Alan Campbell

OCT -8 IE

©C1B

393201

NOVEMBER, 1938
Voi. 27 No. n

Hollywood

W. H. FAWCETT

Publisher

LLEWELLYN MILLER, Editor

Table of Contents

EXCLUSIVE FEATURE STORIES

Tough Guy (John Garfield) by Ed Jonesboy 14

A Hollywood Bride Has Problems (Virginia Bruce) by Marian Rhea I 9

Meet the Woman Who Bosses Bob (Robert Taylor)

by Katharine Hartley 20

Three Career Girl (Hope Hampton) by E. J. Smithson 22

Try Loretta Young's "Regular Guy" Test 24

You Can't Take It With You by E. J. (ail bird) Smithson 28

Baby Queen (Irene Dare) by Elmer Sunfield 30

Girl Crazy (Dead End Kids) by Kay Proctor 34

Roping Gary (Gary Cooper) by Katherine Albert 42

PICTORIAL SPECIALS

The Book Worm Turns (Robert Bench ley) 10

Gentleman-Monster (Karloff) 23

How to Carve a Turkey (Bob Hope) 26

Non-Stop Flight (Ben Blue) 32

Football Fever 66

EVERY MONTH IN HOLLYWOOD

The Show Goes On by Llewellyn Miller

Important Pictures by Llewellyn Miller 12

Hollywood Newsreel 1 6

Beauty Department by Ann Vernon 36

Movie Crossword 59

Hollywood Cooking School (Evalyn Knapp) by Betty Crocker

RALPH DAIGH, Managing Editor

CHARLES RHODES, Staff Photographer

HOLLYWOOD Magazine is published monthly by Fawcett Publications, Inc., 1100 West Broadway, Louisrill^Ky. Entered as second class matter at the post office at Louisville,
Ky., under the act of March 3, 1879, with additional entry at Greenwich, Conn. Copyright 1938 by Fawcett Publications, Inc. W. H. Fawcett, Publisher; Elliott Odell, Advertising
Director. General offices, Fawcett Building, Greenwich, Conn. Trademark registered in U. S. Patenf Office. Subscription rate 50 cents a year in United States and possessions
and Canada; foreign subscription SI. 00. Single issues five cents. Advertising forms close on the 18th of third month preceding date of issue. Printed in TJ. S. A. Member Audit
Bureau of Circulations. Send all remittances and correspondence concerning subscriptions to Fawcett Building, Greenwich, Conn. Advertising offices: New York, 1501 Broadway;
Chicago, 36U N. Michigan Ave.; San Francisco, Simpson-Reilly, 1014 Russ Building; Los Angeles, Simpson-Reilly, Garfield Bldg. Editorial offices, 1501 Broadway, !New York City.

■■ -

DREAMERS WHO DARE TO MAKE THEI1

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MEN WITH WINGS

PARAMOUNTS ALL TECHNICOLOR CAVALCADE OF AVIATION

A MOVIE QUIZ $250,000.00 CONTEST PICTURE

(REAMS COME TRUE . . .

FOR the first time on any screen and
in the glorious, heart-throbbing power
of Technicolor, Paramount tells the
mighty story of America's favorite heroes,
"Men With Wings." Before your eyes, in
flaming sequence after flaming sequence,
moves that thrilling cavalcade of courage,
the march of American aviation, told in
the living, human story of two boys and
a girl whose romance is the romance of
aviation itself, with all its heart-leap-
ing excitement, its clutch of fear at the
throat, its soul -rending disappointments,
its hysterical, all- conquering triumphs.

Produced and Directed by

William A. Wellman

creator of "Wings"

LOUISE CAMPBELL

Screen Play by

Robert Carson

Andy Devine • Lynne Overman • Porter Hall • Walter Abel
Kitty Kelly • Virginia Weidler • Donald O'Connor

RONALD COLMAN

...as Francois Villon,

romantic poet-rogue,

in FRANK LLOYD'S

IF I WERE KING."

with

FRED MacMURRAY • RAY MILLAND I Js£

meams

E/VWESE
H/rSPlAV...

■ri:i«:OT/M&]«*]:i

By LLEWELLYN MILLER

Two Big Events in an Editor's Month
The "Movie Quiz*' and Corrigan

Motion Pictures Are Your
Best Entertainment

| There is a most amusing story behind
the slogan, above, which is being used
in thousands of theatres and by hundreds
of thousands of eager contest entrants in
the big "Movie Quiz" now under way.

At first the slogan read:

MOVIES ARE YOUR BEST ENTER-
TAINMENT, and a very good slogan it
seemed, too, until a studio official, reduc-
ing the slogan to initials in the manner so
popular at the moment, made the shock-
ing discovery that the initials spelled
MAYBE!

Never was there a quicker re-writing
of pamphlets and posters, because there
is no MAYBE about the matter. Eighty-
five million people a week can't be wrong,
and eighty-five million people go to the
movies in this country every week. It is
a staggering figure, but that is the average
weekly attendance for last year.

And this year that figure probably will
be much bigger because an added enter-
tainment is on the bill until December 31.
And what added entertainment ... a
chance to win prizes totaling a quarter of
a million dollars!

It seems unlikely that you haven't al-
ready heard of the MOVIE QUIZ, but if
you haven't your nearest theatre has full
details of the contest without charge.

All you have to do is to ask for the
booklet which lists about a hundred pic-
tures, get a pencil and start to work on
that first prize of $50,000.00.

Some of the pictures you have seen al-
ready, and under no circumstances will
you be required to see all of those listed.
If you answer questions about thirty pic-
tures on the list, you stand as good a
chance as anyone to win that fortune.

And what will you do with the money
when you win it? Why go to the movies,
of course. They are your best entertain-
ment, aren't they?

Corrigan Takes A Flier In The Movies

B A few days after his return from
Ireland, Douglas Corrigan was begin-
ning to think that a movie and $50,000.00
was pretty good entertainment, too. He.
was considering the movie from the star's
standpoint, and not as a spectator, how-
ever. Offer after offer had come to him
from producers who felt that there was a
great screen story in the boy whose
"wrong way" flight had enchanted the en-
tire globe.

And young Mr. Corrigan was beginning
to find out what happens when stardom
arrives.

The lobby of the Hotel McAlpin was
aseethe with fans who had learned that he
was returning from a visit to Mayor La-
Guardia's country home, so I knew that
I was early for my appointment. Bell
captains were on guard in the hallway,
but the door of the big suite was open,
and the living room was packed with peo-
ple. Ed Bern was speaking on the tele-
phone. He waved a signal for me to enter
a small room, empty of people at the mo-
ment, but a scene of wild confusion.

A great drift of newspapers covered one
corner of the floor. Luggage was piled
everywhere, spilling shirts and ties and
pictures and papers. There were three
boxes of boxed flowers. There was a
bundle of telegrams and a carton of mail.
On the desk was "A History of the Irish
People" in a brand new wrapper, and
hooked to the mantel piece by a wire
hanger was a pair of little grey flannel
pants, small, neat, pressed, and evidently
just back from the cleaner.

"Somebody's little boy must be staying
here, too," I thought, and it seemed to
me that it was a fine, thoughtful father
who had brought his little boy along to
meet Douglas Corrigan.

After all, any little boy who met Doug-
las Corrigan was a little boy touched with
greatness. The little boy who had a chance
to stay in the same suite as Corrigan was
a little boy lucky beyond imagining. I
estimated that the owner of the little grey
pants was about fourteen-year-old size,
and was thinking how his report of the
visit would dazzle his schoolmates when
Ed Bern came in. He followed my eyes
and grinned.

"Those are his other pants," he said.
"He's wearing his work pants. He really
has only two. And only three shirts.
He . . ."

The telephone .rang, and a loud inhar-
monious wail from voices in the next
room started to chant, "Hey, Bern, hey,
Bern, hey, Bern."

"I'll fix them," said the gentleman in
question. "Want to tell you a few things
about Corrigan before you see him. He's
the swellest . . . I'll be right back."

The telephone rang.

Off into the inner reaches of the big
suite went Bern to reassure the eight
newspaper men, the eight photographers,
the man from the San Francisco World's
Fair, the man [Continued on page 61]

Douglas Corrigan, preceded by policemen and
backed up by Ed Bern, struggles through a
crowd typical of those which followed him
e/erytime he went anywhere in New York

Tke Man Wko Made Tke Picture

tc T/te Ziec&Oe e&Ac ateaewu? ec jee Iff

"Ar It is my business to make pic-
tures, not to advertise them. But I
have seen "Four Daughters," one of
those rare and perfect things that hap-
pen once or twice in a lifetime. Now I
want the whole world to see the fin-
est picture that ever came out of the
Warner Bros. Studios.

•jc I sat at the preview with
Fannie Hurst, its author, — the woman
who gave you "Humoresque," "Back
Street" and "Imitation of Life" — the
woman who knows how to reach hu-
man hearts and bring life's joys and
sorrows to countless millions of read-
ers. She shared with me the thrilled
delight of watching "Four Daugh-
ters." Now, after seeing her grandest
story quicken to life on the screen,
she joins me in the enthusiasm I'm
trying to pass on to you.

"h Warner Bros, have made
many other great pictures. Among
them — "Robin Hood," "Pasteur,"

"Anthony Adverse," "The Life of
Emile Zola." But here is a picture en-
tirely different. A simple story of to-
day and of people close to you and
yours. An intimate story of four young
girls in love and of youth'.s laughter,
dreams and heartbreak.

"A- Once in a blue moon comes
a picture where everything seems to
click just right. "Four Daughters" is
such a picture. Action, story, direc-
tion blend, as if under kindly smiles
of the gods, into a natural masterpiece.
Especially, the truly inspired acting
of three young players — Priscilla
Lane, John Garfield and Jeffrey Lynn
— is sure to raise these three to the
topmost heights ot stardom.

"A" If you could attend but one
picture this year, I think "Four
Daughters" would give you your hap-
piest hour in the theatre. See it! I
sincerely believe it's the best picture
Warner Bros, ever made.

/ JACK L. WARNER, Vice-President
In Charge of Production, •

Warner Bros. Pictures, Inc.

WARNER BROS. Pre*.™,

FANNIE HURST'S Great Story

!

"FOUR DAUGHTER

PRISCILLA LANE -ROSEMARY LANE

LOLA LANE • GALE PAGE

CLAUDE RAINS • JOHN GARFIELD

JEFFREY LYNN • DICK FORAN

Frank McHugh /£n^5\. May Robson

us on the New
York stage — John
Garfield now takes
his place among Holly-
wood's chosen great.

Directed by f/ijSiuSfljiit Screen Play by Julius J. Epstein
MICHAEL CURTIZ %jggnf and Lenore Coffee
From the Cosmopolitan Magazine Story ^5^-agx Music by Max Steiner* A First Nat*l Picture

A dashing new per-
sonality— Jeffrey
Lynn brings the gay
romantic glamour
that wins all hearts.

ONE KISS ISN'T ENOUGH when
lips are rosy, soft and tempting ! Men love
natural looking lips. But they hate the
"painted" kind — glaring red and "hard as
nails." Ask the man you love. See if he
doesn't prefer this lipstick on you.

TANGEE-FOR TEMPTING LIPS...

It's orange in the stick, but on your lips
Tangee changes to the shade of blush-rose
that best suits you! Blondes, brunettes and
redheads ... all use it perfectly. And its
special cream base keeps lips soft, smooth.

HERE'S ROUGE TO MATCH! . . .

Tangee Rouge, in Creme or Compact form,
blends perfectly with your individual com-
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color. It's one rouge that suits everyone —
from blue-eyed blonde to deep brunette.
Try Tangee Rouge and Lipstick tonight!

I

BEWARE OF SUBSTITUTES! There is
only one Tangee— don't let anyone siuitchyou.

WorWs Most Famous Lipstick Be SUTe t0 ask foT

TANGEE NATURAL.
If you, prefer more
color for evening
wear, ash for Tangee
Theatrical.

AS

IDS THAT RAIN

ENDS THAT MINTED LOOK

4-P1ECE MIRACLE MAKE-UP SET

The George W. Luft Co.. 417 Fifth Ave., New York
City ... Please rush "Miracle Make-TJp Set" of
sample Tanaee Lipstick, Rouge Compact. Creme
Rouge and Pace Powder. I enclose 100 (stamps or
coin). (15<; in Canada.)

Check Shade of n Flesh n Rachel n Light
Powder Desired Rachel

Name

THE BOOK-WORM TURNS

(OR HOW TO GET IN THIS MOOD FOR MURDER)

"It's the most outrageous
piffle," the reading room pest
is fond of remarking, just when
you are getting pretty fasci-
nated with all those murders.
"Just let me show you one
example . . ." Mr. Benchley
is conducting an experiment
in sending the death ray
with the unaided human eye

"Ah, here's the place . . . how
can you read such stuff?" The
reading room pest is fulfilling
his destiny and is happy. Not
so Mr. Benchley, who has put
some of his agony of spirit
into a new short subject,
How To Read. Long may dear
sensitive Mr. Benchley live and
suffer for the one reelers!

Seated is that splendid book-
lover, Mr. Robert Benchley.
Standing is a gentleman who
shall remain nameless because
he plays that social blight,
the reading room pest, who
always finds time to stop
and demand, "What do you
want to read that junk for?"

The death ray is, unfortunately,
not perfected yet. Mr. Benchley,
with that wonderful will power
for which he is justly noted,
remembers that members may
be expelled for popping fel-
low members in the eye, and
elevates the book, rapidly,
to a level more convenient
for his fellow literary light

City_

10

MOTION PICTURES ARE YOUR BEST ENTERTAINMENT

\JWE£fflVM&/

Girls who guard against
COSMETIC SKIN the Hollywood
way win out-.

Irene Dunne

Q

COSMETIC SKIN

SPOILS A GIRL'S

CHANCES OF

ROMANCE !

PORES CHOKED

WITH DUST,

DIRT AND STALE

COSMETICS

MAV MEAN

COSMETIC SKIN.

REMOVE COSMETICS

THOROUGHLY WITH

Lux Toilet Soap

I USE COSMETICS,
OF COURSE, BUT

I NEVER HAVE
COSMETIC SKIN. I

use Lux Toilet

Soap regularly!

v «

9 out of 10 Hollywood
Screen Stars use Lux Toilet Soap

$250,000 MOVIE QUIZ CONTEST NOW AT YOUR LOCAL THEATRE

11

• In olden days the
bridal veil was supposed
to protect the bride from
the "evil eye" of some
invisible "evil spirit."

Today, women know
that they don't need pro-
tection from unseen "evil spirits" — but
they do need protection for their skin.

Did you know that more women in Amer-
ica use Italian Balm, the famous Skin Sof-
tener, than any other preparation of its kind?
This famous skin protector — for ward-
ing off chapping, dryness, and work-or-
weather skin coarseness — contains the
costliest ingredients of any of the largest-
selling brands. Yet it costs far less than
a small fraction of a cent to use liberally
each day. It "goes so far." Test it on your
skin. Try it before you buy — at Campana's
expense. Use FREE coupon below.

Italian Balm

"America's Most Economical Skin Protector"

CAMPANA SALES COMPANY
570 Lin coin way, Batavia, Illinois

Gentlemen : I have never tried Italian
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In Canada. Campana. Ltd., F 570 Caledonia Road, Tor

IISiratlftlUfldHuLiJtl^l

By LLEWELLYN MILLER

MY LUCKY STAR (Twentieth Century-Fox)

9 This picture is probably one of the
most impressive fashion shows of
winter and sports clothes ever to reach the
screen, and by the time you leave the
theatre you'll have trouble resisting the
impulse to dash out for a new ward-
robe . . . complete with skates.

The film starts with the troubles of the
heir to a department store (Cesar
Romero). In an absent-minded moment
he has married a determined young lady
(Louise Hovick) and is bitterly disillu-
sioned when he discovers that she expects
a large piece of the year's profits for di-
vorcing him. Undiscouraged by this ex-
perience, he tricks a package girl (Sonja
Henie) into his apartment. His temporary
wife sees them, and ups her price. Later
on in the film, that leads to much distress,
for the little package wrapper, who, after
much excitement is sent to college. Un-
known to the student body, she is in
college, not for learning, but to change
her clothes as often as possible, and so
promote sales for the department store.

You'll like Richard Greene as the lead-
ing light of the college, Buddy Ebsen and
Joan Davis as the comic sweethearts,
Honey Chile Wilder as the suspicious
under -graduate, George Barbier as the
choleric department store owner, and of
course Sonja Henie as the star of the
Campus Ice Follies.

SPAWN OF THE NORTH (Paramount)

H Strange it is, indeed, to see Dorothy
Lamour all done up in skirt, shirt and
high-water boots. We knew that it was
a wild idea, but we kept expecting to see
her run into the dance hall in the frozen
north in a sarong with her hair down. It
just goes to show how quickly players can
be typed.

She plays the hard-boiled owner of a
dance hall where Tyler (George Raft)
and Jim (Henry Fonda) hang out when
they are not off catching seals and salmon.
Tyler is the bad one, and he steals seals
and salmon. Jim is the good one, and he
believes in working and winning. But they
have been friends since childhood, and
each just hates to have to shoot the
other.

The arrival of Diane (Louise Piatt)
from school in the States confuses matters
a little because she, too, is a childhood
friend, and you know what that means.

There is some magnificent photography
of great ice -bergs wallowing in the freez-
ing water, of night shots on the fish traps
and of great seines spilling magnificent
catches into the fish-boats. John Barry-
more shines as bright as the aurora bo-
realis over the whole scene as a windy,
bibulous newspaper editor. Akim Tamiroff
leers and grins in a fine menace part, and
there is a fine big cast, including an ex-
tremely talented trained seal.

RICH MAN, POOR GIRL (M-G-M)

H He was a rich young man, and he fell
in love with his secretary. That hap-
pens every day, but the thing that makes
this story slightly different is that the poor
honest secretary (Ruth Hussey) hesitated
to marry the rich young man (Robert
Young) because she was afraid that his
money would estrange her family. It's a
new thought.

The comedy rests on the efforts of the
millionaire to adjust himself to the quite
uncomfortable background provided by
the slim income of his beloved's family.
Finally, wearying of the whole squabble,
he forces a showdown by making a ges-
ture at giving away his fortune and so
removing the cause of dissention. The
ending is what you might expect. Lew
Ayres, Guy Kibbee, Lana Turner, Sarah
-Padden, Don Castle, Gordon Jones,
Virginia Grey and Rita Johnson are in
the cast.

VALLEY OF THE GIANTS (Warners)

H This picture, in all previously made
versions, has gained well deserved
fame for the number of male actors it sent
to the hospital with various breaks,
bruises, contusions and abrasions after
the big fight scene.

The current version need not shrink
from comparison. There is a knock-down
and drag-out fight that has the audience

Notice for Contest
Winners !

The judges are busily sorting and counting
the thousands of answers in Sonja Henie's Lucky
Star Contest, so watch next month's Hollywood
Magazine for the names of the clever winners
who will receive the stunning Sonja Henie knit-
ted garments and the figure skating blades
which the little star endorses. Above you see
her in the spectacular ice ballet number from
My Lucky Star, her newest film, reviewed above

12

MOTION PICTURES ARE YOUR BEST ENTERTAINMENT

suffering from semi-suffocation before it
has raged half the length of the bar-room.

For the rest, the film is the same hand-
some drama of villainy defeated by right
thinking and a judicious number of rights
to the jaw, too.

Wayne Morris plays the upstanding
owner of the logging company which the
lumber pirate (Charles Bickford) tries to
steal with the aid of a pair of unprinci-
pled gamblers (Claire Trevor and Jack
La Rue) . Alan Hale does a rousing job as
the belligerent "Ox," and prominent in
the cast are Frank McHugh, and El
Brendel.

Technicolor scenes of the giant forests
of the Northwest and of Charles Bickford's
red hair are stunning.

BREAKING THE ICE (Radio)

■ Certainly this is the day of the young-
er generation. Now it is a five-year-old

skater, Irene Dare, who gives a truly in-
credible exhibition. Turn to page 30 for a
feature story on this amazing youngster.

About Bobby Breen's astonishing voice,
you already know. The rest of the cast,
though grown-up, turn in fine perform-
ances, and you'll like Charles Ruggles as
the unreliable antique dealer, Dolores
Costello, Robert Barrat and Dorothy Pet-
erson as members of the sternly relig-
ious Mennonite family. You'll also en-
joy the glimpse into the beliefs and man-
ners of this little known sect.

FOUR DAUGHTERS (Warners)

■ Out of the story of four musical sis-
ters, their temperamental, indulgent

father and their sweetly acid aunt, emerge
three performances of brilliant promise
for big careers, as well as a charming film.

Priscilla Lane plays the youngest of
the sisters with a verve and zest that guar-
antees a large following for her in starring
roles. A newcomer, John Garfield, brings,
in sharp contrast, a powerful, telling
under-playing that will take him far.
You'll find the story of his life, which is
as interesting and as colorful as a movie,
on the next page, and don't miss it be-
cause you'll hear a great deal about this
young man.

The film is a swiftly moving, quite ab-
sorbing tale of how the four sisters fall in
love with the same man (Jeffrey Lynn,
who emerges as a most engaging leading
man) and how their love for each other
complicated the situation.

Claude Rains turns in his expected
brilliant performance as the father. May
Robson is seen as the aunt. Lola Lane, as
the calculating daughter accepts the pro-
posal of a stodgy business-man (Frank
McHugh) , Gale Page, as the practical sis-
ter, finds her problems solved in marriage
to a funny but faithful swain (Dick
Foran). Rosemary Lane, as the most tal-
ented sister, is the only one who follows
her career, though you will be glad that
all of the sisters stay with their music
through most of the film. Better see this
one.

TOM 15 TAKING ME OUT I

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'7

W(?t/&Mj<? <ffa??ia <??&?I~S>

rW*^

John Garfield made a sensational hit in
Four Daughters, his first film, and will
be seen on the screen from now on

The life story of the boy who carved
his own career is one of the most
remarkable stories you are apt
to find in this season's magazines

By ED JONESBOY

'JH He's an intense individualist, and a
mighty rugged one, this dark-eyed,
serious-minded young John Garfield who
rough-shouldered his way out of the
toughest, hardest-boiled birthplace in this
or any other country — the lower East Side
of Manhattan Island — to become, at the
age of twenty-six years, one of the most
promising, most talked-of actors on the
legitimate stage and on the screen.

His childhood was spent in a grim area
that has nurtured some of the most no-
torious criminals the world has ever
known. By all the laws of all the averages
he should be, right now, a gangster, a
second-rate pug, or just a plain mugg
practicing the dubious art of penny-ante
begging. And he would be, too, save for

the fact that he squared away to launch a
two-fisted attack on his childhood en-
vironment and so changed the pattern of
his life.

"I was a bad boy," he says, unsmiling,
"and I lived in a bad neighborhood. I knew
so many things a boy shouldn't know. I
did so many things a boy shouldn't do.
I'm not fooling myself — I'd be there yet —
or in jail — but I was lucky enough to meet
a man." Young John Garfield's dark eyes
begin to glow with a deeper flame.

H "I'd be there yet — or in jail — but for
him," he repeats in a low and serious
voice.

The man he met was Angelo Patri,
famous throughout the world as a child

14

MOTION PICTURES ARE YOUR BEST ENTERTAINMENT

Ha

psychologist and head of the renowned
New York school for underprivileged and
problem children which bears his name.

Patri, who has long and successfully
held to the theory that one shouldn't be-
lieve in fate and that any distorted youth-
ful character can be remoulded by proper-
guidance, took young John Garfield in
hand and did so well that today there's
no trace left in his brilliant pupil of those
early and dreadful years.

Talking with the young man, as we did
a few days ago, you'd think his back-
ground was far removed from the lower
East Side. You'd picture him as a young
fellow whose education had been well
plotted in advance by doting parents.
You'd imagine him to have had the best
things in life as a child and that he'd been
traveling the long, straight road to success
without so much as a single detour. You
couldn't possibly vision him as a gutter-
snipe at the age of five; a thieving, cop-
baiting "dead-end" kid at the age of
twelve.

But that's exactly what he was — and a
very tough "dead-end" kid at that.

_! "I was a bad boy," he says — and
means it. "Father worked in a gar-
ment factory making army uniforms. Long
hours and poor pay. Just enough to keep
us from starving, to give us a roof over
our heads. He was always too busy
battling the wolf at the door to devote
much time to us. As a result my brother,
Max, and I spent our childhood on the
sidewalks and in the gutters. We picked
up a lot of meanness; we saw a lot of the
seamy side of life during those years —
much more than we should have. My
mother died when I was seven and Max
went to live with an uncle in Jersey and
father and I moved into a somewhat less
disreputable neighborhood in the Bronx."

In no time the new boy proved to be
such a hellion that the mothers of the
neighborhood kids forbade their young-
sters to associate with him. The pug-
nacious little toughie was expelled from
so many schools because of poor deport-
ment and poor grades that he finally lost
count of them.

"I was headed for the reform school,"
he admits, "and it's a miracle that I didn't
go there, what with the school and police
authorities after me all the time. After I
had lived in the neighborhood for a while
I homesteaded a street corner and sold
the Bronx Home News — that is, I sold the
paper when I wasn't fighting other young
punks who tried to bully and beat me out
of the location. They found out, though,
that they couldn't push me around." He
says that with a touch of pride.

■ John Garfield isn't the one to spare
himself when he goes back to those
dreadful days of his childhood. Being a
stickler for the truth about himself — even
when it hurts — he tells about it because
he feels that you can't understand and
know him unless he gives you a picture
of his background. That's why he goes on
to tell you that when he was thirteen he
found himself mixed up with a couple of
kid criminal gangs!

"I was ripe [Continued on page 64]

"THERE'S ONE GIRL I'LL
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.

Ik

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i:MHT/J>I«l»SZI47ftcl:|41

H Now that Maxie Rosenbloom has
given up fighting for his nightclub
and films he says he'll have to learn the
picture business from A to Zanuck.
Maxie, by the way, just signed a seven-
year contract with Warner Bros, and has
already gone into training so that he can
help the studio when the time comes to
pick up his option.

S§ Nice to know that we're going to see
a lot of that very fine actor, Lew
Ayres, from now on. He recently signed
a long-term contract with M-G-M after
his successful role in Rich Man, Poor
Girl.

H Just learned the other day that Judy
Parks has been writing music since
she was eleven. Judy, as you may know,
was instrumental in getting Marjorie
Weaver, the Fox star, into motion pic-
tures. The two girls have been like sisters
ever since their university days. As just
one gesture out of many to show ner
appreciation of the help Judy has given
her, Marjorie stole one of Judy's songs,
"Sailor Boy," and took it to Tommy
Dorsey, the big-name bandman. Tommy
played it over a couple of times and three
nights later introduced it at the Palomar
and the song became a hit! Right now
it's being played by orchestras on both
coasts. As for Judy, you can expect her
to go into the song business in earnest.

| The Chick Chandlers have a maid
who comes in by the day. The other
night, while dressing for a dinner party,
he discovered that the studs to his shirt
were missing and thinking that the maid
had misplaced them he attempted to call
her on the telephone. Couldn't get her
because she has an unlisted phone num-
ber! Chick, however, is in the phone book.

W Mrs. Jock (Liz, to her close friends)
Whitney, decided last May that if
she was going into the movies she'd get
in the hard way under her own power.
For six months she's been studying dra-
matics on the 20th Century-Fox lot, and
starts her first picture, Kentucky, in
September.

B Jean Arthur and Cecil de Mille are
trading in a friendly, but very smart
manner over what Jean wants to play in
Union Pacific and Cecil want to pay.
Jean is holding out for $150,000 for the
picture which is exactly $25,000 more than
Cecil says he'll give her. According to
Paramount they'll come to an early agree-
ment on a "split-the-difference" basis.

E Anita Louise is proudly displaying a
doll which wears exact copies of her
costumes in Marie Antoinette. The
sender, a young girl of French extraction,
writes that she saw the film, seven times
in order to make drawings of the cos-
tume. The white wig is made from the
hair of her Spitz dog, the brocaded gown
is a piece of her mother's wedding dress.

Every detail of the costume has been
worked out on the twelve-inch model and
Anita is having a glass case made to
hold it.

■ No more ticket selling for Marie
Wilson. Warner Brothers placed
Marie behind the ticket wicket at their
Hollywood Boulevard theatre as a pro-
motion stunt for Boy Meets Girl and as
a result the girl met disaster and the
public got a two-way break. The Wilson
fans almost created a riot in their rush
to see Marie and buy tickets at the same
time. Marie got excited and they got too
much change! So much so that when she
balanced the day's receipts she found
that she was an even $22 short.

| Here's something we never knew
until now.

In one of the scenes in Three Loves
Has Nancy, Janet Gaynor rushes out of
Robert Montgomery's bedroom yelling at
the top of her voice, "The steak is burn-
ing up in the kitchen."

"Why," objected Montgomery, "wouldn't
it be more appropriate and realistic to
have her shout, "Fire!"

Director Thorpe told him that censor-
ship rules forbid the use of the word on
the screen as it is feared a theatre panic
might result if it were suddenly shouted
from the screen.

H Through no fault of her own Claire
Dodd almost got thrown into the
hoosegow down at Ensenada last week.
Stopped by the customs officers at the
border she accidentally dropped her
handbag and a bottle inside broke and
gave off an odor suspiciously like per-
fume. One of the officers gave Claire the
glassy eye after a sniff or two, but finally

When Bob Burns entertained the Movieland
Tourists at his home, he invited distinguished
friends to help entertain. Anna May Wong and
Irvin S.Cobb seem to be having a good time, too

16

MOTION PICTURES ARE YOUR BEST ENTERTAINMENT

had to give her the "go" sign when he
discovered that the bottle contained sun-
tan oil.

U Keep your eyes open for George
Raft's cigarette case, a gift from the
Prince of Wales. Some slick-fingered
gent swiped it the other day and George
is offering $250 for its return.

J Money doesn't mean a thing in this
town. For instance — if Claire Trevor
had delayed her honeymoon with her
husband, Clark Andrews, she would hava
had $25,000 extra in the bank. Warner
Brothers offered her that much the day
she left if she would stay and do a pic-
ture.

U We were on the Too Hot to Handle
set out at M-G-M the other day
chinning with Clark Gable when Direc-
tor Conway came along. Clark, who had
been treating the company to soft drinks
all week thought it was about time that
Conway dug into his jeans for a few
bottles of pop.

Conway took a gander around the set
and then produced the wherewithal for
four cases of soft drinks. The entire
company unwittingly thanked Gable in-
stead of the director and the gesture
provided Gable a nice chance to throw a
verbal harpoon at Conway.

"I might as well take credit for it,"
he grinned, "you're taking credit for all
my acting!"

Conway apologized profusely and so
well that he obtained Gable's promise
to buy drinks on the following day.

Which wasn't as innocent as it sounded
because Conway had ordered five hun-
dred extras for the next day's shooting!

Clark bought the drinks as agreed and
with a smile, but if the gleam in his eyes
means anything Mr. Director Jaek Conway
is due shortly to be on the very short
end of a practical joke that will practically
set him back on his heels.

| Basil Rathbone recently had what
he claims to be the most unusual, un-
nerving experience in his life when he
had to play a scene in Dawn Patrol
opposite his son Rodion who was cast as
a recruit. Basil became so confused that
he blew up in his lines. Rodion is em-
ployed at Warners as a film cutter but
gave up his work to try his skill at
acting. Dawn Patrol is his first picture,
but not his last according to the talent
experts who have watched him perform.

■ Ain't the movies wonderful? During
a golf game Franchot Tone acciden-
tally poked his divot-digging partner,
Bob Montgomery, in the eye. Bob came
to work at M-G-M with a first-prize
shiner and it looked as though his added
scenes in Three Loves Has Nancy would
have to be delayed. But instead the
script was rewritten so that the black
optic was included!

■ Maybe they don't know it, but Carole
Lombard, Irene Dunne, Katy Hep-
burn and perhaps a half dozen other top-
flight actress [Continued on page 60]

\\

If

we were

wed sfiit travel

Greyhound!

a

( wett tfi itis /Ac pptost eeajtoptucal 'iveus )

feeling that we're seeing the country
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the fares are low— three miles of travel
at the price of one by car. If a rich
uncle left us a million, it might mean
more trips for us— but they'd all be
by Greyhound."

"We're not swathed in mink or cluttered
with diamonds— but if we were, wed
still do our traveling by Super-Coach.
Greyhound gives us so many advantages
we simply can't find elsewhere. The
widest choice of routes, for instance-
plus complete riding comfort— and the

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If 'OltffF... EAGER, VITAL... OFFERS ITS LIFE... GLORIFIES ITS ARDENT
LOVE . . . IN THE GREATEST ADVENTURE OF THE GREAT WAR!

A picture dramatically presenting two
young stars destined for instant fame
n the heroic story of the wooden
cockleshells that won the Navy's
greatest honors! Produced on a
spectacular scale by Darryl F. Zanuck!
Masterfully directed by John Ford !

RICHARD GREENE -NANCY KELLY

PRESTON FOSTER • GEORGE BANCROFT

end

SLIM SUMMERVILLE • JOHN CARRADINE
JOAN VALERIE • HENRY ARMETTA
DOUGLAS FOWLEY • WARREN HYMER
MAXIE ROSENBLOOM • ELISHA COOK, JR.
J. FARRELL MacDONALD • ROBERT LOWERY

Directed by John Ford

Associate Producer Gene Markey • Screen Play by Rian James, Oarrell
Ware and Jack Yellen • From a story by Ray Milholland and Charles B. Milholland

Darryl F. Zanuck in Charge of Production

13

who Bo&sef

Bob

"Granny's" house always meant good
eats, good fun, good stories, and an un-
derstanding shoulder on which to lean
when boydom difficulties arose. She
was a solace in any storm and she is
still one today. He still runs to her
with his problems, he still drops in
with his "girl friend" seeking approval
— and he gets it too, since one Barbara
Stanwyck rates almost as high around
that house as he does — and he still
brings her* little presents, just as he
used to bring her fish he had caught,
field flowers he had picked in the old
days. Between these two, there is a
delightful companionship and a Mu-
tual Admiration Society which throws
an entirely new light on this particu-
lar dark-and-handsome of the screen.

■ We know him as "Bob Taylor," but
Mrs. Stanhope shudders when she
hears that name, and still insists on
calling him by his real name,
"Arlington." This very definite prefer-
ence of hers gave rise to a rather deli-
cate situation several years ago when
Mrs. Stanhope and her daughter, Bob's
mother, first settled down in Holly-

Irene Hervey used to be the girl
Taylor took to Granny's, (a nice com-
pliment to any young lady, we'd
say) but that was some years ago,
before she married Allan Jones

And here is "Granny", herself, Mrs
Eva Stanhope

wood. It was after Bob had made
The Magnificent Obsession and
the fan mail began pouring in at
such a rate that it was more than
Bob and his secretary could han-
dle alone. As Bob tells the story:
"Grandmother insisted that she
should be allowed to help answer
the mail. She suggested I go over
the mail once each week, tell her
the general drift of what I wanted to say
in each letter, and then she would do the
actual dictating. She was so anxious to do

something to help and she seemed to think
it would be such fun, that of course I
agreed.

"Well, I guess Grandmother did have
fun in her way, but it was kind of hard on
the secretary. Grandmother just couldn't
help letting her personal opinions creep in
The letters would start out all right, but
along about the second paragraph she
would always forget that the letter was
from me, and she would begin telling
some of her own personal recollections:
what I used to do as a little boy; what a
good little boy I had always been; how
I used to take [Continued on page 49]

21

7M*e& Cant* QUI

H We don't care if it does sound like
a paradox — but when all is said and
done there still remains a lot to say about
Hope Hampton who recently made her
second screen debut in UniversaPs The
Road to Reno.

There's a lot to be said about her yet;
not because she's the only girl ever in
pictures to step out of the screen and onto
a grand opera stage, and not because she
stepped off the grand opera stage back
into celluloid to begin another career, but
because, without being the least bit ambi-

22

The only star who
ever stepped from
the screen into
Grand Opera tells
how it all happened

By
E. J. SMITHSON

tious in the strict Hollywood sense, she's
beyond doubt the most indefatigable
little lady worker who ever sang a note
or made a gesture.

"I'm not ambitious," she says, "and I
don't care much for people who are be-
cause I find them too self-centered, too
selfish, and too boring. I like people who
work hard just because, like myself, they
have a horror of being lazy."

Well, perhaps she has the right phi-
losophy. At any rate Hope has worked
like a little [Continued on page 40]

Gentleman

Monster

Just a gentleman-farmer plotting
a little quiet murder . . . for
the snails and the cut-worms

On the screen he is busily at
work manufacturing shiv-
vers and chills in Devil's
island and Mr. Wong — De-
tective* but off -screen he is
a quiet-loving homebody as
you can see by the pictures

They say dogs never make a mistake, and
the Scottie, "Whiskey," is a devoted companion

Yes, they're called desert
swords, but no duelling goes
on in Karloff's serene garden

Polishing up on poisons and
lethal high -balls? No, just
going over a picture script

And the menacing Mr. Karloff
likes nothing better than the long
hours he spends in his music room

23

_^

TRY LORETTA YOUNG'S

"JUyulak $uty"TEsr

■ Loretta Young started the whole
thing on the set of her next picture,
Suez, when she was describing one of her
personal friends. "You like him because
he is a regular guy," she said.

"Just what do you mean when you say
'Regular Guy?' " we asked her, and that
started a discussion that eventually re-
sulted in this questionnaire.

According to this star's way of think-
ing, a "regular guy" may be tall or short,
fat or lean, and his age has nothing to do
with his rating. BUT he has a definite
policy towards clothes and sports and
punctures and conversation and drinks
and dish-washing, about money and
movies and the morning paper.

How do your friends rate according
to Miss Young's standards?

In the first place no "Regular Guy" will
refuse to answer these questions, so get
a pencil, settle the young man in a com-
fortable chair, and let him have it!

ON A DATE

1. If you are delayed, do you telephone,
telling your "date" when to expect

you.'

2. Do you start an evening by saying
"What do you want to do?" or do you
suggest something definite? (Answer first
part.)

3. Do you notice when your "date" is
wearing a new dress?

4. Think back ... do girls always seem
to be asking for cigarettes, or do you re-
member to wave the package at them
once in a while? (Answer first part of
question only.)

5. Is your evening spoiled if your girl
is not the most sensationally dressed in
the party?

6. Do you insist upon staying through
the second feature, if your favorite star
is on the screen and your companion
doesn't want to remain? *

7. Do you think it flatters your girl to
comment disparagingly on other
women?

8. Are you annoyed if the girl seems to
be enjoying the conversation of other
men in the party?

9. Do you think every girl expects to
be kissed goodnight?

10. Do you know when to go
home?

IN MOMENTS OF STRESS

1. Do you scold out loud at your hard
luck when you pick up a puncture?

2. Do you speak sharply to a waiter who
is giving poor service?

3. Do you moan about having to go to
the dentist, and discuss the details?

4. Do you lend money . . . and then
broadcast your generosity? Think hard,
now ... do you tell even a few peo-
ple?

5. Do you usually stop when you see a
stalled car, and offer aid?

6. Do you bring it to your hostess' at-
tention when you burn a hole in the rug
or furniture, or do you let it pass as
though nothing had happened? (Answer
first part of question only.)

7. Supposing you ran out of gas late at
night . . . would you try to send the girl
friend home in a taxi, rather than let her
wait until you've walked several miles to
a gas station and returned, so that you
could deliver her home yourself?

8. Do you ever admit it was your fault
when your car collides with an-
other?

9. Are you always talking about how
broke you are?

10. Do you ever hang up on someone
who has called you on the tele-
phone?

AT HOME

1. Do you occasionally compliment the
cook?

2. Do you think helping around the
house is unmanly?

3. Do you try to beat everyone to the
morning paper?

4. Do you leave the paper pulled apart
so that the next person has to spend min-
utes finding the continued line on that
front page story?

5. Do you think that messy clothes are
all right, so long as only the family sees
you? r

6. Do you fight with your neigh-
bors?

7. Do you pitch in, if need be, with the
dish-washing without being asked?

8. Do you play your radio after mid-
night?

9. If you make a last minute dinner
date, do you telephone home and tell the
family when to expect you?

10. Do you discuss a guest while he is
under your roof with another guest?

AT THE OFFICE

1. Do you think it sends up your stock
to complain about your present job if
you have had better ones in the
past?

2. Do you open or close windows with-
out consulting the wishes of others in the
office?

3. Along about 4:30 in the afternoon,
do you get all set to beat everybody else
out the door the moment it is closing
time?

4. Do you think clothes important?

5. Do you think cracking wise about the
boss will win you popularity with your
fellow-workers?

6. Are you a late riser, so that you put
in an appearance unshaven, with the in-
tention of sprucing up at lunch?

7. Do you ALWAYS have to borrow
money the day before payday?

8. Do you enjoy telling stories about
your friends that begin . . . "You should
have seen good old Butch the other night
— he was falling-down pie-eyed and was
he funny!"?

9. Do you use a nail file in pub-
lic?-

10. Do you let everyone know when
you are not feeling up to par?

AS A MAN AMONG MEN

1. Do you enjoy meeting new peo-
ple?

2. Do you read only the sports
page?

3. Do you boast of your amours?-

4. Do you play any outdoor games? ■

5. Do your friends believe everything
you say?

6. Are you jealous — even in your own
mind — of the success of others?

7. Do you think you're a "born leader,"
and insist upon directing the activities of
your associates?

Uwfs a Hollywood "6wx>''-ci*d It's £ote of ?u*

24

HOLLYWOOD

8. Do you think that you have a fatal
attraction for most women?

9. Can you let someone else tell a story
all the way through without stealing a
laugh or two?

10. Are you unhappy unless conversa-
tion concerns your business?

AT A PARTY

1. Are you outwardly reluctant when
your hostess asks you to go far out of

NOVEMBER, 1938

Loretta Young, shown in one of the
graceful costumes which she wears
in her next film, Suez, in which
she appears opposite Tyrone Power

your way home to drop someone without
a car . . . and it is dreadfully late?

2. Do you believe that the best parties
are the loudest?

3. Are you unhappy if someone else is
the center of attention?

4. Do you circulate, rather than confine
yourself to a few intimate friends?

5. Do you hold to the theory that the
more drinks you consume the better time
you'll have? — '■

6. Do you believe that off-color stories
add to the gaiety of the occasion?

7. Presuming you know the subject un-
der argument or discussion rather inti-
mately, does it give you satisfaction to
correct others?

[Continued on page 38]

25

How to Carve a Turkey

Sometimes the festive bird fights
back, and when that happens
primitive instincts bounce to the
surface and a man's true nature
frequently is revealed in the en-
suing struggle. Fearless Bob Hope
took time out from Thanks for the
Memory to demonstrate the
special holds which have won him
fame at countless dinner tables

"Don't forget to be the first to smile,"

warns our Spirit of Thanksgiving as he

moves into position

The Party spirit

Blind faith

Twinge of doubt

26

HOLLYWOOD

Determination

The Hypnotic eye

Brute strength

Unshakeable poise

nBHnsiB

Surprise attack

Where's the referee?

Calculating hatred

Touch of madness

Desperation
NOVEMBER, 1938

Fremy

Gloating triumph

The winnah!

27

-

—■ '-'Jmm

tyou, Can't JxMt It Wiik tyou

In which our favorite extra gets
himself thrown into jail, but in such
charming company that we fear
he has developed a permanent
homesickness for the hoosegow

By E. .J. (ailhird) SMITHSON

Dear Editor:

Well, it finally happened here!

A coupla cops picked me up last week
and tossed me in the pokey for a three-
day stretch and if you've never been in
the clunk you don't know what you've
been missing. Honest, I never had so
much fun in all my life. Of course the
company had something to do with it.
Jimmy Stewart was there and so was
Lionel Barrymore, Donald Meek, Edward
Arnold, Mischa Auer, Dub Taylor, Halli-
well Hobbes, Sam Hinds, and Eddie An-
derson along with twenty-five or thirty
dirty, bewhiskered bums — including
myself. Now that it's all over I wish I
were back because I found out that, con-
trary to all reports, crime certainly does
pay!

Now all this may sound as radical as a
Communistic pamphlet and as confusing
as a Chinese puzzle, so maybe I'd better
start from scratch and tell you the whole
story.

After prowling up and down the studio

alleys looking for an extra job that would
bring me in enough folding money so
I could celebrate Thanksgiving in .
the manner in which I have been
accustomed, I met up with Art
Black down at Columbia where
Frank Capra was shooting You
Can't Take It With You and Art,
who happens to be Capra's as-
sistant and a mighty good one
at that, says "Sure, report to
me Monday morning and I'll
see what I can do."

| So I report Monday
morning bright and early
and very happy, indeed, to be
earning money again and Art
says, after taking a long gan-
der at me, that I didn't have
to bother about make-up or
costume since I look, as is, like
a very fine specimen of the
genus jailbird, and added that
if it was all the same to me he'd
see to it that I spent at least three

Left, the jail scene which our fav-
orite extra tells about so feelingly
in this story. See if you can find,
left to right, Donald Meek, Halli-
well Hobbes, James Stewart, Ed-
ward Arnold, Lionel Barrymore,
Sam S. Hinds and Mischa Auer

HOLLYWOOD

days in the pokey. Or words to that
effect.

Now I don't know this Art very well,

and, when he says that, I decide I don't

care to know him any better. I didn't

like the look in his eye, either, so I said

"Art, what with Thanksgiving coming on,

and me being hungry and broke, this is

time to be practicing the well-known

Hollywood rib and I'm in no mood

to be singing the hoosegow

blues so early in the

morning and if it's

all the same to

you, Art," I

Above, James Stewart and Jean
Arthur in one of the romantic
moments of the gay comedy,
You Can't Take It With You

Right, Halliwell Hobbes, Donald
! Meek and Sam Hinds with the fire-
works which explode with such
startling effect upon the plot of
You Can't Take It With You

NOVEMBER, 1938

said, "I'll be moving along right now!"
Well, things happened very fast, in-
deed, after that. Art said it was the pokey
or nothing, then he whistled for a coupla
cops, then the cops came running, and
before I could say 'Good morning, Judge,'
there I was on the inside looking out and
there, as I told you in the beginning, I
stayed for three days.

This jail, so another bum told me a few
minutes later while Director Capra was
getting ready to shoot, is the exact replica
of the Lincoln Heights city jail, which I
assume you've never seen. Lionel Banks,
Columbia art director, had visited the jail
several weeks before to snap several dozen
pictures from which to reproduce the jail
and court sets for the big comedy, but he
had run up against the 'no photo' regula-
tion. Stymied on that he asked if he
might draw pictures and the police offi-
cers, knowing of no rule against sketch-
es, allowed the artist to make pencil
drawings. Banks spent a week there,
made a hundred or so drawings.
From these he was able, later, "to
build the huge set and build it so
well that the bum who told me
about it was fooled at first.
"I've been hearing a lot about
"this here Capra realism," he
said, taking a sniff that could
have been heard clear down
to Santa Monica beach if
the wind was blowing right,
"but this set is the topper.
Honest, pal, I'd have sworn
for an instant that I smelled
distinfectant!" The guy looked
like he was an expert on jail
smells anyway — and who am
I to question the word of a
stranger?

■ While the bums, the

down-and-outers, and the

derelicts . were coming into the

tank one by one, the technicians

were setting up the cameras, testing the
lights, the microphones, and all the rest of
the picture paraphernalia. Pretty soon
Director Capra, who had been moving
around as quiet as a mouse, gave a quick
little nod to Art Black, his assistant, and
Art, after looking us all over, shouted,
"Quiet!" at the top of his voice.

I don't know yet what he meant by it
because a second later a veritable pande-
monium, not to say bedlam, broke loose.
If you've never seen an actual police tank
full of vags break loose you haven't seen
anything yet — and you won't until you
sit in your special preview seat and see
this sequence in You Can't Take It With
You.

We rattled and shook the cell bars, beat
on tin cups and tin plates, shouted, whis-
tled, and yelled until the sound man at
the mixer begged for mercy, and while
we were doing all this several burly cop-
pers were pushing and shoving Edward
Arnold along the corridor outside the cell,
and Edward, forgetting his usual dig-
nity and aplomb, was shouting and stamp-
ing his protestations fit to kill.

But it didn't do him a bit of good. The
cops unlocked the door and in he came,
red-faced and as mad as a pair of hor-
nets. And did we give him a welcome!

■ We gave Jimmy Stewart a royal wel-
come, too, when the coppers shoved
him in and when a coupla flatties wheeled
Lionel Barrymore in, the pokeyman went
absolutely mad! Lionel had a harmonica
and it wasn't long before he began to
blow sweet tunes on it and pretty soon
we all began to sing. None of this modern
swing stuff, mind you, but those good, old
barrelhouse songs that go so well with
beer and pretzels. Once in a while
Arnold would yell loud enough to be
heard above the din and then we'd skip
the music to chorus a "Pipe down, Big-
shot!" or a "Shut up!" at him. Eddie An-
derson, the colored actor who plays
'Rochester' on the [Continued on page 52]

I!

tyou (Mi Ida 7* MM* fa*

In uhidi oar favorite extra gets
himself thrown Into jail, hut in such
charming company that we fear
he hits fleveloued a permanent
homeNlckness for the hoosegow

llv K. .1. a,H..r,l SMITIISOX

days in the pokey. Or words to that
effect.

Now I don't know this Art very well,
and, when he says that, I decide I don't
care to know him any better. I didn't
like the look in his eye, either, so I said
"Art, what with Thanksgiving coming on,
and me being hungry and broke, this is
time to be practicing the well-known
Hollywood rib and I'm in no mood
to be singing the hoosegow
blues so early in the
morning and if it's
all the same to
you. Art," I

Dear Editor:

Well, it finally happened here!

A coupln cops picked me up last week
and tossed me in the pokey for a three-
day stretch and if you've never been in
the clunk you don't know what you've
been missing. Honest, I never had so
much fun In hII my life. Of course the
company had something to do with it.
Jimmy Stewart was there and so was
Lionel Barryrnoro, Donald Meek, Edward
Arnold, MiBCho Auer, Dub Taylor, Hani-
well Hobbes, Sam Hinds, and Eddie An-
derson along with twenty-five or thirty
(i i r I y, hcwhi.'ikcu'd bum;, including
myself. Now that it's all over I wish I
were back because I found out that, con-
trary to all reports, crime certainly does
pay!

Now all this may sound as radical as a
Communistic pamphlet and as confusing
as a Chinese puzzle, so maybe I'd better
start from scratch and tell you the whole
story.

After prowling up and down the studio

alleys looking for an extra job that would
bring me in enough folding money so
I could celebrate Thanksgiving in
the manner in which I have been
accustomed, I met up with Art
Black down at Columbia where
Frank Capra was shooting You
Can't Take It With You and Art,
who happens to be Capra's as-
sistant and a mighty good one
at that, says "Sure, report to
me Monday morning and I'll
see what I can do."

■ So I report Monday
morning bright and early
and very happy, indeed, to be
earning money again and Art
says, after taking a long gan-
der at me, that I didn't have
to bother about make-up or
costume since I look, as is, like
a very fine specimen of the
genus jailbird, and added that
if it was all the same to me he'd
see to it that I spent at least three

Well, things happened very fast iJ
deed after that. Art said i, ,S the pok™v"

cops, then the cops came runninit and
Wore! <*>«'« "9 'Good momSHud^
U«re I was on the inside looking out^nd
there as I told you in the begWinTl
stayed for three days.

TWs jail, so another bum told me a few
minutes later while Director Capra was
gettmg ready to shoot, is the exact replica
of the Lmcoln Heights city jail, which 1
assume you've never seen. Lionel Banks
Columbia art director, had visited the jail
several weeks before to snap several dozen
pictures from which to reproduce the jail
and court sets for the big comedy, but he
had run up against the 'no photo' regula-
tion Stymied on that he asked if he
might draw pictures and the police offi-
cers, knowing of no rule against sketch-
es, allowed the artist to make pencil
drawings. Banks spent a week there,
made a hundred or so drawings.
From these he was able, later, to
build the huge set and build it so
well that the bum who told me
about it was fooled at first.
"I've been hearing a lot about
"this here Capra realism," he
said, taking a sniff that could
have been heard clear down
to Santa Monica beach if
the wind was blowing right,
"but this set is the topper.
Honest, pal, I'd have sworn
for an instant that I smelled
distinfectant!" The guy looked
like he was an expert on jail
smells anyway — and who am
I to question the word of a
stranger?

■ While the bums, the

down-and-outers, and the

derelicts, were coming into the

tank one by one, the technicians

Left, th. i«il teen, which our fay-
onto o.tra telli -bout so fo-ling'y
!n this story. See if you «» ™°'
left to right, Donald M« I H.|J
well Hobbes, James St.. rt, to-
ward Arnold, Lionel B.rrymor..
Sam S. Hinds and Mischa Au.r

HOLLYWOOD

Above, James Stewart end Jean
Arthur in on* of the romantic
moments of the gay comedy,
fou Con't 7o*e II With Yen

tight, Halliwell Hobbes, Donald
Meet and Sam Hinds with th. fire-
worst which eiplode with such
ttertling effect upon the plot of
*°« Con'f To*. II With foe
NOVEMBER, 1938

were setting up the cameras, testing the
lights, the microphones, and all the rest of
the picture paraphernalia Pretty soon
Director Capra, who had been moving
around as quiet as a mouse, gave a quick
little nod to Art Black, his assistant, and
Art, after looking us all over, shouted.
Quiet!" at the top of his voice).

I don't know yet what he meant b\ it
because a second later a veritable pande-
monium, not to say bedlam, broke loos*.
If you've never seen an actual police tank
full of vags break loose you turn
anything yet— and you won't until you
sit in your special preview seat and we
this sequence in Vou Can't Tak, It With
You.

We rattled and shook the cell bars, beat
on tin cups and tin plates, shouted, whis-
tled, and yelled until the sound man at
the mixer begged for mercy, and while
we were doing all this several burlv cop
pers were pushing and shoving Edward
Arnold along the corridor outside tin- «-<■!!
and Edward, forgetting his usual dig-
nity and aplomb, was shouting and stamp-
ing his protestations fit to kill.

But it didn't do him a bit of good. The
cops unlocked the door and In he came,
red-faced and as mad as a pair of hor-
nets. And did wc give him a welcome!

■ We gave Jimmy Stewart a royal wel-
come, too, when the coppers shoved
him in and when a coupla flatties wheeled
Lionel Barrymore In, the pokcyman went
absolutely mad! Lionel had a humonll I
nnd it wasn't long before he began to
blow sweet tunes on It and prttl
we all began to sing. None of this modern
swing stuff, mind you, but those good, old
barrelhouse songs that go so well with
beer and pretzels. Once In I vvlul.
Arnold would yell loud enough to be
heard above the din nnd then we'd skip
the music to chorus a "Pipe down, Big-
shot!" or a "Shut up!" at him. Eddie An-
derson, the colored actor who plays
'Rochester' on the [Continued on paoe 52]

I

Ba&ty&uecH

She's only five years old, but already
can wear a twinkling star in her crown
for her skating and acting abilities

By ELMER SUMF1ELD

■ If Donald Duck is to water as a five-year-old girl is to ice what does

X equal?

Don't tell us the answer to this little problem in Hollywood mathematics.

We discovered it the other morning when we journeyed down to the Polar

Ice Palace a couple of blocks off Hollywood Boulevard and

watched a tiny tot no higher than our left kneecap do splits,

spirals, fans, spins, elbow bends, Charlotte Stops, salutes with all

the grace and agility of a girl four times her age.

So far as we are concerned, X is not an unknown quantity any
more; it's five-year-old Irene Dare, a coming champion in figure
and acrobatic skating if there ever was one.

After watching this feminine half -pint practice for more than
two hours in preparation for her ice ballet sequences in Sol
Lesser's picture, Breaking the Ice starring Bobby Breen, we are
inclined, now, to dip into a press agent's dictionary and employ
such words as colossal, stupendous, and terrific in writing about
her, and maybe we will before we finish the story because little
Irene, our ice-skating queen, is really something to write about
in the Hollywood fashion. In other words she's a wow. She's a

miniature Sonja Henie and a

midget Evalyn Chandler all in

one.
Irene, so her mother told us
as we watched, wasn't
going to go through her
routine as well as she
should. She was breaking
[Continued on page 44]

Irene Dare, youngest figure skater in the
world) is making her movie debut with Bobby
Breen in his next picture, Breaking the Ice

Cream EXTRtfSKIN-VITAMIN" into your skin

— Get Wise to TODAY'S EXTRA BEAUTY CARE*

Every Girl Strives to Keep skin soft — thrill-
ing. Today's smart women give their skin
extra beauty care. They cream in extra "skin-
vitamin" — with Pond's Cold Cream, (above)
Miss Camilla Morgan, active member of
the younger set, snapped at Newark Airport.

Glamorous Whitney Bourne, Society Beauty

who has chosen the movies for her career,
snapped with friends at Hollywood's Brown
Derby ... "I believe in Pond's extra 'skin-
vitamin' beauty care," she says. "I use Pond's
every day."

All Normal Skin contains
Vitamin A — the "skin-vita-
min." Without this vitamin,
skin becomes rough and dry.
When "skin-vitamin" is re-
stored to the skin, it becomes
smooth and healthy again.

• In hospitals, doctors found
this vitamin, applied to wounds
and burns, healed skin quicker.

• Use Pond's as always, night
and morning and before make-
up. If skin has enough "skin-
vitamin," Pond's brings an
extra supply against possible
future need. Same jars, same
labels, same prices.

It's so easy now to get extra 'skin -vitamin'
for my skin by using Pond's Cold Cream.
I've always loved Pond's. Its use helps give
skin a soft glow, makes make-up thrilling."

Charming MRS. THOMAS M. CARNEGIE, JR.
popular in New York, Southampton and Florida

# Statements concerning the effects of the "skin-vitamin'" applied to the skin are based upon
medical literature and tests on the skin of animals following an accepted laboratory method.

Tun* in en "THOSE WE LOVE," Pond's Program,
Monday., 8:30 P. M., N. Y. Tima, N. B. C.

Copyright, 1938. Pond's Extract Companv

$250,000 MOVIE QUIZ CONTEST NOW AT YOUR LOCAL THEATRE 31

The takeoff, after Mr. Blue had waited for five days on top
of Paramount Studios for favorable weather reports

The Blue Streak whizzes over the towers of Manhattan

k&t-Stop Ttiybt

Ben Bine feels that he has been up in the air for a
long time, and so deserves a part in Paramount's
Technicolor film, Men With Wings. Inspired by
Douglas Corrigan, he took off in a plane of his own
design, including counter-balanced shoes and
here is the record of his aerial achievement

mm

And maneuvers for a choice landing field

Right, the brilliant airman goes into
his spectacular nose dive, shaking
hands with himself as he . . .

. . . makes a perfect three-point
landing on nose, left ear and right
elbow. Bravo, oh, fearless Benny!

JkJliJl.

32

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$250,000 MOVIE QUIZ CONTEST NOW AT YOUR LOCAL THEATRE

33

OtfVZty

When six junior Romeos fall
in love with one lovely lady,
there is plenty of excitement

By KAY PROCTOR

Left, Ann Sheridan who refused to be intimidated
or very much impressed by the young men shown
below: Gabriel Dell, Bernard Punsley, Hunti Hall,
Bobby Jordan, Leo Gorcey and Billy Halop

| They can dish it out — but can they
take it?

This is the story six very tough young
gentlemen would rather hear no more
about.

The gentlemen — and I use that word
with quite a few reservations — are Billy
Halop, Leo Gorcey, Huntz Hall, Bobby
Jordan, Gabriel Dell, and Bernard Puns-
ley. They range in age from 15 to 21
years.

For quite a time they were called "The
Dead End Kids" because they were fea-
tured in both stage and screen version
of the famous play by that name. Of late
they have been known as "The Crime
School Kids" (from the reformatory pic-
ture by that name.) For the next few
months they probably will be tagged as
"The Angels With Dirty Faces" since
they just have completed their new
Warner Brothers picture which is so

34

titled. In it they are featured with Jimmy
Cagney and Pat O'Brien.

So far as I'm concerned, I think it
would simplify matters to call them "The
Brats" — and let it go at that.

That, however, has nothing to do with
this story which reveals how, for the first
and only time, all six of them got their
"come uppance" in Hollywood.

A red headed gal dished it out. And
how! Her name is Ann Sheridan.

"She's a swell dish but she oughtta
get a new car. That crate she drives is
a bunion!" said Billy.

"She's an animated angel," said Leo.

"She's a great babe! If only she wasn't
married to that character!" said Gabriel.

"She's okay, even if she does throw me
out every time," said Bernard.

"She's the best looking dame on the
screen," said Huntz. "But regular!"

"As soon as I can knock off that palooka

husband of hers. . . ." said Bobby.
Tough as they seem to be, they're all
girl crazy, and they're all crazy about the
same girl. Red-headed Ann with the
stream-lined figure, the hazel eyes and
the sense of humor which enables her to
cope with them single handed. She is, in
fact, pretty crazy about the brats herself.

■ The seven-sided grand passion of
Hollywood started as a gag during
the making of Angels With Dirty Faces,
in which Ann played the feminine lead.
"Here's a dame," they figured. "Let's give
her the works!"

Before I get into that, however, let me
set up the characters in the comedy.
First Ann.

As I said, she's beautiful in the exciting
way that only redheads seem to manage.
She's doubly blessed with the pep and
personality and [Continued on page 54]

I All •ma^e doubly lovely
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Since smart clothes as well as an attractive
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$250,000 MOVIE QUIZ CONTEST NOW AT YOUR LOCAL THEATRE

35

Frances Dee has one of the prettiest brushed-up
coiffures in all Hollywood, though she will not
wear it in her next film, // / Were King, a costume
picture in which she plays opposite Ronald Colman

Oh the Up and Up

You don't have to pile up the bills
when you pile up your hair, because
here are some inside facts about
keeping unruly tresses in place

By ANN VERNON

| High piled curls. . . . Intricately
wrought jewelry and lots of it. . . .
Low-cut, off-shoulder gowns. . . . Slim
waists accenting bosoms and rounded
hips. . . . Rich purple, wine or fuchsia
frocks. . . . High-perched hats trimmed
with ostrich plumes. . . .

That's a word picture of the fashionable
woman of Fall, 1938. But it could just
as well be a description of an elegant
aristocrat of the time of Louis XV — or a
belle of 1900. That's the point! This
season's fashions are modern adaptations
of those two fascinating eras in history
when elegance and femininity reigned su-
preme. So make the most of your op-
portunity while it lasts — and look as fatal
as a Madame DuBarry or a Lillian Russell,
two girls who mowed men down like dan-
delions.

Coiffures were of first importance in
both these periods. DuBarry's hair was
powdered and raised to dizzying heights,
then decorated with plumes, bouquets,
even bird cages. Lillian Russell's was a
magnificent mass of curls, puffs and
waves, built on an invisible foundation of
wire. Miss 1938's coiffure is curled and
piled high on top of her head (like
Frances Dee's), but it has the basic sim-
plicity and contoured effect we moderns

36

insist on. To be worn successfully it must
shriek "grooming." No mussy, fuzzy or
lank effects. If you want to groom your
hair to achieve this glamorous new hair-
do, WHY NOT—

TAKE OUT health insurance on your
hair by having a branded permanent
wave instead of accepting anything your
hairdresser wants to give you? The
newest machines are far superior to the
older types used in some shops. They
have automatic temperature and time
control attachments that prevent your
hair from being heated too long or at
too high a degree. Besides, each manu-
facturer has worked out a careful corre-
lation between his supplies and his ma-
chine. That means that the pads and
solution used on your hair should be com-
pounded by the maker of the electrical
equipment. Provided your operator is
skilled and your hair in proper condition,
you can't go wrong with this combina-
tion! Out Hollywood way, where the suc-
cess of permanents is as important as the
choice of directors, they use a certain
nationally known equipment and supplies
that you, too, can have. I'll be glad to
send you the name so you can inquire
for this wave at your local beauty shops.
Be sure to recognize the manufacturer's

name and trademark on the bottles of
solution and the sachets. That's the pass-
word to "permanent happiness!"

WAKE UP your lazy scalp by using
a stiff-bristled brush night and morning?
Besides polishing off the hair so it gleams
like brasswork, correct brushing exerts
a pull on the scalp that stimulates glands
to normal action. Result: faster hair
growth, correction of such ailments as
oiliness, dryness or falling hair. The
method of brushing the hair up and up,
to bring fresh, nourishing blood to the
scalp, is very much in order now with
the hair piled high on the head anyway.
It will burnish the curls and help to train
the fine, fly-away hair near the ears and
nape of the neck to hug the head.

Don't let anyone tell you that brushing
ruins a wave. If it's a poor permanent
and a poor finger wave, then yes. But
you might as well start all over again
anyway, if you're the victim of such
chicanery. I have a favorite hair brush
that has done right by my hair for more
than two years. It's traveled thousands
of miles, tucked in a corner of my bag,
and never once has it let me down. Tiny
enough for easy handling, very light in
weight, it has extra-stiff back bristles
with an irregular trim. The dollar I spent
for that brush was one of the best in-
vestments I ever made. Want the name?

SAVE your manicure by using a
rubber scalp massage brush for sham-
pooing and save your scalp and hair by
using the liquid shampoo put out by the
same manufacturer? The shampoo itself
is not new but it does just as thorough a
job of removing dandruff and dirt as ever.
The stimulating effect of the rubber brush
and the tremendous lather of the sham-
poo conspire to give your hair a delightful
reconditioning and cleansing treatment.
There are 87 flexible "fingers" on the
brush that reach the scalp through the
thickest mop of hair. The handy knob
provides a good grip for slippery hands.
At present you can get the brush with a
bottle of shampoo. Let me know if you
want more details.

GLORIFY the natural color of your
hair instead of wishing it were a different
shade? You can do this harmlessly and
quickly by using a vegetable rinse that
comes in twelve tints. It's made from
certified food colors, and washes off in one
shampoo. Grand for toning down con-
spicuous white hairs that often plague
even eighteen-year-olds. Besides adding
flattering color, this powder acts as a
super-super rinse, removes every vestige
of soap film so that your hair fairly shines.

COMPLEMENT your carefully
groomed coiffure with a new Fall Face?
Renew your efforts with soap and water
and creams. Select smart shades of cos-
metics to harmonize with your Autumn
frocks. If you're in the mood to try some-
thing new in toiletries (and what woman
isn't) then consider the line being mar-
keted by a world-famous screen star. She
has used these preparations on her own
skin for years and years — and with enor-
mous success. When I talked to her re-
cently I was amazed at the firm, fresh
texture of her skin, the delicate softness of

her make-up. Three of her items that are
especially noteworthy are the pale pink
cleansing cream, the rich, penetrating
tissue cream, and a face powder in six
shades. If you'll write me, 111 tell you
more about them, explain the star's per-
sonal method of using them. They're
priced for the working gal (around 60
cents) and are packaged beautifully in
wedgewood blue and white. x

Write me before November 15th if you'd like
the names of any of the products described in
this article. Just send a self-addressed, stamped
envelope (3 cents U. S. postage) to me at the
address given below.

ANY QUESTIONS?

Our beauty editor will be

glad

to help

you solve your knottiest beauty p

oblems.

Just tell her what's wrong,

and

she will

write you a personal lette

r of

advice.

Send a stamped, addressed

enve

lope (3

cents in U. S. postage) to

Ann

Vernon,

HOLLYWOOD Magazine,

I50I

Broad-

way, New York.

Glenda Farrell, appearing in Torchy Gets Her

Man and in The Road to Reno, sponsors a

new gadget

It may be worn on one lapel, and on festive
occasions it may decorate both sides of a suit

fl\OH\ WAS SO MAD,

SHE JUST R.EW FOR

THE HAIRBRUSH

»r-v »

1. I Said SOmettlin' a couple of weeks
ago that made Mom so hopping mad,
I almost caught a licking.

2. We were at Aunt Lola's and I piped up:

"Gee, Mom, look at how white this nap-
kin is! Our things must have tattle-tale
gray or somethin' 'cause they never shine
like this." . . . Zowie! Mom flew for the
hairbrush.

3. But lUCky for me, Aunt Lola stopped
her. "It's the truth, so why get angry ?" she
told Mom. "Your lazy soap leaves dirt
behind. If you'd switch to Fels-Naptha
Soap as I did, your clothes wouldn't
have tattle-tale gray."

4. SO Mom forgOt to spank me and went to the grocer's for some Fels-Naptha.
This morning, she was raving about how its richer golden soap and lots of gentle
naptha wash clothes so white and nice. And, golly, if she didn't give me a quarter
for a pony ride!

COPR. 1938, FELS & CO.

BANISH "TATTLE-TALE GRAY"
WITH FELS-NAPTHA SOAP I

But the designer, Joseff, includes a chain and
a gold tassel, just to give plenty of variety

$250,000 MOVIE QUIZ CONTEST NOW AT YOUR LOCAL THEATRE

NEW! WONDER

FLAKES! TRY

FELS-NAPTHA

SOAP CHIPS. TOO!

37

Try Loretta Young's "Regular Guy" Test

[Continued from page 25]

8. Do you ask for drinks (or wait un-
til they are offered)?

9. Do you call your hostess shortly
after a party and thank her for the
evening?

10. Are you always the last to
leave?

AT PLAY

1. Do you give in without argument
when the majority prefers some other
pastime than that which you particularly
had your heart set upon doing?

2. Are you prone to take yourself seri-
ously if you hurt yourself — broken bones
excepted on. the field of sport?

3. Do you object to taking as your part-
ner one far your inferior in any com-
petitive game?

4. Do you like competitive sport?

5. Do you hate to lose, even if you
don't show it?

6. Do you offer to concede a point that's
doubtful, if it affects the score of what-
ever game you may be playing?

7. Do you get an inner kick seeing some
poor dope flinch when you slap his sun-
burned back?

8. Do you ease up on your game just
because your opponent is not near your
equal?

9. Do you like startling sports
clothes?

10. Do you discuss the other fellow's
game as well as your own?

IN YOUR OWN SWEET WAY

1. To put over a laugh, do you take
a crack at another's expense?

2. Are you strict about keeping ap-
pointments on the minute?

3. Are you way behind in the payment
of your social obligations?

4. Would you heed a hard-luck tale on
the street, rather than take the chance of
passing up someone really in need of
aid?

5. Are you an I-told-you-so, by actions
if not by actual words?

6. Can you change your mind?

7. Is it hard for you to make up your
mind?

8. Is it hard for you to change a
plan?

9. Do you like dogs?

10. Do you hate to be pinned down by
questions such as these?

Now add up the score!

Give the young man ONE for each an-
swer that corresponds to those listed be-
low.

He is absolutely perfect, a jewel among

males, the final flower of civilization, if
his answers add up to 80.

But that is too much, almost, to expect,
and if his score is 70 or better, he is a fine
fellow, and deserves an admiring pat on
the head.

If his score is between 60 and 70, he will
have to do a lot of work before he can
win a popularity contest.

If he doesn't rate better than 40, he's
kidding you! Make him take the test
again.

HERE ARE A REGULAR GUY'S
CORRECT ANSWERS
ON A DATE

1. Yes 6. No

2. No 7. No

3. Yes 8. No

4. No 9. No

5. No 10. Yes

IN MOMENTS OF STRESS

1. No

2. No

3. No

4. No

5. Yes

AT HOME

1. Yes

2. No

3. Yes (everyone
does and you get
a score for this

6. Yes

7. Yes

8. Yes

9. No
10. No

4. No

5. No

6. No

7. Yes

8. No

9. Yes

one on honesty!) 10. No

^0UT

/...she's let
herself get ''middle- age" skin i

BECAUSE PALMOLIVE IS MADE WITH

OUVE OIL-A SPECIAL BLEND OF

OLIVE AND PALM OILS, NATURE'S

FINEST BEAUTY AIDS. THAT'S WHY

IT'S SO GOOD FOR DRY, LIFELESS SKIN.

IT SOFTENS AND REFINES SKIN TEXTURE!

CLEANSES SO THOROUGHLY, TOO —

LEAVES COMPLEXIONS RADIANT!

NO WONDER POPULAR GIRLS
EVERYWHERE USE ONLY PALMOLIVE,

THE SOAP MADE WITH OLIVE OIL
TO KEEP SKIN SOFT, SMOOTH , YOUNG !

38

MOTION PICTURES ARE YOUR BEST ENTERTAINMENT

AT THE OFFICE

1. No

6. No

2. No

7. No

3. No

8. No.

4. Yes

9. No

5. No

10. No

AS A MAN AMONG ME

1. Yes

6. No

2. No

7. No

3. No

8. No

4. Yes

9. Yes

5. Yes

10. No

AT A PARTY

1. No

6. No

2. No

7. No

3. No

8. No

4. Yes

9. Yes

5. No

10. No

AT PLAY

1. Yes

6. Yes

2. No

7. No

3. No

8. Yes

4. Yes

9. No

5. No

10. Yes

IN YOUR OWN SWEET \

1. No

6. Yes

2. Yes

7. No

3. No

8. No

4. Yes

9. Yes

5. No

10. No

She succeeded in Business

v*

but Failed as a Wife 1

3» *

r^

r

\ -

Pretty smart . . . But she didn't know how important
"Lysol" is in Feminine Hygiene

Joan Fontaine and Douglas Fairbanks, Jr., do an
old-fashioned waltz for the East Indian Army
Post scenes in Gunga Din, and seem to likeita lot

She thought it was jealousy of her suc-
cess in business that had made her
husband more and more indifferent. She
didn't realize that she herself had been at
fault ... in a matter of feminine hygiene.
"Lysol" would have helped save the hap-
piness of her marriage.

If you are in doubt regarding a whole-
some method of feminine hygiene, ask
your doctor about "Lysol" disinfectant. It
is recommended by many doctors and
nurses, used in many hospitals and clinics.

Some of the more important reasons
why "Lysol" is especially valuable in femi-
nine hygiene are —

1 — Non-Caustic ... "Lysol", in the proper
dilution, is gentle and efficient, contains no
harmful free caustic alkali.
2 — Effectiveness ... "Lysol" is a powerful
germicide, active under practical conditions,
effective in the presence of organic matter
(such as dirt, mucus, serum, etc.).
3 — Spreading . . . "Lysol" solutions spread be-
cause of low surface tension, and thus vir-
tually search out germs.

4— Economy.. ."Lysol" is concentrated, costs
only about one cent an application in the
proper dilution for feminine hygiene.
5 — Odor . . .The cleanly odor of "Lysol" dis-
appears after use.

6 — Stability. . . "Lysol" keeps its full strength
no matter how long it is kept, how often it is
uncorked.

What Every Woman Should Know

SEND THIS COUPON FOR "LYSOL" BOOKLET
LEHN & FINK Products Corp.,
Dept. 11-H., Bloomficld, N. J., U. S. A.
Send me free booklet, "Lysol vs. Germs" which tells the
many uses of "Lysol".

FOR FEMININE HYGIENE

$250,000 MOVIE QUIZ CONTEST NOW AT YOUR LOCAL THEATRE

Copyright 19Sg by I.ehn & Fink Products' Corp.

39

• Every woman should know about
Kurb Tablets— a worthy companion
to other famous Kotex products. We
make no extravagant claims, but tell
you simply, truthfully, why we be-
lieve you will want to use Kurb.

Designed to lessen discomfort
caused by menstruation, simple head-
aches or muscular pain, Kurb is a
most effective aid for trying days.
The formula is plainly printed on
the box, so you may readily check it
with your own doctor. . . . We urge
you to try Kurb Tablets — see how
quickly they help you. The conve-
nient purse-size container holds a full
dozen, yet costs only 25 cents at all
drug counters.

If you act at once, we'll send
you a sample supply free! Simply
send your name and address, on a
postcard, to Kurb, Room 1489,
919 N. Michigan Avenue, Chicago.

*Trade Mark* Reg.
U. S. Patent Office

How BLONDES

hold their sweethearts

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most of her hair. She does it with Blondex,
the powdery shampoo that sets light hair aglow with
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silky, taking fine permanent wave. Let Blondex
make your hair unforgettably alluring. Try it
today and see the difference. At all good stores.

Three Career Girl

[Continued from page 22]

Trojan ever since she was declared the
winner of a Texas beauty contest years
ago. She worked hard at her first prize
award — a six months' course in an eastern
dramatic school. From the school she
went right into silent pictures where she
kept on working so hard that shortly she
became a ranking star and as such
twinkled with the best of them until she
retired to lay the foundation of a new
career: grand opera.

Hope doesn't speak of her artistic
triumphs on the operatic stage of this
country and Europe. She could, if she'd
lay aside her modesty for an hour or so,
tell about the time all France did her
honor following her appearance with the
Opera Comique in Paris. If she displayed
any of the tendencies of the typical Holly-
wood show-off she'd let you gaze upon the
medal the French government bestowed
upon her as its award for artistic merit.
And a similar medal that the Italian
government pinned upon her as its award
for artistic achievement. Then, if you
were still unconvinced about her recep-
tion in foreign countries, she could de-
scribe the high honors she received from
the Belgian government. But about all
these awards and triumphs and honors
showered upon her both here and abroad
she's as voluble as the Sphinx.

■ But get her to go back to the very
beginning of her operatic career and
she's off in a cloud of verbal dust!

"If anyone had come to me," she says,
"when I was starring in the silents and
prophesied that some day I would be sing-
ing grand opera I would have thought that
he was a mental case and yelled for the
police! I was doing well in pictures and
as time went on I hoped to do better. The
pay was good, the hours satisfactory, and
better yet, I was learning how to be tem-
peramental! You may not know it but
you weren't classified as a good actress in
the silent days unless you threw a tem-

permental fit at least once a day. Well,
after a few lessons I was getting so I could
throw fits all over the place and I felt that
given time I would throw bigger and bet-
ter ones and so crowd myself into the
select group of the Triple-A classification.
But as for my voice — well, if I sang loud
enough I was fairly certain that I could
be heard in every corner of a moderately -
sized parlor providing the neighbors kept
quiet. But as for ever attempting grand
opera — why, the idea wasn't even good
enough to win a polite laugh."

| Now that's the way Hope starts out
as she describes the first halting steps
that eventually led her to the operatic
stage, and far be it from us to doubt this
famous little lady's word.

"I would never have forsaken the
screen but for one thing," she says. "Per-
sonal appearances!"

It took us a full five minutes to recover
from that one because a movie star these
days would be glad to cut off your right
arm rather than go on these personal ap-
pearance tours. For the simple reason
that the word has gotten around that a
tour of this sort usually means to those on
the inside that you're definitely on the
'way out.'

"But in the good old days," Hope re-
veals, "it was the exact opposite. You
simply didn't rate unless you toured the
sticks and it finally got so that I was mak-
ing more personal appearances than pic-
tures. And thoroughly enjoying it."

Hope's first hint that she might have
something better than a parlor singing
voice came during a tour of the Loew
circuit with one of her pictures.

"I've forgotten the title but it was either
Lawful Larceny or Love's Penalty," she
says. "In any event the title was just as
bad as the picture, but we were sent
on tour with it. After it was shown, the
usual routine was to come out on the stage
and smile our prettiest at the audience

Sigrid Gurie, vacationing on Lake Arrowhead after finishing Algiers and before starting The Daring
Age. Her crew is named Rolf, and he is a prize winning Great Dane

40

MOTION PICTURES ARE YOUR BEST ENTERTAINMENT

and then wait for the applause. During
this particular tour I was quick to notice
that when the leading lady and leading
man came out to take their bows that the
hand-clapping was terrific but that when
I appeared it died away to something less
than a mere echo and so, being as I said
before, well versed in the art of throwing
temperamental fits even when the occa-
sion didn't demand them, I decided then
and there that something had to be
done about it. Little 16-year-old Hope
Hampton was going to get her share of
applause if she had to eat up the foot-
lights. She was through with her tripping
onto the stage and tripping back after a
bow and a smile. She was going to do
something."

Well, she did, sure enough.

The next night when it came her turn
to trip out, take her bow, and then trip
back into the wings she changed her rou-
tine. Once in front of the footlights she
leaned over to the orchestra leader and
told him to sound his "A" because she was
all ready to sing Rose, Fairest Rose, one of
the popular songs of the day! And after
a few preliminary fiddle-scrapings by the
orchestra that's exactly what she did. She
sang Rose, Fairest Rose and brought down
the house! And she kept on bringing
down the house in every city she appeared
in after that.

"It was the approval of these audiences
that finally led me to cultivate my voice,"
Hope smiles. "From then on I devoted

all my time to singing and studied under
the best teachers of voice both here and
abroad. It was quite a gamble," she ends
with a sigh as though to this very day she
isn't quite sure whether or not she has
won top ranking as an operatic singer.

■ Hope made her operatic debut with
the Philadelphia Grand Opera Com-
pany in Manon and later she sang Mimi
in La Boheme with the same company,
scoring, according to the musical critics,
an instant hit. And then, to prove that
she was no flash in the musical pan she
was engaged by the Opera Comique of
Paris, the Vichy Opera Company, and
later by the Aix-les-Baines opera com-
pany and before she was through she had
the French government bestowing medals
and honors upon her. Italy and Belgium
acclaimed her in turn. Then back to
America where she sang opposite Gigli in
Faust with the San Francisco Grand
Opera Company. Los Angeles, Montreal
and Chicago followed with the ex-silent
picture star adding more and more singing
laurels to her already heavy crown.

While Grace Moore, Lily Pons, Gladys
Swarthout and Helen Jepson have the
distinction of graduating from grand
opera to the screen, Hope Hampton is the
only girl who has ever reversed this pro-
cedure and left the screen to sing in opera.
We have mentioned this before, but we
think it's worth repeating.

Personal appearances, a singing voice

— and grand opera. That's the astound-
ing record of the Texas girl who didn't
know she had a voice until she told the
orchestra leader to sound his "A"!

During a trip to Hollywood, where she
has many friends, Hope made a test for
Universal which is still the talk of the film
colony. It wasn't one of these ordinary
run-of-the-mine tests where you speak
a line or two and make a few gestures,
although, so say the Universal executives,
a test of this sort would have proven satis-
factory so far as Hope was concerned.

But this test was different.

It lasted fifteen days.

And it lasted that long, not because the
officials weren't satisfied after the first
day, but because the party of the first
part, Hope Hampton, herself, just wanted
to be sure that no one was going to be
gypped when the actual shooting began
on the picture.

"I wanted to be sure of myself," she
tells you frankly, "and I wanted to be
sure that the studio was sure of me. The
Road to Reno might well turn out to be
The Road to Ruin so far as my second
screen debut was concerned. Or so I
thought. And so the test kept going on
day after day. With an addition here and
there it could serve as a good short sub-
ject— it was that elaborate."

The Read to Reno turned out so well
that its grand opera star has been placed
under a seven-year contract that calls for
a picture schedule of two a year.

3™:&l(MS^£U THROWS HIM FOR A LOSS,

9RM...IURES THE STAG lM

NOW
SMOOTHING AWAY
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Copyright, 193 8. Pond's Extract Company

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II

$250,000 MOVIE QUIZ CONTEST NOW AT YOUR LOCAL THEATRE

41

4

Sometimes the best stories on Holly-
wood are to be found in the editor's
personal mail. This letter was so
interesting that we asked permission
to print it just as it came in from

KATHERINE ALBERT

Dear Llewellyn:

I really can't blame it on the vacation I'd planned
to take for so long, for, when I got your note asking
me to do a Gary Cooper story I still had two more
working weeks. I called the studio right away to
arrange an appointment. I really did that at once.
But they told me Gary was busy working his fin-
gers to the bone for the sake of his art and a paltry
fortune. However, he would be through the big
emotional scenes in The Cowboy and the Lady very
soon and I would be called in a day or so.

For the next couple days I forgot about Gary
Cooper. I realize that that must seem fantastic
to those hundreds of thousands of she-folk who
palpitate when Gary so much as flickers an
eyebrow in their direction. But other things
were happening in my life. Things like
Robert Taylor.

I hadn't seen Bob Taylor for a couple of
years and I wanted to. Sure, I realize that
it isn't exactly big news when a member
of the feminine sex wants to see Taylor.
You remember that I interviewed, him
shortly after he made his first spec-
tacular success and I was curious
to know what had happened to
him since, in spite of what you
had told me.

At dinner that night (it's okay,
Barbara was there, too) I found
out, and I'll have to acknowledge
that the years and the success
haven't changed him at all.

I half expected him to be an
objectionable show-off — a kid like
that yanked straight out of college
to become public glamour boy
number one. He isn't. He's sim-
ply grateful and humble and says
he doesn't know a darn thing
about this acting business. He
remains one of those quiet lads

Gary Cooper's next film, The Cow-
boy and the Lady, co-stars him
with Merle Oberon

and I actually forgot that he was in the
room for minutes at a time.

That's partly because of Barbara. I
didn't forget for a minute that she was in
the room. She's still just the ten funniest
women — that's who she is. When she tells
a story people never let her get to the
point because they're laughing too much
at all the side remarks she's making.

Barbara told about a waggish friend of
hers who asked what her name would be
if she married Bob. "Why, Mrs. Robert
Taylor, of course."

"No," said the wag, "You're wrong.
Your name would be Ruby Brugh."
(Figured it out? I had to think a couple
of minutes before I remembered that
Barbara's real name was Ruby Stevens
and Taylor was christened Arlington
Brugh.) Barbara said right then and
there it was all off. Ruby "Brew" just
ain't no name for a great big glamorous
movie star.

I really think they'll marry eventually
in spite of it. Bob is devoted to her and
why shouldn't he be. She's one of the
swellest gals in the world and he seems
to enjoy being treated as she treats every-
body, in that sort of breezy, casual, off-
hand manner. But she thinks he's a thor-
oughly regular, grand kid.

Forgive me for rambling on like this.
You know how things go in Hollywood so
it seems silly to explain, but I want to be
sure you understand just what happened
about Gary Cooper's story.

Bl I started worrying about it in the
middle of that perfectly grand even-
ing and on the way home I began think-
ing of things I remembered about Gary
that I wanted to work in as background
for my story.

I met him first when he was engaged to
Lupe Velez. Ah, those incredible even-
ings at Lupe's house with Gary as out of
place in that wild menage as Dietrich's
eyelashes on Joe E. Brown.

He would sit around strumming a gui-
tar and singing mournful cowboy songs
while Lupe was welcoming eight accor-
dion players, a couple of organ-grinder
monkeys and an English butler all of
whom were playing or chattering or bow-
ing at once without Gary's paying the
least attention to them.

Lupe would be screaming and everyone
dancing and I swear we wouldn't have had
a single drink. Lupe's presence was
stimulant enough. And there would be
Gary seated near the fireplace with his
long legs stretched out across the floor
singing those cowboy tunes.

One night Lupe stumbled over his legs
and fell flat on her face. "Darn your
legs," she shouted. "I guess I weel bite
one of your legs." This she proceeded
to do.

Gary kept right on playing and singing.
Then Lupe said to me, "Bite Gary's leg."
At first I said politely, "No, thank you,
dear," and then I thought maybe I should
because it might be something to tell my

grandchildren so I did — but not very hard.
I haven't any grandchildren but if I ever
do I'll tell them.

It was all wrong — Gary's and Lupe's
engagement — except as some fantastic
show to watch, yet in his strange Western
way Gary was fond of her and their part-
ing hit him rather hard.

He went to Africa or somewhere to
shoot big game and forget. He stopped on
the way home in England and bought
himself some Bond Street clothes. Be-
fore that Gary had never cared about
clothes — an old pair of slacks and a sweat
shirt was good enough for him. But he
liked his new clothes now and, rather
on the defensive, he asked, "Don't you see
a difference in me?"

Although he was trying to be very
sophisticated and man of the world (and
not making too good a job of it), I could
see that Gary had grown up. He wasn't
that slow kid aimlessly kicking around
Hollywood any longer.

■ Well, planning on using this stuff
somewhere in my story I called
Gary's studio bright and early the next
morning. He was on location and I ad-
mit I felt relieved because that was the
day Joan Crawford was having an all day
swimming and badminton party and I did
want to go.

I don't need to tell you the party was
wonderful. Beautiful movie stars beau-
tifully draped [Continued on page 57]

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Baby Queen

[Continued from page 30]

AT LEADING
J « 10* STOHEj

in a new pair of skates (the blades alone
cost $47.50) and she was apt to be con-
scious of her feet which is the last thing
a figure skater should be aware of. She'd
be off balance; she'd probably fall down
and go "boom" more than once; she
wouldn't be able to keep time to the
music. And more than all this, she'd more
than likely blister her little heels. Her
mother was pretty gloomy about the
whole practice session that morning, but
as it turned out she shouldn't have been
because during the 120 minutes we
watched, Irene, clad in woolen ski pants,
white sweater, and a kerchief around her
head, performed like an old-timer. All
the difficult steps of an ice-skater's rou-
tine were repeated over and over again
without a mis-step. She did topple over
while finishing up a salute but that didn't
count because she was up on her feet so
fast we thought it was part of the routine.
And once during the last ten feet of a
Charlotte Stop she almost had her pretty
little nose rubbing a mark on the ice, but
that didn't count, either, because the ice
was soft, the skates were new, and other
members of the ballet came swooping
past her just close enough to cause her
to look up at the wrong time.

Now it seemed to us that two hours of
steady practice was more than enough
for a five -year -old girl, but apparently
not for Irene. When her mother looked
at her watch and shcuted "Time's up!"
Irene came skating over and registered a
very decided complaint. "I'm just begin-
ning to have fun," she said, "and here I
have to quit." Marny George, a Seattle
professional girl skater, and Walter Ridge,
a Los Angeles figure skater, who had been
out on the ice teaching her the Breaking
the Ice ballet steps came up, sided in with
Irene who finally won another fifteen
minutes of practice that certainly was
worth paying good meney to see.

Irene is the youngest figure skater in
the world, a fact that may or may not
interest you. But perhaps this will. This
little bundle of dimples, curls, dark eyes,
and flashing blades put on her first pair of
skates only a year and a half ago! Since
then she's been in more than sixteen big
ice shows and a decided hit in every one
of them. As a matter of record, she took
part in her first show before she'd been
skating two months! And if you don't
think that's an ice-skating achievement
ask your nearest professional figure
skater!

"Irene," so her mother told us, "so far
as we knew, never showed any inclination
to skate. Most of her spare time had been
devoted to her lessons in acrobatic danc-
ing of which she was very fond. Then
along came Orin Markus, the famous
figure-skating teacher of St. Paul, who
suggested, after watching her dance, that
he be allowed to teach her to skate. Orin
happens to be a friend of the family and
when he went on tc say that he thought
our daughter would develop into a future
champion we just thought he was trying
to be pleasant. But finally we agreed to
get her a pair of skates and let him see

what he could do with her. And here she
is, in Hollywood, in pictures — all within
one and one half years of skating! It
certainly seems like a dream."

Markus didn't teach Irene how to skate
the first time he put on her skates for her.
That first lesson, which lasted less than
half an hour, was devoted to just one thing
— learning how to fall! Learn that, Markus
told Irene, and then, when the actual spills
came during the practice of a difficult
routine, there'd be no sprained wrists,
ankles, and strained and sore backs. So
Irene went to it, took her initial bumps
and booms according to her teacher's
expert directions, and got onto them so
quickly that the second lesson was a
thrilling excursion into the highly spe-
cialized art of cutting rhythmic half-
circles and figure-eights. Of course she's
taken her share of falls since then, but
she's learned how to take them and there's
been no more than a mere "ouch"! of
complaint registered whenever she's
found herself playing the part of an ani-
mated broom trying to sweep up a couple
of acres of ice.

■ Irene is not only the youngest figure
skater in the world but she's the
youngest professional skater on record.
Her mother explained that, too.

"When Mr. Lesser offered us a contract
for my daughter's services in Breaking the
Ice, both my husband and myself went
into a family huddle before signing. We
both realized it was a golden opportunity
for us to build up a financial backlog for
Irene's future. In case anything should
happen to us we wanted her to be pro-
tected. My husband, being a newspaper-
man, has seen life passed in review across
his desk and he looks into the future with
a very practical pair of eyes. Being a
newspaperman doesn't offer a very quick
chance to lay aside a nest-egg. And here
was one — a motion picture contract which,
if fulfilled, would release us from one
great financial worry. But still we didn't
sign. There was this side of the story
that needed study. We wanted Irene to
have her chance at becoming a champion.
You know — proud and doting parents.
Orin Markus had told us many, many
times that in all of his long professional
career, both here and abroad, he'd never
come across such a likely prospect and we
hated to deny her her chance when it
came. Signing a contract would bar her
forever, we thought, from ever attaining
a championship in the amateur field.
There was the Olympics to think of. Some
day she might become an Olympic cham-
pion. Well, as I said a moment ago, you
know how proud and doting parents
sometimes are. It was Mr. Lesser who
finally solved our problem by obtaining
rulings from the National Amateur Ioe
Skating Association. He learned that cur
daughter, if she turned professional, now,
could, after a lapse of two years, be re-
instated to her amateur ranking. Irene,
he told us, was too young to bother her
curly head with thoughts of Olympic
medals. That could come ten years from

MOTION PICTURES ARE YOUR BEST ENTERTAINMENT

now. Let her become a professional and
earn enough money so that her future
would be amply provided for. In other
words make hay while the sun was shin-
ing. Well, with this ruling known and
added to Mr. Lesser's sensible advice, we
signed the contract. Now all we are
worrying about is whether or not Irene
is going to make good in her ice-skating
screen debut. Funny thing about that.
Mr. Lesser doesn't appear to worry about
that at all. He's not only given Irene four
beautiful ballet sequences but has written
a gocd speaking part into the script for
her. But it still seems a dream to us just
the same."

■ Lesser, who has the reputation of be-
ing Hollywood's No. 1 success when
it comes to finding and developing child
stars and recognizing talent in screen
moppets, almost missed out on Irene. He'd
heard a let about her from friends in St.
Paul and Minneapolis, and last winter,
when he learned that she was to appear
in an ice show in the Hotel New Yorker,
he flew East just to give the youngster
the Hollywood "once-over." When he
arrived and registered at the hotel he dis-
covered that she had been barred from
the show on two counts. First, because
of her age which conflicted with the child
labor laws of New York State, and second,
because of the fact that the New Yorker
sold liquor.

Naturally there was a great how-de-do
about it. Officials, clear up to the Mayor,

Mickey Rooney, the noted Thespian, relaxes by
hanging himself up with the coats in one of the
rare free moments he has had in several months.
He is playing in Stablemafes with Wallace
Beery, and in Boys' Town with Spencer Tracy,
and preparing a new Judge Hardy's Family film

were appealed to — but in vain. Little
Irene might be an ice-skating queen, but
by golly she wasn't going to be allowed
to prove it in good Old New York, not by
any thousand miles of red-tape that might

be unwound. Yes, she could give a per-
formance for the benefit of the news-
papermen, but that was all. Well, so far
as Sol Lesser was concerned, that was
enough. He horned in on a press pass,
gave Irene the Hollywood "once-over"
and went away shouting her praises like
the rest of the hard-boiled spectators.
Since then, the rest of his time has been
spent trying to get her signed to a Sol
Lesser motion picture contract, and now
that that has been accomplished, most of
his time is spent down at the Polar Ice
Palace where his tiny protege and star
does her cartwheels, fans, elbow-drops,
Charlotte Stops, spins, spirals, and salutes.
It wouldn't surprise us in the least if he
buys himself a pair of skates and takes a
few lessons himself!

Irene is in the first grade at school and
although she gets a report card full of A's
and leves her school work she loves skat-
ing better and if she were permitted to,
would stay on the ice all day long.

■ Funny thing about that, too. Neither
her father nor her mother can skate
a stroke and probably never will despite
her promise to teach them all about it in
one easy lesson. "It's just like dancing,"
Irene claims, "only it's more fun." Well,
Pop and Mom are pretty cagey. It may
be true — fun is where you find it, but so
far as they are concerned not on a big flat
sheet of frozen water and if any didos
are to be cut they think Irene should do

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A Hollywood Bride Has Problems

[Continued from page 19]

ventional question as to "who giveth this
woman in marriage?" instead of stepping
back with the others assembled, as he was
supposed to do, he just kept on standing
there at the altar with the bride and
groom . . . "So close to us," Virginia told
me, "that Sonny could hardly put the ring
on my finger. We whispered to him to get
back but he didn't hear us and just kept
standing there, knowing something was
wrong, but not knowing exactly what to
do about it. Of course, it didn't matter,
but it was hard on him and it all happened
because I couldn't find time to rehearse.
I guess it was a sort of omen," Virginia
said, ruefully. "Because, while 'career'
certainly hasn't interfered with the course
of true love in our case, it hasn't exactly
made the course of true marriage run very
smoothly."

H Take, for instance, the matter of the
"thank you" notes. Virginia had some
seventy-five to write and with her own
lily white hand, too. Moreover, she takes
pains with such things. She always wants
everyone to know she is really grateful
for kindnesses.

She was starting on the list one morn-
ing shortly after the wedding, safe — she
thought — in the promise from the studio
that she wouldn't have to work that day.
She had everything spread out on beds
and tables — each gift with its donor's card
carefully adjacent so there would be no
mistakes or confusions.

Then the phone rang. She was wanted
at the studio right away. Well, a call from
the studio is a call from the studio. She
left the gifts and cards where they were,
spread out all over everywhere, and
dashed off.

She was gone several hours but not so
long there wouldn't have been time to
work some more on the "thank you" notes.
"I'll pick up right where I left off," she
said to herself.

But those were idle, mistaken words.
When she got home she found that her
new housekeeper, a Filipino woman
trained to be orderly and to keep "t'ings
nise, pliss," had carefully stowed the gifts
away in a closet and as carefully had
stacked the cards up in a pile and tied
them together with a ribbon!

"I felt like putting an ad in the paper,"
Virginia said. " 'Will the friends of Mr.
and Mrs. J. Walter Ruben who so kindly
remembered them with wedding gifts,
please overlook it if they are thanked for
a salad bowl when they gave a luncheon
set?'

"Of course Sonny and I sorted things
out as best we could before I wrote any
more notes, but we didn't do too well. I
thanked Norma Shearer for salad plates
when it should have been dessert plates.
I thanked some other friends for a cock-
tail set when they had given us linen and
vice versa. And worse than that, I thanked
a business acquaintance of Sonny's for
some prints only to find out later he never
gave us anything while, on the other
hand, to this day I have NOT been able

to find out who gave us those lovely prints.
"And that," she finished ruefully, "is
an example of the trials and tribulations
of a married woman who is also a movie
actress!"

■ There was also at that time the ser-
vant problem to solve which, as it

happened, was something of an inter-
national problem, too, on account of Mac.
Not that Mac is his name. Mac is a Filipino
and his real name is something long and
unpronounceable. "Sonny" Ruben has had
him for ages. He is a wonderful cook and
"Sonny" wouldn't lose him for anything.
But when it came to enlarging the Ruben
establishment to accomodate a wife, with
the attendant need for more servants,
Mac, something of a despot, insisted the
new ones be Filipino, too.

"We getting along more better," he sug-
gested.

But to find the right ones was not so
easy. The Rubens wanted a married couple
trained to carry on in a home whose mis-
tress was likely as not to be absent most
of the time. Virginia interviewed a dozen
or so pairs of candidates without success.
Whereupon Mac volunteered to help her.

"I finding extreme good man and wife,"
he announced.

Well, he "finding" them all right, and
they knew how to do the things they were
supposed to do . . . Except that the wife
couldn't understand English. She would
bow and smile confidently at every re-
quest, but, likely as not, if Virginia told
her of a morning she would wear the grey
suit today, Clemencia would get out a
chiffon afternoon frock. If Virginia asked
her for a glass of hot milk, ginger ale or
maybe orange juice would be forthcoming.
It got to be pretty disconcerting, and when,
one night, rushing home late to keep a
dinner engagement, Virginia found a com-
plete beach ensemble laid out neatly for
her to wear, she gave up. Clemencia and
her husband had to go and Robert and
Grace, also Filipino, shamelessly bribed
away from the Robert Youngs (Virginia
admits it) took their places.

■ Being well versed in both housekeep-
ing and English, Robert and Grace did

very well — so well, in fact, that Virginia
felt justified in installing an extra bit of
domestic efficiency and thrift — a house-
hold budget. So much for this. So much
for that. So much for the other thing.
Robert, Grace and Mac were to carry it
out. She explained to them carefully.
Each Monday morning Mr. Ruben would
give them a certain amount of money to
cover the week's expenses and this money
was to DO! Did they understand?

They did. They bowed deeply and im-
portantly. They understood perfectly.

Well, it worked at first Things went
along fine. Virginia, deep in the process
cf making Yellow Jack came home from
work every night to a beautifully run
home . . . until a certain Saturday night
when she and "Sonny" had planned to
have a quiet dinner alone and an even-
ing of chess.

46

MOTION PICTURES ARE YOUR BEST ENTERTAINMENT

■■

It was a good thing they were alone,
Virginia says, because the quiet dinner
had its peculiarities. There was no butter.
Rolls, yes, hot from the oven. Other well-
cooked delicacies. But no butter.

Virginia rang the bell. "Please bring
some butter," she said to Grace who waits
on the table as well as being Virginia's
personal maid.

But Grace shook her head. "We having
no butter," she said.

"'Having' no butter? How is that?"
Virginia and "Sunny" spoke in unison.

Grace looked virtuous. "Refrigerator
break. We get man fixing it. Nine dollah,
seventy -fi' sen. Budget money running
out but more coming Monday. No having
butter between times."

Virginia kept a straight face. After all,
she had given orders to make the budget
do. But—

"Couldn't you have stretched a point
and charged it?" she inquired, tenta-
tively.

Grace was determination personified.
"Missus not here. Missus at studio. Not
stretching point if not asking permiss'on."
Obviously that was that.

"Yes, 'Missus at studio'," Virginia ob-
served to me, reminiscently. "Missus
usually at studio, I find. But what can
you expect of a movie actress? So Sonny
and I just 'snuck' out after dinner and
bought a pound of butter and put it in
the refrigerator. Our budgeteers didn't
approve but we had butter over the week-
end and that was something."

■ There was also that memorable night
when career was responsible for a
near calamity in the matter of Virginia's
new gold dress. The occasion was a very
elegant one. Virginia and "Sonny" were
to be guests of honor at a dinner dance.

"Tell me the color of your gown and
I'll arrange the table decorations to
match," the hostess suggested.

"Gold," Virginia said. There was that
cloth of gold gown which she had meant
to have finished at the time she was
married but hadn't had time for a final
fitting. Well, she'd just pop around on
her way home from the studio that after-
noon and see about it.

But the best laid plans of mice and men
and movie actresses "gang aft agley," in-
deed! It was eight o'clock before Virginia
finished work that night.

"I'll go tomorrow," she promised her-
self. But it was seven o'clock that night.
And seven the next night.

Finally, in desperation, she phoned the
dressmaker. "Finish it up and send it to
me," she instructed. "I shall have to take
a chance on its fitting."

Came the night of the festivities. Vir-
ginia actually got home around six-thirty,
in good time to get ready. The dress was
there before her, very luscious looking
with its wide girdle and soft, full skirt.
She rested a little while, took a leisurely
tub. Her hair went well. She felt fresh
and lively. The world looked rosy.

And then she put on the gold gown.
The neck was right. The bodice was

right. The skirt was right. But the girdle
— that beautiful, wide girdle — wouldn't go
around her.

No one, by the wildest stretch of imag-
ination, could call Virginia even the least
bit plump. Her slenderness and the way
she can still eat everything she wants to
are the envy of Hollywood. But that
girdle apparently had been made for the
original bean pole. Virginia held her
breath and Grace pulled but it was no
good. They got one hook in place only
to have it pop like a small firecracker
when, inevitably, it became necessary for
Virginia to breathe.

"What shall I do?" she wailed to
"Sonny" who appeared on the scene just
then.

"Didn't it fit you when you tried it on
at the dressmaker's?" he inquired.

"I didn't have time to try it on at the
dressmaker's," Virginia informed him,
half in tears. "I never have time to try on
anything. I never have time — "

He interrupted her. "Well, you haven't
time to monkey with it now, either. We're
late. Why don't you wear that pink dress?
It's pretty. You look lovely in — "

"But the decorations!" It was Virginia's
turn to interrupt. "I am supposed to match
them!"

Whereupon Grace came to the rescue.
Scissors in hand, she unripped the girdle;
removed the hooks and eyes. "Plenty
tucking in behind," she told Virginia,
beaming. "I fixing soon."

Deftly she let out the material. Deftly

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she replaced the hooks and eyes. One,
two, three, four. . . It wasn't so long —
not too long, anyway — before Virginia
was comfortably hooked up in the gold
gown and she and "Sonny" were dashing
off to the party.

"Gosh," she thought to herself as they
bowled along, "what a Life!"

■ And "what a life!" she said again to
me in her lovely rose and dubonnet
dressing room at M-G-M the other day
as she was telling me about all of this. . .
About the time she and "Sonny," enjoy-
ing a honeymoon visit with Mrs. John
Hay Whitney in Virginia, had to return
to Hollywood without even going to New
York as they had planned because she
was wanted for some added scenes for
Arsene Lupin. And then found out she
wasn't needed for a single one. . . .

About how she was late for her own
party — the first she had given since she
was married — and had to sneak in the back
way so as not to arrive^ with the guests.
Yes, working as usual. ...

About how she never has time to watch
the building of their new home at Pacific
Palisades which is going up right this
minute, and about how she is certain all
kinds of dire things are happening in her
absence. . . .

And about how she had to work nights
for almost a week, recently, and with
"Sonny" working days, they scarcely ever
saw each other and took to leaving notes
around the house: "Hello, darling. How
are you? Remember me? I'm the guy
you married." And: "Yes, I seem to re-
member you. How about a date next
month?"

"Still, it's fun," Virginia said. "It's
hectic and it's mad and it takes a lot out
of you, sometimes, but I love it! I
wouldn't be out of it for anything! I am
completely happy the way things are.
You see, for one thing, Sonny being in
pictures, too — being right in the middle
of the business and knowing exactly how
things are — helps a lot. I suppose some
husbands couldn't understand the de-
mands that life makes upon a woman.
But he — well, he knew how it would be
when he married me. He knew I was an
actress and he said: 'So what?' And that
makes all the difference in the world.
We do our work and like it. We see as
much of each other as we can and we
like that, too. . . ."

At which moment I had a chance to
observe just how well they like it. The
door opened and in bounced the very
attractive Mr. J. Walter Ruben. He swept
Mrs. Ruben into an embrace worthy of
Clark Gable.

"Hello," he said, exuberantly. "Almost
finished?"

"Almost," Virginia told him. "But it
will be late when I get home tonight. I
hope you won't mind."

It was not a question. It was a state-
ment. She knew he wouldn't mind. She
knew he would understand. He did.

"Okay, darling," he said.

Another kiss and he was gone, as busy
in his way as Virginia is in hers. And as
she turned back to me, I realized that
though she has many problems to contend
with in this business of being at once a
bride and a screen star, Friend Husband
is not one of them.

Name. . .
Address .

Alan Mowbray and Patsy Kelly decide that Philco's new Mystery Control unit is black magic, and
we are inclined to agree. The box has no wires, may be carried all over the house and used to
change stations and regulate volume on the big stationary set. You'll see it in Topper Takes a Trip

48

MOTION PICTURES ARE YOUR BEST ENTERTAINMENT

Meet The Woman Who Bosses Bob

[Continued from page 21]

her to baseball games, and football games
and church; and how she always had
ginger cookies for me in a jar whenever
I came to see her. Things like that, until
the secretary would call her off that track
and put her on the right one.

"We got her straightened out on that
after a while, but we never could cure
her of sticking one idea into those letters.
It was almost like a form paragraph and
it always crept in. It read like this: 'No,
Bob Taylor is not my real name. It is
Spangler Arlington Brugh, and I was
born in Nebraska. As a matter of fact,
my grandmother does not like the name
of Bob Taylor at all, and cannot under-
stand why they ever wanted me to change
it, since the name Arlington is so much
more beautiful, and that is what I have
always been called. It's a family name,
handed down from generations, and Bob
is so ordinary by comparison.' I remem-
ber once I caught her right in the act of
dictating that. She was sitting there with
a big knitting bag by her side — filled with
letters, not knitting; she carried it every-
where!— and she looked so cute and guilty
I had to laugh."

■ Then a few months later, when the

mail began arriving in such piles that

Grandmother was all but buried alive

under it, Bob knew that it was time he

got her out from under it entirely. But
he knew better than to come out with it
bluntly. He tried tact, with a little quilting
information thrown in — and here's the
way it worked, at the dinner table, one
Sunday noon, when Bob had stopped in
for lunch with the family:

Bob: (after having downed a mouthful
of mashed potatoes) "Say, 'Granny', how
much did you get for those quilts you used
to make at the church back home?"

"Oh, I don't know, Arlington ... it de-
pended on the size. Sometimes fifteen
dollars, sometimes twenty. I know we
used to figure we could keep a whole
family for a month on the proceeds. It
was all for charity. Why?"

"Because somebody was telling me they
raffled off a quilt at a church bazaar, on
Highland somewhere, and one quilt
brought sixty-five dollars!"

"Sixty-five dollars! Why, what our
club could have done with that!"

"This club has plenty to do with it, too.
They're getting ready for their Thanks-
giving baskets."

For a moment Grandmother still mused
over the amazing information her grand-
son had just divulged. "I can't believe it —
church socials in Hollywood . . . quilting
bees! Funny, I just didn't think they'd
exist out here."

"Oh, they exist all right. Jeanette

MacDonald's mother goes to some quilting
club that meets every Tuesday and Thurs-
day."

Out of the corner of his eye Bob could
see that his grandmother's interest had
been trapped. From that day on Grand-
mother relieved herself of the mail work
for the enterprise of quilting for charity.

i "Granny" has many fine stories to tell
about Bob. When he was eleven or
so, he had his first pony, a temperamental
young rascal named Gyp. Gyp was a
birthday present, and immediately Bob
wanted to ride her over to Grandmother's
to show her off. That was a distance of
fourteen miles, and before leaving he
phoned her that he was coming. Grand-
mother also interpreted that call as a
warning to have something good to eat
ready and waiting when he arrived. She
waited quite a while and then came an-
other call. It was Bob again. "I'm sorry,
Grandmother, but I'm not even half way
yet. Gyp keeps turning around and want-
ing to go home and we only go three yards
ahead and then two back, and I don't think
I'll ever get there. What'U I do?"

"That's up to you," Grandmother said
sternly, though there was a smile in her
voice that she was trying to hide. "But
you'd better make up your mind right
now, young man, who's to be master — you
or the horse?" And she hung up.

Three hours later he arrived. It had
been no small battle, but he had won. Now

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when Grandmother tells that story she
points out the moral proudly. "Of just
such little things as that a man's character
is built."

9 Then there was that other time when
he walked to Grandmother's, the
whole fourteen miles through a raging
summer storm, arriving rain-soaked and
mud-splattered from head to foot. He had
started out on his bicycle with a boy pal,
but when they ran into the storm they
had had to park their bicycles in some-
body's barn, and continue on foot. When
they got there Grandmother made them
undress and put on some of her husband's
clothes until she could dry their own. Then
she said, "Now, Arlington, I see that
you've got a secret to tell. Nothing else
could have brought you all this way in
the rain. Now hurry, out with it, before
you burst."

She had hit the nail on the head and
the story came out in leaps and spurts.
The night before Arlington and Gerhart
had had the most amazing adventure!
They had been bicycling over to see Mary
Ellen (the best girl in his life at that mo-
ment), and peddling along a lonely road
they passed a car stalled along the side.
A man called out to them and asked them
where he could get a lantern. There was
something wrong with his engine, and he
knew how to fix it, but it was too dark to
see. Then he gave them some information
which made their eyes pop. He was a con-
vict, he admitted, from the State Prison
Farm. He had been granted a 24-hour

parole, and he had already used twenty-
two hours of it. Now he had to get back
or else! To the boys it was as exciting
as though they had suddenly been held
up at the point of a gun. They lost no
time in scurrying off to the nearest farm-
house, and a few minutes later they were
back with a light.

"You mean you were frightened of the
man?" Grandmother asked, as Arlington
paused for a moment in the telling. "Why,
what could he have done to you? You
could have just gone off and never come
back!"

"Aw, Grandmother," he said disap-
pointedly. "You don't understand. You
think we got the light for him because
we were afraid? Heck, no! We just wanted
to get a good look at him ourselves! A
convict, Granny! The first one we ever
saw in our lives."

| Today it's quite a different young
man who comes to Grandmother's
house, and the mode of his arrival is quite
a little different, too.. It's a black Packard
which rolls up now, and it's no longer
Gerhart who accompanies him up the
walk, but a young lady. He no longer sits
in front of the fireplace in his grand-
father's too-big clothes, with remnants of
mud still on his cheek. He sits there in
expensive sport clothes, and now there are
other things to discuss besides convicts
along the road. But essentially he is the
same; essentially the relationship between
grandson and grandmother is the same.
She still finds fault with him and she still

Representing the Hollywood Junior Chamber of Commerce, ©ordon Oliver and Judith Barrett
turned up at the station to welcome the Movieland Tourists, and presented the key of the city to
the senior member, the charming little sight-seer who has celebrated her eighty-third birthday

50

MOTION PICTURES ARE YOUR BEST ENTERTAINMENT

finds much, to praise. She has not let his
new success in the world affect her opin-
ions, not one whit.

One of the things that most upsets her
about Bob Taylor of today is that rugged,
sun-tan color he has acquired during the
last few years. Invariably as he steps in
the door, she says, "Oh, Arlington, I had
hoped that you would give up this tanning
business. Your nose is peeling and you
look like a young Indian! Please!" And
then Bob explains all over again for the
forty-eleventh time that a fellow can't
have a ranch and ride horses and raise
alfalfa and play tennis in the California
sun without getting burned and peeling
now and then. And besides he likes it that
way. So in the end the discussion never
arrives anywhere: Grandmother still
sticks to her ideas, and Bob still peels.

■ Another opinion that Grandmother
has is that Bob should get more fun
out of life. She is inclined to believe that
he lets fame rob him of too much. "Now
for example," she said, "Arlington gave
me a beautiful white fur jacket last Christ-
mas to wear with my formals — " Oh, yes,
Grandmother is very modern in the
clothes-respect — "and then he invited
me out for an evening, so I could wear it,
I guess. Barbara went along too, and we
all went dancing some place. To one of
those night clubs. But everybody stared
and looked at us so that it got uncom-
fortable after a while and we decided to
move on somewhere else. We went to the

Palomar next, and we were just beginning
to have a wonderful time there when the
same thing started all over again. People
asking him for autographs; strangers
dancing right up to him on the floor, say-
ing, 'Hi there, Bob Taylor' — dreadful
name! — and everybody watching and
listening to everything he said. So we had
to leave there, too. Things like that hap-
pened so often that after a whilo Arlington
just didn't want to go out any more at all.
But finally I had a good talk with him
about it, and scolded him a little. Barbara
and I together did. Because Arlington is a
boy who likes gaiety and dancing, and if
he's going to stop those things, just be-
cause of being stared at, then he'll grow
old in no time. I tell him he just can't be
so sensitive. A man in this business just
can't be sensitive about what people say
or do or write about him — or he won't
have any youth. And youth is the most
important thing in the world.

"Then after youth, the most important
thing in the world is a happy home life. I
tell him, and Arlington knows it too, that
all the money and all the fame in the world
doesn't mean anything, if you're not happy
in your home. So pretty soon, I guess,
Arlington will settle down to that, too.

"Of course he's got a cute little home
now, but it's a bachelor's home, and no
bachelor's home is complete. But he does
have a few little things around to remind
him of his old home and of us, his mother
and me, and to make him look forward to

another, more real, home when he's mar-
ried someday. He's got a silver napkin
ring I gave him twenty years ago, with
his name on it, and he uses it even now.
And he's got the same old cookie jar I
used to keep full of ginger cookies, and
every now and then I send him over a
batch so he can keep it full now. Things
like that keep a man remembering what
a home life can really be like even if he
is a movie star.

B Grandmother suddenly looked at the
clock and jumped. "Oh, I'm sorry, but
you'll have to excuse me now. Arlington
and Barbara are coming for supper and
I want to get everything ready for them.
There are a couple of little things I bought
for them today — sort of as a little joke.
Would you like to look at them? See, it's
the maid's night out and Barbara and
Arlington are going to get the dinner
themselves."

There on the dining room table reposed
an apron for Barbara, of blue, yellow and
red printed calico, and beside it was a
white chef's cap for Bob.

"What am I going to do?" Granny
laughed, and a twinkle came into her eyes.
"Why, while they work I'm just going to
sit around and tell them what to do!"

So in a way it's still much as it used to
be, Grandmother still rules the roost. The
roost has moved from Nebraska to Holly-
wood, and the trimmings are a little dif-
ferent, but Bob still likes to go there just
the same!

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Don't miss the Special Holiday Edition of HOLLYWOOD
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bargain at 5 cents. Watch for it on the news stands on
November 10.

come back Bigger, Uglier

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You Can't Take It With You

[Continued from page 29]

REMOVE CORNS ROOT AND ALL

* A plug of dead cells root-like in form and position. If
left may serve as focal point for renewed development.

Jack Benny air show, was having the time
of his life truckin' to the music of Lionel's
harmonica and Donald Meek, who was
also in the cooler by this time, got all hot
and bothered and after pushing us bums
around, cleared a little space and tried
to show Eddie a few jig steps of his own.
I'll say this for a little guy who is getting
somewhat stiff in the joints (and I don't
mean nightclubs, Miss Editor) Donald
certainly showed Eddie a number of heel-
and-toe routines that would grade an
A-plus in any hoofer's league.

All this time I was wondering what had
become of Director Capra. Once in a while
I'd steal a glance toward the cameras to
see how he was taking it, but he was no-
where in sight. It was only when some-
body rang the bell and the cameras
stopped grinding that L managed to get
a peek at him. He'd come onto the set,
then, and in his soft, quiet voice explain
what he wanted done on the next 'take.'
Not a sign, though, of the bullying, ex-
cited, loud-mouthed and nervous direc-
tions uttered by so many other big-time
directors when the shooting went off on
the bias. He was always patient, always
kind and gentle — but don't think for one
single minute that he didn't know what
was going on, what he wanted done, and
that we didn't try to do what he asked.
And that goes for Edward Arnold, Jimmy
Stewart, Lionel Barrymore, Donald Meek
and the rest of the high-priced cast — all
of whom seemed to be mighty well pleased
to be working for him. I even heard them
say 'yessir' to him — and that's something
an actor rarely says to a director.

| Well, as I say, the bell kept ringing,
Art Black kept shouting "quiet," and
we kept on doing this sequence over and
over with Capra never once flicking an
eyelash in excitement, never once speak-
ing sharply; and the funny thing about it
all was that nobody seemed to get tired.
Not even Lionel Barrymore who was a
pretty sick man in real life as this reel
was being shot. Lionel had the misery
in his right leg and he was suffering
ninety-nine per cent of the so-called tor-
tures of the damned, but the old trouper
found plenty of time between takes to
spring his favorite jokes.

It was Barrymore who sprung the sur-
prise birthday party in honor of Director
Capra during the luncheon hour that day.
When the director came back on the set
to resume the shooting he was greeted by
a chorus of "Happy Birthday to You" and
leading the chorus was none other than
Lionel. It was Lionel, too, who led Capra
to a table in the center of the set and
uncovered a monster birthday cake,
decorated with one lone candle and an
inscription "Happy Birthday from the
Capra Troupe."

It was Lionel, too, who made the speech
of the occasion.

"We weren't sure, Frank, about the
candles," he grinned broadly, "except that
you rated a lot less than my cake held

when you gave me my birthday party last
week. So we only used one."

That was the only time I saw the direc-
tor flustered. But flustered or not, he
authored a neat little impromptu speech
in return when he said: "Let's cut the
cake, Lionel, because You Can't Take It
With You."

H After we'd had our cake — and eaten
it, too — Jean Arthur, who plays the
feminine lead in the picture, introduced
her new game of "couplets." Here's the
way it goes just in case you want a good
substitute for charades, quizzes, and
anagrams.

First Jean wrote various words or
phrases on several slips of paper. These
referred in each case, to some phase of
the picture. The slips were then tossed
into a hat and everybody on the set came
up and drew out one. Each of us was then
required to write a couplet in which the
word or phrase was rhymed.

Jimmy Stewart, in the opening clash,
drew a slip bearing the words "Academy
Award" and was declared the inter-cast
winner with the following championship
verse:

Frankly, Mr. Capra, ain't you getting
kind of bored,

Always winning, or presenting, the
Academy Award?

Halliwell Hobbes and Donald Meek
protested Jimmy's versified victory on the
grounds of professionalism. They called
attention to the well-known fact that Jim,
while at Princeton, studied poetry under
Alfred Noyes, professor of English verse,
but Jean stuck to her selection and de-
clared Jim the winnah.

Ann Miller, whose role in the picture
caused her to be on her toes eight hours a
day in ballet slippers, drew the word
"Capra" and Jean awarded her second
money with this couplet:

Working for Capra
Is not any snapra!

The name "Robert Riskin," author of
the screen play, appeared on the slip
drawn by Spring Byington. Spring, who
plays the playwriting part of Penny,
leaped to her property typewriter and in
less time than Lionel Barrymore could
play Turkey in the Straw on his har-
monica she had pounded out the following
couplet to win third place:

Through these funny scenes we're
friskin',

Thanks to Mister Robert Riskin.

Other verses, mine included which ran
its ragged meter something like this:

Us extras can't act like Auer Mischa
and Hobbes,

But we sure can eat cake — just gobs
and gobs!
were listed among the "also rans" in the
jingling handicap and maybe the less said
about them from now on the better.

Away from a set, and at a home party,
Miss Arthur explained, her new game of
"couplets" should prove fun. Where there
is a guest of honor, for example, all the

52

MOTION PICTURES ARE YOUR BEST ENTERTAINMENT

words or phrases to be rhymed should
concern some humorous reference to that
person.

9 I met up with a very interesting guy
that last day in the hoosegow. Johnnie
Tyrell. Maybe you remember him. He
used to be a comedian in big-time vaude-
ville. Since coming to Hollywood he has
been typed as a gangster and in this pic-
ture he takes the part of "Brainy" who
is hired to drive Lionel Barrymore and
his eccentric family out of the neighbor-
hood. He, along with Dick Curtis, who
goes by the name of "Dopey" in the pic-
ture, are to be paid $100 for the job.

"But when we get to the house," Johnnie
said, "fireworks explode and blow us
smackdab into jail."

It was Johnnie, sitting there beside me,
puffing on one of my home-made cigar-
ettes, who explained the plot of the picture
and if it's as good as he claims Columbia
Studio has really 'got something there.'

"Grandpa Vanderhof, played by Lionel
Barrymore," he said, "has been a money-
grabbing financier in earlier years. But
thirty-five years before the story opens he
has decided that excess wealth was worth-
less. Imagine that! In these days! 'You
can't take it with you,' Grandpa says, and
so he quit business and started the fun-
filled career of rearing a family imbued
with his own care-free theories. So,"
went on Johnnie, "living under the toler-
ant Vanderhof roof we find these members
of Grandpa's family:

"Penny Sycamore (Spring Byington),
who writes and paints; her husband, Paul
(Samuel S. Hinds), who makes fireworks;
their married daughter, Essie Carmichael
(Ann Miller), ballet dancer and candy-
maker; Essie's husband, Ed (Dub Taylor),
who sells Essie's candy, prints, and plays
the xylophone; and Alice Sycamore (Jean
Arthur), sanest of the family and a secre-
tary in a New York banking firm. In the

household, along with the above-men-
tioned screwballs, are Mr. Poppins (Don-
ald Meek), Mr. De Pinna (Halliwell
Hobbes), who helps make the fireworks;
Boris Kolenkhov (Mischa Auer), Russian
dancing master, and two colored servants,
Donald (Eddie Anderson), and Rheba
(Lillian Yarbo). What a family!

"Now," went on Johnnie talking fast,
"Alice loves Tony Kirby (James Stewart)
whose private secretary she is. Tony is
son and heir of Anthony J. Kirby, multi-
millionaire, and Mrs. Kirby (Mary
Forbes) , snobbish dowager. Tony loves
Alice and believes his pop and mom are
genuine enough to like the Vanderhof
outfit. Alice decides to invite Tony's
family to dinner, but Tony crosses her up
and brings them one night when the
screwballs are their screwiest and believe
me, pal, things begin to happen. The police
arrive, the fireworks start to explode in
the basement, and the whole kit and
kaboodle start to explode in the city jail.
In court, Alice angrily repudiates the
smug Kirbys — Tony included — and when
they are released on bail she takes it on
the lam for a good long rest. Tony resigns
from the bank, Papa Kirby gets converted
to Grandpa's philosophy, and in the final
fade-out everything ends happily with the
united families gathered for a dinner of
celebration."

That's the story just the way Johnnie
told it to me as I sat there in the nice, cool
pokey waiting for Director Capra to give
the "go" sign to his cameramen.

Well, as I said in the beginning, it finally
happened here!

I got tossed into jail for three days — and
got paid for it. And since I couldn't take
it with me I took my folding money and
went out and had a lot of good, old-
fashioned fun, and, while it isn't for pub-
lication, I can still hear fire-crackers,
pinwheels, and bombs going off inside my
noggin!

Dixie Dunbar is all dressed up for college, at least she is dressed for her new picture, Freshman

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Girl Crazy

[Continued from page 34]

comes from Texas. She arrived in Holly-
wood via the beauty contest route but re-
fused to accept the fate of the usual con-
test winner. She would not quit and go
home when success was slow in coming
but plugged along five years to get a
real break. After that, her first small
part, she sailed right into leading roles
and has played them ever since. She has
been married for two years to Edward
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plenty of commendation himself in Holly-
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Warner's best bet.

Contrary to the general impression, the
Kids are not the product of New York's
slums. It is a sincere tribute to their
respective talents that the illusion they
created on stage and screen has become
endowed with life. Neither has any of
them ever known real want. Respectable,
middle class parents are behind all of
them.

Four of them were trained in the Chil-
dren's Professional School in New York
from whence they were drafted for the
original "Dead End" cast on Broadway.
Bernard had an uncle who was a theatri-
cal agent, and Leo's father is a well
known comedian, which accounts for
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IB Leo is the eldest, being 21. He'd like
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Actually he has a soft and sensitive streak
in him that expresses itself in his writing
of sentimental stories and poetry. (But
never make the mistake of confronting
him with it!) He's mad about speed. So
much so that the studio found it neces-
sary to install a throttle governor on his
car which sets his limit at 40 m. p. h. It
would be 90 if he had his way about it.
Physically he is the smallest, standing
only 5 feet 6 and weighing 125 pounds.
He has a swarthy skin, dark hair and
blue eyes, and has played in more pic-
tures than the rest.

H Gabriel is 19, the son of an Italian
doctor and mother. He wants to be a
writer or a motion picture director. He'll
fight for his convictions but he won't do
it via a loud argument. The other boys
respect his abilities with his fists, despite
the fact there appears to be little of the
rowdy, genuine or faked, in his make-up.
His first interest in the theatre was aroused
in high school where he played an unique
interpretation of Hamlet a la farce, of all
things. He was born in Brooklyn, has
blue eyes and brown hair, is 5 feet 10 and
weighs 145 pounds.

■ Huntz Hall is next in age. He's 18
and reminds one of a playful puppy.
He is Irish, and was christened Henry
but looked so much like a little German
baby he was nicknamed Hans, from
which the Huntz was derived. He is
quite the "ladies man" of the bunch, likes
to gamble, and wants to be a movie pro-
ducer so he can order 40 elephants at a
crack. Born in New York, he is 5 feet

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MOTION PICTURES ARE YOUR BEST ENTERTAINMENT

8V2, blue eyed, and weighs around 140.
He has five brothers and two sisters.

■ Although only 16, Billy Halop gives
the impression of being top guy of
the bunch, probably because of the quiet
way in which he seems to assume author-
ity. He, too, was born in Brooklyn, the
son of an attorney. He made his profes-
sional debut in radio when he was 6 and
has had more experience than the others.
He has a fine analytical mind and ex-
presses himself well, a trait undoubtedly
inherited from his lawyer father. He is
5 feet 7, has brown hair and blue eyes and
weighs 142.

H Both Bobby and Bernard were born
in New York 15 years ago although
Bobby has a four months' edge on Bernie.
His father owned a garage. Bernie's dad
ran a clothing store. Like Billy, Bobby
made his debut in radio when he was 6
in a radio serial that ran 3 years. In
pictures he has played a number of roles
apart from the group, and was a member
of the original "Street Scene" cast on
Broadway. Bobby is the least handsome
and has the most charm of the six, a
double-edged fact which seems to annoy
him. He has brown hair, blue eyes, is
slightly taller than Leo and weighs a
couple of pounds more.

Bernie is the student of the six, prefer-
ing a good book or a good play to batting
around with the other kids. When he is
with them, however, he plays the noisy
rough-neck role to the hilt. He wants
to be a bacteriologist and sincerely is
convinced that scientists contribute more
to humanity than actors. Until "Dead
End" opened, he never had set foot on a
stage. He is top man in weight with 170
pounds, stands 5 feet 7, and has dark
brown hair and brown eyes.

| There, then, are the six girl-crazy
young gents and the girl they all are
crazy about. As I said, the affair started
as a gag. To give "Toots" the works.
They failed to reckon however (as many
men before them have done) on the stay-
ing power of red-heads and the particular
brand of dynamite they pack. Epecially
Ann's brand.

At first it was good, clean fun. They
dogged her footsteps. They romped all
over her. They chased her to her dress-
ing room and pounded wildly on the door
for admission. They lampooned her quiet
husband and made noisy and passionate
avowals of their love. They moved
heaven and earth to get her goat. No
matter where she turned she found at
least one, and usually six, obstreperous
young hooligans ready to bedevil her with
some new nonsense.

"Scram, you bums," she would say in
their own language, and they'd scram —
closer! It reduced Director Mike Curtiz
to tears of rage. Ann, however, con-
tinued to smile and it baffled them com-
pletely. If just once she had broken
under the siege, the thing would have
ended then and there.

"There's something sour here," Leo
muttered. "The dame's not human."

"Yeah," the others agreed. "It's the
nuts."

H Something was bound to happen.
It did. Ann entered her dressing
room one morning to find a lovely box
of dark red roses awaiting her. Inside
was a card with a name scrawled on it.
For the first time one of the brats had
brought tears to her eyes.

"Thank you, Bobby," she said later. "It
was dear of you to send me those roses."

Bobby blushed violently and squirmed
under the accusing looks of the others.
So! There was a traitor in their midst!
Defiantly he squared his shoulders, met
their eyes straight on. "It's okay, Toots,"
he said. "Glad you liked them." He
turned to the others. "Any of you guys
got anything to say about it?" he de-
manded. "If so, step outside."

No one had anything to say. But there
was a lot of good, hard thinking being
done.

The next morning Ann found a small
bottle of fine perfume. With it was
Gabriel's message. Billy's tempting box
of candy arrived next, and after it, a
soft lacy scarf from Huntz. By now the
kids frantically were trying to top each
other and made no bones about it. It was
every man for himself and the devil take
the hindmost. Bernie scored heavily with
a book of poetry but it remained for Leo
to walk off with top honors. He wrote
a poem, and dedicated it to her!

"Now what?" Ann wondered. The
thing was getting a little out of hand.

B It was with distinct relief she noted
the return to normality a few days
later. The noisy, embarrassing adulation
began all over again with Eddie, her hus-
band, coming in for a fine rousting around.
They threw the book at him as far as
uncomplimentary names 'were concerned.
Long and loudly they advised her to get
rid of "that character," "that comic car-
toon," "that specimen," "that mouse of a
man."

"The Character can take care of him-
self," she would answer. "You guys aren't
so tough!"

I have my suspicions it was The Char-
acter who framed the deal. Certainly it
was he who planted the seed of the idea
for the seven-way date.

"You punks are always talking!" he
said. "Why don't you do something.
You've been yapping about dates. Why
not take her on one?"

The kids went into a huddle. Out of
it emerged The Plan. All six of them
would take her on a date at one and the
same time!

A Friday night was set. After consider-
able bickering among themselves, the
Palomar, a public dance hall, won out
over the Rollerdrome, a skating rink. All
six sent corsages which Ann meticulously
wore. A fragrant but slightly confusing
mixture of orchids, gardenias, roses,
camellias, violets and snap dragons. All six
arrived at Ann's home in their own cars,
too, not having been able to settle that
argument among themselves. A battle
royal was averted when Ann suggested
they draw straws to decide in whose car

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she would ride. Bobby won but not with-
out accusations (and rather well-founded
ones) of nefarious chiseling.

"Now about dinner," Billy said. "We
thought it might sort of be fun to drive
in a hamburger joint along the way
and. ..."

"Hamburger nothing!" Ann said.
"When I'm out with six guys like you,
it's the Brown Derby or nothing. Besides,
I'm hungry!"

"See, sap!" Bernie hissed. "I told ya
we oughtta just. . . ."

"Shut up!" Huntz snapped. "You smart
guys will never listen. . . ."

"Kill it!" Leo ordered. "We'll take that
up later."

All decidedly was not well among the
six toughest guys in town. It got no
better fast at the Derby and at the
Palomar where they went for dancing
after dinner. In the first place, they had
been hit in the pocketbook unexpectedly,
and in the second, jealously was biting
right and left. Huntz was trying to grab
every dance. Billy was monopolizing her
conversation. Bobby was trying to put
over a fast one, taking her out to look
at the moon. Bernie was playing an un-
fair advantage with his "I'm the young-
est" act. Leo was double-crossing them
with a lot of highfallutin' smooth talk.
Gabriel, by keeping quiet, was hogging
the limelight.

H Three invitations to "step outside"
were issued — and accepted. Open
threats were made and warnings given.
A good, old-fashioned free-for-all was
ready to pop when Ann said it was about
time she was getting home.

"Now listen, you guys, I'm taking Ann
home. Get it?" Leo stated.

"Yeah, over my dead body," Billy in-
formed him.

"Yeah, and mine!" came from the other
four.

"There's no use fighting about it, boys,"
Ann cut in. "You see, I've already. . . ."

"Sorry, Toots, but you keep out of
this. We'll settle it ourselves," Leo an-
swered.

"But. . . ."

"No dice, Sister. Don't argue. We'll
handle this. We take care of things dif-
ferent than The Character."

"Okay, Big Shot," Ann shrugged. "I
won't say another word." She smiled
quietly to herself.

The straw system again was invoked,
the holder of the longest straw to escort
Ann home. Eagle eyes were kept peeled
for chiseling and amidst a noisy ruckus
the straws were produced and the cutting
started. In the general hullaballoo no one
noticed the arrival at the table of a tall,
dark chap who stood quietly. No one
but Ann.

"Ready, darling," said The Character's
wife. She rose and slipped into her
wrap.

"Good night, boys, and thanks," she
called to them. "I'll be seeing you."

The mouths of six very tough young
gentlemen fell open. For the first time
during the entire evening there was per-
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1) 'ill

Roping Gary

[Continued from page 43]

around Joan's beautiful pool. Trays of
food being served hourly. The garden
stretching far back. A couple more beau-
tiful movie stars playing badminton and
Cesar Romero (have you ever been able
to figure out why they call him "Butch?")
trying" to make up his mind whether he
would feel better or worse for going into
the pool. Ray Milland sitting in the shade
reading magazines.

But Ray Niven was there so I didn't
care what else happened. I owe him a
debt of gratitude for a valuable lesson he
taught me. I'm the sort of person who
prefaces every story with, "Just listen to
this. It's the funniest thing you've ever
heard. You'll simply die over it." After
such a build-up I'm lucky if I get even
a polite snicker.

Niven has a different technique. In that
quiet way he begins, "I shall tell you a
story. I'm sure it won't make you laugh."
And he tells you something so scream-
ingly funny you're rolling on the floor.

Ray Milland and George Murphy had
to go home sometime during the after-
noon to feed their respective dogs. What
with Sunday traffic we were already
seated at the dinner table when they re-
turned since Joan was running a movie
that night which had to be out of her
house by nine o'clock for someone else to
run.

Poor Ray, excited by holding things up
like that turned over a glass on Joan's best
linen. Niven turned to Mrs. Milland and
said, "So! He's not only late but dirty."

| It was Mrs. Milland who reminded me

about my undone story — and I'd been

trying to push it back into a dusty mental

pigeon hole. She confided that for years
Gary Cooper had been her favorite screen
star. At last she met him and was putting
her best foot forward when Ray, who, like
most husbands can be such a big help at
a time like that, came up and said, "Mai's
a pretty nice girl, Gary."

Gary said he had found that out and
Mai felt wonderful.

"Except for one thing," Ray went on.
"She's crazy about you!"

Mai said she felt simply terrible but that
Gary was still her favorite and she told
me she had heard from people who had
been on the set that The Cowboy and the
Lady was the best film Gary has made
since Mr. Deeds and she was mad to see
it.

So that night I was still thinking about
Gary and I knew that I simply had to see
him the next day because time was flying
as time does. I wondered if maybe Gary
was getting temperamental. Could it be
that he was going ritzy about inter-
views?

I thought about how amazed everyone
was when Gary married a social register
girl. Folks said they couldn't imagine that
long tall cowboy keeping pace with a sas-
siety girl like Sandra Shaw. Yet once
Gary's father had told me, "All this stuff
about Gary's being a cowboy is a laugh.
Why, the boy was educated in England.
If you want to know about Gary you
should interview me not him."

Was he reverting to type, maybe? Had
the critics' raves he's gotten gone to his
head? I'm not asking you I'm just telling
you what was going through my mind that
night on the way home from the party.
But I answered those questions myself by

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recalling something that had happened a
couple years ago.

I had wanted a specially posed picture
of Gary and had talked to his press agent
about it. "Gary's being difficult," the PA
said. "I can tell you right now he won't
do that picture. No use even asking him."

As I was leaving the studio I saw Gary
coming in. Just on the chance that the
press agent might be wrong I asked Gary
to do the picture.

He smiled that slow smile. "Sure," he
said, before I even told him what it was
about. "If you've got the time I'll do it
right now." And we went to the pho-
tographer's and the picture was taken.

I thanked Gary, "Don't mention it. Any
time. You know that." Gary smiled
again — that slow warm smile coming up
like the dawn across his face. And I knew
then that anybody with that kind of smile
just doesn't go temperamental.

So I got the studio on the telephone and
explained that I was leaving town next
day and I received their promise that I
would be called back in the course of an
hour. But the awful thing is that I wasn't
there when the call came! Ten minutes
after I had spoken to Gary's studio, Joan
Crawford called and asked me to come out
for luncheon. I told myself it was my pro-
fessional duty to go because that would be
a big smash story for you if she talked
about her separation from Franchot, and
naturally I hadn't brought up that at her
big party.

Joan was having a singing lesson when
I arrived, so I listened to that voice that's
so strong and true she seems to be pulling
the notes right up from her painted toes.
Luncheon was announced just as the last
low G was rumbling around in the music
room and you can't get intimate when a
butler is hovering near. And by the time
we had recovered from luncheon there
was horseback riding to be done.

But on the way to the stables I honestly
asked Joan what she intended saying
about the separation for publication. And
she said she didn't intend to say anything,
that there wasn't any big inside story, and
that she didn't know what more to say.
Honesty made me agree that she was quite
right and that anybody with a lick of sense
could see that the whole trouble was that
Franchot wanted one kind of life and she
another.

H So that was that and I felt guilty be-
cause I had enjoyed myself so much
with the singing lesson, the luncheon and
the horses and didn't have any big smash
story for you. When I got back home the
studio had called and I couid have seen
Gary that afternoon but it was too late.

Gary had left the studio, and I had to
leave Hollywood, and I didn't have the
story from Joan, and I didn't have the
story from Gary, and I feel terrible about
the whole thing.

Yours apologetically,

KATHERINE ALBERT.

Cupidata: Marie Wilson's bosses must have assured
her she's going to be a star. She has always said she
wouldn't marry until she was sure her family would
be provided for, without help from her husband-to-
be. Now she says she's going to marry Director Nick
Grinde, come October 21. Their engagement has set
a long distance record, for Hollywood: four years.

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MOTION PICTURES ARE YOUR BEST ENTERTAINMENT

1 2 w j i « ts&wBi an

1 2345 6789 10

*L - - J1

13 14 |I5 116 |I7 lib
19 20 121 22 j 123 24
25 126 21 |28
29 30 |3I 32

33 134

35 36
43
47
51

I

60

37 38 ! |39 40 41 42
■44 45 |46
48 B49 150
■52 53 |54 |55
p6 57 58 59

61

i6<yr-fi

OUfOf

THf*0SSi

1.

6.

11.

12.
13.
15.
17.
18.
19.
21.
23.
25.
26.
28.

29.
31.

39.
45.

44.
46.
47.
49.
50.
51.
52.
54.

55.
56.

58.
60.
61.

latest.

ACROSS
Nickname of Mr. Gallagher, comedian.
Todd Harrington in Little Miss Thoroughbred.

of the Underworld (pi.).

Songstress of the animated cartoons.

from the City is Joe Penner'

Red the Rose.

Director gang's initials.

Charles Boyer's birthplace (abhr.).

The Stand.

Feminine lead in Panamint's Bad Man.
Flash Gordon's Trip to .

Wild Night

Descriptive of a Donald Duck film.
First name of one who was Bu~"y ir
Wonderful Time.

Pat in The Cowboy From Brooklyn.
M-G-M male star (poss.).

The Two of .

Miss Astor's initials.
Four Men and a .

Having

She portrays the mother in Jones Family series.

Laurel and Hardy co-starred in

Relations.
Registers sullen crossness.

Hot To Handle.

Russian actress.

Meets Girl.

The Crowd s.

Thurston Hall's initials.

Doctor.

Locale of many scenes in The Toy Wife

(abbr.).

Mr. Carey's initials.

First name of one who portrays a governor in

Booloo.

Hero of Pride of the West.

First name of 29 Across.

She had lead in Rich Man, Poor Girl.

9.
10.
14.
16.
18.
20.
21.

24.
26.
27.
30.

32.
35.
36.
37.
3S.
39.
40.
41.

42.

45.
48.
50.

53.
54.

56.

57.

58.
59.

DOWN

Give Me a .

Ole in Little Miss Broadway.

Buck Jones starred in Headin' .

Gun Justice was a Tim McCoy film.

Initials of actress who recently wed Luther

Adler.

Miss Brian's initials.

Animal seen in westerns.

The secretary in My Bill.

Bringing Baby.

Western stars ride them.

Long hair on neck of M-G-M lion.

Short for Mr. Hinds, character actor.

Remember Norma Shearer in A Soul?

The Port of Seven (sing.).

A star of Gatezvay.

What a blonde often wears when portraying

a brunette.

It's Yours.

A Slight of Murder (pi.).

The Luck of Roaring (pi.).

First name of one who portrayed the judge in
Romance of the Limberlost.

58 Across had lead in 20 Justice.

Decorative bill in a theater lobby.
First name of 61 Across.

The Marines Here.

The museum attendant in Professor Beware.

Richard Dix starred in Giant.

The Sakai Chief in Booloo.

First name of a featured actor in Panamint's

Bad Man.

One of Dead End boys.

She is sometimes co-starred with 31 Across.

British miss in The Girl Was Young.

Songstress in Walking Down Broadway

(poss.).

Roach is a producer.

Mary Lender was the bride in

Professor Beware.

Ladies Distress.

Virginia Bruce was bor

Minnesota and

reared in this state (abbr.).

Miss Hume's initials.

Initials of actress formerly wed to 5S Across.

■
■

Say, who said the boss
wasn't human? Right in the
middle of a Board meeting he
wanted a stick of Beeman's.
And with every Director casting
hopeful glances in my direction
I opened an extra pack in my
purse and passed it around.

"Have a treat on Miss Street,"
said the boss. "You never tasted
a tangier flavor. Relax and re-
joice with Beeman's. Even our
ne w budget will be easier to take.
You will find that flavor as fresh
as an ocean breeze."

(Solution on page 60)

$250,000 MOVIE QUIZ CONTEST NOW AT YOUR LOCAL THEATRE

59

Tram to

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| 500 S. Paulina Street Dept. 88-34 Chicago, Illinois

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Hollywood Newsreel

[Continued from page 17]

combined to give Virginia Bruce her big-
gest break in years, the role opposite
Freddy March in There Goes My Heart
at the Hal Roach Studios.

The gals mentioned above turned down
the part because they felt that they'd
been mixed up in enough comedy. As a
result, Virginia gets her first starring part
in a million-dollar production, her first
comedy role, and her first appearance
opposite March.

B *** No more of this kicking the pig-
skin around for Mickey Rooney. Both
his mother and M-G-M have nixed the
idea that when he enters UCLA this fall
he can play football. Not even on the
scrub team. For one thing, Mickey is too
small (four feet, eleven inches) and for
another he's too light (he weighs 128
pounds in his birthday suit) and for
another the little guy is too important in
M-G-M pictures to have him risking his
neck on the gridiron.

H An agent was complaining about
the slowness of his business because
of the slowing down of production at the
studios. He said to Carey Wilson, "Last
year things were 30 good that I was even
getting servants jobs as actors. But now
things are so bad the actors are consider-
ing jobs as servants." Wilson was im-
mediately interested. "Could you get me a
cook who looks like Alice Faye?" he
wanted to know.

H What with one judge deciding that a
Mexican marriage isn't legal in Cal-
ifornia, while another judge may say it is,
Gloria Stuart and scenarist Arthur Sheek-
man didn't know whether they were mar-
ried or not — even though they did elope
to Agua Caliente four year ago. But they
agreed that, if they weren't married, they'd
like to be. So they eloped all over again,
this time north to Carmel, and had a jus-
tice of the peace make it official. This has
given ideas to other married-in-Mexico
couples, like Myrna Loy and Arthur
Hornblow, Jr., and Gail Patrick and Rob-
ert Cobb. Watch for more "second elope-
ments" out of Hollywood.

Crossword Puzzle
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I \M

The Show Goes On

[Continued from page 8]

from Bulova watches, the man from the
airport and the three representatives from
movie studios.

The telephone rang and a bell boy came
in with a fist-full of telegrams.

I looked back at the little grey pants in
disbelief, and noticed a great big suit
hanging on the other end of the mantel.
One of the pockets was torn, two buttons
were ripped off and something seemed
very wrong with one lapel.

The telephone rang and Bern came back
to answer it, pointing at the suit as he
passed. "Crowds wrecked three of them,"
he said. "Maybe the boy's smart to stick
to his leather jacket."

Bern is a big man. A very big man.
He must stand over six feet tall, and he
looks as if he played football in college.
The suits looked as if he had been playing
football in the streets of New York.

This is supposed to be a story about
Douglas Corrigan, but you should know
about Ed Bern, too, because he is as much
a part of modern aviation as the air, it-
self. He is also an important part of the
story of Corrigan.

Bern is one of the great public relations
counsels. He has been at various times
in his career, a flier, head of an airplane
transport company in the early days of
commercial aviation, and of later years
representative of American Airlines. And
during Corrigan's stay in New York, he
found himself acting as involuntary body-
guard more than once.

He has that hard-bitten mouth, that
soft voice, that eagle look, that sense of
humor that is typical of so many fliers.
And he has been in constant touch with
Corrigan since that incredible boy set his
high-powered crate down in Mitchell
Field after his transcontinental flight.

The story goes that Corrigan turned up
uneventfully, saying he had just flown in
from Long Beach. At first airport officials
took it far granted that he meant the Long
Beach on the eastern coast. Then, bitten
with a sudden suspicion, they said, "Long
Beach, where?" "California," said Corri-
gan. "How did you come?" asked the
officials, eyeing the "crate" in disbelief.
"By the southern route," said Corrigan,
and went into detail as to why, in his
opinion, that was the best way across.

The southern route is the one flown by
American Air, and the result was that
Corrigan was signed for $500 to fly back
along that way, making numerous stops
to exhibit his ship and repeat his opinions.
The next that the company heard of
their new employee, he was lost over
Boston. And the next after that was that
he was in Ireland.

To the eternal credit of the company,
let it be said that they reached Corrigan
on the transatlantic telephone. "Listen,
boy," they said. "Things have changed a
good deal since we signed you. and we're
not going to stand in your way because
you'll get some big offers."

Under the Atlantic, Corrigan's voice
came clear. "I signed for it, and I'll do it
on the dates agreed," he said.

And that was the way it stood.
"He's never broken his word about the
smallest thing since I've known him," said
Bern. "His word is a contract to him."
The telephone rang, there was a wild
flurry at the door and in stepped Corrigan,
followed by the Mayor's personal repre-
sentative, two newspaper men, the hotel
manager, a man bearing a big metal
placque, a photographer, and a chauf-
feur.

Then the storm broke. Flash bulbs
flared. "Yes. No. Yes. No. Fine. Yes. No.
Maybe," said Corrigan to the reporters.
The telephone rang. Corrigan held his left
hand out so the Bulova watch man could
try on his new wrist watch. With his right
he signed some kind of a paper needing
immediate attention. The telephone rang.
The strap on the watch was too big for
his sinewy narrow wrist, and a messenger
was dispatched to get a new one after a
barrage of questions as to when he was
leaving for the field. The telephone rang.
"No, I won't sign," said Corrigan to one
of the men with contracts. "Have to think
it over." A waiter brought in a table with
coffee and orange juice. The telephone
rang. Bern handed Corrigan the newest
batch of telegrams. "Have I got time for
a sandwich?" said the chauffeur. The
telephone rang. "Then will you make an
appointment for Monday?" said one of the
men with contracts. "Then will you give
us an answer at the field this afternoon?"
said another of the men with contracts.
"If you won't sign, will you promise to
see us before you leave?"
Suddenly there was peace.
The reporters had finished and were
gone, and Bern skillfully cleared the
room.

"Where's my razor?" said Corrigan run-
ning an embarrassed hand over the light
stubble on his chin. He was assured that
his 15-year-old razor was waiting in the
bathroom, but he could attend to that
after he had told readers of Hollywood
Magazine about his picture career.

"I know one thing," said Corrigan, and
his small face broke wide open into that
mischievous smile which has become so
famous. "No love scenes. Nope. I should
say not!"

"Have you ever seen a movie yet with-
out a love scene?"

"I'm going to make them put it in the
contract!" said this most amazing of all
potential actors. "Not me. I'm going to
write the story myself with Marcella
Burke and they aren't going to get me to
write in any of that love stuff in my part."
At that time there was talk of Corrigan's
playing in a film, but evidently the idea
of a movie clinch and all of the other
things expected of an actor made him
think again. Around about he turned on
all of the acting contracts, off he went in
the other direction, and the last news is
that he has gotten his own price for re-
leasing the story of his life to Radio Pic-
tures, but that he will not appear in the
film, and so is making good his promise
not to engage in a movie clinch.

amberlain's

parlmenl Stores ftg^
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NAME

F-118

1&>

STREET

CITY-STATE

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$250,000 MOVIE QUIZ CONTEST NOW AT YOUR LOCAL THEATRE

61

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DRY, SENSITIVE,
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Evalyn Knapp has her
own especial recipe for
ginger snaps, and here
she is at work in her
own kitchen showing
how she makes them

„

The Cookie Jar

No home is complete without a
well-filled cookie jar, and
here are some of the favorite
recipes of a favorite movie star

By BETTY CROCKER

| Everyone, I suspect,
has a hankering to
know how they make
those exciting "westerns''
in Hollywood, so I looked
forward eagerly to a visit
with the company shoot-
ing Rawhide, way up the
San Fernando Valley near an
old stage-coach stopping point.
Smith Ballew was a gay and
dashing cowboy hero, and one
of my favorite actresses, Evalyn Knapp,
was the feminine star. Scenes were made
swiftly, for here is what we want in
movies — fast action. Following the troupe
around gave us all prodigious appetites,
and about four in the afternoon Evalyn
rode over to us, reached into her saddle
bags, and drew out a bag of cookies.
Ginger snaps!

"Made 'em myself," she smiled. Smith
Ballew already had popped one into his
mouth but he managed to say, "Oh,
yeah?"

Well, Miss Knapp did make those cook-
ies, because a few days later she made
some for me in her home, and also gave

me her cherished recipes
for "Knapp's Nacks," a
baked dish of meat balls
that is not only tops in
taste, but tops in economy,
too.

Fond as she is of out-
door life — she is Holly-
wood's most accomplished
sailor and makes frequent
trips with her husband in their
yacht, Cielito Lindo — Evalyn
also is strongly domestic in her inclina-
tions. She treasures the recipes which, in
seme cases, have been collected in her
family for several generations. She is
certain that hers have a different taste
from other ginger snaps. Why not try
them out and see for yourself!

GINGER CAKES

1 cup shortening

1 cup sugar

1 egg

1 cup molasses

4 cups all-purpose flour

1 tsp. soda

1 tsp. ginger

62

MOTION PICTURES ARE YOUR BEST ENTERTAINMENT

mm

Cream shortening, add sugar gradually,
and cream thoroughly. Add well-beaten
egg and molasses. Sift flour once before
measuring. Sift flour, soda and ginger
together and blend into cream mixture.
Chill 1 hour or more. Roll out very thin
on cloth-covered board (with flour
rubbed into cloth to keep dough from
sticking). Cut with cooky cutter (2
inches in diameter). Place on well-
greased cooky sheet. Bake 6 to 7 min-
utes in a quick moderate oven, 375° F.
Amount: 12 dozen cookies.

SUGAR CAKES

1 cup shortening
la2 cups sugar

2 eggs
cups all-purpose flour
tsp. baking powder
tsp. salt
cup milk

1% tsp. vanilla or lemon extract

If you wish kitchen-tested recipes
for any particular dish, just write to me
in care of this magazine, enclosing a
three-cent stamp. Remember, my files
contain recipes of every kind and de-
scription, so do not hesitate to make use
of your cooking department in HOLLY-
WOOD MAGAZINE for any special
recipe you may want.

FOR THIS MONTH'S SPECIAL OF-
FER use this coupon.
Miss Betty Crocker,
HOLLYWOOD MAGAZINE,

1501 Broadway,
New York City.

Please send me your set of tested
Cookie Recipes.

Name

Address

L

Cream the shortening and add the
sugar gradually. Add the well-beaten
eggs. Sift flour once before measuring.
Sift together flour, baking powder and
salt. Add to the creamed mixture alter-
nately with the milk. Add the flavoring.
Roll out dough as thin as possible. Cut
with 2-inch cooky cutter, sprinkle with
sugar and bake 8 to 12 minutes, depend-
ing on thickness of cookies, in a mod-
erately hot oven, 400° F. Amount: 6
dozen thin cookies. NOTE: Chilling
dough a few hours will make it possible
to roll cookies very thin. Dough will be
easier to handle with a cloth on the mix-
ing board and a cover on the rolling pin.

KNAPP'S NACKS

For four persons allow a pound of
ground round steak or first-class (not
too fat) hamburger. Season the meat
very well with salt, and ground pepper

corns. Make into balls about the size of
small walnuts.

Cover the bottom of a deep baking dish
with sliced raw potatoes. Put another lay-
er of sliced raw onions on top of the
potatoes. Then put a layer of meat balls
— not too close together. Cover the meat
with another layer of sliced onions, fol-
lowed by a second layer of sliced pota-
toes. Carry on in this order, being care-
ful to always have the meat sandwiched
between the two layers of onions. When
the meat balls are entirely used up, fin-
ish the top with onions and potatoes.

Take a can of tomato soup or puree of
tomatoes. Season with salt, a little lemon
juice and either hot chili peppers ground
fine or genuine cayenne (not paprika) .
Pour this over the meat, potatoes and
onions in the baking dish. Place in a
moderate oven and bake slowly. When
the potatoes are thoroughly cooked (it
will require from forty-five minutes to an
hour) the dish is ready to serve.

This makes an excellent dinner when
served with a green salad.

Wallace Ford is the proud owner of the prize given at The Tailwaggers' party. Bette Davis is holding
the prize who answers to the name of "Lord Buffington" while Constance Collier handles

the microphone

ror the Price of a (
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KNITTED SLIPS

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GIVE YOUR LAZY LIVER
THIS GENTLE "NUDGE"

FOLLOW NOTED

DOCTOR'S ADVICE.

FEEL "TIP-TOP"

IN MORNING!

If liver bile doesn't flow w-.*^7"*^ -..*
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[Continued from page 15]

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material for the jails," he says in that
quiet, subdued voice of his, "but for-
tunately for me the juvenile authorities
got busy and packed me off to Angelo
Patri's school. And that," he smiles
proudly, "was the greatest break I've ever
had in my life!"

Since Patri's school is one for problem
children most alumni might hesitate to
admit that they had ever been students
there — but not John Garfield.

"Angelo Patri is one of the greatest men
in the country," he tells you. "He's
making useful citizens out of countless
hundreds of underprivileged children.
He's had many opportunities to head
bigger institutions at a much bigger salary,
but he prefers the one that bears his name.
It would be a calamity if he ever left. He
certainly changed the course of my life."

Patri had a hard time doing it, though.
Garfield, at the end of his first week in the
school, decided that he'd had enough. He
figured out what he thought was an ex-
cellent scheme for an escape and put it
into practice — only to be caught before
he had gotten as far as the boundary
fence.

"My captors brought me into Mr. Patri's
office and I prepared myself for the worst.
When he started to talk it wasn't about
my escape at all, but about the heartless
way I had stamped down his flower
garden. He talked about other things, too,
and all I could do was to sit there before
him listening and thinking that pretty
soon, now, he would begin to scold me. So
I sat there, getting ready to jump when he
got ready to beat me. I had always gotten
a whipping before when I had broken a
rule and there was no reason to believe
that I wouldn't get one, now. But he kept
on talking quietly and kindly. I believe
that right now I could repeat every word

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he said! And there was no whipping when
he was through! Think of that!"

H Garfield spent many hours in Patri's
office after that initial meeting, and
one day the latter astounded him by saying
that he thought Garfield might make a
good actor.

"He told me later," the ex-toughie says,
"that he had been trying to find some
interest that would appeal to my imagina-
tion and had decided upon dramatics.
Well, the moment he mentioned that art
I decided upon it, too, and for the next
three years that's practically all I thought
and dreamed about."

Spurred by his new incentive, young
Garfield thought, and dreamed, and
studied so much and so hard that during
his first year at school he entered a
national oratorical contest and reached
the semi-finals before being eliminated!
Not bad for a cop-baiting, dead-end kid
in his first trial at public speaking! The
contest had another far-reaching effect
upon him outside of the great thrill of
competition in that it immediately won
for him the respect and admiration of the
Bronx neighborhood in which he lived.
Those who had avoided him like the
plague now sought his friendship and
looked upon him as a hero — which he was,
everything considered.

"I was dumfounded," he admits. "Here
I'd been trying in vain to pound respect
into the kids with my fists and now I'd
won it by words. That was quite a lesson
to me."

H After he had graduated from Patri's
school he was pretty much stymied on
the course to pursue to further his drama-
tic studies. He finally hit upon the bril-
liant idea of writing a letter to Jacob
Ben-Ami, the great Russian actor then
appearing at the Guild theatre. He ex-
plained his circumstances, dwelt upon his
burning desire to go on the professional
stage and ended up his letter by asking a
question. "But how shall I proceed?"

"Much to my surprise I received a reply
from Ben-Ami who suggested that I enroll
in the Hecksher Foundation. The idea was
a grand one and I was all for it, but it took
money and all that I was earning at the
time was about $6 a week selling news--
papers. Desperate, finally, I went to the
Foundation and explained my circum-
stances. Toward the end of the interview
I once again learned the value of words.
When I said that I was recommended to
the school by none other than Jacob
Ben-Ami the whole complexion of the
interview changed. It was a white lie, my
saying that, but it worked. I got the
promise of an immediate scholarship. I
told Mr. Patri about it and what do you
suppose he did? Nothing but add another
five dollars a week to my paper sales
earnings! Don't think I'll ever forget that
kindness!"

Young Garfield stayed with the Founda-
tion seven months. When he left he got a
job as an apprentice with the Eva Le

64

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HE NEEDED MY
KISSES

Sometimes compassion leads a woman
into strange, uncharted paths. That hap-
pened to Judy — and in one short week
she lived a lifetime of remorse and
ecstasy. Read her thrilling confession
in the November ROMANTIC STORY,
now on sale.

no

\HMK

Gallienne Civic Repertory theatre and re-
mained there until his nineteenth birth-
day.

"Then I decided to see America. I was
pretty sure that I never could become a
good actor unless I did and — "

■ He wore out two thumbs hitch-hiking
across the country. And he wore out
his back and arms in the fruit orchards
and wheat fields of a good many states. He
saw America — from the tops of fast-
moving passenger trains, from the "rods"
of slow-moving freights, and from the
blind baggages of mail trains. He saw
America as far west as California and
learned a lot of things, strange and new,
about this vast country of ours. On the
way back he got a temporary job as a
farmhand in Nebraska and likewise a very
fancy case of typhoid fever from drinking
water from a stagnant well.

"I reached New York with a terrific
fever that sent me into a hospital for eight
weeks. After my convalescence I returned
to the Le Gallienne theatre and from that
into a small role in a play entitled Lost
Boy — a story of reformatory life. The play
managed to last three weeks and then I
was shipped off to Chicago to play with
Otto Kruger in Counsellor at Law. Six
months of that and then back to New York
to join the Broadway production of the
same play with Paul Muni."

That's about all except that from then on
he was the fair-haired boy of Broadway.
Such notable Big Stem successes as
Johnny Johnson, Waiting for Lefty, Awake
and Sing, Weep for the Virgins, Peace on
Earth, Golden Boy, and Having Wonder-
ful Time make up the list of plays in which
he was either featured or starred.

As far back as 1934 Hollywood began
to send him offers, but he rejected them
as fast as they arrived. He wasn't ready
for the screen, he said.

[ That's the way things stood until
February. 1937, when he relented
enough to make a test for Warner Bros.,
at their New York studio. The test was
satisfactory but the contract wasn't and
he refused to sign. A year and a half later
the persevering young man from the
Bronx got what he wanted — a Warner
contract (long-term, too) containing a
clause that stipulated that he might return
to the legitimate stage once each year.

"Two days after my arrival in Holly-
wood I was playing the role of Mickey
Borden in Four Daughters. When that
picture was finished I began work in
They Made Me a Criminal and now I'm
scheduled to appear in Dust Be My Des-
tiny. It begins to look as though I'm never-
going to get a chance to visit California
outside of the studios. But I don't mind — ■
just so long as I get good parts."

Well, he certainly can't complain about
his Mickey Borden role in Four Daugh-
ters. It is a grand role. And movie audi-
ences aren't going to complain about the
way he played it, either. He does about
the finest job of acting seen in these here
parts in quite some time. Don't stop us
if you've heard this before. Go to your
nearest theatre and see for yourselves!

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65

FOOTBALL FEVER

Hollywood reacts in its own individual way when the
sound of the punted pigskin is heard on every back lot

No doubt Grade Alien and
George Burns picked up some of
this idea from College Swing,
but most of it is their own

J<san Davis, also in
Hold That Co-£d,
demonstrates the
tsew offensive fech«ic
for the fail of *38

Every Day Is Miracle Day

ONCE UPON A TIME there were ugly ducklings

And once upon a time it was a wonderfully kind fairy
godmother, waving her magic wand, who bestowed the
rich gift of beauty on fortunate girl babies.

And at that time there were lots of ugly ducklings
because only lucky little princesses had such lavish
fairy godmothers. All the others were left out in the
bitter cold of ugliness or just plain-Janeliness.

The fairy godmother still exists, but she's changed her
instruments of witchery. And because she's changed,
there are no more ugly ducklings. The fairy godmother's
garb is now streamlined, her generosity far flung. She
is, if you please, the modern beauty shop, dispensing
the rich gift of beauty to princess and poor alike.

The standards of beauty are higher in America than
anywhere else in the world. Income level doesn't
matter. A woman's natural heritage of beauty — or the
lack of it — doesn't matter. Beauty is every American
woman's for the asking, thanks to the beauty shop, the
twentieth century fairy godmother!

The deft hand of the well trained beauty operator
waves as a magic wand over the plainest of plain Janes,
the ugliest of ugly ducklings, erasing mediocrity, replac-
ing it with individualized beauty. No woman in the world
has such weapons against lack of good looks as the typical
beauty shop offers the American woman.

That benevolent fairy godmother, the beauty shop,
indulges in no ring-rubbing or crystal gazing today.
She practices her wondrous art with scientific knowl-
edge, a fine skill and superlative mechanical equipment.
She has potions that give the sheen of starlight to the
hair and myriad other preparations that in themselves
are pleasant sorcery captured in jars and bottles.

Beauty problems? There are none any more. That
fairy godmother knows all the answers. New found
glamor is the reward of the ugly duckling who would
be a swan, the middling-fair who would be a beauty
and the beauty who would be glorified, if she but join
the great American trek to the beauty shop. Every day
is miracle day in the modern beauty shop.

Offered by Drene Shampoo in recognition of the magic services
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DRW; THE LOVE OF TWO WOMEN . . .

HE TORE CONTINENTS APART THAT SHIPS

De Lesseps — whose flaming genius built the,
Suez Canal... living again his blazing romance
. . . conquering the twisting, torturing, all-
destroying black simoon! A climax of terrifying
power! Spectacle and emotion the screen has
never captured before 1

W Production

miracles performed

in the desert for this

great picture... into which

20th Century -Fox poured

all its vast resources . . .

Darryl F. Zanuck all /

his skill!

20th Century-Fox Picture with

TYRONE POWER

LORETTA YOUNG

N N AB E LLA

EDWARD BROMBERG
JOSEPH SCHILDKRAUT
ENRY STEPHENSON
SIDNEY BLACKMER
SIG RUMANN
MAURICE MOSCOVICH
NIGEL BRUCE
MILES MANDER
GEORGE Z UCC O
DARRYL F. ZANUCK

in Charge of Production

Directed by Allan Dwan • Associate

Producer Gene Markey • Screen Play by

Philip Dunne and Julien Josephson • Based

on a story by Sam Duncan

PRINTED IN U,

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THE

"ower that rivets eyes to the screen,
that chokes back tears, that grips
the heart and sets pulses leaping.
Yes, it's one of the greatest dramas
since films began! The young doctor
tempted ... a world of luxury and
beautiful women within easy reach but
the cry of humanity calling him back
to the citadel of his youthful ideals.

ROBERT DONAT
Rosalind RUSSELL

IN

ITA EL

A KING VIDOR PRODUCTION

Based on the novel by A. J. Cronin

with RALPH RICHARDSON
REX HARRISON EMLYN WILLIAMS

Screen Play by Ian Dalrymple,
Frank Wead, Elizabeth Hill. Addi-
tional dialogue by Emlyn Williams.
Produced by Victor Saville

A METRO-GOLDWYN- MAYER PICTURE

With everybody writing a col-
umn, I don't see why I should
not take a crack at it myself.

• • •

My idea is to tell you about
some of the Metro-Goldwyn-
Mayer pictures and personali-
ties. And folks, I've got the in-
side dope on everything that
goes on in the world's greatest
studio.

The late Will Rogers said all he
knew was "what he read in the
papers." All I know is what I
see on the screen (and what my
spies at the studio report to me) .

You've read all about "The
Citadel" in our advertisement
on the left. It's made of the
sterner stuff. Merrier, gayer,
is "Sweethearts", which, with
appropriate fanfare, brings us
once again that thrush- throated
pair, Jeanette MacDonald and
Nelson Eddy.

• • •

"Sweethearts" is their first
modern musical. Modern as the
dialogue by Dorothy Parker(the
"glad girl") and Alan Campbell.

Hunt Stromberg, who produced
"Naughty Marietta", "Rose
Marie" and "Maytime", and
Director W. S. Van Dyke II,
are the sweethearts who give
us "Sweethearts"— and it's all
in beautiful Technicolor.

And if you want to hear more
about pictures, write for my
little book, "The Screen Fore-
cast," M-G-M
Studios, Culver
City, Cal. It's free!

Just call me J-&Q-

MOTION PICTURES ARE YOUR BEST ENTERTAINMENT!

NOV 26 1938 ©cib 395655

LLEWELLYN MILLER, Editor

Table of Contents

EXCLUSIVE FEATURE STORIE5

"She's a Knockout IF — " (Robert Montgomery) 12

Mickey Rooney for Mayor by Serena Bradford 14

X(mas) Marks a Spot by Jessie Henderson 16

Going Native the Hard Way [Gunga Din) by E. J. Smithson 18

Marriage by Remote Control (John Payne and Anne Shirley) 20

Gracie, the Practical Giver (Gracie Allen) by Marian Rhea 23

St. Nick Is Just a Nightmare 24

Beware! Don't Hoax Hollywood (Margaret Lindsay )..by Sonia Lee 25

Joyous News (Joy Hodges) by Ed Jonesboy 28

He Wanted an Easy Job (Henry Wilcoxon) by Emily Norris 32

PICTORIAL SPECIALS

Santa Sometimes Rings Twice (Dionne Quintuplets) 15

Make Your Own Cards 19

Christmas with Shirley 22

Bang! Bang! (Carole Lombard) 26

Blondie in the Movies 30

EVERY MONTH IN HOLLYWOOD

Hollywood Newsreel by Elmer Sunfield

The Show Goes On by Llewellyn Miller

Beauty Department by Ann Vernon

Movie Crossword 36

Cooking Department by Betty Crocker 54

W. H. FAWCET
Publisher

DEANNA DURBIN now to be seen in That Certain Age

RALPH DAIGH, Managins Editor

CHARLES RHODES, Staff Photosrapher

HOLLYWOOD Magazine is published monthly by Fawcett Publications, Inc., 1100 West Broadway, Louisville, Ky. Entered as second class matter at the post office at Louisville,
K.y., under the act of March 3. 1879, with additional entry at Greenwich, Conn. Copyright 1938 by Pawcett Publications, Inc. W. H. Fawcett, Publisher; Elliott Odell, Advertising
Director. General offices, Fawcett Building, Greenwich, Conn. Trademark registered in U. S. Patent Office. Subscription rate 50 cents a year in United States and possessions
and Canada; foreign subscription $1.00. Single issues rive cents. Advertising forms close on the 18th of third month preceding date of issue. Printed in TJ. S. A. Member Audit
Bureau of Circulations. Send all remittances and correspondence concerning subscriptions to Fawcett Building. Greenwich, Conn. Advertising offices: New York, 15U1 Broadway;
Chicago, 360 N. Michigan Ave.; San Francisco, Simpson -He illy, 1014 Buss Building; Los Angeles, Simpson-Itcilly, Garfield Bldg, Editorial offices, 15U1 Broadway, New York City.

£i

■ :NmVI«I4iSSI4V^1tl44l

H Thank goodness, our favorite funny-
man, W. C. (Bill) Fields is back in
harness again with his You Can't Beat An
Honest Man for Universal Studios.

And harness it is, for Bill says he has
never worked harder during his movie
career.

Under the flat roof of a second-story
office at the studio Bill personally has
pounded out the story for his picture.

'"It's a story I've had in the back of my
mind for years," Bill says. "I've always
wanted to write it and to play it. It is
founded on first-hand experiences and ob-
servations made during my 41 years in
the entertainment business."

Bill, as you may recall, started amusing
audiences with a medicine show. From
that he progressed by hard stages to mu-
sical comedy and to pictures.

Talking of the tricks of the con man,
the circus short-change artist, the phoney
stock salesman and others of their ilk, Bill
has this to say: "I've always noticed that
it is impossible to cheat an honest man.
An old trick of the old-time ticket
seller at the circus was to seem to give
the sucker too much change for a big
bill. At the same time he'd yell: 'No
mistakes rectified after leaving the
window!' The chump, seeing that he's
getting a dollar or so too much, folds
up the change, jams it into his pocket
and hurries away from the window,
confident that he's gotten the better
of the circus sharper. It isn't until
he counts his change that he discovers
that he's been a sucker for a short-
change trick. Now, if he'd been en-
tirely honest, he'd have called the
ticket seller's attention to the appar-
ent mistake — and then would have
discovered the shortage. Being dis-
honest, he was cheated. The same ap-
plies to every other form of 'con'
game — the sucker thinks he's on the
inside, and is going to rook some one
else — and he's the chump that pays
off. The 'stolen fur' racket is another
sample."

Fields decries the absence of good
comedy writers in Hollywood.

"Hardest thing to find," he insists.
"Any number of crack dramatic
writers are around these parts, but
there isn't but a mere handful of good
comedy writers in Hollywood. That's
why," he ended with his usual sly,
modest smile, "I had to write most of
this script."

■ What's in a name? Well, just this,
for example. When Gene Autry
was battling Republic Studios over
salary, the men behind the cash box
substituted a young fellow by the
name of Dick Weston who had pre-
viously made horse operas for the
studio. He had been a success on the
radio, too. For some reason or another
they slapped on a new moniker and
he went under the name of Roy
Rogers. Apparently Republic forgot

By ELMER SUNFIELD

all about the real Roy Rogers, who has
been trouping for years. Now this real
Roy Rogers is suing both the reel Roy
Rogers and Republic Studios for the tidy
sum of $150,000!

B Big star, little Mickey Rooney has
signed autographs until he's got writ-
er's cramp and now, in payment for it,
he's going to ask his fans to return the fa-
vors by sending in suggestions for a name
to the new ranch he recently purchased
otit in the San Fernando Valley. Studio
friends have offered such names as Mick-
eyville, Rooney's Roost, Rooneyranch,
and Mickeymanor, but the young star has
turned them down as not being quite dig-
nified enough.

"I want a name," says Mickey, "that
will include the feeling of the old West,
motion pictures, and either my first or
last name. It sounds like a tough assign-
ment, but I hope my fans will help me
out."

Hollywood is getting quite a chuckle

No, look again! It is not Hedy Lamarr, it is
Joan Bennett all done up in the black wig which
she wears through much of Trade Winds

over the "I'm glad to give all my salary
to the Old Man With the Whiskers" speech
credited to Carole Lombard. Not that
Carole wouldn't be glad to do it, for she's
one of the most generous souls in this
town, but Hollywood is laughing because
the quotation just doesn't fit in with ex-
perience. It's a sad commentary on the
gay, free, and big-money life in the mo-
tion picture capital that a lot of the top
stars are tighter than a drum when it
comes to providing even a five-spot for
their local charities. And that they hate
like sin to see the government take its cut
off their salaries is too well known to be
news.

■ Robert Taylor waxed a little poetic
the other day after an hour's inspec-
tion trip around his San Fernando Valley
ranch de luxe and batted out the follow-
ing livestock gem without once calling for
help from his nearby ranch neighbors.
Here's the way it goes:

We've bathed the Guernsey's tootsies,

We've cleaned the rooster's ears,
We've trimmed the turkey's wattles

With antiseptic shears.
With talcum all the guinea hens

Are beautiful and bright,
And Dobbin's wreath of gleaming
teeth

We've burnished snowy white.

With pungent sachet powder

We've glorified the dog
And when we have the leisure

We'll manicure the hog.
We've done all in our power

To have a ranch de luxe,
We've dipped the sheep in eauderose,

We've bathed our little ducks.

The little chicks are daily fed

On sanitated worms,
The calves and colts are always boiled

To keep them free from germs.
And thoroughly to carry out

Our phophylactic plan,
Next week we think we shall begin

To wash the hired man!

J The happiest man in motion pic-
tures is Harry Langdon and you
can comb Hollywood from stem to
stern without finding a man or wo-
man who isn't happy with and for him
over his recent good luck. Hal Roach
has planned a series of pictures for
him, teamed with Oliver Hardy. The
first will be Zenobia's Infidelity, with
Langdon playing the role of a small
town justice of the peace and Hardy
playing the role of a small town
doctor.

j Women, opines Jimmy Stewart,
the M-G-M bachelor, are like
automobiles. Some are chummy road-
sters and others are merely run-
abouts.

These are the

with DIRTY FACES

JAMES CAGNEY

as Rocky. . ."Sure, I got a past — the gutter! But
I got a future, too! I'm going to take what I can get
—until they get me!

PAT O'BRIEN

as Father Connolly . . . "Rocky and I were kids
together. I was lucky. He wasn't — or I might be
headed for the chair now instead of him!"

THE DEAD END KIDS HUMPHREY BOGART

as Themselves . . . Headed for crime — their lives
are the prize in a battle between priest and killer!

as Rocky 's Mouthpiece . . ."Rocky'Il get you for
this! I get away with murder — but you can't!"

ANN SHERIDAN as Laury . . ."I'm Rooky's girl
—so what? I know I'm playing with dynamite. But
ifs better than washing dishes — so far!"

with GEORGE BANCROFT
Screen Play by John Wexley and Warren Duff • From

A First National Picture

n?-

Hands up! Here's emotion aimed straight at your
heart! Here's love battling hate in a fusillade of
action! Here are two fighting stars in their glory!

Directed by Michael Curtiz

a Story by Rowland Broun " Music by Max Steiner

Presented by WARNER BROS.

—

By LLEWELLYN MILLER

Basil Bathhone and Sahn hoth
provide excitement for the town
when they vacation in New York

HI Decidedly baffled was Basil Rathbone
after he had been in New York for
three days.

"Who do I look like to you?" he asked.

Beyond any argument, we thought he
looked like Basil Rathbone, but evidently

One of the most striking characterizations
currently on the screen is Basil Rathbone's
performance as Louis XI in If / Were King

that was not the right answer, so we took
a little time to think it over, and kept a
discreet silence while searching frantically
for the witty quip that seemed to be ex-
pected.

At that moment a very cordial lady
swept up to our table. "I don't want to
interrupt you, but I cannot resist saying
hello. You gave all of us so much pleasure
that night at dinner and I just wanted to
thank you again, Mr. Merrivale," she said
warmly and hurried away all a-smile.

Except that both men have great dis-
tinction, Basil Rathbone and Philip Mer-
rivale look nothing alike.

"Do you suppose it's a conspiracy to
shake my reason?" inquired Rathbone.
"That's been happening ever since I got in
from Hollywood."

The first time his identity was mistaken,
he did not think much of it at the moment,
because the other person involved had
looked upon the bottle far too long and
lovingly. That happy gentleman, when in-

troduced to Rathbone in one of the night
clubs, shook his hand with unsteady but
deep affection, "Happiesh day of my life
to meet you," he said. "Didn't cash the
name but know the face, an' I wanna tell
you you're the bigges' fool on the screen.
I'm crazier 'bout your comedies
than about alia other pictures put
t'gether . . ."

The next day, a new acquain-
tance congratulated Rathbone
warmly for a performance given
by Ian Keith! Then Philip Mer-
rivale's friend had turned up! No
wonder Rathbone was asking
questions about his appearance.

We couldn't think of a bright
quip, but we advanced the thought
that many different people have
many different ideas about Rath-
bone because he is a real actor.
Even though he uses very little
make-up, his appearance on the
screen is so different from his
appearance out of character that
it is astonishing.

For instance, he does not bear
more than a family resemblance
to the bent, near-sighted, grimac-
ing Louis XI, his newest role
which you will see in If I Were
King. For that matter Basil Rath-
bone does not bear more than a su-
perficial resemblance off the screen
to any of his movie characters. He
doesn't look like the cold, sardonic
Mr. Murdstone whose
chill voice and fish eye
terrified little David ^^
Copperfield. He does not
look like the passionate Tybalt
who engaged in all that smashing
swordplay in Romeo and Juliet.
He does not look like the powerful
Russian minister whose brutality
could be warmed by sarcastic gal-
lantry when occasion demanded
in Tovarich. He certainly does
not look like the sneaky double-
dealing Sir Guy of Gisbourne in
Robin Hood, or the haughty, cruel
Ahmed in Marco Polo, or the syb-
aritic Pontius Pilate in The Last
Days of Pompeii.

Off the screen he is a tall, slen-
der, extremely attractive young
man . . . far too young in appear-
ance to make it quite believable

Entirely different but equally indi-
vidual and forceful is Rathbone's part
in the grim war drama, Dawn Patrol

that his son, Rodion, is old enough to
be married. He looks very much part
of a big city and a big world. Quite effort-
lessly, quite unself-consciously, he gives
an impression of great sophistication and
great charm. His energy is enormous and
so is his enthusiasm for new ideas. But
perhaps his outstanding quality is that in-
definable something that makes you think,
in some surprise, "This man is first of all
kindly. He wishes other people well.
Without a spot of conceit, he is quite sure
of himself and so he doesn't waste any
time with hesitancies or jealousies. This
arch villain of the movies really feels
friendly to all the world. This super-
menace of the movies is really a very good,
very nice person."

It will be interesting for you to keep in
mind that dashing young man who de-
scended so gaily on New York for the
opening of If I Were King when you see
that picture. On the screen Rathbone has
created a living character, complete with
one of the best cackles it has been our
privilege to hear, a nervous grimace, a
different way of walking, a voice unlike
any he has used before. He has created a
subtle, disillusioned, shrewd and shrewish
old nobleman whose sarcastic wit is in-
trigued for a week in distracting his court
and bewildering a beggar by giving him
kingly power . . . and a death sentence.

We left Rathbone thinking pretty fine
intellectual thoughts about how tragic it
is that there is so little real acting in Hol-

8

z

GREAT PERSONALITIES

DOUGLAS

FAIRBANKS, JR.

"Rupert ofHentzau"

PAULETTE

GODDARD

In her talking debut

ROLAND YOUNG

First picture since "Topper"

BILLIE BURKE

"Mrs. Topper"

ft

ft

A***** *****

. ft Selznick International ft '

ft ft

presents

ft

ft

ft

ft

JANET GAYNOR

"A Star Is Born" W

ft

ft

JANET

GAYNOR

DOUGLAS

JrAlrtJL>Aj\ jvl> JR.

PAULETTE

GODDARD

ft

ft

ft
ft
ft

in

arwww>
A mm ML

ft
ft
ft

YOUNG

Iff

HEART

ft

ft
with -fa

*■ ROLAND YOUNG *

* BILLIE BURKE *

ft ft

ft ft

with Harry Stephenson Directed by Richard Wallace

Produced by DAVID 0. SELZN\CK.. Released thru United Artists

ft ^ ft

RICHARD CARLSON

New Screen Personality

MINNIE DUPREE

In ber first screen performance

From the SATURDAY EVENING POST story, "THE GAY BANDITTI," by I. A. R. Wylie

WHY WAS
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Sabu, resplendent in a red turban, made a flying tour of the United States to celebrate the open-
ing of his second picture, Drums. He was accompanied by two Sikh body-guards and his brother

lywood and how exciting a thorough
characterization is when it appears on the
screen. We kept on thinking about type
casting and how little chance many fine
players have to show their talents. We
were still thinking of it two days later
when we saw a big crowd on Times
Square. The autograph hunters were in
full cry after Basil Rathbone, who was
making his way to the Paramount theatre.

Then we thought . . . belatedly ... of
the bright quip that we should have used
at luncheon and made ourselves very con-
spicuous by shouting, "Hello, Freddie
Bartholomew! My! How you've grown!"

"Hello, Mr. Beery," we called. "When
did you get into town?"

SABU MARCHES ON

9 Perhaps more than any other one per-
son, Sabu typifies the Aladdin's Lamp
qualities of the movies, now that he has
made his tour of America by air.

Hardly more than two years ago, he was
hanging around the elephant stables of the
Maharajah of Mysore. His father had been
a mahout in the service of the Maharajah.
It was not a very exalted post, but to little
Sabu, his father was the greatest of men,
because he knew all there was to know
about elephants. "And everybody know,"
Sabu explains. "Elephants are the most
darling beasts of all the beasts."

When his father died, Sabu got a pen-
sion, two rupees a month. That is about
seventy cents in American money. And
on that he managed to live until Robert
Flaherty saw him and cast him in Ele-
jjhant Boy.

Since that time, things have moved
quickly, and the whole enormous world of
western wonders has been spread before
the small Indian boy who is not yet fifteen
years old.

He saw the bustling, crowded coast cit-
ies of his own India. The vast liner which
was to take him to England was a seven
days wonder. Then, in quick succession,
he saw London, Paris, Rome. He skiied
in the Swiss Alps. He went to a proper
British boys' school. He learned to wear
European clothes and eat ice-cream. He
picked up a very adequate English vocab-
ulary, and, because of his devotion to
American movies, a handsome variety of
American slang. He played the Prince in
the exciting adventure story of East Indian
revolt, Drums. Then he sailed for America.

For the few days he was in New York,
he was a picturesque addition to the color
of the city. Two towering Sikh body-
guards were eye-catchers in themselves.
They were dressed in cream-colored thin
cotton coats, tastefully piped in baby-blue.
The coats reached to the knees. From
there, tight cotton pants of the same color
carried on down to the large polished
black British brogues which protected
their feet from the hard western pave-
ments. Baby-blue turbans surmounted
their dark faces, and one guard wore his
short curly black beard in a sort of string
hammock, for reasons which never have
been explained very clearly.

Sabu's small, well-built figure looks
very well in the neat double-breasted suits
which are his usual attire. He never ap-
pears without a smoothly wrapped red
turban.

His great passion is motor cars, and he
longs for the day when he can have a
license and will be free to venture on pub-
lic highways. Because, even though he
had more experience in the last two years
than many people have in a lifetime, he
still is not fifteen, and the motor laws
make no exceptions.

Although his enthusiasm for motor cars
is unbounded, he still insists that driving

10

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._

an elephant is much more simple for the
chauffeur in the case.

"No gears . . . grrrr . . . grind ... on
an elephant!" he grinned brightly. "No
brake! no puncture! And he can go fifty
miles an hour, too, when he is in a hurry.
Oh, yes. He is a much more practical thing
to have. He can have little elephants, but
limousines don't have roadsters for
babies!" he finished triumphantly.

Sabu's wits move quickly, and so does
he. He managed to visit a skating rink,
attend a baseball game, tour Rockefeller
Center, ride a subway and visit a dozen
notables before he stepped aboard a plane
for Hollywood. That was the part of the
trip he looked forward to with greatest ex-
citement, he admitted, because he was so
anxious to meet a movie star.

"Which one do you want to meet the
most?"

"King Kong!" he answered promptly.

We left him doing the Lambeth Walk,
at which he seems expert, down the hotel
corridor.

Here is Sonja Heme, now busy making Castles
in Norway. She is wearing one of the charming
sweaters which she will give as one of the dozens
of prizes in her big contest which still has the
judges muttering in their sleep. Never before
in the history of HOLLYWOOD Magazine has
there been such an enthusiastic response to a
contest. Great piles of mail are stacked all
over the office, and two of the judges are com-
plaining of eye-strain, but they promise faith-
fully to have names of the lucky winners ready
for announcement in the January edition of
HOLLYWOOD Magazine

as a
Wife !

One subject she hadn't learned
ivas Feminine Hygiene — with "LYSOL'

MANY family doctors — and husbands,
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effective in the presence of organic matter
(such as dirt, mucus, serum, etc.).
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A — Economy. .."Lysol" is concentrated, costs
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She's

Is your girl a knockout,
according to Hollywood
standards? The best
way to find out is to ask
these eighty questions

■ Robert Montgomery was reading
studiously and making pencil
notes as he went along when we saw
him a few weeks ago at the Metro -
Goldwyn-Mayer Studios. "Ah,
there's a conscientious young
man," we thought. "Already
hard at work on his part for
The Earl of Chicago." But we
were wrong. Mr. Montgomery
raised a sunny face as we drew
near and waved the November
issue of Hollywood Magazine
open at Loretta Young's ques-
tionnaire.

"I'm finding out whether I'm
a 'Regular Guy,' or not," he
said.

"How do you rate?"

"Haven't added it up yet," he
said. "But I want to register a
protest. I think it's an awful
thing to let an actress ask all
these probing questions about
men. You ought to have an-
other set of questions for girls
to answer. It's not fair. It's
a rank injustice. It is apt to
lead to endless strife, not to
mention jeers, arguments
and unkind snickers. I pro-
test."

"Mr. Montgomery," we said

Robert Montgomery, in the clas-
sic pose of "The Thinker," is won-
dering if he left out any good
questions in his Quiz. He is not so
serious about it all In his new
comedy, Three Loves Has Nancy

HOLLYWOOD

I

aUnotUoulit

a

generously. "The magazine is yours. You
can have the honor of asking 80 questions
for the girls to answer."

Modest Mr. Montgomery needed a little
persuasion, but after going into confer-
ence with his wife and a number of his
unmarried friends, he claims that a girl
who has the right answers to all of these
questions will have as much popularity as
Janet Gaynor does in Three Loves Has
Nancy.

So, if you want to see how your girl
rates according to Hollywood standards,
get a pencil, make her promise to tell the
truth, and let her have it:

ON A DATE

1. Do you ever say, "I bet you say that
to all the girls?"

2. Do you use your powder-puff in
public?

3. Do you ever start a sentence, "I
know I look terrible, but — ?

4. Do you straighten ties?

5. When asked which of two entertain-
ments you prefer, do you say, "Anything
you like?"

6. Do you expect to be kissed "good-
night" by every date?

7. Do you get insulted if a date thinks
you expect to be kissed "goodnight?"

8. Do you dislike — be honest, now! — to
introduce your boy friend to another girl,
for fear she may try to take him away
from you?

9. Do you think the evening is wasted
if you get home before 2 A. M. on a mid-
week date?

10. Do you tell about the fascinating
qualities of Tom, Dick and Harry when
you are out with Joe?

IN MOMENTS OF STRESS

1. If your freshly-coiffured hair were
blown to pieces in an open roadster,
•would it ruin your entire evening?

2. Do electrical storms reduce you to
a state of hysteria?

3. Would the fact that you didn't have
a dazzling new dress to wear to an im-
portant social function prevent you from
going?

4. Do you ever ask a man to stop
drinking when you think he has had
enough?

5. Do you play for higher stakes than
you can afford at bridge?

6. Do you ever take too much to
drink? —

7. Are you annoyed when an escort
shows up in an old car, several years
older than you're accustomed to riding

8. Do you like to cook?-

9. Do you discuss members of your
family with guests?

10. Do you like to entertain at home?

8. Can you argue without raising your
voice?

9. When you are in the wrong can you
say "That was my fault — I'm sorry" with-
out trying to alibi?

10. Do you sulk if a date is broken at
the last minute for a perfectly good rea-
son?

AT HOME

1. At any time in the past month did
you leave a guest for a long telephone
conversation with another friend?

2. Do you object to pets, especially
dogs, around the house?- ■

3. Do you say "When will I see you
again?" instead of "Come again soon!" to
a departing guest?

4. Do you usually look neat and fresh,
even though you don't expect anybody
to drop by?

5. Do you ever apologize for not living
in a bigger house on a handsomer
street?

6. If unexpected guests drop by, are
you prepared to entertain them without
a lot of flurry?

7. Do you make a dive for your favorite
column before the rest of the family can
glance at the paper?

AT THE OFFICE

1. Do you wear ornaments that rat-
tle?

2. Do you try to carry on a number
of flirtations over the office tele-
phone?

3. Are you a "nibbler" with a stock of
candy bars always on hand in your
desk?

4. Do you wear frilly things to
work?

5. Do you hum at your work?

6. If the office seems cold, do you close
the window without checking on the
wishes of others?

7. Do you think being cute is better
than being efficient?

8. Have you designs on the boss?

9. Have you so strong a dislike for one
of your fellow workers that it interferes
with your job?

10. Do you complain about how your
company treats its employees to out-
siders?

AS A WOMAN AMONG WOMEN

1. Have you as many friends among
women as among men? Count them!

2. When you say "I'll call you tomor-
row," do you always do so?

3. Do you give sincere friendly advice
to a girl who tells you her romantic
problems? — ■

4. Do you enjoy gossiping about other
women?

5. Do you try to out-dress your
friends?

6. Have you [Continued on page 56]

7a# lloMk. 1/lfl6Hfy6tnwy>' s ''Qui*,''— It's Tun!

DECEMBER, 1938

13

■ MICKEY ROONEY FOR
MAYOR! His Platform: THE
RETURN OF THE HORSE AND
BUGGY!

All right, all right; granted that
the sixteen-year-old snub-nosed
dynamo appears more simpatico
with a streak of lightning than with
a horse, much less a buggy. The fact
remains that when, after the shoot-
ing of Boys Town, somebody sug-
gested Mickey for Mayor of Holly-
wood, Mickey announced this
horse-and-buggy platform and
stood firmly upon it.

Mickey himself has a stream-
lined car of the latest make. Mickey
,hasa!jnjap^o-d.at^foQtball team of
his own, he sometimes goes to the
Cocoanut Grove for an evening of
Big Apple, and he's crazy about
airplanes. Modern, that's Mickey
down to the last freckle and if
modern Hollywood took a Mayor unto
itself (being part of Los Angeles, it can't),
Mister Rooney might not be such a flop,
at that. Just the same, he wants to make
the Mayoralty race via horse and buggy.

"It'd slow us up? Sure!" he said with
the Rooney chuckle, "that's what I mean."

To get what he means, though, you need
to take a look at some scenes from Boys
Town. Step over to Stage 10 on the
M-G-M lot and into the yawning door-
way where all those youngsters are jost-
ling one another. Watch for a few min-
utes. Are you ready? Hold your hat!

Crash! Bang! Ya-ah! A couple of hun-
dred boys smash the windows of the
roadhouse and come boiling through the
gaps, sticks in their fists, to surround
Mickey ("Whitey Marsh") who stands
there, gun in hand, beside a wounded man.

"Try it again," says Director Norman
Taurog. They mount some new windows
— not glass, but a sugar composition (you
could eat 'em if you felt hungry) and do
it over, while Father E. J. Flanagan
watches with his understanding smile.

In which the mayor of
Boys Town tells how he
would run the town of
Hollywood, if heeould

By
SERENA BRADFORD

There are few people who do not know
nowadays about Father Flanagan of
Omaha, who twenty-one years ago start-
ed a home for homeless boys, regardless
of race or creed, on the theory: "There
is no such thing as a bad boy." He wanted
to keep homeless boys from becoming
criminals, and he succeeded so well that
now there is an incorporated city called
Boys Town, Neb., with 4,500 graduates
and with 250 resident boys — -all on the
honor system — v/ho elect their own May-
or. None of his graduates has
ever had a criminal record.

From the beginning with five boys
and $100 contributed by a Jewish
pawnbroker friend of his, plus one
barrel of sauerkraut as their only
fare for the first Christmas, Father
Flanagan kept a file and the Boys
Town picture is based on actual
case histories.

It was only when he reflected that
he had to turn nearly a thousand
boys away last year because of lack
of funds that the priest allowed a
film to be made around his trim
town of brick and frame build-
gs.

Even after he gave his consent,
and after he realized how much it
, might ..help if the screen told thj__
public about his project, Father
Flanagan had qualms till he found
that the company sent to Omaha
for many of the scenes would in-
clude Spencer Tracy in the role of
"Father Flanagan." He remembered
Tracy's fine impersonation of the priest in
San Francisco, and felt that he could trust
his own life story to that one actor. Rooney
was considered perfect from the start.

"I'm the lug of this piece," Mickey con-
fided exuberantly between scenes in the
roadhouse as he twirled the revolver
madly around a finger, "anyway, at first.
I'm such a tough brat that you hate me — "
"You like people to hate you?" I asked
in surprise at his pleased expression.

"No," Mickey replied, his impish face
suddenly sober, "I don't believe anyone
wants anyone to hate him . . . But in the
picture I'm so fresh, I have to have my
ears slapped down and you're glad when
it happened. Finally, in spite of how it
looks as though I'd shot somebody and
disgraced Boys Town, I turn out all right.
I don't see how any fellow at Boys Town
could turn out anything except all right —
I went there on location, you know. Yes,
in the picture, I believe I'm finally elected
the Boys Town Mayor."

So what about [Continued on page 47]

14

HOLLYWOOD

Santa Sometimes Rings Twice

All pictures on this page copyrighted by S'EA

Jean Hersholt, honor guest at the
first celebration, has a present, too

Off for a spirited race on the five hobby-horses

New dresses for a new dance to celebrate Noel

Hersholt learns the newest fashion in wearing napkins

The end of a perfect party . . . Merry Christmas!

.9 "aw .a

4>| J
J i 9'

8^» 9

« 3 «

In every life one particular
Christmas stands oat as most
memorable. Dozens of stars con-
tributed tales of the day they'll
never forget for this story

Itv JESSIE HENDERSON

■ Xmas marks a spot! It marks the spot in which more than one film
star has found himself on a Christmas, recent or in the past; which
is forever memorable. Sometimes the day stands out because it was
glad, or sad, or mad, or just plain haywire. Santa Claus, take it from
Hollywood folks who have met him in various places in various ways,
is a jitterbug, a dipsydoodle — or worse.

Clark Gable once celebrated Christmas in a snowdrift. Melvyn
Douglas, trying to assemble a meal in Swedish. Andrea Leeds, on a
desolate cliff waiting to be kidnaped. Merle Oberon, bawling in her
handsome Hollywood kitchen. Errol Flynn, at a primitive feast in
Ethiopia. James Garfield, in a box car with hoboes. Tyrone Power,
walking down Fifth Avenue in his stocking feet. And Janet
Gaynor— newly arrived in Hollywood after a job in a San
Francisco shoe store — spent what she says was the most excit-
ing Yuletide of her life pacing the parlor carpet and won-
dering if she'd ever get into the movies.

It was when Clark Gable had been an oil field worker

in Oklahoma and was on his way to a lumber-
jack job outside Seattle that the train stalled
in a huge mountain snow-bank on Christmas
forenoon. People got off— Clark among them
—and floundered through the drifts, at some
risk, to hack down a small fir tree which they
set up in the dining car. They hung the
branches with strings of notched lump sugar
and, for gifts, exchanged things they had
in their luggage or their pockets. Clark
gave away a woolen scarf and received a
really good hunting knife. Somebody had
a box of candy. Somebody had a package
of home-made gingerbread. Somebody
knew how to do card tricks. All in all,
though the train was none too warm and
the silent snow held them prisoner,
this is a holiday which for jolly com-
panionship Clark counts among his
best

When Melvyn Douglas was a child
M went with his parents to visit
Iik-iuIn in the Swedish country-
side for n Christmas filled with
unforgettable joy and anxiety
The anxiety, as he explained
in pauses between picture
conhwacea on the Co-

lumbiu lot. came from
hU fear that Santa
wouldn't be able to lo-
cate Melvyn if Melvyn
Sweden instead
of at home in England;
and frvwn his own mahil

Hv to po In :
what he wanted to Hi
Both fears were ground -
hm. especially about the
(Continued un poo* 49)

*r

Douglas Fairbanks, Jr. and
Joan Fontaine supply ro-
mantic angles for RKO's
spectacular GungaD'w, story
of native revolts in India

f

v:

\

u

•■

"•***

Go***

Vi**

mm

Xrf l

1 «»«***" * v»

5t^^ *a**

****

DEAR EDITOR:

When you wrote me last week and said you'd like a story on the
Gunga Din picture now being filmed by RKO, I grabbed at the
chance like a Los Angeles playboy does the check in a nightclub.
Then I grabbed for a phone and called up Perry Lieber, the
Assistant Chief of Publicity of the studio, and put my trained in-
dex finger on him for a couple of days' work and in no time at all
he called me back. Everything was okay, he says, and would I
report at the studio the next afternoon at 4 o'clock ready for a
trip to Mt. Whitney where the company was on location and
I say sure — and I was. Mt. Whitney, I learned, was 220 miles
away as a bottle of Old Crow flies and just to be sure I
wouldn't have to hitch-hike I was in Perry's office at 12: 30 —
just in time for lunch as it happened. Well, as I say, there
I was at 12:30 with my "turkey" packed with long under-
wear and heavy sweaters and twenty minutes later my
stomach was packed with RKO commissary food, and about
four hours later I was in a RKO bus whizzing through
the orange and lemon groves at sixty miles an hour. It
was all very rural, idyllic, and peaceful and much like
a trip through the Elysian [Continued on pcuge 44]

181

Make Your
Own Cards

What is more natural in
a picture-minded town
than photographic
Christmas cards? Here
are some hints about how
to make your greeting
personal and different
with your own camera

The Paul Kelly's included fire, family and
Seotties, in a charming greeting. Right, little Miss
Robin, adds her greetings on a distinctive card

fear*

1 Rthtilo^

Chester Morris is using this
snapshot of his children, Cyn-
thia and Brooks, on cards for
close friends of the family

Young Richard Ralston Arlen,
having hung up the stockings,
poses for the card the Dick
Arlens will send out this year

/ 1

mm

I Being in love, Johnny Payne and Anne Shirley don't like
separations, as how many happily married couples do?
But being also in the movies, with Johnny working in Wings
of the Navy at Warner Brothers Studio and location points
north, east, south and west, and Anne in A Man to Remem-
ber at RKO Studio and similarly scattered location points,
there came a time when, although living in the same house,
they played a hectic game of hide-and-seek. . . . And thereby
hangs this tale of marriage by remote control.

As you can see, the villains in the piece are various di-
rectors, production managers and other picture-making
officials, and Johnny and Anne, assisted by their Filipino
house boy, Toto, had quite a time thwarting them.

But just exactly what happened — and what did not happen
— is contained in the following collection of documents which
the young Paynes have carefully preserved, perhaps for the
edification of their grandchildern. . . . Who knows?

20

Six a.m. (horrible hour!) Monday
Johnny, darling:

The studio just phoned (I hope the bell
didn't disturb you) and wants me there
early, so I'm off. 'Bye, and I'll see you
around six tonight. Let me know if you
are going to be late.

Your dutiful wife,

Anne.

Date: August 15, 1938
Subject: phone call
To: Miss Shirley, "Man to Remember"

set
From: RKO Operator 7

Mr. Payne called at 4: 36 p.m. Says he
must work tonight and won't be home
until late. Says he knows you will be
tired and not to wait up for him.

Ten-thirty Monday night
John dear:

I am taking you at your word and am
going to bed, on account of I have to be up
at the crack of dawn again tomorrow.
Honey, will you leave Toto's wages on the
kitchen table for him, please? Tomorrow
is his pay-day, you know.

Anne.

Ten o'clock Tuesday morning
Sugar Puss:

Sorry you had to leave so early, but
that's life in the city of Hollywood. Me
— I've a late call for today, but will surely
be home by eight tonight. Meanwhile,
I miss you like the devil!

Johnny.

dere mrs. Payne:

I reading note to mist Payne but he
forgeting pay wages. Nevr mine you pay
em tomoro?

Toto.

AUGUST 16 PM 6 11
MRS JOHN H PAYNE— FOUNTAIN
AVENUE HOLLYWOOD CALIF

AWFULLY SORRY BUT AM ON LO-
CATION HERE FOR NIGHT SCENES
WONT BE BACK UNTIL TOMORROW
MORNING AROUND NINE OCLOCK
STOP BY THE WAY WHERE IS MY
LIGHT GRAY SUIT COULDNT FIND
IT WHAT KIND OF WIFE ARE YOU
QUESTION MARK LOVE YOU ANY-
WAY

JOHN

Wednesday morning
Dear Marco Polo:

I waited for you as long as I could, but
it is nine o'clock now and I have to go.
Anyway, we'll have dinner together tonight.
By the way, what do you want for an an-
niversary present, it being a year ago, come
Sunday, that I became your bride. Or are
you a man to forget such occasions? Any-
way, I intend to keep your memory jogged
as the years go on. I'm that kind of a wife.
Also, your light gray suit is at the cleaners
where it belongs. I am also that kind of a
wife!

A.

Date: August 17, 1938
Subject: Change in schedule

To: Miss Shirley (to be delivered im-
mediately upon arrival at studio)

From: Production supt.

"Man to Remember" shooting schedule
has been changed. Cast will leave studio
jor RKO ranch at 5 p.m. for night scenes.

Dearest:

We seem to be jinxed! I'm home for a
mid-day rest, now, but tonight I have to
work at the RKO ranch and won't be home
until very late, so don't wait up.

Your beginning to feel forlorn wife,

Anne.

Dear Toto:

Here are your wages. I'm sorry Mr.
Payne forgot them.

A. S. P.

Six a.m. Thursday (You're right,

it IS a horrible hour!)
Dearest Sugar Puss:

I'm sorry! I did my darnest to stay
awake until you got back last night, but
couldn't make the grade. I didn't even
hear you get in. Of course, this morning,
I was mighty tempted to wake you up
and say, "Hello, remember me? I'm the
guy you married," but hadn't the heart.
How about lunch? You won't be work-
ing until afternoon, surely. Come on
over to the studio, why don't you?

Your lord and master.

J. H. P.
P. S. I had not forgotten our anniversary.
I'm not that kind of a husband!

Date: August 18, 1938
Subject: Message
To: Miss Anne Shirley (to be delivered
in Green Room, 1 p. m.)

From: Warners Operator 5

Mr. Payne says he has gone to Calabasas
on location. Will return to studio at
4 p.m. and will be home jor dinner.

Dearest:

Strange! My love remains unsullied, de-
spite the fact that you've stood me up,
again. Thank heaven I'm in pictures, too,
and know how it is. Otherwise, I might be
in Reno. As it is, I'll be expecting you for
dinner,

Love,

Anne.

P. S. I'm leaving this note with the unit
man. Hope you get it when you return. By
the way, where is Calabasas? Do you need
a passport to get there?

Date: August 18, 1938
Subject: Message

To: John Payne, "Wings" set

From,: Warners Operator 9

Mrs. Payne phoned at 4:13 p.m., and
says she's sorry, but she has to go back

to RKO ranch again, for more night shots.
Says she may not return until morning.

6 a.m., Friday
Dearest Sugar Puss:

Leaving for work early this morning,
and so have missed you again. In fact,
I miss you like the devil, or have I men-
tioned that before? I may get off early
this afternoon. How about driving down
to Del Mar for the races?

J.

P. S. I have left Toto his wages. Cala-
basas is in California. Where is your
education?

Dere mrs, and mist Payne, you both
leve me wages so which do I keeping?
I hones boy.

Toto.

11:45 a.m., Friday
Dear "mist Payne":

I got home this morning just in time to
see you drive off. Why do you wear that
old brown hat? Also, it seemed to me that
you need a hair-cut. Men go to rack and
ruin without a woman to take care of them!
I shall tell Toto to keep your wage con-
tribution. Me— I'm going to buy a new
hat. I've got to work this p. m. so can't go
to the races, but you go and don't lose the
family shirt!

Your loving wife,

mrs. Payne.
P. S. In case you don't recognize me after
our long separation, look for a girl with
reddish hair, brown eyes and a winning
smile. Maybe you'd better wear a red carna-
tion in your buttonhole so I'll know you.

mrs. P.

AUGUST 19 PM 5 56
MRS JOHN H PAYNE— FOUNTAIN
AVENUE HOLLYWOOD CALIF

BELIEVE IT OR NOT AM AGAIN ON
LOCATION AT SAN PEDRO AND
NEVER EVEN SAW RACES WONT RE-
TURN UNTIL TOMORROW MORNING
BUT THERE IS STILL DINNER TO-
MORROW NIGHT STOP HOW ABOUT
THE TROC IN FESTIVE ANTICIPA-
TION OF OUR ANNIVERSARY LOVE

JOHN

Saturday morning, 10 o'clock
Darling:

I tried to wait for you to come home
from San Pedro, but finally had to leave.
I should be home fairly early today, but
I have my fingers crossed. Anyway, there
will be tonight. I have a new dress.
Love,

Anne.

dere mrs. Payne, mist Payne tellfoned
say he in town but derayed too late at
stoodio. He say you ray out his clos jor
tonit if possibel.

Toto.

Date: August 20, 1938
Subject: Message
To: John Payne, "Wings" set
From: Warners Operator 4
Mrs. Payne phoned at 4 p.m. Says she
[Continued on page 43]

21

Until yon see these pic-
tures from the album, you
don't realize how the first
lady of the screen has
grown. Her Christmas
present to you this year
is Just Around The Cor-
ner, her New Year's gift
is The Little Princess

The Grade Allen Murder Mystery, soon to be
released, is no more thrilling than Grade's pri-
vate life, if yon judge by her Christmas plans

By MARIAN RHEA

j "George," said Gracie, sweetly serious,
"would you like it if I gave you new
dining room drapes for Christmas?"

We were having breakfast in said dining
room (that is, Gracie and George were; I
had just dropped in for coffee) and I suppose
that's how Gracie happened to think of it
just then.

"But we have some new dining room
drapes," said George very, very quietly.

If his manner was perceptibly unen-
thusiastic, Gracie seemed unaware of it.
"I know, George," she told him, brightly.
"But maybe I haven't mentioned it — I
want to be practical this Christmas. I
want to give useful things, and so I
thought—"

"So you thought you'd give me drapes
for Christmas," George said.

"Yes, of course not only drapes," she S.

hastened to add. "I shall give you other
things, too."

"Other practical things?"

"Of course," she reassured him. "I told
you I am going to make this a very prac-
tical Christmas."

That was around the latter part of
September. Gracie, besides being prac-
tical, had decided to do her shopping early.

"Only sixty-four days before Christmas," she
vouchsafed in statistical manner the Los Angeles and
Hollywood Retail Merchants' Associations would
have adored. "I'm going to begin buying things
tomorrow."

Very business-like (and also, very pretty in a
luscious-looking green and orchid Japanese kimono
recently purchased in Hawaii and tiny embroidered
slippers; her hair up high much like Cho-Cho-San's)
she got out pencil and paper and, George having left
us for his morning swim, began her shopping list
then and there.

"Let's see. . . . For George: Drapes, shorts, shoes,
shirts, socks, grass seed — "

"Of course," she confided, "with the children and
my sisters and maybe some of the rest of the family,
I shall probably have to break over a little, but at
least with George I can stick to sensible things . . .
tires, laundry soap, shoe polish, stamps — "

She was still at it when I left. Obviously, she
meant business.

Not long after that George and Gracie went East

on their personal appearance tour, and it was several

weeks before I had a chance to check up on the

progress of the latter's Practical

Christmas. [Continued on page 52] -,,,,,-

Thoughtful Gracie, in her role of

Mrs. Santa, using the last ounce of

holiday spirit to get the tree home

1

Gracie the pAOCtUol Giver

23

WM

St. Nick Is Just a VfybtnuMt

Dear Llewellyn:

I'm awfully sorry about that
story. I tried to explain to the
nice girl you sent to interview me.
But I think I should write you,
too. You see, darling, there just isn't an
"untold story" in my life. I racked my
little brain for all of half an hour (should
I have gone on longer?) and couldn't
think of a thing. In the first place every-
thing that possibly could be written about
me has been written. Maybe I should
go out and "live" some more. I would,
too, and love it if I weren't so durn busy
making movies.

I thought for awhile (about ten minutes,
I guess) that I'd make up something to
tell your interviewer, but decided that
wouldn't be fair. I feel terrible about the
whole thing. I'm sure I should have
thought longer. And maybe I could have
dug up something if it hadn't been this
time of year.

It's Christmas and I can't think of
tragedies. Wait a minute, darling. Don't
get me wrong. It's not because I'm so
merry and bright at this gladsome season
that nothing but the happiest thoughts
come to me.

Oh, no! Not that at all. It's because

24

Here is a wail from a star lo
whom Christmas is just a
headache. She used lo love
the day when it meant rut-
ting down on lunches to get
presents for her dear ones*
Hut now, things sire changed

fume. Carole Lombard-
backgammon set.)

I hate Christmas. Hate it! Hate it! Hate it.
That girl arrived just when I was mak-
ing up my list. I thought for a moment
I'd tell her my personal tragedy was
Christmas but, I'm sure she would have
called the wagon to come for me. (I sort
of wish she had. You see, if I were in a
lovely padded cell in a nice little Lanvin
straight jacket I couldn't be writing down
such things as, Norma Shearer — silver tea
service. Merle Oberon — a pint of per-

-gold plated

■ Yet I realized if I started ex-
pounding about the horrors of
a Hollywood Christmas my house would
be a fit target for a bomb. For it's per-
fectly dreadful that I, with this great big
check coming in every week, that I, who
have plenty of money to spend on my
gifts, should be complaining.

Why, when I was pounding my fingers
to the bone on that awful typewriter in
the office of a slave driver I used to think,
"Oh, wouldn't it be wonderful if I could
buy anything I wanted for people?"

I was making $22.50 a week then and
I loved Christmas. My list was small and
intimate — just the members of my own
family and a few very dear friends. I
knew them all. I knew what they wanted,
too, and I wanted to give all of their out-
of-reach dreams to them.

But of course, I had to make compro-
mises. For instance, one year I overheard
my mother telling my sister that her new
print dress would look just right if she
had a pair of nice earrings to wear with
it. How I would have loved buying her
diamond ones. Instead I had to compro-
mise on imitation pearl. Yet when
Christmas morning came and she, open-
ing my gift, said, "Earrings how sweet

of you, darling. However, did you know
I wanted them?" my heart almost burst
with pride.

■ Then I became a movie star and they
gave me a fortune and I could buy
everybody on my Christmas list every-
thing he wanted. Aha, I'm laughing
with tears in my eyes. That's what I
thought.
Just after I [Continued on page 39]

HOLLYWOOD

If you are thinking of Holly-
wood, think twice before
you plan to arrive as any-
one but your own sweet
self. Many people have
tried to put over exotic
pasts and foreign accents,
and paid heavily for it

By SONIA LEE

are/

Ho

■ How much is Fame worth?
Is it worth constant Fear?

Is it worth the nerve-wracking expec-
tation that tomorrow, or even today, the
hoax by which you achieved Fame, would
be blazoned across a hundred newspapers?

Is it worth chills and fever at the un-
expected ringing of your door-bell? Or
a nutter of guilt at a searching glance
from a stranger? Is it worth denying old
friends, or hesitation in making new ones?

Is it worth living in a shell of dread?

The hoax is an old method by which
innumeral le ambitious youngsters have
sought to arrest the attention of Holly-
wood motion picture executives, pro-
ducers and directors.

In singular instances it has succeeded.
First footholds in Hollywood have been
gained in the past by whopping lies about
family, background, experience or im-
portance in Europe.

But is the fear of discovery, which goes
hand in hand with a hoax, too great a
price to pay for Fame?

■ "It's far too great a price," says
Margaret Lindsay, "I got into pic-
tures through a hoax, and I know! You
pay in fear and in embarrassment and in
limitation of your progress. I hoaxed
Hollywood into believing I was an English
actress. It got me a start. But I still am
paying for it."

Six years ago, a girl introduced herself
to the producer casting the historic
Cavalcade as Margaret Lindsay, "the
London actress, you know!"

Months later, when the picture was re-

leased, it was revealed that Miss Lindsay
was a Dubuque, Iowa, girl who had de-
liberately acquired a British accent,
changed her name, given herself a fictiti-
ous record of London stage experience, to
expedite her career in the homeland.

It was a hoax well -planned, well-
executed, and carried off to brilliant suc-
cess. It gave Margaret her start in Holly-
wood. No hoax on Hollywood, before or
since, has worked so well.

"Give her credit," many said. "She
carried it off. She got somewhere.
You have to admire someone as
clever as that."

On the surface it would seem
Margaret Lindsay benefited. She is
now an established actress, sought-
after by many producers, entrenched
in her profession. Yet, today, six

Don't
Holly woodf

Margaret Lindsay smiles a warning to new-
comers. Her new pictures are Garden of the
Moon and Broadway Musketeers

DECEMBER, 1938

years later, she ruefully insists that her
hoax has exacted a peculiar toll from her
career and from her happiness. That she
paid for her Fame with months of fear.

■ She sat in the living-room of her
apartment — a slim girl in white shark-
skin slacks — a wholesome, sturdy, typic-
ally American girl, and discussed candidly
the reasons she advises newcomers to tell
Hollywood the truth about themselves.
To take chances on their own intrinsic
merits, rather than to borrow fantasy as
ammunition for their onslaughts on Fame.

"No one knows what fear is until there
is something to hide," she declared.

"Then every whisper, every stranger
at your door, every ring of the telephone,
sends a quiver of fear through you. You
feel like a criminal! Haunted and hunted!

"I remember how desperately afraid I
was when two immigration officials came
on the set of Cavalcade. They had entry
records of all the British players. But
they could find none for 'Margaret Lind-
say.' I avoided questioning for days. But
finally they caught up with me, and I
had to tell them the truth.

"Little by little the circle of those I was
forced to take into my confidence grew!
In many instances, it was an embarrassing
secret to keep. Many a lie must have been
told for my sake.

"Friends back home recognized my pic-
ture in the [Continued on page 42]

25

Bang!

2. Aim!

3. Fire!

Bang!

Skeet shooting is Holly-
wood's newest rage, and
Carole Lombard is a con-
sistent high scorer. Here
she is in action, after a
morning of work on the
Made For Each Other set

6. Another round, while skeet shooting cham-
pion Harry Fleischmann looks on in approval

fcU1

5. Got it!

4. Aw . . . missed!

WOODEN ANNIVERSARY

-More Like a Honeymoon!

Smart Wives use this extra beauty care. . . they
cream EXTRA "SKIN-VITAMIN'into their skin*

Princess — H. R. H. Princess Maria
Antonia de Braganca (Mrs. Ashley
Chanler) is a great believer in cream-
ing "skin-vitamin" into her skin.
She says: "I'm glad to get this extra
beauty care in Pond's — the cream
I've always used."

Vitamin A, the "skin-
vitamin," is necessary to
skin health. In hospitals,
scientists found that this
vitamin, applied to the
skin, healed wounds and
burns quicker.
• Now this "skin-vita-
min" is in every jar of
Pond's Cold Cream! Use
Pond's night and morn-
ing and before make-up.
Same jars, same labels,
same prices.

Earl's Daughter— Lady Cynthia Williams,
popular member of British aristocracy, has
used Pond's since her deb days . . . "Now I'm
more enthusiastic about Pond's than ever.
Extra 'skin-vitamin' in Pond's Cold Cream

helps provide against possible lack of it in
my skin."

(above) At her ancestral home.Waldershare
Park, Kent, England — introducing her baby
daughter, Juliana, to the hounds.

"Any wife would be foolish not to take ad-
vantage of Pond's new 'skin-vitamin' beauty
care! I've always used Pond's. It softens my
skin . . . gives sparkle to my make-up."

Char ming Hostess, MRS. CHARLES MORGAN, III (left)
popular in New York's young married set

Amazing Pond's Offer

With purchase of 1arg~
jar of Pond's Cold Cre< .

Powder. BOTH for the
irice of the Cold Cre.
LIMITED SUPPLY . . .
GET
YOURS
TODAY!,

SOC.V «*»*

t Statements concerning the effects of the "skin-vitamin1* applied to the skin are based upon
medical literature and tests on the skin of animals following an accepted laboratory method.

Tun* in on "THOSE WE LOVE," Pond's Program,
Monday*/ 8.30 P.M., N.Y. Tims, N.B.C.

Copyright, 1933, pond's Extract Compan>

NATIONALLY ADVERTISED BRANDS WEEK At Your Favorite Chain Variety Store— November 5th- 1 2th

27

JOYOUS
NEWS

The girl who made a sensa-
tional success on the radio
and the New York stage is
repeating in Hollywood

Year around swimming is just

one of the reasons Joy Hodges

likes Hollywood

By ED JONESBOY

■ If ever a girl thought she
was sitting on top of the
world it was Joy Hodges the
day she won first place in a
singing contest sponsored by
Paul Ash and his orchestra
during his stay in Des Moines, Iowa.

Here she was, scarcely in her 'teens and
out of her pinafores, crowned as the A No.
1 warbler by the famous band leader,
who had selected her out of a group of
more than a hundred other girls from all
parts of the "tall corn" state.

But that wasn't all. Not only was she
considered the very best little canary of
them all, but she was going to be some-
thing more than that. She was going to
sing with the famous Paul Ash Orchestra.
Paul Ash said so himself. He'd be in Chi-
cago in a month or so, he said, and he'd
wire or phone her from there. He made
her promise that when he did she'd come
a-running, and Joy, so excited that she
was ready to go into a first-class nervous
breakdown, promised she'd be there if

28

Service De Luxe brings to-
gether Joy Hodges, Helen
Brodericlc and Constance
Bennett in a comedy-drama

she had to crawl on her hands and knees.

"Well," she remembers ruefully, "one
month went by and no phone call and no
wire. Then the second month. Then the
third. And by that time I decided I'd
better go down to Chicago and remind
Paul of his promise. I had decided that if
I were good enough to win a singing con-
test I was good enough to earn my living
singing in a band and I wasn't going to
let this opportunity slip by. So, with
mother's consent I drew out enough money
from my savings account to take care of
carfare and hotel expenses and then I
boarded the train for the City of Promise.

"But when I got there the cupboard was
bare! I found Paul Ash easily enough —
but I found no job waiting for me! When
I said, 'Here's that Iowa girl again — what

are you going to do about her?' he just
looked sort of blank — and he kept on look-
ing that way until I reminded him of his
promise to the Des Moines song contest
winner three months before. So I said
again: 'Here I am ready to sing in your
band,' and then waited for the good news.
Well, I'll say this for Paul, he was very
nice about the whole thing, even when he
got around to confessing that he and his
band were out of a job. He just couldn't
keep his promise to me if he wasn't work-
ing— and would I mind too much if I
waited for another month or so until he
got to swinging his baton again?

"Well, I think I was just as nice and
polite as Paul was, everything considered.
I said: 'No, I wouldn't mind at all,' but
that was much [Continued on page 58]

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•Pat. applied for

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The heater with the famous Dual Chamber burner

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MAIL THIS COUPON TODAY! n

DUO-THERM DIVISION

Dept. H-812, Motor Wheel Corp., Lansing, Michigan

Please send me information on the Duo-Therm Circu
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Name.

Address.

City.

.County.

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I would also like to know about:

□ Duo-Therm Oil-burning Ranges □ Water Heaters

□ Furnaces □ Trailer Heaters □ Radiant Heaters

NATIONALLY ADVERTISED BRANDS WEEK At Your Favorite Chain Variety Store— November 5th- 1 2th

29

Blondie

in the Movies

Blondie's famous child, Baby Damp-
ling, is brought to the screen by
Mr. Larry Simms who is doing his
baby best to carry on the tradition
of the widely syndicated comic strip

A quick frisk

For a perfect head-stand

And the promise of reward

The trick works

Arthur Lake and Penny Singleton play Blondie and Dagwood

Snooks won't learn, so one little actor is tired out

"Once I wm a lady of leisure — with nothing to
do but go to parties if I felt like it . . . take it easy
if I didn't. But those days are gone forever! It was
in the cards, I guess. You know the saying — 'Fri-
day's child is loving and giving . . . Saturday's
child works hard for a living.' That's me!"

"Now I model clothes — at a shop
where I used to buy them ! And whew !
—the weary miles we models trudge!
Up and down . . . back and forth
. . . shoulders back, 'tummy' in,
head high!"

"Naturally 'certain days' are worse than others.
But I soon learned from the other models how to
make those days a lot easier! They introduced me
to Modess — and, believe me, when you're on your
feet all day, a napkin that doesn't chafe makes
a world of difference!"

"If you'd like to know why Modess
is so comfortable . . . just cut a pad
in two. Feel that filler! It's like the
down on a duck! So soft and fluffy —
entirely different from napkins made
of close-packed layers."

"And— tee how safe Modest Isl Take
the moisture-resistant backing from
inside a Modess pad and drop water
on it! That will show you why you
need never worry again about ruining
a dress ... or being embarrassed."

"Then — If you're earning your own living and have to
count the pennies, as I do . . . here's some more good news:
Modess is easy on the pay envelope! Honestly — for all
its comfort and security— Modess costs no more than any
other nationally known napkin ! So— take a tip from me
and buy yourself a box of Modess today."

IF YOU PREFER A SMALLER, SLIGHTLY NARROWER PAD, SAY "JUNIOR MODESS"

NATIONALLY ADVERTISED BRANDS WEEK At Your Favorite Chain Variety Store— November 5th-l2th

31

- *

He Wanted
An Easy Job

Acting seemed like si niee easy lit e,
hut Henry Wilcoxon found that
there is more than one hard way
to make an easy living in movies

ii > i<; >i 1 l V x ii it It i s

■ "Sure, actors are softies," said Wil-
coxon heartily.

He gave an unashamed chuckle as he
okayed the accusation which through the
ages has been tossed at the fellow with
an artistic streak by the fellow without
it. The fleer has been tossed at Hollywood
recently, too.

If anybody should chuckle, it's Wil-
coxon. He stood beside the hearth in his
living room, six feet two inches of brawn
and sinew, as the story-books say, with
a curved Saracen sword in his right hand
and a long, steel-tipped spear in his left.
By the aid of these weapons he was ex-
plaining and illustrating a couple of
scenes that had occurred in two of his
pictures.

One ankle was a trifle stiff from a polo
game out at his ranch and a shoulder was
slightly wrenched from tent-pegging in
which you ride a horse at full gallop and
with a lance try to yank an iron tent-peg
from the ground in passing. You have to
swoosh low from the horse's back and
sometimes the horse swooshes also and
falls down on top of you but, as Wil-
coxon was saying in his calm

32

It's still an easy life, asserts Wilcoxon, even
when you wear twenty pounds of helmet as he
does in the rousing drama If I Were King

English voice. "It's heaps of fun, really."
There were sundry abrasions and con-
tusions likewise, but all healing nicely,
thank you. They were the result of furi-
ous scenes and mishaps during work in
Mr. Moto, in the Jane Withers Keep
on Smiling film, and, especially, in se-
quences of If I Were King when (as
"Captain of the Guard") he chased
Ronald Colman (as "Francois Villon")

From the start, they gave him nice quiet parts,
like the action shown above from The Crusades

through the byways and alleys of Paris.

"I took up acting," Wilcoxon observed,
not quite concealing an "ouch!" as he
moved the knee where a guardsman had
inadvertently kicked him, "because it's
such easy work." Hefting the spear, he
added that from childhood he had been
the sheltered, pampered type which
would naturally gravitate to the movies
and he supposed now he would never be
anything else.

"Just a softie!" he sighed, blinking his
blue eyes and running a hand through
his light brown hair so that it stood on
end.

Wilcoxon, as a matter of fact, has been
so sheltered and pampered in the movies
and in real life, from his boyhood up, that
it's a wonder he hasn't spent half his ca-
reer in the hospital. His nickname among
friends is "Biff," and he has a brother in
England called "Bang." The names ex-
press the Wilcoxon temperament pretty
well. [Continued on page 37]

Be lovely

Lovely and happy. . . now this describes
DEANNA DVRBIN

Hollywood's attractive young star, above. And it is such

light-heartedness that Double Mint gum helps bring you.

This popular double -lasting gum is so delicious, it

helps you forget minor cares and you become more at

\ ease and people like you better. Besides, the

relaxing chewing exercise helps relieve tenseness
and nervousness so that you look more refreshed
and lovely. Try some Double Mint gum today.

As a becoming dress sets off a happy face,
BE ANNA DURBIN, Universal Pictures'
star, now playing in "That Certain Age" —
permits Double Mint to show style-sketch of
her new party dress by Vera West, Universal
Pictures' fashion creator. In Simplicity
Pattern 2951 at SIMPLICITY dealers
or write Simplicity, 200 Madison, N. Y.
City. But remember Double Mint gum helps
you to be lovely and happy — first essentials to looks.

Healthful, delicious Double Mint Gum benefits your Digestion, Breath, Teeth. Sold everywhere. 5c. Get some today.

NATIONALLY ADVERTISED BRANDS WEEK At Your Favorite Chain Variety Store— November 5th-l2th 33

« You have heard of famous beau-
ties bathing in milk to preserve and enhance
their beauty. Now science knows why. Milk
contains certain delicate oils that are similar
to the natural oils found in the human skin
itself.

Now these precious milk-oils are being ex-
tracted and combined with other oils to
make a new type of face creme that is win-
ning millions of users. If your skin is too
sensitive for ordinary cremes — try Duart
Creme of Milk for cleansing and all skin
care. This may be the one creme you have
always hoped to find.

Ask for it by name at Drug, Department

Store, 10c Store or Beauty Shop. Or write

^^ Duart, 984 Folsom

St., San Francisco. Sizes

25c, 40c, 50c, 80c, $1.65.

JOUART
sa <»««•• or -■'«

DUART

CREME OF MILK CREME

CONTAINS MILK-OILS BLENDED WITH OTHER OILS

HOW CAN YOU (AT

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ACID INOlGESTION

WOULD DRIVE ME CRAZY

HERE'S THE SECRET
- JUST CHEW A
FEW TUMS FOR
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You never know when

AIWAYS/*
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llQUfflCfrlWnWwl «uch gentle, dependable relief for
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OliviadeHavilland and Dick Powell
in a scene from their new film, The
Hot Heiress, make a good illustra-
tion for the title of this article

Hold that Man

Here is some smart advice
about the things men notice

By ANN VERNON

H I've been listening to the men! To
your boy friends, fiances, husbands.
And I've gotten a pretty good idea of
what they do and don't like about you
and me.

No, I'm not going to play the heavy
parent and tell you that men like girls
who are clean and sweet and pretty.
That's an old story, and so is the fact that
they like girls who look, act and are
natural. Instead, here are some of their
pet peeves. You young wives who want
your husbands to stay in love with you,
you gals who entertain high hopes of
leading Jack to the altar, listen closely.
If you want to hold your man —

BURNISH your hair. Number one
"like" on all the lists was shining hair.
They like hair that looks clean and
brushed. They don't give a hoot, most of
them, how many curls you pile on top
of your head or at the nape of the neck,
but they do want those curls to be im-
maculate, and they do want the smooth

part of your hair to be sleek and glossy.

If your hair is what experts call drab —
a mousy, brown or lack-lustre blonde —
use a rinse that is especially prepared for
your needs. I'll be glad to give you the
name of one that removes soap film from
the hair at the same time that it accents
its golden highlights. The rinse is an old
friend, brought up to date with a new
formula and new dress. Whatever your
hair color, you'll find a type of this rinse
that will bring out all the radiant beauty
of your hair, and give it a new warmth
of color. The food colorings used in the
formula are U. S. Government certified,
and absolutely harmless. They'll wash
out, but won't rub off. A dime buys the
new gold package with its red and black
accent — want the name?

MAKE UP once and for all at your
dressing table in the privacy of your
home. If there's anyone the man can't
stand it's Powder-Puff Polly — the gal who
can't enjoy a meal, a show or a dance

34

Nationally Advertised Brands Are Your Assurance Of Value And Protection

because she's always dragging out her
compact and re-doing her face. And
Gooey Gertie, whose kisses leave a tell-
tale lipstick smear, rates a close second.

For that flawless and lasting make-up
I can recommend a special powder base.
The wedge-shaped stick is easy to handle,
and the creamy foundation spreads easily,
evenly. Just touch the stick lightly to
your nose, forehead, cheeks and chin —
then spread it to an even film. My make-
up lasts shinelessly through dinner and a
long, long evening with this to keep it in
place. The non-greasy foundation gives
the skin a water-proof, velvety finish
you'll love. Four skin flattering shades,
in as many sizes priced from a dime to
a dollar. Interested?

Your kisses won't give you away if
you use a certain lipstick now out in a
new type. The lipstick itself has always
been famed for its indelible qualities.
Apply it, let it set while you give your
hair or eyes a finishing touch, then blot
with a lipstick tissue. Your lips will be
stained with a vibrant, glowing color that
stays and stays. Of special interest right
now is the new "black" lipstick from this
manufacturer. It's magical the way the
color changes from black in the case to
red on your lips. You can lighten the
color by moistening your lips — slightly
for a medium shade, more for a light
tinge. The harmless ingredients of the
lipstick can't irritate or dry the lips. A
dollar buys a generous stick.

BRIGHTEN your smile. More men
than I could count told me how attracted
they were by a pretty smile. Each one
went on to say that sparkling white teeth
are more important than perfectly shaped
ones. What's more, when men say "sweet
smile" they mean just that, so look to
your breath, lady!

You can polish your teeth and sweeten
your breath at one and the same time
with the aid of a certain dentrifice. Its
special penetrating foam floats away food
particles that might cause unpleasant
breath and dull, dingy teeth. The foam,
and the soft, safe polishing agent of this
toothpaste clean your teeth gently but
thoroughly. Want the name?

SECURE your daintiness with two
baths a day, fresh undies, and the faithful

Read this article for beauty tips from
men, then write Ann Vernon about your
special beauty problems. She will be
glad to give you personal help with them
if you'll enclose an envelope with three
cents in U. S. postage for her answer.
Send your letter to Ann Vernon, HOLLY-
WOOD Magazine, 1501 Broadway, New
York City.

use of a perspiration corrective. There's
a new cream perspiration stop that does
its job quickly and effectively. The cream
vanishes completely into the skin, and is
so soothing that you can use it immedi-
ately before or after shaving. It checks
perspiration, locally, for a period of one
to three days, depending on you. A gen-
erous jar costs 35 cents. Name?

PRESERVE the honeymoon whiteness
of your hands by the frequent use of a
hand lotion or cream. One man told me
that he still gets a thrill out of holding
hands with his wife — because her hands
are as satiny smooth and immaculately
groomed as the day they were married.
Even dishwashing hands will retain
their softness if you treat them to a hand
lotion several times a day. Smoothe it
over the entire hand, stroking it on as
though it were a new glove, after every
wash-up. A real bargain is the special
good-will gift offer made by one of the
oldest hand lotion manufacturers. With
each of the fifty-cent bottles you'll re-
ceive a smaller bottle. Use the smaller,
then if you're not satisfied, return the
large bottle for a refund. I like the rapid -
drying, non-sticky qualities of this milky
lotion, and the way it soothes chapped
raw skin. You will too.

Write me before December 15 if you d
like the names of any of these products.
Enclose a stamped, return-addressed en-
velope with 3 cents in U. S. postage.

GO AHEAD AND SULK,
IT'S STILL TRUE I

TESTS SHOW THAT MOST BAD BREATH
COMES FROM DECAYING FOOD DEPOSITS
IN HIDDEN CREVICES BETWEEN TEETH

THAT AREN'T CLEANED PROPERLY.

I RECOMMEND COLGATE DENTALCREAM.

ITS i?iQ\MP£NBTRATING FOAM

REMOVES THESE ODOR-BREEDING

DEPOSITS. AND THAT'S WHY-

COLGATE DENTAL CREAM
COMBATS BAD BREATH

V "You see, Colgate's
special penetrating

foam gets into the hid-
den crevices between
your teeth that ordi-
"" nary cleansing meth-
ods fail to reach . . .
removes the decaying food de-
posits thatcwwemost bad breath,
dull, dingy teeth, and much tooth
decay. Besides, Colgate's soft,
safe polishing agent gently yet
thoroughly cleans the enamel-
makes your teeth sparkle!"

LATER-THANKS TO COLGATE'S...

NO BAD BREATH
BEHIND HER SPARKLING SMILE!

...AND NO

TOOTHPASTE

EVER MADE MY

TEETH AS BRIGHT

AND CLEAN AS

COLGATE'S!

NATIONALLY ADVERTISED BRANDS WEEK At Your Favorite Chain Variety Store— November 5th-l2th

35

YOUR HANDS, too

THIS NEW, EASY WAY

Apply just a few golden drops of
Chamberlain's Lotion. Notice how it
soothes as it smooths away roughness
and redness. There's an Important
Ingredient in Chamberlain's not gen-
erally found in other lotions, to keep
skin soft, smooth and young. There's
never a trace of stickiness and you don't
have to shake the bottle. That's why so
many prefer Chamberlain's. Attractive
hands are yours for the asking if you
ask for

amberlain's

it Drug ...Osparlment Storet
tnd Toilet Qteii Counters

SEND FOR CONVENIENT "CARRY SIZE"

CHAMBERLAIN LABORATORIES, INC.
DES MOINES, IOWA

Please send Free "Carry-Size"
Chamberlain's Lotion.

F-128

i&f

NAME.

STREET.

CITY-STATE_

MAIL THIS COUPON TODAY Good only in U.S.A.

?u

ryM ■■■■ ,1 r Kristin"9 gjtl

Your friends «» „4.

souvenir of HoUyw rhMCe

. _...<« 21 in- «

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:^h"nd-roned ^Xnd.hio- wmm—

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S».«»«l0f»e»a. direct £«« ^4—

,l,em to your tr. ^ ]

u~Uvwooa.

lliem '» ; -,
Hollywood.

Cosmetic Corporation of Hollywood
Park Ceotral Building, Los Angeles, Calif.
Gentlemen:

Enclosed is for Authentic Hollywood Autograph

Kerchiefs. QSilk DWinc D Blue □ Brown

□ Cotton DWinc DBlue D Brown

! Name,

Street,

City .

Attach gift cards and complete shipping instructions if you
want them mailed direct from Hollywood to your friends. I

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62

ACROSS

1. Rogers-Astaire film.

7. Portrayer of Hopalong Cassidy.

10. First name of feminine lead of Gold Mine In
The Sky.

11. Rich , Poor Girl.

12. Sarah Padden's initials.

14. First name of late Mr. Healy.

15. Deanna Durbin's birthplace (abbr.).

16. Storm A Teacup.

17. First name of one who was Gahagan in
Torchy Blane In Panama.

19. Initials of one who portrays Mr. Moto.

20. Wrestler seen in The Gladiator.
22. Billy Mahan is one.

24. You saw her in The Buccaneer.

26. In A Million.

27. Whose role was that of Emma in Four

Daughters ?

29. Confession.

31. Initials of a star of Block-Heads.

32. First name of a character in Valley of the
Giants.

34. Boy actor in Pride of the West.

36. Initials of one of the Lane sisters.

38. M-G-M's Leo.

40. Symphonies.

42. Fools Scandal.

44. The girl in Sing You Sinners.

45. Joel McCrea's wife.

46. First name of one who was Inspector Gleason
in I Am The Law.

48. Initials of Terry Walker.

50. Harold Lloyd's native state (abbr.).

52. Edward Earle's initials.

53. His first name is Sam.
55. Small role in a screenplay.

57. And They Were Married.

58. You Me.

59. Lawton in One Wild Night.

61. Stella in Rascals.

62. Star of / Am The Law.

9.
11.

13.
15.
16.

18.
19.
21.
23.
25.
27.
28.
30.
33.
35.
37.
39.
41.
43.
47.
49.
51.
54.
55.
56.

58.
59.
60.

DOWN

To assign an actor for a part.
Mr. Coleman's initials.

She Had To — .

Bing's screen brother in Sing You Sinners.
His last name is LaRocque.
Comedian with Swedish dialect.

Alexander's Ragtime .

James Newill and Terry Walker were starred

in The Great White Trail.

Leila Rennet in Army Girl.

What Spring Byington is called in Jones

Family films.

First name of Miss Negri.

He had title role in Test Pilot.

Whose role was that of Phillip Marshall in

Always Goodbye?

Eskimo actor in Call of the Yukon.

John Quinn in Garden of the Moon.

Edna Oliver's initials.

String in Little Tough Guy.

His last name is Alberni.

Mickey Borden in Four Daughters.

The Girl No.

Remember Markey?

Spawn of the .

Cecil in Clipped Wings.

Finds Andy Hardy.

Gangs of York.

Director of Mother Carey's Chickens (poss.).

Mr. Arlen's initials.

Mrs. Brewster in Give Me a Sailor.

Mrs. Errol Flynn.

When Were You 1

Initials of 61 Across.

Baker is a star of westerns.

Date in October on which Harry Richman

celebrates birth.

He Loved Actress.

the Victor.

Initials of a star of The Texans.

36

(Solution on page 51)

Nationally Advertised Brands Are Your Assurance Of Value And Protection

He Wanted an Easy Job

[Continued from page 32]

■ As a youngster, "Biff" was taken from
England to the West Indies where,
with other youngsters, he used to amuse
himself by diving into deep water to ex-
plore certain ancient wrecks. There were
sharks in the water, but the boys went
diving nevertheless. One day Wilcoxon
swam into a cabin on a wreck and the
current closed the door after him; he had a
heck of a time getting out and a heck of a
tussle with his own psychology before he
dove down into the cabin again to prove to
himself that he wasn't scared!

In the midst of this sheltered existence,
he discovered Shakespeare's plays and
found that he liked to read the lines aloud.
So, what with soccer, tennis, hunting, box-
ing and other sedentary pursuits, he found
time to go upon the London stage and
thence into American pictures.

His first American film was DeMille's
The Crusader, in which he played "Rich-
ard, the Lionheart" with Loretta Young as
his queen. His second was Antony and
Cleopatra, in which he played "Antony"
to the "Cleopatra" of Claudette Colbert.

"Right away I realized that the movies
were the spot for any fellow who wanted
an easy job," he explained; "my first hour
on the lot, I heard about an actor who
leaped off a roof to catch a rope dang-
ling from an airplane — a scene in an ad-

venture film, with a real roof, real plane,
and real rope, too. Then I got talking with
a chap who had been chased through the
jungle by a lion; a sound stage jungle, but
positively a genuine lion.

"Pictures? A cinch! An actor? A fellow
with a soft handshake who lives on velvet.
Ho hum."

In The Crusades, they threw him im-
mediately into a spirited fist fight with a
blacksmith. Nobody pulled punches.
"Richard, the Lionheart" took it on the
jaw, and the blacksmith got buffeted into
a drinking-trough.

"Then came the battle scenes," Wil-
coxon recalled, "marshmallow stuff where
we clanked around in sixty pounds of
steel mail and clunked one another over
the head with iron battle-axes so sturdily
that more than once we knocked one an-
other out."

Yes, and the classic scene — remember?
— when Wilcoxon, on a hillside full of
milling warriors, snatched a Saracen from
a horse, wheeled the horse about, and
leaped into the saddle; all in practically
one gesture. It had to be a darned quick
gesture, too.

"I was new to the movies, and when they
asked if I could do it, I said I'd try," Wil-
coxon commented, "but if I'd known more,
I wouldn't have attempted it."

Because of the physical danger?

"Because, without knowing it, I was
depriving a stunt man of a job," Wilcoxon
answered.

■ From this gentle introduction to the
cinema, "Biff" progressed to adven-
tures equally marshmallow in character.
For Antony and Cleopatra they had a brisk
fight with Roman broadswords; real
swords, the short, broad blades with
which Roman legions carved a way across
Europe. The fight had to be a bona fide
fight, except that Wilcoxon and his an-
tagonists knew what the other fellow
would do next — or thought they did.

Well, the fight went along beautifully,
Wilcoxon fencing with four men at once,
until one of his opponents unintentionally
did the unexpected. According to the
script, "Antony" smashed down on this
fellow's sword and broke it. The soldier
was supposed to fling the splintered blade
at Wilcoxon's face, and Wilcoxon would
fend it off with his shield.

But the soldier stumbled. Wilcoxon
raised the shield and the broken blade
went deep into his leg.

So much easier than working in an
office. Sure.

| But there came an occasion when
Wilcoxon got back at a director; and
without intending to do so. The thing was
due to his days in the- West Indies.

They were filming Souls at Sea. What

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37

the sheltered-life Wilcoxon had to do was
stand by the rail of a ship and let Gary
Cooper knock him backward over the rail
into the ocean. At this point the ocean
was dirty and murky and visibility into it
from the deck was poor. "When Gary
knocks you overboard," the director or-
dered, "just stay under water as long as
you can, to give us time for a little more
footage, and then we'll cut and you can
come up."

"All right," Wilcoxon agreed. Gary
struck him an awful wallop. Over the side
he went and disappeared completely in
the dark depths.

What the director didn't know, and what
Wilcoxon didn't think to tell him, was that
from his boyhood diving practice in the
West Indies Wilcoxon had learned to hold
his breath a lot longer than the average
swimmer. This time he held it about a
minute.

When he swam with leisurely strokes to
the surface, the first thing to greet his
eyes was a rim of white faces lined along
the ship's rail, Gary's among them. The
next was a confusion of men racing about
the deck and yelling: "Throw down a life-
belt!" "Launch a lifeboat!" And the next
was two figures shooting up simultane-
ously from beneath the billows and
shouting: "Can't find him!"

As he stared, it dawned upon "Biff" that
these antics were on his behalf. The di-
rector, and the company, thought Wil-
coxon had hit his head on the keel or that
Gary had knocked him unconscious. Two
men had dived to search the muddy deep,
and altogether it was a fine hullabaloo
and the only occasion upon which Wil-
coxon has put over more on the director
than the director has on him.

■ No doubt it was in pursuance of the
life of ease that Wilcoxon bought his
ranch out beyond the Malibu Lake dis-
trict, a good thirty miles from Hollywood.
Here's a spot where a pampered actor can
relax. Wilcoxon's first relaxation was to
clear, with his own hands plus the proper
machinery, ten acres of ground and make
it ready for farming. This of course was a
job for his idle moments, since the rest of
his time outside pictures was spent in
building corrals for his horses, breaking
the wild horses, and learning to rope
cattle.

He didn't much like the cabin which
stood on a corner of his acreage, so during
a vacation he yanked it to pieces and per-
sonally put it together again. He added
sleeping porches and built a great fire-
place in the living room.

Between times, he took long hikes over
his property. It includes a small moun-
tain and, slaying a rattlesnake here and
there, he explored this section also. It was
on his mountain that he came upon the
remains of a prospector's outfit and picked
up a broken shovel and a ghost.

The shovel he uses for the ashes in the
living room fireplace. The ghost, or what-
ever it may be, is something else again.

■ Here's the story. Wilcoxon vouches

for the facts, and for the belief of

others in the ghost. Himself, he isn't con-

38

vinced, though he admits that the facts
have no logical explanation.

"Near where I picked up the shovel, I
found what I tnought were human bones
and buried them," he began. "The idea
flashed into my mind that perhaps two
prospectors had quarrelled and one had
killed the other with that shovel. I don't
know why the idea occurred to me, but
it did.

"A few weeks after I'd taken the shovel
down to my cabin and installed it by the
fireplace, I had week-end guests, two
married couples who for some reason
began to talk about people who were
psychic and about the supernatural. The
ladies had gone into one of -the bedrooms

The snow may be piled high, and the winter
winds may be howling around your house, but
this is the way Olivia de Havilland spends a
winter day in California. You'll see her soon in
W'mq% of the Navy and in Hard to Get

when suddenly the rest of us heard a most
horrible shriek. We rushed out to inves-
tigate, and the girls told us that outside
the window they had both seen a terrible
face; a grizzled old man with his mouth
bashed in, who uttered an awful cry. We
others had not heard his cry, but only the
screams of the girls — and their screams
were no fake, they had really been fright-
ened, they were shaking and unstrung.

"Of course we investigated and there
was no one outside the house. And all the
doors were firmly locked. We laughed and
put the vision down to imagination and
the conversation we'd had about psychic
stuff.

"But a month later, when another crowd
was at the cabin, one of the ladies woke
all of us in the middle of the night by
crying out. She said she had been asleep,
but something woke her and she found a
grizzled old man bending over her bed as
if he were about to tell her a secret. At
her cry, he vanished.

"We put this down to nightmare."

Wilcoxon mused a moment. He couldn't,
he said, believe in ghosts, exactly. And
yet the thing was jolly mysterious.

"Not long ago some more friends of
mine spent the week-end at the ranch
house. One of them was an elderly woman
—the common sense type, not given to
imagining things. She handed us the worst
fright of all because she was so calm about
it; simply came out into the corridor and
said she wouldn't enter that bedroom
again till daylight.

"She said she had not yet fallen asleep
when she noticed a light nickering on the
frees around the house, as if some one
were walking about with a lantern. She
watched the light for some time, sup-
posing it to be a watchman, and then
suddenly it occurred to her that the dogs
weren't barking, as they do whenever
anyone comes within earshot at night, and
that through the open window she couldn't
hear any footsteps.

"She sat up in bed and looked at an
angle through the casement window, try-
ing to follow the light around the corner.

"Then she realized that the light Was
entering her bedroom through the locked
door behind her. She looked around, and
here came a grizzled old man with a lan-
tern in his hand. He came across the room
to the bed and was leaning down as if to
speak when she cried out: 'Go away!'

"He went. Nobody has seen him since
— though this was just a short time ago —
but I've asked all my guests if an appari-
tion comes into their room to hold in the
screeches long enough to find out what he
has to say. I'd truly like to know."

■ He swished the Saracen curved sword
through the air and added that nobody
believed in ghosts nowadays, anyway.
Still, he meant to go out to the ranch house
this week, alone, to discover if in the silent
watches of the night he might lure the
grizzled old spectre into putting in an
appearance and finally speaking his mes-
sage. If ghosts really exist, naturally he'd
like to meet one . . .

"You're actually g-going out there" (I
asked) "alone? You're g-going to wait in
the dark for the old g-griz — "

"Rather!" Wilcoxon answered. "He's
probably a splendid old spook and we
shall get along famously . . ."

Oh, certainly, stalking a spook requires
'calm nerves more than flexed muscles.
Still, I'm allergic to ghosts; and when
Wilcoxon, nonchalantly picking up a
twenty pound andiron and balancing it on
one palm, added: "Or suppose I get up a
party to go out and sit up for old Spooker,
would you care to go along — "

My teeth chattered so that I could hardly
answer politely: "G-goodbye!" I was
going to add a facetious, "Softie!" but the
words stuck in my throat. Perhaps it was
just as well.

\

St. Nick is Just a Nightmare

[Continued from page 24]

became a star — getting pretty big money
— I stopped by Joan Crawford's house one
scorching October afternoon (and you
know what scorchers October afternoons
can be in California — in New York, every-
thing is crisp and the air is wine-like).
What I wanted was a nice dip in Joan's
pool but I found la belle Crawford hip
deep in red and green ribbons, little tink-
ling bells, Santa Claus faces.

I thought she had gone crazy and
started to back away, but she explained
brightly, "Just wrapping up a few Christ-
mas things. You see, my schedule is such
that I'll be working from the middle of
November right up until Christmas day.
So I had to do my shopping and wrap-
ping now. I'm tying up just a few things."

I give you my word that an undersized
fly couldn't have found breathing space in
that room. Joan was muttering and
wrapping and checking off from a list that
looked like a ticket to Tibet with stop-
overs at principal cities.

Finally, I ventured a question, "How
many people are you — er — remembering
this year?"

She ran her eye down the list and did
some lightning mathematics. "Five hun-
dred and eighty-two," she said.

I was growing incoherent, "But who —
what — I mean."

Joan disentangled herself from the tis-
sue paper factory and proceeded to tell me
the facts about Christmas in Hollywood.
She couldn't make many gestures, as she
talked, because her right arm was bound
to her side by 1600 yards of ribbon.

"It's like this," she began, "First, be-
sides your family, there are your friends
at the other studios and all the people

on your own lot people who have been

terribly nice to you all year, prop boys,
electricians, wardrobe people, all have to
have special presents. It's work, but it's
fun. I love Christmas."

In my ignorance I said, "Well, take those
people you work with — you can cer-
tainly buy in job lots for them. I mean
you can give every electrician a couple
of ties, can't you?"

The minute I had said it I saw the
withering look Joan gave me that you
couldn't. "But, darling," she explained,
as one explains to a child who can't pass
from the first to the second grade. "You
can't possibly give duplicates because
everybody in Hollywood knows every-
body else and they all show each other
their presents. It would hurt their feel-
ings if they thought you just ordered in
job lots and didn't give them any personal
thought."

I left then and took a swim in the

YWCA pool. It's not so pretty as Joan's,
but I didn't get all tangled up in Santa
Claus' beard.

■ It was then I decided I wasn't going
to become involved in Hollywood's
type of Christmas. No indeed, I would
do as I had always done — give only to my
intimate friends and family. Oh, sweet
innocent girl that I was.

Next year I was working on a picture
right up until Christmas Eve. (You're
always doing that, incidentally. They
seem to plan it deliberately. An ordinary
girl works until the last minute, too, but
at least she can get a little shopping done
during lunch hour. But not us. Studios
are invariably far from the center of any
town and besides we're usually done up
in nine hundred beads and a G-string
which is hardly a suitable shopping cos-
tume even in Hollywood.) So, thinking
I was very cagey indeed, I asked one of
those personal shoppers to come to my
home in the evening.

As you know, that's one of the fine
services Hollywood merchants render the
busy movie star. Bright people come to
your house with a line of merchandise
and you can select what you want right
there without the bother of going into the
shop.

It seemed wonderful to me. But I didn't
know. I just didn't know.

The shopper said, "Now just turn your
Christmas problems over to me, dear."

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In the new comedy, Topper Takes a Trip, Roland Young once more suffers numerous
shocks from the whimsical ghost, played by Constance Bennett. In this scene
she has materialized out of thin air to complicate Topper's holiday ai the beach

She sounded so cozy and helpful. "Let
me see your list."

I handed her the pitiful little thing —
there were just twenty-two people on it
— and saw right away she didn't approve.
She tossed it aside in disdain. I realized
I was going to have to begin all over again.

"Now!" she said taking me firmly in
hand, "What are we going to give Carole
Lombard?"

I said she wasn't on my list. I ex-
plained that I adored Carole, thought she
was one of the swellest girls I knew, but
I'd decided to keep my list down to family
and very, very intimate friends.

"Oh, that will never do," the shopper
said briskly. "For I know but can't tell —
secret, secret — what Miss Lombard's giv-
ing you and it's something just too, too
divine. You'd be just too embarrassed
Christmas morning when you opened that
present from her and thought about the
card you'd sent her. Now let's see . . .
what will we give her? I know what
so-and-so is giving her, so we won't du-
plicate."

Well, "we" gave Carole Lombard a
stunning house coat in black velvet. "We"
also jumped my Christmas list from
twenty-two to 240. And "we" made a
smiling exit, figuring up commissions
while I fell in a heap on the floor.

■ Just a beautiful tool of a merchant —
that's what I am. And it didn't occur
to dumb me until much later that maybe
Carole wasn't going to give me a thing
until "we" arrived and told her about the
too, too, divine gift I'd picked out for her.
Although I hang my head in shame

honesty forces me to tell you that some-
times a shopper can be very useful. Re-
member that wonderful emerald bracelet
I love so much? I think you ran a picture
of me recently with it on. Well, I got
that through a shopper. I mean, sort
of . . .

I espied it when I was discussing my
Christmas jewelry problem with one of
the many personal shoppers. The mer-
chant saw my eyes light up. He said,
slyly, "When Mr. So and So" (mentioning
the name of the man I adore) "asks for
suggestions about your Christmas gift
should we suggest this?"

I'm only a woman after all — and weak.
I didn't exactly put the shopper up to it
but I didn't say, "Get out of my house you
scheming rascal." And, as you know, I
have the bracelet.

■ The longer you stay in Hollywood the
worse it gets. Every year you give

hundreds and hundreds of gifts to the
same people who already have hundreds
and hundreds of things. See what I
mean? It's an endless vicious circle that
goes round and round and round and
round and. . . . Oh, won't somebody
stop me.

■ There! I'm stopped. And I've been
trying to think if anything has im-
proved with the years. One thing has.
Have you noticed the improvement in the
card situation?

When I first came out here the greeting
card competition was something to turn
your hair grey. I'd thought, in my simple
way, that a card was merely a gracious

\

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way in which to wish an acquaintance a
seasonal greeting. Not at all! The Holly-
wood angle was to get as far away
from the idea of merely stating "Merry
Christmas and Happy New Year," get
something big as a house in the line of
cardboard.

If one star sent out cards so big that
two men had to carry one in the house,
the next year six young leading men who
hoped to be stars would send cards that
could only be brought by a truck.

It got so that, in order to be original
and bizarre you started thinking about
your 1935 Christmas cards on December
26, 1934 and these great monstrosities set
you back to the tune of some five bucks
apiece.

And then the only wonderful thing
that's ever happened out here concerning
Christmas — happened. (That's a mixed
up sentence but so am I.) Some really
bright person thought up the idea of hav-
ing you give your card money to charity
and only a penny postcard was sent out.
Why don't they do something like that
about gifts? But I'm afraid they never
will. Hollywood is the big gift town.
Leave a star alone with his thoughts for
ten minutes — as long as he can stand it —
and he'll think up something to give
somebody.

■ The gents have long since worn out

the idea of presenting their lady loves

with such little baubles as diamonds and

pearls and have gone in for the bigger
things. You know, of course, what Bob
Taylor gave Barbara Stanwyck for her
birthday. A tennis court. Now doesn't
that strike you as just slightly on the
unwieldly side? I wonder if he said,
"Shut your eyes and hold out your hand."
Or maybe he put it behind his back and
asked her to chose right or left. Or may-
be I'm going crazy. Do you think so?

Another lad I know had given the light
of his life every possible thing a young
man could give the light of his life.
Christmas came to add to his confusion.
She had so many diamond bracelets that
when she put them all on she couldn't
bend her elbow. She had so many neck-
laces her masseuse had complained he
couldn't get that kink out of her neck
caused by carrying them around. And
with her fur coats she could have financed
an expedition to Alaska.

Then suddenly her boy friend remem-
bered that she had wanted to remodel her
house. So he gave her the extra bath-
room she needed.

| Now do you understand why I
couldn't think up any tragedies but
this when your interviewer called?
What's going to happen?

A friend of mine who is an economics
professor (goody! goody! he isn't in pic-
tures and I don't have to give him a
present!) tells me that it's all a very good
thing, that the more people spend on any-

thing, the more people are put to work
and the more money circulates. Well, I
can see the logic in that. If Hollywood
stopped buying Christmas gifts nine mil-
lion people would be out of jobs. But do
you think it would throw the entire sys-
tem off balance if one person stopped giv-
ing? I'm speaking, naturally, of myself.

Suppose I went berserk, hog wild, crazy
and tore up my Christmas list. Suppose
I said I won't be a pawn on this mad chess
board. Whoops! What a wonderful idea!
I'd be free! I could live my own life!
I could call my soul my own! I'd be my
own woman and not the slave of Santa
Claus!

It's a grand idea. I'm going to do it.

And yet and yet. . . . How would I
feel Christmas morning when I opened
the gifts sent to me and realized that no-
body was receiving anything wrapped by
my lily white hands . . . and then the
electricians have been so very nice, and
my hair-dresser is a dear, and I am so
grateful to so many people who had been
darling all year long, and Christmas is
such a good time to let them know I ap-
preciate all they have done for me. . . .

Forgive me, I ramble and I really must
stop now. You see, I just have to com-
plete my Christmas list.

With all good wishes for the holiday
season, though I wish you'd shoot Santa
Claus on sight for me,

Yours devotedly, if grimly,

X. Y. Z.

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DENIED

HER

because
of-

Beware! Don't Hoax Hollywood

[Continued from page 25]

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newspapers. People I had known in New
York; girls with whom I'd gone to school,
saw through my masquerade.

"I never again want to live through
those long weeks while I waited for the
day of reckoning and exposure! While I
waited for my well-planntd hoax to ex-
plode in my face.

"It finally came through an article in
my home-town paper. What a relief it
was — no matter the consequences — to be
myself, to tell the truth, to be afraid of
nothing!

"It was dreadful to meet people from
back home, whom I knew well, and yet
to be forced to deny my identity. To see
the doubt and the bafflement in their eyes.
It used to upset me dreadfully to be
cornered into doing things like that.

"No — believe me — the hoax isn't worth
the candle, from a personal standpoint

"And it isn't worth the candle from the
career angle.

"From the beginning I was tagged as
an English girl — cool, aloof, reserved. I
was labeled — and the label remained on.

"Even when I admitted everything —
bragged about my Iowa background and
how typically American I really was — I
couldn't make anyone believe that I had
an emotion to my name.

"I had, you see, planted my hoax too
well. I had been too successful in my
campaign to be accepted as British in
the beginning. Primitive roles — that is,
roles of warm, human, electric women —
were not given to me. I was supposed to
be wholly without verve and flamboy-
ance.

"Admittedly my break in Hollywood
came through a hoax. But my career has
suffered because I've never had a chance
to be myself. Once tagged — you're 'it'
permanently in Hollywood.

"From time to time I've thought of
doing spectacular things, so that the public
and the producers would realize that I
was not inhibited, that I was not cold,
that I was not a calm and collected person
to match my accent. I think if I threw
somersaults in someone's drawing-room
I would still be considered the haughty
and reserved Margaret Lindsay.

"On occasions I have said to myself —
'Shall I roll a peanut down Hollywood
Boulevard? Shall I affect bizarre clothes?
Shall I suddenly immerse myself in scan-
dal and headlines?' In my darkest mo-
ments I have had the notion to go out
and borrow a peck of trouble in the hope
that the fiction of my reserve would go
up in smoke. Now if I hadn't pulled that
hoax about being British, I wouldn't have
had all those bothers.

"I believe that if a person is fated for
a certain place in life, whether it be in
the theatre or anywhere else, that achieve-
ment will come without the need of lies
of subterfuge. It might be harder at first.
It will be easier later. I didn't know this
six years ago. I do now!

"And so to Hollywood newcomers I
want to say — 'Beware! Don't hoax Holly-
wood! Your hoax will bounce back some

way. You'll get farther, in the long run,
telling the truth.

"From now on, my life is an open book.
I have no secrets. When I plan marriage
(Hollywood believes that Margaret Lind-
say's marriage to Bob Abbott, the busi-
ness manager, is imminent) I shall
announce it formally, get married in Los
Angeles — do everything in accordance
with time-tried formula.

"No more subterfuges — or hoaxes — for
me! I'm cured!"

■ There is a certain type of naive mis-
representation which Hollywood not
only condones, but encourages.

It's quite all right for a newcomer to
acquire without benefit of fact, a finish-
ing-school background and Mayflower
forebears. It's even cricket for marriages,
contracted before film fame, to be hidden.
Frequently, they subtract from glamour
and interest. But hoaxes about past im-
portance, invariably pay slim dividends.

For months before Marco Polo was in
production, tales began to seep through
about the glamour, the artistry, the rare
personality of a girl called Sigrid Gurie,
whom starmaker Samuel Goldwyn was
grooming.

The impression was given that her ap-
pearance on the screen was delayed until
her English was perfected, until she was
the perfectly polished gem which would
excite even Hollywood's jaded fancy.

There were few details available about
her — only that she was a great Norwegian
actress, miraculously found and persuaded
to lend her luster to the American screen.

Her appearance as the Chinese Princess
opposite Gary Cooper was awaited with
considerable curiosity. Would this import
deliver — or was it another case of a
foreign actress being over-sold? Her
origin went unquestioned.

She came up to the mark on preview
night. She was exotic, she was deft, deli-
cate, subtle. She had an exciting quality.

But on the heels of her debut came her
husband's suit for divorce. Disclosures
followed thick and fast. She was Nor-
wegian, true enough. But born in New
York, while her father, a construction
engineer, was on a tunnel project in this
country. She had lived most of her life
in Oslo, Norway. But for the past four
years she had been in Hollywood, making
every effort to break into the movies.

Not a seasoned actress — but a novice!
Not a lucky discovery, but a girl who had
been brought to Goldwyn by her agent.

Has Gurie's hoax helped her career? I
doubt it!

The public dislikes to be disillusioned.
When it is, the reaction may readily cause
resentment or indifference.

It may well be argued that talent is
talent — no matter where it is found. Or
how! But the public hates to be taken for
a ride in their introduction to the talent.

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| Asa general rule, liars lose out in
Hollywood, because their fictions are
discovered before they have made their
mark by merit.

Behind Hollywood's closed doors the
story of the producer whose susceptibility
to Russians is frequently told. Some
years ago, he was taken in by a husky-
voiced, sloe-eyed, young lady who claimed
kinship to Russian royalty. The gentle-
man received her with open arms. He
touted her as a great discovery. But when
her bread-and-butter American back-
ground was disclosed, he dropped her
like a hot potato. The lady disappeared
from the Hollywood scene, before she
was an integral part of it.

In more recent months, a wild-haired
gentleman was introduced to him as the
last word in Russian artistic achieve-
ment. The supposed director of the
Russian Art Theatre was ensconsed in a
vast office with chromium trimmings and
surrounded by a barrage of secretaries.
His salary check delighted the income-tax
collector.

I had occasion to meet this gentleman.
Something about him was vaguely fami-
liar. I scratched my memory — and then
I recalled him. As a newspaper woman in
Chicago I had run across him on a story.
At that time he was a hard-working
hardware salesman, with artistic yearn-
ings. The nearest he'd ever come to
Russia was watching a performance of
the Chauve Souris. His little hoax caught
up with him eventually. It was too bad —
I was rootin' for him to get away with it.

When C. B. DeMille was casting This

Day and Age, he set forth his specifications
for the feminine lead in the production.
Chief among them was that the girl must
be unmarried and possess a "virginal
beauty." With great fanfare Judith Allen
was assigned the role. When it was dis-
closed that she was the wife of a wrestler,
and had been for some time, the disclosure
didn't help Miss Allen.

There are probably, at this very mo-
ment, half a dozen perfect pets in the
shape of hoaxes being pulled in Holly-
wood. Some will continue hidden, and
stars will be safe!

Others will be revealed — and the hoax-
ers will either disappear from the business,
or start paying off on their little jokes.

Hoaxes are unreliable!

They break up on such little reefs!
Pouf! And they're exploded!

Which brings up to the story of Eloise
(which isn't her name) who was van-
quished by a harmless little oyster!

In August, Eloise's accent was French
and intact. People believed her story that
she was "ze g-r-r-eat artiste!"

In September the first timid blue-point
on the half-shell made its appearance to
Eloise's undoing!

"Ah, splendide!" cried Eloise. "All of
my life in my beautiful France I hear in
zis countree you have in all ze world ze
most wonderful erysters!"

Eloise doesn't live in Hollywood any
more.

Marriage by Remote Control

[Continued from page 21]

has layed out your clothes for tonight but
now has to return to her studio for re-
takes and will be late for dinner. Sug-
gests she taxi to Trocadero when she is
finished, meeting you there.

Date: August 20, 1938
Subject:
To: George Brent, "Wings" set
From: Dan Mainwaring in publicity
Dear George:

Think John Payne is getting ready to
celebrate this anniversary or something to-
night. Thought perhaps you and the boys
would like to think up a gag to delay him.
Let me know if there is a story for the
columns.

To: Miss Anne Shirley
From: Trocadero Operator 3

Mr. Payne phoned at 7:59. Says he
must work late but that he has phoned
Mr. and Mrs. Jack Coogan to meet you
here and keep you company.

To: Mr. John Payne

From: Trocadero Operator 4

Miss Shirley phoned at 8:14. Says she
has been delayed but will arrive later.

To: Miss Anne Shirley
From: Trocadero Operator 6
Mr. Payne phoned at 10:05. Says he

is through work, but believe it or not,
has lost his car keys and his shoes.

To: Mr. John Payne
From: Trocadero operator 2

Miss Shirley called at 10:11. Says she is
terribly sorry, but that she is still delayed.
Hopes to be finished soon.

To: Miss Anne Shirley
From: Trocadero Operator 3

Mr. Payne called at 11:25. Says he has
left for home, without shoes and in a taxi.

To: Mr. John Payne
From: Trocadero operator 3

Miss Shirley called at 11:26. Says she is
through work, now, but is so tired she thinks
she will just go home and wait for you
there.

(Note on Johnny and Anne Payne's front
door Sunday, August 21: )

"The doorbell won't work. The teler
phone is out of order. We have left for
China."

NEXT MONTH

Don't miss HOLLYWOOD Magazine's
annual Quiz on movie news. You'll
have fun seeing just how much you
remember of the year's big events
so don't miss the newest questionnaire.

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Going Native the Hard Way

[Continued from page 18]

Fields would be, and I sat there thinking
nice thoughts and once in a while pitying
the boys and girls who were in their
stuffy rooms back in Hollywood nervously
waiting a call for work from Central
Casting.

And then the rude awakening! How
was I to know, Miss Editor, that this
journey to "location" would take me
across the Mohave Desert? How was I
to know that I wouldn't be working high
up on Mt. Whitney where it would be
cold? How was I to know that I was to
act (?) in a temperature that was above
120 degrees at ten o'clock in the morning?
Just to give you a vague idea how hot
the desert is in the summertime imagine
yourself sitting on a redhot stove and
multiplying it by ten! I lost 15 pounds
by evaporation during that motor ride
across the burning sands and another 15
after acting (?) for two days in the
boiling sun. How in the world Cary
Grant, Douglas Fairbanks, Jr., Victor Mc-
Laglen, Montague Love, Joan Fontaine,
Robert Coote and the hundreds of others
in the cast and on the staff stood the in-
tense heat is more than I can fathom —
and as you know I'm undoubtedly the
A No. 1 fathomer in Hollywood! Nobody
went "crazy with the heat" as far as I
could see except myself and that was to
be expected, everything considered pro
and con, Perry Lieber said.

B But it wasn't the heat that finally got
me down. It was the humility! How
would you like to stand on a revolving
turn-table and stand there as bare as
Sally Rand without her fans while a guy
with an automatic flit gun sprayed you
up and down and all around with black
paint? You, along with six other extras?
Well, that's exactly what happened to me
and was I mortified! And humiliated!
But I'll go so far as to say this for the
guy with the flit gun — he certainly gave
all of us swell Duco jobs!

Remember that old, two-line jingle
about the poor old heathen Hindu, for
clothes he makes his skindu? That was
me!

Now the reason for all this shellacing
was because, when I reported the follow-
ing morning to George Stevens, the di-
rector, he said if I wanted to work I'd
have to "go native." I said I've been
known to go Hollywood, to go berserk,
and to go crazy at various and odd mo-
ments but never native, and if it was all
the same to him (which it probably was)
I'd go home and I began to look around
for the bus to take me back, but about
that time along came Abdul Hassan who
took me over to the turn-table and
ordered the paint job.

This Abdul Hassan, by the way, proved
to be a very interesting character. He
claims to be the son of the mayor of
Dakunu Kalatare, a province in southern
India. He can trace his family tree clear
back to King Wajii who lived 3,000 years
ago. Abdul told me he had just finished
writing Hell Beyond the Khyber, that he

expects to produce the story in movie
form in India, and will not only co-direct
the picture but play the leading role as
well. Abdul ran away from home as a
boy and has traveled over all the world
in a vagabond, hit-and-miss sort of way.
He speaks five languages, including the
Norwegian, and hopes to learn enough
about our methods of film making so that
he can make good pictures when he goes
back to India. He has been in the United
States about three years and speaks
Hollywood English with scarcely a trace
of accent. Director Stevens hired him as
a technical advisor for all the Hindu se-
quences in Gunga Din.

| In the sequences we shot that first
morning fifty genuine Hindus were
employed (all that were registered at
Central Casting) and the rest had to be
recruited from the rootin', tootin',
shootin', hard-ridin' cowpokes of the
horse operas. All of us, Hindus and cow-
pokes alike, had to take the flit gun treat-
ment so that we'd all have the same shade
of black. The guy with the flit gun
sprayed about 500 of us that morning so
you can see that the turn-table kept going
'round and 'round for quite some time.

The Hindu village where the action
took place covered more than a city block
and was so authentic looking that the
Hindus, themselves, were completely
fooled when they first saw it. Part of
it had been accidentally burned down
three days before I got there, but you'd
never know it. Al D'Agostino and Perry
Ferguson, along with all other heads of
the various production units put on an
efficiency show that has never been
equalled in any studio I ever heard of.
Forty trucks were sent scurrying back
to Los Angeles to collect 4,000 different
pieces of props, lumber, and furniture to
take the place of the material destroyed
by the flames. These were rushed back
to location and whether you care to be-
lieve it or not, the village was practically
reconstructed within three days from the
day of its destruction! No wonder those
hard-working boys were receiving
orchids from the front-office! In less ex-
pert and efficient hands that fire easily
could have added $300,000 to the $2,000,000
already budgeted for the picture. As it
was, actual production was scarcely
halted although Lloyds of London, in-
surers, characterized the fire as their big-
gest motion picture loss in 16 years.

■ Well, after all of us had our Duco
finish, we hopped into busses that
carried us up a steep hill that was about
three miles from camp and hotter than
the hinges of you know what. That little
journey up the hill was so slow and so
hot that after we arrived we were taken
in hand by a dozen guys with brushes
and paint pails and given another daubing
over spots that had melted off! When I
slid out of the bus the first three people
I saw were Cary Grant, Douglas Fair-
banks, Jr., and Victor McLaglen, and all of

44

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'em sitting in the shade of a tent and im-
bibing cool drinks that looked so deli-
cious that my tongue stuck out a full foot.
I asked Cary how come and he said some-
thing about sticking around and I'd get
my share — and sure enough, I did. The
drinks proved to be a concoction of lemon
juice and salt that the medicoes attached
to the company compelled everyone to
drink. All who worked in the picture
lost so much salt under the terrific heat
of the desert that in order to compensate
for the bodily loss they had to prime
themselves with this lemon-and-salt so-
lution. I drank so much of it during
those two days that even now when I get
a bit warm I begin to get covered with
salt crystals! Cary, Doug, and Victor
really took a lot of punishment that day
as they had to wear the full dress khakhi
uniforms of the British foreign service
and being clothed in yards of that canvas
suiting must have been like being
wrapped up in so many yards of redhot
metal sheeting.

After receiving our second Duco paint
job Edward Killy, one of the assistant
directors, took us in hand and explained
what we were to do. For some reason
or other he selected me to be a Thug
under the command of Chota who turned
out to be Abner Biberman. According
to the way Abner told it, these native
fanatics were reviving the ancient prac-
tices of Thuggery, the murder-religion
dedicated to the service of the four-armed
goddess Kali, and the British authorities
were sending out large bodies of Lancers
and Highlanders to cover the district and
round up the various Thug bands. A
fight was going to take place in the vil-
lage between the Thugs and the loyal
native troops under the command of Ser-
geants Cutter (Cary Grant), Ballantine
(Douglas Fairbanks) , and MacChesney
(Victor McLaglen), and, so Abner went
on, it was going to be a very tough one,
indeed.

■ It's going to be hard, but try to

imagine me, clad in a little more than

a G-string, whooping it up and down

that narrow, hell-hot Hindu street shoot-

ing blank cartridges at little black guys
hiding on top of roofs! The noise of all
those guns popping off, coupled to the
shouts of the Thugs, the defending gar-
rison and the cries of the director and
his corp of assistants made that sequence
mighty real to us all. That is, all of us
except George Stevens, the director, who
kept making us go through with the same
"business" again and again. It wasn't
until late that afternoon that we blood-
thirsty Thugs finally drove the enemy
out of the village. By then I had re-
ceived as many as ten more paint jobs,
I had lost at least ten pounds in weight
and in addition I had received a hellova
sunburn that's still a hellova sunburn as
I try to sit lightly at this typewriter and
tell you about it ten days later!

■ When the whistle blew for quitting
time I was ready to quit for all time

— but you know me — my art comes first!
But to be honest, the only reason I didn't
start back for dear old Hollywood was
because there were no busses leaving.

Joan Fontaine arrived just as we were
having dinner and I'm going to credit
her with the best "nifty" heard on the
trip.

"Doctor Livingstone, I presume?" Doug
Fairbanks greeted her as she stepped out
of her car.

"No, sir," Joan smiled, "merely Joan
of Ar-K-O."

Not bad, considering the heat and all.

Before hitting the hay that night I at-
tended a movie show in what is un-
doubtedly the largest open air movie
theatre in the world. The movie screen
was set outdoors on the edge of the tent
city, with the foot hills as loges and the
slope of Mt. Whitney for a balcony. This
movie show goes on nightly with a change
of program and is just one of the thought-
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■ Came the dawn.

And with it, just about the most
goshawful noise my shell-pink ears ever
listened to. According to what I learned

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No, this is nof a war scare in Hollywood. But the gas masks are real. James
Cagney and Pat O'Brien nearly strangle while doing a scene for Angels With
Dirty Paces in a smoke-filled set, while director and camera crew work in comfort

later, a wisecrack by Cary Grant, over-
heard and taken seriously by an inventive
sound man, resulted in the most novel —
and certainly the loudest — alarm clock
in the United States.

When Director Stevens worried aloud
about his problem of rousing all of his
different crews each morning, Grant said:
"Why not hook up an alarm clock to the
camp's public address system?" Where-
upon sound man John Tribby did just
that, wiring the gargantuan device so that
the hands of the clock automatically turns
on the electricity for the loud speaker
at five each morning when the alarm goes
off with the loudest roar ever heard in
the Sierras.

Up at five, breakfast, another turn at
the turn-table for the flit-gun spray and
then up the hill for another day in the
burning sun. I got myself mixed up in
a lot of hand-to-hand fighting and once
almost got cracked down when a native
fell off a roof and landed kerplunk right
at my blistered tootsies. It was late in
the afternoon before the Thugs were able
to drive the enemy out of the village and
into the river what with all the different
angle shots Director Stevens took with
his four or five different cameras spotted
on roofs, the street, and in doorways.

I don't know what happened the next
day except what I read in the script back
in Hollywood. I left that night with my
paycheck, my back covered with blisters,
and my stomach full of that lemon-and-
salt concoction, and my mind made up
never to believe what Perry Lieber has
to say about extra work. If I do believe
him, I'll take it with a handful of the salt
that oozed out of my Thuggish body up
there on the desert.

Gunga Din is, by far, the most preten-
tious motion picture to emerge from RKO
cameras in a long time. It's going to
cost in excess of $2,000,000 before the final
sequence is shot. The screen play, written

by Ben Hecht, Charles MacArthur, Joel
Sayre and Fred Guiol, springs from Rud-
yard Kipling's famous ballad of the same
name. The locale is on India's Northwest
frontier. Its principal settings are the
army cantonment and the town of Muri,
the native village of Tantrapur, and a
huge temple to the goddess Kali in the
jungles. According to the screen story
a sort of "Three Musketeers" friendship
springs up between a trio of British army
sergeants and to this is added the story
of the devotion and loyalty of an elderly
native water carrier.

Cary Grant, Douglas Fairbanks, Victor
McLaglen, Joan Fontaine, Sam Jaffe,
Eduardo Ciannelli, Montague Love, Rob-
ert Coote, Abner Biberman, Cecil Kella-
way and Lumsden Hare are principals
in the cast. I figured, maybe, they'd stick
my name in the credits but for one rea-
son and a dozen others I don't care to tell
you about, they said no. Very emphati-
cally. Which maybe is the best thing
after all since I had only one sunburn
to give to my picture career.

But when all is said and done — which
seems to be plenty — one thing is sure.
I'm never going to go "native" again. Not
for all the spray guns in Hollywood. Not
for all the editors in the United States.
Just as soon as I can get out of my sun-
burn bandages which won't be until next
week, my doctor says, I'm going to get
a job working in a nice cool sewer! I'd
rather do that than try to make an hon-
est living running up and down in the
desert sun clad in nothing but a coat of
black paint and a G-string! Why, I won't
even listen to the Desert Song again! And
it's my favorite!

P. S. I understand a studio is going to
shoot a picture soon with a North Pole
locale. How about doing a story on it?

Yours sincerely,

E. (THUG) SMITHSON.

46

Nationally Advertised Brands Are Your Assurance Of Value And Protection

Mickey Rooney for Mayor

[Continued from page 14]

this Mayor of Hollywood idea? And what,
about this horse-and-buggy complex?

Mickey grinned. Then he began to talk.
He's the most surprising talker, because
in spite of his slapdash roles, his gutter-
snipe impersonations, he's a hound for ed-
ucation, reads serious books, studies with
a psychiatrist as well as his regular tutor,
has a profound reverence for learning, and
uses beautiful English — when he feels
like it.

"Horse and buggy is grandpa stuff, isn't
it?" he asked. "And that's what I mean:
grandpa had a lot of ideas that'd go good
right now. But I'll come back to the
horse and buggy later . . .

B "First thing I'd do if I were Mayor of
Hollywood, I'd throw out all the
phonies. The people that have a knife in
your back. I can spot 'em a mile off. You
know, the kind that start talking about
you if they can't think of anything else
to occupy their time; just idle chatter,
full of vitriol. You find them other places,
and comparatively there may not be so
many in this town, but those there are — ■
out!

"Then I'd toss out all the gripers. Oh,
boy, would I! The fellows that are always
complaining, especially the ones that com-
plain about the fact that time is passing.

Sure it is! So what? Myself, I don't want
to play 'Andy Hardy' when I'm 53.
What the heck, I'll grow up and play
somebody else. These folks that never
smile because life's so serious. Huh. You
know me; I like laughs. I'd walk forty
miles for a laugh.

"Then, the people that slop over each
other— Darling' and 'Dearest' and 'Hon-
ey-Boy' and goo-goo! Out with them!"

Mickey spoke with some heat. "I mean,
really sloppy. I hate to be embarrassed.
When I go home, I want to kiss my moth-
er, but I can't. You know? It's hard
for me to show affection, and the more I
feel it the less I show it, so out with these
guys that are forever making a show of
it but not meaning anything by it at all."

The metaphorical Mayor looked around
his metaphorical office and made a sweep-
ing gesture as if with it he cleaned his
desk. Then he started in on really con-
structive stuff.

"Then I'd fix things so the studios would
have Saturday off as well as Sunday — I've
always thought," Mickey said with the au-
thority of a mature man of affairs, "that
actors should have two days' rest a week.
But, not to interrupt things too much,
let's make it Saturdays off during the
football season.

"What's more, the studios would work

from 8 to 4 instead of 9 to 6. That way,
you get your four-hour stretch in the
morning when you're full of pep, not in
the afternoon when you're logey. If you
get home after 6, as we do now, there's
no time to relax before dinner; and if you
eat around eight, there's no time to go to
a show. Movies for movie actors! I don't
know when I've had a chance to see a
picture."

They called him just then for a scene in
the Boys Town dormitory. A pleasant
place, with blue blankets on the beds.
But at lunch time — we had a cold plate
with hot asparagus and Thousand Islands
dressing, which he selected from the buffet
table — he returned to the business of be-
ing Mayor. With lots more ideas.

SB "Take Hollywood Boulevard," he ob-
served breezily, "it needs trees. Ma-
ple sugar trees. In a double row down the
middle. Of course, we may have to widen
the street, pull down a few office build-
ings and stores, but — " with the magnifi-
cence of your true Mayor — "we can build
others. What? A maple sugar tree won't
grow in a warm climate? But we can have
each one sprayed all day with ice water
and the sap will never know the differ-
ence." Mickey isn't above a pun now
and then.

"In the sugaring-off season, we will
have truckloads of snow brought down
from the Sierras, to cool the syrup, the
way they do in Vermont. And of course

""* .« •

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this is all free to the — er — " His eyes
twinkled. "To the taxpayers. And every-
body.

"We'd do something about the public
drinking fountains, too. They're all right,
only they're full of water. We'd fill them
with soda pop instead — strawberry, I
guess— and on every corner there'd be a
free tennis court, or football field, or
swimming pool.

"And — this is important — every kid
would get free rides to fires. On the fire
truck. And they'd let him work the
siren."

It happens that Mickey is a special fire-
man in New York City. Former Gov-
ernor Al Smith, a great pal of Mickey's,
gave him the badge at about the same time
he gave him a special work permit so that
Mickey, at the age of four, could appear
in vaudeville acts. As a matter of fact, he
had been appearing in them since two
months after his birth in Brooklyn when,
as Joe Yule, Jr. — his real name — he was
carried on in a specially made dress suit.
It's Mickey's boast that he has "never
worn knee pants."

■ "Let's see now," Mickey went on,

"there must be some other reforms I

could inaugurate in my spare time . . ."

Spare time — that's good! Mickey, as he
himself says, loves to work. At the mo-
ment he was making three pictures, dash-
ing from one sound stage and one char-
acter to another with the ease of the dar-
ing man on the flying trapeze; he was
doing Stablemates part of the forenoon,
Boys Town most of the rest of the day,
and — in the spare time of which he spoke
—rehearsing for a new "Judge Hardy"
film, besides composing music (and
mighty well, too, they say) for a song he's
writing about Boys Town. Oh, yes, and
not only pursuing his studies but catch-
ing up with them. He has terrific energy;
he can sit still, but he'd rather not.

Studies brought up another thought.
"I'd see that every boy had a good educa-
tion, whether he liked it or not. Honest,
I'd do anything for an education, I'd even
let the movies go for the sake of it if I
had to. I'm entering the University of
Southern California in the fall- — I'll prob-
ably have to go to night school there,
account of my work. Every chance I get,
I read. No fooling. I'm going to major in
literature. Why? So I can read and read
— just for enjoyment, just for knowledge.
And some day, when I know enough,
I'm going to be a director. Then a
producer . . ."

| There was yet another reform the
young Mayor of Hollywood had on his
mind. He spoke quite seriously.

"You remember I mentioned the horse
and buggy? And grandpa's ideas? Well,
the horse and buggy is only a symbol, of
course, but it's a symbol of a time when
people were not in too much of a hurry
to have real homes. It isn't only because
of Boys Town — all my life I've wanted a
real home of my own. I have one now.
We built it out in Bel Air. It's French
farmhouse type, with a wing that belongs
to me and plenty of room for my mother.

"Here's how I figure it." Mickey didn't
choke up or anything, but his eyes glowed.
"My mother's always cooked and taken
care of me, and I think it's time I took care
of her. She would do anything — she would
go in rags — to help me. Well, the least I
can do — get it?

"So, when I'm Mayor, every boy is going
to have a home. If he hasn't got a mother,
I'll — I'll assign one to him; plenty of
women that haven't got kids would like
to have one. And I mean a home. A house,
not an apartment. Oh, I think apartments
are fine but not for a kid. After a while,
maybe, but not when you're young and —
and noisy."

I remembered what somebody had once
told me; this yearning for a real home,
which at last he now possesses (he gave
it to his mother, though), goes 'way back
to Mickey's childhood. When the Rooneys
first came to Hollywood, Mickey's mother
managed a bungalow court. Mickey, who
on a historic evening when he was two,
crabbed his parents' vaudeville act by
crawling on the stage and sneezing, also
innocently tried to crab the bungalow
court idea.

"We don't live in this little old place!"
he stoutly affirmed to prospective tenants.
"We live in a big beautiful house in
Beverly— right on the Boulevard — right
in the middle of the bridle path."

"There's something about a home of
your own," Mickey was saying now, "in-
stead of living in an apartment house with
twenty other people. At least, that's how
I feel. It's great to lock the door and say,
'Well, here I am, in my own house, and
not in the house with twenty other fellows
that walk in when you're trying to read
and say, What's new?' "

Not that Mickey doesn't love company.
Oh, sure. But there's a time for every-
thing.

In his new house there's also a place
for everything. Including Sylvester, his
valet. Certainly, a valet! Hollywood gaped
and giggled when he hired Sylvester. Was
the little tyke getting a swelled head?

The inquirers didn't know Mickey. He
wanted a valet because he wanted a valet.
As for a swelled head — don't let that flip
and self-reliant manner fool you too much.
It hides, as the melodramas say, a heart
of gold. "Why, I couldn't get a swelled
head," Mickey commented, aghast, "be-
cause an actor's only a public servant,
isn't he?"

He added: "Like a Mayor." And went
away to a lumber pile outside a sound
stage to study his lines for the forthcoming
scene. A little later I happened to go
'round the corner, and here was Mickey
teaching a whole crew of Boys Town kids
to dance in a long line, with their elbows
linked — and the thermometer at 100! He
had learned his lines already, and felt the
need of exercise.

"And listen," he called out, "I'd abolish
the show-offs, too — you know, the guys
that wear big, loud, checked suits — " He
himself wears leather jackets and sweat
shirts and flannel slacks.

So! The gripers, the phonies, the show-
offs; he's going to toss them all out of
Hollywood when he's Mayor? Well,
Mickey, you've got one vote right now!

48

Nationally Advertised Brands Are Your Assurance Of Value And Protection

X(mas) Marks a Spot!

[Continued from page 17]

eating. "The Swedes have the right
idea," Melvyn said, "they celebrate
Christmas for twelve days." He has a
vague recollection of waking before day-
light on Christmas morning, to see a
group of Swedish grown-ups return from
church and plant their flaming pine
torches in the snow before the house.
And just about then the eating began.
There was lutfisk (a dried fish) , ham and
sausage, glogg (a kind of punch of which
Melvyn got only a sip), fattingmands
(Christmas cookies that originated in
Norway) and, best of all, Nisse and Nasse
(special cakes in the form of the two
brownies which bear those names) . Mel-
vyn ate Nisse and Nasse for twelve days
and gained two pounds before his return
to London. It was, in more senses than
one, his "biggest" Christmastide.

To Edgar Bergen (and to Charlie Mc-
Carthy, too), Christmas means turkey.
But with, ah, ah, what a difference! Some
years ago ventriloquism wasn't going
over any too big, so Edgar (and Charlie)
lived in a frowsy New York lodging
house and it was Christmas Eve toward
midnight and Edgar had only money
enough for soup and crackers and there
were five shows a day and — and Edgar
was darned hungry. Came a cautious
knock at his door, accompanied by sub-
dued squawks and giggles. There stood
two chorus girls, fellow lodgers, with a
live turkey which they had won in a
raffle. Did Mr. Bergen know how to kill
a turkey? Mr. Bergen didn't, but he was
willing to find out. He took the bird
down to the tiny back yard and, in the
zero weather, tied it to a clothesline and
with one swift stroke cut its throat. He
plucked it in the dark; not expertly.

With the girls, Bergen sneaked into the
basement kitchen of the sleeping house,
prepared the bird — not very expertly,
either — and put it into the oven. It was
a big turkey; they left it there till they
couldn't wait any longer, about three
hours. At four A.M., Bergen crept down-
stairs, wrapped the turkey, pan and all,
in a blanket, and took it up to the girls.
The three sat around and ate and ate;
they even knocked on doors, waking peo-
ple up to partake of Christmas dinner at.
five on Christmas morning.

"In all my life," declared Bergen the
other day, "I've never tasted anything so
good as that half baked bird."

H It was on Christmas a few years ago
that the superintendent of the Leeds
mining properties in Mexico discovered
a plot to kidnap the owner's daughter,
Andrea, that very day, and hold her for
ransom. For hours when she should have
been enjoying her presents and her
Christmas tree, Andrea was breathlessly
awaiting the airplane that was to carry
her to safety. Though a radio SOS had
been sent out, it was questionable
whether the plane would arrive or, if it
did, whether it might not be captured
at the landing field. Six hours passed,
hours of suspense and danger, before at

last the plane swooped down, the Leeds
family rushed to its cabin, and the pilot
headed for the safety of the United
States. It's the outstanding day, let alone
the outstanding holiday, of Andrea's
existence.

L.I As for Merle Oberon, she remembers
Christmas of four years ago because
it was the most miserable day she's ever
seen. A great hit in The Private Life of
Henry the VIII, signed to a big salary,
and at the moment one of the most talked
of women in pictures, she spent Christ-
mas alone in a rented house with no
servants (she had given them the day
off) and almost no food. Probably any
girl anywhere would have jumped at the
chance to exchange places with this exotic
creature, with the world at her feet, sur-
rounded by admirers. . . . Oh, yes? All
forenoon and afternoon Merle sat in soli-
tude, and cried. A telephone call to her
mother in London (she told her mother
she was having the gayest time!) only
made her more unhappy.

Finally, in the evening, the doorbell
rang. Merle answered it to discover
Maurice Chevalier. He, too, had been
spending the day alone and was so blue
that he'd come to Merle to be cheered up!

The two strangers in a foreign land
devoted most of the evening to rummag-
ing for food in Merle's kitchen. They
routed out a bit of cold chicken, some
canned tomatoes and peas, and some
rather tired fruit — all that was left when
the servants sallied forth to enjoy them-
selves— but it represented Christmas din-
ner, anyway.

H Perhaps the strangest experience was
Errol Flynn's when, long before he
entered the movies, he landed in Ethiopia.
With Dr. Harry Erben, a close friend, he
was en route from Australia to England.
Simultaneously with Christmas day, he
arrived in what was then Haile Selassie's
kingdom. Flynn didn't speak the native
language, and there seemed to be no na-
tive very conversant with English. Much
to the surprise of Flynn and Erben, the
natives nevertheless escorted them to first
class lodgings and proceeded to prepare
one whale of a feast. What with ban-
queting and dancing and speechmaking,
the affair to Flynn's growing mystification
— lasted three days.

He was beginning to wonder whether
this was a normal Yuletide revel in
Ethiopia, when there arrived an English-
speaking native who explained that the
whole thing was a social error. The na-
tives had mistaken Flynn and Erben for
a pair of big game hunters, long awaited,
who had promised to hire a good slice
of the population for a trip South after
lions. With mutual apologies, the fes-
tivities ended; but Santa Claus, anyhow,
had had his fling.

39 James Garfield's Christmas was dif-
ferent, the time he spent it in a box
car. The young man who made such an

■

It was between halves, score
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"That fresh tangy flavor scores every
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that weary feeling. Just think how
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49

HOW NERVOUS
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By Dorothy Blake
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impression as the cynic of Four Daugh-
ters was penniless and in Chicago when
he suffered an overwhelming attack of
homesickness for New York. Christmas
Eve. Well — he had now and then jumped
a freight when he worked in the Midwest
wheat fields; he would jump a freight, to-
night. He did; he clambered into a box
car and found three hoboes were to be
his traveling companions.

Next day they woke to white plains and
frosted hills and the jerk and hollow roar
of wheels. They shared three cheese
sandwiches and an apple. Along about
noon, one of the hoboes observed spirit-
lessly: "Well — it's Christmas." Nobody
answered. Nobody cracked out with:
"Merry, merry. . . ." But James Gar-
field says he, for one, didn't care; it
might be Christmas in a box car, but at
least he was on his way back to beloved
old New York.

3 To Tyrone Power, during the holidays
of 1934, New York was anything but
beloved. Trying his luck on Broadway, he
found himself decidedly out of funds at
Christmas but — hooray, hooray — some
friends invited him for dinner. Dressed
up in tails, he went to the party, spend-
ing his last cash for a taxi so that he
could arrive in style. When the evening
ended, he walked the forty blocks home.
His shoes were tight, his feet blistered;
he made the last few blocks (fortunately
the night wasn't too cold) with his shoes
in his hand; explaining to each cop on
each corner that, no, he hadn't been im-
bibing— his feet hurt.

H Indeed, to several of those who have
now become big stars, Santa has been
pretty indifferent upon occasion. Ginger
Rogers, for example. Her "very particu-
lar Christmas" — this is how she refers to
it — came right after she'd won the
Charleston contest which had promised
to launch her upon a dancing career.
From Fort Worth she had gone to Chi-
cago with her "Band of Redheads," ex-
pectant of fame and fortune. But through
this and that the girls deserted her. She
and her mother were stranded a fortnight
before Christmas. "Really broke," says
Ginger.

They got a room for $2 a week (it was
the expenditure of that final $2 which
"really broke" them — and you can imag-
ine what kind of a room . . .), and Ginger
talked her way into a job at a horrible
cabaret; her nose wrinkles even yet when
she remembers the place. Well, at least
it was a job. Ginger held it for two
weeks, or until she had enough money
to take her mother home, and then the
pair of them walked to the railroad sta-
tion, carrying their suitcases, and fell
thankfully into the day coach. Their
home in Fort Worth wasn't luxurious,
but when they reached it late on Christ-
mas Day it looked like a palace of gold.

Bette Davis is another star to whom,
as to Merle Oberon, Santa was very
snooty on her first Christmas in Holly-
wood. He similarly snooted Anita Louise,
and also Ann Miller, the ballet-conscious
daughter in You Can't Take It With You.

■ Shortly before the holidays in 1930,
Bette Davis came to Hollywood and

rented a house. The house, not yet fixed
up, was rather gloomy; there wasn't
enough money for much of a holiday
celebration; an J here Bette and her
mother sat, "like a pair of Orphan
Annies," with sister Barbara abed with
a terrible case of grippe. They couldn't
spend anything for presents, and didn't
know anybody to whom to give 'em if
they'd bought 'em, but mother did finally
go out and in desperation bring back a
skimpy little tree. Then she and Bette
sat and looked at it and tried not to cry.

■ Like Mrs. Davis, Anita Louise's
mother got a tiny tree for that first

Hollywood Christmas when Anita was
only ten. On the tree hung a doll. To
say that money was scarce is to put it
mildly. Mother and daughter lived in a
small, one-room apartment. For dinner
they had canned salmon.

Ann Miller and her mother fared no
better three years ago, when Ann was
only fifteen. Their rent was paid on a nice
apartment, but a check which her mother
expected had been held up in the Christ-
mas mail rush and there wasn't a dime
in the house; not even a cent. Recently
arrived in town, they knew nobody from
whom they cared to ask a loan. Along
toward evening of Christmas Day, the
genial apartment house manager came to
their door with a chocolate cake. "Per-
haps you'd like this for dessert with your
dinner," she said, "I just baked two of
them."

"Dessert!" exclaims Ann, licking her
lips at the memory, "that was dinnerl"

■ The case of the Warren William,
though, turned out to be too much

food over too much territory. As a bride
in a diminutive New York apartment,
Mrs. William — who didn't know how to
cook — decided to start learning with a
Christmas dinner for several of Warren's
relatives. She spent all night stuffing the
turkey, but didn't know that it had to
be sewn up. In the oven, the overstuffed
bird swelled and swelled and the stuffing
came out and out. Frantically, the bride
shoveled it back with a spoon; undis-
couraged, it came out again. Making
Warren promise not to tell of her strug-
gles, his wife carried off the dinner with
a very high head and a very red face.
But when the guests departed, she fell to
the floor in a dead faint and stayed in
bed two days. She and Warren remem-
ber that Christmas!

■ Spencer Tracy, on the other hand,
remembers the Christmas when he

and Pat O'Brien and Frank McHugh
played in a stock company in a little
town in Maryland. The stock company
was dead as a duck, the players' resources
were nil. They lived at a hotel which
they nicknamed The Bear Pit. This joy-
ous Noel, they pooled their money and
sent Frank McHugh out to buy food. He
had twenty-six cents, all told, and he
came back with quite a lot of boloney sau-
sage and rye bread.

50

Nationally Advertised Brands Are Your Assurance Of Value And Protection

£ Joan Blondell remembers the Christ-
mas when at the age of five, with her
brother and parents she was aboard a
boat bound for Australia where dad and
mother had a vaudeville engagement.
The only children on the boat, Joan and
her brother received a gift from every
passenger (notably a mother-of-pearl
manicure set for Joan who thereafter
drove everyone crazy with pleas to "do
your nails?"), and the entire Yuletide
party centered around the lucky two.
Arthur Lake remembers the week, just
before he made his success in Harold
Teen (he's currently the hero of Blondie) ,
when he played Santa Claus in a Los
Angeles department store, and had fun.
And there are several stars who re-
member actually meeting Santa Claus.
Jeanette MacDonald used to believe that
if Santa found a little girl awake he
wouldn't leave any presents. On a never-
to-be-forgotten Christmas Eve she woke
when the front doorbell rang and her
heart began to thud as she heard some-
body coming up the stairs. She closed
her eyes very tightly so that Santa
would think she was asleep; he was stand-
ing by her bed; he was gently pulling the
covers up around her shoulders! Not till
years later did she realize that the gentle
hand had been her mother's. She still
keeps, for demi-tasse service, the thin
china doll's cups that she found beneath
the tree next morning.

■ Romance, too, has struck the Cinema
Sector at the season of mistletoe; and
more than once. Claudette Colbert was
married to Dr. Joel Pressman on Decem-
ber 24, three years ago, at Yuma, Ariz.
The Yuletide that shines for her above
all others was the one after her marriage
when, driving back to Hollywood, she
saw the Christmas dawn break over the
desert. Gladys George, on holiday at a
winter resort, went head first into a ten
foot drift on Christmas morning, was
hauled out by a personable business man,
inadvertently knocked him down on
skates that afternoon, danced with him
that evening, and married him (Leonard
Penn) a few months later.

Virginia Bruce, though married to
J. Walter Ruben a year ago November,
had no time for a honeymoon till Christ-
mas, and this current Christmas stands
out for her because it will be her first
in the new home which she and Ruben
have built.

But the Christmas romance of Christ-
mas romances was Billie Burke's. True,
she didn't marry him. . . . He was
Caruso, and he tossed a great bouquet
of red roses on the stage at her perform-
ance, in New York on Christmas night,
and came to her dressing room to ask
her out for dinner. She accepted, for
she liked the famous Italian tenor, but
she brought along two Harvard admirers
who had made the trip from Boston on
purpose to have Christmas dinner with
her. Caruso didn't much approve the
idea of these added guests, and who
could blame him? Yes, he proposed.
And you know why she didn't accept?
Because she wouldn't give up her career.

| Sonja Henie says her very happiest
Christmas was that on which, at the
age of nine, she won the Junior Figure
Skating Championship of the Oslo, Nor-
way, Skating Club; not even the later
world championships could touch it for
thrills. Joan Crawford's was the Christ-
mas she walked her mother over to a
Beverly Hills house, with a car in the
driveway 'n' everything, and said: "Look,
this is yours."

Freddie Bartholomew's was when he
rode down Hollywood Boulevard with
Santa Claus in the parade; Loretta
Young's when at 15 she got a somewhat
ratty fur coat, the best the family could
afford; Shirley Temple's, two years back,
when she received the electric train with
the crossing-tender who swings a red
lantern; Joan Bennett's when, at the age
of 8, in the Bennett home on Park Hill,
New York City, she got "the most mag-
nificent doll's house I've ever seen." And
Jane Withers' when, in 1934, she signed
her first studio contract, and — like Freddie
Bartholomew — rode with Santa down the
Boulevard.

| The final touch which makes Christ-
mas a red letter day for some of the
Hollywood coterie is the fact that they
were born on it. Eric Blore almost gets
under the wire with a birthday on De-
cember 23; but those with birthdays right
on the 25, include Lela Rogers (mother
of Ginger), born on a Christmas and
married on a Christmas; Humphrey
Bogart; Barton MacLane, and Fernand
Gravet.

Yes, sir, Santa Claus is a dipsydoodle.
Fond of a joke, sometimes a wry one.
And because he's like that, there will be
several stars who, when Meadows serves
the Christmas caviar and turkey, will re-
member this year something similar to
what Fred Allen said to me the other
afternoon.

"My outstanding Christmas?" said
Allen, "any time in the halcyon era of
vaudeville when I played six shows a
day at Centralia, 111., and managed to get
fifteen minutes off to gulp an oyster stew
at the nearest lunch cart!"

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Gracie, the Practical
Giver

[Continued from page 23]

S Then I ran into Gracie on the Boule-
vard one day. It was still not quite
December, but so far as she was con-
cerned, the holiday had arrived. Her
arms were full of bundles and she wore
a big poinsettia on her silver foxes.

"Well, well," I said. "How is Mrs.
Santa Claus?"

"Just fine!" she caroled. "Come on into
the Derby for a cup of tea and I'll tell you
about everything. I've just bought
George — "

"His dining room drapes?"

"Well, no — not yet, that is. Of course,
I'm going to . . ."

We settled ourselves and our bundles
in one of those round Derby booths, and
ordered tea and cinnamon toast. Then—

"I've just bought George the darlingest
desk set!" Gracie confided. "All rough,
masculine-looking leather, monogrammed
and hand-tooled."

"Of course," she explained, "George
already has a desk set, but this one was so
beautiful I couldn't resist it. And so — "
forestalling the remark I was about to
make about her proposed holiday practi-
cability— "I thought maybe George can
give his old one to Ronnie (George and
Grade's adopted son, aged three) for
Ronnie to have when he grows up. After
all, desk sets do last a long time. . . ."

"Of course. A very practical idea," I
murmured.

"And — oh, yes," she rattled on, "I found
something else in New York. . . . Some-
thing I'd been wanting to give George for
ages. I had quite a time getting it — a real
little adventure, you might say. It was
there in a store on Fifth Avenue — "

I interrupted her, on account of I
thought I had better get things straight
as we went along. You have to, with
Gracie.

"What was there?"

"Why, I thought I told you. A ski suit.
I have been wanting to give George a ski
suit for a long time."

"A ski suit? I didn't know George
skied," I said.

"Oh, he doesn't. But this was such a
fine, serviceable ski suit, and especially
after I got locked in it and got a reduction,
I thought—"

"What do you mean you got locked in
it?" I'm afraid I rather shrieked. I think
anyone would have. Locked in a ski suit!

"Why," Gracie said, innocently, "I tried
it on. It was one of those one-piece things
with a zipper up the front and it looked
so wonderfully warm and nice, so I just
put it on and zipped it up. But the zipper
hooked in a little piece of my blouse and
you know how zippers are when they're
hooked in anything. They won't come
loose and there I was, locked in.

"The clerks all scurried around and the
manager came and apologized and wanted
to cut the thing off. But I said to try a
little longer because it was a shame to
spoil that nice ski suit, especially when I
kind of wanted it for George, because it

A STAR FROM
THE SLUMS!

John Garfield, the brilliant young actor
who made such a sensational success in "Four
Daughters," is the newest Hollywood idol.
He's headed for stardom.

Quite as sensational as his success on the
screen is the story behind his spectacular rise
to fame. No story you ever read about
Hollywood is more heart-warming, more fas-
cinating than that of John Garfield's fight
from bitter poverty to wealth and fame. The
December issue of SCREEN BOOK brings
you that story exclusively under the title:

SLUMS TO STARDOM

In the same star-studded issue you will
enjoy:

STANWYCK SPEAKS HER MIND ON
TAYLOR

TYRONE POWER'S MANHATTAN
HIDEOUT

And Many Others

SCREEN BOOK

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10 cents

STATEMENT OF THE OWNERSHIP. MANAGEMENT
CIRCULATION, ETC.. REQUIRED BY THE
ACTS OF CONGRESS OF AUGUST
24, 1912, AND MARCH 3, 1933
Of HOLLYWOOD, published monthly at Louisville,
Kentucky, for October 1, 1938.
State of Connecticut }
County of Fairfield } Es-

Before me, a Notary Public in and for the State and
county aforesaid, personally appeared Roger Fawcett, who,
having been duly sworn according to law, deposes and says
that he is the Business Manager of the HOLLYWOOD, and
that the following is. to the best of his knowledge and
belief a true statement of the ownership, management (and
if a daily paper, the circulation), etc., of the aforesaid
publication for the date shown in the above caption, re-
imired by the Act of August 24, 1912, as amended by the
Act of March 3, 1933, embodied in section 537, Postal
Laws and Regulations, printed on the reverse of this form,
tu-wit:

1. That the names and addresses of the publisher,
editor, managing editor, and business managers are:
Publisher, W. H. Fawcett, Greenwich. Connecticut:
Editor. Llewellyn Miller, New \rork. New Y'ork; Managing
Editor, Ralph Daigh, New York, New York: Business
Manager, Roger Fawcett, Larchmont, New York.

2. That the owner is: (If owned by a corporation, its
name and address must be stated and also immediately
thereunder the names and addresses of stockholders owning
or holding one per cent or more of total amount of stock.
If not owned by a corporation, the names and addresses of
the individual owners must be given. If owned by a firm,
company, or other unincorporated concern, its name and
address, as well as those of eacli individual member, must
be given.) Fawcett Publications, Inc., Greenwich, Conn.;
\V. H. Fawcett, Greenwich, Conn. ; Roger Fawcett.
Larchmont, N. Y. ; W. H. Fawcett, Jr., Springdale,
Conn. ; Marion F. Bagg. Tulsa, Okla. ; Gordon Fawcett,
Hollywood, Calif. ; Roscoe Kent Fawcett, Port Chester,
N. Y. ; Frances M. Fawcett, Greenwich, Conn. ; Margaret
Connor, Seattle, Wash.; Eva Adams, Seattle, Wash.;
Clarence Fawcett, Portland, Oreg. ; Gloria Fawcett Trust.
La Jolla, Calif.; Virginia Lee Fawcett Trust, La Jolla,
Calif.; John Fawcett Trust. Hollywood. Calif.

3. That the known bondholders, mortgagees, and other
security holders owning or holding 1 per cent or more of
total amount of bonds, mortgages, or other securities are:
(If there are none, so state.) None.

4. That the two paragraphs next above, giving the names
of the owners, stockholders, and security holders, if any,
contain not only the list of stockholders and security holders
as they appear upon the books of the company but also,
in cases where the stockholder or security holder appears
upon the books of the company as trustee or in any other
fiduciary relation, the name of the person or corporation
for whom such trustee is arting. is given; also that the
said two paragraphs contain statements embracing affiant s
full knowledge and belief as to the circumstances and
conditions under which stockholders and security holders
who do not appear upon the books of the company as
trustees, hold stock and securities in a capacity other than
that of a bona fide owner; and this affiant has no reason to
believe that any other person, association, or corporation
has any interest direct or indirect in the said stock, bonds,
or other securities than as so stated by him.

5. That the average number of copies of each issue of
this publication sold or distributed, through the mails or
otherwise, to paid subscribers during the twelve months
preceding the date shown above is . (This in-
formation is required from daily publications only.)

ROGER FAWCETT.
Business Manager.
Sworn to and subscribed before me this 20th day of
September, 1938.

Helen M. Lano. Notary Public.
(My commission expires February 1, 1941.)

52

Nationally Advertised Brands Are Your Assurance Of Value And Protection

fitted me perfectly. So we worked at the
zipper some more and finally it tore a little
piece out of my blouse, and I got the ski
suit off. Then the manager insisted on
giving me the ski suit at a great reduction
so I bought it for George's Christmas!"

"But do you think a ski suit is a prac-
tical thing for a Southern Calif ornian who
doesn't ski?" I said, tentatively.

"Well," she began, doubtfully. "We are
going to learn — " Then she brightened.
"And anyway we can always wear it to a
masquerade."

J Gracie had picked up seme other little

things for George that day we met

on the Boulevard. Blithely she began

unwrapping them to the interest of a good

many other customers besides myself.

"Here's something I found at a little
store on Vine," she thrilled. "Isn't it
wonderful?"

It was a pound of wooden beads and an
instruction book telling in detail how to
make various articles out of them.

"That's for if George should ever get
nervous. Then he can calm his nerves
by making things," she explained. "Of
course he is feeling fine now. But what
I always say is 'You never can tell,' don't
you think so?"

She had also acquired for George a fine
Mexican lariat, hand-woven in exquisite
colors.

"I see you've been down on Olvera
Street," I said. Olvera Street is Los
Angeles' "Little Mexico."

"Yes, George loves those Mexican
things they have down there. He says it
is nice to have things like that because
they are so typical of the history of
Southern California. . . ."

"And they are so practical, too," I mur-
mured.

Gracie had the grace to blush. . . . Just
slightly.

"Aw," she said, "you're kidding me!
You're thinking I won't get those drapes.
Well, you'll see!"

■ Over on the Paramount lot a week or
so later, I paid a visit to the Gracie
Allen Murder Mystery set. Gracie was
there, looking as pretty and smart as ever
in a tailored suit with a fluffy blouse, hair
curled to perfection, eyelashes an inch
long. She'd just finished a big scene when
she joined me, her mind wasn't on it.
Instead —

"You can't laugh at me now!" she
crowed. "Just look here!" With a
flourish, she produced a big bundle and
ripped it open, to disclose yards and yards
of beautiful hand-blocked linen.

"George's drapes," she announced, com-
placently. "Aren't they grand? I'll have
them made up later. Now I'm taking them
home for the Christmas tree."

"I didn't think you had it in you,
Gracie," I said meekly. "I apologize."

"Oh, that's all right," she told me. "In
fact, stay around a little while and I'll
drive you home."

I did and she did, but something hap-
pened in between. Coming through the
studio gate, we were stopped by three
youngsters, two girls and a boy.

"May we have your autograph?" they
begged Gracie.

Parked across the narrow street was an
old, rattly car, with a Missouri license on
it and a tired-faced woman in the driver's
seat. Anxiously, she smiled.

"Please, Miss Allen. We're on our way
to 'Frisco, but we've waited most all after-
noon, so's the kids could see some real
stars."

"An' so far you're the only one who has
stopped," chimed in a little girl, about ten.

Gracie looked down at the clamoring
trio, and at the mother across the street.

"How do you happen to be going to
San Francisco?" she asked, gently.

"Our pop, he died, and Mom's takin' us
to Grandma's," the boy said.

"I see."

3 With a friendly smile Gracie wrote
her name on the pieces of paper prof-
fered. Then she dug into her purse and
pulled out a bill. But the woman pro-
tested.

"No, Miss Allen. We ain't charity folks.
We ain't lookin' for it. We aim to get
along. . . . We couldn't take money. . . ."

"I see." Slowly, Gracie put the money
back in her purse. Thoughtfully, she
watched the youngsters scamper back to
the old car. The woman put her foot on
the starter. It roared raucously. Then
Gracie had her inspiration.

"Wait!" she called. "Come back here
a minute, Sonny — " this to the eldest boy.

The youngster did as he was told.
"What kind of a house does your grandma
live in?" she inquired.

"Well, it's all right, I guess. I was there
once."

"Could she use something to fix it up?"
Gracie persisted. "Could she use some
new drapes, maybe?"

"Well, I dunno. I guess maybe she
could."

Whereupon Gracie thrust George's
practical Christmas into the child arms.
''Take this," she said. "It's a kind of
funny Christmas present, but — well,
Merry Christmas, anyway!"

Then we drove away fast, while Gracie
said, a little defensively because I suppose
she thought I'd laugh: "Well, it was all
I had, and they wouldn't take money. . . ."

But somehow I didn't feel like laugh-
ing. Instead, a lump came up into my
throat as I thought what a really swell
girl Gracie Allen is, and how I shouldn't
have teased her about her "practical
Christmas." Then —

"Anyway, I can get George something
even more practical," she said.

I haven't seen Gracie since, but I talked
to her on the phone last night. Yes, she
had been shopping briefly since the drapes
episode, but all she had bought for George
was a life preserver.

"You know, for when George goes sail-
ing," she said excitedly. "I always think
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guard the life of a wonderful man like
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drapes."

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53

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THE FESTIVE FRUITCAKE

As soon as she finished work on her new picture, Annabel Takes a
Tour, Lucille Ball began preparations for Christmas. Here she
is in her own bright kitchen preparing ingredients for her fruitcake

No Christinas is complete without a
fruitcake and now is the time to make
them for your own nse and for gifts

By BETTY CROCKER

| Surprising, how many
of these stars out here
really can cook! Perhaps
a talent for acting goes
hand in glove with ability
at the kitchen stove. At
any rate, Lucille Ball is
one of those girls who has
an air of knowing exactly what
she's about when she goes into
the kitchen. I asked her about
it one afternoon in her small but well ap-
pointed apartment in Beverly Hills.

"I'm just a small town girl," smiled
Lucille, and the whole thing was ex-
plained.

Because small town girls do seem to
have an advantage when it comes to culi-
nary accomplishments. Lucille was born
in Montana, but her father died when
she was a small child, and her mother
went to Jamestown. New York. There

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Lucille was reared and
went to school. Ambi-
tious, she tried the New
York stage, with about as
much luck as the girls
you saw in Stage Door. So
she turned to dress model-
ing, and what with parad-
ing dresses from 9 to 6 and
then posing for commercial
photos from 7 to 2 A.M., Lucille
was a somewhat busy girl.

She's one of the few girls who got into
movies without a producer's permission,
let alone a screen test. In fact, Sam
Goldwyn was quite put out when he dis-
covered her among a group of models he
had imported for a picture some five years
ago. One of the girls had dropped out,
and Lucille calmly substituted, more for
the trip than anything else. She's the
only one of the group to survive in

pictures, and now, RKO is rapidly building
her to stardom through the current
Annabel series.

Going over Lucille's prized recipes, we
chose her family recipe for fruit cake as
particularly suited to the season. For
good measure, Lucille also parted with
her own specialty, a salad dressing that
is different and delicious. Here they are:

OLD-FASHIONED SOUTHERN
FRUIT CAKE

1 lb. bunch raisins (which you seed

yourself)
1 lb. seedless raisins

1 lb. currants

Vz lb. citron (sliced)

Vi lb. glaced cherries (halved)

¥4. lb. glaced pineapple (sliced)

2 cups English walnuts (broken up)
y2 lb. butter

4 cups flour

1 cup brown sugar

1 cup molasses

Vz cup any sour jelly

1 cup sherry

6 eggs

1 tbsp. ground cinnamon

1 tbsp. ground nutmeg

1 pinch salt

Vz tsp. soda dissolved in a little hot water

Prepare and dredge the fruit, using one
cup of the sifted flour and leaving the
other 3 cups for mixing into the cake.
Cream butter and sugar together and
gradually add the well-beaten yolks of
eggs. To this add the jelly, molasses and
sherry. Mix salt and spices with the re-
maining 3 cups of flour and add slowly
to first mixture. Then put in the fruit
and nuts and dissolved soda. After that,
gradually add the beaten egg whites. If
mixture seems too thick, add more sherry.
Pour into heavy tins (preferably with
center funnel), line bottom and sides
with heavy brown paper. Bake slowly
— it should take about 3 hours. Put a
pan of water under each tin to prevent
scorching the bottom of the cake and, as
soon as the cake begins to brown, put
a piece of buttered heavy brown paper
on top. Let cake remain in oven after
done until it is thoroughly cool, and do
not turn out of pan until following day.

I Once they called salads "greens,"
classed them with necessary evils
like sulphur and molasses. Then the
dish went "arty," became a beautiful but
dumb confection huddled beneath a thick,
mysterious dressing.

Today the salad is neither duty nor
ornament, but a versatile charmer, ap-
pearing as full course or full meal. And
taste comes before beauty.

Out in Hollywood, headquarters of the
Eat-and-Grow-Thin Club, salads are
leading citizens. Every star can whip up
a favorite, and produce a special dress-
ing. Lucille Ball particularly likes this
dressing, for it can be made by the quart,
stored in the refrigerator for such do-
mestic emergencies as the "drop-in"
guests.

Here is the recipe:

% cup sugar
1 cup water
1 small onion

1 clove garlic

2 tbsp. Tarragon vinegar
2 tbsp. vinegar

Vz cup lemon juice
1 tsp. salt
1 tsp. paprika
1 tsp. celery salt
1 tsp. dry mustard
Vz cup catsup

Boil sugar and water together until it
makes soft ball in cold water. Cool. Add
grated onion and garlic to vinegar and
lemon juice. Strain, retaining only the
seasoned liquid. To this liquid add all
other ingredients and mix well. Add
cooled sirup to this mixture, beating well
with egg beater. Pour dressing into glass
jar, cover tightly and store in refrigera-
tor until needed.

For summer luncheons or Sunday night
suppers, Lucille serves a favorite salad
which is a complete meal. This salad is
rich, one men are apt to like. You will
need:

1 package Philadelphia Cream cheese

1 tbsp. sweet cream

Vz cup ripe olives

Vz cup green olives

1 cup pecans

1 very small green onion

Vz pimento, chopped

Blend cream into cheese, add other in-
gredients which have been chopped fine
(measure olives after chopping). Put in-
gredients into roll, place it in refrigerator
to chill. When ready to serve, spread
slices of head lettuce with your favorite
salad dressing, or cut roll in layers, plac-
ing one slice on each piece of lettuce.
Garnish with olives or pickles.

If the roll seems too rich, cut down
amount of olives and nuts, add chopped
raw carrots, chopped celery or any lighter
"greens."

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Crunchy cookies from the Old Country
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at you and wink a cheerful greeting. It's
fun to make these Holiday delights . . .
and they're grand to eat. Betty Crocker
will tell you how. Just fill out the coupon
below.

Betty Crocker

c/o HOLLYWOOD Magazine

Please send me recipes for Holiday and
Christmas Cookies.

Name

Address

Town State

AT HOME

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fe Price

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"She's a Knockout
IF—"

[Continued from page 13]

real friends among women older than
yourself?

7. Do you avoid women who are pret-
tier than you are?

8. Would you help a friend by going
on a "blind date?"

9. Are you interested unless conversa-
tion concerns men?

10. Can you listen to a friend without
saying, "That's just like the time I—"
Think back!

AT A PARTY

1. Do you think it's funny when some-
one gets one cocktail too many?

2. If your pet "hate" is present, is it ob-
vious from your actions that you have no
use for her?

3. Are you the "organizer," who is al-
ways the first to suggest playing games?

4. Were the boy friend to get swacked,
would you bawl him out before the as-
sembled company?

5. Do you retire to a corner with one
other guest for a long conversation?

6. Do you like to be the life-of-the-
party? — — — ■

7. If the boy friend must keep an early
morning business engagement, do you
plead, "Let's stay just a little while
longer?"

8. Do you skim through new fashion
magazines of books, while joining in the
conversation?

8. Do you enjoy meeting new people?

10. Are you frequently the last to
leave?

AT PLAY

1. Do you join in with good grace, even
though you do not care for a game others
have chosen?

2. Are you willing to try a sport of
which you have no particular knowl-
edge?

3. Do you hate to lose?

4. Are you an "arm-holder" on an out-

ing >

5. Do you like outdoor games?

6. Do you dress up, if you know the
others will wear old clothes?

7. Do you alibi a bad showing by tell-
ing what you scored last week?

8. Do you insist that others follow your
rules, if there is a difference of opinion?

9. Do you excel in any one sport?

10. Do you ask the score at a football
game more than four times a quarter?

IN YOUR OWN SWEET WAY

1. Do you kiss and tell?-

2. Do you go in for risque stories?

3. Do you quote prices of your new
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FOOTLOOSE
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56

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4. Do you really mean it when you say
"I hope to see you again soon?''

5. Despite all your good intentions, do
you usually keep a man waiting for you?
Think back!

6. Do you ever talk "baby-talk?"

7. Do you ever say, "I'm mad at you.
You haven't called me this week!"

8. Do you introduce people by their
first names?

9. Do people have to ask you to take
off your hat in the theatre?

10. Did you answer every one of these
questions truthfully?

NOW ADD UP THE SCORE!

| Give your girl ONE for each of her
answers that correspond with the one
listed below.

She is Miss America, a perfect dazzling
jewel among women and almost too good
to be true if her score is 80.

If her score is over 70, she is far above
average and you better be very nice to
her, indeed.

If her score is between 60 and 70, she
better not enter a popularity contest just
yet.

If her score falls below 50, don't believe
a word she says . . . she's kidding you. "
Make her take it again.

AT HOME

1. No

6. Yes

2. No

7. No

3. Yes

8. Yes

4. Yes

9. No

5. No

10. Yes

AT THE OFFICE

1. No

6. No

2. No

7. No

3. No

8. No

4. No

9. No

5. No

10. No

AS A WOMAN AMONG WOMEN

1. Yes

6. Yes

2. Yes

7. No

3. Yes

8. Yes

4. No

9. No

5. No

10. Yes

AT A PARTY

ON A

DATE

1. No'

6. No

2. No

7. No

3. No

8. No

4. No

9. No

5. No

10. No

1. No

6. No

2. No

7. No

3. No

8. No

4. No

9. Yes

5. No

10. No

\T PLAY

1. Yes

6. No

2. Yes

7. No

3. No

8. No

4. No

9. Yes

5. Yes

10. No

IN MOMENTS OF STRESS

IN YOUR OWN SWEET WAY

1. No

6. No

2. No

7. No

3. No

8. Yes

4. No

9. Yes

5. No

10. No

1. No

6. No

2. No

7. No

3. No

8. No

4. Yes

9. No

5. No

10. Yes

Deanna Durbin and Jackie Cooper had a gay time at the informal dinner
given by Director Edward Ludwig to celebrate the finish of That Certain Age

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57

more than a mere white lie because I DID
mind a lot. Here I was in Chicago, my big
dream all shattered to pieces with ap-
parently no chance to put it together again.
One thing was certain, however. I wasn't
going back to Des Moines and sit around
while friends filled my ears with a couple
of million words expressing sympathy.
And another thing was certain, too. New
York was only a few hundred miles away.
Why not, I said to myself, keep moving
eastward? I still had money in my sav-
ings account and what better use could
I make of it than to travel? I was deter-
mined to sing in a band and I told mother
so over the phone that night and she said
she'd wire me some more money and for
me to go ahead when I got it."

H So — disappointed, but not discour-
aged Joy took the $200 that her moth-
er wired her and headed for New York
City, and in less time than a name-band
can tune up for "Flat-foot Floogie" she
was standing in front of an orchestra
'mike' pouring out sweet and sad notes
to the great delight of the cash custom-
ers who came again and again to hear the
girl from the tall corn state sing.

Since her first appearance in the Big
Town Joy has been on the air with the
orchestras of Ted Fiorito, Ozzie Nelson,
Carol Lofner and Jimmie Greer, just to
mention a few leaders.

"It was Jimmie Greer," Joy says, "who
got me my first motion picture job — if you
can call it that. As a girl singer in his
orchestra, I sang a couple of songs in a
'short.' Then RKO signed me to a long-
term contract that shrunk to six months
due to no one in the studio having the
strength to pick up my option when the
time came for it to be lifted. In that six
months I sang numbers in Old Man
Rhythm, To Beat the Band, and Follow the
Fleet and that was the limit of my motion
picture experience. At no time during
my RKO contract did I have a single word
or line to speak in a film."

BE On the air — after getting it from
Hollywood — she became a radio per-
sonality quicker than an Ioway farmer can
take the shucks off'n an ear of corn and
once again the studios began to prick up
ears. Universal, a little more alert than
its rivals, coaxed her to sign another long-
term contract, which she finally inked in
after receiving a promise that the studio
would start her off on her second screen
career with a featured acting role in The
Merry-Go-Round of 1938.

"I saw part of the preview," she smiles
a little sadly, "and left the theatre before
the picture was half through because I
couldn't bear to look at myself! Every-
body in it was swell but myself, and I
realized that I was as amateurish as one
possibly could be. So far as good acting
was concerned I had gotten away with
murder and the penalty for that, I was
convinced, would be another torn-up con-
tract. I remained at home day after day
and waited for Universal to call up say-
ing that so far as the studio was concerned
it would be perfectly all right and legal
for me to go back to my bands. Sitting
there within arm reach of the telephone I

58

Joyous News

[Continued from page 28]

began practicing on my farewell speech
so that I would have it letter perfect when
the bad news arrived. You can imagine
my surprise when I learned that my con-
tract was still in force and that it would
be for a long time to come!"

■ The second featured role was a long
time in coming, however, and Joy,
tired of sitting around home, went into
action. She sent out letters to her band-
leader friends stating that she was avail-
able for work and would they hurry up
and give her another chance to stand be-
fore the "mike," and in a short time the
letters began to roll in — nice long epistles

Joy Hodges takes the sun at the Ambassador
Lido after finishing work on Service De Luxe

offering her work at fancy wages, but be-
fore she got around to make a selection
she got what she claims was the greatest
shock — and surprise — of her young and
active life. Broadway wanted her as the
singing star in the George M. Cohan smash
hit, I'd Rather Be Right!

"I thought it was just another of those
Hollywood practical jokes," Joy admits,
"until I received two more wires and two
long-distance telephone calls urging me
to pack up and take the first plane out. I
was too dazed to remember much of what
happened after that. I have a vague and
hazy picture of myself obeying instruc-
tions about packing, driving down to the
airport and of boarding the plane and of
being met in New York, but I can't swear
to anything that happened until that
never-to-be-forgotten night when I made
my first appearance on a Broadway theat-
rical stage. If I live to be a million I'll
never forget the tiniest detail of that mem-

orable evening. Never! That was the su-
preme thrill of a lifetime!"

Well, consult the records if you want to.
Little Joy Hodges, the canary from the tall
corn state, knocked 'em cold! And, better
yet, she kept knocking 'em cold for more
than 200 evenings in a row!

"I learned a lot during that time," she
says, "especially from George Cohan. If
I owe anyone a deep debt of gratitude, it's
to him. He's all the nice things everybody
says about him — only a thousand times
more!"

i | Joy is back in Hollywood again and
at Universal where she's finished the
leading feminine role in The Comet, and
by the time you read this she will like-
wise have finished a splendid role in
Constance Bennett's starring picture,
Service De Luxe.

Not bad for a little girl who started out
as an entertainer when she was eleven by
teaming up with another little eleven-
year-old girl to appear over station WNO
in her home town as The Bluebird Twins!

Three years before Joy was graduated
from high school in Des Moines she won
the Iowa State soprano contest and with
it, as we may have said before, a chance
to sing with Paul Ash and his orchestra.
During her high school days she was
president of the dramatic society, leader
in the French club, pianist for mixed
choruses and soloist for the Girls' Glee
Club. Between school terms she did two
summers of Chautauqua work in all of the
large mid-western cities. She sang for
conventions in her home town and was
a member of the professional troupe
which put on all shows for benefits and
other worthy enterprises. This work
made her self-supporting, built up her
savings account, and gave her the idea
that some day her voice would pay her
way through life. When she wasn't sing-
ing she picked up a little pin money work-
ing in the music department of a five-
and-ten store and when she wasn't doing
that she was modeling for a clothes shop.
"In my spare time," she says, "I taught
dancing and gave piano lessons." In
other words she has a mania for keeping
busier than the proverbial bee. She hates
people who are too friendly and doesn't
think much of waitresses who call her
'dear' and 'darling'. She believes a
woman can have a career and marriage
at the same time and scratches off her
visiting and talking list those women who
profess they can't. Thinks glamour is
vastly over-rated and doubts if a girl can
go far in pictures if she relies on it too
much. She can shoot a gun like Dead-
Eye Dick and is a member of the Des
Moines Hunt Club. When she finishes
pictures she will branch out as a talent
scout. Declares she has already proven
her ability in this direction since she is
responsible for the discovery of her fel-
low townsman, Ronald Reagan, for being
in pictures. The chances are, however,
that she's going to be kept so busy in front
of the cameras out at Universal that about
the only thing she's going to discover in
the next few months is that there's a new
star in the Hollywood sky — by the name
of Joy Hodges.

m

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