J 1 Digitizec Iby the Internet Archive in 2013 http://archive.org/details/photoplay1819chic Scanned from the collection of The Museum of Modern Art Library Coordinated by the Media History Digital Library www.mediahistoryproject.org Funded by a donation from David Sorochty Photoplay Magazine — Advertising Section 3 REG. U.S.PAT. OFF Dance to the music of famous bands and orchestras — on the Victrola The very latest and most tuneful dance numbers, played by musicians who are past masters in the art of delighting dance lovers. All the dash and sparkle and rhythm that make dance music so entrancing. And always ready on the Victrola! Hear the newest dance music at any Victor dealer's. Victrolas $25 to $1500. New Victor Records demon- strated at all dealers on the 1st of each month. Victor Talking Machine Company Camden, New Jersey i ^ben you write to advortlsers please mention PHOTOPLAY MAGAZCNT;. 4 PiioioFi.w Magazine — Advertising Section John Barrymore in Dr. Jekyll and Mr. Hyde " Directed by John S. Robertson "The Copperhead" With Lionel Barrymore Directed by Charles Maigne Cecil B. DeMille's Production " Male and Female " Cecil B. DeMille's Production "Why Change Your Wife?" " Every woman " Directed by George H. Melford With All Star Cast William S. Hart in " The Toll Gate " A William S. Hart Production George H. Melford's Prtxiuction *• The Sea Wclf " William D. Taylor's Production "Huckleberry Finn" Maurice Toumeur's Production "Treasure Island" (T^aramount Cpictures ^ -^i, ...^ -.mKKk: FAMOUS PLAYERS -LASKY CORPORATION ImiitSi \% ■ ■ FAMOUS PLAYERS -LASKY CORPORATION ticrjr »durli.-iiuiiil iii niuInl'l.AV MAOAZIM; i i : The World's Leading Motion Picture Publication PHOTOPLAY MAGAZINE JAMES R. QUIRK, Editor Vol. XVIII Contents July, 1920 No. 2 Cover Design, From a Pastel Portrait by Rolf Armstrong. Rotogravure Martha Mansfield Gloria Swanson, Betty Compson, Dorothy Phillips, Kathryn Perry, Betty Ross Clarke, Louise Huff, Marguerite Namara and Lillian Gish. The Power of Selection Shirley Tomboy But Miss Mason Has Some Feminine Traits. Editorial Nadeyne Ramsay Making Over Martha Delight Evans Miss Mansfield Flits from Follies and Frolics to Films. Around Our Studio Morrie Ryskind and John Barbour A Lilting Skip Over the Lot. Force of Habit Drawing Broadway's Royal Family The Remarkable Story of the Barrymores. The Girl Who Cried Carmel Myers' Tearful Triumph. Heroine of 2,730 Romances Doris Keane the Star of Them Ail. Let's Be Fashionable A Story Everyone Who's In Love Should Read. C. W. Anderson Ada Patterson Gene North Nanon Belois 19 27 28 29 30 32 33 36 37 38 (Contents continued on next page) - Editorial Offices, 25 W. 45th St., New York City Published monthly by the Photoplay Publishing Co., 350 N. Clark St., Chicago, 111. Edwin M. CoLviN, Pres. James R. Qu.rk, Vice Pres. R. M. Eastman, Sec. -Treas. W. M. Hart, Adv. Mgr. Yearly Subscription: $2.50 in the United States, its dependencies, Mexico and Cuba; $3.00 Canada: $3.50 to foreign countries. Remittances should be made by check, or postal or express money order. Caution— Do not subscribe through persons unknown to you. Entered as second.cUss maKer Apr. H, 1912. at the Postodice at Chicaeo, III., uader the Act of March 3, 1979. Pictures Reviewed in the Shadow Stage This Icsue Sa>€ this magazine — refer to the criticisfrs be- fore you pick out your evening's entertainment. Make this your reference list. Page 70 Humoresque Cosmopolitan-Paramount-.'\rtcraft Page 71 The Devil's Pass-Kev Universal Page 72 The ToU-Oate .... Paramount-Artcraft Passersby Blackton-Pathe Page 107 Dr. Jekyll and Mr. Hyde Pioneer The Round-Up. . .Paramount-Artcraft Page 108 Sex Hodkinson Page 109 The Woman and the Puppet. Goldwyn The Cost Paramount-Artcraft Don't Ever Marrv. Neilan-First Nat l Page 110 The Love E,xpert First National The Prince Chap.. Paramount-Artcraft A Man There Was. . . Radiosoul Films Down on the Farm Sennett-Unitfd Artist? Children Not Wanted Republic Dangerous to Men Metro The Mother of His Children Fox Page 111 The Blood Barrier. ... Blackton-Pathe Black Shadows Fox The Heart of a Child Metro Dollars and the Woman. . . .X'itacraph Page 116 Below the Surface Ince-Paramount-.\rtcraft Nurse Marjorie Rcalart The Yellow Typhoon. Mayer-First Nat l Passion's Plavground. . . jpirst National Page 120 Tlie Sacred Flame Schomcr Ross .Alias Jimmy Valentine Metro Miss Nobody National The Veiled Marriage Hallmark King Spruce Hodkinson The Miracle of Money Pathe The Gift Supreme Republic Would You Forgive? Fox Lifting Shadows Pathe Page 123 Terror Island Paramounl-.\rtcraft Copyright. 1920. by the PHOTOPLAY PUBLISHING COMPANY. Chlcaeo. Contents — Continued Intimate Snapshots Drawing Starring the Director A Close-Up of George Fitzmaurice. The Pure Bad Woman Good Intentions vs. the Box Office. The Morals of the Movies All About That "Gay Studio Life." Open Air Movies Another Family Circle Talk. Playtime Clothes PHOTOPLAY'S Fashion Editor's Second Article. Norman Anthony Delight Evans Frank M. Dazey Margaret E. Sangster Norma Talmadge West Is East Meet Terry Ramsaye, and a Couple of Others. Delight Evans Close-Ups Editorial Comment Speaking Movies of the Bowerv Theodore Marcone How the East Side Knows What It's All About. Human Stuff Gene Sheridan A Thrilling Romance of the East and West. Movies Is Movies Ellis Parker Butler The Author of "Pigs Is Pigs" Hopes He'll Recognize His Novel. "Here's How!"— Says Bud How Mutt and Jeff Perform in the Pictures. Rotogravure Bud Fisher Olive Thomas, Mary Garden, Dorothy Dalton, Anita Stewart and Marie Prevost. Syd Says: Charlie Chaplin's Brother Also Soars a Bit. The Grand Young Man of the Screen Sydney Valentine Both Stars and Directors Can Take Pointers From George Fawcett. Not in the Scenario Norman Anthony Drawing. Why Bob Your Hair? Arabella Boone "Don't Do It!" Pleads Corinne Griffith From Experience. Why Do They Dolt? This Is Your Own Page — Chime In. The Shadow Stage Reviews of New Pictures. Bums Mantle May Stanley Emma-Lindsay Squier What Does Your Handwriting Reveal? Maybe You're a Griffith or a Marguerite Clarke? He Likes 'Em Wild Al Santell Knows His Lions' Moods. We Take Off Our Hats To— A Quartette Who Shoved Themselves Right On Up An Unfinished Story Betty Shannon Death Takes Clarine Seymour From the Screen. The Twelve Best Motion Pictures The Latest Winners and a New Photoplay Contest. Questions and Answers The Answer Man The Squirrel Cage A. Gnut Nothing Serious. Plays and Players Cal York What's Doing Behind the Silversheet. 42 43 45 46 47 48 50 51 52 53 56 58 59 63 64 66 67 69 70 73 76 78 81 82 87 96 99 { Addresses oj the Leading Moti. n Picture Producers appear on page i6) The Hope That Springs THE story of a sc ciety woman who found herself in motion pictures. Molly Bolton, brought up in extravagant lux- ury, was left a widow with nothing but $500 a year, an extensive wardrobe, expensive habits, and a beautiful profile. She did not know how to do one single useful thing. How she solved her problem will be told in the August number ot Photoplay Magazine by Corinne Lowe Photoplay Magazine — Advertising Section 7 Keep It For $3.00 Per Month Or Return ^ It At Our Expense Price Advances August 1, 1920 to $64 _^ Tf^ 0!iV€r Typewriter <5p. ^ ■W-^" CHICAGO. U F. A- Q The Oliver Typewriter— Was $100— Now $57 The Guarantee of a $2,000,000 Company that it Is the Identical Model Be your own salesman and earn $43. You pret the identical typewriter formerly priced — not a cent's alteration in value. The hnest, the most expensive, the latest Oliver Model. Old methods were wasteful. Our new plan is way in advance. It is in keeping with new economic tendencies. It does away with waste. Inflated prices are doomed forever. During the war we learned that it was unnecessary to have great numbers of travel- ing salesmen and numerous, expensive branch houses throughout the country. We were also able to discontinue many other superfluous, costly sales methods. You benefit by these savings. Brand New— Latest Mode! Do not confuse this with offers of earlier models, rebuilt or sec- ond-hand. Note the signature of this advertisement. This is a $2,000,000 concern. We offer new Olivers at half price because we have put type- writer selling on an efficient, scientific basis. You can now deal direct — sell to yourself, with no one to influence you. This puts the Oliver on a merit test. Mai( You Save $43 Now This is the fir.st time in history that a new standard $100 typewriter has been offered for $57. Remember, we do not offer a substitute model, cheaper nc- different. But the same splendid Oliver used by tne big concerns. Over 800.000 Olivers have been sold. We ship direct from the factory to you. No money down — no red-tape. Try the Oliver Nine at\)ur expense. If you decide to keep it, send us $3 per month. If you return it, we even refund the out-going transportation charges. You are not placed under the slightest obliga- tion. That's our whole plan. We rely on your judgment. We know you don't want to osv double. And who wants a les,ser typewriter? You may have an Ol-ver for free trial by checking the coupon below. Or you may ask foi -ATther information. An Amazing Book All the secrets of the typewriter worui are revealed in our start- ling book entitled "The High Cost of Tynewiters — The Reason and the Remedy," sent free if you mail the counc n now Also our catalog Order your free-trial Oliver— or ask for further information at once. Canadian Price, $72 until Aur. 1 1920 TSc OLIVEP Typewriter (S mpany ThisCoupon 147-A Oliver Typewriter Bldg.» Chicago NOTE CAREFULLY — This coupon will brinn you either the Oliver Nine for free trial or further informa- mation. Check carefully which you wish. ' _M.iO Now! After August 1, 1920, the price of the Oliver Typewriter will be $64. We are compelled to make this advance because of the increased cost of pro- duction. The Oliver remains the same. We will not lower its quality. The addition in cost insures its superiority. The $57 price of the Oliver has been widely advertised. We want to be entirely fair so we notify you in advance of the change. THE OLIVER TYPEWRITER COMPANY, 147-A Oliver Typewriter BIdg., Chicago □ Ship me a new Oliver Nine for live days' free inspection. If 1 keep it. I will pay $.57 at the rate of $3 per month. The title to remain in you until fully paid for. My shipping point is This does not place me under any obliirotion to buy. If T choose to return the Oliver, I will ship it back at your expense at the end of live days. □ Do not send a machine until I order it. Mail me your book "The Hitrh Cost of Typewriters— The Reason and the Remedy.'" your de luxe catalog and further information. Name . Street Addrema . .Statm. Occupation or busine w a. When you write to mlTcrtl^ers plrase mention I'HOTOPUAT MAQA'iClNB. PMor()I'l.\^ M\(.\/iNK — Ad\-erti.sing Section Oacl Laemmle Ppe?GM WE HAD SOME ROPE TELL YOU WHAT, MA, I WOULD'NT HAVE MISSED THAT PlCTUFLE FOR A FARM -THE WHOLE FAMILY COMES HEREAFTER WHENEVER WILL ROGERS COMES TO TOWN — " A. new type of star — so new that at first audiences gasped. That man a hero! That homely, awkward man! Will Rogers has gone straight to the hearts of America. That same uncouth simplicity — that dry whimsical humor — that great - hearted tenderness that made Abraham Lincoln the most beloved American. It was Goldwyn that discovered Will Rogers. Quick to read the public's desires in stars and in stories — Goldwyn produces the pictures you always enjoy GOLDWYN PICTURES When you write to adfertlscrg plca,u mention iTOPl.A Y M.VUAZIN£. lO Photoplay MACiAziNE — Advertising Section m Whitman Bennett presents Lionel Barrymore in his first picture for First National "The Master Mind" Mr. Bennett's personally supervised produc- tion, taken from the famous stage success of the same title, written by Daniel G. Carter. The thrilling, melodramatic story of a strong, ruthless man, who tramples on men's and women's hearts to gain his one aim — his passion in life, vengeance — and of a young girl's great love — and how love conquers hate. Directed by Kenneth Webb Ask when it plays at your theatre A First National cAttraction<^ Krirj Advi-rllM'niiut in I'UOTOPLAY MAGAZINE U gu»r«nu-«l. Photoplay Magazine — Advertising Section 1 1 "Motion Pictures At Their Best 9? It is recorded that to someone whoonceasked Whistler with what he mixed his colors to achieve such wonderful paintings, the artist replied with the single word, " Brains." And if we were asked why it is that Pathc Features are so unfailingly good we should have to reply that it is because of the brains that collaborate in their making. The best writers, the leading directors, the great- est stars, the most competent producers collaborate in their making and the result is — photoplays of real merit. Constructed with regard for the essen- tials of true drama, abounding in tense situations, unexpected episodes, striking conclusions, Pathe Features hold one's attention from start to finish — through their vivid portraval of the impulses and emotions that make up life itself. Pathc Features are the best achievements or todav in screen entertainment. There is a Motion Picture Theatre in your vicinity that shows them. It will be easv for vou to find it ! Current Productions That You Should See Blanche Sweet in Bayard Veiller's Play, "The Deadlier Sex,' a Jesie D. Hampton production; "The Blood Barrier," by Cyrus Totcnsend Brady, a ./. Stuart Black- ton Production ; "Rio Grande," from the play of A uguslus Thomas, an Ed-iuin Careuue production ; "Dollar for Dollar," a Frank Keenan production; Blanche Sweet in " Simple Souls," a Jesse D. Hampton production from John Hastings Turner's novel; "Sherry," from George Barr McCutcheon's famous book, an Edgar I. en-is Production; "The Little Cafe," from the very successful play adapted from the French by C. M. S. McClellan, starring Max Linder. Herbert Rawlinson in " Passers By," a J. Stuart Blackton production from the famous play by C . H addon Chambers . Pathe Exchange, Inc., 25 West 45th Street, New York When you write to aUverUsers riease mention PHOT0PI.AT BIAOAZINB. I 2 know Hello Cbiel: •■Mavpn't foun.l O,- li yt. h«Vr >.-u ~ v.. II will who hr l» - ril) wtii-n I am an' Ha> Abuut cuti hinfClhf* llrftiUK? TtiMt'ii mr. Thry nrver rauirht me In Chleaifo or nn)whiTtt clue, >iiu miffht mm well qutt lookinK for mr uid lake your mMiilti.- ' Phot()P(.\^ M\(.\/ink — Advertising Section CLASSIFIED ADVERTISING The Firebug That was the warning uhicli c;iine to the ftre chief, unsigned — and then, the very next day, a woman was found nearly dead in a burning building. It ffas a mystery that needed the master mind of Craig Kennedy, the x iciitifir (letfrti\e of this da\- — CRAIG KENNEDY American Sherlc!ck}Mm.\ \. ARTHURBREEVE :an Cona.n'Daylj .<7h!>AmeHcan i He is the genius of our age. He has taken science — science that stands for this age — and allied it to the mystery and romance of detective fiction. Even to the smallest detail, every bit of the plot is worked out scientifically. Such plots — such suspense — with real, vivid people moving through the maelstrom of life! - Frenchmen have mastered the art of terror stories. English writers have thrilled whole nations by their artful heroes. Russian ingenuity has fashioned wild tales of mystery. But all these seem old- fashioned — out of date — beside the infinite variety — the weird excitement of .Arthur B. Reeve's modern detective tales, in 12 volumes — over 250 stories. Col. Roosevelt said : — " I did a whole lot ol rcaiiiK. I particularly enjoyed half a dozen rattiink; good dcieciivc stories by Arthur B. Reeve — some o( them were corkers," E 51111 ■mi FREE— POE 10 Volumes To those who send the coupon promptly we will give I REE a set of Edgar Allan Poe's Masterpieces in 10 volumes— over 200 stories. \^'hen the police of New- York failed to solve one of the most fearful munli-r mysteries of the time, Edgar .Mian Poc — far off there in Paris — found the solution. This is a wonderful combina- tion— herearelwoof the Kreatest writers of mystery and scientific detective stories. You can Kcl the Reeve at a remarkably low price and the Poe free for a short time only. Cur cfWCPuA Coupon amd mad ACTocUxiy HARPER & BROTHERS ( Establishsd 1817 ) H ARI'I K 4 BKOTIIKRS, 18 lunkfci Sqiiire. Ntw York l'h..t...7 so ■ „ I I,,, ,11 . i,..nir-. |.tri. ,1-1. I.I Ailhu' B. R«n (Cr.iin Kcii- nr ii ). Ill ij \..hiMii'». Mm. srii.l iiiF. .il rsnlutelv FMI, the set ol EdfW Ultn rn, in lo voliiinev. II l"'lli .I'e not s.itls|jictorv 1 »,ll return Ihrni wllliln lu .la>s .it voiir e«I>en',e. Other" i«c I nlll ■end you |l wllhlii 5IBS. M.\KK YOfIt OWN H-VTS. INDIVID- tial les.soii.s by mall. Beautiful Mid-Summer Hat F>ee. I'hIcaRO Sehool of Millinery. Ucpt. P, 105 W. Monroe St- . Chicago. DOLLjVRS SA%m>. ALL KINDS OF USED Ct>R- reapondence courses sold. (Couree* tiouebt ) Moun- tain, Pis^'ah. Alabama. RAILWAY TRAFFIC INSPECTOR.^ EARN' FROM $11(1 lo $200 per month and expenses. Travel If desired, Unllmltad advanrement. No ape limit. We train you. Positions furnished under puarantee. Write for Booklet CM-2fi. .Standard Business Train- Ing Institute. Buffalo. N. Y. «T5 WILL START Y'OU IN THE CIE.^MING AND dyeing busiOKis. little capital needed, big prollts. Write for booklet. The Ben-Vonde System. Dept C-A. Char- li.lte. N. C. AGENTS AND SALESMEN $40 TO $100 A \VK1:K. FltEK S.iMri.ES. COLD SIkm Letters anyoiie ran put on windows. Big demajid. Liberal offer to general agents. Metallic Letter Co., 431 -K N. Clark. Chicago. "INSYDE TIRES— INXF.R ARMOR FOR AUTOMO- blle tires; prevent punctures and hViwouts; double tire inl'eage. Liberal profirs. Details free." American Accessories Co.. Cincinnati. Ohio. Dept. 129. CASH m ON BONE DRY BILL MAKE $8 A DAT easy. Will show you how with our Concentrated J^jre Fruit Drinks. Wantetl everywhere. Small package — just add water, nere's the chanc<^ of a lifetime. Orab your territory. Write quick. American Products Co.. 2:{.'i;i American Bldg.. Cincinnati. O. MAKE $3:1.00 NEXT SATURDAY. SPIiEDEUATOR fur Fords selling like wildllre. IJsed by Ford .Motor oftlclals. Makes any Ford run like a Packard. Stops stalling and bucking. Put on quick — instant satis- faction. No holes to bore. Sell ten to twelve a day easy. Splendid prollts and exclusive territory. Write quicJt fur informatiun. Address Perrln Company. 1058 Havward BIdg.. Detroit. Mich. TELL THE HBIADEBS OF PHOTOPLAY WHAT you iiuve of intereai lu iliem. You raji reach iliem at a very small cost thruucli ati advertisement In the classified section. 87*;^ of the advertisers using this section during tlm past year have repeated. Tlie section Is read and brings results. S.ALi:SMEN-Cin' OR TRAVEUJNi;. EXPERl- enci. iiiiiiectasarj-. .Send (ur list of lines and full tiarticulars. Prepare in stare time to earn the big salaries— $I.S00 in $10,000 a year. Employment Birvlces rendered Meml>*rs. National SalesmiMrs Train- ing .^iwucMtion. Dept. l.'iS-n Chiragu. Ill MAGAZINES I OK r..\( K ]S.-;| KS lit l-HOTUl'L.W AND other Magazines write Kuston Maga/ine Eictialice. i>v Mountfort Stret^. Boston. MUSIC IN A.NY .STYLE OR ylA.NTm— < it R EUflP- raent In.sures best re.sults- .Saini.le Copn-s and prloes submitted on relrijct»r*. InhlallmrTiC- txkvn Cmll* Brmol ■ •X-.^-^'r- :■■ in Naw 'k -k f ^r^t- It.,.!.-,. 1>,1«- n l>.-'t, <' I'lll^t tir^ h Call or ftand todav for BookUf P. Addr«** Occupation . Vtl SCA rARMV_ OR RANCH ACHROMATIC TELESCOPE MADE UPON NEW SCIENTiriC PRrNCIPLES. Positively tiiich II k'xmI Tclcwoiie was never sold fi.r t.us i>rlic tu f.Tc. Eastern Telescopes ir* nnide liy one uf the l.ircost inanufait iirirs of telescopes in .\inerle.T: we control entire pnnluctlon : nienmre closed 8 Inches .and i;ue of Wnlclu-^. etc.. sent with each order This Is a smnd offer nixi .von ^llollloii do with it. Manv newspaper ;irtiftts earning $30.00 to SlliSfm or more per week were train- ed by mv course of per^ondl individual lesRons bv □liiil PICTURE CHARTS make nriRinal drawing easy to learn. Send sketch of Unt le Sam with tJc in stamps for e&mple Picture Chart, li^t ol fiuccessful students, ei;imple- of their work and f \ idenc** ol what YOU can acc>li. Please ttale I'iur .ipf. AX ofhcial of one of tlie largest concerns . of its kind in the United States re- cently asked us to put him in touch with men capable of earning $3,000 to $15,000 a year. His letter is typical of many others we receive stating how difficult it is to find men qua.ilied for big jobs. WE are being called upon constantly to recommend applicants who have been examined and coached by us in special and general executive work. OUR success in training men and women, capable of qualifying for important executive positions, has given us a nation- wide reputation among large business con- cerns for developing employees for positions paying $2,000 to $10,000 a year and up. Our service has the written endorsement of many of America's leading corporation officials, bankers and business execu- tives. THE practical value of this service has been tested by men holding responsible positions in practically every large corpo- ration in this country, including 364 em- ployees of .Armour and Company; 3go of the Standard Oil Company; 811 of the American Telephone and Telegraph Com- pany; 309 of the United States Steel Cor- poration; 214 of the Ford Motor Company; 303 of Swift and Company, etc. HIGH-GR.\DE positions are always seek- ing applicants of superior intelligence and training. By our methods we find em- ployees in subordinate positions who have the inherent ability to direct responsible work, but who need only the proper voca- tional guidance and special training that we supply to make high-priced men. For in- stance, we developed a $20 a week ledger clerk into a $7,200 a year -Auditor; a $70 a month shipping clerk into the Traffic Manager of a big rail and steamship line; a $300 a month accountant into a $70,000 a year executive; a small town station agent into a successful lawyer and district attorney; a bookkeeper into a bank execu- tive, etc. ADV.\NCEMENT is not a difficult prob- . lem for men who prepare themselves for promotion thru LaSalle training. A short period of preliminary training by mail, under the personal direction of LaSalle ex- perts, has been sufficient to increase the earning power of thousands of men from 100% to 600%. IF YOU are really ambitious to place your- self in a position of higher executive responsibilities in line with your natural qualifications, and without sacrificing the best part of your life in waiting for bigger opportunities, write us fully and freely as to the kind of position it is your ambition to fill. VV'^e will advise you promptly how our training and service may be of advantage in solving your personal problem of advancement. We have an organiza- tion of more than 1,150 people; financial resources over $4,000,000, and representatives in all the leading cities of America. Our sole business is to help men to better posi- tions. IT WILL cost you nothing to investigate this opportunity, and you may find out some surprising possibilities about your- self and your future that are unknown to you now. Mark and mail the coupon be- low, indicating the kind of position for which you would like to qualify. We will send full particulars, also a free copy of "Ten Years' Promotion in One," a book that has been an inspiration to more than 215,000 ambitious men. Send for your ropv now. The Landon School c,r,o.„.„. 2107 Schofield BIdf ..Cleveland, 0. countants. Coet Accountants, etc. MAKEBIC MONEY Elarn $2(X) to $<)(XJ lyt mo. Big future-. Ncwinvention. Guaranteed prevent* punc- ture. Sell all motorists. New lemtory open. Exclusive rights. Wntc the Tire Ib-SoIc Mf». Co.. Dept. 7. fuidlay, O, Lasalle extension university "The Largest Busineas Training inalitution in the World" Dept. 7302-R Chicago, Illinois Send me free "Ten Years* Promotion in One," aleo catalog- and particularu re^ardin? course and Bervice in the department I have marked with an X. □ HIGHER ACCOUNTANCY: rnBUSINESS ADMINISTRA- TraininK forpositions as Auditors, L-JTION: Trainir\(f for Olficial, Comptrollers. Certified Public Ac- Managerial. SaJca and Kxecutive positions. □ BUSINESS LETTER WRIT- ING: Training: for positions a» j Correspondents, Mail Sales Direc- tor, and all executive lettcr- writintr positions. □ INDUSTRIAL MANAGEMENT EFFICIENCY: TrainlnK for Pro- duction M a n a (T crs. Department Heads, and all those desinntc train- ing in the 48 factors of industrial efneiency □ COMMERCIAL SPANISH: Training for positions a.4 Korei^n Correspondent with SpftoiBD- speaking countries. □ LAW raining for Bar: LL.B. Degree, □ COM.MERCIAL LAW: Readinc. Reference and Consalta- tion Service for business Men. □ BANKING AND FINANCE: TraininiJT for executive positions in Banks und Financial Institutions. □ EXPERT BOOKKEEPING: Traininjf for jK)Hition of Head Bookkeeper. □ BUSINESS ENGLISH: Training for Business Co rrea pott- dents and Copy Writers. □ TRAFFIC MANAGEMENT- FOREIGN A.ND DO.MESTIC: Training for poaitions bji KAilroad *nd lodiuCrial TrmiEc Muj«cr«. etc. □ EFFECTIVE PUBLIC SPF:.\KING: Tniininit in the art of fi>rreful, effective upeeeh for Mini!iters, Salc«nien. Fraternal Leader*. Politieiaiu, Clabmcn.attL I Manw Praent Poaitioo Addreaa. vuu «TlIe to adtcrilscrs pleaae mnitloa PUOTorL.VY MAGAZINE. Photoplay Magazine — Advertising Section 365;I20NEDAY Ira Shook of Flint Did That amount of business in one day makiag and selling popcorn Crispettes ■with this machine. Profit* 2C9.00 Mullen of East Liberty bought two outfits recent- ly. Feb. 2, said ready for third. J. K. Bert. Ala., wrote Jan. 23, 1920; "Only thiiiRT I ever l>ouBht equalled advertisement." J. M. I'atliIo,Ocala. wrote Feb 2, 1920; "Enclosed find money order to pay all ray notes. Getting along fine. Crispette busi- ness all .vou claim and thin some." John \V. Culp, So. Ojrolina writes, "EvcrythiuK is jroinK lovely — business is prowing by leaps and bounds. The business section of this town covers two blocks. Crispette wrappers lyin? evcr.v- where. It'* a sood old world after •11. Kellos $700 ahead end of second week. Mcxiiicr, Baltimore. 25Mnoned.^y. Perrin, 38 ' in one day. Bake; 3.0enilont. V<>a can start rtght in your own town. Business will crow. You won't be BcramblinKand crowding for a job. You will have made your own place. PROFITS S1000 A MONTH EASILY POSSIBLE Send post cird for illnstraf^I book of facts. Contains enthu- siastic letters from otlicrs — stiows their plafr** of business, tells you bow to start, w hen to start, and all other iiiformatioa necJcd. It's free. Write now. LONG EAKINS COMPANY 1504 High Street SPRINGFIELD. OHIO I Teach Piano }i Usual Time I now have far more slutifiitM than were ever before taught by one man. Thi-re isn't a state in the Union that doe-in't contain a wore or more skilled players who ol)tain their entire training from me by mail. Yet when 1 firnt started in 1S91, I wa^nearlv ]au»;hed out of btisinewfl. Could 1 have overrome this preju- dice and inereaned my ptudents every year ft)r a quarter century unlejt^my method produced Results? Send tor free booklet. "How to Lfam IMano or Orcan." I UMe modern methods tind time-9avinK devices which cannot be need by others liecauwe they ore patented. My invention, the Color- otone. enableB you to play interewtinK pieces in every key, within four le^ftons. My movinn-picture device, Quinn-Dex.showsyou every movement of my hand at b<>;ird You actually see the finsers move* just u-i if thrown on the Bcreen. The Colorotone and Quinn-lJez Bave you montli.s and years of wasted energy, Tliey can be obtained only from me. and there is notliiuK eUe unywhere even remotely like them. InveHtiKate without cost. Men and women wlio have failed by all other methods have quickly and easily attained success when Htudying with me. In all essential ways you are in dower touch with me than if you werestudv- in« by the oral method — yet my lessnns cost vou only i'i cents each — and they include all the many recent developments in scientific teuchin^. Prac- tical and easy to understand. My Course is endorw^d by distinKuished musicians who would not recommend any course but tlie best. It is for l>eRinners or experienced players, old or yountf. Vou arlvunce as rapidly or as slowly as you wish. Prartini' in spare time at home. AU Decenitiirv musir is supplied without extra rharire. Uinloma arnntrd, Special reduced terms this mouth. NVrite toda^. without coit or ohli^'ution. for Ttl-paKe free booklet. "Kow to I. earn ritino (»r Orcun " M.L.QUINN CONSERVATORY Slodio PC 598 Columbia Road, Boston, 25. Mass. DOYOULIKETODRAW? CARTOONISTS ARE WELL PAID illn„t iflv* Toiimny srand prl,» tt you >c»»«r thia ad. Nor will w. cl.im lo rn.kr roil rlrh In • w,.ok. Hut If >i'il .nihiii. to rlrrrlop ro,j| Ul,.nl with . >iirrr..rul r.rtoonUt, t thi. pirMirr. with r.r in .tamp^'tor I.ort folio of rnrtoo,]. .od utmpir l,.«.on id I.. .n« kksal of CartMiilii( •to L*>««r aiSs.. C<»«)*,i=V^_ \\ positions at home, on land, are just as attractive. ri^*r- ■ ' .--\ 1^ Send for Free Booklet We have prepared abooklet telling all about Wireless and the future it offers you. Star- tling facts you will be inter- ested in are freely discussed. It tells how we have helped htindreds of other ambitious men and women, and how we can give you a thorough Wireless training in your spare time, at your homf*. by mail, an^i help you secure a position. Send the coupon today, or write for further information. NATIONAL RADIO INSTITUTE Am>:r\r(i-n Hrnt and Foremost Dept. 2S3 14th & U Sts . N. W., WASHINGTON. D. C. - — —Send Coupon for FREE Book - — — NATIONAL RADIO INSTITUTE, Write Plainly Dept. 253. 14th & U Sts., N. W.. WASHINGTON. D. C. Send me your Free Book, " Wireless. The Opportunity of Today." Tell me about your famous Home Study Course in Wireless Telegraphy and Telephony— your post graduate course— membership in the N. R. I- Relay League and your Special Instrument Offer. Name Address City State ■ BECOME A Lawy Study At Heme. Legally trained men win ^hiKh poaitiuns and big success in business and public life. Greater opportunities now ' than ever. Be a leader. Lawyers earn $3,000 to $10,000 Annually We ^ide you step by step. You can train at home during spare time. We prepare you for bar examination in any state. Money refundedaccording to our Guarantee Bond if disaatisfied. Degree of I.L. R. conferred. ThoiiAandH of successful students enrolled. Ijttw cost, rasv terms. Kourteen-volume Law Library free if you nrol! nnw. Get our volu- ible I'JO-page ' 'law Gnide* " and ' ' Evidence' * bookn fn-f. Send for them-NOW. USALLE EXTENSION UNIVERSITY D«pt. 7502. L Chicago, 111, The proudest moment of our lives had come!" "We sat before the fireplace, Mary and 1, with Betty perched on the arm of the big chair. It was our first evening in our own home ! There were two glistening tears in Mary's eyes, yet a smile was on her lips. I knew what she was thinking. "Five years before we had started bravely out together. The first month had taui;ht us the old, old lesson that two cannot live as cheaply as one. I had left school in the grades to eo to work and my all loo thin pay envelope was a weekly reminder of my lack of training. In a year Betty came — three mouths to feed now. Meanwhile living costs were soaring. Only ray salary and I were standinu slill. "Then one night Mary came to me. 'Jim.' she said. "Why don't you go to school again — right here at home? You can put in an hour or two after supper each night while I sew. Learn to do some one thing. You'll make good— I know you will.' "Well, we talked it over and that very night I wrote to Scranton. A few days later I had taken up a course in the work I was in. It was surprising how rapidly the mysteries of our business became clear to me — took on anew fascination. In a little while an openingcame. I was ready for it and was promoted— with an increase. Then I was advanced again. There was money enough to even lay a little aside. So it went. "And now the fondest dream of all has come true. We have a real home of our own with the little comforts and luxuries Mary had always longed for, a little place, as she says, that 'Betty can be proud to grow up in.' "I look back now in pity at those first blind stumbling years. Each evening after supper the doors of opportunity had swung wide and I had passed thera by. How grateful I am that Mary helped me to see that night the golden hours that lay within." In city, town and country all over ,\merica there are men with happy famlllos and prosperous homes because they let the International Correspondence Schools come to them in the hours after supper and prepare them for bigger work at better pay. More than two million men and women In the last 28 years have advanced themselves through spare time study with the I. C. S. Over one hundred thousand right now are turning their evenings to profit. Hundreds are starting every day. You too. can have the position you want in the work you like best. You can have a salary that will give your family the kind of a home, the comforts, the little luxuries that you would like them to have. Yes, you can! No matter what your age, your occu- pation, or your means— you can do it ! All we ask is the chance to prove it. That's fair. Isn't it? Then mark and mail this coupon. There's no obligation and not a penny of cost. But it may be the most important step you ever took In your life. Hnternational correspondence schools I BOX 6519, SCRANTON. PA. Explain, without obligating me, how I can qualify fof the posiUun, or in the subject, before which I mark X, □ SALESMANSHIP □ ADVERTISING I Window Trimmer ]EI,EOTitirAI, ENdNEEU JElxtrle MEhtlnrand K;i. ] Electric Wiring ITelegraph Engineer ] Telephone Work JMEI lllMCil. E^(ilKBKIl ] DlerhllnlFiil llrllUraan ]M><>lilnr gliop I'rictle* J Toolmnker ]Ga9 Kiigine Operating ICIVIL ENGINEER JSiir»«Tlti|C «nl) B«i>pln|c 1MINE KOltKMJN or KNU'll JgririONlKY E.NelNEEIt j Marine Engineer JShlp Draftfiman ] ARCHITECT ^Contractor and Ralldar etiltortnral llrafU«aa ] Concrete Builder J Structural Engineer J PI.rUIIIMi INI) lIEtrlNe Isheet Metalworker J T«xttlf tlvarieerer 6nvt- JrilFMIST □ Navigation Shov^ Card Writer □ Sign Painter □ Railroad Trainman B ILLUSTRATING Cartooning □ Bl'SINESS HAMReMKRV □ Private Secretary □ BOOKKEEPER □ Stonorraphei- and Trrllt a Cert. Pub. .\ccountant TRAFFIC MANAGER □ Railway Accountant □ Commercial Law □ GOOD ENGLISH n Teacher nCoaiBOn School 8ablaws how with Federal Training you can win success. Send 6 cents in stamps now lo cover postage to: FEDERAL SCHOOL OF APPUED CARTOONING 078 Warner Building Minneapolis. MinnetotB When yf.u write to advertisers please mention PHiiTOPLAT MAGAZINE. i6 Photoplay Magazine — Advertising Section STENOGBAPHERtoPRIVATE SECRETARY From ^6.00 a week to ^40P^ ^ The Chart of a NewWay Typists Success >^ Why doesn't the average stenographer make $40.00 per week ? What is it that holds so many down to long hours and hard work at a salary of only $12 to $15 each week ? In great numbers of cases it is because they can't turn their dictation into finished letters or other typewritten material quickly enough— it is because they are too slow and inaccurate on the typewriter. Results are what count. Stenographers are paid, whether they know it or not, for the quantity and the quality of their finished work. Talk to any stenographer who is making $30.00 or more per week and he or she will tell you that one great secret of his or her success has been speed — great speed and accuracy on the machine. For many stenographers — now highly paid — beauti- ful typing, rapidly done, has been the direct cause of promotion. The progress charted above has been the experience of hundreds of New Way typists. 80 to 100 Words Per Minute GUARANTEED The Tulloss New Way — radically different from any other System — is conceded to be the greatest step in writing efficiency since the typewriter itself was invented. There has never been anything like it before. Special Gymnastic Finger Training Exercises away from the machine bring results in days that ordinary methods will not produce in months. Among the thousandsof operators who have taken up thisSystem arehundredsof graduates of business colleges and special typewriting courses — so-called "touch operators" yet there has hardly been a single one who hasn't doubled or trebled his or her speed and accuracy. And the salaries have been increased from $10 to $15 per week to $30, $35 and $40 per week. "The writer (^radunted from yoiir Bchool. liiiv- in« attained a speed of 102 words per minute. My Hfllar.v has increased 280 per cent, and I surely appreciate the help that little special trnininK has yiven me." l M. Challis. Sec'y to MunaRer Hudson Motor Car To. Send Postal Now for VALUABLE FREE BOOK We cannot describe here the principle of this new method. But we have prepared a 32-paBe book which tells all about it in detail. No instruc- tion book ever written ever told so plainly the real why and how of expert typewriting. The book is FREE — simply send us your name. THE TULLOSS SCHOOL 7577 College Hill, SPRINGFIELD. O. "Don't Shout"a^ FACTORY - TO - RIDER I lirar you. I can hear now as well as anybody. *How ? Wilh ibe MORLEY PHONE. I'vr a pair in my ears now, but ihey arc invisible. I would not know I liad them in. mywrlf. only that I hoar all riaht, Ihr MORLEY PHONE U the DEAF to the ears what wln^v^ arc \n the eyes \ Millie, comforlable. wri«ht- Ir-ss and liarmleu. Anynne can aibail iL" Over 100.000 sold. Wrile for booklet and lestimooUls THE MORLEY CO..Dept.789.26S.l5lh St..Phila fr?eBookpnWmi:S Contain* valuable inl"rtnntinri nnd ndvirr to invenlofB on M-cunna Palenti. Send model or tketch of your mvention for I'ree Opinion of itt imlrnldhl*- n.iture Prompt wrv ire. 20 yean eiiw-nriif e NX'nIe lo»lay. TALBCRT A TALBCRT. (724 Ulbirt Bl4t.. Wathlnston. D.C< SAVES YOU MONEY Huy diri c t an.) !a8ky Studio, Hollywood, Cal. r.VTUE EXClf.VXGE. 25 We.it 4:.th St., .New York: (s) Hollywooil, C»J. REAL ART PICTURES COKPOR.'^TION 46» Fifth Are.. New York; (si 211 North Occidental Boul.. Hollywood. Cal, REELCRAFT PICTURES Ct>RP.. 7 29 Sereoth Ave., New Y'ork: (s) !I0" North Bronson Are.. Hollywood. Cal.. and 1729 North Wells St.. Chicago. III. HdltERTSON-COLE PRtUH lTIOXS. 1600 Broad- way. New York. lloTILVCKER FILM Mill, l^>.. l.-!39 Dircrsey Parkway, Chlcasu, 111. SIXZNinC PICTURES CORP., 729 Seventh Ave . New York: (s) 807 Ea.«l 175th St.. .New Y'ork. and West Port Lee, N. J. I NlTKn AUTl.sTS tX)liPOR.\TU>N. 7 29 S« Tenth Ave.. New York: M.iry Pickford Studios, Hollyivuod. Cai.: Kouclas Fairbanks Studios. Hollywao. W. Grirrith Studios, Orlenta Point. Maniartineck. N, Y. rMVKRS.Ui FllJil MFO. CO.. 1600 Broa.bvjv, New York: (sl Unlrrmil ClU'. Cal. VITAGRAPH MPAN"Y OF AMERICA. I1.011 llrx>ailnay. Now York; (»l Ea»t 1Mb St, and l.o<'ll«t .\ve . Iln>i>k|vn. N. Y.; »tid HollywiKHl. Cal. Ereo' adTertiieiumt lit ril(>T<>l'l..\ Y MAG.VZINK Is (uaraiuvad. Photoplay Magazine — Advertising Section ZENA KEEFE ELAINE HAMMERSTEIN Remember when you played pirates as a youngster and dug for buried treasure? That was the quest of adventure. It's just as keen today. You're always looking for it "just around the corner. " And you'll find it at the nearest theatre where Selznick Pictures are shown. That's why PICTURES Create Happy Hours At Theatres Where Quality Rules Wlien you »vrito to OilTertlsere please mention PHOTOPLAY MAQAZINB. 10 Piioici'i, M \<. \ziNK — Ai)\ F.iri isi.\(. Sr:(; i kix . 1 Possibilities in every Woman's Face THE soft, appealing charm of a fresh, lovely skin — of course you want it. Ev- ery girl does. Every girl wants to be attractive, lovable, ad- mired— And unless your skin is right. nothing is right. Haven't you often felt that.' What use to wear the prettiest frock, if your skin is pale and lifeless, marred by blackheads or ugly little blemishes.'' You can make your skin so no- ticeably soft, so exquisitely fresh and clear, that at first glance it will awaken admiration and de- light. By studying it — learning its possibilities — then giving it every day the kind of care that suits its particular needs, you too, can win the charm of "a skin you love to touch." Is your skin pale, sallow, life- less.' Begin tonight to give it this special steam treatment and see how quickly you can rouse it to freshness and color: One or two nights a week fill your washbowl full of hot water — almost boiling hot. Bend over the top of the bowl and cover your head and the basin with a heavy bath towel, so that no steam can escape. Steam your face for thirty seconds. Now lather a hot cloth with Woodbury's Facial Soap. With this, wash your face thoroughly, rubbing the lather well into your skin with an upward and out- ward motion. Then rinse your face well, first with warm water, then with cold, and finish by rub- bing it for thirty seconds with a piece of ice. Dry carefully. The other nights of the week wash your face thoroughly in the Woodbury way, with Wood- bury's Facial Soap and warm water, ending with a dash of cold water. You can feel how much good this treatment is doing your skin This is only one of the famous Woodbury treatments for the care of the skin. You will find special treatments for each dif- ferent skin condition in the little booklet that is wrapped around each cake of Woodbury's Facial Soap. Get a cake today — begin, to- night, the treatment your skin needs. Woodbury's Facial Soap is on sale at all drug stores and toilet goods counters in the United States and Canada. A 25-cent cake lasts for a month or six weeks of any treatment, and for general cleansing use. "Your treatment for one week" A beautiful little set of the Woodbury facial preparations sent to you for 25 cents. Send 25 cents for this dainty miniature set of \Voodbur>'s facial preparations, containing voi/r complete JVoodbury trrat- mfnt for one urrk. You will find, first the little booklet. 'W Skin You I.ovc To Touch," tcllinR you the special treatment your skin needs, then a trial size cake of Woodbury's Fa- cial Soap — cnouch for seven nights ot any treatment; a sample tube of the new W ooilbury Facial Cream; and sample? ot Woodbury's Cold Cream and Facial Powder, with directions tcllinc you just how they should be used. Write today for this special new Woodbury outfit. Address The .Andrew Jercens Co.. S07 Spring (irove Ave.. Cincinn.iti. Ohio. If you live in Canada, addrtii The AnJreiv Jergens Co., Limited, 507 Sherbreoke St., Perth, Ontario. Lvcry a>lrtTUsrm«it in niOTiii'l.AY .\I.\(;.KZ1 NF, U »u«r»ntc«d. GLORIA SWAXSON lui- illuslratid a unnt truth: that an actii'ss laiiiiot he judged hy her coifluro. (iloria hiid aside lier oriental hiaihlress ti> sliow vi< tliat 8he can he ju^t as coiiviiu ing witli her liair sinoothiil l)aek. W e are eoiiviiieed. (Alfrt-il i"lH-in-y .loliiiMlun I WK WiliitiMl t(» .-It- if Wf ciiulil writr niir tni>ni>ii aliuiit IU'tl\ I '<>iiii>-uii \vitli<«ul iiK iilioiiiii;: "Tin- Miiarlc Mini." We cmlilii't. h.r it \vii.>. lliis pii-tiiri' that iiiii.l.' I?rtl\ riiiii->ii> iiinl iii( i(lcii1iill\ till- >liir i>f ;i iu'\* r(.iiii>iiiiv foniu-tl for luT. DOROTHY IMIlLLirs. 1),, vmi n iiu inln r wlim -he uiis iii«iiv> llir .lu-k\ jcnvc'l in an Aliiskan (huK i -lmll ? Sln' li:i-n't iNmr one of tln»st' nortlu'rii tliiii<.'s 1'or n lonir tinu'. Slic and lici- huslianil. Alian I Inlul a r. rcccntlv i nci>r|M>ri>ti'(l. (Alfroil I'lH'iK'V JotinMtiiiU KATIIUYN 1'K1,M:V 1.- OIK' of tlu.M- /u'^'li'ld -;irls wli.. ixixw up willi tlu- Follu's. you ini-rlit say; slie has risoii to spi-akiiif: parts. Tlu' lilm ranuTU is now pro- siTvin^r Katlii yii iii ct'Iluloid. Slic \\n< recently ad jiid.L'*''! Maidiattaii's pri'ttii^t >rirl. nPHE girl with ilie patriotic- iiaiiu', is the way Iut i»rr>s-M,iii'iit wanted t«» advcrti.-f * her. But Botty, not Betsy Uoss CMarke ('host' ratluT t») Ik- rivofinizfd for hor forthc'oiniiig perrorniaiur in "Hoinaiico." in wliicli she plavs witli Doris Koaiu'. MAlilrl HlMTK NAMAKA i> AiiurHiiii. an ti|H'ni-siM;;iT >>( iii> -iiuill miiM'- quoncc, tlu' \vilc' of tlir we'll-kiiowii |)la\ wri^'lit, (iiiy llolton, nnd the nintlicr of the Bolton l)iil)V. Hnt slic round tinir tlic otliiT diiv to iiiiikr licr silt-iit flebut. S'lTltKNT 1111(1 |iliil(>Mi|iluT, lii<;-Msii'r iiml Diii-rtdi l.illuiii (;l^ll. A- a por- truvt-r of apiH'aliiig cliildliooil slu- is sitoiuI oiilv to Man ['uklord. la-r frieiul siiuf Bioyrapli ila,\>. Tin- tragii- CJisli sister is appi.'arm>; iii -Way Down East." ^Uhe World's headini^ d^yiovin^ ^idiure Qy^a^azine PHOTOPLAY Vol. XVIII July, 1920 No. 2 / ; The Power of Selection JF cultured men and women chose hoo\s as they choose photoplays the choicest libraries ivoidd he built on foundations of Bertha M. Clay and ?^ic\ Carter, ivith a sundry assortment of joe Miller s jo\e^boo\ in a variety of bindings. "Come on — let's go to a picture! " exclaims the head of the family, after dinner. Just as reasonably he might say "Come on — let's go buy a boo\! " But several centuries have passed since men bought a boo\ just to own a collection of type mar\s on white paper. Excepting the proverbially useless Yule^gift, and the searches of the connoisseur, men go to a boo\store to gratify a specific taste in reading. Ctdture and refinement entered the world of letters only when men had learned the power of selection. Comparatively spea\ing, there is no such thing in the contemporary observation of motion pictures. This is not surprising. When prinPtype was as young as film is noiv, doubtless many a family was as glad to have "a boo\," regardless of the text, as that family's far-sprung descendants are to see a "picture, ' regardless of Its mal{e or message. It IS time to quit "going to the picture show." It is time to begin going to particular photoplays, or particular comedies, or particular educationals. Tour exhibitor will ma\e it his business to do one of two things — supply what you II choose, or palm off what you'll accept. The power of selection, individually exercised, is the only power on eartli that can compel the manufacture of good photoplays. The power of selection should and iinll be the supreme power in motion pictures. Sliirley Mason adores babies and sweet peas and she likes to plant things in the ground. Shirley Tomboy she believes in marbles, "catch'' and early marriages. By NADEYNE RAMSAY Of course even tomboys — since tbey really arc girls — have tbeir feminine traits. GOD keep her from ever frizzing her hair," some one re- marked almost prayerfully after seeing Shirley Mason as the adventurous Jim Hnwkiiis in "Treasure Island." "She's ihe spirit of all the little girls who would like to be boys in the world." It is unnecessary to tell you, after you have felt your fingers twitch to pull Shirley Muvsons thick brown bobbed hair, that its owner is the sort of young person who believes in playing marbles in the spring with the boys; nor that there is nothing dangerous or difficult to climb in her vicinity that she hasn't climbed at the risk of her pretty young neck, or at least wanted to climb; nor that she loves playing "catch," that she goes fish- ing, and that her vocabulary smacks vigorously of small boy slang. Of course even tomboys — since they really are girls — have their feminine traits. For instance. Shirley adores babies and sweetpeas and planting things in the ground — the last trait may not be entirely "feminine," but at least it is not one U'^ually associated with young boys. Then also, there is her husband — an undeniable concession to femininity. They say all sorts of unkind things about matri- mony— that the cares of a husband on one's shoulders make a woman old, that husbands interfere with careers, that no em- ployer wants to gi\e a married woman work. For Shirley Mason it has done nothing but keep her young and a tomboy, and make her ever increasingly successful. Bernic Durning was Shirley's assistant director when she was little Leonie Flugrath. playing child roles at Edison years ago. That was before she did "The Seven Deadly Sins," or pl.iyed opposite Ernest Truex in pictures for Famous Players, or cre- ated the screen Jim Hmckiiis. or made her more recent ' Her Elephant Man" and "Molly and 1" for Fox. She was sixteen when she married Bernie Durning — she is nineteen now. "I believe entirely in early marriages," says Shirley wi:ely. "Vou can stand anything when you're young — I mean we are more adjustable when we're young. '\'ou grow up married and always stay that way. Isn't that simple?'' 28 She has perhaps posed for more cameras than any other girl in the w orld. Making Over Martha A process aided by her own deter- > ^. 1 11 u ^ BV DELIGHT EVANS mmation and a very small hat ' SHE went into a little Broadway shop. For the umptieth time that day, she uttered '"Have you a very small hat — so — flat— — witli a feather?'' This time, after all her search, she was to be rewarded. For she saw unmis- takably the object of it, a hat of her description, in a show case. But the saleslady smiled, and brought out a willowy hat with plumes, and said: "Try this on. Miss Mansfield. It's more like the type you wear on the Roof." Only by the most admirable self-control did Martha Mans- field retain her habitual poise. "But — but I don't want that kind! " she cried. "I tell you, I have been uptown and down- town and all over town trying to find a very small hat, flat — so — with a feather — 50. I want it for a picture, an ingenue part: Fm not on the Roof any more!" The glitter that a Ziegfeld girl gives off lives on after she has passed — into private life, or pictures. But Martha got the hat. Martha transformed herself from the gorgeous pea- cock who parades from eleven until two P. M. on the roof of the Amsterdam Theater, where Mr. Ziegfeld makes good his boast that he has the most beautiful girls in the world workinsc for him. Martha became the sweet, unspoiled MiUlcent Carew in John Barrymore's "Dr. Jekyll and Mr. Hyde" — the one ray of light in that masterpiece of crime and horror. Martha wore old-fashioned gowns, old-fashioned hats, and an old-fashioned mien. The hat is the hat she wore in the final scenes, ilurinp the murder of Dr. Jekyll by Mr. Hyde, during the heroine's last dim tryst with her fiance. Martha simply made herself over; and incidentally. Martha made good. She tried both Follies and films for a while. When you have been a beauty of the theater, in Winter Garden and Dilling- ham Century productions and in Follies and Frolics, it's a bit hard to settle down to regular hours and early-to-bcd-and- early-to-rise rules. At first. Martha Mansfield would act in the Follies and the midnight revues — snatch a bit of sleep and a bite of breakfast, and get down to a motion picture studio at nine the next morning. But when she would return to the theatre in the evening she encountered the friendly kidding of her co-workers. "Wake up. Martha I" they'd laugh at her. (Continued on pagf 121) 29 AROUND OUR STUDIO THE DIRECTOR DIRECTORS, so it seems to me, Are just as Rrand as they can be! They never talk in quiet tones — You see, they all use megaphones. They know what's what; they know who's who; They tell the stars just what to do! And when they talk, the stars are mute! .... They tell the camera when to shoot. They're fond of laying down the law, And, oh! the salaries they draw! I'll say they lead a grand existence .... The work is done by their assistants. THE PRESS AGENT A MAN of superhuman knowledge. With six degrees from every col- lege; Who knows the stars well, and can speak Of them in Latin and in Greek. He tells the world about the .-tars — Some day he hopes to send to Mars A piece of real, important news: Some star has bought herself new shoes. He never, honcst-hopo-lo-die, (Take this from him), concocts a lie. Yet there are times, I've hcani it staled. When he has — well — exaggerated. 30 Verse by Morrie Ryskind Illustrations by John Barbour THE CAMERA MAN A\D now, dear friends, come let us thank The camera man who turns the crank; Who give^ us close-uiis. and whose soul Meets unafraid the dual role. If incomplete the picture drama Without a city panorama, He hops into an airplane and Takes photographs to beat the band. He never boasts, but I. for one. Say /;<•'.? the Man behind the dun. And that's a fact there's no disputing: For doesn't he do all the shooting? THE STAR Male of the Species TWO hundred perfumed notes a day He gets — I speak of Wally Ray; And though the weather's down to zero, These notes bring warmth unto our hero. He holds the female population Completely under subjugation; They love his pictures on the screen, And clip 'em from this magazine. He's married — happily, they say. But still they hope — do Sue and May. . . . Oh, would / had a handsome chin That showed a dimple when I'd grin! THE STUDIO CHILD THOUGH I am young, I work each day; I'm seen in every picture play. My parts, like me. are rather small; Sometimes I grin, sometimes I bawl. I am the heroine, aged three; The leading man. at two — that's me I Sex doesn't bother me at all ; They say it doesn't when you're small. Rut Ihouch I only have a bit. Vou bet I make the most of it ! .•Mthouch the plot makes people hoot, Thoy always say my work is cute. THE STAR Female of the Species IT'S terrible to be a star — Some of them only have one car! And Where's the woman could take pride in Her work with but one car to ride in? Each morning at the stroke of ten They 'phone that they'll be late again. They make the studio by two And work an hour before they're through. So don't you think it's better far To be a salesgirl than a star Who gives her li'e to art for merely A paltry half-a-million yearly? •'PROPS" THE INGENUE HIS name is never on the screen (Which he regards as rather mean) , .\nd yet without his help, I'll bet The picture would not boast a set. Without his necessary work, .Mas! Miss Biilic could not Burke; Without him, Charlie could not Ray; Without him, Doris could not May. Unsung, unhonorcd and unknown, He may not climb to screendom's throne .... Yet drop no tear upon these pages For him; he draws the union wages. BKHOLD our little ingenue With golden hair and eyes of blue! She's pretty, charming, dear and cute — • Or, if you'd rather, she's a beaut! She is the hero's leading lady, Is Maude (whose parents named her Sadie) ; .And in the liflli and final reel Their clinches make the "heart appeal." Maude seems so young .... and yet they say That she was not born yesterday. I looked it up — and it is true: She has a daughter, twenty-two. THE VAMPIRE HERE'S she whose sacrifice to Art Has left her with a broken heart ; Though she is known from Maine to Cal., It's as a "downright wicked gal.'' She may not drop a single tear, But always wears a baneful sneer; She hypnotizes every male. And sends the boob to death — or jail. While others know what joy and bliss is, She only draws the people's hisses .... Yet would you not draw hisses gaily If you drew ninety dollars daily? Broadway's Royal Family Second and final instalment of the all-absorbing story of the Barrymores. By ADA PATTERSON A CELEBRATED maga- zine writer whom Ethel Barrymore had prom- ised an interview on her theory of clothes went to the great actress' apartment at the appointed hour. She rapped. Silence. She knocked. More silence. She hammered. An engulfing quiet was the only re- sponse. She rapped on an ad- jacent door. A round head and fresh complexion enwrapped with preternatural solemnity ap- peared. "I have an engagement with Miss Barrymore," said the visi- tor, "but no one answers." "No, ma'am. Miss Barry- more's hout, ma'am." "When did she go out?'' "I should say a quarter of an hour, ma'am." "Where can I wait for her?" "I don't know, ma'am." "Who are you?" "I am Mr. John Barrymore's man." "Is that his apartment?" "Yes, ma'am." "Can't I wait there?" "But Mr. John isn't up yet." The magazinist disposed her- self with what dignity she could upon the stairs. Sixty minutes cramped her limbs. Ninety did the same with her temper. She rapped upon the door adjacent to Aliss Barrymore's. The round head reappeared. "Do you know where Miss Barrymore has gone?" "Yes. ma'am," replied the servant blandly. "Why didn't you tell me?'' demanded the magazinist. "Vou didn't awsk me." "Well, I awsk you now." Her patience was exhausted. "She's having her picture painted." "Where?" "At Bryant Park Studios. Here's the name of the artist.'' There the writer found her. Miss Barrvmore smiled. Cold To her children - Barrymore is a ■Virginia, Sammy and John Drew Colt — Ethel mother as devoted as was her own mother. resentment evaporates in the sunshine of her smile. She apolo- gized for the "delay." She accompanied the writer back to her apartment and gave her tea and a delightful hour ami made her almost forget her two and a half coventrj--likc hours. .As her art, so Ethel Barrymore's personality grows more definite. "I don't like New York; I do like Philadelphia." she said to a shocked New York interviewer. "And it isn't because I Xi 34 Photoplay Magazine Family loyalty is one of the Barryraore character- istics. John and Lionel as co-stars in "The Jest. was born there. I like its self bet- ter than New York's self." She is sensitive to the printed word. She is hurt, fathoms deep, by unfavorable criticism. She de- clined to receive for an interview a man whose critique of her Camille displeased her. She severely punished a St. Louis writer for what she deemed a breach of confidence. Miss Barrymore was playing in St. Louis. A young woman came from one of the newspapers seeking an interview. It was granted, given, finished. "I liked the girl and in- vited her to come next day and lunch with me,'" was the Barrymore ver- sion of the talo. "I told her Wf ."■hould simply talk as woman to woman." There appeared next day IMiss Barrymore 's alleged opinions of that group of unhurried folk loosely characterized as "society." Consequence: perturbation deeply and loudly expressed in the man- ager's oflice. Further consequence: a published denial by Miss Barrymore of the sentiments imputed to her. " I never gave such an inter\iew,"' being ampli- fied meant "I never said it for publication. She who violates a pact should be punished." The St. Louis newspaper defended its repre- sentative. Questions of veracity were asked. But society, Miss Barrymores fer\ent admirer, was pacified. ITF.R keen sensitiveness to the printed page is * no greater than her sensitiveness to eyes that are curious and may become critical. Because the gaze of her company makes her self-conscious, she rehearses her scenes behind a screen. The conquering will that accompanies genius is hers. The mounting flesh that was hiding her girlish lines annoyed her but little until came the possibility of playing Camille. Who would lose the chance to portray the tormented tubercular heroine? Miss Barrymore had heard of a physician who melts flesh as an April sun a linger- ing snowbank. She rose before a window as the llesh dissolver entered. " What do you want?" asked the gruff lord of lissomeness. 'T want to play Camille." 'Good Lord! When?" ' In May. This is December. You must get me ready for it." To his credit and hers, be it said that he did. A fine recrudescence — or it were truer to term it a survival — of Ethel Barr>more the girl in Ethel Barrymore the woman, remnant of the girl who would be a pianiste and give concerts, in the trans- cendent artiste of today, is her superb loyalty to her own. Though Mrs. Russell Colt and" mother of three fast growing children, she is still, as in her maidenhood, the head of the Barrymore fam- ily. Still she thrills with a pride half maternal in the success of "the boys." ' When you walk upon the stage are you con- scious of your heredity? Does it bring a sense of power?" I asked her. T don't feel it myself." was her answer, "but I do for my brothers. I know they can't go far wrong. I feel that with three generations of ex- perience behind them, all the way from Great Grandmamma Kindlock, they can't make many or great mistakes." Lionel s marriaijc was a success and now he and his wife. Doris Rankin, are together in"The Letter of the Law. " She played with him in the screen version of "The Copperhead. " Whltt rhotoplay Magazine In their latest plays, John in "Richard III., ' and Ethel in ■"Declasse" — both at their best. Beside this grace of abiding family loyalty, there dwells in her heart fellow- ship with her brother and sister mimes. In that remembered girlhood on which I have dwelt she was addressed by one of the mimes. '■It's splendid that society is so kind to you.'' she said. "It is a tribute to your personality and to the guild that was once described in the statutes as 'rogues and vagabonds'." "Yes, it is pleasant." Her arm went around the woman's shoulder. Her fresh young cheek was pressed against the sallow, older one. "For a little while I enjoy it. But for real happiness, give me the companionship with you, mine own people." It was this spirit that led her into the .\ctors' Equity strike. It was what placed her on the platform with her shy monosyllabic speeches, her Jean d'Arc command: "Stick. You will win, for you are right." It led her into the final conferences wherein the five weeks war was ended. She is the actors' daughter, the actors' sister, the actors' friend. LIONEL, second of the shining, dis- appointed ones, ser\'ed his appren- ticeship to the art of the brush. He served it in a narrow rue across the Seine and near the playground of the Gardens of the Luxembourg. May Irwin visited him and his bride, Doris Rankin, in their wee. high studio. "You ought to see those dear young things beginning a painter's life in the Latin Quarter. I didn't know whether to laugh or cry," was the comedienne's summary of her visit. But Lionel Barrymore learned that the rabbit's foot is swifter than the brush. He set his easel in the corner and tossed his brushes and paint tubes into a trunk. Swift is stage ascent to the feet of the gifted. Successively in "Peter Ibbetson," "The Copperhead." "The Jest," and "The Letter of the Law," he demonstrated that latent talent quickly reaches fruition. He shares the family gift of personal beauty and quick wit. His power is rugged and volcanic. His wit is of the swiftness of a sword and the crushing power of the bludgeon. Lillian Russell and he were companions in a motion picture. "Talk! Talk! Xo matter what you say! " cried the stage director". Barrymore leaned toward her and simulated con\crsalion. en- tirely to the director's satisfaction. Miss Russell says he invented a story that was the best she ever heard. She declines to tell the story. "He has the quickest wit I ever knew," is Miss Russell's appreciation. (Continued on page 124) The Girl Who Cried Carmel Myers floated to success in a flood of her own tears. By GENE NORTH WHEN one is bom of a long line of dark-eyed, luscious- lipped femininity who miphl all have been called Roses of Sharon, when one has lived all of one's brief life in golden California — is it any wonder thai, when the Big Chance comes, one simply loses control and lets one's emotions have everything their own way? Carmel Myers says it isn't. Carmel isn't old enough even yet to reason it all out. In fact if she did, a fellow-philosopher wouldn't pay much atten- tion to her, he would be so busy watching her tinted .skin tlu.-h as she laughs, her olive-green eyes perform a hula-hula when- ever she smiles. But it is true that as she comes across the big places in her professional — and personal — life, she becomes almost an Oriental Xiobe or, to be more modern, a California- bred Alice in Wonderland, who floated to success in a flood of her own tears. When David Griflith askeil her how she woukl like to go into pictures under his direction, .>;he looked up at him. her lip ciuivercd. and she burst into tears. And later on, when another ilirector trieil to get her to cry for the camera, she 36 rnotopiay Magazine 37 couldn't. Until she ran to her mother and said, '"Mama, I fimply cannot cry" — and cried then and there, and was pushed back in front of the camera by her mother before the fountain dried. Universal wanted to star her. Mr. Laemmle called her into his office and talked over a contract. ■'Would you like to be a star?'' he asked, kindly. Carmel, again, seemed about to burst with joy. Mr. Laemmle looked at her in alarm. "There, there, little girl,'' he said, distressed to the point of withdrawing his offer — "don't cry!'' So one may imagine her perfect flood of tears when she was approached with an offer to become a legitimate actress. Some- thing she had never done and accordingly yearned to do. You see, her only theatrical experience before her Griffith engage- ment was playing show with a small group of children. Carmel always managed to be the leading lady and the shows in which she starred were always well attended. She was, in fact, Holly- wood's foremost amateur actress. She and her mother were in her dressing-room at the Shu- bert Theater, where a Broadway success was playing — a musical comedy — "The Magic Melody." (Note: it's a "Broadway" theater and a "Broadway" attraction if it plays on any one of the middle-Forty side-streets that sprout from the Great White Way.) Carmel had made unto herself a little vow: that she would find a place for herself, no matter how small, in a Broadway cast, and stay there until she wanted to go back to pictures. She found it — and it wasn't so verv- small, either. She weathered a winter — her first — in New York, slid on the ice and plowed through the slush and got jammed in the sub- way and crushed in the cars. After a winter in New York, California's native daughter is homesick. I should have called this story "Back to the orange groves." She longs to be back, and when I talked to her she was on the eve of signing a picture contract that would take her home — to the Myers' big Hollywood house, to her own little car, and to her father — who is a learned rabbi of Los Angeles. It is .said the waiting-list for a position as chauffeur and gardener to the Myers menage is exceedingly large: it seems that Carmel drives the car most of the time, doubles as the mechanician, mows the lawn, and is a general handy-girl around the house. All the chauffeur has to do is look the part. That's what Mother says. She's going back to pictures as soon as the Eastern tour of her play has ended. After her song-and-dance on Broad- way, she decided that while she would look seventeen across the footlights five years from now, the camera is kind only to the really youthful. So she's taking advantage of her spring- time years to make hay in California sunshine, with Universal, the company she was with prior to her desertion of the films. She was born in San Francisco, but was brought up in the City of the Angels and moving picture studios. But if you think the way has been rather easy for this little brunette, consider that she has never stopped studying a minute — that when she is at home, she spends a certain time each day, or evening, in her father's study, wrestling with a dead language or a live problem in advanced algebra. In addition, she takes dancing lessons, and she also sings. So she hasn't much time to cry. Heroine of 2,730 Romances ROMANCE," it would seem, is to Doris Keane what "Mother Macree"' is to John Mc- Cormack. Miss Keane has recently returned from London where during the last five years she has been the heroine of 2,000 "Romances." And there were anyway 730 performances of the same play to her credit in her New York and Chicago seasons, before she packed up her marmoset and her hoop skirts and went over the ocean to play. Now people have grown so used to thinking of her and "Romance"' in one breath, that they won't let her 'thing a street might in the way of social ad- vantages to a young business gentleman, who was making good in the steel machinery business, and his wife. You know how it is when a girl has been married a whole year! A dozen months have served to make her acquainted with the fact (augmented by the assurances of other wives) that a husband is after all only a mere child, and that the details of a successful future — from the ties he wears to the business policy he pursues — are vastly dependent on her choos- ing them for him. A sort of mothering instinct springs up in her, and makes her feel a deep responsibility for her man — dear, dear, .she must help him get on; she has been taking life as a merry game long enough! And this is the moment when she is convinced that nothing will do for them but a more select environment, where husband will be thrown with business men of affluence, where she may artfully direct them into desirable social channels by a tactful playing up to just the right ladies, and by the inain- tenance of a cozy home, where her own special brand of in- genuity as a hostess will make them sought. And usually, you will observe, they do what the bride of a year decides. Henry and Evelyn Langdon did. Henry, who really wanted nothing in the world so much as to keep his rose- checked, star-eyed bride radiant with happiness, consented to Let's Be There is a Problem that faces every young married couple. Read this story and see if it is your problem. By NANON BELOIS move any place Evelyn's little heart desired, pro- vided it was not beyond their modest, but gradu- ally expanding pocket book. And so in a year and two months after the Baxter Street minister had pronounced them Mr. and Mrs. Henry Langdon in the midst of adoring, though, it must be admitted, unfashionable, friends, they were established in a snug little house, purchased on the ten-year plan, in one of the wide, shady streets of that ver>- fashionable suburb, Elmhurst-by-the-\Vay. Now. there is something about two very young people who are very much in love with each other, and who tell it to the world in every glance of their honest eyes, that appeals to every one — even to fashionab'e persons with most appalling positions in society to live up to. The sight of our Evelyn, driving the snorting runabout up the main street of Elmhurst-by-the-Way so that Henry would not miss the 8:07 — the train, by the way. that the most prosper- ous business men took into town — the sight of her thnging her soft young arms unashamed about his neck in farewell, greet- ing him with kisses upon kisses when he returned on the 6:04 — that was something new for this wealthy suburb, where most of the men went to and from the stations, lone figures in great, spinning limousines. THE Elmhurst men noticed this daily performance, first naturally, because the women were fewer at the station. They chuckled to themselves over the two wide eyed babes that had strayed into their woods, then chuckled to each other. They began to take notice of Henry on the train, to nod to him, to drop down beside him — and finally to include him in their morning smokers. Then some of them spoke of "the children" to their wives — when their wives were feeling pleasant at dinner and wanted to be entertained. .And next the wives called, some of them more through curio,>ity. others out of friendliness. Soon, through the invitation of Mrs. Trude, a Iriend'y older woman. Henry and Evelyn were invited to become members of the Elmhurst Country Club. It is needless to say that, though both Mr. and Mrs. Henry knew they could hardly afford it just yet, they accepted the invitation. And to celebrate, that very night after they received word that their membership had gone throush, Henry and Evelyn went into the city to Baxter Street to call on several of their most intimate friends of former years. "Oh, Evelyn," gasped the girls who had known her in kinder- garten when she wore pig tails down her back, "pretty soon you'll be so fashionable that you won"t know us any more." "Sillies," Evelyn laughed back, throwing her arms about them. But that was not what she told herself. The song that sang itself over and over aga:n in her unsophisticated young heart all the way home was this — "We're gi>ing to be just exactly as fashionable as I know how to make us be." The Elmhurst country club was made particular use of by the younger — and .somewhat lax — marriecl set, with a sprin- kling of the older people, like Mrs. Trude, who likeil people 38 I llllllllllllll Fashionable for what they were and was rather content ;o let what they Hid so unquestioned. If one judged by appearances at most of the parties held at this meetinK place of fashion, it would seem to be very bad form for husbands to express any fondness whatsoever for their own wives, or vice versa. Gentlemen who wore pained, bored expressions on their faces during the first dance with their spouses, blossomed into regular cut-ups when, having com- pleted this concession to convention, they were free to mingle with the other ladies. It was just so with the women. The passion for "kindred souls" and "affinities" ran high. The evening came for Henry's and Evelyns first dance at the country club. Excitement, enchantment — and yet oddly a trace of fear — seized their unsuspecting, unw-orldly hearts as the hour drew nearer! Evelyn took two hours doing her hair, and spent another hour deciding whether to wear her blue evening frock or the orchid colored one trimmed with black net and ostrich feathers, and when the orchid gown had it, it took her another aeon putting it on! Henry destroyed four collars — though be it said he kept his temper in better manner than most husbands do during such a trial — in his eagerness to look the presentable gentleman. It was late when they arrived at the country club, in their own car, Henry acting as chauffeur. The orchestra was play- ing a fox trot. They hurried to their respective dressing rooms, then met at the door leading into the ball room. Arm in the arm the radiant pair paused between the portieres to gaze on the scene before them — the room bathed in rosy light, the If you're young, and married (or going to be) and in love, and ambitious, and all that sort ol" thing — this very human story of a very human young couple is something you can not afford to miss. beautiful women in glittering gowns, the men handsome and immaculate in evening dress. "If the girls in Baxter Street could only see me now," thought Evelyn as a picture of her last party in the Baxter Street Auditorium came to mmd. "Oh, Henry, isn't this wonderful! Who ever thought we would be here?"' she whispered to her husband, squeezing his hand. "Uh huh," sighed Henry happily, squeezing back. Both be- lieved this was the supreme moment of their lives. From now on the road to fashionability shone clear and unobstructed before them. The Road to Fashionability! "And darling," Henry's voice fairly vibrated love for the wife who had been responsible for bringing him here, "the next ten dances are mine!"' But the next ten dances were not Henry's. He had exactly two — and supper — with Evelyn. Then Mrs. Trude drew them tactfully aside and intimated that she would think it advisable for them to mingle a little bit more with the other guests, to divide up their dances, as it were. "You can dance together at home, said Mrs. Trude. "Remember, a young wife mustn't appear to be too much in love with her husband in this day and age. " 39 40 Photoplay Magazine "I don t know wKere this came from. but I m ^oing to drink it all. Henry went into the next room. "But I want to dance lots of dances with Henrj'. Nobody in the world can dance so well as Henry," Evelyn managed to whisper to Mrs. Trude. The older woman laid a worldly wise hand on the arm of the bride of a year and a half, and smiled al her unsophisticalion. "Vou can dance with Henry at home — remember a young wife mustn't appear to be too much in love with her husband in this day and age, little girl. There's no way to keep a husband interested like flirting just a wee bit with the other nun. Run along now and have a good time.'' E\'KL\'X had never thought it necessary to figure out ways and means of keeping her husband in love with her. Henry just was in love wilh her, and she with him. But per- haps Mrs. Trude was right. Anyway. Mrs. Trude was rich and fashional)le and influential and had managed to keep a iiusband herself for some forty years. So Evelyn sighed rather unhappily as she saw Henry being led off, as a lamb to the slaughter, in the direction of a fascinating lady gowned in black and armed with a coquettish emerald-hued fan. But Evelyn realized that her views on ihings were entirely provincial, so she swallowed the lump that rose in her throat, and stepped into (he embraces of the bachelor Mr. Bruce Grey, blase and worth a million, with a careless little swing to her head, and a daring frankness in her eyes that took her partner more or less by surprise. Before they were through with this particular one step and the three more that followed Bruce Grey had told her that she was '"a cute little thing." that he knew he was going to like her very, very much, that life was lonely for a bachelor of his home-loving type, and that he hoped Mrs. Langdon would think his new car was nice. He would like to take her for a spin ver\-, very soon. Back in Baxter Street Evelyn Lang- don would no more have accepted a similar invitation from a man than she would ha\e accepted a diamond tiara. Such conduct simply did not go wilh the morals of the street. But this — was Elmhurst-by-the-Way. Even so. Evelyns Baxter Street train- ing almost made her turn off Bruce Grey's invitation. And that training might have succeeded had not Evelyn at that ver}- moment seen her husband being vamped — obviously almost will- ingly— by Mrs. Hammond of the black gown and the fan. As they whirled past the corner where Henry was seated, Evelyn looked up into her partner's face in an imitation of Mrs. Hammond s manner with Henry, and said that she would be delighted to go — any time. As the party drew to a close. Henry looked rather sheepishly across the tloor at Evelyn, and Evelyn looked rather sheepishly at Henry — they had not spoken to each other since Sirs. Trude's intrusion — though they tried to hide their embarrassment in off hand light- ness. "T'll meet you at the door." they signalled to each other, and went to get their wraps. But if Henry and Evelyn expected to jog along home in their own little car together, they did not know the ways of Elmhurst etiquette. Mrs. Hammond and Bruce Grev were both waiting at the door when Henry and Evelyn emerged from the dressing rooms — and some way or other, the Langdons could never figure out just how, it was suggested that it would be a pleasant diversion for Henr>- to "flivver" his companion of a good share of the evening home in his car, while Bruce Grey drove Evelyn home in his ^por^y roadster. Who were Henry and Evelyn, mere novices in the ways of fashionability. to complain against such an arrangement? Though their hearts sank deep, deep down. Evelyn trilled in what sounded like a merry laugh straight from her heart, and Henry's deep " Ha-ha" was sincere enough appearing to convince anyone that he was delighted at the idea. But the tears trembled on Evelyn's long silken lashes a- she saw her Henry drive away in their own beloveil little car. which was still not entirely paitl for. with Mrs. Hammond. Two of them fell on. fhe orchid colored ostrich feathers that trimmed her frock — but Bruce Grey did not notice them as he was occupied with an ailjustmcnt on his rear tire holder. By the time he was through, and she was comfortable in the car. -ho had mastered her tears ami her voice. YOl "RE just a little kitten — now purr nicely for me." .- slick craftsman of that period, he persevered. Pretty soon he had some real things to direct, including "The Naulahka," the vivid Indian ta!e of Kipling's, with Doraldina; "Sylvia of the Secret Service," with Mrs. Castle, and "Innocent" and "Common Clay," with Fannie Ward. But even here his style was cramped. He couldn't do all that he wanted to do. He is as temperamental about sets as a prima-donna is about orchestra- tion. His expense accounts were checked within an inch of his life; he couldn't spend ail the company's money on real settings and real effects. It was a shame. He was called to Famous Players to direct Elsie Ferguson. They got along famousiy — I defy any woman, to quarrel with Fitzmaurice. He brought to his new work all his knowledge of the continent, of the orient and the isles. He knew when a property man was trying to pass off a queer piece of pottery from the prop room for a Ming vase of the 'nth dynasty. He was given the exclusive right to use his own expert judgment on things of that sort, and intelligent people began to know and watch for Fitzmaurice films. (Continued on page X25) Mr. Fitzmaurice, and his equally talented wife, Ouida Bergerc, who writea the scenarios of all his productions, in their studio apartment. French in appearance, French in Speech, and Irish in wit. George's mother demurred at first hut finally yielded to the wishes of her son, who wanted to learn, first- hand, what actors were like, any- way. Pictures in France did not then have much prestige. So the company came and camped on the grounds, and sjiilled their make-up and their props all over the place, while George looked curiously on and wondered. The director thanked them, when his company had finished, for their courtesy, and hnwcd himself grate- fully out, whiskers and all — Not many years later, George Fitzmaurice — the same, but having learned that there is more in life than polo, sunshine and debutantes — was looking for work. He sought it in the studios. The man who fin- ally engaged him was the same director who had exjiressed himself as grateful for his courtesies, long ago in France! For, you see, George came to America and went into tratlc, and trade failed him, and he turned to the pictures — Uccvnitiun t>y NcrinuQ Au'.h.ui The Pure Bad Woman A tragedy in several cerebrations. By FRANK M. DAZEY Scene: Interior of the large and well jiimislied brain of a successful scenarioist. Nicely balanced on t/ie cerebrum is the idea of a large box-shaped something like a child's penny sav- ings bank. Standing on the Medulla Oblongata, rather ill at ease, are the nude figures of Art and Knowledge. Gazing at them with all the complacency of a happy bride who has brought two potential sweethearts together is the Eternal It of the scenarioist himself. Scenarioist. So happy to be able to bring you t wo together. Knowledge, I want you to meet Art. Art, this is Knowledge. Knowledge. Why, we're old friends. I don't know why people nowadays always think of us as strangers. Art. Charmed to see you here. Knowledge. ScEN.-VRioiST. I daresay you hardly expected to meet each other here. Well, I've always been known as daringly different, and this time I'm going to be more daring and more different than ever before. I'll let you in on a secret. (.Art and Knowl- edge bend forward as Scen.arioi.st continues impressively) Pres. Oodlesovitz of the Great Jazz Film Co. has asked me to WTite a new picture and I want to put both of you into it. Knowxedce. This is a bit unusual, but we're always willing to oblige. Scenarioist. Oodlesovitz wants the picture to be about a bad woman who reforms and makes good; they never fail — the pictures I mean. Art and Knowledge, (looking uncomfortable and speak- ing almost simultaneously) Sorry, but it's quite late. I think we'd better take this up another time. Scenarioist. No! No! Please stay! Oodlesovitz was most insistent. Aren't there any thoughts you can give me? Knowledge, (after some hesitation selects a thought and hands it gingerly to Scenarioist) Well, if she's a bad woman I suppose the man is neither her first nor her last. Art. (enthusiastically) Fine! Scenarioist. (takes thought and examines it critically) Thanks, I'll see what I can do with this. (He goes toward the idea box.) Knowledge. What's that? Scenarioist. That's the Bo.x Office Idea. I'll have to see if this fits into it. Knowledge and .Art. (rather taken aback) Oh! (After some trouble Scenarioist crams the thought into box.) Scenarioist. (sighs and turns towards .\rt) And you, .\n? Art. (speaking brightly and much encouraged by Knowl- edge's success, hands Scenarioist a small but glittering piece of truth) And He will gain no happiness, nor She. citherl 45 4^ Photoplay ScENARioiST. (takes the piece of truth and examines it curi- ously as tltoug/i he had never seen anything quite like it before) I don't know about this. I ll have to follow the Easiest Way and you know that s quite hard. (After a good deal of manipulation Scenarioist manages to force the truth into box which quivers reproachfully.) Art. Wonderful! Why, this seems to remind me of other times, long, long ago! Knowledge. Of course it does, Art, only you die and are reborn so often it's hard for you to remember. Try to think — Aeschylus — the Law of Dramatic Catastrophe. Art. It's all coming back to me. The inexntable punish- ment of the Transgressor. How our poor woman will suffer, not in one splendid sacrifice, but through all the sordid details, of quarrels, deceits, disease, and mutual infidelity. Scenarioist. (greatly alarmed) Stop! Stop! This is much too much! Suppose Oodlesovitz should come in and hear you! (Art and Knowledge continue talking, paying no attention to him, until, suddenly, lid of Box Office Idea falls with a loud click.) Art. Did you hear that? Magazine Knowledge, (looking at box) Why, it's shut, tight! {Together they rush touards box, and shake it, trying to force ideas and pieces of truth into it.) Scenarioist. Children! Children! Do be careful! Oodle- sovitz says it's never safe to monkey with the Box OfSce. (Unfortunately Scenarioist's warning comes too late. The Box Office Idea stirs, then suddenly topples over on Art and Knowledge, flattening them out completely.) Scenarioist. (looks at them sadly and shakes his head) Too bad! Too bad! But really they ought to have known better than to come here in the first place! (Without more ado he drags them off by the heels. Returning a little later he reverently raises the Box Office Idea to its accustomed niche. Speaks thoughtfully.) Well, I've written all my other pictures without them, so I guess I can do this one all right. (He begins to compose.) "Shedda Teare. a pure bad woman.'' No! No! That won't do! "Shedda Teare, a bad woman with pure thoughts and a good heart." Fine! That ought to drag 'em in! (He looks hopefully at Box Office Idea. It responds with a sweet tinkling as of gold struck by silver. Darkness fails.) The Morals of the Movies Mr. Karl Kitchen discusses, after investitration, the truth about the alleged "gay studio life." YOU have been hearing the "morals of the movies" dis- cussed pro and con — mostly con — for a number of years. Last spring the New York World sent Mr. Karl Kitchen, one of its most able writers and investigators, to California to gather information on the motion picture game. In the following article, taken from Reedy's Mirror, Mr. Kitchen lays the gist of his discoveries of the motion picture's morals before the reading public: "IT is a common thing for 'gay dogs' to wink slyly when dis- cussing conditions in the motion picture studios," says Mr. Kitchen. "And these sly winks are usually accompanied by knowing looks and equally comprehensive elbow nudges in the ribs. For there is widespread impression that artistic endeavor and immorality often go together and that motion picture studios, while not surfeited with art, are nevertheless 'hot beds of vice,' as well-paid reformers would put it. "The writer did not go to Los Angeles to investigate the morals of the movie folks, although a rumor to that effect did give some of them a pretty bad scare. If he had been asked about the morals of the film people some months ago, he would have replied that in his opinion they didn't have any. "It is always easier to give a flippant answer to evade the facts. "But a month spent in and about the studios of Southern California has caused h-m to revise his opinions about the morals of the movie makers. "Not that I would give the movie colony of Los Angeles a clean bill of health. But the stories about the gay life in the studios have been greatly exaggerated. "The most common charge of immorality in camera-land is that young women are not advanced in their chosen profession unless they submit to the advances of studio managers, direc- tors or influential male stars. Stories are constantly be'ng cir- culated to that effect. I have heard them at first hand from young women in manicure pariors. singers in near cabarets anrl other unnecessary places. All the stories are the same. "While I hold no brief for the studio managers, directors and others in authority in California's film factories, I do not hesitate to say that nine-tenths of these stories are downricht lies. They are the pitiful cxcu.ses of the unsuccessful. Being unable to get employment in a studio, or being discharged for incompcntence, it is much easier for a young woman to make charges of this kind than to admit the truth. "In the days when the directors in the studios were all-power- ful, when they had the power of 'hiring and firing' young women — there were many abuses of this nature. Young women, unless they were financially independent, were more or less at the mercy of the director under whom they were working. "But the motion picture industry' has undergone a great change in the past three years. "At the present time the big studios are conducted as effi- ciently and with as strict attention to business as any manu- facturing plants. The directors have nothing to do with the engaging of actors or actresses. Nor have they the authority to discharge anyone. At each studio there is a casting direc- tor, so called, whose sole business it is to engage the playerj for each picture. Of course the stars, where they are not rnak- ing pictures of their own, are engaged by the big officials of the film companies, but the directors do not meet the minor players until an actual start is made on the picture. "As the studios are run today, there is not time to bother with amateurs or incompetents. Players have to he engaged strictly on their merits and a casting director who takes ad- vantage of his position is very soon replaced. Only the high officials of a producing company have the power to engage or advance a personal favorite. From which it will be seen that favoritism of this kind is considerably restricted. "Naturally, there have been several glaring examples of favoritism of this nature. There are several stars who are before the public only because of the so-called film magnates. But as a rule their careers are very short. They are so con- spicuous by their lack of talent that nobody in the profession takes them seriously. And all of the advertising space that is lavished on them does not sell their pictures more than once. "I know one important producer who gave a certain Broad- way chorus girl a big contract to oblige a New York broker who held his I. O. U. for $15,000 as the result of a gambling debt. I know two or three producers who ha\'e advanced cer- tain actresses because they happened to be fond of them. But where it is possible to point out three or four cases of this kind, one is able to point out sixty or seventy stars who are where they are today solely on their merits. "There is a popular catch line in Southern California, '.Are you married, or do you live in Los Angeles?' But this is cur- rent because of the frequency of divorce and its attendant evils among members of the movie colony. There are doubtless quite as many di\(irccs among cloak and suit manufacturers, if authentic statements were obtainable. Matrimonial infelicity is not peculiar to any class of people these days. And of most of the motion picture stars it may be said that if they h'^ve any faults they make virtues of them." open Air Movies A heart to heart talk with the Family Circle By MARGARET E. SANGSTER IT was midsummer and breathlessly hot — so hot that even the twilight hour did not bring relief. People sat upon the stone steps of every city stoop — the men quite shame- lessly devoid of coats and waistcoats, the women waving listless palm leaf fans. Somewhere down the street a fretful baby cried out; somewhere, farther off, a droning hurdygurdy played a slow waltz-tune. The woman on the stoop of the next house spoke suddenly, impatiently — with an impatience born of the oppressive weather. "I think," she said petulantly, "that I'll go mad if I have to sit, for very much longer, on these steps being sorry for myself because I'm so hot. I think that I'll go mad." From his place at her feet her husband answered her. His \oice was comfortably lazy. '"Well," he suggested, "we can always go to the movies. How about it?" The woman's voice was still petulant when she spoke. "I'd like to go," she said, "It would take my mind away from myself, that's sure! But I couldn't endure the stuffiness of a crowded, badly ventilated theatre." The man rose slowly to his feet and stretched both white shirted arms high above his head. "If that's all that's worrying you," he told his wife, "I'll go into the house for my coat and we'll get started. Have you forgotten, woman," this dramatically, "that there are open air movies, now- adays?" And a little later I saw them going off together, quite happily, toward a certain picture theatre that throws open its roof in the summertime so that the real stars in the sky can twinkle cosily down upon the reel stars that flicker across the surface of the silver sheet. Open air movies are like a cool breeze to the heated popula- tion of the summer city. They point an avenue of escape from heat and humidity; from discomfort and discontent. And they should! For open air movies are the greatest invention of the age — plus. Plus good ventilation and freedom from germs and the boundless inspiration of the night-time sky. And yet, though oren air movies mean a great deal, they do not mean all that they should mean. The term "Open Air Movie" applies only to the building that is the home of the motion picture play — it stands only for a freedom from stifling roofs and too closely encircling walls. It stands only for a shell — for a building made of wood or stone. And it might stand for infinitely more, for many vitally important thin^rs. It might, for instance, have some connection with the motion picture play, itself. It might mean that the picture had been sweetened by contact with the out-of-doors; it might mean that wholesome sunlight had been put into the film — sun'ight and the fragrance of flowers and the sweetness of bird songs. It might mean that the pictures were cleaner, better, bigger than other pictures. The term "open air movie" might mean that a picture, so advertised, could be endorsed as the sort of a picture that folk could take their children to see — and their mothers! The motion picture is, perhaps, the greatest agency for good in the whole world. It has limitless possibilities — a limitless ^largaret b. bangster audience, a limitless circulation, a limitless field. The message of the motion picture can travel much farther than either the spoken word or the printed page can travel. It can be the most potent sermon in the world, the most convincing argu- ment for right doing. And, oftentimes, it is. But there are occasions when the motion picture is neither a sermon nor an argument for the right. There are times when it is frankly an appeal to the senses — when it is a menace to morals (particularly very young mora's) and an offense to good taste. There are pictures that win great pub- licity on account of a barbaric lack of costume, and there ar« other pictures that owe their fame to splendidly acted bits of violence — to vivid portrayals of passion. And these pictures are the ones that remind — or shou'd remind — an audience of a tightly shuttered, ill-ventilated room. I went to a dinner once, at which Mr. and Mrs. Sidney Drew were the guests of honor. Because they were, at that time, the motion picture ido's of a con- tinent, I could not help watching them narrowly— and with a very great interest. And I was surprised and delighted, as the evening wore on, to see how natural and unaffected they were. They weren't at all as one, unacquainted with the movies, would picture popular stars. They were just charming, "folksy" people. It was after dinner, when the toast- master was introducing the speaker of the night, that he struck the secret of the Drews' popularity. "They are," he said slowly, "enshrined in the hearts of a nation. And the nation isn't ashamed to admit it!" That, it seems to me, is the most splendid compliment that could be paid one who has a part in the country's public life. The Drew comedies were never blatant or vulgar. They never overstepped the bounds of propriety. They never won their laughter and applause by being risque. Attd yet they were more hi demand, from the first one to the very last, than any of the other comedies! For they were, in the truest sense of the word, open air movies. Look about you at the plays that are the tremendous suc- cesses of the season. C'ean plays they are, every one of them, with plenty of fresh air and sun'ight, and with a worth while moral tucked in for good luck. Look at the books that reach the best-se'ler class, and you'll find that they are stories that you wouldn't be ashamed to leave openly upon your library table. And — Inst of all — look at the motion pictures that play to packed houses! Look at the audiences that flock to see Mary Pick ford — who has never relied upon anything stronger than open air to make her plays a success. Look at other stars who have reached the top rung in the ladder of motion picture fame. And you'll see that they are the sort who give healthy fun, and wholesome thrills and love scenes that make you remember vour own love story. Photoplay Magazine stands for the biggest and best enter- tainment that the motion picture can give. It stands for a measure of value that is pressed down and runnint: over. And, most of all, it stands — with every bit of its knowlcdce and its clear headedness and its power — for the open air movie and all that the open air movie may mean! 47 Playtime Clothes By NORMA TALMADGE 111 uftration* by John Barbour This is the second of Miss Talmadgc's fashion articles. She is now Photoplay's Fash- ion Editor and will write each month on some subject pertaining to good dressing. IHA\'E a bathing suit at home that's guaranteed to raise a laugh no matter what's gone wrong. It's a very lovely bathing suit — or, at least, it was. It was made by a jewel of a French dressmaker, one of those women who can just take one look at you and then go away and create a dress that makes you want to spend the rest of your life in front of the mirror — you know what I mean. Well, I went to Madame last spring and told her I wanted a new bathing suit. Oh, yes, of a certainty Madame would make one. And of a certainty she did. It was a beauty; a lovely glowing red dress with the cunningcst shoes to match and a red cap with perky bows — the sort of bathing suit that every girl dreams about when she's getting ready for her vacation. I put it on the first time I went to the beach and was soon out beyond the breakers having a glorious swim. I didn't notice anything wrong until I came ashore, and then I saw c|uecr red streaks running down my legs and arms. When I got to a looking glass I saw the same kind of streaks adorning my face — the colors in my new bathing suit had run! It took two days' hard work to discourage those streaks and get my face back to normal. Then I went to Madame and in cold tones told her what had happened. Madame threw both hands toward heaven. She exclaimed! She wanted to know why I had gone in the water! I told her that was my usual custom when I went swimming. "But did Mademoiselle not realize that it was a beach costume? In the water! Ah. heaven!" You see. it was another case of a dif- ference of opinion in the French and American idea of athletics. I believe that "hang your clothes on a hickory limb but don't go near the water'' was written to a little French miss — and she took it to heart. Lovely costumes, yes. to sit on the beach. But to wear in the water — iioii, lion! So I hope that when you start away this summer to the woods or the mountains or the seaside you will re- member my experience and take along the sort of clothes you are not afraid to wear when you swim or ride or walk or play tennis. T\\\:\ are so beautiful this summer and so diversified that you will be sure to find just the sort of thing that suits you best. Person- ally, I adore swimming above all other sports and whenever possible I make for the water. There are bathing suits this year that will make you feel quite as dressed up as if you were promenading on the board walk — and they are guaranteed not to run. The craze for taffeta dresses has reached thi- makers of bathing suits, and there are ever so many rubber- ized taffeta bathing costumes that are as pretty as they can be. And if you like embroider}', there are plenty of embroidered suits, with shoes and cape to match. But the cleverest thing I have seen yet is the black velvet bathing suit. It was new last year, but even better this, and makes you look like a nice frisky shiny seal when you come out of the water. If you don't swim — well, the only thing I can say is that I'm sorry for you. That reminds me that I was talking the other day with a woman who was lamenting over the "old fashioned girl" and saying how much nicer she was than the modern product. Don't you ever let anyone tell you that and get away with it. I showed my visitor some old prints I happened to have of 1870 costumes. \qu know the kind, an eighteen-inch waist and a bustle. And then I reminded her of the habits of the young lady in question, who ate next to nothing — when there were spectators — and fainted whenever there was a man around to catch her, and who always had that mysterious disease, the "megrims.'' .\nd I contrasted the healthy modern girl, with her good appetite and her normal waistline, with those strange females who u«ed to meander through the pages of Godev's Ladv's Book. Yes. don't make any mistake about it, we have it on those Early Yictorian maidens, considerably. \\'henever I have the time I don a middy blouse and a serviceable skirt and walk from my home to the studio. Try it some day and you will find out how many miles I cover in that tramp. Of course, I had rather walk in the country, but that chance doesn't come to busy girls every day and if you can't walk in the country you had much better walk in io\\n than not at all. If there is one girl I am sorry for it is the girl with a dull complexion who hasn't found out the fun ol walking. It's a cood plan to walk at least jwrt way to your place of business. Thi- wool embroid- ered jZint^Kain Irock co. $80. You can reproduce it for $8. Cover a ten cent hat frame with the .■tame material and your coritumc is complete. 48 Photoplay Magazine if you go clown town to earn your bread and butter every day. If you are a home girl you have a still better chance to win real roses for your cheeks. It's surprising how you can walk away the blues, or a disappointment or a bad complexion. If you don't believe me, try it yourself. SHOULD you happen to have plenty of money to spend on walking clothes there are some wonderful Enjjlish things over this year — smart doggy tweeds, that combine comfort with good looks. And if you take your exercise in a motor, you will find some exquisite motor wraps over from Paris. They are designed this year in all manner of bright colors and many of them have leather trimmings that are really beautiful. I saw a polo coat the other day that Jean Patou — that wizard of clothes — sent over to a New York house. It was white polo cloth stitched in red silk and with a red patent leather belt. (You might tip your tailor off to that.) If you are a very busy girl and can only get away to the country for week ends, there is a new device just out that will considerably lessen the work of packing. It is a pleated skirt that can be made in any material — the one I saw was done in navy blue taffeta. It hangs from a thin silk underwaist that can be adjusted to any length the wearer wishes, and it is ideal for the sensible girl who has eliminated corsets from her wardrobe. There are three blouses designed to go with this skirt — for morning, afternoon or evening wear. So, if you select this costume, your packing of dresses may narrow itself down to putting in two extra blouses. By the way, I wonder if you have heard that the makers of riding habits haven't it all their own way in the matter of breeches this year? A great many of the new sports clothes are shown with the divided skirt and pantalette cuff, and this type of skirt has the advantage of being good looking and equalh' adaptable for walking, mountain climbing, tennis or golf. Practically every important creator of clothes has turned out some phase of the divided skirt and pantalette cuff this season. In habits, the latest thing is to have the breeches a shade lighter than the coat. Riding habits in Shepherd checks are always good— especially so this year. The girl who is clever with her needle can have plenty of pretty summer clothes at a small expense. One skirt of sports silk, in white or any of the bright tones, may be worn with half a dozen different blouses. These blouses for summer wear are long, straight affairs that can be easily made at home out of some of the lovely materials now being shown. The blouse that costs from $20 to $35 in the shops can be made for $s or $io. And if you cover a ten-cent hat frame with some of the same kind of material from which Riding habits in Shep- herd checks are always good — especially so this year. No one can be unhappy long if she dons a gaily colored smock. Miss Talmadge prefers batik ones — but she has others of red, and sapphire blue, and burnt orange. 49 you made your blouse you will have a pretty sports rig that you can wear at any of the summer places. FOR my own wear I adore smocks, and always have a number of them, mostly batik, for I love bright colors. I have a little theory of my own that no girl can be unhappy very long if she dons a pretty red, or sapphire blue or burnt orange smock. Speaking of blue, there is a lovely shade the French call pervanche that is being used a great deal this summer, and there hasn't been so much red used in ages — perhaps a lot of people are finding out how much happier they are in brilliant tones than in dull black, or brown or gray. There is also a new shade of red, a wonderful llame color, that the French dressmakers are using considerably, both in materials for sports clothes and for embroidering on contrasting colors. Next in favor, is green in high jade and emerald tones. For porch wear we are going back to gingham and dimity, and there is, after all, nothing quite so girlish and charming as gingham for wear on hot morn- ings. I saw last week in one of the smart shops a little gingham frock that had been made for a lucky girl who will spend the summer at Newport. It was a brown and white check, exactly the same kind that our mothers used for kitchen aprons. The skirt was gathered on softly all around at a rather long waistline and had two V-shaped pockets on either side embroidered in wool in tones of red, green and brown. The plain, straight bodice had a square neck (Continued on page 115) WEST IS EAST A Few Impressions By DELIGHT EVANS You Can Remember The Time When The News-Reel was Something Like Medicine: You Knew It Did You Good, but You Hated to Swallow It. You Tried to Miss it; but If you Couldn't, it became An Entertainment Evil That You Slept Through, or During which you Discussed Hats, Babies, or The Latest Books. Along Came an Irishman, Named Terrence, Who Changed All that— Terry Ramsaye, The Kinograms Man. He decided There was Something More To a News-Rcel Film than — ' Great Revolution Among Pearl-Divers ' or ' U. S. S. Bunko Launched." He Made his News-Reel A Mixture of the Parts You Like to Read In a Newspaper: The Ladies' Column, the Kids' Page, And Real News. Somehow or Other, he Never Exhausts his Vocabular>^ Telling you About a Baby-show. No — he does it In a Crisp Short Sentence that Gets a Laugh — even from The Solemn Man Who Plays the Trombone In the Orchestra. He Hears of a New Kind of Chrysanthemum Down South, or A Queer Character On Catalina — and Sends His Camera-man, Tracy Matthewson, Down to Investigate. Ramsaye Talks Like O. Henry. He was a Re-write Man In Middle-western Journalism. He can Tell You Stories That Would Make DcMaupassant Jealous. .Among other Things, Mr. Kinograms is A Rug-maker, A Painter, and A Good Husband. Besides, he Could Teach Most Photographers A Lot About their Own Business That They Don't Know. And Just Wait Lentil he Begins to Write those Stories! I S.AW Alice Joyce * Just after she was Married. I went out to her Studio and Alice was Made L'^p with Long Hair and He pulls a lau(*h even from the solemn trombone player. A Purple Gown and Looked more Queenly than Ever. Bill- She ordered some Ice-cream and We ate it before she Went on the Set. Later on I had a Ride In luT New Car, with its ".\. J. R."' marked on the door. I Bumped Into Harry Morey Out in Brooklyn, Too. He is one of those Thoughtful Gentlemen That John Galsworthy liki 'i to Write .\bo'it ; With Chiseled Lips and Hair That is Faintly Gray at the Temples. He likes Serious Things, Particularly Plays. I Know, Becau-c Whenever I Go To the Theater for a Really High-brow Evening, there Is Harry Morey — And his Wife. EVERYBODY is Going Off To Europe. Pearl White Just Sailed For a Little \'acation Over There. She Almost Missed her Boat. They Were Rushing Around .•\t the Studio Trying to Finish The last Scenes of her Picture: and Pearl Didn't have Time To Scrub off her Make-up. even, but Ran for her Low Car. and Put it in High. She Made it. All The Traffic Cops Know her. Imagine what a Time one of them Would Have at Home If he Stopped Pearl White From Going where she Wanted to Go. His Children Would Never Forgive him. KAY LAURELL Sailed with Pearl— she who Helped Make the Foliics Famous. She went to Make a Picture in Rome, for The Leading Italian Film Company — You Couldn't Pronounce it. even it I Could Spell it. And we mustn't forget C. Gardner Sullivan, Mr. Ince's Scenario Chief, Bound for Europe In search of New Ideas. But the passport officials Were so Slow That He Mksed His Steamer. I ll bet he writes A Scenario and roasts The Department of State. THE Circus C.ime to New York The Birds and the BeasU were There. Also Mr. and Mrs. Enrico Caruso and Dorothy Gkh and Mr. and Mrs. Tom Meighan and Lots of Others You Know. Dorothy Said she was Getting New Ideas and that she'd Like to Do \ Circus Satire. Bird Millman— billed as The Queen of the Wire. Makes her Entrance In a Rolls-Royce; and just to prove further How different Circus Queens of Today may be. She is Doing a Picture. SO CLOSE-UPS &diiorial Sxpression and Timely Comment Brickbats and Whence comes the thanks nli^s Hniisps for uplift? There are several Lrlass Houses. ^^^^^^ disgusted actors among those the sincerity, of whose ideals has prompted the stage to put on real plays year after year — plays too good to last — in the hopes that those people who proclaim loudly that they want good things and write letters to the papers, decrying the present state of theatrical affairs and bemoaning the fact that the drama is going to the bow-wows, will come out en masse and make those efforts pay! One of these actors, a very fine gentleman of the old school whose name has been associ- ated for years with the best in the theater, let the cat out of the bag at c^uite a fashionable dinner for Lord Dunsany, the Irish poet-play- wright, a few weeks ago. He told of a federation of women's clubs of greater New York that has always made a great to-do about "better plays" and "uplifting the drama" and the like. The club bought out the entire downstairs for a matinee performance of "Aphrodite," the spectacle play featuring Dorothy Dalton — a play which, however decent it may be in reality, was blared into New York with a fanfare of unquestionably suggestive advertising. At that very moment, there was more than one play of real merit that was dying a slow death from lack of appreciation. The patronage of these women would have given new courage to players and producers who were trying to do things inspiring. But what they did drowned out their shoutings. The pictures, as well as the legitimate stage, suffer from busy-body reformers who do a lot of talking and interfering, but who are always missing when it comes to the vital point — making worthy effort pay for its bread and butter. Them Was John Barrymore, the most -I , successful legitimate actor on tne Uays . Broadway, ran into Sam Ber- nard, Broadway's most successful musical comedian, recently. "Do you remember, at the old Famous Play- ers on Twenty-Sixth Street — " Bernard got no further, for Barrymore interrupted him. "Yes, I remember a very hot day in summer. You were playing a gentleman in evening dress and a fur coat. You were perspiring away a pound a minute. I was playing a souse who had fallen under a shower bath. You were new to the film business, and you struggled over to the edge of my scene and peeped in, whispering something." "What did I say?" asked Bernard. Western Hustle. "You said: 'How long must I be in the film business before I can get a part like that ?' " West of the Mississippi river the presentation of motion pictures has taken a dominant business note in two entirely different ways, each char- acteristic of its section. On the Pacific Slope the architectural fea- tures of the leading cities are actually being changed by the literal picture palaces that seem to be going up in profligate abandon, and then, stranger still, are prospering as profligately. In San Francisco — that American Paris — architects predict that in another year the photoplay the- ater will be the ruling edifice of the principal streets. In Kansas, Nebraska and Iowa, on the other hand, the small-town theaters and even "neigh- borhood" houses at country cross-roads are speculative material alike for the opulent far- mer and the equally opulent village banker. Dozens of really powerful combinations have been formed, and many a straw-chewing Reuben owns a string of little theaters in addition to his hogs and his corn and his wheat stored in the great elevators of Chicago. Very new, and very interesting, isn't it ? And quite a far, far cry from the little mutoscope peep-shows of less than twenty years ago ! shadow This form of pugilistic art has al- T» • ways been deemed more developing o* than profitable; but now, developed daily in tanks of hypo, it is proving about as compensating as two minutes' sparring in Toledo on the Fourth of July. The reference is to the pugnacity picture ex- ploiting— usually in serial form — the successful public slugger. The popular delusion which makes a fellow an actor just because he has seen the third man counting a solemn ten over his prostrate fellow-debater is a little hard to ana- lyze, but .... there it is, anyway, like the unjail- able lawyer in jail. Mr. Dempsey, who probably thinks Irving just the name of a High School, is one of the most illustrious of these biceptrions at the moment. His contract is probably greater than that of Bennie Leonard, who only got a measly $100,000 for showing up Barrymore. Jess Will- ard, now as historic as Johannes Barleycorn, made an enormous sum. The movies, through public curiosity, are making today's fighters as much money as the really great fighters of yesterday earned through- out their careers. speaking Movies of the Bowery Decorations by Norman Anthony. TV DOWN on our East Side, a few blocks from the East River, where eichty per cent of the community are Hebrews, there is a movie house in Clinton Street which employs two lecturers as a bass and treble to accompany the films. This is a relic of the days when the kinetoscope was number "jM" on the con- t i n u o u s variety program. Those were the days when an elucidator was necessary to explain the choppy career of the film in its St. Vitus' dance stage when no sub-titles were counted up in the footage. There are two of these "speelers" who have learned to run the gamut of every tone and expression in a running conversation accom- panying the film, so that the audience not understanding the titles, may yet know the story. Suddenly from the dark an explanatory voice in heavy bass thun- ders: "Ah, girl! So you refuse to press my pants?" and a loud slap stick illustrates "Erstwhile Susan" in the form of Constance Binney on the screen, being slapped by her father. The conversation is in the vernacular of Clinton Street and as most of the audience presses pants for a living it is a very wise and human touch. Miss Binney, turning into the kitchen, is fol- lowed by the wail- ing female voice: "Oh dear! How I do hate to wash them dishes!" A remark which brings forth sym- pathetic sighs from the stooped, be- ■lir 'I The Odeon's "Speelers" must know the psy- !y ' audiences. :holo^y of their By THEODORE MARCONE If some of our film stars had any idea of the words likely to be put into their mouths, their imagination would never carry them as far as does that of these two lecturers who have to keep up a conversational ad lib performance for a different film every day in the week without even a rehearsal. It takes some presence of mind to see a film for the first time and fol- low it with extemporaneous lines suitable to the continuous action. Xo wonder as the picture winds off, mistakes are hur- riedly turned into jests to comply with the action on the screen such as when the heroine rushes into a young man's arms and the female voice purrs forth: "Oh, Lionel, I do love you — I do," and just then fla.shes the approach of the real lover while the lecturer seeing that she has mistaken the brother for the real lover, nothing daunted continuous: "But as a sister. Vou see here comes my fiance now." But the audience is quick in discovering these ventriloquial changes and the lecturers not only must be fine diagnosticians of movie gestures and gesticulations, but they must know the psychology of their audiences. Titles are especially annoying to them; they limit their imagination and they could get along much bet- ter, they say. without any reading matter whatever. Even the "Birth of a Nation" i would hold no fears for them, for each one is capable of as- suming any number of parts within the range of the human voice. This is truly exemplified when the aristocratic lady in J "Erstwhile Susan" brushes away Susan's hand with a female voice denouncing the act of an aristocrat by say- ing: "Don't touch me, you lirty woiking goil!"' And oh, how that proletariat y audience smacks its lips over that wise appeal to its under- standing! Xo title denied the words, so why not interpret the action to your audience's satisfaction? They know their audience and the Odcon audi- ence is the same year after year. If you doubt it, ask any motorman or conductor going through the East Side where the theater is with the film lecturers and he will put you off at the "place he's been going to fer Jim Pierce found himself left alone with Lee Tyndal, whom he now knew was the one girl who really counted. Human Stuff JAMES PIERCE. SR., was hard as nails and twice as practical. He had a one-track mind hea\ il>' freighted with business. By keeping e\'erlastingly at that busi- ness he had amassed a fortune of vast proportions from a product of extreme humility, to wit the lowly washboard. The Pierce wash- board works covered more land than lots of farms and the dividend crops were exceedingly regular. '"Old Washboard" Pierce knew the business backwards and he kept it going for- ward with a farsighted efficiency. So the Pierce residence was a place of efficient grandeur, with its servants and motors and money. Mary, daughter of " Wash- board" Pierce, was a creature of delicate grace and culture. Also there was little probability she would ever see a wash- board other than the gilded model that graced her father's study. Somewhere off on the other side of the world was James Pierce, Jr., her brother, busy polishing off his college career with a five-year travel tour. James. Jr., was scheduled to step into his father's place at the head of the business and the young man was making it his business to postpone the solemn day as long as possible. Reflecting on that fact and weighted with a newly discovered problem of the washboard industry, the old man rolled home early in the afternoon. He paused in the hallway to address the butler grumpily. "I will not be disturbed — by anyone. Understand?" "Old Washboard" stood a moment appraising the new butler, with evident doubts, then turned into his sacredly im- penetrable study. A romance of the East and West with excitement at both ends. By GENE SHERIDAN Hardly an hour had elapsed when a ta.xi-cab came snorting down the avenue and paused before the Pierce mansion. The old man in his study heard it and frowned, but liid not look up. Then came a violent and continued ringing of the doorbell, broken now and then by staccato jabs at the button. The butler, running on silent tiptoes, opened the door narrowly. He beheld a jaunty young man with an air of great self possession, his hat on the back of his head and a wide smile across his face. 'Ts "Old Washboard' in?" The frigid butler chilled down a couple of degrees more. ''Mr. Pierce is not in, sir."' The genial young caller started to enter anyway, while the butler pushed him back with protesting hands. "Mr. Pierce is not in." In a flash the butler felt and saw a large revolver pushed into the pit of his stomach. .\s he wilted in a heap, the visitor strode over him into the house. Quaking with fear, the butler followed, protesting in a high pitched voice. "Old Washboard " heard the commotion and growled — without', of course, interrupting his work. The butler a moment later burst into the study, trembling and voiceless. He drew very close to Pierce and huskily whispered: . "He's in the drawing room, sir! He's in the drawing room, sir!" The old man scowled into the butler's face— ''Well— well !" — theii' started out to seek the cause of the excitement. The butler threw himself before Pierce with a gesture of caution. .V 54 Photoplay Magazine Jim Pierce had his heart j. t on the strer\uous life of the out- of- doors his father entertained the idea that he should con- tinue the family husiness and become a captain of industry. "Please sir— he ha,> a bluiulerbuss, sir, — a — a monstrous blunderbuss." The old man cast a scornful glance at the abject butler and strode out. ... • H7.\RIXG approach'nK steps, the visitor, gun in hand, llattened himself against the wall and stood ready. The old man, followed by the butler, entered. "Put 'em up — hands up!" The voice came from behind them. "Old Washboard's" hands went up instantly while the butler collapsed. ■ . ■ "Keep 'cm up!" There was something in the voice that led the old man to turn his head ever so cautiously. In an instant he took in the intruder. ■ He'lo, dad!" The "hold-up" was over and the Pierces, senior and junior, were .shaking hands, while the butler slowly recovered. And this was the homecoming of James Pierce, Jr. At this happy juncture Mary Pierce drove up in her limou- sine, bringing along her girl chum, Lee Tyndal, a sincere young person and a teacher of languages. The result was of course more surprised greetings— and, significantly enough for James Pierce, Jr.. an introduction to Miss Tyndal. The next morning's confab between the Pierces, junior and senior, at "Old Washboard's" factory office was a session of contentions. The volatile and active young Mr. Pierce had his heart set on the strenuous life of the out-of-doors, even from the day when he chose an agricultural col'ege course while his pals and chums were seeking the fashionable academic schools. But his father had entertained only a single idea — that James Addison Pierce, Jr.. should continue the family name and the family business, at the old stand, the washboard works. "Well, dad, you've made a lot of improvements here." "Yes, son, and there's a -lot more needed. You can see that this business is more than I can handle and I need you here — " "But, father, I want to grow big in my own chosen line, just as you have done in yours." There was a long, tedious silence, broken at last by the father. "Don't be foolish, son. This is a chance to start big; a great oppwrt unity for one without ex- perience, and above all — it is my wish." The old man wailed long for his son to speak. Finally the answer came, reluctantly, gloomily: ".\11 right, dad. Til try it." And try it for two years he did. But it never got to be more than a "try," a tentative endeavor at best. The breaking point came as the result of a little thing, one of those tiny incidents that comes along to clinch a big decision in the lives of men. It happened in young Jim's private office, where he was in conference with the foreman of the works. It was Jim's idea that a good way to do a good business was to make better w'ashboards. The foreman was submitting samples of better materials. The father strolled in and stood on the edge of the conference in silence as long as he could. Then he erupted. ■'One washboard made of this material would last a life time. With every home supplied, there world be no need for a washboard factory." The old man shook his head with a smile, but there was an air of impatience behind it. Jim looked up in a sort of resigned despair. "I suppose you are right, dad. I'm wrong again." "Make 'em cheap. Let 'em wear out. Sell more — that's the idea." And with that the old man stalked out and entered his own office. Jim sat in silence staring blankly at his father. 'HE old man puzzled over a letter, then called a stenographer and started to dictate. There was a hard rasp in his voice. It was a hard subject with old "Washboard Pierce.'' too — the matter of the Twin Hills ranch, the only commercial failure in all his busy life. "I have finally decided to sell the ranch," he dictated. ".-M- most any price will be acceptable to me — '' Jim raised his head a bit and grew alert as he heard the words. The old man went on with his dictation. " — and your early attention to this matter will greatly oblige me." Jim began positively to cheer up. As an idea dawned, a smile spread over his face. Then he looked out the window again at the great roaring plant, thunderingly busy grinding out more of those unutterably and triply damned washboards. "It's that thing — that monster!" Jim exclaimed to his sister who sought to greet his evening homecoming with words of encouragement. "With its whirling belts, its furnaces belching out a product that has made our father millions — and me — a failure." Her gentle counsel was to no avail. "That's it. sis: I have failed to manage it successfully. God knows I have tried — hut I don't fit the factory." "Hut, Jimmy — big men fight failures and win!" Jim assented and added mentally his one resen-ation — "In lluir own way." IT was the evening of a reception and Lee Tyndal. guest of honor, was early to arrive. Jim lingered a bit to chat with her before going up to dress. He felt a hit more comfortable in her society than with other girls. Then he cxcus^ed himself and disappeared. The reception was in progress and the evening well along when Lee. missing Jim. inquired for him of his sister. "1 don't know, dear. I've looked in his room and he i-n't Photoplay Magazine 55 there. Perhaps business at the factory — or something — but he will be here." Mary suiidenly caught the look of concern in Lee's eyes. "Lee! I believe there is more than friendship between you and Jim!" Lee tossed her head resentfully and denied it. Jim came home all right and for a few moments made a spectacular and unexpected dramatic incident of the party. The pressure of his disgust with the washboard manufacturing business had been moistened, not to say inundated, with strong drink. Jim felt so much improved that he wanted to linger among the guests and be the life of the party, but the strong counsel and stronger arms of his father conducted him to his room. It was a bitter em- barassment for Mary and perhaps a dash of unhappiness for Lee. But at any rate both girls were busy turning the attention of the guests. When Jim awoke next morning the sensations in his head apprised him that a large evening had passed — an unusu- ally extensive evening. He was un- steadily sitting up trying to fill a glass from a pitcher when his father entered the room. "How do you feel?" The old man's manner was not unkind as he stood beside his son's bed. "Pretty tough, dad." "I thought so." There was a pause, then the father went on. "Against your wishes you have tried for two years to manage the plant and you have failed — now, have you any plans of your own?" "Yes, dad — I want to get away from all this — the factory, and the city — their environment don't seem to fit." "Old Washboard" Pierce looked down on his son, sternly. "If I have interfered in your progress I am sorry. From now on you may plan your own future." "Thanks, dad, I'm leaving tomorrow." The answer came cheerily. "I can't tell you where, but when I am settled you will hear from me." J.\MES ADDISON PIERCE, JR., stretched himself on the station platform and regarded the sign with evident satis- faction. Human Stuff - N.^RR.-\TED by permission from the original photoplay written for Universal by Tarkington Baker. Scenario by Harry Carey and Reeves Eason. Directed by Reaves Eason with the following cast: Jim Pierce Harry Carey Lee Tyndal Mary Charleson Boca Romero Fontaine Larue SAGO 326.5 Miles to San Francisco 2168.0 Miles to New Orleans Elevation 2480 feet. '. . . . Jim looked about at the loafers around the station and grinned. Inside he engaged the station agent in conver- sation. ,: "No, there ain't no real estate agents in Sago, but maybe the Sheriff can fix you up." In due course Jim found the sheriff. "If I'm not mistaken, the Twin Hills ranch near here has been offered for sale?" The sheriff looked at Jim deliber- ately. "It was, but I sorter promised to hold it for Bull Elkins. He owns the adjoining ranch." "Have you given him an option?" "No — not exactly — come on in." Inside the sheriff's office they made conversation and Jim spoke in the terms that will win any such argument — money. Out on the Twin Hills ranch an interesting meeting was taking place. Bull Elkins, owner of the Circle X, rode in and (Continued on page 112) A stormy scene followed with Boca pleading a sudden born infatua- tion, begging for consideration, begging tbat Lee be sent away. Mo vies Is Movies A brilliant satire on motion pictures bv the author of 'Pio;s is Pigs. By ELLIS PARKER BUTLER Illustrations by R. F. James It was only necessary to change the old lady heroine into a baby-faced girl, her wheel chair into a freight train, and, — a few little things like that. A FEW days ago a producer bought the motion picture rights of one of my novels — the one called "The Jack Knife Man" — and paid S13.000 for it, all in real money. For this reason I become, in one jump, an important au- thority on motion pictures, and know all about them, and must be consulted by anyone who wants to know the truth about the motion picture situation. As nearly as I have been able to figure it out. from a life- long study of the motion picture situation — to which I have given over a week of my time — I can say that the outlook is bright. It is brighter than I have ever known it to be. The producers seem to be buying better material from better au- thors now than they did a day or two before they bought "The Jack Knife Man."' This desire to procure the very best is a hopeful sign, and shows that some producers are eager to bet- ter the quality of the films offered to the public. I may say, here, that if any other producers want to go into the film bet- tering business I have still a couple of novels to dispose of on or about the same terms, and I believe they will do some of the best bettering on record. While I am not yet the highest possible authority on motion pictures, not yet having applied for a divorce. I do feel com- petent to state in the strongest possible terms that I see a hopeful tendency in the willingness of the producers to use larger type in announcing the name of the author on the screen. A prominent author said to me the other day: "The motion picture is not yet what it should be. but it is getting better all the time. I was paid twelve thousand dollars more for my last novel than I ever received before. This shows that pro- ducers are more artistic than they used to be. In addition to this, in filming my novel, greater care was taken in atlhcring to the eternal verities. In the .Maskan scenes from my no\el I observed only three palm trees and two wads of cactus, and in the close up of my suffering heroine the glycerine tears were only as large as prunes, and not as big as cantaloups, as they have sometimes been. " "Did the producer stick close to the text of your novel?"' I asked. "Very close," he replied. "And that is another sign of im- proved artistry. The changes made were very slight. Of course, my novel was the story of the love of an old man in the county poor house for an old lady in the Old Ladies" Home, in Cornstalk County, Kansas, and that had to be changed a little. They changed the old pauper here into a young aviator just home from France, and changed the old lady heroine into the daughter of an Alaskan gold digger, but that was of slight consec]uence. I could not object to that. And Alaska does film better than Kansas, especially when it has to be filmed at Los Angeles. The country around Los Angeles is not a bit like Kansas. "Is it like .-Maska?"' I asked. "Except for the palms and cactus, it might be like it. if the resemblance was more apparent, " he replied. BIT how about changing your old lady heroine into a young girl? Wasn't that rather difticult?" I asked. "Xot at all. It was necessan,-. Any fool could see that an old lady could not be sixteen years old and have a baby face and long curls, so it was absolutely necessary to make the change. It was only necessary to change the wheel chair, in which the old lady sat in my novel, into a freight train. Then they put overalls on my heroine and had her father, the brakeman. go down with the Lusitania, which made it neces- sary for his daughter to take the job of brakeman on the through freight. So. of course, the old poor house lover had to be an a\ialor. and swoop down in an airplane and swoop the girl up frcm the top of the freight car when the villain. Roscoe. was about to brain her with a club — " "I don't remember any villain named Roscoe in your novel,"' I said. 'Well, of course, " said the author, "you wouldn't. He wasn't called Roscoe in the novel: he was a she: she was called Rosa- belle. Rosabelle was the cat. Don't you remember how my old lady refused to marry my old man because he did not like cat';, and she refused to give up the cat. and so they separated and lived alone the rest of their lives? " Photoplay Magazine 57 '"I see! So the scenario man turned the cat Rosabella into a man villain named Roscoe?" I said. "It was necessary," said the author. "But, surely," I said, "they did not change that dear old cow — wasn't her name Bossy? — that the old man loved." "No," said the author, "they did not change the cow. Not greatly. I insisted on the cow. So they only changed it into a bear — a grizzly bear." "My God!" I exclaimed. "You needn't swear about it," he said, in a hurt tone. "There isn't such a great difference between a cow and a bear. They both have four legs." WELL, I was ashamed of him. I was disgusted to think any author would let a small sum of money bribe him to permit a sweet, idyllic ro- mance to be murdered in that way. "At any rate," I said severely, "I hope you did not let them change that chapter I always loved so deeply — the one where your old pauper hero climbs into the apple tree to serenade the old lady, and the cow Bossy stands under the tree, so that when the old man climbs down he alights astride of the gentle cow's back, and rides off slowly, back to the poorfarm." "Well, of course," he said, "we couldn't have the cow, because we had changed the cow into a bear, and we couldn't have an apple tree in Alaska, and we couldn't have a poor house because the old man was a young miner and lived in a cabin, so we just substituted one of the Rocky Moun- tains for the tree and substituted a twin six auto for the cow, and had the hero fall off the Rocky Mountain into the automobile and ride off tri- umphantly with the heroine. It made a swell endini;. The hero was driving the car with his feet and embracing the girl with both arms, and the final caption was 'And he clung her to his heart until eternity grew old.' " "My God!" I exclaimed again. "Did vou write that cap- Uon?" "No," he said. "The scenario doctor wrote it." "Did you kill him, or anything?" I asked. "Kill him? Why?" the author asked. "It's a good final Ttiey just made him a daring aviator falling off a Rocky Mountain into the sweet heroine's speeding twin-six. And of course the old poor house lover eouldn t drop from the apple tree onto the dear old cow s back, as he did in the novel, so — caption, isn't it?"' He was silent awhile, and then he said thoughtfully: "I can't understand it, either!'' "Understand what?" I asked. "I can't understand why the film was a failure," he said. "Why it failed, after all the work we put on it — I on the novel, and the scenario man rewriting it. It was a good novel; a big success as a novel. And the actors who took the hero ajid heroine parts were big people, too — highly paid people. And they acted hard, too; they acted all the time. Close ups, and tears, and stunts and everything. And yet people did not care for the film; even people who had liked the novel did not care for the film. You would think, if they liked my novel, they would like the film, wouldn't you?" "But it wasn't your novel, was it?" "It had the same name. And it had my name as the author." I saw that film, or another novel that had been twisted and warped and altered in just about that same way, and I did not like the film, either, al- though I had liked the story, and I think I know why so many picturized novels are disappointing. DO you know how, when you go out to the country club to play golf and are feeling par- ticularly strong and well, you often p'ay your worst game because you "press"? "Pressing" in golf is putting too much into it — trying too hard. It breaks the perfect swing of your club and you "top" the ball and your game is miserably poor. And, often, when you are feeling off your feed and weak and not much good you go out expecting to play the worst game you ever played and you sur- prise yourself and play the game of your young life. In my opinion, that is one of the troubles with the filming of many good novels — everyone who has anything to do with them "presses" all the while. The scenario man thinks he has to whangdoodle the story all over the place, and the continuity man thinks he has to rip the cover off the ring tailed snorter, and the director thinks he has to u^e all the pep in the old pepper box, and the actors — bless them! — just naturally think they have to act. One of the saddest things in the world today is (Continued on page J 22) Mr. Fisher mertly created Mutt and Jeff — — Now. they almost control him, he say 3, Here's How! Bud PUTTING Mutt and Jeff into the movies is what I .'should call a nobby notion. Strictly speaking, they were not put in; they found their way in ail by themselves. It is the sort of thing you might expect of them. Having created Mutt and Jeff doesn't mean that I control their destinies — not by a long shot. They control their own destinies pretty well. In fact, Mutt and Jeff now almost control Bud Fisher. They make him work hard for eight hours every day and prevent him from realizing his youthful ambition to settle down and li\e on his income at the ripe age of thirty-five or so. I have been asked to tell how the Mutt and Jeff movies are made. It is really a complicated task to reduce it to simple terms. The best I can do. I am afraid, is to remove some popular misconceptions about how my animated cartoons are made. The thing that concerns me most, of course, is the fact that to make one half-reel picture requires from 3.000 to 4.000 s-eparate drawings. And 3.000 or 4,000 drawings to a picture, when pictures are coming out every few days, is a shirt-sleeve job that keeps a fellow hustling, let me tell you. First of all, there's the story. Like a comic strip in a newspaper, it progresses step by step toward a climax, and ends with a punch. The training I received as a news- paper cartoonist has been very useful to me in making motion picturecartoon stories. I say "making motion picture cartoon stories," but in a way I don't make them. Mutt and Jeff make them. All I have to do is to give them some scenery and they supply the action. The first actual drawing is the making of the scenes. Each scene, however, has to be drawn only once. All the t'lgures that move about in The Creator of Mutt and JefF tells ht>vv thev do it in the Mi>vies. Bv BUD FISHHR Mutt and Jeff are repo.-;inti prostrate on this table flooded with light, w ith the camera focussed on them from above. the scenes are drawn on strips of cellu- loid, which are placed on top of the scenes when the actual photography begins. But the photography doesn't begin yet. by any means. Each separate action, even to th^' wiggle of an ear. requires a separate drawing. If Mutt lifts his leg it requires not one drawing, but several. Otherwise it woujd be done so quickly that it could not be seen on the screen. But I don't have to draw the whole scene, or even the whole figure, for each separate motion. I just draw on celluloid the part that is moved, ami when the transparent celluloid is put on top of the scenes you see figures and scenes and all. It takes twenty-five drawings to make Mutt antl Jeff walk across the screen, ten to make them turn completely around, five to make them talk, and when Mutt wallops Jeff he does it in from eight to twelve drawings. The assembling is the next job. .Ml the drawings have to be put in order according to the numbers in the comers. Now come with me into the camera room. \ regular motion picture camera is pointed down to a table flooded with light. Each separate picture is laid on the table and photographed in turn. The camera is turned slowly, by a mwior. and makes just one exposure each time a treadle is presseil. The operator sits at the table, puts down first a scene and then on top of it the celluloid .sheets on which each step of the action is drawn. The re- sult is to transfer all the drawings, with the scenes showing through, to the motion picture reel. .\fier that there is the cutting to do — a heart-break- ing job. for it means throw- ing away about one-third of the film. It can't be helped, as any superfluous movement lessens the "punch." That's about all there is to tell about the mechanical side of if. The rest is some- thing I can t tell you. AT last Olive Thomas has boon cast in a rolo which will jjivo lu'r pKjuaiit talent- full play. Slie is ''The Flapper," in a story l)y Frances Marion. One of the Hrst fair deserters. Olive (lid much to make The Follies a truly national institution. ArilHODITK DAI.TON. moot Apliroditc Garden I Man Garden, who has had operas written around her and perfvimes named after her. \uxs the singing role of " Vplirodite" while Dorothv Dalton. left in costume. })lH\ed tlie npoken version. (Alfrivl ('li«tli-> .lo)\lia(t. Miiik Sfniu'tt's hnby Wnus. may some iliiy listen to tlu' iiHliicciiu'iits of ii ilraiiiatic diroctor wlio doi's problem plavs, wra)! litT kfllcrinans in motlil)alls and U'ave tlu* Koncli forever. Syd Says: For the benefit of those cine- mese who want to go abroad — "Stay at home! America s the fihn Utopia!'' Aside from going up in tlie movie world, Sydney Chaplin flies for pleasure and profit — when he's not tending to Bro- ther Charlie's business. IT seemed funny to be talking about devastated France in the Claridge dining-room, that huge, high-ceilinged black- and-gold banquet hall, where you see — instead of the tetrarchs and tribunes and princess-beloveds of ancient times — all the dashing film magnates, all the prettiest chorus- girls — and Ann Pennington. The first thing you noticed about Sydney Chaplin was the remarkable way in which he kept his mind on France. In the midst of all the Babylonian splendor of Broadway, he remembered the Rlarne. "And the most impressive thing I ever saw in my life." he was saying, "was the levelled city of Rheims. at sunset. I happened along by what used to "be the towTi's opera-house. The ceiling was shot away, only the walls remaining. Outside was the old ticket-taker — alone. And a sign read the French equivalent of 'Business as Usual.' The sun set very red and flooded what was left of the old place. It was deathly still, until a little boy came down the street, his heavy shoes mak- ing a clumpety-clump that echoed long after he passed. Then, again, everything was still. I stood there a long while. . . ." Chaplin came back to the Claridge, and matter-of-factly ordered French pastry. "I was glad to hit the States again, you know!" He has an infectious grin — it begins in his eyes and travels south until it has everybody grinning, too. "I only took exteriors over there, of course. I'd go out and find a particularly pictures- que chateau, and take some long shots of myself with that background. All my close-ups and interiors were made in a California studio. I think the only way in which European- made pictures can definitely be popularized over here is to an- nounce that the Utopia Film Company is presenting a Utopia Production Made in Italy — or France, or England, and featur- ing the well-known American star. Miss Tessie Jazzfoot. European methods are not our methods, but I think we can put a great variety into our pictures by sending companies across. Switzerland, to me, seems to be the ideal place for picture-making on the Continent. It has everything, and to work there would be an inspiration." Every film actor has, at one time or other, felt the urge to cross the water and make pictures on the other side. Usually it comes when the actor has made a considerable reputation for bravery in facing the camera in his native land, has his own company and press-agent and .Mexandrian ambitions, and accordingly wants to tackle an ocean voyage. French chateaux, London fog, and rotten railroads. All these urges urged them- selves into an actual epidemic, and you weren't considered fashionable in film circles unless you admitted tentative plans for a Continental tour. Syd Chaplin, when he joined this gelatine army, went about forming his own plans and sticking to them. First thing the industry knew he'd really crossed, set up his cameras on the battered land of Southern France, posed for his bell-and-howell all over the English country-side, and taken several side- jaunts into Switzerland. How glad he was to return to America — for real film pur- poses— only Syd can tell you. He completed his five-reel picture in California. It's his first since "The Submarine Pi- rate," a Keystone of some years ago. In the long meanwhile he has kept religiously off the screen, except for brief and anonymous appearances in his brother Charlie's comedies. He was in "Shoulder .Arms" and Dog's Life." but only his best friends recognized him, and he man- aged to fool a few of them. While he was acting up in this manner, his identity care- fully concealed, he was also managing his brother's business affairs, organizing an air line from Los .Angeles to Catalina Island, and. as a little side-issue, running a factory for the manufacture of misses' frocks. .At one time he had a doll factory. He's a bon vivant business man. Vou will change your opinion of screen comedians in their off-screen aspect, when you meet Syd. He says himself he doesn't know how to go about acting like an actor again — it's been so deuced long since he was one, don't you know. He seems more French than English, but he was born in Cape Town. South .Africa. Hi- looks like one of these exhilarating French poets should have looked — and never did. 63 George Fawcett. who was of ines- timable value to Griffith, towhose films he contrib- uted many excel- lent characteriza- tions—has himself turned to direct- ing The Grand Young Man of the Screen You have gone into a picture-theater, and sat through a scenic, and dozed through a comedy, applauded the overture, and settled back with a smile to watch the feature come on. You've absorbed the credit lines: "Scenario by Blank; Direction by Notsogood; Art Work by Dr. DeBunk." Then you've waited. You have watched the introduction of an indifferently written and directed '"feature production," been disappointed in the slim chance it gives the star to remain a star — but often there was something that held you there until the finish. More often than not, that something Was a somebody: George Fawcett. He has played the magnate countless times. He has been father to Dorothy Gish, Lillian, and Mae Marsh. He has played Bobby Harron's rural parent. Sometimes he isn't even as important as that : he may be only an irascible dis- tant relative, an unruly uncle, or a bewhiskered bolshevist. But he is always worth staying through to see. He knows more about acting than many who are stars; more about direction than some stellar directors. The first time I saw Fawcett in the flesh was in a crowded bus bumping its precarious way from the station out to the Griffith studio in Mamaroneck. Mid-winter, in the East's worst weather for years. Even.-body was jounced about within the narrow confines like so many acting sar- dines: Norman Trevor and Basil Sydney of Doris Keane s "Romance" company; Chct Withcy. who was directing "Ro- mance;" Dick Barthelmess. And. huddled away over in a corner. George Fawcett. He looked cold; his fine face had settled into tired lines. Suddenly (he bus drew up with a sickcninc lurch; a little girl got in. loaded down with bags and suitcase. Fawcett didn't hesitate; he scrambled up before any of the other men could get on their feet, shoved the little girl into his seat, and clung to a strap the rest of the way. Fawcett left the Griffith organization after a long period George Fawcett laid a.-^ide the makeup to take up the megaphone. 64 And he was Dorothy Gish s dad in "The Hope Chest. As Bobby Harron « tather in "A Romance oi Happy Valley, George Fawcett, champion movie magnate, film father, and Griffith's right-hand act- ing-man, is now a director. By SYDNEY VALENTINE Here he ia — directing Corinne Griffith at the Vitagraph Studio in "Deadline at Eleven. of faithful dramatic service, during which he played every part the director gave him to play, in Griffith's own productions and in everybody's else. Then he went to Vitagraph and di- rected Corinne Griffith in one picture. In this, "Deadline at Eleven," he showed up all the other directors who have been given newspaper stories to handle: he maiie a film newspaper office seem almost reasonable. Later. Dorothy Gish was left without a director. Elmer Clifton had gone south with Mr. Griffith and Lillian Gish had piloted her comedienne-sister through an intervening picture. But Lillian is an actress, not a directress, however competent she may be in the latter line; so the younger Gish's company was left up in the air. Fawcett was sent for. When he left the studio to seek fresh fields he had re- marked. "I'll miss Dorothy Gish." He came back as Dorothy's direc- tor. He is guiding the star through "Her Majesty. " a tale of a little princess of a bolshevist-ridden and fictitious kingdom. It goes with- out saying that his direction will reflect the Griffith training. Faw- cett believes in realism, but not when it is carried loo far. That is, he believes that the bare transcrip- ^^^M tion of life, lacking that imagina- ^ ^^^^H tion which gifted minds give to it, is ^^^^^H uninteresting and dull. He finds. ^m^^^^^^M he s^ys- ^^^^ screen acting a JI^^^^^^I player is only too prone to fall into a lazy mode of expression, which comes from not thinking and hav- ing someone always there to prompt and direct. The results of such methods are invariably branded by the audiences as "typical movie stuff." That, says Fawcett. is the great fault of many screen-bred actors. The stage actor who is at all posed or theatrical is shown up ver>- quickly when he steps before the camera : and that is why it is good for any legitimate player to go in for pictures, if only temporarily. Fawcett knows what he is talk- ing about; he was a legitimate actor for many years, in most of the well- known producing companies, both in this countrj' and in Encland. He remembers the old-time stage, when reality and realism were practically frowned down, and when acting was almost terrifically theatrical. I' had to be. Nowadays, the older technic we sometimes call "swash- buckling" seems ludicrous. (Conthiiu d on page gst 6S Why Bob Your Hair? Gorinne Griffith's advice to girls. Not a new depart- ment— just a sug- gestion. By ARABELLA BOONE She has been said to resemble Lillian Gish, Constance Binney and Alice Joyce, but she is most like — Corinne Griffith. Alirtd Chenev .Iohn«o» THERE is no doubt that this question is one that has puzzled scientists, mothers, flappers and other thinkers for centuries. Cleopatra may have considered it. The original Mona Lisa probably gave it more than a pass- mg thought. More than any other question it has occupied a foremost place in the feminine scheme of things. Just now it IS sharing interest with the Pickford-Fairbanks romance, the shimmy, and the slightly Einstein theory. And it has never been settled. We cannot settle it; we are not even going to talk about it— much. We have, we hope, too much common sense. But the question is. simply, this (just among us girls) : shall we. or shall we not, bob our hair? The answer, according to Corinne Griffith, is one, decided full and round "No!" shouted, one might say, in ringing ac- cents. Corinne knows. Corinne. unappreciative possessor of a head of long, thick, dark, luxurious hair, snipped it with the scissors. Corinne is sorry. "Well," you might say to yourself in defense of Corinne's act, "Constance Talmadge did it, and Natalie; and Viola Dana and Dorothy Gish and Anita Loos and goodness knows how many more." But suppose you cut your hair, had a full day of delicious Russian freedom, and then found out that in j'our next picture you had to play a dignified debutante, daughter of a Southern Senator, who would never, under any consideration, have bobbed her hair. Corinne, true to character, had to push her new short hair, a great thick bundle of it, under a smooth, tightly-coiffed wig; suffering as a consequence headaches in- numerable. She found that when she went to her favorite photographer to pose for new pictures he gave one look at her shorn locks and refused to pose her until she let them grow again. She found finally that bobbed hair, unless it is curly, has to undergo treatment in connection with a curling iron every morning: also that when one is a busy motion picture actress one hasn't time to undergo daily treatment, etc. With the result that our heroine began to cultivate low tight-fitting hats, and never to remove them, no matter where she went. She became almost a recluse. When on rare occasions she ventured out to a theater she would either sit with her hat on during the performance, running the risk of being asked to remove it or herself and braving an awful fire of hot language from the unfortunates in the row behind; or she would wait until the lights went down, snatch off her hat. crouch down in her seat, and slap her hat back on when the lights went up. 67 68 Photoplay Magazine She is a sheltered, quiet, almost shy girl who hates personal appearances. .Mtocclher. Corinnc wa? unhappy. At that, she look? better bohhecl than any girl I ever saw: she could even tuck her hair under to make it look long. But she has had one great consolation through it all. She is Roinc abroad sometime this summer and while over there she will let Nature take its course. But one has to reason, if one knows Corinnc. that the sight (<{ all those chic Frenchwomen, reputed to be bobbed and wedded to the idea if to nothing else, may make her change her mind. She likes pickles and pomeranians. pastel shades and pom- 1 ommcd hats. The ()ueslions and .\nswers Man being relieved of the questions as to her preferences, may now consider this: that her change of coiffure in nearly every picture is due. not only to her bobbed tresses, but to the fact that she believes the public will tire of her if she looks the same in every picture. A naive little girl. She will never tire of her work; she's not tied down as to parts. Never always the ingenue, or the vampire, or the emotional lady of many affairs. She has done all of them; she has quite a repertoire. Her grandfather was a southern mayor; her family is very old and very good, and related to senators and first settlers. Her home-life is quiet. She goes about very little, bobbed or braided; she knows very few professional people. She is as eager as any young girl to know what Lillian Gish really looks like, and she undoubtedly read Theda Bara s "Confessions" in the June issue with more than ordinary interest. Everyone will tell you — everyone who really knows her — that if she is a star, she never talked herself into stardom. That is one reason why she has always remained with Vitagraph. When her first three-year contract expired with this old and conservative organization, she was approached by three or more concerns, each of which promised her lavish advertising, among other inducements. Corinne shrank into her shell. She knew Vita- graph; \'itagraph knew her. She stayed — she has just signed a contract for three years more. I don't mean by that she is cowardly. She is not afraid of her future, of her abilities, of herself. It is rather a curious thing that this sheltered, quiet, almost shy girl should be an actress in this most recent, most widely advertised and heralded profession. She hates personal appearances; but she is at present studying dancing with Koslofif so that she may, when she knows enough about it. dance for a year on the stage, because she feels she needs the e.xperience. "I wanted to,'' she says, "long before it began to be fashionable in cinema circles."' She has eyes of a peculiarly misty blue, with thick black lashes. A nose which is doubtful (I can't tell it from a retrousse), a mouth that is sensitive and accurately measures her emotions: and hair that crinkles around her ears. She seems to have many screen faces. Sometimes she has the languor of a Lillian Gish; at other times, she is a piquant Constance Binney. Some people have suspected a resemblance to Alice Joyce. In reality she looks very little like any of these ladies, but suspiciously like Corinne Griffith. "The first theatrical performance this Little Eva ever saw was "Camille." with Cecil Spooner's stock company, when she ran away from her mother and nurse at the Texas watering-place where they had gone for her mother's health. She was only ten. She didn't know what it was all about, but she made a resolve that some day she would play a part like that. Today, she is asking for light comedy stories; she wouldn't play '"Camille" if every one of her Middle Western devotees were crying for it. She went to school in New Orleans. And it was at a Mardi Gras that she was discovered, aided by Nature and Rollin Sturgeon, director, who was the particular Columbus in question. Corinne went to California, passed the screen test, and was thrust into leading parts at once. She has never played anything but leading parts since — and never will. She was Earle Williams' leading woman in three pictures, and Harry Morcy's in several. The odd part about this is that these two male stars still speak well of Corinnc and that Corinne still admires them. Her work was recognized, her abilities believed in: her name advanced to stellar lettering She has never stopped working; never stopped watching other people work, particularly the oUl timers. She says, even at this advanced stage of the game, that she learned a lot from George Fawcett, that grand young man of the movies who directed her in "Deadline at Eleven'' and played with her in "Gum- shoes 4-B.'' Era' Title Reg. U. S. Pat. OR. ' I 'HIS is YOUR Department. Jump right in with your contribution. IVhat have you seen, in the past month, that was stupid, unlife- like, ridiculous or merely incongruous? Do not generalize; confine your remarks to specific instances of absurdities in pictures you have seen. Your observation will be listed among the indictments of carelessness on the part of the actor, author or director. Thirty-Five Caught This One TALK about absurdities in motion pictures — the one that wins the green derby with the 3'ellow neckband occurred in William Farnum's "The Adventurer." It happened thus: Bill is about to be presented with a self-locking wooden overcoat, and makes a desire that he would like to sip some wine with the brave soldiers who are to intro- duce him to Old Man Death, and of course his wish is granted. Here is the break: the soldier fills his mug with wine, and Bill holds it up and begins to drink it, but when he gets to the bottom the people in the audi- ence— who had been watching with tears in their eyes and envy in their hearts — could plainly see Bill's lips shut tight on the mug and that the mug had no bottom. He should get a new Pete Props. J. A. E., New York City. Airy Fairy Vivian IN Vivian Martin's picture "The Third Kiss," the her- oine goes down a flight of seemingly solid concrete stairs, into the basement of a tenement. Later on, when the building is on fire, Vivian tries to get up the steps, which are now fierce- ly burning! Edgarda Findley Mount Vernon, N. Y. "Coming Events" Etc. IN "John Petticoats" with Bill Hart, the time of the story was around June 1918. In one of the scenes in which there is a piano, there can plainly be seen a sheet of music with the title, "Everyone wants the key to my cellar." This song was not pub- lished until July, iqiq. J. P. Croke, Springfield, Mass. when she is rescued a few minutes later, she has on a pair of lovely silk stockings and also slippers to match. W. L. Justice, New York City. Yes — But Think of His Disappointment! IN "The Six Best Cellars" Bryant Washburn is seen carrying with the greatest exertion and difficulty a case of what is supposedly perfectly "live" vintage; but upon his arrival home, every bottle is found to be empty. Rather heavy bottles. I should say. She Must Have Met With a Cold Reception C YLVIA BREAMER, in "My Husband's Other Wife," while staying at her new summer home in the mountains, goes to church where all the congre- gation are in summer clothes and where all the windows and doors are open showing the beautiful flowers and trees. Dur- ing the sermon in walks Sylvia, attired in a big winter coat, seal hat, and — a muff! L. G. N., New York. We'd Rather Not Say IN "Wives of Men," Frank Mills as James Emerson married * Grace, but there was no mention of divorce when he later married Lucille Gray. Do we have bigamy in the pictures? A. B. Penn, Marion, Illinois. Robbing Davy Jones' Locker TTHE heroine in George Walsh's "The Shark," upon jump- ing into the sea, wears neither shoes nor stockings, but A Point of Etiquette SHOULD a youngt gentleman propose to a lady with his hat on? Spencer in "The Thunderbolt " keeps his hat on even when he kisses Katherine Mac Donald. John E. Underwood. Summit, New Jersey. B. G. R., Mill Valley, Cal. Not So Surprising IN Douglas McLean's and Doris May's "What's Your Husband Doing," Mr. Ridley comes to breakfast and receives a letter postmarked September 1918. Then he leaves the house and gets into a car with a IQIQ license. The letter was a bit late, wasn't it? M. K., Dallas, Texas. A Little Oversight MARY PICKFORD. in "Heart of the Hills," is thrown out of the cabin by her step-father upon her return from the blue-grass country. The step-father then proceeds to bolt the door to insure himself against Mary reentering the room. He fails to notice that there is a door standing wide open on the opposite side of the room. D. E. Francis, Wichita, Kansas. Wish That Would Happen To Us IN "The Winning Girl," the * supposed-to-be-unpaid bills on the Major's desk are marked "Paid!" D. W., Akron, Ohio. Ah There, Connie! WHERE did Constance Tal- madge get all the changes of costume in "Two Weeks?" She went to the bachelors' barn without any wardrobe. In the same star's "In Search of a Sinner" she wears a beautiful dress but alas, there was quite a good-sized tear on the shoulder. M. L. W., Indianapolis, Indiana. All At Goldwyn's, Culver City (Adv.) IN "Heartease" with Tom Moore and in "The World and It- Woman" with Geraldine Farrar, the same set is used although in the former it represents Covent Garden in London and in the latter the Petrograd Royal Opera. In "Upstairs," with Mabel Normand, and again in "The World and Its Woman," the same exterior is used although in the former it represents lower Broadway and in the latter, the Xevsky Pros- pect. T. Milch, Manhattan. 69 The Shadow Reg. U. S. Pal. OB. A Review of the new pictures hy Burns Mantle and Photoplay Magazine Editors "Passersby — with Herbert Rawlinson as the good Samaritan — is the sort of picture the family can see and enjoy. It is an in- teresting review of life from a bay window. A CORRESPONDENT wonders what good the critics do. In which diverting pastime a correspondent has nothing on the critics. They wonder, too. "You rail at this and you rail at that — and still the thing continues," rails she. "What's the use? If criticism isn't corrective why waste it? Or is it, do you contend, corrective?" Come closer, Clarice — and promise you will never tell. My job may depend on this. If criticism were corrective in the sense in which ^^^^^^^^^^^ you mean — i. e., if it were possible to correct that which needs correction simply by calling attention to it through criticism — the millennium would have been functioning hereabouts while you and I were still chasing butterflies in heaven. I myself have often wondered how, for instance, the drama dare go on being dull to the point of dreariness, or daring to the point of indecency, or silly to the point of idiocy after all the late William Winter — who was the chief scolder of my day — said about it. And how is it possible for the pro- ducers of screen dramas to do the things they do with George Jean Nathan feel- ing the way he does about them? How dare they? Criticism, Clarice, is corrective ^-i— — — — — when it is true stuff — and only when it is true — but never in the way you and a million or so others expect it to be. The manager of a new play who reads in the morning paper that his comedy is awful, his cast im- possible and his future hopeless, does not dash down to the theater, discharge the help and abandon his plans for the sea- son. No. indeed. Me merely bites another hole in his cigar, confesses audibly his private opinion of the critic's ancestry, ;ind (juestions the treasurer as to where he thinks they (the critics) get that stuff. THIS department is designed as a real service to Photo play readers. Let it be your guide in picture enter- tainment. It will save your time and money hy giving you the real worth of current pictures. By BURNS MANTLE But — if four weeks later his attraction is numbered with the failures, and what the reviewers, or any one of them, had to say about it proves true, that manager is going to make a con- scious or subconscious reservation regarding that particular criticism which will naturally affect his succeeding productions. In pictures the corrective influences work even more slowly — first, because there is less true stuff written about the screen than there is about the drama and, second, because of the working conditions. By the time the producer and director of a picture hear from their critics they have forgotten all about the picture. "Let's see," muses the director, "which one was that? Oh yes — that was the one we starred Sophie Snub- nose in to get money enough to pay the studio rent. Oh well, we should worry. She hasn't been with us for six months." Still, the fact may have percolated that Sophie Snubnose and her backer were a poor investment on which to build a picturcmaking reputation, and the tendency to avoid similar combina- tions becomes fixed in the experiment- er's mind. At least we hope it becomes fixed. Only in that sense, Clarice, is criticism corrective. We can't successfully deny adventuring speculators of all sorts the constitutional privilege of tPi-ing their hanil at picture-making or play producing. Neither can we hope to change the tastes nor adjust governors to the curiosity of a multitude in one generation, but — and in this all you Clarices are involved — we can all stand firm for those who are honestly striving to do worthy things, and ready deftly to hurl a harpoon or two at the cheaters, whether we write our criticism for the jxipers or only tell it to the bridge club. Thus wc come to Cosmopolitan's production of "Hvinior- csque." Here at least is an honest attempt to approsimale the 70 Photoplay Magazine 71 true stuff. It invades the New York Ghetto through a Fannie llurst story, and reveals the hearts of its people through a Frances Marion scenario. It details with studied particularity simple episodes from the everyday lives of the Ghetto folk in an effort to establish the genuineness of the locale and the people. The story is half told before anything resembling a conventional plot is outlined, but though the pace is slow and the creation of a suspensive interest noticeably delayed, your average audience will not grow restive under the strain because what they have seen they have believed and what they have believed has a solid dramatic foundation. The secret of good picture-making, as the secret of good play-writing or good story-telling in any form, lies very largely in the building of the foundation. "Make them believe your first act," Edgar Selwyn once said to me, "and you can do practically what you will after that; but if they don't believe the first act they will not believe any of it." And Edgar has had considerable experience. The Kantor family, which moves through "Humoresque,"' is not a particularly interesting group of humans. They are, in fact, a little stagily picturesque. But they represent a real family, and are permitted to relate naturally the experiences that befall them. Occasionally there is a heavy overlay of sentiment, but not often, and there are practically no cheaply stressed heroics. A little Jewish boy hungers for a violin. His mother, who has prayed before the coming of each of her children that she should be the mother of a genius, is radiantly happy at this final evidence of the efficacy of prayer. Out of her meager savings she buys him an instrument — and fifteen years later he is a fine concert artist. Then comes the war. Though he is offered $100,000 for fifty concerts, he prefers to do his duty by Uncle Sam and avoid trouble with the draft board. True, the offer did not come until after he had enlisted, but we are willing to believe he would have gone anyway. In France he is wounded and becomes convinced that he will never be able to play again. The little girl who had been his boyhood's sweetheart in the Ghetto, now grown to womanhood, is ready and eager to marry him, but he will not "tie her to a cripple." At which repulse she faints, and in his efforts to lift her he tears loose the binding adhesions of his wounded arm and straightway discovers that he can play again. What does he play? The "Humoresque," of course, silly! The point I'm making is not that this is a perfect sample of what may be done, but that it is a fine indication of the progress that is being made toward a proper appreciation of the better values of screen material. There are several exception- ally good character performances in this screen drama — notice- ably those contributed by Vera Gordon and Dore Davidson. Bobby Connelly plays the boy violinist, Gaston Glass the same lad grown to manhood. Though the capable and attractive Alma Rubens is featured as the hero's sweetheart, you would never know it. The story belongs to the boy and his mother, and -Alma is reduced to a few close-ups and a title or two. THE DEVIL'S PASS KEY— Universal UNIVERSAL has a good picture in Eric Von Stroheim's "The Devil's Pass-Key," which misses being a great picture by reason of that little matter of foundation building of which we were speaking. The idea is original and interest- ing and the pictorial background richly effective. "A play- wright of moderate income" living like a prince in Paris, flock- ing with the haut monde, is trying to write and sell highbrow dramas. The directors of the Comedie refuse his work, passing him the kindly word of advice that what they are looking for is plays of real life, dramas of the street and of the people. Meantime his extravagant and beautiful wife is running up bills at the shop of a wicked coutourier. When she can't pay, the shop lady suggests that she borrow the money from a cer- tain rich gentleman. Madame, being innocent, agrees, meets the gentleman, who happens to be an American army officer, and though by appealing to his better self she retains her wifely virtue, she gets herself talked about. The story is printed in a scandal sheet. The playwright husband sees it. recognizes the possibilities of the plot, writes a play around it and has it accepted and produced before he learns that he has written the story of his own wife's escapade, n discovery he makes the night of the play's sensational success. He is then intent upon shooting holes through the army officer, but is convinced finally that both he and the wife are innocenL Lou Tellegen pursues Geraldine Farrar determinedly as ste sways gracefully through "The ^Vo^lan and the Puppet." Like "Carmen," it breathes the atmosphere Spain. Receiving at her bath is one of the Parisian twists Mae Busch puts into "The Devil s Pass-Key." Maude George and others assist in making it one of the month s best pictures. Matt Moore i? the victim of a harum-scarum jumbling of complications in Marshall Neilan s "Don t Ever Marry, " in which one extravagant situation is piled upon another. 72 Photoplay Magazine You want to see more of Victor Seastrom's acting when you have witnessed this splendid drama of the sea, "A Man There Was. ' And it s a product of Sweden. A pljiii. urdin.irv movie i« Clul.l.vii N,.| \\ iiilcJ. hut it L.irric9 a le.'son and return" an indictment a|t landlords who bar children and welcome dogs. Here, as said, is a plot with a clever twist: a fine bit of ironic criticism of life in New York. London, Paris and points east and west. But the gifted Von Stroheim fails to convince me that these people of his are real: that they were living as he pictures them living in Paris and still pressed by need of funds as he suggests: that being so pressed the wife would have acted as she did. or that, having so acted, would have set all Paris agog. Paris does not become agog en masse over members of the American Colony. Pictorially. however, and constructively "The Devil's Pass-key" is easily one of the best screen exhibits of the month, and is splendidly acted by Una Trevelyn, Clyde Fillmore and Sam De Grasse as the points of the triangle, and by Maude George and Mae Bush as attractive natives of the French capital. THE TOLL GATE— Paramount-Artcraft IN the first reel of William S. Harfs "The Toll Gate. ' Black ' Deering, as brave a bandit as ever donned a mask, leads his gang into the cave that Avas their meeting place and says to them, in effect: ■ Boys, we're through. The hounds of the law are yipping at our heels and we'd better beat it while the beating is good." ' Not on your life." replies a radical of the extreme left. "I know a job that's got to be done. One more trick, boys, and we'll split the S40.000 and quit.'' Thus Black Deering is out-voted and another hold-up is planned. Immediately you are interested in two possible twists to that plot : first, the outcome of the hold-up undertaken against Deering's advice; second, the effect it is going to have on his future. From that point forward the picture proceeds logically, ex- citingly and truly to its conclusion, which indicates that Mr. Hart also realizes that good pictures cannot be thrown together hit or miss. "The Toll Gate" is the most interesting Western I have seen this month, because, granting its melodramatic premise, it is the most plausible, the most intelligently directed and the best acted of the melodramas I have seen. Being the first of Mr. Hart's own pictures, it suggests that he has in- cluded in it all those features that he has found most effective in his other photoplays. He is again a bad. bad man. but with a "streak that's square." and when in escaping from the authorities he comes upon the usual pretty little Western woman living all alone in a cabin in the hills with her four- year-old son, he is inspired to lead a better lite. He does not reform overnisiht. however, nor marry the girl and start a gen- eral store. He merely sets things right with her. clears his own conscience and rides away. It is the sort of stor\- that convinces an audience that it has been well repaid for its visit to the theater. .\nna Q. Nillson is an attractively passive heroine and Joseph Singleton a convincing heavy. Many of the shots are fine, particularly those picturing Deering's escape from the train. PASSERSBY— Blackton-Pathe BLACKTON'S "Passersby" is the sort of picture the family can see and enjoy. Whether or not J. Stuart Blackton ha> taken full advantage of the theme offered him by Haddon Chambers' story is not important. He certainly has done an ex- cellent job in selecting types for his cast, and this, combined with the human, holding quality of the adventure, provides an entertaining feature. Basically, "Passersby" is a review of life from a bay window. A rich \-oung man. who has loved and lost the attractive young woman who has served his aunt as a com- panion and himself as a sweetheart, finds her after a consider- able search and learns that she has borne him a son. His search for her brings him in contact with many picturesque characters of London's east end. and the contact gives him a new angle on life. Wc are all as God made us. he concludes, the best and the worst of us. and the business of passing judg- ment on the well known human race is not man's job. His new friends include Nichty. an amiable London cabby. ,i delight- fully played ami vizualized by Tom Lewis: Burns, a cast -on wiih the heart and mind of a boy. capitally acted by Dick Lee: and the faithful Pine, his generous hearted butler, brought vividly to life by the veteran William J. Ferguson. Herbert Rawlinson is the modern good Samaritan. Leila Valentine the heroine, and Charles Stuart Blackton their young son. The cameras do wonders for the London fogs and street scenes. (Contiiitud oil ^(Jgf to~) What Does Your Handwriting Reveal? You may have at least the temperament of a screen star it your writing resembles any of these. By MAY STANLEY THE man who said that the pen as a high-powered in- strument had the sword backed out of its scabbard, spoke words of wisdom. At that, he didn't depict half the possibilities which that little bit of steel — or gold, if you draw that kind of salary — contains. For, look you, the pen is the one sure revealer of character. You may have golden curls and sweet blue eyes and a Pickford smile, but if you are bad-tem- pered and deceitful and inclined to get on the lot late in the morn- ing your handwriting will reveal it. The phrenologist may be able to determine what sort of dispo- sition you have by the bumps on your skull, and the lines of your hand may tell something to the palmist, but when it comes to genuine character-revelation your handwriting is the one sure test. For instance: Elsie Ferguson signs her name to a contract. The director looks at it, and if he has studied the secrets of handwriting he knows that Miss Ferguson has considerable self-confidence, as indicated by the extremely large capitals, and plenty of ideas — shown by the fact that some of the small letters are separated. An imaginative nature is shown by the dot of the small i flying high over the letter, and the long loop of the g proves that the writer is a person of elegant tastes. WTiere you see a slight thickening of the down strokes, such as Miss Ferguson's writing contains, the critical faculty is well developed. Most of us have found out these things from watching Elsie's work, but the handwriting expert could have told her tendencies from one glance at her signature. Here's a signature with a wal- lop— James J. Corbett. The ex- tremely wide upper loop of the capital / shows that Mr. Corbett will get from the world what's coming to him. In other words, it's waste time to attempt to satisfy him with twenty-four cents worth of goods in exchange for a quarter. If your name begins with C and you use a long loop like the one shown in Mr. Cor- l)ett's writing it is a sure sign of c^ genial nature. There are three ('efinite indications of firmness in this writing — the strong crossing of the t, the evenness of writing and the strong down strokes. The person who crosses his fs, as Mr. Corbett does, with an upward stroke, has very little vanity but a good deal of quiet self-assertion. Reflect for a moment, stars of filmdom! If you had studied this art in off moments you might be able, by a glance at the signa- ture on your contract, to tell just how well the director is going to live up to his pledges. For example, take a look at D. W. Griffith's writing. The careful joining of all the letters in the signature is one of its chief characteristics, indicat- ing logical judgment. It is the handwriting of an idealist with ambition dominant, as shown in the strong upward strokes of the letters, particularly the forceful t. This ending of the small t shows what is called the "lightning" flourish, the straight, heavy stroke across the t. This is an unfailing indication of superb ac- tivity of the brain in all its proc- esses. If your writing, like Mr. Griffith's, abounds in angles rather than curves, it means that tact is not your specialty. Enthusiasm is present, as the strong upward strokes show, and the general ir- regularity indicates sensibility to a degree that means "nerves." If you want to see originality in the «th degree look at this dash- ing signature of "Gerry Farrar." The eccentric boldness of the cap>- ital G is one of the surest signs of originality. The wide curve of this letter also shows imagination. If you join your letters and words closely, as Miss Farrar does, it proves that you possess logical and consecutive judgment. The heavy down strokes show great vi- tality, love of life and its pleas- ures, while the general coarseness of the writing shows that this star has courage in abundance. The persons who conclude their signa- tures with an upward flourish, like Miss Farrar, have a great love of applause and admiration. The thick down stroke of the capital F and the vigorous crossing of this letter indicate pride. It's perfectly plain that if mo- tion picture directors would add a course in graphology to an other- wise busy life they could tell at a glance what temperamental reefs 73 74 Photoplay Magazine to avoid in dealing with beautiful leading men and purposeful ladies of the screen. Here is a signature, for instance, that looks just like the writer. Marguerite Clark has the flowing hand that goes with an impressionable nature — one sensitive to outer influences. Energy and ambition, two wonderful assets, are shown by the angularity of the writing. The long, flying loop of the small / inilicates a nature in which ideality dominates. You'd know that William S. Hart wrote a hand like this, wouldn't you? A good, sane, firm, reliable signature. The and sure reso- strong crossing of the t the firm down stroke are signs to the initiated of a lute nature. There is a saying among those who study handwrit- ing, "as the slope is so is the ten- derness of the writer," which would show that Mr. Hart is a man of kindliness. The slope, in modified form, also shows trust- worthiness and sincerity. If your signature is anything like Dorothy Phillips' you may congratulate yourself on possess- ing most of the finer qualities of the mind. The square formation of the capital D gives evi- dence of imagination in abun- dance, combined with lucidity and a frank nature. The person who writes a hand that is generally round, like Miss Phillips, is re- sponsive. There is an abrupt an- gle in the y that shows a good deal of impatience, but this is counterbalanced by the large, open It's and curve of the small r — sure signs of a large fund of kindliness. Enter Harry Houdini — with a flourish. When you want to find out something about a person's writing and haven't time to an- alyze all the letters it's a good plan to look for the flourish. Taken in any form the flourish in- dicates a love of admiration. When the flourish is extravagant and of thick strokes it shows de- fensiveness and .self-assertion. The width between the down strokes of the capital H shows a generous, liberal nature. Speaking of neatness, did you know that the Italians produce the most beautiful specimens of handwriting to be found in the world? Next to the Italians come the English. English writing is dignified and di.stinguishcd. but seldom graceful. The worst? Ex- perts admit that it is the average handwriting found in America. They ascribe our lack of expert- ness with the pen to hurry, nerv- ous excitement and lack of poise. Caruso gives a good specimen of the Italian handwriting. The heavy strokes and fantastic flour- ish with which the signature ends show vanity, self-esteem and a great love of admiration. The statements of such a writer are always positive. If your hand- writing looks like Caruso's your family and friends have prob- al)l\' learned by this lime not to oppose your wishes. The handwriting of John Barr> more is quite as typical of the writer as that of Caruso. The thin, fine and small-sized script always indicates great powers of concentration, combined with interest in others. Mr. Harr\moro has a nature that is excitable and sensitive but not unkin- extreme- ly in size as in this writing — glance at the comparative small- ness of the capital E and the size of the small e that completes the signature — show a nature of un- usual originality. If you are looking for evidences of will power in a handwriting the best thing to watch for is the crossing of the small t. If the writer has plenty of firmness and determination this letter will in- variably have a firm, thick, long crossing. The person who neglects to cross Vs, or who crosses them in a loose, uncertain manner, hasn't much strength of charac- ter. A good example of the con- nected letter is shown in Pauline Frederick's signature. The expert could tell at a glance that Miss Frederick is logical and thinks out her course clearly before acting. The long loops of the / and k show- plenty of imagination. Where the handwriting ascends with a decided slope toward the right hand comer of the paper an ambitious nature is indicated. Priscilla Dean's writing is a good example of this admirable trait. Whenever you see such a care- ful joining of the small a as Mary MacLaren's writing shows you have a good example of concen- trated brain power. The evenness of the writing and uniformity of letters in this signature are e\n- dences of a calm and logical mind. The person who procrastinates, who is going to do ever\-thing "to- morrow." but who never gets at it to-day. that kind of person can be detected by the crossing of the t falling to the left instead of the right of the letter. Irene Castle, evidently, has none of this fatal defect in her nature, for the cross- ing of her t is almost entirely on the right side of the letter The extreme curve with which her capital / begins shows that the writer believes in self-preser\3- tion. Look at the right hand slope of Cecil deMille's signature if you want to see the handwriting that indicates ambition in unusual de- gree. Mr. dcMille is impatient of delays of any kind, as the irregu- larity of his capitals bears witness. A good specimen of the cautious nature is shown in Elliott Dcxlcr's signature particularly by the straight dash after a woni The calm, well-balanced nature can be deiluced from th- roundness anil smoothness of the writing, while the persor. whose mind is acute rather than restful writes an angular han.: In the specimens shown Mabel Xormand gives a good ex,imp.i of the former, while Hiilie Hurke's writing is an admirable iiUi-- PiioToi'i.AY Magazine — Advfrtising Section 75 They'll be here in fifteen minutes- and iry nails aren't fit to be seen ! " THE telephone bell rang. "I'm so glad you are at home. We'll be right over," said a voice. "Good!" she cried. Then her eyes fell to her hands. Her heart sank. Such battered looking nails! She knew, too, that no amount of magnificence and good groom- ing on formal occasions would efface the impression made by once appearing careless in an ofF- guard moment. Have you ever been caught in such a predicament.'' Does the unexpected occasion always find your hands at their loveliest.? Exquisitely cared for nails, that so unmistakably tell to the world their story of personal fastidious- ness. It is the simplest thing always to be sure of your nails! Just a matter of giving them the same regular attention that you do your hair and teeth. Do not clip the cuticle. When you do so it is impossible to avoid cutting the sensitive living skin, too. The skin tries to heal these cruel little • hurts and growing qincklv, forms a thick, ragged cuticle. It gives to your nails that frowsy and unkempt look that makes you self-conscious every time people notice your hands. But you can have nails so charming that it will be a pleas- ure to display your hands! Just soften and remove the cuticle with Cutex, the harmless cuticle remover. Twist a bit of cotton ^round the end of an orange stick (both come in the Cutex package). Dip it in the Cutex and gently work around the base of each nail. Push back the dead cuti- cle. Then wash your hands and push the cuticle back while drying. Always when drying the hands, push the cuticle back. The Cutex way keeps the cuti- cle smooth and unbroken — the nails in perfect condition. Make a nabit of Cutex. Then you will never know the mortification of ragged hangnails and clumsy cuticle. If vou wish to keep the cuticle particularly soft and pliable so that you do not need to manicure so often, apply Cutex Cold Cream at night on retiring. Get Cutex at any drug or de- partment store. Cutex, the cu- ticle remover, comes in 3Sc and 65c bottles. Cutex Nail White, Cold Cream and Nail Polish are each 35c. Six manicures for 20 cents Mail the coupon below with two dimes and we will send you an Introductory Manicure Set, not as large as our standard sets, but large enough for six complete manicures. Send for it today. Address Northam Warren, 114 West 17th St., New York City. // you live in Canada, address Northam Warren, Dept. 707, 200 Mountain Street, Montreal. Mail this coupon'with two dimes today to Northam Warren, 114 West 17th Street, New York City When you write to advertisers Please mention PHOTOPLAY MAGAZl.NE. Director Al Santell as he looked after an argument with Bob, the lion. "Joe Martin, 5ittin|j atop the «ofa. is trying to look pretty. He Likes 'Em Wild! By EMMA-LINDSAY SQUIER URE I like "em wild!" The voice on the other side of the "set" at the Universal studio spoke positively, even V. 3 enthusiastically. "But Al," came a worried murmur, "she bites. She'd chew your ear off in a minute if she could." "Not a chance I'' responded the jovial Al. "I know all of Julia's moods. She's a bit temperamental, but she's alright when she isn't hungry."' "The hus.sy!"' thought I of the wild "she"' under discussion, and — "the fool" I added mentally of the invisible Al. I re- pressed a desire to recite aloud something about a rag, a bone, and a hank of hair for the moral effect it might have, and it's just as well that I did refrain, for at that instant, around the corner of the set. came a young man with brown eyes and the suspicion of a mustache, leading in tow — a full-grown lioness! There was no convenient table to climb upon, or even a property ladder to lend itself to my sudden desire to get thence from hence — quickly! And had there been such articles handy it is doubtful whether I could have taken advantage of them, for my pedal extremcties had ceased to function, my face felt pallidly cold, and I think I made a funny noise or two. for the Daniel-like gentleman helped me to a chair, patted me on the back and told me that Julia wouldn't hurt a lady. He also gave me his card on which was engraved "Al Santell, Director." I couldn't help wondering if Julia knew I was a lady, for she seemed to regard me hungrily. But such seemed to be Mr Santell's confidence in her altruistic motives that I gave her the benefit of the doubt, and conversed with the brown-eyed direc- tor as nonchalantly as was possible under the circumstances. "You specialize in directing wild animals then?" I asked him. secretly hoping that Julia's luncheon had been ample. "Well, not exactly." he answered with a smile that showed a row of even white teeth. "I have been making animal come- dies here al Universal for the last year — ever since I came back from the service, in fact. I didn't intend to take it up as a specialty, but they discovered that I could manage the lions and also Joe ALartin, the orang-outang, and ever since then they've kept me at it. " He reached down to scratch Julia between her tawny ears, and drew his arm back sharply, swallowing a cuss word. "My arm s still on the bum." he apologized. "It hurts even,- time I make a sudden move." "Rheumatism?" I inquired sympathetically. "No, Bob," he replied laconically. Then in response to my bewildered expression, ' Bob is one of our biggest lions. He charged me the other day and clawed my arm and leg. And you'd never guess what started it. His mate, 'Ethel,' died some time ago, and we had the skin stuffed. It was beine used in a scene from 'L^pper Three and Lower Four," an animal- comedy melodrama, and Bob came into the barred inclosure where he was to work. Well, sir, he spotted that stuffed lion, and I give you my word he knew it was Ethel. He made a sort of a purring noise, and went over to it and rubbed his nose against the hide — then, just as if he thought I had something to do with his mate being in that lifeless condition, he turned on me and I was lucky to get out of the cage alive. Funny how temperamental lions are." "Yes. isn't it — funny." I observed, listening to my heart do a tail spin inside my thorax while Julia watched me with un- blinking amber eyes. "And wolves aren't the easiest things to work with either." he went on quite calmly. "They are always watching for a chance to snap at you. and once in a while they'll attack you. but they are interesting beasts to direct, nevertheless." "Interesting^!" I echoed in a far-away tone, but Wild-Animal W plunccd ahead with contacious enthusiasm. ".And Joe Martini " he said with something of awe in his tone. "'That monk is positively uncanny. He works just like a man — you tell him what to do and jx-rhaps show him once (Coutiuued on page Q4) Photoplay Magazine — Advertising Section Organdies ♦ linens • batistes Launder them the same way you do your silk things WHERE lawns are green and ices are served, the cool frocks of midsummer gather. Fly- away, frilly organdies; saucv English prints that plav at being quaint. Fine blouses ofhandkerchief linen and French voile. And always rows on rows of tiny tucks and soft ruffles of real lace. 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Wash quickly. Rinse in three lukewarm waters. Dry in shade. Copyrtchitd 1910. by I«t «r Brci. Co. When you write to auvertl»ers rleasc lucntioD PHOTOPL.A'X MAGAZINE. WE TAKE OFF OUR HATS TO Crane Wilbur, becau.-^c he prefers to use his brains to getting by with his good looks; because all the while he was matinee idoling he was salting down his salary and preparing for a great attack on Broadway managers, because two years ago he quit working for some one else in pictures and rented a theater in Oakland. Cal.. organized a stock company, wrote plays, made money, and took another theater, then sent a man to peddle his plays on Broadway, and had seven or eight of them accepted; because he did very creditable work in "The Oui)a Board (Ruth Hammond is with him in the picture.) and in others of his plays, and because one time he appeared in a picture that our cook says made her want to be a good girl. Harry Durant. because he is the father of two sons, and IS prouder of them than any- thing else; because he has been a successful writer for years; because he was man- aging editor of the old Bio- graph and other companies, and now manages the play department for Famous Players; because he is get- ting ready to respond to the call of "Author. Author on the opening nights of five separate and distinct New York stage playa next season T. Hadley Waters, because when he came to New York and the theatrical managers would not let him in. he wrote a book about himself and sent it to them, and be- cause when David Belasco fell for the book. Mr. Waters invited him to go to lunch, then had to rush out and borrow ten dollars; because he writes good publicity for Mrs. Sidney Drew; because he is to have two plays pro- duced on Broadway this fall. AND because he has done all this in 23 years. Luther RecJ. because he goes quietly and \\ ithout any noL^^e about doing the things he wants to do. and docs tbem; because he Steve Brodicd from a newspaper de.*k in Nc\^' \ ork to the prospects of a park bench in ho< Angeles when he thought that he could write scenarios: and because in such things as "Marys Ankle and "Behind the Door. " he proved he could: and be- cause he always wanted to v^-ritc a play, and he did it. and now "Dear Me. which is having a run in Chicago, will appear soon in New York. TALC onteel X. Perjlimed xvitJi the Costlij Odor Posed by IliUnf Chaduiek Motion Picture Star ROSES from France, orange flow- - ers from Mediterranean shores, lavender from England, vetivert, ylang- ylang, geranium — 26 of the world's loveliest fragrances — make up the sweet, haunting odor of Jonteel. Take home a box of Talc Jontccl today. The Jonteel Beauty Requisites are sold exclusively b\' The throughout the U. S., Canada, and Great Britain. 8,000 progressive retail drug stores, united into one world- wide, service-giving organization. THE JONTEEL BEAUTY REQUISITES Odor Jontccl, ^1.50 OJor Jontccl conccniratc, $3 Face Powder Jontccl, llcsli. white, brunette, soc. Face Powder Compact, Hcsh. white, brunette, "out- door." 50c Combination Crcain Jontccl, 50,- Cold Crcani Jontccl, 50c Soap jontccl, 15c Manicure Set Jontccl. Si. 50 RoURc Jontccl, light, medium, dark, 50c Lip Stick Jonteel, :5c Eye-brow Pencil Jontccl, ijc (/n Canada, Jonteel prices are slighUy hifher) LIKE ORANGES ? Orange-crusH i^fiillillHIl llilllli IRRESISTIBLY delicious! Pure as sun- sliine! \\as drink ever as delightfully refreshing as W ard's Orange-Crush? The secret lies in the supreme quality and match- less flavor — a comhination of the delicate, fraiiraiU oil pressed from nature's most fa\ ored fruit - golden oranges pui est sugar and citric acid, the natural acid found in all citrous fruits. Ward's Lemon-Crush — the companion to Orange- Crush— is equally delicious. In bottles or at fountains Prepared hy Orange-C^rush (>o., ("hicago L:ib)or;it()r\ : I.ds .\ni;<-lcs Send ior free booklet, "The Stonj of Orange-Crusfi" Mother Seymour and Clarine wlien she made her first public appearance in church entertainments. An Unfinished Story Death snaps the brilliant career of pretty Clarine Seymour By BETTY SHANNON THERE was a very different sort of story written to fill this space. It was the story of a vivid, very much alive young person to whom success had come after several years of particular discouragement and difficulty. It was the story of a warm, unspoiled, friendly girl — the sort of girl who did not forget those who had been good to her, and who was not ashamed to admit her struggles. But the story of Clarine Seymour had to be stopped short and taken from the presses — because Clarine Seymour's life came suddenly to an end. On Sunday evening. April 25, at nine o'clock, she died. She had been ill from intestinal trouble since the Wednesday before. Clarine Seymour was born in Brooklyn nineteen years ago, of devoted Methodist parents. Her first appearances in public were at the entertainments given in the New York Avenue Methodist church. Three years aco her parents moved to New Rochelle for the summer. Clarine decided she wanted to become a motion picture extra. Her persistent calls at the The last -photograph of Clarine Seymour. old Thanhouser studio brought her a small bit in some for- gotten play. By steps and degrees she was given bigger parts and one day a role in a Pearl White serial came her way, then one in '"The Double Cross" with Mollie King. It was in this that she was seen by the Rolin Comedy people and was offered a contract if she would go West in comedies with Toto, the Hippodrome clown. And Mother Seymour took the baby and chaperoned Clarine to the Coast. After innumerable vicissitudes, she followed Billie Rhodes in Christie comedies. Mr. Griffith saw her in Los Angeles and when he needed someone to play with Carol Dempster and Richard Barthelmess and Robert Harron in "The Girl Who Stayed at Home" he took her on. "True Heart Susie" and "Scarlet Days" followed. "The Idol Dancer," most recent of these, was her first real featur- ing vehicle. She was at work in "Way Down East" when she died. 81 The Twelve Best Motion Pictures Winners of Second Photoplay Magazine Letter Contest PHOTOPLAY MAGAZINE S Second Letter Contest closes with surprising results — results perhaps disappointing to producers who have spent thousands of dollars on elabo- rate productions. For the common message contained in the many letters giving the writers' opin- ions of the twelve best photoplays they have seen is this: The motion picture creating a lasting im- pression or accomplish- ing the most good is not the picture requir- ing the greatest number of reels or covering the most extensive range of subjects. Human interest, say Photo- PLAv's readers, is what the public appreciates most, and when this vital chord is drowned in rambling themes in- troducing foreign notes, interest in the picture ebbs. It might be discour- aging to a producer who had spent a for- tune on a picture like ■'Intolerance" to hear that the film most loved and appreciatetl was "The Miracle Man." This play had more votes than any other, although others had cost much more to produce. The picture that does not hit a re- sponsive chord in the heart of its audience is not remembered. One man writes : "That which we cannot take seriously we do not long remember. The picture must strike home, for, curiously enough, the only way to make some people forget themselves is to put their lives on the screen." Simplicity is the key- note of a successful film. Complications in construction only confuse and amuse for the moment, but leave no definite impression. A simple appeal to Faith, Hope or Charity touches more responsive hearts and spreads more good in the world than all the films with "4.000 horses. 20.000 men, ten elephants," etc. Difficult locations, expensive stars, scenarios dealing with plot and counter-plot arc not the pictures that live in the memory. A homey "Daddy Long Legs." "Hoosier Romance" and "Stella ^L^ris" have brought a truth nearer hundreds of hearts than "Broken Hlnssoms." "Hearts of the World," and even "The Hirth of a Nation." In comedy the same taste seems to be universal. Chaplin's 82 Why I Do Not Bel ieve In Censorship, This is the subject for Photoplay Magazine's Fourth Letter Contest "' I 'HE official censor, meddling 1 with irtorals and art, in- variab y hits what is true, i. e., what is art, and passes what is false, hence what is not art. "He spells the death of all progress and free experiment in ihc movies, and he represents a fundamental violation of both common Dense and common jus- tice. Can't we even go to the theater without being dictated to by a medd esome old maid, whether in pants or petticoats?" So writes Walter Pritchard Eaton, the writer and critic who could never be accused of undue love for pictures, or motion pic- ture censorship, in the Pittsfield Berkeshire Eagle. "Legalized censorship of the film is a dangerous departure in a free country, " reports the spe- cial investigating committee ap- pointed by the New York State Conference of Mayors, which rj^ centiy condemned state censor- ship and recommended local reg- ulation by license in the munici- palities of the state. "Shoulder Arms" has spread more cheer and hearty enjoyment sprinkled with tears, than any Broadway comedy screened. The dominant note, sounded high above those of praise for this picture, is that Chaplin has not tried it again. How can a man — and even a million-dollar comedian must be human — hear thousands of voices calling him to help them along the rocky path-way of life by his lovable humor, and still deny these millions of friends a little of his cheer, which they long for and appreciate so thoroughly? It was encouraging to note that apparently no particular star in- fluenced the choice of the pictures. Naturally, several were mentioned as favorites, but one could easily see that the film acted by any other name would not have changed the im- pression in many cases. The highly- and often over-paid star may do to get the people into the theater, but the im- pression that lasts is that of the film— the story, the direction, the photography, and the human interest. These four elements are what made up a perfect pic- ture to thousands of film admirers in this and other countries. "The indecent, improper and immoral film can be eradicated by the same methods as are used against indecent, improper and immoral books and p ays. ' Dr. James P. Warbasse. of the Methodist Episcopal Hospital in Brooklyn, says: "Official political censorship is a stupid violation of human lib- erty. It means pre-judgment by an official who sets himself up as a dictator to decide things which the people themselves must judge if they are to grow and develop a culture. The worst features of Prussianism offer nothing so vi- cious as pre-censorship of art."' Those are reasons why some thinkers and altruists who are sincere in their judgments do not believe in legal censorship of films. Photoplay Mag.\zixe wants to know why you do not believe in censorship — why you do not want h.icd political censors to decide what you and your children sha 1 or shall not see on the screen. PHOTOPI..\V WILL PAY FOR YOUR H lEAS of the evils of motion picture censorship: S25 for the best letter; $15 for the second best letter, and $10 each for the three next best letters of not more than 300 words. One side of the paper only must be u^cd. .Ml letters, addressed to Fourth Letter Contest Editor. Photoplay ^L^CAZI^•E, :s West 45th Street, New York City, must be in by .•\ugust I, 1920. The Pictures Make Her BcUcr e Again First Prize The twelve photo- plays I would place in the first rank are as follows: "The Miracle Man" ' — There may be ser- mons in stones, but there is also a religion and a philosophy in this unusually human thesis. "Cabiria" — One scene. Hannibal's hordes crossing the .Mps. visualized the past for me as the study of Latin for six years never did. "The Rirth of a Nation '—Every character in this great -American epic lived the part in a way never to be forgotten; perhaps never to be equaled. "Carmen" — Merimee's good old story made a dazzling tapes- tr\" of pission. revenge, and fatalism. "Ramona" — "Once upon a time" used to thrill mc. and (Continued on pagr 84) I'HOTOPLAY MAGAZINE — ADVERTISING SECTION You can see them everywhere This new method is used on millions of teeth now. Wherever you look you see the results of it. You see glisten- ing teeth — teeth you envy, probably. And you know they are well cared for. You can learn the way, without cost, by a simple ten-day test. And we urge you to make it now. There are few things more important. Those Pretty Teeth No Cloudy Film-Coat on Them This is How Millions Now Get Them AH Statements Approved by High Dental Authorities Millions of people have found the way to whiter, cleaner, safer teeth. This is to urge that you accept a ten- day test. See how it changes your teeth, then decide about it by the vis- ible results. They fight film Modern research shows that the cause of most tooth troubles is a vis- cous film. You can feel it with your tongue. It clings to teeth, enters crevices and stays. The ordinary tooth paste does not dissolve it. So brushing has left much of it intact. And night and day, on countless teeth, it may do a ceaseless damage. It is this film-coat which discolors, not the teeth. Film is the basis of tartar. It holds food substance which ferments and forms acid. It holds the acid in contact with the teeth to cause decay. Millions of germs breed in it. They, with tartar, are the chief cause of pyorrhea. So few escape the troubles caused by film. The way to end it Dental science, after years of search- ing, has found a way to combat film. Able authorities have proved its effi- ciency by clinical and laboratory tests. Now leading dentists everywhere advise it. The method is embodied in a denti- frice called Pepsodent. And this new- day tooth paste, in all ways, complies with modern dental requirements. To make it known quickly to the millions who need it, a 10-Day Tube is being sent to everyone who asks. Based on pepsin The film is albuminous matter. So Pepsodent is based on pepsin, the digestant of albumin. The object is to dissolve the film, then to constantly combat it. Pepsin long seemed impossible. It must be activated, and the usual agent is an acid harmful to the teeth. But dental science has now found a harm- less activating method. Now pepsin can be every day applied, and forced by the brush where the film goes. It complies with all modern require- ments. So in three great ways this dentifrice surpasses all the former methods. Now every family should at once find out how much this method The results are quick and apparent Send the coupon for a 10-Day Tube. Note how clean the teeth feel after using. Mark the absence of the vis- cous film. See how the teeth whiten as the fixed film disappears. Pepsodent needs no argument. You will see the results when you try it. And the book we send explains the reason for them. Compare your teeth now with your teeth in ten days. The facts will be a revelation to you. Decide by those results then between the old ways and the new. Cut out the coupon so you won't forget. REG U S The New-Day Dentifrice A scientific film combatant, combining two other newly-recognized essentials. Now advised by leading dentists everywhere. Druggists supply ihe large tubes. 10-DAY TUBE FREE THE PEPSODENT COMPANY, Dept. 568, 1104 S. Wabash Ave., Chicago, 111. Mail 10-Day Tube of Pepsodent to ONLY ONE TCIIE TO A FAMILY When you write to adfertlsers please mention PHOTOPLAY KL&OAZINB. 04 rnotopiay Magazine Ramona, gentle pastoral romance, made me believe again in a world where all the men and women are just a little better than they seem to be in real life. "Mickey" — Mickey hit technique in the eye and came up smiling, because it was captivatingly different. "Daddy Longlegs" — From the inimitable cider scene to the joyous ending, here was a picture everybody from Grandma to Little Sister could appreciate. "The Spoilers"' — When the terrible fight took place, even the staid schoolmarm clenched her fists and forgot civilization. "Shoulder Arms" Ree — I r r e p r essible screams of mirth over Charlie's an- tics quite obliter- ated the orchestra, and nobody cared. "Broken Blos- soms" — Even if the public, alive to punch but not to poetry, thought this immortal jade of the Ming period was "beautiful, tho awfully sad," don't worry. The public isn't immor- tal! "Revelation" — It seemed to say that Suffering may cleanse any hu- man heart; that the Apache of to- day may become the Madonna of tomorrow. " Neptune's Daughter'' — Do you believe in fairies and mer- maids? Not all the time, of course. But, sometimes? Yes? So do 1. And so does the poet and the plumber. Wanda N. Orton, 3210 West Calhoun Boulevard, Minneapolis, Minnesota. They Lift Her to the Hilltops Second Prize These are. the twelve best motion pictures I have seen: The Birth of a Nation, Stella Maris. The Miracle Man, Blind Husbands, Les Miserables, Broken Blossoms, They are the best because they lifted me out of myself and let me view human nature from a distance just as I might stand on a mountain-top and view the country before me — the hills and valleys, the lakes and rivers, the forests, the meadows, and even the orchards and gardens. Just so, these motion pictures helped me to view human nature from a hill-top and enabled me to sec where I have made goofl and shf)we(l me the pitfalls that I might not stray. They contrasted selfishness with unselfishness and revealed the beautiful things of life as well as the ugly deeds that I "What's the m "Never could Intolerance, The Hoodlum, The Brat, Revelation. Eyes of Youth, ^lale and Female. might be able to tell the one from the other because I was better acquainted with them and so help>ed me to live just a little nearer the clouds than I otherwise might have done. They taught me the true value of love and caused me to modify my harsh judgments so that I might he'p some less fortunate brother or sister along the path we are all traveling to perfection. I am truly grateful for them and know that they must have helped others as they have helped me and therefore deserve to live. Mrs. Maude Monahan, 9 East Clay .^ve., Muskegon, J j S m Michigan. Pictures That "Get Under the Skin" Third Prize T THINK the A pictures that live longest in our minds are the ones that depict our own everyday emotions our joys and griefs — our virtues and failings. Who can help being vitally interested in one's self? We like to deduce — "Now, if I hadn't been har- nessed to that desk, I. too, might have 'held up' a whole town single handed," or. "If I wasn't wedded to this fireless cooker I might have cap- tivated Count De Busti myself." We all like to "play"' and "pretend"' and the intensity of the screen million- aire's fight to cor- ner the market is felt by the modest youth who tries to corner his boss for a five-dollar raise. Under the skin, al- ways ! .•\nd we want variety. There is so much good in the worst of us and so much bad in the best of us that while we long to be a "Polly- anna"" or a "Mir- acle Man"" tonight we may favor "Sadie." "The Snare"' and "Red Pete " tomorrow evening. Isn t that why the public is called fickle? Too many Falls of Babylon (to say nothing of the ruins inflicted upon us in jazzie road houses) make us wel- come sweet pastoral scenes. I agree with PnoTOPLAY"s list of winners, substituting, for the four I missed seeing. "Eye for an Eye."' "The Poppy Girl's Husband."' "Broken Blossoms"' and 'The Woman in the Suit- case."" I liked my first and second because they were domi- nated by the two great personalities of the screen. The third because of the touch of a master hand. The torturing of Lucy left nausea. Then, why see it? Because of the lasting effect, the aching desire to comfort all abused and neglected children; that was the real triumph of the picture. I believe. My fourth gave originality of plot, if I am any judge. ( Continued on page go) attcr, Martha ? " kerchoo — stand that alkali dust! Photoplay Magazine — Advertising ISection I BEAUTY ' POWDER / "Don^t Envy 'Beauty — Use T^ompeian*^ /• EAGER partners hover 'round the girl with a clear and dazzling skin. Don't envy her. Use a complete "Pompeian Beauty Toilette" and have a beautiful and alluring complexion yourself. First, a touch of fragrant Pompelan DAY Cream (van- ishing), to soften the skin and hold the powder. Then apply Pompeian BEAUTY Powder. It makes the skin beautifully fair and adds the charm of delicate fragrance. Now a touch of Pompeian BLOOM. Do you know a bit of color in the cheeks makes the eyes sparkle? These three preparations may be used separately or to- gether (as above) as the complete "Pompeian Beauty Toilette." At all druggists, SOc each. Guaranteed by the makers of Pompeian MASSAGE Cream, Pompeian NIGHT Cream, and Pompeian ERAGRANCE (a 2Sc talcum with an exquisite new odor). Special Offer Half-Box Powder and Trial Talc Can Either or botli sent to one per- son only in a family. For a dime you get a half-box of SOc Pompeian BEAUTY Powder and samples of BLOOM and DAY Cream. For a nickel you get a beautiful trial can of Pompeian FRAGRANCE (a talcum) for your purse. For 15c you get both. (BEAUTY Powder Offer is good only in case neither you nor any member of 3'our family has tried it before.) Many interesting beauty experiments can be made with these trial packages. No letter necessary with coupon. We'll understand. THE POMPEIAN CO., 2131 Payne Ave., Cleveland, O. Also Made in Canada GUARANTEE The name Pompeian on any package is your Cuurantcc oi quality and safety. Should you not be completely satisfied, the purchase price will be gladly refunded by The Pompeian Co., at Cleveland, Oh in. Send this coupon to above address. Enclose 10c (.lime) for hall-box Pompcia.. Itcnuty Povvder. Or Sc (nickel) lor handv cnn ol Poiniwian I'r.itrrancc (a talcum). Or I5c (dime and nickel) fur both pack.)Kes. Name , Sute rtcsh Beauty Powder sent unless another shade requested. When you wiito to aUvertisers please znentlon PUOTOPI'AY MAGAZINE. Fiiu loiM. \^ .M \(. \ /.im: — AiJ\ i.n i isin(. Si * 1 Hail^ Hail, the Gang's All Here! School days; the old frat house; the parties and picnics; the canoe rides and "wiener" roasts good old Hob and Ned; l^ess and Marge — and the rest of the gang — and Bess (gee, what a sweet h'ttle flirt!) W^/uit happy memories school days leave with us! But what is it that enchants these hours — keeps the famiHar scenes forever bright? Music. Music is the very soul of youth — of Hfe. Can you imagine the "gang" without music — "It's Always Pair Weather," "The Gang's All' Here" and the other old chestnuts, with mandolin or guitar — or both — whanging out the melodies and chords. There's something about the music of the good old GIBSONS that just ^oes with the joyous ties of our school days; it makes hearts lighter, friendships more dear and love sweeter. And the beauty of it is that any- one can o\cn and play a GIBSON. Teacher Salesmen — men or women — always wanted. Unusual opportunities of- fered. Write for particulars. Irumcnts have made the music dreams of thousands come true, for they bring self-performed music within the reach of everyone. (HHSON'S are the ideal home and companion instruments, bringing pleasure, privileges and cultural and social advantages into the lives of the thousands of CilBSON owners. GIBSON instrum( uts arc easy lo play a'uJ fa:y to pay for. GIBSONS hnvc played « part in hundreds of little romances — confidential human histories — about which we shall be glad to tell you. GIBSON book and free trial proposition also sent for the asking. Write for them today — become belter acquainted with the GIBSON family. Gibson Mandolin-Guitar Company 467 ['arsons Street. KALAMAZOO, MICHIGAN The only excluaivc manufacturer.': of high-grade fretted instruments. Developers of Mandolin Orchestras. Lforv ailvifUsiiuLfU in I'lli 1 1 1 in..\ V M.VI..V/.1.M. is Bii.ir«iil>i>J ^aUESTlONS AND ANSWERS OU do not have to be a subscriber to Photoplay Magazine to get questions answered in this Depart- ment. It is only required that you avoid questions that would call for unduly long answers, such as synopses of plays, or casts of more than one play. Do not ask questions touching religion, scenario writing or studio employment. • Studio addresses will not be given in this Department, because a complete list of them is printed elsewhere in the magazine each month. Write on only one side of the paper. Sign your full name and address; only initials will be published it requested. If you desire a personal reply, enclose self- addressed stamped envelope. Write to Questions and Answers Photoolay Magazine, 25 W. 4Sth St., New York Citv. TooDLES, Far Rockaw.^w. — So you are five feet seven and one half inches high, have dark brown hair and eyes and can play the violin and piano and would like to have me join your Girls' Club. I, am much taller than you, have dark hair and eyes also, and am afraid I can't join. You see, I only play the harmonica. Imogene, Washington. — I shall quote to you from Pilgrim's Progress if you aren't good. Marguerite Clark has left Famous Players, so if you don't want to take a chance on addressing her there and perhaps having the letter forwarded and perhaps not, you'd better wait until Photoplay an- nounces her new afli iation. Ruth C, Brownwood. — It's difficult to tell Constance Talmadge's age because she grows younger every year. Officially she is twenty. Mary Pickford and Douglas Fair- banks will be in Europe when you read this, if they carry out their present plans. Nazi- mova recently resigned her contract with Metro. Charles Bryant is her husband and leading man. Mary Thurman is w-ith the Allan Dwan company. Harrison Ford is divorced. M. 0. N., Canada. — Adversity is usually the force that drives most women into a professional career. Our great actresses very often come from families not rich in worldly goods, automatically provided with a ma- terial impetus to art. Mary Pickford went on the stage at the age of five to help sup- port the family. Mary is a finer actress because of it. She and Douglas Fairbanks have a home in Beverly Hills, near Los Angeles, California. Lois F., San Francisco. — We don't have so many of those old stories about the wealthy manufacturer's son who falls in love with the beautiful factorv^-hand, throws over his wealthy fiancee and his private stock for her, and marries her after the final clinch — or at least we hope he marries her. Lois Wilson is Mrs. Phillips Smallcy. Ben Turpin is with Sennett; Dorothy Gish with Griffith; Alice Lake with Metro. TnoRA, Bedford. — Robert Louis Steven- son has said — in other words — that no art produces illusion; that when we are in a the- ater we never forget that it's all a plav. although sometimes we condescend to be taken in by the reality of the characters. He himself was a great master of fantasy ; "Treasure Island" and "Dr. Jekyll and Mr. Hyde" on the screen carried most of us out of the theater. Ruth Roland has been mar- ried, but she isn't now. Irene Rich and Will Rogers are not married to each other. Mrs. Rogers isn't a professional. Cullen Landis is married; Bebe Daniels isn't. The Studio Dog ("Around Our Studio") He doesn't see the sense of it. The how or why or whence of it. But heartache- — he has none of it And his is all the fun of it. The pleasure of the chase he gets. And cares not for the space he gets. He doesn't scan the papers, O ! For records of his capers, O ! In danger he's heroical; His attitude is stoical: Let others draw the salaries — His pictures fill the galleries I — Morrie Ryskind. M. S., Bi.ackshear. Ga. — Oh, well, I don't starve, exactly. Of course I might get a little higher pay, but I can't strike. I've been told so often I'm the one and only An- swer Man, that I think I'd have a lonesome job of it. Olive Thomas' only husband is Jack Pickford. Neither was married before. The little girl in "The Flapper" with OIlic is her own little sister. Wallace Reid's w'ife is Dorothy Davenport. Edith L., Conn. — As some sage has said, you may be able to make your own spiritu- ous substitute, but will you be able to drink it? Madge Evans is with Prizma; whether she works regularly I couldn't tell you. Madge is growing up fast now. Next thing we know she'll be playing ingenues. "Yes, yes — Norma Talmadge is still Mrs. Joseph Schenck. M. G., New York City. — So you arc not one of those girls who are crazy to act. Well, it may be possible that you have tal- ent. I can't give you the address of an interpretative dancing school, unless The Ruth St. Denis School in Hollywood would come under that heading. I know so very little about dancing of any kind, let alone that sort of thing performed by pseudo- Sennett maidens on a dewy lawn and aided by a garland of flowers, a photographer, and Grecian expressions. Eileen Percy is now a Fox star. Juanita Hansen is making serials for Pathe. Emma Dunn made "Old Lady 31" for Metro. Ann Murdock hasn't been seen on stage or screen for a long time. Trenton Adm'rer, Kirksville, Mo. — You neglected to enclose the final page of your letter so I don't know what it is you want me to ask the Editor. However, I presume you want your information regard- less. Pell Trenton has been on the stage since iqio. He began with Julia Marlowe, playing in Broadway productions and also in repertoire with Sir Herbert Tree in Lon- don. He has played juvenile leads in "Par- lor, Bedroom and Bath," "Seven Days,"' "Peg O' My Heart," and others. He is with Metro, where he supported Viola Dana in "The Willow Tree" and May Allison in "Fair and Warmer." Better write and ask him those personal questions. I haven't the heart. J. M., Opelous.as, La. — The persecuted heroine of that "Vitagraph serial called "The Invisible Hand" is little blonde Pauline Cur- ley. .Antonio Moreno is the star. This same team is making another chapter thriller now. Moreno is to be starred in features soon. L. G., San Antonio. — I regret to inform you that Francis X. Bushman is not in pic- tures any more; but his son, taking pity on our Bushmanless existence, came right in like the little man he is, and signed with Christie. Ralph is his name; he's only nineteen and resembles his father. I don't know if he wears a large amethyst ring, however The younger Bushman is playing a juvenile lead in Mary Roberts Rincharfs "The Empire Builders" for Goldwyn right now. You can get all the well-known players' addresses from this department and look up the com- panies in the Studio Directory. 87 65 B. D., New York. — Yes, sir, I saw Mae Murray in ' On With the Dance." I never saw so much of her. She's Mrs. Robert Leonard. He is her director. When both were with Universal she was his star; she went with Paramount for the Fitzmaurice productions and he with International to di- rect Marion Davies. Now they are toiiethcr again, having formed their own company, called The Invincible. Mae will be on the August cover. L^estions and Answers ( CotUuiHcd) — costumes and Mary Pickford's age and does Constance Talmadge answer her own mail? Kathleen. — You want to know if Dick Barthelmess likes jazz music. I don't know, but he likes to dance, so it only follows that he must approve of those St. Vitus tunes. I'll give you his address and you can write and ask him if he shim- mies. He wouldn't hit a lady. Niles Welch with \ itagraph in "The Courage of Marge O'Doone." Lila Lee with Lasky. Judge Bee, Ottowa. — Morning, Judge. When I think of the many things I've told you — But enough. You want to know where Mr. Sennett makes his comedies. In Hollywood, Cal. Marie Prevost is still with the Sennett company; her latest is "Down on the Farm." You may reach her, Louiie Fazenda, Harriett Hammond and Phyllis Haver at the Sennett studios. You're wel- come. I know just how you feel. tell you how old that actress is because tliafs her business and I wouldn't mind it for any- thing. Bryant Washburn has two sons: Sonny (or Bryant Junior) and Dwight Lud- low. The latter is a comparatively recent re- 'lease. Mrs. Washburn was Mabel Forrest. Lloyd Hughes is with Ince, Culver City. Frances, Berkeley, Cal. — Xow how could / have my hair bobbed? If I were a long-haired poet I wouldn't and if I were a woman I wouldn't. I think the screen ladies who have taken this great tonsorial step forward look very well with clipped locks. Let's see if we can name them all; this seems to be such an attractive topic lately. Irene Castie is en- titled to first place, for she started things; Viola Dana; Constance Tal- madge and Natalie ; Anita Loos; Shirley Mason; Corinne Griffith ; Dagmar Godowsky. Pauline Fred- erick has long hair; she only wore a bobbed and deceptive wig in one pic- ture. Dorothy Gish's real hair is not bobbed but she wears a wig also, in all her films. I could not forward your letter as I do not keep addresses; so had it sent back to you. Come again, you bobbed-banged- baby. Betsy Jane, Red Oak, Iowa.— I don't think it's a tribute to my personal pulchritude that I get so many letters from ladies. I admit my rare fascina- tion, but decline to be complimented on my curly locks. Beauty of the soul is my fatal attraction. Cullen Landis has a wife and child. Don't vamp him, even on paper. Or I miuht say particularly; I always advi.^c caution. We don't give personal ad- dresses. "I'm sorry, but I guess you'll live through it. Write to me again. Nurse, Cincinnati. — Can't understand why you have not been getting AUce Joyce and Clara Kimball Young pictures. Both stars have been working right along. Miss Young's late ones have been "The Eyes of Youth," "The Forbidden Woman," "For the Soul of Rafael" and "Mid- Channel." The last two are in production now. Miss Joyce has been seen in "The Sporting Duchess," "Dollars and the Woman," and "Prey."' Miss Young is divorced from James Young. Alice Joyce is now Mrs. James Regan. Peggy Hyland has left Fox and gone abroad for an Eng- lish producer, Samuelson. Anita Stewart's new ones are "The Fighting Shep- herdess" and "The Yellow Typhoon." It's your ex- hibitor's fault if you never see these stars' latest re- leases. Kick ! Patent Not Applied For FOR. the movie patron wlio wishes to slip inconspicuously and without annoyance into the middle of a row. Mr. Hay believes theater man- agers could make themselves more popular with fans who like to see a performance from the beginning, if they installed the automatic, drop-a- coin-in-the-slot, self-rising scat. This invention would eliminate the need of ushers and would eliminate those nasty moments when, if the members of the audience were at a foot ball game, they would shout, "Down in front! The theater auditorium would be built over a subterranean area in which one would find the untaken scats. Any one planting himself in a chair, depositing his admission price in the little coin box at the back, and pulling the lever would find himself quietly shooting upward through the floor without the usual fuss. The artist has not applied for a patent. E. S., V.\NCOVVER, B. C. — I'm afraid Irving Cum- mings won't pay much at- tention to a leap year pro- posal. You see, he hap- pens to be married. His wife is Ruth Sinclair. There's an Irving Cum- mings. Junior. V. B., England. — \'er>- glad to hear from you. A good many of our stars are going abroad. Mar>- and Douglas Fairbanks, the Talmadge girls, John and Anita Loos Emerson. Frances Marion, Peggy Hyland — who comes from your country — and Pearl White. Many are making pictures in England. Wal- lace Reid is still with Lasky, in Hollywood. His stage appearances did not interfere with his regular film work. M. F. OS., B. C— This magazine is not holding a scenario contest nor is one con- templated at this writing. However, why don't you compete for the worth while prizes we are offering for the best answers on vari- ous subjects? Watch PiiororLAv for an- nouncements from time to time. Didn't you sec "What the Motion Pictures Mean to Mc"? I know what they mean to me. They mean Eueene O'Brien's crooked smile and Dick Barthelmess' eyes; Mac Murray's — cr M. M., NE.WARK. — I'm sorr>- I cannot make an exception in your case, but when we have the star's business address we never give the personal address. A letter to Ruth Roland, care Pathe, will positively reach ber. She may read it herself and she may have a secretary who does that for her; but I think she will answer you in any event. Mrs. a. Laper.vl, Ma- nila.— Thanks for your very kind letter. I am glad to have such a loyal reader and take more than the usual interest in an- swering your questions. Tell me sometime about your theaters down there, won't you? Fred Good- wins, now directing pic- tures in London, England, played Mildred Harris Chaplin's husband in "For Hu«bands Only." the picture in which Lew Cody earned his reputation as a male v.impire. I'll let you know when Mar>' Pickford's autobiography is published. None of the actresses you name divulges her birthdate. loLA B., Concord, Cal. — Yours was not a harmonious letter. I can't tell you how old I am because that's nobody's business but my own — besides, I've forgotten. I can't E. E., Carltnville. — You're the origin.al "bobbed,'' aren't you ? Yours is the easiest question T have had to answer in a long time. Gloria Swanson has longer hair than Shirley Mason because Shirley's is bobbed (Continued on page oi ) PlI()Tv)PLAV MA(iA/IM-: — A1)M:H I ISIN(i MICTION She charged He replied ; ^^Men are too lax in these matters" admit it; but have women the right to judge them? " RECENTLY I published the letter of a woman who had written me protesting against what she called my "unfairness" in setting up a standard for women which I did not seem to apply to men. "Get after the men, "she wrote. "They are the real offenders in these matters. Few women I know need to be told these facts about themselves; but most men I know certainly do." To this a man now replies: "I must ad- mit the truth of what your correspond- ent says, most men are too lax in these matters. But after all, have women the right to judge men where so many women fail ? Is it not natural we should look to your sex for a standard in such matters? I can well believe that no woman who was conscious of the fact would let perspiration odor or moisture mar her daintiness. But every man knows how many unconscious offenders there are, even among the very nicest women." Adam-like, the man tries to excuse his sex by blaming Eve. But it will not do. Undoubtedly all women have not yet learned how necessary it is to take precautions against perspiration. But this does not alter nor excuse the fact that men as a whole are much more lax than women in this matter of personal fastidiousness. An old fault — common to most of us It is a physiological fact that there are very few persons who are not subject to this odor, though seldom conscious of it themselves. Perspiration under the arms, though more active than else- where, does not always produce exces- sive and noticeable moisture. But the chemicals of the body do cause notice- able odor, more apparent under the arms than in any other place. The underarms are under very sensi- tive nervous control. Sudden excite- ment, embarrassment even, serves as a nervous stimulus sufficient to make perspiration there even more active. The curve of the arm prevents the rapid evaporation of odor or moisture — and the result is that others become aware of this subtle odor at times when w'e least suspect it. How well-groomed men and women are meeting the situation Well-groomed men and women every- where are meeting this trying situation with methods that are simple and direct. They have learned that it cannot be neglected any more than any other es- sential of personal cleanliness. They give it the regular attention that they give to their hair, teeth, or hands. They use Odorono, a toilet lotion specially prepared to correct both perspiration moisture and odor. Odorono was formulated by a physi- cian who knew that perspiration, be- cause of its peculiar qualities, is beyond the reach of ordinary methods of clean- liness— excessive moisture of the arm- pits is due to a local weakness. Odorono is an antiseptic, perfectly harmless. Its regular use gives that absolute assurance of perfect daintiness that women are demanding — that con- sciousness of perfect grooming so sat- isfying to men. It really corrects the cause of both the moisture and odor of perspiration. Make it a regular habit ! Use Odorono regularly, just two or three times a week. At niffht before retiring, put it on the underarms. Allow it to dry. and then dust on a little talcum. The next morning, bathe the parts with clear water. The underarms will remain sweet and diy and odorless in any weather, in any circumstances! Daily baths do not lessen its effect. Women who find that their gowns are spoiled by perspiration stain and an odor which dry cleaning will not remove, will find in Odorono complete relief from this distressing and often expensive annoyance. If you are troubled in any unusual way, or have had any difficulty in finding relief, let us help you solve your prob- lem. Write today for our free booklet. You'll find some very interesting information in it about all perspiration troubles! Address Ruth Miller. The Odorono Co., 513 Blair Avenue. Cincinnati, Ohio. At all toilet counters in the United States and Canada. S.'ic. 60c and $1.00. By mail, postpaid, if your dealer hasn't it. Men will be interested in reading our book- let, "The Assurance of Perfect Grooming. " Address mail orders or request as follows: For Canada to The Arthur Sales Co., 61 Ade- laide St.. East, Toronto, Ont. For France to The Agencie Americaine. 38 Avenue de TOpera. Paris. For Switzerland to The Agencie Ameri- caine, 17 Boulevard Helvetique, Geneve. For England to The American Drug Supply Co., 6 Northumberland Ave., London, W. C. 2. For Mexico to H. E. Gerber & Cia., 2a Gante, 19, Mexico City. For U. S. A. to The Odorono Company 513 Blair Avenue, Cincirinali, Ohio Wlieu you wriio to aavi-rtisers uU-asc niiiitiun i'Hi jTi IPLA Y .MAti.V/.lNi;. 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USE pgpj Roseen Beaulilier Somclhinpuiiusu.-il. just ' ' '"what you are iookinp for. It fmpnrtfl to the complexion n soft nnd velvety texture nnci nouri»he» the ti«»uc» with- out injurinif the Hkin. Try Howen Renutifier onoo iinil ynu will \io delighted. Price fide. At all tollot roontrr* or dtrpctly from up onrflcplp* of 63c RnSFFN Tniirr rn I?t') MrAllmrr St. SAN FRANfLSrO. fAl. The Twelve Best Motion Pictures {Continued jrom page 84) Xo one knows less of the West than I, and yet, I shout from the housetops, "Long live 'Scarlet Days" !" Maybe, that's part of the secret — we applaud a different envir- onment from our own. I guess Miss Check- book adores "alley stunts'' and Miss Yard- slick craves more of Lady Gwendolyn \'cre de Vere. Why, how often we skeptically read of the insatiable ambition of screen stars to be practical artistes! We'll say it is quite true that most domestic scientists imagine they'd enjoy decorating the silvcrsheet. Bettie Barry. 119 Glenville .Avenue. Boston, Massachusetts. Those That Li\ e In Memory, Training To Better Things Third Prize THESE twelve photoplays I consider meritorious. Certainly they have lived in my memory, training me to better living. "Broken Blossoms" — Finally our craving for beauty has been satisfied. The enormous breadth of the Mandarin's philosophy, the subtle comparison of his old-world civiliza- tion with our "modern" civilization, the love'iness and poignancy of the love theme, all convince us of our own short- comings, and plead charity to our brother, the yellow man. "The Miracle Man'' — \ successful appli- cation of a moral minus the taste of the medicine. The ability of the Patriarch to call forth the best that is in us by his own example of faith and righteousness, teaches us that we are what we have in our hearts. "Bab Stories" — Every .American girl who has seen these stories knows that they are true, remembers living through similar periods, e.xpcriencing identical emotions. Bright and breezy, yet fragrant with tender memories of our girlhood. World-weary Philistines need this sort of play. "The Copperhead" — hn ideal tribute of the .American nation to its martyr-idol, Lin- coln, symbolized in the unswerving, dogged faith and love of the loyal Milt Shanks. A beautiful example of true .Americanism. "Shoulder .Arms" — Comedy? Yes! Funny and original, pathetic and touching as only our beloved "Charlie" can be. Remember when the Christmas boxes arrive, Charlie, hurt, humiliated, resorting to the rat-trap for his bit of cheese? Not quite so funny, eh? The story? Immense! .An .American classic. Our humorous memento to the great war. "Hearts of the World" — .An enormous heart-ache. Batt'e-torn France, raped Bel- gium, the greatest miseries and the smallest, tragedies of nations and tragedies of hearts, dissected and presented as impartially as a student dissects a cadaver. A sermon against all wars. "Pollyanna" — Refreshing. .As sweet as an old-fashioned garden. .A breath of lavender in a land of "Mary Garden." It deserves to live because it keeps youth in our hearts. "Barnebetta" — This play is the indomitable world-old cry for self-expression and ad- vancement of women. Pankhurstian in its methods, it, nevertheless, succeeds in brcakinp the shackles and putting the idea across. It talks for' all women and its plea should be heard. "Revelation" — We appreciate the awaken- ing of a soul from its sordid clay dwelling. It stimulates a similar rcsptonse in us, and. if we are the better for it, should it not live? "When the Clouds Roll By " — Snappy, modern jazz. Unforced f>ep. The best sauce for dyspepsia. It should Uve if only for the T. B. M. "Intolerance" — The injustices of the ages from the criticisms of the Pharisee through the cruelties rampant in France on St. Bar- tholomew's night up to our own hypocritical, notoriety-seeking, over-ambitious, sordid re- formers, arouse one from a lethargy of smu.» self-satisfaction. .A sermon against narrow- mindedness, be it of race or creed. "Old Wives for New" — .A woman whose husband is a success physically, mentally, morally and materially, refuses to keep apace with him. .A sane refutation of the evil and justification of the good divorce may do. Naomi R. Heller. Peoria, III. 707 Mary St. Ho-w Real Pictures Strike A Real Boy Third Rrize My favorite motion pictures are these: "Work " — Because I love to laugh — I'm afraid I'm going to be a skinny guy. "In .Again Out .Again" — I like to see Dug crawling up a wall like a lizard and the tough guy who had the note under his hair. "Still Waters" — Where the old circus horse ran away with Marguerite Clark. Great. I'd like that to happen to me. "The Spoilers" — .Although I had a lamp put out tr>-ing to do the big fight with an- other boy — and the folks all said: "You can't tell me! You got licked — why look at j-our face." "The Birth of a Nation" — I sat on the edge of my chair for three mortal hours and almost suffocated with excitement. "Broken Blossoms" — It made me mad, too. I was afraid the other fellers would see me crying — I'll say she was pretty in her Chink clothes. "Joan the Woman" — Great fight! .And when Joan was hunting among the nobles to find the real king the girl at the piano played, "Oh, where, oh, where has my little dog gone?"' "Orange Blossoms" — Fatty made such a good lady-cook. "Judith of Bethulia" — Gee! It was grand when thev pushed them all ofif the great wall. "Rebecca of Sunnybrook Farm" — Because they made up an honest Injun circus and Rebecca ate the pic the ants made. "The Miracle Man" — Because maybe it will do away with jails, for if a guy can have a better time being good — why not be good? "Cabiria" — .A lot of histon.- told in a dandy way — a dandy ole snake, too. .And the big black bloke was some bloke ! Max Wagner. Box 366, Salinas, Cal. The Casting: Director — ("Around Our StuJwi He's very popular, is he. With all the movie coterie. In fact, he k more pop-u-lar Than even any movie star. The greetings that he gets are hearty; He's asked to every single party. They fell him stories to delight him. .And never, never, never slight him. Tiny cast their bread — you get my meaning — .And he casts them — that is, for screening. Time was the movies had no caste — But that day, as you see, k past. — Morric Rvskitid. y:\cry ailrrrtlwmcnt In mOTOrLAT M.\CAZrN"E la niiruitwd. Questions and Answers ( Continued) Thelma Darling. — Violet Mcrscrcau is not dead, but Harold Lockwood is. Comrade Castle, Pl.^cerville. — I see you have imagination, that rarest gift. Like "Anne of the Green Gables"' I sometimes let mine run away with me — do you? Louise Huff is Mrs. Stillman now; she has a little daughter, Mary Louise. Jack and Mary Pickford are brother and sister; thought everyone knew that. Jack b married to Olive Thomas. See other answers for Blanche Sweet query. A. P., Californl\. — There are two golden ages of mental man : the future, before he marries; the past, when he is married. So you see stars in Frisco. Just what stars do you mean? Bobby Harron; Grifllth ; Mil- dred Harris Chaplin, Hollywood, Cal. She has her own company; never has played with Charlie. Kathlyn and Earle Williams are not related. Nigel Barrie with Clara Kimball Young in "The Better Wife." Frances, J. B., Manila. — No, no — Ken- neth Harlan is not married to Carmel Myers. Neither is married. Miss Myers last played on the stage in a musical comedy, "The Magic Melody." Write to her now at Uni- versal City, Cal. She has signed a new film contract with them. Marie Walcamp will probably have returned from Japan by the time you read this; address her at Universal City. She is Mrs. Harland Tucker now. R. Guevara, Manila, P. I. — We seem to be gathering them in. Yours is the four- teenth letter I have had from Manila this month. Most of them want answers by mail. Elsie Ferguson is now appearing on the stage in a play called "Sacred and Pro- fane Love," which is built from a book by Arnold Bennett, "The Book of Carlotta." Miss Ferguson will continue her picture- making, for a while at least. She is Mrs. Thomas B. Clarke. Jackie, Eliihurst. — Of course you're not nosey, Jackie. If you and a lot of others didn't ask me questions, I might per- force have to turn the crank of a camera or flip cakes at Childs. Lottie Pickford has a husband — a Mr. Rupp, not in the profession. Carol Halloway did have a husband but dismissed him with the help of the court. William J. Shea died in November, 1918. He was fifty-six years old and was a victim of heart disease. I've answered faithfully all your questions. Come again. E. B., Tasmania, Australla. — You could safely have e.xtended your letter over an- other six pages and not have heard any wails of protest from me. I enjoyed everything J'OU said, and commend you, child, on your philosophical view of life in general and pic- tures in particular. Give my best to that big brother when you write. So you were surprised to find a minister sitting in the seat beside you in a cinema. Some of the staunchest upholders of the screen are wear- ers of clerical garb. Bill Hart, Hart Studio. Hollywood, California. SuNBoNNET SuE, Vancoi'Ver. — ^Vhere have you been ? I haven't a single correspondent who in her turn hasn't an uncle or some other relative who lives in Los Ange'es only four blocks from Mary Pickford and one and one half blocks from Gerry Farrar. It is true that if I were as handsome as that drawing at the heafl of my column I wouldn't be a bachelor. Figure it out for yourself. All the addresses you ask for have been given elsewhere in these pages. An invention which has revolutionized July Think how many new dehghts Prof. Anderson gave summer when he invented Puffed Grains. The milk dish now has Puffed Wheat floating in it — thin, flimsy, toasted bubbles of whole wheat. Breakfast brings the choice of three Puffed Grains, each with its own fascinations. Puffed Rice now adds to berries what crust adds to a short- cake. Or a nut-like garnish to ice cream. And between meals, hungry children get some Puffed Grain crisped and buttered. Every day in summer, millions of people now enjoy these supreme food delights. But don't treat them like mere tidbits These flaky, flavory bubble grains seem like food confections. But two are whole-grain foods, remember. And all are scientific. They are made by steam explosion. Every food cell is thus blasted so diges- tion is easy and complete. They are the best-cooked cereals in existence — the only cereals so ideally fitted to digest. They are all-hour foods. They make whole-grain foods tempting. Let children find them handy, morning, noon and night. Puffed Wheat Puffed Rice Corn Puffs All bubble grains Also puffed rice pancake flour Now ice cream Is garnished with these airy, nut-like bubbles. The Quaker Qafs (pmpany Sole Makers When y< iou «rito to aUvcrtlaera ulfaac mention PHOTOrLuiY .MAUAZl.NK. ^ -1/ lany secrets you will find •vealed in the preen box of Nadine Face Powder They are secrets which every woman would solve — secrets of personal charm. The secret of a rose-petal complexion - Nadine's own pft to womanhood. The secret of lasting charm, charm which endures throughout the day. The secret of skin comfort — of re- freshing coolness, with never a hint of harm. To you, as to a million other women, Nadine will reveal these intimate secrets. It remains only for you to procure Nadine from your favorite toilet counter or by mail —60c. NATIONAL TOILET CO. Department C. P. ffJf PARIS. TENN., I). S. A. For Outdoor Sleeping "THE COT OF MANY USES" WHEN the hot, sultry nights come — in the city — the coun- try— or the camp, this "Gold Medal" Cot with mosquito netting will be appreciated. There is no greater joy than outdoor sleeping and there's no better way to enjoy it than with a Gold Medal Cot —comfortable, convenient, light and strong. At Furniture, SportinR Goods and Hard- ware Stores and Tent-Makers. Write for Catalog and Dealer's name. COLD MEDAL CAMP FURNITURE MFG. CO. 1739 Packard Av>nuo RACINE, WIS. /■'or SO ufnrt mnkrrt of i r. RAY r.niZTT. I*r. sf-nts SAM BERNARD and IRENE BORDONI — 1 X - AS YOU WERE A Fantastic Revue by Arthur Wimperis (Adapted from Rip's Plus ca Change") American Ver.sion by Glen MacDonough Lyrics by Arthur Wimperis Music by Herman Darewksi Additional Lyrics and Music by E. Ray Goetz Staged by George Marion Musical Numbers by Julian Mitchell Produced by Arrangement with Charles B. Cochran of the London Pavilion. Costumes designed by Homer Conant and made by Paul Arlington, Inc. Miss Bordoni's modern gown by Joseph, New York, and "Ninon" costume by Paul Poiret, Paris. "Cleopatra" and "Helen of Troy" costumes by Pieter Myer and Dorothy Armstrong, New York, and Futuristic gown by Mnie. I'ascaud, Paris. Head-dresses by Maison Lewis, Paris Modern, French and "Watteau Boy" costumes by Anna Spencer. Men's costumes by Pieter Myer and Dorothy Armstrong. Shoes by the Packard Boot Company and I. Miller. Wigs by Hepner. Scenery by the Robert Law Studios. Art Director, Herbert Ward. Grecian Scene designed by W'ithold Gordon. For E. Ray Goets Arthur J. Levy Representative George Sullivan Stage Manager Kroywen, Inc Lessees and Managers Builder of the Shubert theaters, Edward Margolies FROM time to time we have taken little flings at the absurd number of credit lines on the screen, telling who directed the picture, who lettered the title cards, who held the assistant cameraman s coat, etc., etc., but it seems the screen gives no credit at all compared with some of our current New York productions. For instance, the watchman at the stage door was woefully neglected in the prologue of the program given above. Questions and Answers ( Continued) Anna T. Coolidge, NTew Orle.ans. — You say in your letter, "This is from the same Miss Coolidge who was so inquisitive last time." Well, you haven't changed much, Ann. No, I don't adore Dick Bartheimess, Ralph Graves, and Wallie Reid. I like them, though. With the exception of Mary Miles Minter, whose real name is Ju'iet Shelby, Lila Lee, whose real name is Augusta Appel, Shirley Mason, who is really Mrs. Bernard Durning, formerly Miss Flugarth, and Mar- jorie Daw, who is Margaret House, those are the correct names of the players you mention. .And, oh yes — Elsie Janis is really Elsie Bierbower. So you are sixteen and hate to write business letters. I am more than sixteen and hate to write 'em, too. M. G. L., Oakland. — You Native Daugh- ters come in bunches. Billic Burke has just signed a new contract with Famous Players, or Paramount .Arlcraft, whereby she con- tinues to make pictures for this organization for a long time to come. She is working in adaptations of well-known books and plays. ".Away Goes Prudence" is a new Burke re- lease. Mary Thurman plays in .Allan Dwan Productions now — she's the same Mary who used to adorn Mr. Scnnetl's comedies. Questioner, Lveth. — You may be able to get a picture of the Great Dane, Scnnett's Teddy, by writing the Scnnett company on the Coast. He's a great dog, and the life of the party in "Down on the Farm," al- though I must admit that Pepper the cat also docs her share. Stuart Holmes has the leading masculine role in a new serial, named "Trailed by Three,'' in which he co-stars with Miss Frankic Mann. It's released through Pathe, so address Mr. Holmes there. Ripple, Willouchby Beach, \"a. — I sup- posed you were one of the pebbles until I saw the nom-de-plume. Mary Fuller seems to have definitely retired: also Ormi Hawley and Mabel Trunnelle. Of the others you mention, .Alice Hollister is coming back to the screen in a Goldwyn picture, which will be seen soon. .Antonio Moreno is working right along in \"ilagraph serials; Jack Dean is living abroad now wiih hb wife, Fannie Ward; Dorothy Kelly has been retired since her marriage to a non-professional; Ann Murdock has not been on the stage for a long time and has not made her future plans public; and Nell Craig is playing leads in various West Coast companies. Write Miss Craig at Universal. Harriet, Los Angeles. — I can't send you pictures of Mary and the Gish girls, Harriet, but if you will write to them, in care of their respective companies, they will answer you. I think Mary Pickford has done otlier things as good as "The Poor Little Rich Girl. ' Watch out for Mary whenever she's advertised; that's the best advice I can give vou. Emma, Portland. — I hate to darken your days like this, but it i« true : Conway is mar- ried, Mr. Tearle didn't consult me before taking this important step, so I couldn't do anything about it. Adele Rowland is his wife; she's a musical comedienne. Tearle is with Selznick at this writing, playing oppo- site Zeena Keefe. Ralph Graves isn't mar- ried. Vivian ^Lartin is. Cold MedaL Furnitttre For Home and Camp l.v.ry adrerllscmcDt in rilOTOrUAY ^LA0AZ1NB 1» gu»rmiitccJ. 1 1 \ 1 I o I . Questions and Answers {Continued) Jessie B., Portland, — At last an original question. "Why," you say, "don't they change that picture of you at the head of your department? I don't like it!" Ah, but we often have to sacrifice beauty to a good likeness. Ashton Dearholt was with Universal. He is married. C. T. S., P.ADUC.AH. — Am I a good Answer Man? Well, there seems to be a difference of opinion as to what is a good Answer Man. If you ask me — Rod La Rocque had some experience in stock, legitimate, and vaude- vihe before going into pictures. He made his screen debut with Essanay, where he played small parts and characters and finally juvenile leads. Then he came East, went with Goldwyn opposite Mabel Xormand in "The Venus Model" and Mae Marsh in "Money Mad" and others. La Rocque is a free-lance, appearing now in Burton Kini: Wistaria Productions, where he will be fea- tured and perhaps later starred. He lives with his mother and sister, on Long Island, and is not married. Bom in Chicago. Nice chap, too. Is that all? Grace, Hollywood. — You're almost the first HoIIywoodian who has ever written to me for information. Most of them out there in the land of studios and sunshine are fed up with films and filmsters. I haven't the correct measurements of all those stars. And I don't know just how I can get them Can't you ask me something else? I'm sorry to fall down on this glorious oppor- tunity of answering a real native daughter M. A. D., LaFayette, — .\ particular pd is the woman who talks right through con- certs. She"s always keeping me awake. I can't give you Craig Kennedy's address Craig Kennedy is only a figment of Arthur Reeve's very fertile scientific brain. He ha^ been enacted on the screen by various gen- tlemen. Blanche Sweet is with Hampton- Pathe. Mary Miles Minter with Realart. Newcomer, Montreal. — Well, I'm glad you came. And sorry I didn't get around to your letter sooner. Mae Murray will be glad to send you her photograph, I am sure, if you will address her care Paramount- Artcraft, 485 Fifth Avenue, N. Y. C. Miss Murray is leaving that company soon to form one of her own ; but they will forward it. Address Constance Talmadge at the Talmadge studios in New York. Call again soon. Martha D., WAsmNCTON. — No, I am not wearing blue denim overalls, although that costume is sweeping New York at present. It made even Broadway sit up and take notice when those college boys and other inte'lectuals decided to combat the high cost of things by wearing a uniform. It is not stated how many of them were mistaken for carriage starters, ushers, and porters. Pro- nounce it Mee-an, with accent on first syl- lable. His wife is Frances Ring, sister of Blanche. The Tom Meighans are very hap- pily married. He was born in Pittsburgh but is not, I believe, a college graduate. Does that bother you? I couldn't be sar- castic to such nice white paper as you use. Theater Knowledge, New Orleans. — According to our best records, Bert Lytell was born and educated in New York City. It often happens, you know, that when a young actor — or writer, or artist, or finan- cier— has made a success in a certain town, said town claims him as a native son whether he first saw light of day there or not. This may be the Lytell case. ( Continued on page 126 ) Corinne Griffith Famous Screen Actress appearing in one of her recent successes in which she wears a VEIL IMPORTED FROM FRANCE "Just Slip it on, r When you wiito to advenisera iilcase mention l^IIOTOPLiAY .MAGAZI.NB. "Bobbed" Hair is Fashionable That's Why I Use a "NATIONAL BOB'' Then, too, it really makes me look younger. But why sacrifice my beautiful hair? There's no sacrifice — no one knows the difference. My "National Bob" matches my hair too per- fectly and I have it on and off in a minute. Yes indeed, I bought it direct from the maker for $10.00 postpaid. All I did was to send a strand of my hair. It is the most fascinating "Make-up" I've ever seen since it is sotnarvelously realistic. You can certainly match your hair perfectly and look — well, like the pictured hair. PRICE $10.00 Exclusive /Agencies Open to Dcalen and Beauty Specialists NATIONAL HAIR GOODS CO. Dept. H, 368 Sixth Ave., NEW YORK CITY ver — III! iiiilHi I t;MaZi&Tya= s e a sick ? 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But one night when he was three sheets in the wind he put red pepper in the whisky, and oh boy I Joe nearly went crazy tr> ing to get at the man. Since then he's had it in for eveiy man who has whiskers, because the watchman wore 'cm, and some day if Joe isn't watched, some one with a growth of facial alfalfa is going to get a painful jolt. But he never hurts a woman or a child. When we use babies in the animal comedies, they are absolutely safe with him." Mr. Santell looked so young to be the cinema pioneer I had been told he was, that I could not keep from remarking upon the fact. He smiled, somewhat ruefully, and touched the misplaced eye-brow on his upper lip with a reverent fore-finger. "I raised this to give the illusion of age," he said. "I've lost some mighty good di- recting jobs by looking too young to be sensible. "Yes, it's true that I'm a veteran in fhe picture game, but you see I commenced when I was only a kid. I was studying in an architect's office and wrote a scenario for Harry Rivier, the Frenchman who made Gaumont pictures in ParLs before a real industry was developed here in this country'. He's the man who sold the studio leases to D. W. Griffith and Jesse Lasky. "He liked the story, and took me on his staff at fifty dollars a week I Believe me, Rockefeller wasn't even in the suburbs of my class. I worked with him a year and did everything from developing films to writing continuity and hauling props. He taught me trick photography, and broke me in to all the known phases of the game. "Then I worked with Jimmie Young- deer in the days when we doubled the cow- boys as Indians and settlers and had them chasing themselves through two reels of thrilling westerns. I was with Keystone for a while and directed Mack Sennett and Ray- mond Hitchcock in an old comedy called 'My Valet.' "Then I directed Kolb and Dill, Hamm and Budd, Fay Tincher, 'Smiling Bill" Par- sons, and after I got back from the war, I started in with Universal and the wild animals." Julia yawned suddenly, displaying a cavernous throat and a terrifying array of snowy white teeth that came together with an ominous snap. I swallowed my Eve's apple and wondered if I were good enough to die, but the sound only served to swing Director AVs thoughts back into the groove of four-footed conversation. "So many people ask me how we get wild animals to do their stunts," he said. "In the last picture I directed ('Upper Three and Lower Four"), Bob. the big lion, charged through a locked door to get at the crooks in the room. It sounds more difficult than it really was. The first shot was from the hall, showing the door at such an angle that only the door frames were visible. Instead of panels there were thin slats of wood, which gave way readily when Bob charged in obedience to the orders of 'Curly' Stecker. his trainer, on the other side of the door and out of the camera's range. Then when we shot the scene from the inside, showing Bob crashing into the room, we had a door with very thin panels, and Curly put the lion into a chute on the other side and sent him sliding down against the door so that he broke through in spite of himself. "I want to make animal comedies that have a real theme, and in which the animals are introduced with a logical reason — not simply stuck in to do a few stunts regardless of the plot of the stop.-." Just then the noon whktle blew and Julia gave an eight-cylinder yawn and licked her chops suggestively. "I — I think she's hungr>-,'' I faltered, pre- tending to be humanitarian and ever>-thing. "I think it's cruel to keep animals waiting for their meals — don't you?" Al said he did, but when Julia rose in obedience to the tug at her leathern leash, it seemed to me that she regarded me with regretful speculation. I'm positive she thought I'd make a good appetizer. "You can come and talk to me while I feed her," Director .\1 invited cordially, but I declined with thanks. Maybe he does like 'em wild. I don't. I prefer my lions in cages or in taxidermists' shops. Modern Mastic By AUDRIE'ALSPALCH CHASE Tfie magic of motion crystalized And flung through light Upon a silver sheet Reaches the world around In theme and in reaction. It paints the moods of all hearts, Sad or gay or just enduring: It pricks out the subtle shado-ics over souls. It sings the riot of running, The strength of stillness, The placidity of prayer. It breathes the spring of youth. The gli>;v of love, the pride of parents, The brooding of motherhood, The pathos of ideals lost: h is the all-expressing. Alike of thought and being. And its language is the all-language. Patent to all without other learning Than the interpretation of own experience; It speaks to people as they know its message. It speaks of love and youth and joy and sor- row. Dimpled babyhood and canrd old age. Of ideals lost and gained, hopes xvon or foiled, .Is //.'; visionaries realize them. It is in silence the ultimate solution of ex- perience. Reaching all people with all things. The magic of motion crystalised .ind flung through light I'fti'n a silver sheet — The Moving Picture. Every adTertl.t In I'llOTlUM-.V Y M.\t!.\/.IN"K Is (Ullr*lU^(^l. V5 The Grand Young Man of the Screen (Continued from page 65) ''The film,'' says Fawcctt, "is essentially modern, and up-and-going, just like the telephone, the subway, and the airplane. Imagine a mid- Victorian lady going to see a picture-show ! Films are not nearly so romantic as the old-time legitimate; but films on the other hand arc greater amuse- ment devices and educators. It links all nations, the motion-picture screen. The only thing lacking is voice. This is made up for by the boundless scenic scope of the camera. The picture is still more physical than psychological; but the time is fa=t coming when it will be as fu'l of psychology as it is now of direct elemental action. We need not use our imaginations in the lilm- theater as in the spoken; but there is often- times more personality in one reel of film than in a four-act p'ay. In time the films shall have weeded out those directors, those players, who can express only the easiest emotions and the most apparent ideas; and the masters who can put over psychology will be the monarchs of the screen." He is a Virginian— a college man, from the Viniversity of his state. There are few film companies he has not acted with at one time or another in his career: the old New York Motion Picture Corporation once had him on its roster. He was a member of the cast of that fine old Selig drama, "The Crisis," and in "The Heart of Texas Ryan" for the same company. He p'ayed in "The Cinderella Man," Mae Marsh's best Goldwyn vehicle and George Loane Tucker's best effort before "The Miracle Man"; with Clara Kimball Young in "Shirley Kaye"; with Norma Talmadge in the first Talmadce stellar drama, "Panthea." He has been with Griffith longer than with any other director, and his characterizations in "Hearts of the World" — as one of the Three French Mus- keteers— as Bobby Harron's father in ".A Romance of Happy Valley," and as Dorothy Gish's dad in many photoplays, he has be- come one of the most beloved actors of the American screen. And while there is no doubt he will duplicate his personal success in the directorial field, it is hoped he will not give up acting entirely. He's Seen It Now CHESTER BENNETT, who directs Earle Williams, owned a restaurant, although he had never seen it. He supplied the neces- sary funds to open it to a man who had once worked for him and has since been content to take his dividend without in- specting his ham and eggry. But, being a Boniface by proxy himself, he is interested in any place where they rattle dishes. Recently his company was at Vernon tak- ing scenes. They dropped into the nearest restaurant. Chester Bennett, the restaura- teur, was supercritical. He "panned" every- thing, the service, the food and all. "I'd like to meet the owner,'' he demanded of the waiter. "I'd show him a few things about running a cafe. Where is he?" "I don't know," said the waiter. "The place be'ongs to a guy named Chester Ben- nett in the motion picture business.* $76,000,000 U. S. Film Tax THROUGH admission taxes the motion picture industry is expected to yield to the United States government for the year of 1Q20 a total of $76,000,000. That is the fig- ure given the House committee on ways and means as the estimate of officials of the bu- reau of internal revenue. This expectation is based on the actual collections for the first six months of the year, which amount to $34,522,664. Dinner is Ready Prepared by Van Camp's Scientific Cooks Remember this ready-baked dinner in these hot summer days. Van Camp's Pork and Beans — the most delicious bean dish ever served. As hearty as meat. Every bean mellow and whole — baked with a zestful sauce. Ready, hot or cold, when you want it. A new-type dish Baked beans of this sort come only from Van Camp's. Each lot of beans is analyzed. The water used is freed from minerals, so the skins will not be tough. The beans are baked in sealed containers, so the flavor can't escape. The baking is done by live steam under pressure. Thus hours of baking do not crisp or burst the beans. They are baked with a sauce famous for its tang and zest, and every atom shares it. •jfi ^ I'fi ^ Van Camp's come to you whole and mealy, rich in flavor, easy to digest. The dish will change your whole con- ception of baked beans. Try it now. You will serve Baked Beans five times as often when you know Van Camp's. And they'll save you summer cooking. Pork and Beans Three sizes, to serve 3, 5 or 10 Baked With the Van Camp Sauce— Also Without It Other Van Camp Products Include Soups Evaporated Milk Spaghetti Peanut Butter Chili Con Carne Catsup Chili Sauce, etc. Prepared in the Vcti' Camp Kitchens at Indianapolis Van Camp's Tomato Soup Also 17 other kinds. All per- fected by countless culinary- tests. Van Camp's Spaghetti The prize Italian recipe prepared with supreme in- gredients. Van Camp's Evaporated Milk From hieh-brcd cows five rich d.iiryinK districts When you wTito to aUvoaiscrs ulcase mention PHOTdTUW .MAG.\ZI.\i;, I X a screen weekly the other day we glimined ' this, from the I.iisk Herald: "Owing to tin lack of space and the rush of the Herald's prize contest, several births and deaths will be postponed until next week, or until a later date." VV/ liLL, we claim to have baited neither time " nor tide, hut sweet Alice Malone brought about some contest. And Photoplay only claimed two million readers. "MOTIIIXG in a name." says i~ Harold Lloyd. "Kolks living on the banks of the Brandywine are just as dry a? the rot of us." Number, Please ? A FORMER sergeant, first class, of the Signal Corps, just into ci\-1es and still painfully aware of bis recent station in life, dropped into the newly organized American Legion post to allow himself to be gazed at. Presently one angular in- dividual, clad in a suit which had obviously been lying in moth balls since pre-war days approached. "What outfit was you in, buddy?" lie ventured. "The .Signal Corps," the exnon com infornied him, languidly brush- ing an imaginary speck of dust from the place where bis chevrons ha me and take the towel back and set it again." |V4 R. — I sec young Brown's life was saved by the bullet bitting a button. Rather n remarkable escape for a inarrierl man, wasn't it? MR.S. — But why for a niarricil man? MR. — Why, just Ibiiik; the button must have been o» I "r\0 you always do your marketing here?" '-^ "^ es, I've dealt with these people for years, It's so much nicer to be robbed by some one you know." — Life. "THE perils of that serially historic heroine, * poor Pauline, had nothing on the brief but vicissitudinous career of our own Sweet Alice Malone. Only three months ago she made her bow to Photoplay's readers by stepping into the Squirel Cage limerick contest and ooh ! what trials and tribulations you contestants heaped ui>on her — simply because she screamed for some chocolate ice cream. That seemitjgly innocent dish must have had Lines to a Motion Picture Star ~' iiic kick in it. fur .s^wect .Mice jmsscs a»ay with the contest. Mrs. Kred .Schulte ilid it. The five years' subscription to Photoplay Magazine goes to her address — R. F. P. No. 2, Newton, New Jersey. Here is the limerick «ith Mrs. Schulte's epitaphical last line: / warrird Stit'cl Alice Malone .liiii fed her on cheese and bologne. Till she said: "I shall scream For some chocolate ice cream" — "Rest in peace" is now car-.-ed on her stone. It was hard picking and this Gnut hated to have to pass up inanv of the hundreds of other "last lines." but don't be discouraged: we may have another one anytime. Y '-P! Vou guessed right. That Soulbern * flower that would make a good title for an Irving Berlin song is Jas-inine. "yUESE overalls and bungalow aprons are all * right, but whcrc's the joy now in a windy day? Vl^^' "My Lady's Garter" has a good support- * ing company. ''LIENRV, I think you were abso- lutely wrong about that furni- ture." "Ves. dear." "And also about the shade of wall- paper we want." "Certainly." "Henry .Tones! If you aren't going to be sociable I'm going to bed! ' —Life. A VOCNG fellow who had not long *y been married usually confides his troubles to a friend whose matri- monial experience covers a period of twenty years. One day the former remarked very despondently: "I said something to my wife she didn't like and she hasn't spoken to me for two days." The eyes of the old married man brightened. "Say, old fop!" he exclaimed eager- ly. "Can you remember what it was vou said ?" — Tit-Bits. A RECENT examination in the pub- lie schools of Brooklyn, accord- ing to the New Screen Magazine, brought forth the following answers: What is an impul.se? .■\n impulse is what the doctor takes hold of to see if you are sick. Name the vtiwels. \ owels aint got no names. They are under the stumick. What are the duties of a citizen? The duties of a good citizen is not to -spit on the sidewalk and to hold his banana peels till be meets an ash can. Name the races of mankind. Bicycle race, horse race, potato race, automobile race, and other kinds. Who was Nero? Nero was a Roman Emperor. .\ song has been written .ibout him c.illcd "Nero, .My God to Thee." S\ APPV WIFE: To be frank with you, if you were to die I should rerlaiiilv ni.Trrv again. II.VRASSED HCBBY:' I should worry about tile troubles of a fellow I shall never know. NOW what is to become of Mile. Collinere, who, until the passage of the recent .Vmcn ment. was the i>rofessional wine t.istcr of Californi.i? Mile. Collinere look thousands of mouth- fuls of wine a vcar, hut never swaIlo«Td one. Sh- might have lost her disciimination if she h.id. (We've known persons to loose worse.) Mile. Collinere never ate chocolates, rice puddings, pastry, raw onions, lemons, curry, or pincaiiple. She used no salt, did not drink tea or coffee, and lived on the simplest and most wholesome diet. She was rewarded in two wavs. for not only did this preserve her wonderful taste, but it gave her a remarkable com- plexion. [ lt.\\'E never nirf an old woman who wa ' not interesting." — .\rnold Bennett. Wouldn't he dote on our Congressmen? 96 ADAMS ^California Fruit Painud for /imeritan Chicle Lomiany l>) (.. (.tiii J I'lrjiif'S. (.opy.^ni Jtjjo Man alive Listen! You can smoke Camels till the cows come home without tiring your taste! CAMELS bring to you every joy you ever looked for in a cigarette ! They are so new to your taste, so delightful in their mellow mildness and flavor, and so refreshing, you will marvel that so •much enjoyment could be put into a cigarette ! Camels quality is as unusual as Camels expert blend of choice Turkish and choice Domestic tobaccos which you will prefer to either kind of to- bacco smoked straight! No matter how liberally you smoke, Camels never will tire your taste ! You will marvel at Camels smooth "body". And, your delight will also be keen when you realize Camels leave no unpleasant cigaretty aftertaste nor un- pleasant cigaretty odor! For your own personal proof, compare Camels with any cigarette in the world at any price. Camfis arc sold everyv. hrre in scientifically sealed packaiies of JOciiiarettes far 20 cents; or ten packaiies (200 ci/iarettes) in a fila:isine-paper-covered carton. We strongly recommend this carton for the home or office supply or \^ hen you travel. R. J. KEYNOLDS TOBACCO CO. Winston-Salem. N C Tic an ays Real news and inter- esting comment about motion pictures and motion picture people. By CAL. YORK TOHX D. ROCKEFELLER, Jr., was J quoted in a certain New York paper as branding the photoplay as an immoral influ- ence. John D., Jr., when questioned by the photoplay, as represented by the National Association of the Motion Picture Industry, stoutly denied the aspersion and cancelled an engagement in order to be speaker at a motion picture luncheon, where he paid hish tribute to the industry for its work in the war, the Y. \V. C. A. drive, and other worthy causes. IN making one of her recent comedies at a fashionable resort Mrs. Sidney Drew encountered some real old dowagers of so- ciety sitting on the enclosed porch of a hotel knitting, lorgnetting, and generally main- taining their social standing. As Mrs. Drew described them they were perfect types and it would be utterly impossible for any actress to duplicate them. They were also badly needed to put just the right touch in a Drew picture. Braving the icy temperature and the pos- sible storms to follow, Mrs. Drew decided to ask the elderly social rulers to pose for her for a few minutes: "Would you mind appearing in one of my pictures?" she asked. Horror, indignation, frigidity, and aston- ishment were registered as six lorgnettes were raised. ' "And, pray, who are you?" demanded one. "Mrs. Sidney Drew," was the meek reply. "Oh ! They never throw pies in your pictures, do they?" exclaimed one of the grand dames. "Let's go in her picture, girls." And they graciously entered the movies. THE champion film-goer seems to have been discovered, down in Covington, Kentucky. He is Jack Jordan, who has averaged seven shows a week for ten years, who saw the first moving picture ever screened, "Miss Jerry," and who would walk five miles, he says, to see Charles Chaplin. Jordan's favorite actor is Tom Mix. Can anvone claim a better record? This servant problem becomes Harder and harder to solve. It's getting so you have to promise your cook to sell her scenario and put her daughter into pictures, or she won t stay. Robert Gordon gets around it by pitching in himself. His domestic co- star is Alma Francis. CH.^PLIX'S — Charlie's — new picture may be a six-reeler. It will represent the fruit of some months of effort, and will contain more than the ordinary amount of popular "pathos" in which the comedian likes to indulsre. The title, if report be true, is "The Kid." BILL DESMOND is the father of a baby girl. Mary Joanna is her name — chri.stened for her mother, little blonde Mary Mclvor. A BOY of ten was tied to a stake by five older boys, and left to his fate after a bundle of wood and papers at his feet had been set on fire. He was badly burned when rescued. It was the first accident on record caused by the inventive minds of modern mischievous small boys which was not blamed on the movies. PAULINE FREDERICK has left Gold- wyn. Everything was not serene be- tween Polly and the powers that be sev- eral months ago; but affairs were patched up. This time, however, she means busi- ness ; she has signed a contract with Rob- ertson-Cole. IT looks now as if Laurette Taylor, the original "Peg" of the successful Irish play "Peg O' My Heart," written by her husband J. Hartley Manners, may appear on the screen after her return from London, where she is now playing, and that She may appear in her husband's play. This in spite of the fact that Wanda Hawley several months since finished a production of "Peg 0' My Heart" for the Famous Players-Lasky Company. It seems that Oliver Morosco, producer of the play and under contract to Mr. Manners to present it at least 75 times a year, sold the screen rights without Mr. Manners' consent, which the Supreme Court upholds Mr. Man- ners in claiming was without his right. The author also maintained that inasmuch as the play has been needlessly altered in its con- version into pictures the clause in his con- tract requiring his agreement to changes also has been violated. He has been granted a decree restraining the Famous Players-Lasky company from releasing their fmished pro- duction, and refuses to take ^^i 25,000 for his permission. His apparent indifference to the .'=;i25,ooo is explained by those who ought to know by the information that Miss Tay- lor herself may appear in a screen version of the play. lOO PnoroFLAV Magazine — Advertising Section Plays and Players The Clear Transparencx of JAP ROSE SOAP Indicates the fact of its un- surpassed purity, just as a chemical analysis proves it. The children love it for their bath and shampoo, its c. p. glycerine Is SO soothing and healing to their tender skin. And this instinctive approval of the children speaks more convincingly than anything else for its delicious quality. Roses in the cheeks, flufifiness in the hair, fragrant cleanliness everywhere — that's Jap Rose. You'll like it! An Unusual Value at two cakes for a quarter JAMESS. KIRK & COMPANY.CHICAGO Makers of Jap Rose Talcum Powder Double the Use of Every Electric Socket''' Every Room] Use any electrical appliance without loss of light and without inconvenience. "Every wired home needs three or more" The I.i adiHf^ I'lKg Millions in use, /" inakinR electricity more convenient. At your Dealer' M OR EACH BFNJAMIN ELECTRIC MFG. CO. ( L vntm tied j S»n Frinriiro Whenever Madame Ernestine Schumann-Heink isn"t filling concert cngagcment.s fhe is piloting her grandson and granddaughter around the studios. It s a safe bet Madame enjoys it as much as they do; she's the world's champion picture-goer. GERALDIXE F.\RRAR will work in the East hereafter. It is said the opera actress and screen singer signed with the newly-formed Associated Exhibitors because their contract provided for a New York studio; she chafed at the Goldwyn summer season in Culver City. Whether husband Lou TelleRcn will continue as her leading man has not been divulged; but it is sup- posed he will, for Jerry seems to be as fond of him as ever. SESSUE HAYAKAWA says he is leaving Haworth to form the Hayakawa Com- pany. Ha worth says he isn't. Meanwhile Mrs. Sessuc Hayakawa — Tsuru Aoki — is on Ihr high seas bound for Japan, where she will sojourn for some months. IF the stage doesn't get 'em, matrimony will. Betty BIythc became the bride of director Paul Scardon in Los .Angeles. They were friends when both were with Vita- graph; that friendship began to be sometiiinp deeper when Betty was acting for Cioldwyn in Culver City and Scardon was directing. It was remarked at the time that he couldn't seem to keep his mind on his work. ROBERT GORDON' PRODUCTIONS is a new one. Oil men are said to be in- terested, with the object of making another Charles Ray of young Robert. His late Blackton vehicles have given him an artistic black eye, which he hopes will heal if given proper attention. Certainly he made the most of his opportunity in Vitagraph's "Dollars and the Woman.'' BERT WILLIAMS, a familiar dark figure in Zicgfcld's Follies, has joined all those Ziegfcld beauties in an invasion of the cinema. He will bo the star of a series of two-reel comedies to be made by Tarking- ton Baker, one of the ex-managers of Uni- versal City. Booth Tarkington, a cousin of Baker, will write exclusive and original nia- tirial for the new company. \\. least a dozen companies are announcing exclusive and original Booth Tarkington stories. OLIVE THO^L\S and Jack Pickford arc together again. Padre Sclznick sent OIlie west to make siime pictures and Jack works there anyway, so a grand reunion was had by all. jack presented Olive with a new car and Olive sjxnt a full week's salary on a new dog for Jack. Etco- «clvrrtlsrmMil In PH0T<>ri..\Y MAC.VZI.NK Is (Tuaranteol. Photoplay Magazine — Advertising J^ection lOI Plays and Players ( Continued) EXHIBITORS in New Orleans enjoyed a flood of unwarranted prosperity when ''The Miracle Man" came true. An old white-haired and bearded prophet, styling himself "Brother Isaiah," came and began healing by faith in the Southern city. More than thirty thousand visited him and heard him preach and pray. Enterprising theater men booked return engagements of "The Miracle Man" and, in the choice patois of the trade, '"cleaned up." By the way, in 24 weeks ''The Miracle Man" has made $921,- 000 for its makers, exclusive of foreign rights. WHAT became of that company that was to lift Conway Tearle, he of the mag- nilicent eyebrows, into the stellar class? He has evidently discovered it is better to be a peer of leading-men than a competitor for first honors, for he is doing opposite busi- ness again — this time with Zeena Keefe. ALBERT PARKER is pretty particular whom he directs. He told one com- pany that sent for him and made him an offer to direct one of its feminine stars that he would direct an all-star cast but not one particular luminary. However, Joe Schenck fixed all that — and now Al is putting Norma Talmadge Schenck through her dramatic paces. THE works of Max Reinhardt and other eminent German authors will be fdmed for Universal. Reinhardt is known only to a select few in this country. While Zukor was abroad he also lined up some foreign literary stars to write for his company. Verily, the libraries of the future shall be composed of celluloid! JIM KIRKWOOD. who felt the acting call again, incidentally prompted by a certain magazine editor and fostered by Allan Dwan, never has time to think about going back to directing. He is Louise Glaum's lead- ing man now. A HOLDER of 100 shares of the Si, 000,- 000 stock of the Lenscraft Pictures Corporation, Raymond C. Tischhouser, has filed suit in the Supreme Court against the officers and directors of the corporation on the ground that because of their negligence in attending to the affairs of the corpora- tion, the assets have been wasted. MARTHA MANSFIELD has settled down on the screen, having signed a contract with Selznick which secures her services as a leading woman for a period of years. CHARLES RAY has added Booth Tark- ington's "Ramsaye MilhoUand" to his long list of plays. No telling when he will get around to it. He has also bought the rights to four of James Whitcomb Riley's poems — whose Hoosier boys Ray would seem to be peculiarly equipped to play — "The Old Swimmin' Hole." "Down to Old Aunt Mary's," "The Girl I Loved" and "Home Again." TH.AT'S not such a bad idea, having Matt Moore play in a picture called "Don't Ever Marry" witlv accent on the ever. Matt never has; perhaps he thought he'd wait and see how his brothers' ventures turned out. Having waited. Matt has de- cided never to marry. AS we remarked above — with variations: Cupid or the drama is bound to get them. Myrtle Lind, one of the loveliest peaches in Mr. Sennett's whole garden, was married in Los Ancelcs to F. A. Gesell. And — worst b'ow of all — she says she has retired from the screen. — the Finest Reproducing Phonograph in the H'orld The masterful artistry of living genius in the realm of music is most faith- fully expressed by the Steger. Every beauty of score, every delicate shading of sound finds the Steger a true, inarvelously sympathetic repro- ducing medium. Plays all records cor- rectly— no parts to change. This striking fidelity is made possible only through the patented Steger tone arm and tone - chamber — outstanding triumphs of human ingenuity and skill. — And in perfect agreement with other per- fections is the ch.iracteristic cabinet which makes the Steger "a thingof beautyand a joy forever." Convince yourself. Hearandplay it at your Steger dealer's. Sterjer Phonograph Style Brochure Free on rei/ueet STEGER & SONS PIANO MFG. CO. Founded by John V. St«BCr, 1879 Steger Building, Chicago, Illinois "If it's a STEGER— it's the most valuable piano in the world." Up TO the present time it has been almost impossible to get a face pow- der to stay on longer than it takes to put it on. You powder your nose nicely and the first gust of wind or the first puff of your handkerchief and away goes the powder, leaving your nose shiny and con- spicuous, probably just when you would give anything to appear at your best. A specialist has perfected a pure powder that really stays on ; that stays on until you wash it off. It does not contain white lead or rice powder to make it stay on. This improved formula contains a medicinal powder doctors pre- scribetoimprove the complexion. In fact, this powder helps to pre- vent and reduce enlarged pores and irritations. This unusual powder is called La-may (French, Poudre L'Ame). Because La-may is so pure and because it stays on so well, it is already used by over a million American women. All dealers carry the large sixty-cent box and many dealers also carry the generous thirty-cent size. When you use this harm- less powder and see how beautifully it improves your complexion you will under- stand why La-may so quickly ecame the most popular beauty jiDwder sold in New York. Women who have tried all kinds (if face powder say they can not Iniy a better powder anywhere at any price. There is also a wonderful La-may talcum that sells for only thirty cents. Herbert Rovstone, Dept. K, 16 East 18th St., New York. BATHASWEET TRADEMARK REG. Bathe with Bathasweet. It adds the final touch of dainty luxuriousness to your bath— cools, reircbhes and nivigorates. Bathasweet keeps the skin soft and smooth. PERFUMES YOUR BATH SOFTENS HARD WATER INSTANTLY Bathasweet imparts the softness of rain water and ihe fragrance of a thousand flowers. Two sizes, 50c and $1. At all drug and depart mt nt stores or by mail. Send 2c stamp for sample. THE S. C. WELCH CO. DEPT. P-P NEW YORK CITY -^^^^^^^^^ When you wrlto to advertisers please mention PHOTOPLAY MAGAZLVE. I02 l^HOTOPLAY .MAGAZINE — ADVKHTISING r^ECTION Women Should Know the Latest Way to Remove Hair cEMOVo Tht Daintily PERFUMED Hair Remover Relieves you of embarrassing self -consciousness and enables \ou to enjoy that poise and graceful charm so much desired by every woman of refinement. Removo is a pure, delightfully scented pxjwder which you sim- ply mix with a little warm water, apply and in three minutes wash off. The disagreeable odor so pronounced in some depilatories is entirely absent in Removo. You'll find the hair growth has entirely disappeared and the skin perfectly white and smooth. Is used and highly recommended by women of refinement and beauty specialists everywhere. Buy Removo at toilet goods counters and drug siorcs. Large size $1.00 small size 50c. Results guaranteed or money refunded. If not obtainable, remit direct to us and we will mail in plain wrapper. Give name and address of dealer. THE REMOVO CO. Dept. Pf SYRACUSE, N. Y. Plays and Players Makers of Carmich- ael's Gray Hair Restorer. Used by thousands. Price $1.00 per bottle. At toilet goods coun- ters and drug stores. (Conti NORMA TALMADGE has been chosen as the 1920 favorite actress of the students at Princeton University. For years Maude Adams has held chief place in the hearts of the student body at Princeton, as evi- denced at their annual elections to choose their favorite actor, actress, poet and author. John Barr>more won the vote for actors. Rudyard Kipling, for poet, and Booth Tark- inglon for authors. GLORIA SWANSOX is an internationally minded young woman. A friend who went shopping with her the other day de- clares that among other things she bought an Hawaiian dancing frock, an English sport suit, some French lingerie, Chinese house slippers, a Russian sable cape, a Greek neg- ligee, Japanese lounging coat, Spanish lace scarf. Phi ippine nightgowns and a \'ene- tian bead headdress. It sounds fine, but Gloria is quite fascinating au naturel. CH.ARLOT, famous chimpanzee of the French cinema, broke loose from his cage in the Pasteur Institute in Paris and injured several pedestrians when he began to throw stones and tiles from the roof to the street below. It is said he had previ- ously been fed some French wine, which in- creased his natural tendencies for mischiev- ous playfulness. Authorities are thinking of suing the film company. Universal had bet- ter watch Joe Martin. ONE of Charlie Chaplin's most prized possessions is a remarkably fine por- trait of Max Linder, the screen's first great comediaai which the famous Frenchman pre- sented to him on his last visit to this coun- try. But even Charlie isn't quite sure about the inscription, which reads: "To Charlie Chaplin, "The best comedian in the world. "Max Linder.'' nucd) MARGUERITE CLARK U not consider- ing a permanent retirement, according to latest advices. She is now resting in New Orleans, her husband's home — some say awaiting a visit from the stork. However that may be, she has several film offers un- der consideration, as her present contract has expired. She has never been with any other company than Famous Players, who have not seemed to appreciate her talents. IN order to furnish picture programs to Protestant churches and Sunday Schools, the International Church Film Corporation has been organized for the purpose of going into the business of producing and distribut- ing pictures a; well as equipping church buildings with projection machines. It plans to extend its services to 4.000 churches. LOUISE HUFF, who created added inter- est not long ago by contracting a sec- ond marriage, this time with a millionaire, has signed her delicious blonde shadow to Selznick for five years. .At the same time William Faversham, dbtinguished .American matinee idol, cast his lot with the same com- pany. His first picture to be released is one which was made a year ago, "The Man Who Lost Himself." directed by George Baker, with the lovely Hedda Hopper as leading woman. Two good directors. Hobart Hen- ley— who incidentally will direct the ne-rt Faversham production, a Frank Packard story — and Larrv' Trimble, always remem- bered as the maker of "My Old Dutch." also have recently connected with L. J. Selznick and Sons. BEBE DANIELS is the latest lucky little girl to be selected for stardom by Paramount, with Realart as the brand-name. The brunette baby who was a few months ago Harold Lloyd's foil, joins Wanda Haw- Icy as a Zukor star in a short time. De- Mille — Cecil — vouches for both young women; he was their artistic Columbus. Do you know, ill hciiUh or ihronir iiil- nicntK. in nine out of t<*n cnxeMiire 'lueto improptT foo^l. poorcirculHtion, in- Hurticiont i-xorciMe. incor- rect tireaitiinK and in- correct IMliht!? Uemove thoRo unnata- rnl con-lit iooH nnd your ailmentH riininh. Thin may n'trprlHO you. but I Am \^. One box willlast for months. Two shades: Black and Brown. has long been recognized as the most beneficial preparation for nourishing and promoting the natural growth of the eyebrows and lashes. Stars of the stage, and screen, society beauties, and hundreds of thousands of women everywhere, use and recommend these greatest of all beauty aids — why not you? We guarantee you will be delighted, with these prepara- tions, if not, the full price paid will be refunded. Maybeliine A* "Vour Dealer's Price 75c direct, in plai^ package. Lash-Brow-Ine Price 50c To avoid disappointment with imitations, always look for picture of The Maybell Girl"— as below — which adorns every box of each preparation. MAYBELL LABORATORIES 4305-21 Grand Blvd., Chicago 99 When you write to advertisers pleast mcnt on rlItine Tohnston, another scenario writer. nied) ACERT.AIX acmure little star, very much beloved by those who know her, but a little too-gosh-darned respectable when it comes to her art, got into a little mix-up with her company recently. She was play- ing a frivolous young woman, and in one scene it was absolutely necessary that she raise her skirts to show her supposedly- shapely limb to the knee. The d. 1. s., for one reason or another, objected. The di- rector begged her to reconsider; he said the whole point of the story depended upon than one enchanting shot; that he would clear the studio floor and surround her with a screen with only himself and cameraman there, and these with eyes discreetly low- ered. She wouldn't hear of it. It was taken to the men higher-up; they came, at first pleaded, then protested, finalK-^ argued. The star flatly refused to do the scene — or let anyone double for her. So, since she made it an issue and threatened to leave, the picture was shelved and her feelings soothed Did anyone say we were getting away from the star svstem? AGERM.W lilm company taking snow pictures in Switzerland experienced a bit of unprepared realism which ended fatally, killing and injuring about ten of the actors. The company was taking an ava- lanche scene near Innsbruch at the altltudo of some 0,000 feet when a larue piece of an avalanche broke loose and tore down at a terrific rate burying most of the members. The leadins: woman. Herminc Kollar. was killed in'^lantlv. ETHl.L CLAYTON' is not leaving Tara- niount 10 form her own companv after all. She cxercLsed her woi.ian's prerogative and rc-signed with Lasky instead. En'ry ailvcrtltcineiil In rilOTori.AY MAO.'ZINK l!> (unrditeoil. Photoplay Magazine — Advertising Section 105 Plays and Players ( Concluded) ELAINE HAMMERSTEIN was arrested for speeding the other day. No casual- ties reported in court. WALTER EDWARDS died in April while on a vacation in Honolulu. He was a veteran director, and one of the most popular in the profession. "Daddy" Ed- wards, most of his stars called him. His direction of Constance Talmadge in some of her first successes is well-known. Later he went with Lasky and guided Marguerite Clark, Lila Lee, Vivian Martin, Wallace Reid and Ethel Clayton — whose latest pic- ture he completed just before leaving for Hawaii. FRANCES MARION sailed for Europe on a commission to talk some of the lead- ing literary lights of England and the con- tinent into parting with their best-behaved brain-children for film purposes. If anyone can do it, Frances can. ALICE BRADY has answered that let- ter from a justly indignant girl in June Photoplay, answering in turn Miss Brady's supposed statement that any girl could dress on $s a week. We can do no better than to quote Alice herself from an interview she gave in Chicago recently. She blames her press-agent, as follows: "Five dollars a week! Why, if I had to do it on five dollars a week I'd get out in the street with a gun and strip a wardrobe off a couple of fashionable corpses! I'd kill ! Five dollars a week ! I got a letter yesterday saying, 'What about a poor fat lady who has to buy herself a pair of bras- sieres?' It can't be done on five a week. That's the kind of publicity that makes an- archists of readers You couldn't blame them if they burned all the picture houses and shot all the movie stars. I went into a store to buy some stockings the other day and the first pair the girl showed me were $25. They were made of chiffon! They'd last you from the dining-room to the elevator. The world's gone mad, and extravagant women are helping to make it madder." From which it may be seen that Miss Alice Brady is no extremist in the matter of dress, anyway. She may not be able to dress on Ss a week, or to advise any other girl to try it — but she doesn't believe in living up to the traditional idea of the ex- travagant star. ROBERT WARWICK had slipped into a New York theater to see a new picture and coming out overheard two fashionably gowned women discussing the relative mer- its of the theaters in the town. "Well of course they do have the best pictures at the Rivoli," said one, "but you see much the nicest furs at the Capitol." THE National Board of Review, of 70 Fifth Avenue, New York, has issued a catalogue of "The Best Motion Pictures for Church and Semi-Religious Entertainments," which includes a list of some goo films char- acterized as "dramatic, Americanization?, comic, travel, missionary and instructional." Remember the address when you want to put on programs in your church. HOW the times do change. Here is a story that Anthony Paul Kelly recently submitted a scenario for a big feature to Universal, at the modest price of Sis, 000. This set all the old timers to remembering the days when Anthony Paul was the highe t priced scenario editor the Universal had nt $100 a week. It is not told whether this latest scenario was accepted at that price. 'Dr. Koronyj^s Original 'METHOD yV\ANICURING J^e ijou Jinjernail conscious Don't allow yourself to be harrassea by unsightly nails— it's so unnecessary, because Dr. Korony's Simplex Method of Manicuring enables you to keep them immaculate always. For the proper care of the cuticle you will find Simplex Cuticle Remooer has no equal. It does away with troublesome cutting; softens the cuticle, easily removes hangnails, and gives the cuticle an exquisite, transparent outline. 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The advice of Marinello Ex- perts may be secured at our Western O^ce Ea$tcm Office 1404 Mailers IJuilding 366 Fifth Avenue CHICAGO NEW YORK CHART OF MARINELLO CREAMS Acne Cream — for pimples and blackheads. Astringent Cream — for oily skins and shiny noses. Combination Cream — for dry and sallow skins. Lettuce Cream — for cleansing in place of soap and water. Foundation Cream — for use before face powder. Motor Cream— for skin protection before exposure. Whitening Cream — for freckles and bleaching. Marinello Face Powder— the kind that stays on — teal skin protection. When you write to advertisers please mentlOQ PHOTOPLAY MAGAZINE. I 'no I (JIM. \Y .M \(. \/im; - Ar)\ i:n I isiNO Skctiox Every Hair Dissolved Away. There is only one preparation known for the removal of su- perfluous hair that soothes and softens the skin —that issweetly perfumed,— and dissolves t h.e hair instead of "burning" it off. That is Hair Remover No matter how thick or bristly the hair growth is, it melts away as if by magic when Fresca is applied. Any druggist can get it for you — but some of them are not yet supplied. If you wish just send the coupon and receive KRESCA direct by mail. The price is One Dollar. FRED W. SCARFF CO.. 594 Thompson Bldg., Chicago, Illinois Plense send me. postaKe i>niri.a l>otlleof Fresra Hair Itemover— for which I enclose One I)oUar. Name . Ad Irc-i ANCE the Newest Dances! YOU can learn Modern Ball- room Dancing now in your own home — no matter where you live — by the wonderful Peak System of Mail Instruction Courses on Fo.x-Trot, Waltz, One-Step and Two- Step include the last word in new Society dances— the Dardanella Fox-Trot. Bellefield One-Step, London Rocker Waltz and the Aforfern Two-Step. New Diagram Method: Easily and quickly learned. Thousands t;iught successfully. Suc- cess guaranteed. Send Today for FREE Information. Write at once for siirpnsinwly l(;iw<'ffer. (15) WILLIAM CHANDLER PEAK, M. B. President, Peak School of Dancing, Inc. Est. 1860 Room 35. 621 Crescent Place. Chicago Bourjois'^ VA-, ADoRABLY FR£N(5W EXQUISITELY FRAGRANT Also makers of the Rouge of Unique Naturalness — ■ "ASHES OF ROSES" lll««. U. S. I'st. oil. I Play and Players ' C(>nti>:urd ) Probably never has tbe screen known a scene of more exquisite loveliness than this one, taken from the allegory in Mr. Fitzmaurice s recent picture, "The Ri(;ht to Love. Any director who can capture the langourous beauty and the heavy fragrance of a summer night in so stern a medium as the motion picture and make one feci and smell them must be a poet, as well as an artist. Mae Murry's graceful figure sweeps on like a medieval Guinevere from the pages of Lord Tennyson. KID McCOY, whose reputation as a movie actor is rapidly gaining ground, is almost as handy with his words as he is with his fists. Both of the following are credited to him. A fight fan, who met him at Jack Doyles Tuesday nisht scraps in Los Angeles, asked him how he liked pictures. "Well," said Kid McCoy musingly, "when T was a prizefighter I fought 156 fights and knocked my man out or got a decision in 152. Since I've been in pictures, I've fought 7 fi-ihts and got licked eight times — because once there was a retake." The c.x-ring star .'old a nice new automo- bile to Tom McXamara, the cartoonist. He took him out for a little spin, to show him exactly how the car operated, and as they rounded the corner of Fifth and Broadway, in front of the Alexandria, McXamara held out his hand, to signify a right turn. "For the love of Mike, don't do that," said McCoy earnestly. "A Ford'U run up your sleeve." BOBBY HARROX, a new star, and Thomas Mcighan, also a comparatively recent one, leU Manhattan for California together — Meighan to make "Conrad in Quest of His Youth," from the novel by Leonard Merrick; Harron to visit his folks, whom he hasn't seen for quite a while. EMI UK I-YOXS and Lee Moran wanted to make five-reel comedies. They had a touizh time persuading Universal to give them a chance to show what Ihey could do. They were to make one; if that was Rood Ihey could go the limit. The boys finished the first one. It made the home office howl and Carl Laemmle wenl riu'h' out and boucht the musical comedy "La La Luiillc" for them to play with. AGXLS .\YRES wasn't "rescued from the bar" for nothins. She wi!l, after her years of hard-working and waiting, en- ter into a stellar career under the joint auspices of Marshall Xeilan and Al Kauf- man. These gentlemen have combined pro- duction forces in Hollywood under one stu- dio roof, not. you understand, having any company connections but facilitating their output by using the same technical forces. Kaufman decided that Miss Ayrcs was just the star he needed to join the Allan Holubars as charter members of his new company, but while he is seeking a proper vehicle for her. she will be leading woman in a Xeilan film. WHILE Mildred Harris Chaplin was en- joying a dance with the Prince of Wales at Coronado Beach, at a ball given in his Highness." honor during his brief re- turn to .America en route for .Australia — Charlie Chaplin was enjoying a bout with Louis Mayer. Mrs. Chaplin's manager, in the Alexandria Hotel in Los .\ngcle?. Chap- lin— so the reported story in the newspapers goes — approached Mayer and asked him to remove his glasses. Mayer did so, and Charlie swung on him. But Mayer is twice as big as the comedian and he more than took advantage of it. Hotel detectives in- tervened. The fracas was supposed to be about the settlement to be made on Mrs. Chaplin in case the divorce proceeded, so Mayer said. Chaplin wouldn't talk, A XX M AN", who is playing the lead with Charles Ray in his first nroduction for First Xational. has been added to the list of "bobbed hair" leading ladies. It's all right with us, Ann. as long as you stay under 20 and don't tip the scales at more than no. .Vficr that, it's out. Etcry aarcrtlKmont In rilOTori.AV \I.m;.\ZINK l.^i gusrsntwO. Photoplay Magazine — Advkhtisino Section The Shadow Stage ( Continued from page j2) Stanley Olmstcad wrote the scenario, telling his story consistently. DR. JEKYLL AND MR. HYDE— Pioneer THE version of "Dr. Jckyll and Mr. Hyde" with Sheldon Lewis playing the harassed soul who gave himself up to the devil, hurriedly screened to take advantage of the interest aroused by Jack Barrymore's appearance in the same role, does not re- flect great credit upon its producers. It is typical movie stuff, with little artistry and less imagination to commend it. In this version the good Dr. Jekyll dreams a dream. In the dream he sees himself testing his theory that it is possible for a man to be controlled by his baser self. He swallows the concoction compounded in his labora- tory, suffers a growth of hair and a mouth full of buck teeth, and achieves a passion for frightening defenseless females and set- ting fire to buildings. He is a less sensual and less ferocious Mr. Hyde than the Barry- more exhibit. Neither does his particular compound equal in strength that discovered by the other Mr. Hyde, who was imme- diately transformed into a repulsive degener- ate with an elongated cranium, knotted knuckles and protruding finger-jiails. The picture is cheaply set. Mr. Lewis' perform- ance is that of a competent but uninspired actor, and there is little attempt at clever- ness in tricking the change from one char- acter to the other. The ending, too by the employment of the dream idea, is con- ventionally happy. THE ROUND UP— Paramount'Artcraft 1 SHOULD say that Roscoe Arbuckle's plunge into the five reelers has been suc- cessfully negotiated in "The Round-up." As "Slim" Hoover, the sheriff, the genial comic waddles in and out of the story, plays straight when he has to, falls off a horse when he can do so safely, without fractur- ing either his histrionic ambitions or the plot, and emerges finally the pathetically humorous philosopher who allowed that no- body ever loves a fat man. I don't suppose anyone could possibly take "Fatty" seriously as a sheriff with notches on his gun, but it is something of a triumph for him that he keeps the faces of his audience straight while he is suggesting the possibility. George Melford has extracted a reasonably interest- ing Western romance from the old melo- drama in which Maclyn Arbuckle starred. In it Irving Cummings is permitted to es- cape temporarily from his curly-headed deviltries with women and become more or less a normal he-man. The story is one of alternate fights with Apaches, bank robbers and such, mingled with the romance of two pa's who loved the same square little heroine. She married one, thinking the other dead, and, finding he wasn't, sent her husband to find him and explain. This involves another big fisht with the Indians and their renegade chief, and results in the elimination of the extra lover. If the fighting were on the level the cast would have been wiped out in the first reel. Which would be sad, for it is a good cast. Tom Forman plays the sub-hero (and he also wrote the scenario, which provides a second feather for his Scotch bonnet) ; Mabel Julienne Scott is the heroine, Wallace Beery L; again the fighting renegade, and the others are all capable. The scenic shots are ex- cellent and the fighting excessive but lively. © B & B :J20 No corns exist with nurses— for they know Nurses don't have corns. Nor do doctors or their wives. They know Blue-jay and employ it. So do millions of others now. It is time that everybody knew this simple, scientific way to end a corn. Do this tonight Apply hquid Blue-jay or a Blue-jay plaster. Either re- quires but a jiffy. The pain will stop. Soon the entire corn will loosen and come out. What that corn does, every corn will do. So this way means a life-long respite from the aches of corns. Corns merely pared or pad- ded rarely disappear. Harsh treatments often cause a sore- ness. Blue-jay is gentle, scientific, sure. It is a creation of this world-famed laboratory. It is the right way. It will be the universal way when all folks know It. Buy Blue-jay from your druggist. Watch it on one corn. Bl ue=jay Plaster or Liquid The Scientific Corn Ender BAUER & BLACK Chicago New York Toronto Makers of Sterile Surgical Dressings and Allied Products a'"" '«■"» .MMM.Wll«.MMMIMltWllW.MMMWM 1.11. . I. |. ...I .1.1. II.. DMMQNDS ON CREDIT Diamond Rings Designs :\ 11 tlie popular niouiit- inirs, plain and fancy enuraved. Green, White and Yullow Solid Gold, v.ry si)<-cinlat$85.$100, $150 and up. Cr. dit ttrras. bee Catalot;. I WATCHES ONCREOIT Send for Free Catalog Tliore ar<; 12S pn^'cs of Diamonds. Wu tcheei. J ewL'Iry, nil priced unusually low. Whntovvryuu ntilvrt will bf> tu-nt priT iiin(; the flkin pro- tnctfi from the hot huh iiiid « m-l>. Lady Love Preparations (dAlicately scented) Face Powder Toilet Soap Cold Cream hu^ ulwuyH beoii thf (■h<)ii--i* of parti<'ulur wonifn for many ycnm bccaunu they know that tho "Laiiy l^tv,. 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Ilawalln OalUr. Comat. Tenor llan>aor IUn)o abao. hUlr free. Very email rharre for leoanna only. We rilaranlee eiir reee ..r no rharae. r-mpl-to <«)tnt free. Write t>ow. No ol.llaatlon. timsf BUND SCHOOL OF MUSIC. Inc. Oepl. 42 CHICAGO, ILL. 'Dra'wn by Norman cAnthony Director — We re calling this picture "The 1920 Model. Cameraman — Better equip it with shock absorbers. The Shadow Stage ( Continued ) SEX — Hodkinson SEX" is not so bad. Written by C. Gardner Sullivan, and particularly well directed by Fred Xiblo, it at least may boast intelligent treatment and a moral. Here are wild women and vicious men doinp all the things they are supposed to do in the nipht life of wicked Manhattan, but being impelled to do them by reasonably plausible motives. A girl of the "Midnight Frivolities" takes life lightly, accepts the attentions of a mar- ried rounder, laughs at his protesting wife and advises her younger chums of the mid- night chorus to follow in her footsteps. With a mighty heave ho I and a merry ha ! ha! she hurls her boomerang into the air and skips gaily away to enjoy life. Which is all very well until in due time she be- comes a respectable married lady herself, with a husband she hopes to hold against all comers. Then her boomerang flies back and smites her. Her husbami slip-; away from her into the arm of the very girl she had instructed in the art and philosophy of the successful vamp. We leave her beaten at her own game. The conclusion is in- determinate, but the moral is plain : "Don't never do nothing to no other lady's hus- band you wouldn't have the other lady do to yours." "Sex'' is a bit riotous through the intro- ductory reel. Reckless .Adrienne gives one of those wild dinner parties in her cute little 100XJ50 New York dining room; evcr>-body drinks much too much wine and the ladies ride around the table astraddle the necks of the gentlemen. But once p.ast its keynote the stor\" is sanely told. Louise Glauni's characterisation of the reckless one is true and human, and the assL<;lanrc s4ic is given by the principals, who include Wil- liam Conklin. Myrtle Stedman. Irving Cum- mings and Peggy Pearce. keeps the play well in key. W. W. Hodkin.«on. the original crusader for cleaner and better pictures, is distributing "Sex." and boasting that it ha5 "shocked the critics." Which goes to prove that you never can tell about these movie penis What's a principle or two among stockholder?? Fvory tdTrrtlupmpnl In riinTy thoubands oi fiimilies. An ingenious SPRING arrangement enables the baby to sleep over the roughest roads and mother can drive. No jars or shocks. It can be compactly folded or quickly removed when not in use. Cover protects child from weather. Occupies no useful space in car. Send for illustrated booklet and dealer's name. GORDON MOTOR CRIB CO. 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TOPUIARITY L'' I If yon play cjunint. droamy Hnwaiian // music or fati-»t songH on the UkuMo ^4^' •' ^ 'ill b« wanted «>vt'rywhi teach by mail 20 ^impltflessor irive you free aKimuine Hawai ... lan Ukulele. music, evcryth \\ -no extras ' the storv oi iinwuiiiin 11111:111.. — You will love it. NoobligatioD -absolutely free. , z^Hft Tlx Uawaiiao bstibite ol Music "ZZi 14UU tiMdaar, (kpi.J-H.nn loiii MP Hair Pins Keep the Hair in Place Different Sizes -Wand ICX Packages Everywfiere UMP HAIR PIN MFG. CO. Whui you write to ailvcr liters uleajie meiillmi lMI(rn)ri,.\V .MAliAZl.M;. I lO Photoplay Magazine — Advkrtising Section THAT SOOTHING QUIETNESS On the cindcrless paths of the Great Lakes-so deliciously restful to tired city nerves— is only one of the advan- tages of this kind of summer travel, for business or pleasure, on the pala- tial, luxurious D. & C. Line steamers. 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One pupil Ka« received over $5,000 for ttories &nd articles written mostly in spftre time — "pU)r work," bfl calls iL Another pupil received over 41.000 before completing her first course. Another, a busy wife and mother, is averaging over $75 a week from photoplay writing alone. There is no other institution or agency 'doing so much for writers, young or old. The universities recognize this, for over one hundred memtiers of the English faculties of higher institutions are studying in our Literary Department The editors recognize it, for they are constantly recommending our courses. Ws publish Tha Writtr'a Library, 13 wolum«; (jMCnptiv* teohln free. Ws slio publah TAs Writtr'a Monthly. Ih« trad- ing mscsiine lot lavtmry worh^ ; sample copy 10 cents, snnusi •utMcriptwn $1.00. Besides our Icaduog tcrvK*,, offer • pisnuscnpl crnlosm servlcv. ISO-Page illustrated catalogue tree. Pha— A. Springfield, Mass. The Shadow Stage BUMIOMS! j Hump Vanishes — Pains Stop TRY IT AT MY RISK ti^at buriKiriH Stt.iiH pt.in ninu.et Inatantly- barihhcfl the ukK hump niit\ tirei). Bwciil. n. hurninK condi- tion. You run waar a amailar aho* with com- lorl Tent it at mv riak. !• irm trinl convlncaa. No aiiparMtua. no rUstor, no shi.'Itl ..r It Is 1/ PIDOOYME «or Buniona You will say It Is wonderful :„^s?°r^7rn,'* n- »^■•l*;nT,^'1r^^» Aihlre - Nav LaBORaTORIKa. S3B So. Dasrborn St., Oapl. « JS3. Chlcs.o, III POSITIVELY REMOVED by Dr. Horry's 1- rcckic Oinimont; Ymir (liiHTK'r,t or l)y m.iil. (> ic l- rcr book. Dr. C. H. Barry Co., 2$7S Miohlgin Avenua.Chloiio. FRECKLES ( Continued) scarum jumbling of complications that mean little to anyone concerned. Matt Moore and Marjorie Daw dashed hither and thither amusinply, Tom Guise was excellent as the irate pa and Christine Mayo made an at- tractive trouble breeder when needed to quicken the lagginR spirit of the farce. Marion Fairfa.x fashioned the scenario from an Edgar Franklin story. THE LOVE EXPERT— First National WH.\T is true of "Don't Ever Marry" is also true of John Emerson's "The Love Expert," with Constance Talmadge again the engaging star. This is another of the artificially propelled type of farce, never by any stretch of the imagination a plausible or even a possible series of complications but cleverly tricked out with Anita Loos titles and here and there brightened with a bit of comic acting by Miss Constance and the members of her troupe. The heroine in this instance, determined to marry a cer- tain young man whom she finds engaged to a spinster and handicapped with a family of unmarried sisters he feels must be pro- vided for before he can step off, proceeds- to clear the matrimonial decks by finding suitors for most of the cast. The fun flows rather evenly for a reel or so, but after that it becomes clogged. I am not sure there is not a public for this sort of thing, par- ticularly in the hinterland where the com- petition in pictures is not strong. But I am sure the making of such pictures will add nothing to the reputation of a director who usually can be depended upon to pro- vide an hour's solid entertainment with any production to which he signs his name. THE PRINCE CHAP— Paramount' Artcraft THEY couldn't have selected a better ve- hicle for Tom Meighan's first stellar ef- forts than "The Prince Chap," from the popular old play. There will not be a more popular ma'e star in pictures when everyone has seen it. A simple story of the love-life of a wholesome, strapping .American artist, it is ready-made for Meighan, and he brings to it that complete sincerity that distinguishes him from the arrow-collar actors. If you like Meighan — you will go absolutely crazy about him in this. If you don't, he'll convert you. His scenes with the youngest and intermediate "Claudias,'' the latter played by that most intelligent child actress, May Giraci, are scenes of sen- timent that even hardened old mothers and fathers, and certainly bachelors of both sexes, will stay to see again. Kathlyn Wi'liams is a perfect Princess .Alice. Lila Lee as Claudia- grown-up is inclined to dumpiness; she should take exercise. William DeMille's di- rectorial methods are those familiarly re- ferred to as "sure-fire." Anyway, he's not "Cecil's Brother " any longer. A MAN THERE WAS— Radiosoul Films INTRODUCING the Hobart Bosworth of Sweden — also the Scandinavian Thomas H. Ince of directors. Victor Scastrom di- rected and acted this sombre adaptation of Henrik Ibsen's poem. It is a splendid drama of the sea. Unexcelled scenes in a stormy sea, a sustained and strong portrayal of a Viking by Mr. Scastrom; picturesque peas- antry and a rugged rock-bound coast — it holds you for the hour-and-a-half required for its running, and makes you want to sec more of Ibsen's poetry on the screen, more of Scastrom's acting, and more of the north- ern seas. It is .so simple as to story and continuity and cutting and acting that one wonders why some of our output, not nearly so mighty, should use up so much energy and emerge with so much ostentation. DOWN ON THE FARM — Sennett'Umted Artists GOOD old Teddy — most valijfnt and pa- tient of canines! Who can count the dull comedies he has saved with one wag of his tail, the babies he has rescued, the damsels-in -distress he has diverted from death? Teddy, in this first long Sennett, comes close to stealing all five reels of it- He is aided by Pepper, queen of cats; one mouse; Louise Fazenda — who is just as at- tractive as any water-baby when the di- rector will permit; Ben Turpin, and John Henry, Jr-, the clown of infants, the burlesque of all babies. There is Marie Prevost, but unfortunately not so much of her as usual. Louise is the whole acting show. All the old tricks and no new ones are employed, so that there are many chuckles but few laughs. It starts off glo- riously; you think that at last Mr. Sennett is going to show "em- But he can't — or doesn't — keep it up. Our idea after seeing this is that Mack has a lot of stunts all nicely catalogued; his directors — for he is only a supervisor now — are permitted to select so many for each two-reeler, and so many more for this five. There must be some good ones left, but we should like to see them. CHILDREN NOT WANTED— Republic THE villain, in this case, is the landlord who bars children and welcomes dogs. "Children Not Wanted" relates the ston.- of a girl who finds her adopted chi'd an economic handicap. Those who heed the lesson may learn the relationship of rent and race suicide. The picture is plain, ordinars' movie, plus propaganda. Edith Day, a mu- sical comedy star, is a pleasant heroine — mild and sweet, but somehow rather convincing and sincere. DANGEROUS TO MEN— Metro A PERT little comedy with a pert little actress. A grown-up girl, adopted by a professor, passes herself off as a twelve- year-old child, for some reason or other. You know the answer to all these guardian - and-ward plots. \"iola Dana as ElLza "vamps" everyone in the cast. She has the soul of X'alcska Suratt in the body of a child. While we hate to seem all moral and particular, some of the farce vamping didn't seem to fit into this type of picture. You ought to be able to take the children and enjoy a story of this sort in peace and com- fort. Milton Sills, as the guardian, has all the dignity and poise that Miss Dana lacks. THE MOTHER OF HIS CHILDREN — Fox THE MOTHER OF HIS CHILDREN ' is announced as a "drama of high life in Paris." So this L* Paris! There is nothing very harmful and nothing very Parisian about the picture. Gladys Brockwcll. as an emotional actress, is bound to have stories of this sort. Mks Brockwcll is seen as an Oriental princess in love with an .American artist, who is married. The wife obligingly dies in time for the happy ending The Oriental atmosphere in the pic- ture reminds you of a fortune-teller's parlor and the Parisian atmosphere reminds you of — well let us sav the Fox studios. K\vry ailrrrllwmrnt In moTOrLAY M.MIAZINT In cuariuitwtl. h'HOTOPLAY iM.UlAZINE — ADVEHTISING SECTION I I I The Shadow Stage ( Continued) THE BLOOD BARRIER— ■ Blackton-Pathe J STUART BLACKTON produced this • melodrama from a story by the late Cyrus Townsend Brady. It is all about a man who is so jealous of his wife that he commits suicide and allows her to think that the man she really loves did the dirty deed. And then there is a lot about foreign agents, who plot to learn important trade secrets. That's an after-the-war complication. They use to plot to obtain the diagrams of the harbor. The picture is rather unconvinc- ing melodrama and the leading roles are played by Sylvia Breamer and Robert Gordon. BLACK SHADOWS— Fox TWO innocent girls . in the clutches of a crook. The crook hypnotizes one of them and forces her to steal glittering dia- monds. Peggy Hyland, as the non-hypno- tized member of the duet, exposes the crook and clears herself of the charge of being a confederate to the deed. The picture is fjeopled with crooks and society folk and it is neither good nor bad. THE HEART OF A CHILD— Metro IT IS Nazimova who undertakes to show us the heart of a child. And it is this rainbow Russian actress who plays the role of Sally Snape, London street urchin, who dances her way from the gutter to an an- cestral castle. There is a charm in Frank Danby's book that you do not catch in the picture, largely because the picture is put together in rather messy fashion. When all is said and done, Nazimova is Nazimova and not Mar>' Pickford. And Charles Bryant is Charles Bryant and not the youthful and ingenuous Lord Kidderminster. DOLLARS AND THE WOMAN — Vitagraph THE complete visualization of the story which appeared in last month's Photo- play Magazine presents one of the finest domestic dramas the screen has known. It is so fine that anyone reviewing it for critical purposes is put entirely off his guard, being swept along by the intimacies of it, the reality, the tragedy, and the finale of poig- nant happiness. A story like this one never grows old. It was made for Lubin some years ago with Ethel Clayton in the ro'.e of Madge Hillyer. It was directed by the same man who conducted this later Vitagraph ver- sion— George Terwilliger. And here is a di- rector! If Vitagraph knows what it's about, it will re-engage the services of Mr. A'bert Payson Terhune, who wrote the story in fiction form, or another writer like him; Mr. Terwilliger, Lucien Hubbard, who made the scenario; and this triangular cast: Alice Joyce, Robert Gordon, and Crauford Kent— and issue a series of domestic dramas, with this first one as a standard. You know the story. Alice Joyce contributes a character- ization which has never been bettered by any actress in screen annals. She is so good that you wonder why a sympathetic part like this has never drawn her out before. Her greatest charm, that inimitable reserve, is broken down a hit here. This is a new Alice Joyce. Robert Gordon, after his dis- appointing parts in Blackton pictures, scores strongly here in a part fu'l of opportunity; he is one of the best of our younger serious actors. Crau'ord Kent is the third angle of the triangle; if any other actor could have played the part better, we'd like to know about him. (Continued on pageii6) ^ 'M^ Quality Group All the packages shown here contain chocolates ancJ confections of precisely the same high quality as those that are put in the Sampler. The difference is in the kinds and assortments packed in each box not in the quality. It is never easy to keep con- stantly faithful to high standards of quality. During the war, and this trying reconstruction period, it has been unusually hard. Our success is made possible only by the constant, daily, faithful atten- tion to the countless details that go to make perfection, on the part of the workers associated with us. The quality originally put into the 'Whitman products is maintained also by our plan of distribution direct to selected stores in every locality acting as agencies for the sale of Whitman's. STEPHEN r. WHITMAN &. SON, Inc., Philadelphia, U. S. A. 5>o!e mcke-s cf T.'h'tmcr.'s Instantaneous Chocolate. Cocoa and Ma^shmallow V7h:6 famous FRENCH Depilatov-y for removing hair A delicately perfumed powder; removes hair, leaves skin smooth, white; for arms, limbs, face; 50c, also $1.00 size, which includes mixing cup and spatula. At drui; and department stores. Send 20c for trial sample and booklet HALL & RUCKEL, 112 Waverly Place, New York Guaranteed Garter Comfort The guarantee is binding, but the garters are not. No restriction upon leg muscles or circulation when you wear the GARTER "Wide for Comfort" The E. Z. Garter is the ideal garter for dress wear — for sport wear — for any wear anywhere. If your dealer cannot sup- ply you. send his name and we will see that you are supplied. The Thoi. P. Taylor Co.. Dtpl T, BridKcport, Conn. When you write to advenisers plcaso mcnUon PHOTOl'LAY MAGAZINE. I 12 .M \(.A/IM: — Al)\ KHTISING SECTKJN The Final Touch Have a complexion that stands the most critical Kazc. Win the admiration that only the bloom of youth can win, by using Carmen Complexion Powder It imparts to the most lovely natural complexion an added subtle charm and gives even rough skins a velvety smooth- ness that challenges close inspection. White. Pink, Flesh, Cream ar.d the Exquinile New CARMEN BRU- NETTE Shade— SOc Everywhere T_;_| Off<»i» '^'^ shade Carmen I ICXl V-'l 1 cr Itrunette has proved so pop- ular we know you would like to try it. So ecnd 12c to cov- _ cr postage and ^^«nn/^ packing and we — -^^^^'^ will ecnd you the purse eizc box with two or three weeks' supply. Or wo will send any other shade preferred, Stafford ■ Mill CompaDy, St. Loult, Mo. _, , _ , The rtnal Touch F'l, r I II . .1-. I li.' 111. ^-l < oh. .11- [rt^it^^) produced. .Ma.le without alcohol. / \ ..iiiRlo dr»»p lantH a week. Hnttio like picture, with long kIiius Btopper, Ki>»o or Lilac Sl.W; I.ilyof the Valley or V iolct SJ.IKl; ( Hotiianz.T. our very latcHt Flower ' Dropw. $2 Ml. Bond 20 ct». Btarnpn or Hilver fi>r mlaatnra bottle. Flower DropH Toilet Water, — fi o?.. hottlen. SI.. V); Talcum Klaus jars, 50c: at druKKii'ts or by mail. Ffowcrt^rops lii. r.-r'H Mon A niour T-erounce 51 .Ml- (i..r.li il OiHcn SJ (HI; Alca- z.ir $2.-i.; I'arfuni Itieiizl S2.:0; Il.molulu Boiiuel $\m. At dniK- Bl«tH or by mall. HiahlnK finer. Send Sl.CWI for Koinc nir boi of livl^ 'iK- boltli'M, diffi rcnl o.lors. Iv'T^) Ifil Tir d Si . San FrantiKO •J 7 Human Stuff (Continued from page 55 j greeted Romero, the overseer, who stood on the porch with his sister Boca. In their exchange of fireetings one could read the relations between the members of the trio — • the dominance erf the big Bull Elkins, the servility of the Mexican, Romero, and the obvious ownership of the weak and sensuous Boca. "Well, Romero, our plans have come through — the old man wants to sell this ranch." Romero smiled his satisfaction. "And of course we are still fifty-fifty?" There was a hard look with the half-query, half-command. "Of course." The party moved into the ranch house for a drink. Driving a buckboard, with his baggage aboard, Jim Pierce entered the ranch yard gale. Romero and Elkins, coming out at Boca's call, greeted the visitor. "I'm the new owner of the Twin Hills ranch," Jim explained. Elkins interrupted with a snort. "I hold an option on this here ranch and I intend to buy it." Bull Elkins and Jim exchanged the looks that spell trouble. "Here's the bill of sale; I've got it." And that from Jim closed the argument. Elkins looked at Romero and nodded with a meaning that their deal was off and the scheme to get the ranch for little or noth- ing foiled. He also looked his hate for Jim, the instrument of their disappointment. While Jim's effects were being unloaded and taken into the ranch house. Bull and Romero went into conference out in the yard. "This tenderfoot won't last long, Romero. Vou stick to your job, and I'll see you in the morning." In the ranch house Boca with her wiles was trying to make herself pleasant to Jim, who either ignored or did not understand the Mexican girl's advances. Out alone on horseback, Jim made an inspection of his newly acquired property. Pulling up on a hill top, he swept the roll- ing acres with an eager eye. From his pocket he drew a flask, started to drink and stopped. As he looked over the big open landscape in the clean sweep of the wind he drew a deep breath and then — with a de- cision made — threw the flask away. He had i)ut that, like the city, behind him. BACK at the ranch house Jim called the men together to make an announcement, an announcement of which he probably had not measured the meaning and daring, out there in that cattle country. "As a cattle ranch this place has failed," Jim said, looking rapidly from one to an- other of the ranch hands. ".And I intend to develop it along other lines. From now on this ranch will be devoted to sheep rais- ing." If Jim had tossed a stick of dynamite among them there would not have been so much consternation among the cowmen. Romero jumped to his feet, his eyes aflame with insult and hate. "Please, senor, Romero knows cattle — I will not be foreman of a sheep ranch." ".Ml right, if you feel that way," Jim re- plied quietly. Romero left with a flourish of bravado, followed by most of the ranch hands. Two remained to cast (heir lots with the new owner and his experiment in sheep raising. The departing ranchmen, under the lead- ership of Romero, reported promptly to Bull Elkins at the Circle X. His decision was immediate. Liory advccUsriucnt In I'llOTUFLAY 3kIA0AZI>>'E Is cuaraiurcd. "Every man of you ride to a different ranch and tell them this tenderfoot b going to turn the Twin Hills into a sheep ranch. " Boca, too, took her departure from the Twin Hills, with the declaration that she would not remain "to wait on sheep herd- ers." The cattlemen rallied at a meeting at Sago and Jim rode there to have it out and un- derstood with them, once and for all. Elkin? and Romero were there to "bah — bah — sheep" at him and incite the anger of the cowmen. Undaunted, Jim went into the hall, faced the cowmen and made his speech. "As owner of Twin Hills, I feel justified in using it to the best advantage and after studying it I have decided it is to be a sheep ranch. I thank you for your atten- tion." Jim bowed, turned and walked out. As he passed through the door a shot rever- berated in the hall and a bullet spatted into the door-jamb. Jim wheeled and saw Elkins trying to conceal a smoking gun. "I have your challenge, Elkins — and a man's back is generally considered a pretty big target." Jim turned again and went quietly out. His fight had been won. THE success of the Twin Hills at sheep raising vindicated Jim's decision in a few months. The rundown ranch began to assume an air of prosperity and cheer, with plenty of paint, a clean lawn and all in neatness. Jim sat in the late afternoon light on his verandah, scanning a magazine idly and pat- ting an affectionate sheep dog with its head on his knees. The magazine's pictures en- gaged his attention as he thumbed over the pages. Then he came to one that both in- terested and annoyed, a love scene from a play, in the evening dress of "the folks back home." "Shep!'' The dog was up at attention. "You and the boys are pals to me, but this ranch needs something more — somebodv else." Shep wagged his tail in assent and sat down again to survey the landscapte. AMONG the "folks back home" Destiny was at work upon an unexpected de- velopment in affairs way out there at the Twin Hills ranch. A garden party was in progress at the Pierce home, with Mary and Lee Tyndal at a table together, chatting of the noth- ings of the day. Lee sighed as the con- versation lagged into a lull, and looked oft away from the table with a manner that told her companions her thoughts were miles and miles away. "Why so pensive, little one?" The girls were in a teasing mood. "Who is he?'' "Xobody! " Lee snapped back at them "But you can tease all you want to; I'd rather go ranching or farming than keep up this interminable teaching, teachinc. teaching, trying to hammer a little languacc into the heads of my pupils." Mary laughed out with a bantering sug gestion. "Let's write Jim. He will be able to help you locate." .\nd so the letter went off. \i that minute "Old Washboard " Pierce Silt in his study reading the latest letter from Jim. " — -As I have written before, the ranch is a success, but I'm lonesome. Have made up my mind to rnarn.-. I PHOTOPLAY MAGAZINE — ADVERTISING ;5ECTION Human Stuff ( Continued) don't know whom. I'll leave that to you. Select a girl, and make the circum- stances plain to her, a business propo- sition and matrimony. I will drive in to Sago June 20 for reply, either by letter or the lady in person. "Your devoted son, "James Pierce, Jr." AXD so it came that on the twentieth of June, Jim drove up to the depot at Sago, mildly expectant. And it happened that just that morning Romero called for the mail for the Circle X. .'\11 of which gave the deviltry of fate, through the instrumen- tality of the postmaster, a chance to mix things up considerably. As Romero started out, the postmaster called to him: "Say, there's some mail here for the Twin Hills. Will you take it out to them?" Romero, with a crafty look in his eyes, agreed. Safely out of sight, he opened the mail for the Twin Hills and discovered the letter from Mary telling of the coming of Lee Tyndal, and her quest for a ranch. He rode away home to the Circle X, thinking out a scheme as he rode. When Jim went to the postoffice he found a card on the door. "Gone to dinner — back at 2 P. M." Then the whistle of an ap- proaching train drew him back to the sta- tion. Jim rubbed his eyes with amazement as he saw a girl, unmistakably Lee Tyndal, alight from the train with an array of bags. His head awhirl with questions, he stepped out to meet her. "I never thought you would be the one to come out here, Lee." "Neither did L" She smiled. "But busi- ness is business." Jim looked at her sidewise and murmured to himelf in his amazement at her apparent calm acceptance of what he admitted to himself was a curious situation. Jim led Lee to his buckboard and to- gether they drove off through the hills to- ward the Twin Hills ranch. At the Circle X, a peculiar tete-a-tete was in progress. With a jug of vino between them, Boca and Bull Elkins sat at the table. "My brother Romero ask me when you and I marry, Bull — why you don't marry me like you promise?" "Wait till we get this infernal sheep herder out and get the Twin Hills ranch. ' Bull was conciliatory even though refusing. Romero rode into the yard and shortly he and Elkins had their heads together over the intercepted letter to Jim Pierce. When Boca joined the group Elkins handed the letter over to her. When she had finished he drew Boca and Romero close to him and unfolded a plan aimed at the undoing of Jim. It was the kind of a game that Boca liked to play. She hurried away. WHEX Jim and Lee arrived at the Twin HUIs and entered Jim was astonished to see Boca reclining on a couch, leisurely smoking a cigarette. She affected a well studied air of belonging there. Jim looked at Lee and Lee looked at Jim. His violent embarrassment was swiftly mis- understood. "I hope I am not intruding." Lee's voice w^s frigid. "Your little friend is very at- tractive." "Er — yes — I mean no !" Jim was stum- bling over himself in a confusion that did not improve the situation. Boca chose this moment to step out of the room and Jim Pierce was left alone with Lee Tyndal whom he now knew was -hung with silken folds To artfully guard this beuuly rare 'Cainsl insolent wind and sun's bold stare.- -Xiza In the sun of beach, or links, or tennis court, in the whipping, dust-laden wind of the motor road NYSIS TALCUM protects the complexion of today's fair daughter; keeps her skin smooth, soft, and youthfully fresh. 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Ofpi. 17. 020 Windsor Avf,. fllirAf.O Human Stuff ( Continued j the one girl who really counted. But she was back in an instant as Jim started to show Lee to a room. '•I will show the lady." Boca spoke with a quiet assurance, taking charge of the sit- uation before Jim could uller a word oi protest in his perplexed state. He yielded and walked out on the porch. He wanted air, quick, to think. Boca turned swiftly to Lee, with a well assumed injured, wistful air, speaking in her softest Mexican accent. "So you have come — to take my place — no?" Lee looked at the Mexican girl, wonder- ingly. Out in the yard Jim was questioning the men as to why Boca was there. They knew no more than he. Boca played her part well. "You can no fool Boca — Senor Jim tell me you have come to be his woman." Lee drew back, overwhelmed and indig- nant. "Mr. Pierce has lied to you. I came here expecting his assistance in locating a home- stead." Boca's face lightened and she hastened to seize this little advantage. "Please, if you come for ranch — my brother has nice place he will show you." "Where does your brother live?" Boca was voluble in reply, with many de- tails and an ardently glowing description of the place that Romero had to show. She concluded with a plea. "You will not tell Senor Jim of this? He will hurt poor Boca." Jim and Lee met in the living room, en- tering at the same moment. "Come, I will show you the place." "Thank you — Mr. Pierce — I will look over the place alone." Jim drew back frozen with her glance and Lee swept out. With Lee gone, Jim turned on Boca. "What are you doing here?" "It is because I want you — for — for me." A stormy scene followed with Boca plead- ing a suddenly born infatuation, begging for consideration, begging that Lee be sent away, begging, begging, crying. Jim fled to the porch to escape her evident hysteria. As he went out she grinned at his back. Lee was briskly on her way to the Circle X, following Boca's w-ordy directions in their recent conversation. Bull Elkins and Romero saw the young woman approach and exchanged glances of understanding as Klkins stepped into the yard to greet her. "I want to see Miss Boca's brother." Elkins smiled with as much politeness and cordiality as he could muster and, turning toward the house, called Romero. Romero was glad indeed to show the place the lady wished to see — it was indeed a great bargain, he assured her. Lee and Romero drove off into the hills beyond the Circle X. Craftily eyeing them, Bull Elkins wailed a while, then mounted a horse and followed. .At his cabin in the hill Romero with rare Mexican grace showed Lee about the place, then led into the house. Lee was occupied with the arrangement of the interior. A lock snapped and she wheeled about to see Romero turning the key in the door. "Why do you do that? What arc you locking the door for?" A cruelly crafty smile spread over the Mexican's face as he leered at Lee. "It is not for ranch I bring you here — it is for me." Lee shrieked as Romero sprang at her. BACK at the Twin Mils ranch Jim Pierce was growing increasingly unea.sy as time passed and Lee did not appear. Determined to make a quest, he slapped on a hat and started away from the house. Boca ran pleading after him. In disgust and alarm he threw her from him, this time with no gesture of patience. In a flash she became a raging fury. She picked herself up and glared at him. "Your sweetheart will pay — even now she is with my brother Romero." With a swift motion, Jim seized the Mex- ican girl and tightened his hands on her throat. "Where? Where? Tell me or I'll choke you to death." "At his cabin," Boca gasi>ed. Running for his horse at top speed, Jim mounted and galloped away, praying that he might not be too late. Bull Elkins, riding trail on Romero, came upon the Mexican's cabin while the strug- gle with Lee was yet in progress. He dashed in, crashed through the door and sent Romero spinning, a bullet through him. Then he turned to Lee, who sat, tied to a chair by her tormenting captor. Elkins' manner was the depth of apology and alarm. "I am very sorr>-. Miss, that you have been treated this way." Romero was in tlight and Elkins still talk- ing .when Jim Pierce rode up, his horse a-foam with the terrific pace. With little to say between them, both dazed by the day's developments, neither understanding the other, Jim and Lee re- turned to the Twin Hills ranch house. There she spent a sleepless tossing night, her be- wildered hate for Jim growing hourly as she pondered on the stor>' told her by Boca. When morning came she emerged from her room to find Jim waiting and the break- fast table laid for two. "I prefer to breakfast on the train— Mr. Pierce." She was ready and determined. Jim did not even try to discuss anything. "Hook up the team, boys, and load her trunks." They reached Sago station in the nick of time to catch the train. Lee bustled aboard and Jim was hurrying the men with the trunks when the station agent ran up ex- citedly and engaged Jim s attention. "There's a shipment here for you — been here three days waiting — and I wish you'd get it out of here quick; I'm tired of feed- ing 'em." Jim's dumfounded gaze followed the sweep of the station agent's hand and took in a crate containing a mother collie and a litter of pups. "An' here's a letter that come with 'em." The agent pushed the note into Jim s hand. Jim read it in feverish haste. "My dear son: — What you need is a companion, not a wife. .\ dog k af- fectionate, obedient and reliable, staunch in its friendship, uncritical and loving. Be kind to her and her offspring. "Your devoted father. "James Pizrce." A great licht began to break for Jim. The train was pulling out. He swung onto the hand rail and jumpetl aboard. .\l this moment two of his faithful sheep-herders rode up pell-mell. With Western swiftness and decision, on an errand that could brook no delays, they spurred up ahead and with a flying leap one of the men reached the engine cab, covering the engineer with his guns and ordering the train stopped. In a flash the other was aboard and run- ning back through the coaches, seeking Jim Etc-ry aclTprtNcmwit In I'llOTiMM AY M.M;.\ZINK. Is Biiar«nl<^. Photoplay Magazine — Advertising Section Human Stuff ( Concluded) Pierce. Meanwhile Jim was clutching at Lee's seat, as she sat with face averted. "Did my dad send you out here? Tell me that much !" "No, certainly not — Mr. Pierce.'' ''Why did you come?" "Perhaps your sister's letter did not ex- plain !" "My sister's letter—?" Jim was befud- dled entirely. His sheep-herder burst into the car wav- ing a bit of paper, shouting: "Boca send this! Boca send this!" Jim seized the paper and read it to Lee. "Dear Girl from City:— "I am sending letter Senor Pierce never got. I told you lies. Forgive me. The reason is in my brother's grave. "Boca." Then Jim read Mary's letter about Lee's quest for a homestead. The situation was clearing rapidly. "Well, Lee, my ranch is not exactly the kind of a place you had in mind perhaps — but maybe it would do!" And so it came that the afternoon sun smiled down on the return journey of the Twin Hills buckboard, with the collie and her family in the crate behind and Lee and Jim sitting very close together on the front seat. Playtime Clothes (Continued from page 49) outlined with the wool embroidery, that was also used to complete the short sleeves. The narrow belt was also finished with the em- broidery. This frock cost $80 in the shop I am talking about, but if you have nimble fingers you can reproduce it at home for S8. And the coarse wool embroidery that is used so much this summer is easy to do and goes very quickly. Gingham hats, soft, wide-brimmed affairs, arc being made to match the wash dresses. Sometimes they are entirely of gingham, while others have a big pert bow of white .organdie. You can be sure of being in style, however, if you make your hat to match any of your wash frocks. If you have to spend the summer in town vou needn't forego the pleasure of wash dresses. We started w-earing them on the street during the busy days of the war, and it is one of the wartime styles we are continuing. The sensible girl can dress quite as coolly and prettily for her office as the girl who spends the summer in play. When there comes a rainy day in town there are stunning new coats of white rubber and little patent leather hats to wear with them, or if you like taffeta better, there are rubberized checked taffeta coats that are just the thing for rainy weather. You will also find that a leather coat is quite as much protection when it rains in town as it is for wear in the country. And for tramping on bad days, there have been some new suits devised — ljut I shan't tell you about them until next month. liiiiiTnTHiiiiuiHiiiiiuiiHUlllllHlin "Best Knit" Hosiery gives greater service than many more expensive makes. The lustrous appearance is one of its distinctive features. And it always fits perfectly. "Best Knit" appears stylish — is stj'lish. The extreme care in knit- ting and the selection of high qual- ity materials are assurance of this. Made in full range of colors and most desirable weights and styles. Silk, lisle, silk plaited, silk lisle. Secure from your dealer. Or write us direct. Milwaukee Hosiery Co., Milwaukee, Wis. ^^To Win, Secure a Satin Skin" Choice of the smart appearing, well- groomed and refined. You can make no mistake in selecting Satin Skin Cream and Satin Skin Powder, for your own toilet table. As dew feeds the flowers, Satin Skin Cream brings new life and satiny smooth- ness to your skin. Usually described, by its friends as the "classy cream," Satin Skin is in a class by itself. Frag- SATIN SKIN POWDER "Perfection for complexion" is heavier than ordinary face powders, because made to adhere. It does not fall upon the apparel, or blow away, but holds, serves the pur- pose intended; does what a fine powder should do. Satin Skin is best for party and theatre because of its adhesiveness and the ap- pearance of completeness bestowed, it is rant blossoms, herbal extracts and honey the only real "full-dress" powder pro- of flowers make Satin Skin Cream what it is in quality. Without costly adver- tising Satin skin has quietly won its way, become the standard for others, the admiration of all. duced. For the street use, the new shade Satin Skin NATURELLE is simply stun- ning in effect, neutralizing the glare of day- light with a satiny, soft glow. Four other finest tints: Flesh, Pink, White, Brunei. I. At night apply Satin Skin Cold Cream to wet skin. II. Day and evening use Satin Skin Greaseless Cream. III. Satin Skin Powder gives satiny finish. Choice of 5 tints. Sold by druggi.t: SATIN SKIN LABORATORY. Mnfr., Detroit. U.S.A. PATENT;!SENSE , Rfi^ "U/ie Book for Inventors 6" Mfrs? ^ ^^^^^^J^^y By Return Moil FREE . WHtc LACCYfrLACEY, Dept. e. Wa9hiniton.D£ ("omirn. Cartoons. Commrr' Ncuopnpor and Mavb •in.' Illu-tlriitinK. fritw.i. ''.■rlmiUt nntl Fash ...i.H Bv Mall or 1am-« I laniii'^ Wntf forlrrmiiBn. I.mt itf flun-tfwiifiil itudcntA A«socUt*d Art %\u4%o- IJAFIatlronBM*. Nrw Yor When you write to advenistrs please mention PHoTOPI-AY MAGAZINJi. l^iioioi'LAv Ma(i azim:— Advehtising Section A strong clear, powerful voice of urpassing beauty can now be yours! -. Vou c.vn li.ue woiulcrful ranije "I nmc, errMcT ri(.liticss of qvLilily. more volume, niorc rcsoii.ince. In > tnir spare inoiiK iits at home ainl in an aniazinely short time you (an ol'l.iin a pcrlcct voice that wins adiniration and success. Wonderful New Meihod u^ir^e Improves Your Voice ;l;;■^::„^^.^r;hc or'.'";; u 1,1 1, ,,. .llv liri>'lucc lln- \ ' II c. I.c.irli iilmiil llic LiliRius rrnrhlinKf method. Just .1 li » iiioluciits iL.ily MicnlilK, f»/^if^ i-xrr' iscs ft! the vo<.il ortfaiis hriiiif aiii.iziiiif roults lnilne"Ntiiriils in •.{•^r, li .ire null klv ovcrcMinr tli>- I->n. Iilinni t ii.r-Hu.d. Ilusklnr-.-. Ii itsliii. ss and ..'iilini-iiiirnl.iinl.hrd. Nr. iKiillor li-.w iKinr y..iir vr.!. *. In now you rnn ^,,llv mnkcll prrfi-rl BOOK FREE it„!:rr;t'.'d".::;.' 1.-11.. nil al.oijl thia won.li-rlill. - nilr ilUrovcry of Ihi- o.'.'i „l .1 t..Tr... t v..l.'<.. It will ho r li. VI. II without rnnt orohllnUon If >ii.i «rli.. for II al onro. .Send lnLlnl t.,ili.r Aililr>"«: PERFECT VOICE INSTITUTE tn32 t%i.finv«li1* Av«nua SiMdIo 11-153. CHICAGO. ILLS. ^ My Direct from Paris . Now ploase be perfectly HONEST with your- self as well as with us (thru this advertisement.) Would you not be pleased and delitrhted to receive, AT YOUR DOOR— by mail— DIRECT FROM PARIS, with all custom charges paid, those prelty "chic" thinffs as soon as they come out, that the woman so loves to have and which the Paris workman is only able to produce : and which we deliver to you perfectly and quickly at prices '3 to Vj less than American retail prices. * Perfumes: Gloves; Hosiery; Veils; Hats; Blouses; Liiigrric: Parisiemie Pearls; Novelty Jewelry; French Ivory Articles, — everything to a Com- plete Trousseau — Direct from Paris to you. Ladies' Silk Stockings with Hand Embroidered Clocks - exquisitely madi^ — ?7..'iO per pair, orders dis- patched at once. STATE SIZE,— not more than three pairs to one person. Your Personal Check Accepted; otherwise Bank or Express Drafts- IVc Cannot Use Postal Money Orders. Register Your Orders. •• MOREED •• Cold Cream and Face Powder. $1. per Jar or Box, delivered. Our Hooklcl U shows many SI. to S5. arti- cles of Parisiennc Exclu- siveness. Our Assets: Personal Service; Values: Kvr/M- vcness: Satisiartion, ex- our wany Fru nds. evard Hauismann, ris, France l'\civ advrrlisc liut by the publ cinrnt ill IMIOTOPl.AV is Kti.it.inlccd. not oiilv bv 'I' ,-:;l,\>,' ":;<■':• ishrr. Whi n vdii wrilc to .ndvertisrrs please iiieni inn I'lK 1 1 ( )l l.A^ . | The Shadow Stage (Continued jrom page iii) BELOW THE SURFACE— Ince-Paramount-Artcratt THE successor to "Behind the Door." the latest release of that heavy dramatic combination — scenarioist Luther Reed, di- rector Irvin VVii'at, and actor Hobart Bos- worth — is morbid and manifestly manufac- tured. It starts off with all the force of that first Ince epic of the sea — this time showing a submarine-full of men enduring slow death by suffocation until Hobart Bos- worth as the diver Martin Flint risks his life to save them. Then it degenerates into the old story of the scheming city chap and his fair partner, who bamboozle the young son of old Martin. Nearly every old trick is called out, dusted off, and paraded — 'but there is a real wallop in the wreck of the night boat to Bonon, in which the city schemers meet a hideous fate. There are too many close-ups of Grace Darmond who, though pretty, is artificial. Bosworth is fine. But Ince seems to have erred in judgment in selecting Lloyd Hughes for prospective stardom; Hughes strives valiantly, but regis- ters insincerity and a weak chin. NURSE MARJORIE— Rcalart WE HAVE never read the original of this Izrael Zangwill stor\% but it's safe to say the author of "The Wandering Jew" did not write it as the film people have turned it out. Here it is a lieht, very light comedy, which serves principally to show that there is no more beautful camera subject than Mary Miles Minter. Mintcr in a nurse's cap, Minter dressed up; Mary smiling and Mary sad — a lovely, soft, living portrait, but not exactly good drama. Clyde Fi Imore is a new leading man who will have more than his share of feminine adulation when this picture is circu'ated. It's hard to be'ieve that this little expose b life as it is really lived in upper-class England. THE YELLOW TYPHOON— Mayer-First National AXIT.\ STEW.ART is the double bar- reled star of this picture of intrigue, ■gambling, stealing navy plans and ever>'thing else wicked you could think of getting to- gether in 6000 feet of film. When she wears a b'onde wig and a leer, she is that un- scrupulous lady for whom the picture is named, with a heart cold like a diamond and a glittering personality. When "ihe doesn't wear a wig. she is our good little heroine who docs valuable work for the secret service. The two are sisters. There is nothing appealing about this picture, though the star's acting is excellent. The picture is founded on a Harold McGrath serial in the Saturday Evening Post — and the incidents intended to thrill are too stereotyped to do their duty. Technically the picture is good. Edward Jose directed. The settings are gorgeous. 'Nliss Stewart should not waste her charms on such melo- drama. PASSION'S PLAYGROUND — First National THE title is an a'ias for li'l old Monte Carlo. It is the most pafsionate thing about the picture. The usual band of sharpers pursue the heroine, a convent-bnil Enulish girl who knows nothing of life, yet manages to break (he bank all riuht. As usual, an Italian nobleman falls in love wi'h her — but to make the stor>- diffcrenl, he i- not a fake prince, and he dors not have to marry her to retrieve f.imily fortunes. Th- big punch conies in one of these scenes, so (Continitcd on page izo) r.trry idnTMlioni. nt In l«noTOPl.,\Y MAC! \7.INr U i:iiiir«titrrd. Photoplay Magazine — Advertising Section Let's Be Fashionable 117 (Continued from page 41) But Henry's role of hero was short lived. He had not counted on two things — one that the owner of the trousers and the oil station would trace him to his home and demand his property, the other that Mrs. Hammond had driven the car home with her and would send Mr. Hammond over with it before Ijreakfast. "But Henry," Evelyn dissolved into bie, round tears after the departure of the oil station gentleman and Mr. Hammond, in the custom of young wives who have caught their husbands deviating from the path of truth for the first time, "but Henry — you told me — Oh Henry, how am I ever to believe you again? I don't want you to have anything to do with that Hammond woman again." "Yes darling, yes darling," soothed Henry contritely, magnificently ac- knowledging h i s fault — the first fault that had ever come to mar Evelyn's perfect faith in him — "I told you a bad, wicked, naughty lie. I will never, never, do it again." And Henry meant it. EVEL\^ had time to think things over while Henry was at work that day. Per- haps she had been a little bit harsh on the poor boy. If she was to be a fitting wife to Henry, if she was to see him through, to land them properly in this fashionable set, it was time she dropped some of her small town notions. When Bruce Grey came whizzing up the drive that afternoon, and asked her to go for a drive with him, she went — for Henry's sake. They had a very pleasant time, re- turning in time for Evelyn to meet Henry at the 6:04. She did not say anything to Henry about the ride. He might not understand. After that Grey called to take her driving several times — and once, when some friends from the city were out for the day, he invited her over to his home. "I want you to meet her. She's the sort of girl that shows you photographs of all her friends and relatives. Nice kid," he had said to his friends. At Grey's house, she had learned that it was fashionable to have decanters of things to drink sitting about. Grey gave her a bottle of Scotch to take home, and though it had been a rule in the Baxter Street flat never, never, never to have a drop of liquor about the house, she very reluctantly emp- tied the whiskey into the decanter that had been given her for a wedding gift and then hid it away in the bottom of the un- used cellarette. Henry, coming home earlier than expected one Saturday afternoon, loaded down with packages, found Grey in conversation with Evelyn on the lawn. For the first time in their married life he became suspicious. She had not been acting like herself recently. This "fashionable stuff" was getting on Henry's nerves. Where were the good old times when they had been content to spend their evenings at home getting their own dinners and then doing up the dishes after- wards? Gone, alas, gone. There was something mysterious about the place. He did not like it. But like a dutiful husband, he greeted Grey as cordially as he could Let's Be Fashionable NARRATED, by permission, from the photoplay produced by Thomas H. Ince for Paramount-Art- craft from the original script by Mildred Considinc. Scenario bv Luther Reed. Directed by LloyJ Ingraham with the following cast: Henry Langdon. .Douglas Mac Lean Evelyn Langdon Doris May Elsie Hammond Grace Morse Bruce Grey George Webb Mrs. Trude Molly McConnell Betty Turner Marie Johnson under the circumstances, and went on into the house. Soon after, the millionaire bachelor was on his way. Evelyn's conscience had begun to disturb her about Grey. So far he had been per- fectly proper and impersonal — almost too impersonal to satisfy that wayward vanity that is implanted in every feminine heart, and is the undoing of so many. But was she being exactly fair to Henry by accepting Greys rides during the hours while Henry was toiling in the city? She had planned a little surprise for Henry as a sort of sop to her conscience for that very afternoon. Why, oh why, had he come home on an earlier train ? She had planned just how she was going to tell Henry all about her little surprise as they drove home from the station in the car; now she wou'd have to think up a n e w w a y to ap- proach the matter, and Henry prob- ably would not be very agreeable about it, now that he had come home to find an idling young bachelor about the place. "Henry, Henry dear" — Evelyn called as she entered the door. Henry did not an- swer. Evelyn passed through the living room toward the stairs, and from the tail end of her eye saw Henry in the dining room. "Henry, darling," she said with sprightli- ness, coming toward him, "you'll never guess what I've done for you this afternoon." "Promised this man Grey that we'll go riding with him or some such bosh, I sup- pose," grunted Henry. "No!" Evelyn threw her arms about her husband's neck, and held up her lips for the accustomed kiss. "No Henry. I've made an engagement for you to play golf this after- noon at the country club with Betty Turner, You know what a crack she is and she told me that she'd just love to play golf with you some afternoon. She's coming over after while and you're to take her out in the car. Aren't you pleased?" Henry took this information as any inde- pendent, thinking, red-blooded young man would. Betty Turner, as he recalled it, was the plainest and least interesting of the young women he had met at the country club dance. "Evelyn, you and I have got on pretty well up till now." Henry's tones were cool. "I'm perfectly willing to make a fool of my- self over you when it's convenient for me to do so — but I draw the line at making a fool of myself over your friends — especially your plain friends. I prefer to make my own engagements for myself." "But Henry — I told her you'd go." wept Evelyn. "God!'' snorted Henry. "This is enough to drive a man to drink." With that Henry flung open the door to the cellarette, and spied the decanter of hidden Scotch. "Evelyn"— her husband's face set itself in desperate lines — "I dont know where this came from — some more of your worthless 'fashionability', I suppose, but I'm going to drink it all." Henry went into the next room. But when the door was closed with a tearful 3\3^o«' 1» INSURE HAPPY DA YS for those you love A Prudential Monthly Income Policy is like a radiant burst of sun- shine thru dark clouds. A Prudential Check can be put into the hands of your loved ones on the first of every month. Hundreds of American homes know this day as PRUDENTIAL DAY THE NATIONAL PAY-DAY Insure in dike 'rudenliat INSURANCE COMPANY OF AMLtJICA Incorporafed UnJcr ihcLdwi of rh« Srjicof New Jersey Forrest f dryden President HOME Orrict NCwASk.NEn AQSIV Wier. 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Guaranteed. Price $1.00 per pjir. Money baclc If not satisfied. Order totiindiii|Z atir) w rfphiffM iinti hMi'l"*rt |dii(-rd iiit4'rnal oruaiib; rt*- (liit i'H >i ha(-kii(-li<>. (iirviit u rrH.ni*rvonFtn<>H>i. mpt iiri'B, roiiHtil'ation. Coniforlahlf t\\\t\ pas> t Keep Yourselfl Fit M ritf I.Hln> for llliii.lriit.>d Look- li't. lucuHtiri' tit blank. v\*\. and ri'inl our vprv liberal i>rittMi..ii ion . HOWARD C. RASH I'rrs. Naliiriil lldtly Hnicc C «>. :i:iO Hush Ill- maker. "Where would you like to go?'' he asked. "Let's go to the links and see who's play- ing," nonchalantly. But they might better — for Evelyn's peace of mind that afternoon — have gone elsewhere. On arriving, Evelyn learned by indirect questioning that neither Henry nor Betty Turner had been seen about the course. In fact, Henry and his wife-chosen partner did not show up all afternoon. Grey invited Evelyn to dine with him, nnd she accepted. They sat on the veranda for a long time after dinner — but still no Henry or Betty Turner put in appearance. "Come, let's go for a spin," Grey re- marked suddenly, rising. "All right," as- sented Eve'yn gaily. She felt that she lould not remain still another moment, that she would scream if Henry did not come. Bruce Grey chose the least traveled of all the roads that lead from the Country Club to his home. The little kitten was perilously near losing her mittens. In a particularly secluded spot in the road, he stopped his car, turned about, and placed l;is arms deliberately about Evelyn's shoulders. "Vou dear little girl," he whispered to her. "Vou don't know how I've wanted to kiss you all these days — I'm going to kiss you now." But in Bruce Grey's well laid p'ans there was one factor he had not counted on — that Baxter street conscience. Now it blazed up suddenly in Evelyn Langdon and she turned on him. "Vou wouldn't dare!"' she snapped. ''Vou are going to take me home at once." "Oh. the kitten has claws," said Grey tauntingly. "But remember, my dear, that in the world young women cannot play with fire and not be burned." He started the engine without murmur. Grey left her at the little house with a curt "Good night" and sped away. Evelyn let herself in to a dark, Henry-Ie.ss bun- galow, and dropped on the couch for a good, hard cry. But why should she cry, she argued with herself. Were they not living in Elmhurst-tiy-the-Way ? Wasn't Henry's lousiness successful? Were they not meni- In-rs of an exclusive country club? Wcro Kti-ry RilriTlHcmnil In niiiri'iM. \Y M.\(;A/.IM". H mumnl.-wl. Photoplay MvtiAziNE — Advertising Section 119 Let's Be Fashionable ( Concluded) they not on the way to being very fashion- able? But it was some time before she could check, the tears. And as Henry's absence continued into the wee small hours, Evelyn's grievance changed to anger. It did not even occur to her to be frightened for his safety. SUDDENLY she longed for the dear secur- ity of Baxter Street — Baxter Street with its drab little homes, with its husbands and wives who loved each other and never paid any attention to any one else — unfashion- able Baxter Street. By the time light broke in the East, Evelyn had packed her suitcase and written a note to Henry, telling him she had gone a\vay because she could not bear to think of the lies he would tell her. Then she went to the station to wait for a train, preferring to sit in the cold, unfriendly depot than in the little home that now had become abhorrent to her. It was at least an hour after Evelyn slipped out of her home, that Henry — miser- able, cold, bedraggled Henry — slipped in the door. And who would not have been limp after a night stranded on an island in the river, with not even a match with which to light a bonfire, accompanied only by a silly girl who could see nothing in the situation except the threatened loss of reputation for herself that might arise from it? Couldn't she see that it wasn't his fault — that there was danger of disastrous con- sequences for him, as well as for herself? It was perfectly simple to explain. In- stead of going to the golf links, Henry and Miss Turner had gone canoeing over to the island in the lake. She had fetched a book along and for a while in the early afternoon they had sat under a tree and read aloud to each other. When they decided to paddle back, they discovered that their canoe had drifted away, and they were unable to attract the attention of any one across the lake. In the early morning, the perverse craft drifted back again. But who was going to believe it? Who was going to bciieve it? Would Evelyn? "Evelyn! Evelyn!" called Henry. At least if she saw him in that condition she might feel compassion ! But no answer came. As the silence became oppressive he ran upstairs. Evelyn's bed was untouched. Henr.\ found her note on the counterpane. "I'm tired of trying to be fashionable, and of being nice to people I don't care for, and living beyond our means," it read. "I've gone back to Baxter Street for a little rest. I didn't wait for you to come nome, because I couldn't stand to hear your lies. Don't try to hunt me up — I'll let you know when I want to see you." "Evelyn." "Don't try to hunt her up?" Henry grit- led his teeth. "Huh ! Fat chance she has of getting away from me." In a moment the Langdon flivver was kick- ing up the pebbles on the road to the station. The station master and the merchants who were down at the station looking after early morning shipments of supplies were astonished to see Henry Langdon bolt out of his car and onto the tail end of the train to the city, which was just pulling out of the station. "These young married folks is funny," remarked the postmaster. "Reckon perhaps she was going back to mama — been sitting in the station for nigh onto two hours. But he'll bring her back." And of course he did — they left the train at the next station, and were home in Elmhurst-by-the-Way in half an hour. The little Langdon flivver drove them quietly and sedately, as if it was a car that had suffered, and lived, and had taken on new dignity, down the main street to their bungalow. "Oh Henry," Eve'yn perched herself on the arm of Henry's chair, and laid her head tenderly against his precious hair. "Henry, let's not try to be fashionable any more. Let's only be iiappy." 'Henry, let's not try to be fashionable any more. Let's only be happy.' $95 an Hour! "Every hour I spent on my I. C. S. Course has been worth $95 to me! My Eosition, my $5,000 a year income, my ome, my family's happiness — I owe it all to my spare time training with the Inter- national Correspondence Schools I " Every mail brings letters fror.i some of the two million I. C. S. students telling of promotions or increases in salary as the rewards of spare time study. What are you doing with the houis after supper? Can you afford to let them slip by unimproved when you can easily make them mean so much'? One hour a day spent with the L C. S. will prepare you for the position you want in the work you like best. Yes, it will! Two million have proved it. For 2 ■! years men in offices, stores, shops, factories, mines, railroads — in every line of technieal and commer- cial work — have been winnintr promotion and in- creased salaries through the I. C. S. More than 100,000 men and women are gettinsr ready ng/l/noii' with I. C. S. help for the bigger jobs ahead. Your Chance Is Here! No matter where you live, the I. C. S. will come to you. No matter what your handicaps, or how small your means, we have a plan to meet your cir- cumstances. No matter how limited your previous education, the simply written, wonderfully illus- trated I. C. S. textbooks make it easy to learn. No matter what career you may choose, some one of the 2S0 1. C. S. Courses will surely suit your needs. When even'thingr has been made easy for you — when one hour a day spent with the I. C. S. in the quiet of your own home will bring you a bigeer income, more comforts, more pleasures, all that success means — can you let another single price- less hour of spare time go to waste? Make your start right now! This is all we ask: Without cost, without obligating yourself in any way. put it up io us to prove how we can htip you. Just mai !< and mail this coupon. TEAR OUT Hcnr • INTERNATIONAL CORRESPONDENCE SCHOOLS BOX 6520, SCRANTON, PA. Explain, without oblii;atin position, or in the subje t, EI.ECTItlrAI, F.N(;iNK(:il RIeetrle Melitlnr and Itji. Electric Wiring Telegraph Engineer Telephone Work UKeilAMClI, KVUINI-'KIl Ueehanlcal Ih-attemnii Haebliip Shop P;'aellr« Toolmokcr Ga9 Engine Opernllnc CIVIL ENGINKKK MSnrTvjIiit and Uapphir MINE KOIIEMAN ur EMi'll STiTIOMIiV K.VUINKF.Il Marino Engineer Ship f>ra(taninn ARCHH EC! Contractor and llnlldi-r trebltcolnral Drallinan Concrete nuiliK-r Structural Engineer HI.IlMIIINtI l.MI lIKt riNd Sheet Metal Worker Trillip OTdritororSupl. _iiiii;mikt □ Navigation g ine, how I carl qualify for th© hr/orf which I mark X. S.\I.ESM.\NSH1P ADVI' K riSING Window Trimmer Show Card Writer Sign Painter Railroad I'rdinman ILLt'STR.MING Cartooning nrsiNKti.s niMiiF.HE.^T Private Secretary BOOKKEEPER 8triiOKraplif r and I rplit Cert. Pub. Accountant FRAl-IIC MANAGEK Railway Accountant Commercial Law GOOD ENGLISH Teacher Common ,^l•tlool Sabjcat* Mathematica CIVIL SERVICE Railwnv Mail Clerk lVTOMi)IIILK^rERirilia into ll'palrlnr inSpaaUk _ leiliri'l.l HUB inFr«n 'GIFtSTHATLAST y d^tONTH OF T)AWP^ June is here, season of brides and happi- ness— of wedding gifts. Let your gift be jewelry, bright as a bride's dreams, sym- bolizing in eternal radiance, happiness that endures. Season, too, of graduation when in the lives of boys and girls new vistas dawn. Wish them joy of the future with gifts as lasting as your love. jIulhcrl-^Lt.H; Natltnal Jrwtlrri PuHUilf jlitxitilltn DIAMONDS • PKARI.S • OHNtS • IKWFI.RY WATCtlUS ■ CLOCKS • SILVERWARE The Shadow Stage (Continued from page iib) much the vogue, in which the heroine takes the blame for past deeds committed by an- other woman. The other woman has been shown working on tiny drefses and things and there is Us future to think of — not the heroine's, of course. But the picture ends as you want it — after several near murders. Katherine MacDonald looks very pretty and corn-fed as the star. There wih be those who like it, and those who don't. It is founded on "The Guests of Hercu'es'' by C. N. and A. M. Williamson. As some one said — "It's just a picture." THE SACRED FLAlvlE— Schomer Ross OR — "All for the soul of a school teacher who saved $6,650.75 !" Could such a thing be in thb day of underfed college professors? There were two men in the life of this school teacher ably and ma- turely portrayed by Emily Stevens — one to whom she loaned the $6,650.75 to help him get on his feet in the law business, the o her whom she married when the former bit the hand that handed him the money. There was an honest attempt to make something worth while in this picture. At least it is different. ALIAS JIMMY VALENTINE-Metro LOOK out for Jimmy Valentine. He's worth seeing. Only it's hard to believe — yes, we'll side with the matinee ladies — that such a good looking young man could have been such a criminal. Bert Lytell i< the reforming hero who will set all the femi - nine hearts to palpitating and ditto tongues to wagging during and after the performance. He looks like he had a deep soul. Jimmy X'alentine in pictures ought to be as popular as Jimmy Valentine on the stage. MISS NOBODY— National EVERYBODY'S child is nobody's child— so poor Bil ie Rhodes has a cruel time of it among the outlaws on Devil's Island, where she drifts on a raft when a baby. When Billie grows up, the outlaw chief de- cides to have her for himself — but she slips away in a row boat just in time to be rescu.d by a rich hero in a hydroairplane. The vil- lains are not all that is bad about the pic- ture— so are the subtitles, so is Billie when she cries close to the lens. (Oh, why do they let them do it?) Otherwise she is cute. The story is compelling, even though the production lacks finesse. It would not do for children's matinees. THE VEILED MARRIAGE— Hallmark THE hero was intoxicated, and the heroine temporarily blind when this veiled mar- riage took p'acc. He didn't know what he was doing, and she thought she was savin': "I will" to another man. It was all a plot of the vil'ain to get the hero's fiancee for himself. That Is some situation for you. I cuess I All you need now to make the plot ronsistcnt is to have the girl, after her eye bandages are removed, go to work in her husband's office, both unsuspcctinc of course, and have them fall in love. The scenario writer takes care of that. Anna I.ehr and Ralph Kil'ard are as good as such a story will let them be. They are not un-pirtorial. The picture is just so-so. KING SPRUCE— Hodkinson SPRUCE might have been king in the woods where this lumbering picture was taken, but Mitchell Lewis was boss. He proved it by thrashing ever>'body in sight that needed thrashing — which was pretty good for a man who up to that time had been a schqol teacher. But all the fights fail to furnish the big dramatic punch necessary to such a picture. Some of the best scenes are those showing the processes of lumbering. The subtitle brands our hero as a "col'ece man." He would look more like one if he trimmed his hair before calling on Mignon Anderson, as the young lady of his heart. It might have been a big picture — but it isn't. THE MIRACLE OF MONEY— Pathe THIS picture forces home the bitter truth that the time to have money is the time when most people don't have it — when they're young. The old maid sisters are left a fortune. They go in search of their youth, but clothes and ever>'thing like that don't make up for the years that are lost. Any man will tell you that w^hat this produc- tion really needs in it is a pretty young girl. It is a Hobart Hen'ey production. Mr. Henley's detail b good, but the ending is so conventional, as to be disappointing. Bess Gcarhard Morrison and Margaret Sneddon play the old sisters, and play them with nice quaintness. THE GIFT SUPREME— Republic THE scenario writers have been eating raw meat again. If you are a little tired of sleek, nice-mannered and well- dressed society plays, go to see "The Cii*^t Supreme" and learn that life still runs wild in some places. A stor\' of the underworld, it tells of the efforts of a fighting young man to down the seven devils of a corrupt city. Bernard Durning, a likeable personality, whirls through the action. Seena Owen, who reminds us of Grieg's music, is his lead- ing woman. As for the rest of the cast, how is this for a capable combination: Lon Chaney, TuUy Marshall, Melbourne Mac- Dowell and Eugenie Besserer? WOULD YOU FORGIVE'— Fox WHEX in doubt, give "em a problem play about the good old reliable dou- ble standard. The tit'e hints it all. .\ hus- band with a past. \ wife whose innocent actions are misunderstood. The husband rages but. learning of the lady's true noble- ness, subsides and promises to be a good boy. It is a fairly interesting and fairly dramatic picture. This picture promotes \'ivian Rich to stardom. In this case star- dom means tears, emotion and heavy acting. Tom Chatterton is her leading man. LIFTING SHADOWS— Pathe EMMY WEHLEX is completely sur- rounded by bolshevism and melodrama. In a frantic and foolish stor>-, you find your- self admiring her gowns. She is about as dramatic as a Strauss waltz. .\nd as beau- tiful. I.eonce Ferret's picture is all about a lovely Russian n-fugee who marries a drunken author, is accused of his murder, is hounded by the bolsheviki. falls in love with her lawyer and, in general, leads an excitinc life In spite of all that, you are genuinely interested in her gowns. "The pic- ture is gaudily produced. Stuart Holmes and (Concluded oh page 123) Kvory AilrortlTmmt In IMlOTOri.AY MAf; \7,1M' Ik (niariintrr>l. Photoplay Magazine — Advertising Section 121 Making Over Martha ( Continued from page 2g) "Come to!" And in the morning — '"Well," says Martha herself, ''when I'd get down to the studio, only half-awake and dead tired, I'd feci like reviving the old joke of the beautiful chorus-girls who arc the toast of the town by night: 'You should see us in the tnornmg!' " She has perhaps posed for more photo- graphs than any other girl in the world. She has a thousand camera faces. She can be the ingenue — the veritable, creditable in- genue. She has posed as a vampire of various guises. She is mirrored as the old- world young lady, as the intensely modern feinme of Fifth Avenue. But the camera has never caught — either the still or motion camera — the velvety sapphire eyes with their curious droopy lids, the clean-cut little nose, the firm yet pouting mouth. Very trig and compact is Martha; or, to quote Gilbert, "a bright little tight little craft." A beauty with an ambition; a marionette with a sense of humor; a show-girl with a real smile. She has the uncanny perspective on things theatrical, the freedom from pose, the quick wit and appreciation of good things that seem to come to girls who spend their hours in the theater, displaying their pulchritudes in Lucille gowns, the while their bright eyes are incessantly roaming the audiences, their minds unconsciously absorbing the many types, their wits continually sharpening to satire as their critical sense is offended. Martha Mansfield is a show-girl «e plus ultra — in the most flattering sense of the term. Beauty means so little to her that she would sacrifice it without a murmur to don the habiliments of humble drama. She has done it, in fact. But in "Civilian Clothes," her latest and largest picture, she plays the role which Olive Tell created in the legitimate, opposite Thomas Meighan, who has Thurston Hall's original part. And she is neither the ingenue nor the tragic Little Eva, but a worldly young woman with brains. Martha, be it said to her credit, can play a part like this very naturally. This girl who some people say looks like a beautiful tiger, with her tawny hair and subtle eyes, began life as Martha Ehrlich, and she has always been boosted for her beauty. She took her stage name from her home town, Mansfield, Ohio. She was chosen for Charles Dillingham's shows be- cause she was beautiful. She was Max Linder's leading woman in his Essanay com- edies because she was beautiful. She played the part of "The Spoiled Girl" in the James Montgomery Flagg film series of "Girls you Know," because J. M. F. personally picked her — for her beauty. But in all this time few people gave her credit for having any- thing but beauty; anvthing but a vacuum in that well-poised head of hers. She's given up the Follies for good. To anyone who has been a Manhattan favorite, that means something. She is spending all her working time in the studios. She will continue to do so until, someday, an enter- prising theatrical producer comes along and gives her the riu'ht kind of part in the right kind of Broadway play. She wants more than anything to be a speaking actress. She says she's an "easy-go-lucky'' sort of person; that she was really scared to death to play with John Barrymore, but finally found that he is not at all formidable ex- cept in his Mr. Hyde make-up; that she hopes someday to pose for enough pictures to last for a few months and then take a rest so far away from a photographer's studio that the prying eye of the camera never will find her; and that several years ago she had the ingenue role in the A. H. Woods failure from which was adapted that screen success, "On With the Dance." OTHINE strength — from your druKirist.anil appiv t littlt- of tt niKht iiiij inornine and you should soon aoo that ev»-n the worsit freckles have betrun to disappear, while the liKhter ones. havt. vanished entirely. It is seldom that more than jne ounce is needed to completely clear the skin and eain a beautiful clear complexion. He sure to ask for the tlouhic !ilrcnt:l>< OTHINE. iiif this is sold under ^ua^antee of money back if ir fails to remove freckles. . , Tlic New California Bcotitv Crsam.madeco ^jp;' men ihprc(iulreinent.sot(,'lliiiutp;a pcrfeitsklo food nn/us 2*: war tax. Miniature box mailed for 4c t^lus Ic war tax. The Freeman Perfume Co., Dept. 101 Cincinnati, O Don't be a Useless Weakling Wcuk.Hickly. unai'mio men have no chance in the buttle of life. Nobody Kilt's them a secorni thouKht— tliey don't count. The STRUNG man is the one every- body lookh up to: who iiiakeH friends on ever>* hand, who setH ahead in the world, who w ins the woman he wantH, who makes a success of Bife. Vou never will pet anywhere wort h while, if you allow the poison (if constipation to seep throueb >our system, stealing away your «'nerKy and befoKtiinn your brain. You can'r do anv work that counts, if vou are wracked l y ch ron icdysfx-psiaand indiK'*J^tioi). You won't make friends to help you on. if biliousness or any other ailment, makes you a sickly jjrourh. Get Rid of Your Handicaps You c-.iii do it— youcjiii fr- eyour- sclf of the ailmentsthat are niak- ins it impoBsible for >ou to do yood work and advance— that sooner or later will cause you to lose your present job. You can build >oursclf up; develop your muscles, clear your brain, strengthen everv vital orR'in and start fresh in the race of life, if vo.i will only FACK THE FACTS ANU ACT. It doesn't make any differenop wliat \(nir prt'sent condition is or even if your own early indiscretions brouclit you to it — make up your mind to remedy it, ^o about it the rik'bt way. and you will WIN OUT, STRONGFORTISM StronKfortinm is siiuply Naturt''s way of curinR human ills and buildluK up the human organism. No pa'cnl medicines or druKKi^t's do|»e about it. No ariiticial Kvstem of tiriiiK en'rcisos; no fatu-y frills of any kind— Just Nature's Way of Living Life. StrouKfoi t iem has rescued thousan ..11 :i . ..i.v ul ..nr.. LIONELSTRONGFORT Physical nnd Honlth Spocinlint 1292 Slronk^fort Inalitiito NF.WARK. N. J PARKER'S HAIR BALSAM l:.-in..ir- ll.n linU - II , i> I ,llil.^ Rcatorea Color and licautT to Gray and Fadrd Hair. ■liv. .mil Jl tKi .11 .IniKiii^K. I ' CI,,,-, \\'...l- IM, I,. .CMC N. V to sit in an aisle seat and look at the screen and see the actors — dear folk! — try- ing' to give every ounce of acting they have in them and ten ounces more. Because the actor— honest soul — is paid fifty thousand dollars a year, or twenty thousand, he or she feels duty bound to put sixty thousand or thirty thousand dollars worth of acting into each film. And that sort of whole souled, going-every-minute acting spoils most novels that are screened. Because motion pictures are not drama at all — they are motion pictures. Even the speaking drama is not all rip-snort act- ing; not the drama that keeps on the boards week after week. Far more is this true of motion pictures. If a scenario writer wants to compose a picture drama, meaning it to be "acted," with a star in the star part, and so on, it may possibly work out and onto the screen in a satisfactory manner, but a novel can- not be successfully done in that way. Motion pictures are, first, last and all the time, pictures. They are photographs — series of photographs — which mean they are illus- trations, just as the pictures in a story in the Saturday Evening Post are illustrations. A good serial story in the Saturday Eve- ning Post has, let us say, twenty illustra- tions. Each illustration tells a small part of the story, and we all like the stories we read to have illustrations, because they help us understand the characters, locations and events of the story. It would be quite possible for the Saturday Evening Post to put more illustrations in each story. I.f one hundred illustrations were printed, instead of twenty, a great part of the te.xt of the story could be cut out — the pictures would tell the story. In fact, the Saturday Evening Post could, by using a thousand, or two thousand illus- trations, with the proper captions, tell almost any story it ever printed, but those who know Mr. Lorimer's editorial ability know he would never permit the artist to change the story to suit the whims of the artist or of the artist's models. The artist would have to stick to the text, and the models would have to pose in a manner to picture the people the author wrote about and the things the author made his characters do. The result would be the story the author wrote, but done in pictures. THE objection to this method of put- ting a story before the public is that it would be tiresome to look at so many "still" pictures. What the film camera does is permit the public to "read" a story in exactly this way, but with life put into the pictures by making them "move." When an author writes a novel he knows what and why he has written. WTien the public likes that novel it likes it for reason- that are in the novel itself. The novel is "good" because of the characters in it, the plot the author has created, the locale he has chosen, and the way the characters work out the plot in that locale. Isn't it, then, almost wilfully murdering all chances of success when the producer de- cides to make a "drama" of what is only a story, and when the scenario-man whang- doodles the plot, and when the continuity man turns the whole thing back end for- ward and t'other end to, and when, finally, the actors spit on their hands and romp all over the place like old-style one-night stand "hams" and grimace before the close-up camera like sick apes? The motion picture has come to stay be- cause it offers a pleasant method of reading a story, and the motion picture will continue popular as long as there is celluloid with which to make films, but in my opinion the day when producers will tn.- to turn even.- novel into a "drama," in poor imitation of the speaking stage melodrama method, is nearly past. The producer who will succeed best, from now on, is the man who will set his ideal very high indeed, while the eternal melo- dramatic stuff will be relegated to the cheap picture houses, just as it is relegated, in printed fiction, to the dime novel. Up to date I have sold just one novel for picture use, and I am waiting to see what the producer does with it. I don't want my cow turned into a Rocky Mountain grizzly bear. If I put an old lady in a wheel chair I don't want to see her screened as an eighteen-year-old vampire jumping from one airplane to another. I don't want my cats to become coyotes or my canaries to become hippopotamuses. It may be all right, and a tradition of the screen, but when I write about the Mississippi River I don't care to have the Ganges or the Nile or even the Amazon substituted for it. "Movies b Mo\-ies" but an author, al- though only a poor mutt, does have some feelings. Up to date the producer has not telegraphed me asking permission to chance the title of the proposed picture from "Tlu- Jack Knife Man" to "She Cut Her Hus- band's Gizzard Out," and I don't believe he will telegraph me, because there are two kinds of producers today. One kind doe-; not want to make such changes, and the other kind just goes ahead and makes them without asking permission. But I can tell you one thing: If "The Jack Knife Man" comes to your town and you see old Uncle Peter doing stunts in an airplane over Niagara Falls you can be michty sure I didn't say he could. Force of Habit 'T* HE whole city block was on fire. From the street rose great streams of wafer, while on the roofs, firemen, gallantly fightinp, were forced slowly backward by the terrific heat. Still other firemen were scaling tottering ladders in heroic attempts to save the threatened women and children, some of whom, panic stricken, were leaping to certain death on the pavement below, .\pain and again a heavy wall crashed down. Police were engaged in a revolver battle with a gang of desperate criminals attempt- ing to loot the goods rescued from a burning jewelry establishment. Byron Bangs, movie director, could restrain himself no longer. Slipping through the police lines, he leaped, flourishing his bared arms, to the top of a ladder truck. His voice rose above the shouts of the multitude. "Give me action!" he shrieked. "Give me action!" Krrry mlTiTll'i'innil In I'lUlTori.A Y MAOAZTNK In wamnlml. Photoplay Magazine — Advertising Section The Shadow Stage ( Continued from page 120 ) Julia Svvayne Gordon again give us a pic- ture of everything a gentleman and lady should not be. Wyndham Standing is again a pattern of righteousness. TERROR ISLAND— Paramount' Aitcrarft HOW "Terror Island" missed becoming a serial, we do not know. At the high moment of every thrill we expected to sec the sign ''See the ne.xt episode at this theater on Saturday night" flashed upon the screen. Just as a stunt picture is it an ideal Qure for boredom. Houdini beats them all as a thrill master. With his ability, he could get out of the income tax. The most original stunts in the picture are the ones enacted under water. James Cruze, who directed, and his cameraman must have learned some of Houdini's wizardy. After the healthy excitement of being thrilled and mystified by the tricks you forgive the screen a lot of its feeble comedies and half-hearted dramas. "Terror Island" is an ideal picture for boys and for girls who wish they were boys. Lila Lee, the dark-eyed and the placid, is the heroine of the story. TRIPLE ASSETS FAMOUS Players-Lasky Corp. has issued its annual report for the year ended Dec. 191Q, which contains for the first time a consolidated statement including the va- rious subsidiary companies in which Famous Players-Lasky has an interest of 90 per cent, or more. There are other subsidiaries in which it has substantial interests, earn- ings from which were not included in the report, Wid's Daily announces. Net earnings for the common stock after allowing Si, 000.000 for taxes and the pro- portion of earnings due to the new preferred were $3,066,319, equal to $15.36 a share on the 199,675 shares of common stock. In the report $66,666 is set aside from earnings as the amount accruing to the $10,000,000 pre- ferred stock for the 30 days in which it was outstanding in 1919. The consolidated income account follov. s : '^ross income $27,165,326 )perating expenses 23,032,341 ^ , , $4,132,955 Federal Inc. & Excess Prof. Taxes 1,000.000 $3,132,985 Earnmgs Accruing to Pfd.. 66,666 Net Profits for Year $3,066,319 The statement indicates an increase of about 50 per cent, in gross income compared with the $18,090,500 reported for the year ended December 31, 191 8. Tangible assets at the end of 1919 amounted to ,$37,648,637 against $10,886,759 at the close of 1918. This increase is accounted for by the sale of the .$10,000,000 new preferred and the expan- sion in various lines of the motion picture industry. Net current assets at the close of 1919 amounted to $23,580,558, which includes $706,252 of Liberty bonds carried as invest- ments. 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Vu WTien you wTito to advertiscra plea^^ mention PllOTorLAY MAGAZIXE. 124 Photoplay Magazine — Advertising Section Lift off Corns with Fingers Doesn't hurt a bit and "Freezone" costs only a few cents Broadway's Royal Family ( Continued from page jj J You can lift off any hard corn, soft corn, or corn between the toes, and the hard skin calluses from bottom of feet. Apply a few drops of "Freezone" upon the corn or callus. Instantly it stops hurting, then shortly you lift that bothersome corn or callus right off, root and all, without one bit of pain or sore- ness. Truly! No humbug! Tiny bottle of "Freezone" costs few cents at any drug store Destroys perma- nently the hc.ivicst growth on face or body, hecaute it eradi- cates hair and root. No caustics. No elec- tricity. ZIP is the rapid, ■ ife, painless, reliable and fragrant compound used by loiding aarcsses, debutantes, beauty specialists. At better cI.tss stores or direct by mail. Write for Free Booklet. Cill to have Free I demonstration. Correspondence confidential. MADAME BERTHE, Specialist Dept. 9. 12 W. 40lh Street. New York MAKE YOUR SKIN A SATIN SKIN The floral fra^i •nu c "I tiesli tlowei s, the healiiiK herbal extracts iti Satin Skin Oeam (rolil or Kreaseless), are not only a heaiiti- fyill^; boon, seriiriii(r a satin skin, but needed help to nortnal skin lieallli. Satin Skin Powder ( flesh, white, pink, brunette, naturelle) possesses properties not found in other face powders. It is dinning. Listing, inarvelously blended, best for daylight or nigbtlight. A perfect party powder. Satin Skin is also stinining in street effect. Satin SkinCrcani and Satin Skin Powder are waiting to brinj; you a satin skill. Refuse substitutes. Insist upon Satin. Baby Barrymore evolved into Jack, and. with serious roles, into John. He has the family gifts to such degree that while Ethel Barrymore is being acclaimed as the most popular actress now on the American stage he is described as the greatest of its younger actors. He is the most Bohemian, the most nervous, the most temperamental of the trio. While his sister frequently hides herself in domesticity at Mamaroneck. and Lionel and his wife of the sleek dark head seek seclu- sion at Hempstead on Long Island, the one lime baby Barrymore abides near the bias street termed Broadway. As near as when in the biographical lodg- ing-house, since metamorphosed into a chop house, he made sketches in studioless days in his sister's room. That was when Evelyn Nesbit was si.xteen and his model. He re- joices in the recollection of those days of Ethel's treasurership of the family. Often he and Lionel were forbidden to play the piano because an ancient above stairs in the house across the street from The Lambs ob- jected to "that noise." He lifts his eyes to Heaven and thanks Deity that his prayers that he might become really an artist were unanswered. He met Arthur Brisbane at the opera last year. He greeted the aggressive editor. He wrung his hand. "You hired and fired me. I thank you for the last." He looked his gratitude. "You have done more for me than any other liv- ing man. When you fired me you forced me on the stage." He is the matinee idol of three generations. Maids, their mothers and their grandmothers, write him confidential missives. A grand- mother wrote to her granddaughter in Eu- rope : "I saw him today. He is so hand- some that I don't know how you can help loving him." Thus promoting a match that at that period was languishing, a dissenting father being the chief deterrent. The marriage of his sister and that of his brother bear signs of permanency. Already his has been dissolved. TO John is accredited the story of panic wrought in the home of his clergyman grandsire in England. Maurice Barrymore was a clergyman's son. The family name, a distinguished one, is BIythc. The Blythc family suffered more than the usual amount of parental mental colic when its scion went upon the stage. There were prayers for the wandering sheep. The prayers lessened in volume and intensity when Maurice Bar- rymore's manly beauty and brilliant acting won fame for him in the country the Blythcs still regarded as "one of our colonies." The BIylhes were gradually and with less pain adjusting themselves to the order of having an actor in the family when it re- ceived a second shock. Their actor had mar- ried an actress. True she was of the bluest stage blood in .America, the honored Drew family. But "there was no denying the fact that she was a mime. More prayers. More adjustments. More of the aid of time in lomiiering the wind of circumstance to the unaccustomed. It was twelve years before Maurice Barry- more brought his wife and their children to visit his elders in England. Speedily Georgie Drew's wit and charm and the appeal of childhood warmed the fearful hearts of the BIylhes. All was going well. The goose hung at more than its accustomed altitude. The two elder BIylhes sat happily about the family board. The door was pushed open. .\ head, small and dark and sha|H'ly. was tlirusl within. A small voice demanded : "Mother, where in hell did you put my .suspenders?" The Blythes clasped their bands and looked upward. Georgie Drew Barr>-morc looked searchingly at her husband. Said Maurice Barrymore: "My dear, I told you that if you allowed the children to roam the servants' quarters their diction would suffer." WHEN John Barr>more, then "Jack," played "Toddles," they who knew the family best said : "Jack is playing a straight part." "Toddles" in the French farce was about to be married but was too wedded to his bed to be willing to leave it to dress for the ceremony. The "old uns" in the audience recalled that Maurice Barrymore once ap- peared clad in his pajamas and a great coat and an air of apology at rehearsal. "You will pardon me," he said with his impressive urbanity. "But I over-slept and I could not cause you to wait while I dressed." All the Barrymores are taking vocal les- sons, but the lessons are intermittent. Lionel sings well and doesn't want to forget the art. John wants to strengthen his speaking voice. Ethel is a devotee of music. She has a more than fair mezzo soprano voice. She appears at her teachers apartment a radiant vision after an evening performance. "I know I had not an appointment for to- day,'' she says with her radiant smile. "But you will give me a lesson, won't you? Ah! Thank you. Shall we begin at once?'' When she leaves she says: "I've enjoyed this lesson tremendously. We shall go right on. I shall be in in the morning. Ten? \'ery well.'' But weeks — or months — roll by and the studio sees her no more. Until another im- pulse grips her and circumstances permit a lesson. But what margin is left an actress who gives eight performances a week, who "does pictures" and who has three fast growing chi'dren? The oldest child. Sammy, has grown out of his knickerbockers Virginia, the only daughter, has much of her mother's beauty. When \'irginia was sent to the hospital ill and the doctors pronounced her a victim of diphtlieria, her mother went to the hospital with her and stayed there until the quaran- tine was lifted and both were permitted to I i t urn home. In vain physicians warned of peril. Ethel Barrymore b a mother as de- voted as was her own mother. The youngest of the trio, still called "the baby. " is small John Drew. It would have amazed those who knew her devotion to "Uncle Jack " had not Ethel Barrymore named one of her little ones in his honor. She is the only one of this Generation of Barrymores who is a parent. Mr. and Mrs. Lionel Barrymore had two sons, both of whom died. John Barrymore's brief marriage was childless. He married the daughter of Sid- ney Harris, with what seemed the hearty co- operation of her mother and grandmother. Her grandmother's letter was quoted: "I can't see how you can resist him. He is s (r»nt prcpftratiooa lDr(iilnii— 123 roircsof tlirm. Tho Errsteit Piamonit book over publlshailacnt frro I r vour nnmo und od I'uMx .s.-n-l f^'ifn.y ••( I' THE FAMOUS iucscbcrhSraiii^ TIm UgffWt tone and tho most perfect of an? Comot made. Tknihlc your plcaaare. popularity ant) incookc by playine a BuoHchiT-rtrand Cornet or Troml>one. 6 Days' Free Trial You can or»Jou read this you will have ciianced your mind as to our stand in the matter you mention. Hope you will write to me again; your letter was interesting. G. S., Detroit. — Jules Raucourt. who used to play in Famous Players pictures here, is now in his native Belgium, where he is mak- ing two photoplays. He is a clever and polished actor; I always liked to sec him. Address him: S Petite rue Longs Chariots, Mrussels, Belgium. Bert Lytell is married to Evelyn Vaughn. Your request for art MTtion picture of him will soon be granted. Watch out for it. J. A., CoLviiBVS.— "I see by the papers" that the worthy presidential candidates have agreed to the farmers' demand. Don't they always? Bessie Love has her own company, working in Los .\ngeles. Her first release is "The Midlanders," from a novel. John Bowers is still with Goldwyn; so, too, are Mabel Xormand and Madge Kennedy. But Geraldine Farrar and Pauline Frederick have left, the former to go with Associated E.xhib- itors, the latter with Robertson-Cole. Miss Mary. — Dreams and realities are far different. You dream of Wallace Reid or Richard Barthelmess. You are really en- gaged to a nice young man with red hair and a nose which in a woman would be gently designated as a retrousse. But it's nice to dream. Ann Little, after a period of serial- making, is back with Lasky, in her old ca- pacity as leading woman. Wydham Stand- ing is with GoldwA'n. Cecil, Bay St. Loris, Miss. — Yup — the countr>''s beautiful down where you Ifve. Many film companies go down South for lo- cations. Mostly to Florida, though. Elsie Ferguson has ended her engagement in her stage play, "Sacred and Profane Love,'' and is taking a long rest, in the course of which she will visit Japan. She won't make any pictures for some time. "Lady Rose's Daughter" is one of the last Fergtison pic- tures. You should see Theda in "The Blue Flame." Yes, I have been up in a plane. Great sport. I've never looped; the most thrilling thing I did was a falling leaf, and that was enough for tiie. Kamouraska. Ottawa. — Can't tell you how much I enjoyed your letter. I like Canadian phh very much. Saw Rockliffe Fellowes at the Talmadge studios the other day, where he was playing opposite Con- stance in "In Search of a Sinner.'' He's a big chap, isn't he? Yes. MarN' is Mrs. Doug- las Fairbanks now. Will you come again of vour own accord or do I have to coax vou? X'irginia, Ridgewood. — Richard Barthel- mess is not engaged to the young lady who 2oes to the school you mention. He is not engaged to any young lady at all. M. J.. Dickson, Tenn.— Xo, I— like Dick Barthelmess and Eugene O'Brien — am still li'adinu a life of single blessedness. I have a cat, my pipe, and my books, and I am r.ither happy. Your addresses are given elsewhere. Look for them. J. F , CAMBRincE. — That's quite a tribute to Jack Pickford's acting. You say the first time you ever cried was when you saw him in "Bill .Epperson's Boy" Certainly it s true that he is married to Olive Thomas. Blanche Sweet is with Hanipton-Patl.e. working in the West. B. E. B , Omaha — You seem to be a bit mixed. Xorma Talmadge's husband is not Eugene O'Brien, but Joseph Schcnck. O'Brien used to play opposite her in pic- tures: Srhenck is her man.igor O'Brien is a star for Sobnick: he is in the West right now, but send your letter to Xew Vork. for he usually works in the East. He isn't mar- ried : never has been. I'.nry Klrortlwnicnt In I'llOTOl'LAY MA(;\/JNK in Kiitraiilrrd. Photoplay Magazine — Advertising Section 127 Questions and Answers {Continued) E. M., Pa. — Pity instead the poor little boy whose papa is a prohibitionist and who goes to school with other little boys whose papas are not. There's real tragedy. Anne Luther is with Wistaria Productions. She plays in something called "Neglected Wives" or "Why Women Sin." Honest — that's the title. A. D., Spok.\ne. — Eric von Slroheim has been married, but he is now divorced. I'm sure I don't know if he is as fierce as he looks. His latest picture is "The Devil's Pass-Key." He does not appear in it him- self. Mae Busch, Clyde Fillmore, and Una Trevalyn and Sam De Grasse have the lead- ing roles. David Powell is married. Lltcile, Iowa. — Couldn't figure out the name of the town you live in. You say as most people call you Cutie or Dimples, I should head your answer by whichever name sounds better to me. You will note I have headed your answer with Lucile. Ethel Clayton remains with Paramount. "The Ladder of Lies" is a new Clayton release. She is the widow of Joseph Kaufman, who directed her. William Russell is divorced from Charlotte Burton and has not married again. Herbert Rawlinson is still in pictures. Juliette Day is on the stage. Katherine, Deer River, Minn. — You mean you have a dog — a trick dog — that you want to put in pictures? Suppose we forrn a company for your dog and my cat ? It's hard enough to get a chicken into pictures nowadays. You see. Fatty Arbuckle has his own dog, and Sennett has his; and the other companies seem to be supplied with canine actors. If I were you I'd write to them and find out if there are any vacancies for your Fido. Sorry I can't help you any. Miss Muriel, West Frankfort, III. — There are no actresses in pictures who hail from your town, that I know of. YOU'll have to uphold the municipal reputation if you decide to brave the studios for extra employment. Natalie is reco*- d as the youngest of the three Talma?)>^ sisters. Nigel Barrie in "The Better Wife" with Clara Kimball Young. Ramona, Lansing. — So you think I have had quite a little experience. Thank you. I didn't know I showed my age. You write a very sensible letter for a fourteen-year-old I hope you'll be just as sensible at twenty. Charles Meredith is married. Your addresses are all given elsewhere. I hand you the palm as champion movie-goer among fourteen- year-olds. But I won't advise you to try to get into pictures. I don't want your parents' co'lective wrath to descend upon my poor sparsely-crowned head. M. H., Philadelphia. — Your letter has been forwarded to Ralph Graves. That's nice of you to say those things about my department. A little appreciation goes a long way with me. Your Elliott Dexter re- quest has been granted. Also Katherine MacDonald. Those MacDonalds you men- tion are not related. Katherine has been married; divorced. A. N., Fort Dodge, Iowa. — Photoplay conducted one contest — the Beauty and Brains — our first and last. Since our con- test, there have been many imitations; seems to be the usual procedure when we start something. Richard Barthe'mess in the art section? Just a minute while I run and tell the Editor. All right! Rummers Qreaf est ity i^id For f /ft' / liiir ami Sculp Foryovr€aTn-ple.xmt umi SuHiw iy.^ Vibrator On sale at drug, di'ptii tinent aiul electrical goods stores. Look Us Over! HiTC is something yon have been scckinsr. Genuine Photos o( Mack Sennett Bathing Beauties IN ORIGINAL AND DARING POSES Size 8 X 10 — 18 to a set various life-like poses. DL-corato your room or dt_-n with th<-in nn.l you will bo enviL-ti by your ftionds. 50c each or complete set^ of 18— $8.00 ThiB Ih ft Hpcciul otT.-r for n ^.hort time only.soUikf quick BdvnntJiKo in order to he auro of your set bo- foro the edition is exhnuHted. Pent! your or[■:. .if t lir firi. l C-U .«( rn:c irj jik Icf EM on 162 ROYAL Diamond I^^atch (b. When you write to advertisers please mention PHOTOPLAY .MAGAZINE. 128 HvssiE, Red Gvm. — I manage lo get along fomehow. It's nice of you lo worry about me. Of course I never have any romaine or ralad with Rusaian dressing, or caviar or baby duck or lemon-meringue pie and some- thing to wash it all down with, but still, I Eet along. Douglas Fairbanks is thirty- ieven. Mary Pickford is twenty-six. The Lee children, Jane and Katherine, are in vaudeville now and making a success at it, I hear. Abe. Berkeley, Cal. — That's a good one. Vou say, "Pleased to meet you Mr. Answer Man — but I doubt if you are a man or a uoman." I assure you I would of a neces- .-ily have to be one or the other; and God made me a man. Douglas Fairbanks' latest release was "When the Clouds Roll By." "The Mollycoddle" is probably being re- leased as you read this. Marie Walcamp hasn't retired; she went to Japan to make a serial; and while she was over there she married Harland Tucker, her leading man. The Tuckers are back in Universal City now. Mr. Laemmle was obliged to congrat- ulate two of his stars on their new hus- band: Marie and Priscilla Dean. H. loNsoN.— Whoever bet on Gladys Les- lie is right She played opposite Edward Earle in "The Little Runaway." Eureka, a new question. Answer, Gladys Leslie and Mary Pickford are two separate and dis- tinct persons and personalities. No to the marriage question on Carol Halloway and Antonio Moreno. Both are with Vilagraph, Brooklyn, N. Y. The leading parts in the 'Place Bevond the Winds" were played by Dorothy Phillips and Jack Mulhall; in "The Martyrdom of Phihp Strong," Mabel Tru- ndle and Robert Conness; in "At First Sight." Mae Murray and Jules Raucourt. Canadian stamps are not usable; hence the column. ^L■\RY Maton. — No trouble at all, Mary. My breath comes in gasps as I dictate faintly. "Eugene O'Brien is not married." Gosh darn it. I wish he would marry so I could change my story; its becoming mo- notonous. Mary Pickford is divorced from Owen Moore. Johnny Hines is twenty-five. "The Woman Gives" is Norma Talmadge's latest picture, with Jack Crosby in the lead. I had to reply via my column because Ca- nadian stamps are not usable in the U. S. K. T., Decatur. — I have never thought of it in that way. but I suppose it is true to a certain extent that the bald-headed row in theaters includes those gentlemen who get their tickets from the scalpers. Though you don't deserve an answer after that, still I am always kind-hearted, so — Alice Brady is Mrs. James Crane; her first two Realart pictures are "The Fear Market" and "Sin- ners"; in the latter, her husband is her lead- ing man. Nazimova is Russian, married to Charles Bryant. I'd advise you to keep up with the times. Mrs. Nellie M.. Leicester, England. — I can't tell you how much I appreciate a sincere letter like yours. It makes me feel stronger and much less flippant to know that someone really watches for my column and reads it with appreciation of its many faults — and then writes to mc as you did. It makes me wish I were ten times wittier, ten times more tolerant and wLsc. Tell your husband I'll try hard to please him. "Vour collection of pictures would seem to be M-cond to none. Your tribute to the Gish sisters is fine— and it is deserved ; I know no more charming and high-minded actresses on the stage or screen. I will try to merit always your good wishes. Won't you write often? Questions and Answers ( Concluded) J. P., Oregon. — If the girls wear their skirts much shorter, they'll have to put their money in regular banks. Peggy Wood may be reached care Selwyn Theater, New York City. She made a picture with Will Rogers for Goldwyn, but is not doing any film work right now; she's the heroine of "Buddies." Laurette Taylor is in London now. "Clara Kimball Young's Eyes" Contest Winners HERE are the winners of the S500 in prizes offered by the Equity Pictures Corporation to the amateur artists among Photoplay's readers send- ing in the best drawings of Clara Kimball Young's eyes. First Prize ALMA M. CARLSON, 4705 North Al- bany Avenue, Chicago, III. Second Prize MRS. ROY E. THOMPSON, Box 0, Cadillac, Mich. Third Prize R. GOODWIN, 143S West 77th Street, Cleveland, Ohio. Fourth Prize IRENE SULLIVAN, 452 Fort Wash- ington Avenue, New York City. Fifth Prize WILLIAM P. SULLR AN, Great Lakes Training Station, .Aviation Beach, Great Lakes Iil. Sixth Prize D. BESSE, 306 West Walnut Street, Yakima, Wash. Seventh Prize HERMAN \-AN COTT, .-4 Colby Street, Albany, N. Y. Eighth Prize ALLEN WOOD, 47 Morrison Avenue. West Summerville, Mass. Ninth Prize ETHEL GLOZER, 212 Beach Place. Tampa, Fla. The judges of this contest were: Clara Kimball Young; James R. Quirk, publisher of Photoi-I-ay Magazine, and Ro f Armstrong, Photopl.xy's cele- brated cover artist. Capt. B. T. Jones, Fayettesville, N. C— ^'ou can obtain good photographs of any of the stars you mention by writing to them direct to their company address, en- closing twenty-five cents. In some cases, stars do not ask payment for sending out pictures, but often they do so it's best to be on the safe side. .Again, some of them give the proceeds to some favorite charity; so it's all right. Here's goes: Mary Pick- ford, her own company. Los Angeles, Cal.; The Talmadge sisters, their own studio. N. Y. C (address given in directory or else- where); Alice Brady, Realart; Dorothy Dal- lon, Fnmous Players studio. N. Y. C. ; Elaine Hammerstein, Selznick, N. Y. C; Margue- rite Clark, Famous Players. Thanks for writing. G. C. H., Norfolk, Va. — That picture of Miss Dalton you want is a still from one of her pictures — that is, a "still"' photograph of one of the scenes. Therefore I would suggest you write the Famous Players-Lasky Publicity Department, 485 Fifth Avenue, New York City, and inquire if they will sell you a copy and also get Miss Dalton to autograph it. Maybe they would give it to you — I dunno. Only, inquire. Dorothy, Spokane. — Seena Owen came from your city. Are you as pretty as Seena? Harrison Ford has been married. Dorothy Gish's latest release, as I write this, is the picture her sister Lillian directed, "She Made Him Behave." James Rennie. from the cast of the Ruth Chatterton legitimate com- edy, "Moonlieht and Honeysuckle," is Dorothy's leading man in this. D. W. S., Rochester.— Charles Ray's last for Ince will be "The Village Sleuth." This will be held over so that its release will come just as Ray's first independent pro- duction, "Forty-Five Minutes from Broad- way," is finished. This was George Cohan's stage hit. Ethel Cla>1on's new one is "Young Mrs. Winthrop" — Harrison Ford op- posite. Vivian Martin in "Husbands and Wives," a Gaumont release; Miss Martin is working now on her first picture for her own company. M. A. H., Mich— Eugene O'Brien still clings to his bachelor liberties — one of these liberties being to receive worshipful letters. Yours should be directed to Selznick. Better write and ask him if he demands any money for his likeness. You doubtless would con- sider any sum well spent in this direction. Nigel Barry played opposite Marguerite Clarke in the Bab stories. L. S., Zanesntlle. — You got considerably mixed on that matrimonial tangle, didn't you ? Owen Moore was married to Mary : and Tom Moore used to be .Alice Joyce's husband; both couples are divorced now. .Alice Joyce has a little girl, Alice Man.- Moore. Charles Ray's wife is a non-pro- fessional a^pd a charming person. I've been told. Pf y-'in anv time. 'IP ' Laura. Boise, Idaho. — You are most aw- fully impertinent. "Kiss your wife and babies for me," you say ! Do you really accuse me of being a Benedick after giving all that caustic ad\-ice about marriage and saying all those cynical things about women ? My dear girl, the bravest married man dare not do that. Will Rogers is with Goldwyn. in Culver City. He is married, and his son Jimmie plays %vith him. Wonder if the company pays Jimmie a separate salar>- I don't know who is the tallest woman in pictures; but I believe Charlotte Greenwood is the tallest woman on the stage. Will that help? Evelyn, Worcester. Mass. — I know you. You're one of those flapp)er great-grand- daughters of the First Man in "Town. You are one of the Important People — as you so aptly put it, "A Puritan of the Puritans." Therefore my victory is very great, for to have one of you write to me. a perfect strancer. is indeed a concession. Nay — to have you write twice, is too much. You may call me Peter just so you don't tack Pan on the end of it. The only pipes I know about arc corn-cobs. I should ad- vise you. besides, to study a little, and read a little — and then, sit down and try to com pose a polite note such as one of your grandmothers would have been proud to write. .And pray, where are your questions' .All answers must aw.iit their turns, family connections notwithstanding. Now go on hack and try to climb your family tree. Photoplay Magazine — Advertising Section 129 Free Trial ^iEND now for the New Wurlitzer cata- log and free trial blank. You may have any musical instrument known, with a complete musical outfit, for a week's trial at home. Return the instrument at our expense at the end of the week if you decide not to keep it. You will get a complete musical outfit, in- cluding the instrument and all the neces- sities with it — velvet and plush lined carry- ing case with lock and key, self instructor, instruction aids, book of music, all attach- ments and extra parts— everything you need. This new Wurlitzer plan effects a tremendoussaving for you if you decide to buy, as everything is in- cluded at factory cost Wurlitzer supplies the outfit and instrument practically for the cost of the instrument alone. Convenient Monthly Payments A few cents a day will pay for your instrument and outfit. Affic*-;^. Oiicili'tTT of Wurlitzer instruments is /\.rnStlC V^uailty known all over the world. Wurlitzer instruments have been the favorites of artists and have been used in the finest orchestras and bands for years. This outfit offer inciudes gen- uine Wurlitzer instruments. Every knoivn stringed instrument or wind instrument included in this offer of free trial in your own home. H ve your free iril noiv. We do )tot chrge you penny for it. Send for New Catalog and Free Trial Blank Every instrument known illustrated and described, with price and small payment down. More pictures and more information about musical instruments than in any other book published. It is a veritable musical encyclopedia. Free trial blank comes with it. Catalog is absolutelyFREE. There is no obligation. Don't delay. Write for it today. The Rudolph WurHtzer Co., Dept.Bl53 117 East 4th Street, Cincinnati, O. 329 S. Wabash Ave., Chicago, 111. The Rudolph Wurlitzer Co., Dept. B153 117 E. 4tb St., CincinnaU, 0. 329 Wabaih Atc. Chicxo, IIL Send me your new cataloe with illuEttrations in color nnd full description of the Wurlitzer Complete OutliU and details of the free trial and ea^jy payment ofTer. iVam« AddreM iStats mwieal tn«trum«n( in which you ar* «p.ri.if(|/ xntartaltj I \\ hen you write lo advertisers please mention PHOTOPL.\Y MAGAZINE. Photoi'i.av M \(,\zim:— AnNT.RTisiNo Section "We arc au\(jiiiM(.i by our loving friends A aiiiiiiiiiiiiimiiiiiimiii Mellin's Fodd Girl ^nd today for a trial size bottle of Mellin's Food togethe. V tvith our book, '"The Care and Feeding of Infants." They are Free. Mellin\ Food Company, Boston, Mass. 5H Kwy ..lTrrll..mr.il In IMKmU'I A Y MA<;AZ1NK I> ri>i«r«i.tp«l. "/ Said Hires IT is important that you say "Hires". Because Hires is pure and healthful; while imitations of Hires, being artificially made, may be harmful. Nothing goes into Hires but the pure, healthful juices of roots, barks, herbs, berries — and pure cane sugar. The quality of Hires is maintained in spite of tremen- dously increased costs of ingre- dients. Yet you pay no more for Hires the genuine than you do for an artificial imitation. Don't trifle with imitations. Say "Hires" at the fountain or order in bottles, by the case, from your dealer. THE CHAKLKS K. HIRES COMPANY, PHILADELPHIA '■7 f Hires contains juices of 16 roots, barks, herbs and berries orienf flowers of tiic Orient An attractive miniature hox of Flonent Talcwil! be srnt upon rrqur>t it you mcnuon fholopUy. N added charm of Flonent T.ilc is the color of the prouder. 1 his is most unusu.il .ind distmctivc — just off the white. The nrc Oriental fragrance and delicate fineness of the powder itself also explain the popularity of Colgate's Flonent — llie new superfine Talc. Florient, you will remcmlvr, gained first place in an International Perfume Contest. As the pure delight ot its fragrance won favor — so will the grace and beauty of the new box in which Florient Talc comes to you. COLGATE 8C CO. Est. 1806 New York Thf rxijuitite fr.rj:ranct cf Flonent i< new rmhoJtrJ Mso in Totlet U'aier, in t'jKt Po9^rr, and i« Soap, llflllllllllllllflflllllftlll AV tJOU\f;-\oui pji que Us ^f'phirf qtit m eut Jans Us /ardins dele odoranls ne sont guirf /■/us calmanli que man Tak Dier Kiss? —Kerkof, faris Translaiion: Do you not find that brccLos whispenne in trasirant summer gardens are no more ' / J^i i^ soothing than my Talc Djer-Kiss? SO Parisian ^LG Madam, Mademoiselle, there is a. rare fra- grance, a refinement, a soothing coolness in Djet'Kiss Talc, which bring welcome relief to the hot skin in summer — whether used after the bath or to add its finishing touch to the toilette so dainty. If you have not yet learned how refresh- ing Talc can be, you will want of course to use this Parisian Talc — Djer-Kiss Talc — so necessary the warm summer through. So correct all the year "round. #^ y^aae in Trance^ ^ nxTR.\rT FAcn powor i< • i alc: SACHni • TOILET WATliR ' VEGLTALb ' SOAP •ROLICE 'LIP STICK 'CRnAM * Mjde in Ameruj with Dicr Kin Conccnlt^ from France A. 11. S. Co, 1920 Photoplay Magazine — Advertising Section It is worth your while to know the truth The Trademark VICTROLA was originated by the Victor Talking Machine Company. It is applied to our various products — Instruments, Records, Styli, etc. — and seeing it on any Talking Machine, Record or acces- sory you may know that the article is genuine and was manufactured by this Company. Every talking machine dealer knows this, and you may assume that if you ask a dealer for VICTROLA products and he hands you something not manu- factured by the Victor Talking Machine Company, he is attempting to deceive you and is not giving you what you want or the service you are entitled to. Remember the Trademark VICTROLA cannot be properly or honestly used as referring to goods not manufactured by us. Victrola XVU. $350 ViCifola XVII, electric, $415 MaKogAjiy or oak Victrola VICTROLA HIS MASTERS VOICE" "TVtis trademaA and the trddemork.d vMord 'y/KSrola" identify otI oor poxjucti. Lodt. (under the M I Look on the UiM I VICTOR TALKING KtACHINE CQj Camden. N. J. HCG U S PAT OFF Victor Talking Machine Camden, New Jersey Uliin juu urilw lo aav.TIialTi l.lvaii- imilliuJl I'lKmU'LA Y MACA/.INi;. 1 I'liitKii'i \^ .M\<.\/im: Ai)\ I im\<, Si.( iids EVERY NIGHTS A BIG NIGHT A feic of t/if ldt<:st PARAMOUNT PICTURES dlphabeticdlly listed "i' John Barrymore in "Dr. Jekyll and Mr. Hyde" I)irecttd by John S. Robertson "The Copperhead" With Lionel Baro'more Directed by Charles Maigne « Cecil B. DeMille's Production "Why Chan^eYourWif e?" 'Every woman" Directed by George H. Melford With All Star Cast A few i»/ tlie Litest PARAMOUNT PICTURES alphabetically listed George Fitzmaurice's Production "On With the Dance!" WiUiam S. Hart in "The Toll Gate" A William S. Hart Production George H. Melford's i'roductiou "The Sea Wolf" William D. Taylor's Production "Huckleberry Finn" (paramount (^pictures KAMOHS PLAYERS ^LASKYCWRPORATIOS '/('^(I'l^ Ttcry ailvrrtl^cmnit lu rHOTOPLAY M.Vc:'ZlM. ii ».u..i ..uium. Tlie World's Leading Motion Picture Publication PHOTOPLAY MAGAZINE JAMES R. QUIRK, Editor . . . Vol. XVIII Contents August, 1920 Cover Design, From a Pastel Portrait by Rolf Armstrong. Rotogravure No. 3 Mae Murray 19 Priscilla Ueaii, Mildred Davis, Madge Kennedy, .. . . Alice Joyce, Renee Adoree, Bert Lytell, Doris May and Mary Miles Minter. It's Up to You Editorial 27 Titles and Landlords - 28 Anne Luther's and Helene Chadwick's Pet Peeves. Dante Was Wrong Betty Shannon 30 "What Did He Know About Love?" Scoffs Louise Huff. "Such Stuff As Dreams Are Made Of" Norman Anthony 32 Drawing Happy Endings Little Lila Lee's At Last Is In the Offing. Robert M.Yost 33 35 I Don't Want To The Height of Temperament — Master Bobby Kelso. The Hope That Springs Corinne Lowe 36 A Real Life Story For All Who Have Had the Movie Urge. The Truth About Mae Murray Delight Evans 40 They're All Wrong, Most of Those Things You Hear. (Contents continued on next page) Editorial Offices, 25 W. 45th St., New York City Published monthly by the Photoplay Publishing Co., 350 N. Clark St., Chicago, 111. Edwin M. Colvin, Pres. James R. Quirk, Vice Pres. R. M. Eastman, Sec.-Treas. W. M. Hart, Adv. Mgr. Yearly Subscription: $2.50 in the United States, its dependencies, Mexico and Cuba; $3.00 Canada; $3.50 to foreiRn countries. Remittances should be made by check, or postal or express money order. Caution—Do not subscribe through persons unknown to you. Entered as second-class matter Apr. 24, 1912, at the Postoffice at Chicaco, III., under the Act ol March 3. 1879. Pictures Reviewed in the Shadow Stage This Issue Save this magazine — refer to the criticisms be- fore you pick out your evening's entertainment. Make this your reference list. Page 70 Jes' Call Me Jim Goldwyn Page 71 Romance United .\rtists Page 72 The Dark Mirror. Paramount-Artcraft The Deep Purple Realart The Silver Horde Goldwyn Page 73 The Dancin' Fool. Paramount-Artcraft Riders of the Dawn.W. W. Hodkinson Page 90 The Fortune Teller. .. Robertson-Cole Dollars and Sense Goldwyn \n Eastern Westerner Rolin Pathe The Bottom of the World Robertson-Cole The Courage of Marge O'Doon Vitagraph Let's Be Fashionable Ince-Paramount-.^rtcraft Page 91 The Garter Girl Vitagraph By Golly... Mack Sennelt-Paramount Mrs. Temple's Telegram Paramount-Artcraft The Devil's Claim Robertson-Cole Page 92 Forbidden Trails Fox The Fool and His Money ... .Selznick Just a Wife . National Picture Theatres "No. 9q" Hodkinson Wolves of the Street Artograph The Thirtieth Piece of Silver American Love's Har\'est Fox The Flapper Selznick The Mirac'e of Money Pathe The One Way Trail Republi: The Terror Fox The Shadow of Rosalie Byrnes Selznick Page 93 Burning Daylight Metro Scratch My Back Goldwyn Nothing But Lies Metro Evervlhing But the Truth . . . Universal The Path She Chose Universal Copyright, 1920. by the PHOTOPLAY PUBLISHING CoMPAMY, Chicago. 5 Contents — Continued Noncensorship Howard Dietz and Ralph Barton 42 Six Reels of Delightful Poetic and Pictorial Satire. The Truth Can You Help Telling Little Fibs Suspended Animation Drawing Nanon Belois 44 Then You'll Enjoy This. Stuart Hay 48 Wear America First Norma Taimadge 49 PHOTOPLAY'S Fashion Editor Bursts the Old Parisian Bubble. Humoresque Gene Sheridan 52 A Gripping Romance of the Battle Between Art and Love. Artistic Efficiency— That's Dwan Adela Rogers St. Johns 56 The Science of Directing as Allan Employs It. West Is East Intimate Impressions of Filmdom's Folk. DeHght Evans 58 59 Rotogravure Blanche Sweet, Theodore Roberts, Edward Kimball. Edythe Chapman, Cora Drew, Edward J. Connelly, Jennie Lee. Josephine Crowell. Frank Currier and Jimmie Rogers. i Close-Ups ... : • Editorial Comment 63 A Western Union Douglas and Mary Pickford Fairbanks As They Are Today. Tough Competition Drawing C. W. Anderson Middle Age and the Movies Margaret Sangster - A Heart-to-Heart Talk With the Family Circle. Location ' . ■ _ . ; ".-V- : Drawing What Do Foi( Think About When You Go To Bed A Very Intimate Speculation With Close-Ups to Match. The Shadow Stage Candid Reviews of the Latest Pictures. Why Do They Do It? ' Perhaps Nobody Knows, But It's Your Page. Divorce a la Film The Sad Separation of Doris May and Douglas McLean. Grandpa of the Movies The Genesis of the Silversheet. Questions and Answers The Professor Uplifts Producers and Exhibitors Please Note. The Squirrel Cage Nut Sundae for Weak Days. Plays and Players What's Doing Behind the Silversheet. A. Gnut Cal York 64 66 67 Norman Anthony 68 69 Bums Mantle 70 74 76 78 Murdered Brain Children Randolph Baitlett 80 • What -May Have Happened to Those Inspirations. The Answer Man 83 Ralph E. Mooney 87 94 97 {Addresses of the Leading Motion Picture Producers appear on page 14- ,Get What You Ask For! THE Editor ot Photo- play IS receiving many letters stating that Other publications imitate this magazine so closely and so brazenly — seeking to be carried on by Photoplay's large circu- lation— that readers fre- quently are deceived into buying them under the impression that they are getting their favorite magazine. Do Not Be Deceived! When you ask your newsdealer for Photo - PLAY be sure you get the magazine with the Rolt Armstrong covers. That IS the only Photoplay MagaZrine Photoplay Magazine — Advertising Section Our NEW Own Make Mandolin Banjo Designed for Jazz Instantly a favorite with Orchestra Players because of its Great Volume, Supe- rior Tone. Perfect Scale and Easy Action. Bernardo DePace, the World's Famous Man- dolin Virtuoso^ says: *'The scientific methods of the Master Violin Builder, as evidenced by the gradu- ated Top and Back, Com- pensatint; BridKC and Tail- piece, render your Own Make- Mandolin acoustically perfect Its wonderful ^one and flawless fcale make it The Supreme Mandolin." Foundod.1864 Everything Known in Music You^re Popular if You Play a Mandolin or Banjo You and I welcome the person who plays the mandolin or banjo. So will others welcome you — if you play. And besides the popularity, the assured welcome at any gathering, there is the immense satisfaction of deftly calling forth music to ht your personal moods. Both the mandolin and banjo are very easy to play. Both have the advantage of being easily carried. They go well with other instruments. Lyon & Healy Own Make Mandolin The finest mandolin money can buy is the Lyon & Healy Own Make. Made with violin back. Easily packed and carried. Beautifully finished, full-toned and sturdy. Priced from $75 to $125. Mandolas, SI 75, Mandocellos, S200. Lyon & Healy Professional Banjos and Mandolin Banjos These banjos and mandolin banjos are famous the country over. They are pre-eminently the best. Their patented truss construction gives that snappy tone." They are the choice of professionals who know orchestral requirements and should, similarly, be selected by the beginner; for the best instrument is the one to start with. Prices $45 to S125. 6-Day Free Trial — Easy Payments Owing to the superior character of Lyon & Healy mandolins and banjos, a Six-Day Free Trial Offer is made. The purchaser's money is refunded if there is not complete satisfaction. Easy payments can be ar- ranged, thus making it possible to buy the very best instrument without financial hardship. Write for catalogue. Mention instrument you are most interested in. Unlimited Guarantee on Every Own Make Instrument Sold by Leading Music Dealers Everywhere Lyon & Healy Stringed Instruments LYON & HEALY 90-92 JACKSON BLVD. CHICAGO \\litu you write to ailvenlsera please mi'uUou PiiOTVl'LiAY M^UAZIN£. PlKtKiIM.W Mu.A/.INi; — AUVEHTISING SECTION Read what ftie theatre manacfers say of PEllSaLLA DEAN in OF STAM BOUL UST closed four-day successful run of the biggest picture ever shown in Beloit. 'THE VIRGIN OF STAMBOUL.' Elaborate settings and musical score. All say it is the best picture they ever saw." Frank McCarthy. Manager REX AND STRAND THEATRE. Beloit. Wisconsin Univewal -Jewel 500,000 Production deluxe Directed by TOD HkOWNING Story by H.H.Van Loan " VIRGIN OF STAMBOUL' biggest artistic and financial opening Strand Theatre ever had. Huge crowds, immensely enthusiastic over picture. Congratulations. Send us more like this. It's a world beater! " Gv\ C. Smith. M.\n.\ger STR.^ND THEATRE. San Francisco •"VIRGIN OF STAMBOUL' broke all records at the Standard Theatre. Cleveland, today. Although this picture played Loew's Stillman and Loew's Mall in this city for one week each I had to stop sollin.g tickets three times and at nine-thirty there was a line of people over a city block long waiting to get in. I was compelled to run until midnight. ' THE VIRGIN OF STAMBOUL' is the greatest of great features." Thomas G. Cakroli.. Man.xc.er STAND.VRD THEATRE. Cleveland "Accept my congratulations on your wonderful picture. 'THE \ IRGIN OF STAMBOUL" opened to most tremendous business Sunday and has continued wonderfully all thru the week. Have been unable to handle the crowds at evening iH'rformances." NkDc>NAi,i\ Manager. \VM. FOX THEATRE. Washington, D. C HntS •dT«rtl5cmriil tu rUOTOPLAY MACAZINK U cuareotccd. I'llOIOl'l. \\ .VI \i, \/.l.M. .Vl)\ l,H I IMM. I ION V! r Be a kid again! Fill your pockets with doughnuts — whistle for your dog — and heat it over the hack- yard fence with Edgar. Don't miss Booth Tarkington's new Motion Picture series, WERE you ever twelve years old ? Did you ever hate your brother, de-spize your father and wish your teacher would be scalped by Indians? The funniest, loneliest little boy in the world is the twelve year Edgar. Loved by everyone but understood by no one. Alone with his dog he faces an unfriendly world. Edgar didn't really mean to be bad, but of course he'd get in wrong when Freddie was teacher's pet. And Alice the golden haired who made his heart go pit-a-pat only stuck out her tongue — Booth Tarkington knows the American boy as no author who has ever lived. And Goldwyn has made this picture just as Booth Tarkington planned it. No printed story could make boyhood so real. Only on the screen can you read a boy's soul. His fantastic notions — his dreams — his ambitions are right before your eyes — Go and take the whole family. Let the youngsters see you can laugh as hard as they! Don't miss a single one of Goldwyn's new Booth Tarkington "Edgar" pictures. GOLDWYN MOTION PICTURES Wlifii you write tu adM'itistrs i^-dn- imiiliuii l'lli)'[X>rU\ V MAijAZI.VL". in I'Hoiofi. \N M\(.AZiNK — Advertising Slction ROBERTSON-COLE N N 0 U N C E S THE WINNERS OF THE LEW CODY I LOVE LETTER CONTEST MAUDE H. BELL 1938 Ninth Avenue Greetey, Coio. ANNE RANKIN MURRAY Centennial Club Nashville, Tenn. BERNICE C. BOWNE 890 Geary Street San Francisco, Calif- JEAN STANNTON 4 3 West Street Northampton. Mass. C. N. NOR WORTH Hardeville South Carolina ELSIE GIBSON 171 North Ashland Ave. Lexington. Ky. JOAN JOHNSON 7 .AWen Street Danvers, Mass. HAZEL SHANNON 4010 W. \'an Buren Street Chicago. 111. EDITH LUCILLE HUFF I I 9 Sou th Whiteford .Ave. Atlanta. Ga. FIRST PRIZE $150.00 SECOND PRIZE $100.00 THIRD PRIZE $75.00 FOURTH PRIZE $50.00 FIFTH PRIZE $25.00 SIXTH PRIZE $25.00 SEVENTH PRIZE $25.00 EIGHTH PRIZE $25.00 NINTH P R I z r $25.00 After a careful consideration of the more than I 3.000 letters received from all parts of the world, the judges. Mrs. Wilson Woodrow. famous journalist; Mr. James Quirk, editor of Photoplay Magazine, and Lew Cody, star of "The Beloved Cheater." selected the letters of the above mentioned as the most perfect in every detail. i J IF VOU LIKED ■ ■THE nirlo iihort Mt'irr. Ur Irarnlnff to tcM Vn> ■l.'rir* cf htr ^ drram* ttua wnman ha» found h*r way t > famn and for- luna. You can learn t" wril«, to^. A n*»w (Tactical couraa of Inatrurtion will ri¥fl *oii tho Iralntna right In rour own bumo durlnff rour apa^n timn. Kndors«d br •mioaot wrlt«n lo- cludlDff thf> lain Jark lx>fuion. Write Today t:: ::r:.:^i'\XJ:\ rA';»: Bp.rl.l .fT Jr I.. Ik ni».l«. Wnlo T"rnrntc. Wiilc to; display and same good opportuni- ties for big results. ^ J U I J U U U U U U U U U LTLTU 1 J U U U U U U U U U U'U nnn n n n n n r This Section Pays. r'j"' of the advertise: usmg this section duniik' the past year have rc pt-ated thi-ir copy. Rate 40ceDU FORMS FOR OCTOBER ISSUE CLOSE AUGUST FIRST HELP WANTED MUSIC iri'.vDiiEiis <;ovi:RN.Mtr^'T i'ositio.ns open to mi'ii rtomi-n otct 17. SI 00 moiiih u|i. ("oraniuii edu- ratiiiii sufflrlenl. Write today .sure fur frw list lo- •■liloiis oiK'ii. Fraukllu Iiisiiiute. DcH. \V204. Jtodi- .atcr. N. Y. IN A.NY .STYLE Kit 'ilANTm— iilH EMIIP- nient Insures best results Saniiile C'oiJies and ifiaea subiultied on rl-«lue^l. I'mmpt Helivery. Muiic l'ul)M.iliiiig Press. JO:; West -liPth .SUeet. New Y'ork RAILWAY TRAFFIC INSPETTORS EARN ITUJM $110 10 ?200 PIT miiiith and expenses. Travel If iles1reklrt CM-se. .Standard Business Train- ing Institute, Buffalo. N. Y. OLD COINS WANTED OLD COIN- \ '' KILlJS Hi ■ -I'^ nanted. II ^ p«ld for ' Rare fVin 1 ■ In the Vi all odd look . a .d send 4c ! . 1 WA.VTKD WOMJCN". ItWO.Mi; EXPERT DRES.S desigiii'rs. SI 2.5 nioiiih. .S.inii.le K'S.'*)n3 free. Write Iniineillately. Franklin Instituif. 1 (.'i i . W.soo. Rorh ester. X. Y. ('•'ill ("iri'iildi. ll h .i. rnesn larse it :,; i. ;, u. ^ij now. -Vumismatir liauk. iJ.i '. TS. Fort Worth. Teias. PATENTS AGENTS AND SALESMEN 540 TO $luo A WEI:K. FREE SAMPLES. GOLD SiRo Letters anyone ' an put on windows. Big demand. Liberal offer to general agents. Metallic Letter Co-. 431-K N. Clirb. Chicago. • INSYDE TIRES— INN-ER ARMOR FOR AUTO.MO- hlle tires; prevent i)unctures and blowouts: double tire iiilleaRe. Liberal profits. Details free." American A.tf^sories Co.. CincliniatJ. Ohio, Dept. 129. TELL THE READERS OF PHOTOPLAY WHAT >' u have of inieiesi to them. You l aii reach them at a very small cost through an advertisement In the ilaASificd section. 86',» of the advertisers using this se -tioik, during tha past year have repeated. The seetiou is read nnd brings results. .-SALES.MEX— CITY OR TRAVELLING. EXPHHU- eiiio unnecessary. Send for list of lines and full nnrtUulars. Prepare In spare time to earn the big salarie'!— $ 1.500 to $10,000 a year. Employment services rendered Members. National Salesmen's Train- ing Association, Dept. 138-K, Chicago, lU. PATENTS SE.M> HIK lUEl; RiiuK tains valuable' inlurmuiiun for inventor.s- of your iitventi"n for I>ee Opinion of nature. Proiun service. tTv%enty year? Talbert & Talbert. 4724 Talbert Bldg . \. U. C. ■ h PATENTS. WRITE FOR FREE GUIDE ROOK and Evidence of Conception Blank. Send motent«l)le nature. HictiW Hiferenees. Prompt Attention. Rea5onat>)e Termi. Vi'-tor .!. I>niw & Co.. 7>'3 Nintti, Washinirton. I). C. BUSINESS OPPORTUNITIES DETE«'nVh>i I^VRN Ul«; MONEY. EXn:LJjr\"T opportunity, Exiwrience miiie»i-s;'ajy. Particulars fr«e. ''Vrite. .American Deiei-tive System. 1968 l;r<>»d«ay, Nliv York. PORTRAITS M>U).4LLION lt>RTRAlTS OF NAZIMOVA. PICK- ford. and other stars. .<1.00. "Ict'^uley, 84 jjutlec .St., New Ha ... fonu. ememher :;r:ri'!illilllli!m^ MIL. Every advertisement in PHOTOPLAY is guaranteed, not only by the ad^r^tiser, but by the publisher. When vou write to advertisers please mention PHOTOPLAY. Learn Wireless at Home Quickly and Easily .\ttra*tivt' ami i ntt-re-^t ing l ions at hulmtuntial Kulurit'H aro alwavs ready for the trained wirelt^HH oiM-rator. If yoxi wan*, it -;nrrosHfuI future, one filled with vital in ti-r prise anci advent urt- well as tinancial HiuvesR. Mtndy WireifHi*. It offers variet> and interest instead of the usual routine of offiee. shop or Htore work. SalBrii>!4 flUrt at Sli^i m tDonU>, wltti nil livinjr oKponffM pant. Thii» In- cludcB l)««rj. Indiciiur, Uundo'. ■ic. which, when totaltM) anu j.iciod t" UiP t«alary. amt'iintji to |2l>l»or nmro ■ monlJi. WlroleM ofr«*ar. Travel Without Cxp«ns» If you ar"* eau'T to tm\ fl . i»n\- ituirt In vi«it fort-iirn c.nintn. N ant) iii.T»-«-»» y..ur knowlwU-,- of w.rld iitTaim. \Vir.-l.-H5 of- trrn you thr chanoo uf a llf.- time. On nhipboar.l y-ui nrr nitM a» an offirrr. IK'tntr :u>.l oatinv with tl-- " i."'l niinirlinir » id ■ All without o- toyoiil Tlir , nn land aro jt. Writ.- Illnir all Rtviit r* hnvi- hrlpo*! lie bnuklrt »x 'ou a thoroiii;h SEND FOR FREE BOOKLH Uir. nntl th- (iit.ir<- il ..irrpH you. ' Wir.-Ir^* ln»lnin« i'» -cnr.- lin,.- at %.Mir honir. by mail, am) hrlp you ■cruT^ a worth «hilr> i..-«itt..n. •Send Coupon Today NATIONAL RADIO INSTITUTE Dapl. 270 t4(h ft U Sis N. W.. WAftHINOTON, O. C. irlirVt'i^Wltr pout BTaduatc Alio Adi)r«'*» STENOGRAPHERS' Earn $25 to $40 a Week ©write tfie Hew Way 80 TO 100 WORDS A MINITE CIARASTIED I'olitlh new -ti'iii , v>n ti> iiimt*.t It- Fiiik-er TrainiiiR! Hrink~ iiimiiinK •vt'" '!. 1>erfc< l nr< iirii< >— Big Salirir* lx>arn at louie. Noiin»l:ll TiaOSS SCHOOl T.-.T.-l'oUouoHiU Sprinntiol't. 0*ii'> Pick Yours Quick! IF.S,S IHAS MAMlAlIlKIKS I RIli, ^l.r.>l, ,| .. k. I.w tlirvc in '"II t_li- 'Irr.* ^"'K AtT irrtline V ArMUi<4lnMM> Wr.l,.. kf.ii'Tc.N. TVPeWRITfR eM»»omoM ■14 \t. W l.k. ?rc sell. CuHtVale your minti. Dc\V?lop yourlilcrory gifVs.Masier the ot4 of s«lf"-e>:presaion. Make your spare Hmc profitable. Turn your ideas into dolUzrs. Courses in Short-Story Writ- ing, Versification, Journalism, Play Writing. Photoplay . Writing, etc. taught person- Dr.tsenWein aUy by Dr. J. Berg Esenwein, for many years editor of Lippincott's Magazine, and a staff of literary experts. Constructive cribcisnr- Frank, honest, helpful advice. Real teaching. One pups haa received over $5,000 for •tories and Artidea written mostly in tpAre time — "pl*jr work," h« c*IU iL Another pupil receiTed over $1,000 before completing her fint counc. Another, a busy wife and mother, is averaging over $75 * week from photoplay writing alone. There is no other institution or agency doing so much for writers, young or old The universities recognize this, for over one hundred members of the English faculties of higher institutions are studying in our Literary Department The editors recognize it, for they are constantly recommending our courses. Wc pubJuh Tht Writtr'a Library. 13 volumn; dcscnpuve bookln frM. W« alwo publish Th* Wrtlrr'a Monthly. ih« lead- mt nufuiM for latrary workm , nmple copy 10 cmts, annua] Bubacnption (2.00. Bmdea our tcaduof acrvicT,_ we offer • ^nanuacnpi cririoam aervK*. 150-Page illustrated catalogue tree. Phatt AJJrttM "Cfie Home Correspondence School Dcp't 9'. 5primjfield, Mass. That Tonic Air Of the Great Lakes makes this kind of breeze-blown travel on palatial D. & C. liners a vacation in itself. Six trips weekly Detroit to Mack- inac, the famed pleasure playground of the lakes. Daily Detroit to Cleveland and Buffalo. Rail tickets accepted be- tween Detroit and Buffalo. Detroit & Cleveland Navigation Co. A. A. Schantz, Trcs, aod J. T. McMillan, Vice-Pres. L. G. Lewis, Gen. Pas». Agt. .*V*»4i 2c Klampfttr pamphUt t» L. G. I^wtit, OVn. i'as.. Agt.^ Vttroit. MieK. DOYOULIKETODRAW? CARTOONISTS ARE WELL PAID ■ill < Hot If nil R ctipy with r>r In atJinipii for LI. .-.rluin. REMEMHKR Thnt every lulvertiscmont in PHO'lOl'I.AY is K'"»ranti-id. not only I'v thcudviTtl.ser.biil by the publisher. When voii write please nieiitioii I'l 1 ( > l'( )IM . A V . Studio Directory For the convenience of our readers who may desire the ad- dresses of film companies we give the principal active ones below. The first is the business office; (s) indicates a studio; in some cases both are at one address. AMERICAN FILM SfFG. CO., 6227 Broadway. Chicago; isi Santa Barbara. Cal. BLACKTON PRODUCTIONS. INC.. 25 West 45th St.. New York; (si 423 Classen Ave.. Brookiyii. N. V. ROBKRT BRCNTON STL'DIOS. Ave., Los Angeles, Cal, 5300 Melrose CHRI.'^TIE FILM CORP.. Smiset Boul. and Gower .St.. Los Angeles. Cal. FIR.ST NATIONAL BTXHIBITOHS' CIRCUIT. INC.. 6 West 48th St.. New Vurk; Mildred Harris ChauUu and Auita .Stewart Studios. 3800 Mission Boul.. Los An- geles, Cal.; Norma and Constance Talmadge Studio. 3 1 j East 4 8th St.. New York; King Vldor Production. 6642 Santa Moniia Boul., Hollywood. Cal. Katheriiie MacDonald Productions, Georgia and Girard Sis.. L03 Angeles, Cal. FO.K FtLM CORP., 10th Ave. and 56tli St.. New York: 1401 Western Ave., Los Angeles. Cal. GAR.SO.V STUDIOS. INC.. Los Angeles, Cal. 1845 Alessandro St., (iOLDWYN FILM CORP.. 4 69 FUth Ave.. New York: (s) Culver City. Cal. THO.MAS INCE STUDIO. Culver Oty. Cal. 5IETRO PICTURES CORP.. 1476 Broadwaj. New York; (s) 3 West 61st St.. New York, and 1025 Lillian W^ay. Los Angeles. Cal. PARAMOU.NT ARTCRAFT CORPORATION. 48 j Fifth Ave., New York: Famous Players Studio. 128 West 5 6th St, . New Y'ork ; Lasky Studio. Hollywood, Cal. PATHE EXCHANGE. 25 West 45th St.. New Y^ork; (s) Hollywood. Cal. RE.U..\RT PICTURES CORPOR.\TION. 4 69 Fifth Ave.. New York: (s) 211 North Occidental Boul.. Hollywood. Cal. REELCRAFT PICTURES CORP.. 7 29 SeveuUl Ave.. New York: (s) 1107 North Bronson Ave., Hollywood, Cal., and 1729 North Wells St., Chicago, III. BOBERTSON-COLE PRODUCTIONS, 1600 Broad> way. New Y'ork. UiiTIIACKER FILM MFG. Parkway. Chicago. III. CO.. 1339 Diverse; sia^ZNKli PICTURES CORP.. 7 29 Seventh Ave.. New York: (a) 80 7 East 17 5th St.. New York, and West Fort Lee. N. J. I NITCU ARTISTS CORPOR.\TIi. W. Griffith studios, "rleiiial Point, Mamnrniiivh. N. Y'. I MVIIIISAL FILM MIO. CO.. Iflon BrDidway. .Ni» Ycirk: (») Universal Cllv. Cal. vita<;r.\pii rx>MrAN"Y of amebica. looo Brnadvvoy. New York: IRl East 1 5th St. and I/oetut Avp.. Brooklyn. N. Y.; and Hollywowl, Cal. A HUMAN DYNAMO I Wyi Make You Look Like One— Act Like One— Be One Today the world is calling for the man u«h t clliciei ot. you I Will G?e You Health. Strength. Development I will mak(^ a nrw m«n ■ | will till out roar chrst so . Surifyioir rourblood ami fi ^ I - rvelop yoar whoi<< budy - h- - r ■ aflerin both th« buRln*-fu> ar<: > u . lu strength and power to do thinvn u.at ou-.rra ».-u : : attempt to do. And I xill do all this m m short • ; r ■ ■ s will aay.*'! did Mt tMnh H poaalM*." I hav« ... ..^ c - this for thousands of othcra at>d my rrcords axe one a! irr,t;c^ What I h»v.f done for them 1 will do for y«HJ Come. th»ii, for times flies and n-cry day roaota. Let tfais rery daj rDc«ji the bevinninir uf new life to you. Send for My New Book "Mnscnlar Development" It telU the secret, and i- hAr,.i.fne]* illuj choose i roin inoiir famoun RANGER Lnr Srnti forl'ia beautiful ratal g. Rlany parants B(ivan>-e the Anit pas mrnt and enrrireiic l>o^ n by odd Job;* - p.iptT r-'ute*. d'> ivrry for Btorei. • t c . mak* thabJcycIa •am monvy (<> nie- T ho -.rtiRll m -nthlv Parment!! DCLIVCRCO FREE on Ai^i nn al and 30 DAYS TRIAL. a^cUn-t tliebiry< ie y.»u want and trrm» thni iiif you -caiih or ea.-v pavmentji. TIDCC l«mp*. horni*. whoels, ^undrieA nr.A PW't' for all linCa birvclea-nt half » ' " b'lt write to.iay for t ' " bu f:nnIrrior» SEND NO MONEY MEAD CYCLE COMPANY Dept. A 40. Chicago or OpOl \.^asn broken jcwein,-. diamonds, w.itflu";. old Kold. silvor. pl.iiinuni. \V.ir Bonds or St:mip'- .invtbiiiK v.ilu.Tblc. Cish bv ictum ni.Til. (;»m)> rctiinic-d in 10 davs if vou nre not sati,-;tied. OIm Sack>i & RdHM U 204 LoMi BMi. Omlni On tti^ry advcrtlseracul lu rHOTt>ri-AY M.V<.;.\ZINE Is tuirantctU. Photoplay Magazine — Admchiising Section Let Me Prove I Teach Piano In Quarter Usual Time Write for my free booklet. Ask for the names and addresses of accomplished players of piano or organ near you who obtained their entire training from me by mail. I have students in all parts of the world and scores in every state in the Union. Although my way of teaching piano was laughed at when I first started in 1891, yet I now have far more students than were ever before taught by one man. Could I have fought my way up against prejudice like this, year after year for over a quarter of a century, unless my method possessed REAL MERIT? Investigate, is all I ask. ril teach you piano in quarter the usual time and at quarter the usual cost. If you have not previously heard of my method this may seem hke a pretty bold statement. But I will soon prove to you that it is not in any way exaggerated if you'll simply send me your name and address on the coupon below. My way of teaching piano or organ is entirely different from all others. Out of every four hours of study, one hour is spent entirely away from the keyhoard — learning something about Harmony and The Laws of Music. This is an awful shock to most teachers of the "old school," who still think that learning piano is solely a problem of " finger gymnastics. " When you do go to the keyboard, you accomplish twice as much, because you understand what you are doing. Studying this way is a />/f^/j-//r<'. Within four lessons I enable you to play an interest- ing piece not only in the original key, but in all other keys as well. I make use of every possible scientific help — many oi which are entirely iinkiioivii to the average teacher. My patentee! invention, the COLOROTONE, sweeps away playinti difficulties that have troubled students for gener- ations. Hy its use transposition — usually a "nightmare" to students — becomes easy and fascinating. With my fifth lesson I introduce another important and exclusive invention, QUINN-DEX. Quinn-Dex is a simple hand- operated moving picture device, which enables you to see, right before your eyes, every movement of my hands at the keyboard. Yok actiialls see the finders ttiove. Instead of having to reproduce your teacher's finger movements from MEMORY — which cannot be always accurate — you have the correct models before you during every minute of practice. The COLOROTONE and QUINN-DEX save you months and years of wasted effort. They can be obtained only from me and there is nothing else, anywhere, even remotely like them. DR. OUINN AT HIS PIANO— From the famous sketch by Schneider, exhibited at the St. Louis Exposition Men and women who have failed by all other methods have quickly and easily attained success when studying with me. In all essentia/ ways you are in closer touch with me than if you were studying by the oral method — yet my lessons cost you only i'S cents each — and they include all the many recent developments in scientific teach- ing. For the student of moderate means, this method of studying is far superior to all others; and even for the wealthiest student, there is nothing //etter at any price. You may be certain that your prog- ress is at all times in accord with the best musical thought of the present day, and this makes all the difference in the world. M\ Course is endorsed by distin- guished musicians, who would not recommend any course but the best. It is for beginners, or experienced players, old or \oung. You advance as rapidly or as slowly as you wish. All necessary music is supplied without extra charge. A diploma is granted. Write today, without cost or obligation, for 64-page free booklet, "How to Learn Piano or Organ." FREE BOOK FREE BOOK COUPON — QUINN CONSERVATORY. Studio PH 598 Columbia Road, Boston, 25, Mau. Pleaft «i-nd mt, u lthoui cost or ohiieaiion, your (rrc booklcT. "How to Learn Piano or Organ," and lull par* liculars of your Courfc and special reduced Tuition offer. Marcus Lucius Quinn Conservatory of Music j Nam*.. Studio PH, 598 Columbia Road BOSTON, 25, MASS. When rou ivrlto to adrertlscra please menticii PHOTUI'LlAV .MAGAZLNB. 1 ') I'lioioiM. v'l .M\(i\/i\i; Ai)\ I H I isiN(, Sk< HON "At Last-a/?ea/Job and /?ea/ Money!" "And if only I'd started earlier, I could have had them five years ago. I didn't realize at first what spare time study would do for a man. Taking up that I. C. S. r-ourse marked the real beginning of my success. In three months I received my first promotion. But I kept right on study- ing and I've been climbing ever since." Every mail brines letters from some of the two million students of the International Correspond- ence Schools tellinij of advancements and in- creased salaries won through spare time study. How much longer are you aoinK to wait before takint; the step that is bound to bring you more money? Isn't it better to start now than to wait five years and then realize what the delay has cost you? One hour after supper each nijfht spent with the J. C. S in the quiet of your own home will prepare you for the position you want in the work you like best. Yes, It win: Put It up to us to prove It. Without coit, without obligation. Just murk nnd mall this coupon INTERNATIONAL CORRESPONDENCE SCHOOLS BOX 6522, SCRANTON, PA. Kxplaln, without obliKatin^ me, how 1 can qualify for th« position, or in the subject, hfforf which I mark X. SALESMANSHIP AD\ tR USING KI.FCTRirAl, KNMNEKU Klertrle Mrbtlnr and U71. Electric Wiring 1 c'k'ifraph Engineer Tulephone Work U(^< lUMCAL KNIjlNt FIt M«rliknl«Bl Ifraf Udibii Ukcliln^ Shop rriflte« Toulmakcr Ga* Engine Operating CIVIL ENGINEER Hiirvi*rliic and Uapplnf HINK K0I(|:HA> or frlNtJ'U STiTinMUT KNUINFF.U Marine Engineer Ship Draftsman ARCHITECT Contrkctor and llnlldrr irrbllertnral llrarUMao Concrete Uulldrr Structural Engineer PM'UniNfJ AM> MKlTI^» Sheet Metal Worker TeitlU Ot«ri««ror8iipt. _rilFMIST □ Navigation 1 Window Trimmer jShow Card Writer ]Sign Painter Railroad Trainman ILLUS I RA I ING ) Cartooning I RTSINKSK MiNA(iKllENT t Frivaif Secretary BOOKKEEPER I 8t»nof rapher and I.TpUt jCeri. Pub. Accountant TRAFFIC MANAGER [Railway Accountant \ Commercial Law (GOOD ENGLISH 'Teacher )(^oiBinon Hfhool Sabjenta Mathematics CIVIL SERVICE Railway Mail Clerk ATiOMOilll.F. OI'I-HATIHO Aoto lUpalrlns ICSpaaUk J AUUirri.i rUK || IKr«n«b □ Poiiltrr Italilnc iGltallan Name . Present Occupation. Street and No City- Copy this Sketch en«nithit. Mnn> nt'waimin r ,irtiHl«cnrnlnK$:^' fOtoSI'^i or more per week vtvrv tram od by m> connM* of prrnon.il fadividuAl le«M>nH l>> niitil PKTl'HK CHAKTH mnkr ortKinnl drft%» intz <• a •* > to learn. H*'n'l nk^-lch of I n* Ham ntth \jc in NtampH for ■unpin Picturp Chiirt. lint ol' aiirci'mrul '■Itiili'nl'*. futmpl*-* ii of thiMr work nnd <•* idrncc i>I /i^M /'//,../ .r^tf If/ TheLandonSchool ."lOT Schohcld Bldg.,Clc>oUnd, 0. Two Million Motion Picture Patrons liave found PHOTOPLAY MAGAZINE not only most entertaining, with its splendid illustrations, its absorbing fiction, its enlightening articles about film- dom in all its phases, its sincere editorials, but also The Best Guide to Good Pictures PHOTOPLAY'S reviews of the pictures of the month in The Shadow Stage, by Burns Mantle and other expert critics, may be depended upon to tell you what's what in the movies. To be up to the minute on motion pictures, one must read PHOTO- PLAY. Perhaps >ou were too late to get your PHOTOPLAY' last month at the newsstand. Many were. To be sure that it will come to you promptly for the next twelve months, send the attached coupon, together with money order for $2.,^0 (for six months $L25), to PHOTOPLAY MAGAZINE Dept.G. 350 North CLirk St. CHICAGO Yonrly subscriptions in Cnnadn, $3.00; ForciKn, $3.50 AaU your ihrntrc nmniiu*'!' whrti he will ahow I'hotoplny MnuAzinc Scrrrn Supplrmrnl! ! PHOTOPLAY MAGAZINE Dept. G, 350 North Clark Street. CHICAGO Gentlemen : I enclose herewith ^ |j .^^ , for which you will enter my sub- scription for Photoi'L.ay ^L^G.^Z1NE for -'j^^'^^l .August, 1920, number. months, effective with the Sen(1 to Sfreet Address- City K.rtnr mlvrnijrmuu- In I'llnTOI'l AY M.\i: \/IM; l-'mitriuilccil. Photoima^ Ma(.a/im; — Ai)\ Kit i isin<. Section 'isifalQiraiGSlralQlfalalraialraiar Olive Thomas WILLIAM FAVERSHAM J ELAINE a. HA>l>1ERSTEIN J- n ' • r |Qlr3|s|ra|s|ic]|aira|Q|!S|G|[iii9[ August is the Month of Fulfillment (^ROWING things are reaching per- fection and the Harvest Moon turns the world to gold. This August is marked hy the fulfillment of Selznick's promise to give you the stars you want in the kind of pic- tures you like to see — pictures that charm with sentiment^ lure with mystery; thrill with adventure; delight.with romance. That's why two new stars have been added to the Selznick firma- ment and why' & I Create Happy Hours '|{8lra|D|[33iaifaiG3|ra|£g|ra|Bira|C3|"' rTilT j0|ra|S|[a|aira|a|[g|aiiaiai^^^ When you write to ailrertisera picnso mention PIIOTOPUAY MAGAZINE. i8 Photoplay Magazine — Advertising Section Is your skin exceptionally sensitive ? Is your skin especially hard to take care of? Wind, dust, exposure; do they constantly irritate and roughen its delicate texture? You can correct this extreme sen- sitiveness. Every night use the following treatment : Dip (I soft ivashcloth hi u anii n ater and hold it to your face. Then make a u arrn water lather of Woodbury^ s Facial Soap and dip your cloth up and down in it until the cloth is '^fluffy" icith the soft white lather. Rub this lathered cloth gently o-ver your skin until the pores are thoroughly cleansed. Then rinse first with u arni, then with clear cool ivater and dry carefully. Special treatments for each different type of skin are given in the famous booklet that is wrapped around every cake of Woodbury's Facial Soap. Woodbury's Facial Soap is on sale at all drug stores and toilet goods counters in the United States and Canada. .\ 25-cent cake lasts for a month or six weeks of anv treatment, and for general cleansing use. "Your treatment for otie week" .\ beautiful little set of the NN'oodbury faciu! preparations sent to you for 25 rents. Send 25 cents for this dainty miniature set ot Woodbury's facial preparations, containing your complete W'ooJhury Irealnniit for one -iveek. You ^vill rind, rirst the little booklet. "A Skin You Love to Touch," telling you the special treatment your skins needs; then a trial size cake of Woodbury's Facial Snap — enough for seven nights of any treatment; and samples of the new \\'oodbury's Facial Cream, Facial Powder and Cold Cream. Write today for this special new Woodbury outfit, .'\ddress The .Xndrew Jcrpens Co., 508 Spring Grove Ave., Cincinnati, Ohio. If you li-ve in Cauada, jdJrrss The AnJre-n: Jergeits Co., Limiicd, fioS Sherhrooke St., Perth, Oiittirio. Conspicuous u'lSe pores can be corrected. Read the special treatment for this condition given in the famous booklet of treatments . "A Skin Yeu Love to Touch, which is u rapped around every cake of Woodbury' s Facial Sohnston> LIKE a girl to whom our r-l)al)v who docs not ii) for sorious drama: a hrnnd now ^ portrait of that cninora-ohisivc lady, Alice Joyce. Loii^ a imu li-lovod star, .«hc recently added a new chapter to hi-r personal career hy becoming Mrs. .lames Kepan. (Alfred Cheney Johnnton) FKANCPyS loss was our jrain when Renee Adoree left her native land to visit our studios. A beauty of the musical revues over there, she becomes a dramatic actress here, with a director's voice her music and the sputtering lights her melody. ( Hoovrr) Bl iri" LVTHLl/S rcront rise as an actor of real power camp as a coniplotc sur- prise. An iiijrrrttintinp jx-rsonnlity often oliseures ability. Now lie i< a lirilliant mill tra<:i(' derelict in one jiictnri'. and a elever crook in the next. (Married!) (WItzel) "T^ORTS MAY very often plays those fleli<:htfiil little wives in her co-starrimr '-^ pictures with Douglas MeLt>an. Doris should have no trouble this leap-year if she eared to persuade someone to play opposite in a little domestic drama of her own. (WItzcl ( Yor may not Ijclicvo it. I)ut this soutli-sfa-islniulcr is none (itlicr tlian Marv Milo'* Militcr, usually so di'imirc. If she over tires of tlio otrrnal drama of vouth and love, Mary-.Iiilii't Shclliy may always obtain a situation wifli Mr. Sciinftt. ^Uhe V/orld's Leading cJ^ovin^ 'T'i^iure dyyia^azine PHOTOPLAY Vol. XVIII August, 1920 No. 3 It's Up to YOU / "1 HE photoplay field is comparatively clean, and every day is growing >- / cleaner. Tet there is a great deal of cheap, tawdry and worthless material going the rounds of the country's twenty thousand theaters — stories that are false in sentiment, untrue to life, equivocating in their handling of the great moral issues, misleading in their pretense of mirroring reality. And of course you deplore that. PHOTOPLAY MAGAZINE often hears from you about it. The producers hear from you. Your exhibitor hears from you. Tour favorite actors hear from you. J^aturally, you want to \now who is really to blame. We are here to tell you. You are to blame. The ultimate responsibility is yours. You cant lay it on the charlatan pro' ducer, the pin^brained director, the wrong-minded author, the greedy exhibitor. Fundamentally, you are just as responsible for what is unworthy on the screen as you are praiseworthy for the screens best Because the whole of screen^ craft, from the mightiest manufacturing organization to the youngest player, toil merely to give you what you want. Motion pictures are the mightiest artistic endeavor of the Twentieth Cen' tury, but they are also, and always, a business. We have laws to regulate busi' ness, but even the men who ma\e these laws and endeavor to force their execw tion recognize the existence of one mightier regulation, upon which all business is based: the law of supply and demand. If you insist upon having only strong, honest, self-reliant American man- hood and womanhood in your celluloid narratives you can have these, but dont vocally insist — and the same night on the same street give a financial demonstra- tion that you didn't mean anything you said. Discriminate, select, restrain that purposeless desire merely to pass the time in any form of optical entertainment. What your money says, goes. 7S[o censorship, no editorial thunder, no legis- lative pronunciamento can compare to the oratory of the lady on the silver quarter. Don't blame anyone else for unworthy pictures. It's up to you. Photo by lldivard Thayer Monroe No, those blossoms Anne is hold- ing are not Wistaria Productions. AXXE LUTHER, that titian-haired baby who used to ridorn the beaches for Sennett, is looking for a title. Not just a title — a good title. And it isn't the case >of the usual American title-hunt — out of the count- pan into the prince-fire, as 0. Henrj- used to say. No — Anne is looking for a good title for a good picture. And so far she hasn't succeeded. "They put me." says Anne in reproach of figurative film magnates, "in pictures with terrible titles. There was 'Moral Suicide' that I did for Ivan Abramson. Now, who on earth could be artistically respectable in a film like that? Then came a Wistaria production that didn't live up to the re- freshing brand name. This, in which I supplied the leading agony, was aptly camoullagcd under the drag-'em-in title, of 'Why Women Sin.' There wasn't a single sin in the picture, so the producer was not to be blamed if he couldn't explain it. Well, that release was shown in Pennsylvania; the Board of Censors didn't like the title so they changed it to 'Neg- lected Wives.' " Well, Anne .says if somebody doesn't reform her, she'll have to do it herself. She played a dual role with Charles Hulchi.son in a Pathe serial, "The Great Gamble." And between serials and sin, Anne has been ruined for honest-to-goodncss stuff. For whenever her name is brought up in a discussion for a lead- ing part in a good picture, someone sitting in judgment is sure to say: "Oh, she plays in those serials and sex things." But Anne has decidetl she will work for herself an artistic transformation, or know the reason why. Was she not trained in (he most highbrow cinematic schools? Grif- fith—the old Reliance— Sennett-Keystone? Titles and Anne Luther is aching to act in a respectable picture. Anne was a red — or rather titian-haired. very little girl when she first adventured into the land of cameras and Cooper-Hewitts. She lived in Bayonne, New Jersey. (Born in Newark in 1894, — if you must have statistics.) She began to be ambitious in 1913, and started with Charles Dixon in "Hearts of the Dark." Griffith saw her and sent for her to come to the old Biograph studio. Anne had to give a good imitation of a fainting woman. And she was so embarrassed that she r.eally fainted! And that led to her being a member of the all- star cast of one of the first Grifllith "features"', "The Great Leap", in which appeared Henry Walthall, Mae Marsh, Lillian and Dorothy Gish, Blanche Sweet, and Miriam Cooper and Raoul Walsh. Later she performed for Lubin. Selig, Keystone and Fox. Now she is a Manhattanite. And won't someone please put her in a picture where she won't have to be sinful, neglected, or in chapters? 28 Landlords Helene Chad wick is hunting for a real-estater with a heart. REMEMBER the pallid heroine, the gel with the little old red shawl, who was thrust out on the back-door-steps into the snow and all that in Ihe old-time melodrama? You know, the Way Down East thing, with midnight drawing nigh, and nowhere to lay her weary head? Pretty sad, wasn't it? Made you feel weepy, that Act III. Scene 2, did, and you wished down deep in your heart that you were in the show, and could jump out from behind the prop pump and say to the poor heroine: "Dry your tears, Mary; I will give you a furnished room with an oil stove and ev'ry- thing." Reader, that heroine out in the snow had nothing on Helene Chadwick. Only, Helene's case is worse. Xot only has she no home at this writing, but her baby grand (piano) has no home. That makes it more intricate. is not a landlord botlierind Helene, )ust a villain in a picture. Here is the plot : Helene — of course you know this blonde divinity who really shines in her latest picture, "The Cup of Fury" — had a, bungalow. It was a regular bungalow. The kitchen had walls, and a stove, and you could cook dinner without the neighbors knowing what you had. Our heroine fell in love with the bungalow. She doesn't trust men. Failing in love with the bungalow, she set about making improvements upon it, proving that bungalows are superior to men. So she bought a piano. And she had it made in a special case, special finish and all that, just to match her bun- galow. Enter the \'illain — the landlord. ( Was there ever a landlord who wasn't a villain?) Villain: "Get outta my house." Helene: "Why?" Villain: "Golta tear it down to put up 'partment house here."' Helene: "Oh, s*ir, have mercy on me and my baby grand." Villain growls and exits with a guttural oath. So here we are at Act III, Scene 2, and Helene has no home and no nook in which to esconce the baby grand. Now here is the cue for the hero. Who will give Helene Chadwick a home? Three years ago Helene Chadwick was a stranger to the screen. She made her debut in an Astra-Pathe studio and won a part in "The Iron Heart," a thrill serial. Then she appeared in another of that kind, "The Double Cross," and repeated in "The House of Hate." Miss Chadwick is now with Goldwyn; the serial days are far, far behind in the dust of obscurity, and all's well — that is, all's well but for the Villainous Landlord. 29 . w Louise Huff is a studious yoiintJ person with mentality as well as pulchritude. di(J not Start right smack off on the subject of LOVE. Nat- urally, two well bred ladies who are interviewing each other for the first time do not soar to such intimate heights until they have reached a certain amount of conversational momentum. (And we were nothing if not well lired— "dainty" Louise Huff with her gen- erations of Georgia accent and gentility, and the picture of her grandfather who fought in the Civil War in a gold frame on her desk, and I with mv college education and a new red hat.) ^ There were the problems of the weather, and the scandalous wav New V'ork taxi drivers cheat you on a rainy day, and (he new short-vamped French pumps, and transmigral ion of souls, and the possibilities of remaining a kuly in whatever walk of life, and the duty of children to parents, and Mexico to settle first. When we found that we agreed on all of these— then, then it was time to talk of love. "I believe ab.solulely in love," announced Louise Huff profoundly. Her forehead wrinkles when she wants to look profound. "But there are no two ways about it. If one person thinks he or she is desperately in love with another, and the other docs not return his or her affection — then it isn't love. Vou either love or you don't, and unless both the man and woman care for each other with the same intense, sure, satisfying emotion — well, it just isn't love. "When I hear girls stewing about and see them growing pale and thin be- cause they can't cat or sleep on account of what they think is love for some man who doesn't care two straws for them — I waiit to shake them. The Dante Was Wroni Bv BETTY thing for them to do is to put these men out of their lives, and get something better to occupy their minds until the right man comes along. '"Of course sometimes people make mistakes and marry others they think they are in love with, but that sort of marriage very often does not last. It is not true marriage — true marriage can only happen when people really love. Such a union is bound to be an unhappy one, anyway — often from the fault of neither husband nor wife.'' So Dante was wrong! AW this stuff and non- sense he wrote 30 L/OUise Huff does not agree with him about love — Anyhow he's all out of date. SHANNON about Beatrice, all this holy, un- returned affection that guided him through Hell and Purgatory (I hope I haven't my facts twisted), all these sickly senti- ments that he and the other poets have been slipping over us all these years about the beauty of despair — well, to be Louise Huff Has come back, after a tw o years' absence, a Selznick. P.u lo liy S.I ony There is Mary Louise, in other words Miss Jones, and in still other words. Miss Huff s young daughter. modern, there's nothing to them! Of course it is too much to expect of a poet that he be both a poet and right. His poetic license gives him lief to take all the liberties he wishes with the truth, just so he doesn't err as to metre. And anyway, why should Dante know anything about it? He lived way back there seven or eight centuries ago before the days of motion pictures, and automobiles, and per- manent waves and Greenwich Village. And Beatrice married another gen- tleman and died young, and Dante married some one else, who very likely wasn't at all pleasant because her husband insisted on pulling these Beatrice lines all the time. Of course he didn't know what love was. You see, Louise Huff does. That was what we were heading at. Louise Huff know^s absolutely what love is, because she loves some one and that some one else loves her back, and there's no question in the world about it. That some one else knew he was going to love her the minute he laid eyes on her, and she knew she was going to love him. (One of his fraternity brothers brought him along one day to a luncheon party so that there would be an even number.) And they were married a few months ago, and in spite of the fact that he is the president of a company that manufactures hy- draulic engines (and is only 34 at that) and has such a practical name as Stillman, and she can't tell a valve from a radiator, they understand each other perfectly. Like Fanny Hurst, she is going to go on leading her own life and doing her own work — but she expects to keep the dew on the rose and the dust on the butterfly's wing with seven breakfasts a week with her husband, instead of two. Then there is this difference, too: in Louise Huff's case there is Mary Louise, in other words Miss Jones, or in still other words, her young daugh- ter. Miss Huff was married before when she was very, very young — too young, it is to be feared, to know what love really was, (Catttinued on page 113) Happy Endinpfs "Men are only boys, grown tall; Hearts don't change much, after all." By ROBERT M. YOST ALL authors, before plunging into the body of their narrative, first consider the ending, for a story or a play must have a Happy Ending. But, of course, you know that. Perhaps that is why cyn- ical critics laugh when we speak of a play or a story being so true to li*'e and yet— having a Happy Ending. Happy Endings are necessaries that mark every step in our careers. The baby crying for its bot- tle, and getting it, achieves its Happy Ending. Later we Lila as she reached the Coast to begin her motion picture career. Nortlil.in.l Stiulu Lila Lee today. are told that if we are good we shall go to Heaven when we die — another Happy Ending. Directors are wondering now whether the pub- lic will be satisfied with endings of the other sort, based upon natural conditions in life. The chances are that the public will not; it never has been. It already has had enough ?»ihappy endings. A couple of years ago an Eastern produc- ing firm decided to star a newcomer. Her name was Lila Lee, the youngster who earned success in a school days act in vaudeville. At that time Lila was quite small, just a cuddly little kid and the Wise INIen of the East de- cided that the time was ripe to launch her in a number of stories, specially built to exploit her kid talent. Those Wise Men were going to take no chances. Little Lila was to be a success right from the • ' start. One of the greatest campaigns known in filmdom was inaugurated through every possible avenue of publicity, heralding the arrival of this prodigy. This was kept up for months. The public expected a pig-tailed Sarah Bernhardt — and they didn't get it. Fifty-seven varieties of reasons were offered in ex- planation of Lila's failure to meet the expectations of the public, but there really were only two. Lila had been lured into the field of motion pictures by the kind insistencies of friends who convinceil her that she could make good. She entered the business with a keen determination to succeed that has never wavered. First of all, she fell victim to over-advertising. Next, she was cast for the role of a very little girl 33 34 Photoplay Magazine in productions written with a view to accentuating and developing the fact that she was only a child actress. With her fine inteiliKcnce. her stage experience and her native ability, Lila might have overcome even these handicaps, had not nature and Cali- fornia climate conspired to blast the hopes of the little star. Lila had reached the age when it was time for her to grow. She should have been a head taller — but she wasn't. So they sent her out to Cali- fornia to make pictures, a little freckle-faced, undersized kid. in dresses that flapped at knee length. Then came the great change. The climate took kindly to Lila. She could live in one house, all the time, regular hours, regu'ar meals, golden weather, pleasant work, pleas- ant surroundings. Old nature began sneaking up on the kid. Her feet grew down to meet the sidewalk and her head began to stretch toward the stars. In a very few months. Lila was just exactly, by actual measurement, a head taller than she was when she arrived in California. That's why her portrayal of little kid parts didn't come up to the expectations of the public. She was too busy growing. According to all the rules, the youngster should have been down- hearted. But she was determined that her career in motion pictures should have a Happy Ending. She is well on her way now to the suc- cess she socks, but there must have Lila Lee when she was known as ■"Cuddles in a vaudeville s etch. been some dark days along the rou'.e. One day Cecil de Mille cast her for the role of Tucctty and good luck came back to Lila. There are a few things you remember particularly about "Male and Female." One v{ them is Tweeny. In "The Prince Chap"' the public is looking upon a new Lila Lee — the girl who came back — only she comes back a woman. But it was Tweeny that marked the turning point of Lila's return. Lila Lee is a stage name. The little brunette was born Augusta Appel. The story goes that Gus Edwards, the vaudeville producer of tabloid musical comedies, discovered her when she was a very tiny child indeed playing on the sidewalk with some other boys and girls. He saw all the possibilities for piquant "kid stuff" in small Augusta, and put her through a course of training and ulti- mately into one of his acts. Her success was instantaneous, and she held the position of the most popu'ar little girl on the variety stage, known only as "Cuddles." for ten year?. Now she is one of the most promis- ing of the younger leading women in pictures, for besides her two per- formances mentioned above, she has appeared as Wallace Reid's leading woman, and opposite Houdini in "Terror Island.'' ' She is getting better every day. they say on the Lasky lot, and there seems no longer any doubt about that Happ\" Endine.^' AliRUNh rrii iMi t ncce^.■l;lrily a hi-uncltc any more, nor a hlondc a hlondc. N on (Jo to fcc your favorite film ifoddcKii in one paistcl and you home and indite a fonnct to her raven loeli». Then you go to ecc her again and -lo. ahc i? a hlondc! Norma Talniadife and Anita Stewart both have changed their celluloid coiffure." recently. "I Don t Want To You ihink of temperament when >ou read about the rough way in which Dave Belasco mauls emotionalism into his stars, do you not? You think of temperament when you read about chorus girls who pout when their Packard or Pic-Pic is late, or when the strawberries are not quite large and sweet enough on the Christmas morning breakfast tray, what? Temperament? Reader, those feeble flings are as the rippling rill alongside the roaring Niagara. Consider, if you please. Master Bobby Kelso, set three. One of those helpful persons, who always knows all about everything that is going on in Hollywood (which is a fairly large order, by the way) whispered that there was a great new child-find out at King Vidor's studio. Rumor had it that this child was a marvel, one who would disturb the laurels resting peacefully up- on various small brows. He was playing the all important part of Buddy in King Vidor's new oroduction, "The Jack-Knife Man." by Ellis Parker Butler. Bobby had never been in pictures, but his mother met Florence Vidor in a hair- dressing shop one afternoon just when King Vidor was searching for a child to play Buddy. Thus the discovery. When you see this picture, you are going to see a very fine piece of acting by a three-year-old. But dragging Mrs. Carter, in her plumpest days, about by the hair, wa< A troupe of assistant persuaders follow King Vidor around. Every angle of the plot hinges primarily upon him. But when he does do it. he s great! a mere bagatelle, compared with th.' things King Vidor has done in order to make Bobby Kelso act. For instance, here are some of thj things King Vidor carried around: Jelly beans — by the gross — they being Bobby's pet confection. Live rabbits, produced instantaneously, like those that come out of a magician's hat. Ice cream cones, whistles, chalk, musi- cal tops, string, and a rag doll, made of a towel tied around in the middle. Buddy's favorite consolation in moments of men- tal anguish. Also King Vidor was followed around by a troop of assistant persuaders, con- sisting of property men, electricians, as- sistant directors, cameramen and stag' hands, bearing kiddic-kars, tricycles, rock- ing horses, wagons, automobiles, live goats and other things. The favorite of this harem, is on: ■'Hui;hie," head property man, who, next to King Vidor, occupies the chief place in Bobby's heart, Hughie is a great "feeder," He is generally elected to stand on his head off set, when they want Bobby to stare out the door or window, or to climb up the rafters, or im'tate Charlie Chaplin .when they want him to laugh. Bobby plays the role of a child who, through the death of his mother, falls into the hands of two old men, a shanty boatman and a singing tramp. There is scarcely an emotion that a child can know that Bobby does not havo to express. He is in at least half the scenes of the picture. Every angle o; the plot hinges primarily upon him. But when I had watched him makin : a few scenes, I decided to start a con- test to elect King Vidor successor to Job, the popular patience specialist. Bobby's favorite quotation was. "I don't want to." I didn't discover any- thing during the entire afternoon that h: wanted to do. BUT — when he does do it, he's great! 35 "Go into the movies" said Molly Bolton's friends, when at 26 she was left a widow with her own future to face. "You have a profile. Let it work for you." So she went into pictures and there she learned many things — not the least of which was Hope. Th I was one of those women born to eat the pale de foie gras that some man earned for her. W: 'IIV don't 3'ou go into the movies?" Xowadays I suppose that no good-looking young woman is ever thrown upon her own resources without hearing this suggestion on every side. Cer- tainly I myself had been a widow only several weeks when Dorothy Tompkins, my best friend, came forward with the idea. "Well," she commenced, looking about her at the tiny room in the Madison Avenue boarding-house into which I had just moved a few of my most treasured possessions from the smart Park Avenue apartment where Tom and I had spent our brief married life, "what are vou going to do, Molly?" I shrugged my shoulders. "What can a woman do who doesn't know a single useful thing in the world?" I retorted. It was quite true — that estimate of myself. I had been unfitted for life in the most fashionable of pri- vate schools. I couldn't bake a biscuit serviceable for anything ex- cept a paper-weight. I couldn't sew and I couldn't even take a French sentence without balking at the hurdle. As I stood there at the window of my little room I realized indeed for the first time that I was one of those women born to wear the feathers and eat the pate de foie gras that some man earned for her. I had passed from an indulgent father who lived up to his profes- sional income to an even more in- dulgent young husband who con- sidered that his future success as an architect depended upon show- ing off every bit of his present suc- cess. Both props were gone now and save for the ten thousand dol- lars insurance Tom had left me, to- gether with the wardrobe and jewels he had bought me. I was dependent upon myself alone. Dorothy stared at me in silence. Then .' something to do I'll call you up." "Then you think I shouldn't have any trouble getting a job as an extra?" I inquired. I was cer- tainly meek enough by this lime. "My dear young woman," he re- torted promptly, "do you know what an extra is? It's somebody with a face, .\nybody can be one — young, old, rich, poor. Of course," he added politely, "you're the kind that would always be most in de- mand. You're pretty, under thirty, 37 38 Photoplay Magazine well-dressed and above all, you've got a good figure. Thai's really more important in the movies than the face. Now, how about your wardrobe in general — got lots of fluffs?" • What has that to do with it?" For answer he waved his hand toward the ante-room be- yond. "Right out there," said he, "there are probably two or three girls waiting to see me this ver>' minute who would know what I mean. They've got good sets ol features, but poor sets of clothes, see? They can't scrape up enough coin to buy the pretty evening dress or the swell afternoon gown that a lot of the big scenes need. Consequently, we can't use 'em any place except peihaps the street scenes or something like thai." I thought of the clothes I had bought just before Tom's death — of the silver cloth evening gown that he had told me made me look like a fairy-stor>' mermaid, of the new brocade evening wrap, the gorgeous set of furs — and I blinked back a tear. How little I had thought when I bought those gay feathers with Tom's money to make a good show for Tom's clients that I should ever use them in earning my own living. "I have a — a — great many clothes," I answered un- steadily. "Fine. Now then let me write down all about you. You see. we keep the names of professional extras in our card-index and whenever we're making a big picture we call on them." I furnished him there- upon with a complete his- tory of myself — age, weight, height, education, previous inexperience, and promised to send him a few photo- graphs. "Now don't you worry," said he kindly as I rose to go, "you're not going to have any trouble. YouVe got the kind of face that will film well. And, say, there's a lot in that last. You haven't any idea how many beauties there are in this world that screen to look like frights — they might be the girl your mother and sister always pick out for you to marry." Following his advice, I made a round of the other studios and enrolled in the same manner. After that casting of my nets I settled down to what soon proved the most unsettled life in the world. For two whole weeks I waited there in the little Madison Avenue boarding-house for some returns from my enrollment. Wait? No stage carriage ever did it so hard. JUST as I was beginning to despair I received a phone mes- sage from the director whom I have quoted .so extensively. If I would go over to Jersey the next morning I would find my first job wailing for me. They were going to do a big scene in a hotel lobby and I was to take my handsomest evening dress with me. Afterwards I found out that I had been very lucky in being called at all. It is only very young and stately folks who trust to the telephone. More crushed and wiser spirits make a busi- ness of turning up every day either at the studios or at one of the agencies. These agencies, by the way. are patronized by many extras and, although they charge a ten per cent commis- sion, they do possess certain undoubted advantages. I had brought with me nothing; save a bo.x of rouge and a lip stick. Well, to go back to my first day of being an extra. I had been told to present myself at the Jersey studio at nine o'clock in the morning. In order to do so I arose at half-past six. Even this early start gave me a chance at nothing more sub- stantial than the roll and coffee on which in my European days I used to wobble forth to see two art galleries and a dozen churches. By the time I had taken subway. Fort Lee ferry and the Jersey trolley I was ready for a real breakfast. I arrived promptly at nine at the studio. Some other extras had been not only prompt, but precocious, and when I entered the hallway I found a number of my fellow-workers — mostly young men and young girls — grouped about their suit-cases and chatting just as cheerily as if they had not already put in a Wall Street man's "day." I had seen a number of extras in the city offices, but this was my first real in- sight into their daily mode of thought. Watching them and listening to them. I real- ized that they all knew each other, that they had met frequently in the various studios and that there ex- isted between them that cheerful freemasonr>' you always find among those who earn their daily bread in some precarious wav. "Hello, Sally!" I heard the entire group turn to greet a girl just entering the door. She had almond- shaped, slatey grey eyes be- neath a fringe of dark bangs and over these bangs tilted a cherr>-colored straw hat. "You look fresh as a daisy," commented a good- looking young man as she drew nearer. "Yes," replied the new- comer, "and where do I get the right. I'd like to know. Heavens, what a day yester- day was!'' "Wasn't it awful?" gri- maced one of the girls. "Were you in that awful mob at s yesterday?" "Huh. didn't I stand there all afternoon trying to get to somebody until every one of my toes felt like a boil? Me for the agents after this. Let them take their commi.ssion. I say. At least you don't have to stand around all day long. Besides, they give you your money right on the spot how long some of these producers take to come and look across!" NOT until I looked over this group of extras did I realize that the movies, like Browning's hero. cry. "Grow old along with me. " Mixed through this assemblage of pretty young girls and men in their twenties were several stately dowagers and one or two elderly men of professional appear- ance. It was with one of the former — a woman of past fifty with one of those unwaning profiles that every woman cries for — that I gradually lapsed into conversation. "Funny how I got into the movies." she confided to me. "Of course at my age I never dreamed of such a thing, but one day I came along with my daughter to one of the studios. 'Why don't you go on in this big scene?" asked the director, walking up to me where I was waiting in the hall. 'Me?' answered I anil laughed. 'Sure,* said he, 'there's no reason why any able-bodied mother with a handsome lace dress shouldn't be working these days. Don't you realize that the movies represent life and that life is full of people past forty?'' Photoplay Magazine 39 '■But it's rather hard work, isn't it?" I asked. After that early rising, that long trip to Jersey and the hour of waiting which I had already put in here in this studio hall, I was com- mencing to abandon my first theory that all there was to this life was walking across the drawing-room floor. "Oh, you get used to that," she retorted cheerily. "After all, life's lonely without any work and I'm certainly glad for a profession that finds any use for the woman of past fifty." "So am I." It was a handsome, beautifully gowned woman with snowy white hair who joined the conversation at this point. "Why, I was bored stiff before I started being an extra. Just think of having nothing to do but look at your Queen Anne chairs and wonder where to put your new Bokhara rug! I tried all sorts of things to get out of myself — spiritualism, social work, Bolshevism, women's clubs. But I wasn't a club- woman by nature — I just hated to get up and say, 'I move' — " "So you said, 'I movie,' " I interrupted with a laugh. "Exactly. And I tell you it's all opened up a new world to me. I love every bit of it. And as for the people that I meet in the studios, why. I didn't know there were so many brave, cheerful, real folks in the world!'' They were brave, cheerful, real. I recognized this as they stood here in this dreary hall almost two hours before the director came to assign them to their dressing-rooms. I recog- nized it still more when, together with twenty girls and women, I found myself in the big dressing-room with its two side- lengths of mirror, its long benches and its community dressing- table. When I got to that flocking-ground I felt for the first time an oppressive sense of embarrassment. Sitting down on the extreme end of one of those long benches, I watched the others opening up their bags and taking out their toilet articles. And as I sat there listening to the chatter about me it seemed to me that I had strayed for a moment into the pages of some novel that I was read- ing. The other characters knew each other and knew exactly what to do. I alone knew nothing. And how they did chatter! W'asn't it awful — their having been kept up until two in the morning that other day at the So and So studios — but it was nice in a way, for they had got paid for an extra day's work! And, what luck, two of them had been called by their agent to go up on that picture in the Adirondacks where the sledding accident had occurred, but that very day they had been busy on something else. One of them — a fat girl with red hair — admitted a not unreason- able terror of balconies. She was one in a certain picture when it fell and, though she herself had got off without a scratch, she had vowed then and there that she would never set foot above the snow line again. All the others roared at this confidence. "Keep your vow, Mopsy." shouted Sally of th^ almond-shaped eyes as, smearing the grease-paint over her face and neck, she looked down across the intervening figures on the long bench where we were all sitting to the redundant curves of her friend, "We want balconies made safe for the rest of us." I laughed at this last sally, but I was really concentrating my whole mind upon the elaborate character of my companions' make-up. Let me confess it right now. I was so ignorant of one's obligations to the camera that I had brought with me nothing save a box of rouge and a lip stick. It was like trying to lumber with a pair of manicure scissors. Very soon the girl beside me discovered my bewilderment. "This is your first experience, isn't it?" asked she, giving me a long friendly look. I nodded. "Well, just wait a minute and I'll show you how you make up. Don't get fussed. It'll all come natural to you after a few times. Take me — I was as green as you are a few months ago — so green I thought I ought to look red." Vou didn't look red for the screen. That was quite evident; and under my companion's course of instruction I applied the grease-paint, the powder and the eye-lash stick which all th.; others were using. Although I was belated in these attentions to myself, I finished long before most of the girls and I had time as I sat there to find something inlinitely pathetic in the anxious forward bend of each figure on the bench to the sec- tion of mirror directly in front of it. How much it meant to these girls to look their very best! I forgot for a moment that I myself was now one of "these girls," that a great deal depentled upon today's trial. I thought of myself as the wife of Tom Bolton, rising young architect, who had strayed into the pages of the novel she was reading. "/^NE hears so much of the movie stars," I sentimentalized, "and now here at last are the movie moths — poor, fragile, lovely creatures arawn to this lamp of fortune, fluttering dizzily about it and so, so apt to be singed before they are through." Certainly they maintained that figure of speech. With the hard lights falling upon their bare arms and shoulders and their pink silk "unders," with their shin- ing, marcelled hair and the drifts of powder on 'face and neck, they did recall a Hock of powder-winged, perishable moths or butterflies. Vet it was really impos- sible to pity them long. They were too (Continued on page 112) They recalled a flock of powder-winced, perishable moths or butterflies. \tiiiiii;i|)|;f,,iLe:J; Mae Murray is the puppet princess, the marionette mistress, of her pastel apartment. That pout of hers is natural, not affected. TO begin with, everything, or nearly everything that has ever been written about her, is wrong. They have said she is Irish. She isn't. They have said she cultivates persistently the mental attitude of a boarding-school child who only went to a theater once or twice — and then to see Julia Marlowe and E. H. Sothern in their Shakespercan repertoire. They say she has a perpetually innocent and injured ex- pression with which she seems to say: "Where do babies come from?" They're all wrong. Mae Murray was really born Mae-somebody-else. She re- minds me of the child of Continental parents who, at the rather immature age of ten, has seen all the best pictures — in the galleries — heard all the finest music, met all the best people. She has Latin rather than Celtic blood in her veins. When Lasky wanted to star her, he picked parts for her to go with the invented biography which made her a Murray. The original idea was, I believe, to exhibit her bee-stung lip and her shining hair and her Follies figure to the world in a series of Irish plays, like "Sweet Kitty Bellairs." When Mae Murray started out to make a name for herself, she was undoubtedly a very young girl with only one object and ambition: definite, materia! success. She says herself she supposes she was "just a fluff," She prospered. Any girl with a bee-stung lip and a retrous.se nose and trusting eyes — not to mention two perfectly grand hosiery advertisements — was bound to prosper. She started when she was fifteen. Be- fore she was twenty she had won fame in the national institu- tion of beauty, the Follies, in the popular midnight perform- ances of Manhattan, on the roofs, and had become known as "the Nell Hrinklcy Girl," And that wasn't all. She had wit enough and initiative enough to use the dancing craze for all it was worth. She was the naive proprietress of a Manhattan restaurant which coined money. Altogether her characterization in "On With the Dance ' — The Truth About The explosion of a few theories re- ding: the young ladv on the cover. garding Soitia — could not have been easy for her to do. Having seen so much of material Manhattan, and its dance-palaces, and its Pekingese — both dogs and humans — ^she must have had to ex- ercise her perspective and her sense of humor strenuously be- fore she could give such a degree of reality to that little dancer. She settled, I believe, in this Fitzmaurice production, all those arguments about whether Mae Murray could act. The adver- tisements were misleading; it was Mae's acting and not Maes dancing or Mae's costumes that you most appreciate, SEE her in the studio. She reminds one of ftothing more or less than a particularly apt child, with a penchant for learning and an age-old understanding. She always has a sort of listening e.xpression: her eyes droop and she purses her mouth in an earnest and gratifying attention. That pout is natural, not affected. See her at home. She is the puppet princess, the marionette mistress of this pastel apartment of hers. She has wide lounges that you sink into, and silk-and-lace imitations of umbrella trees with cushions beneath, and soft pastel rugs and hangings. Vou can tell, by glancing from Miss Murray to her apart- ment-furnishings, just what came with the apartment and what she put into it, .\ wolf-hound named Reno is a cood dog and a gentle dog — the only wolf-hound whose acquaintance I ever cared to cultivate. Some woman once said she loved to sec Mao Murray walk. This woman probably thinks Mae was born with a walk like that. This woman doesn't know that Mac practices walking and pr.ictices dancing every day of her life. She has a con- suming energy that seldom lets her rest a minute. If she's not dancing she's reading: and she loves to entertain. She has a wholesome awe of great people — particularly 40 Photoplay Magazine 41 authors. She said she'd always been afraid of them until she went to a party which was attended also by several very dis- tinguished literary gentlemen. She found them good fun and wanted to see them again. They all wanleei to dance with her. SHE is married, you know. I don't mean just married; her husband occupies a large place in her scheme of things. Since Robert Leonard first directed her at Universal, she has includetl him in her artistic as well as personal plans. And it has always been her wish to continue this partnership of theirs in business as well as in domesticity. Her costumes are ail \-ery carefully planned. She believes that instead of focussing the audience's attention on one par- ticular costume, an actress shoukl rather see that her costume is so much in character and keeping with her personality that the audience barely notices it. It should harmonize, never astound. Mae Murray nas found her metier. She doesn't belong in any dramatic chorus. She will be distinctly original or she will not be anything at all. She is not a New York butterfly, flying from couturier to tea and from tea to dinner-dance. You see, her profession is dancing and while she still loves to dance — in a restaurant or at a private party — and steps out for this express purpose several times a week, the illusion is gone, while perhaps the best part of the glamor remains. She is rather a reincarnation of one of those French ladies who used their charms to direct the destinies of nations, having all the time a very definite purpose behind their frivolity. Mae Murray, in the future, will select her own plays. She is tired, she says, of playing the eternal ingenue, and will be quite obdurate in her demands for intelligent parts calling for characterization. Stage plays will be studied and good books read, for she has promised her public she will give them only the best, now that she is her own boss, and she intends to make good. The nicest thing I know about her I promised not to tell. But since the personality of any person, even a celebrity, may best be describetl by actions, not ideas, I am going to break my promise. Mae Murray is not a reformer. She is too busy to bother about her neighbor's morals or her fellow-man's business. But not long ago something happened to make her change her serene philosophy and reflect rather more seriously on life and what it's all about. She went down to the East Side of New York City for first hand instruction as to the Russian dance she had to per- form in "On With the Dance." She went to a settlement. She stayed, talked to the children, and became genuinely in- terested in them. She went back again and danced for them. And gradually she got to know their families — the mother of one of them gave her a shawl to use in her picture — and she met their grown-up sisters, girls in late teens and twenties, who worked in the factories and sweat-shops — girls who had so little pleasure that their lives were merely a series of early- to-bed and early-to-rise and work like — everything. Mae got busy. With the aid of Frances Marion and her chaplain-hu?band, she planned a club for these girls. She invited them all to her house and saw that they had a good time. She does all she can to make their lives a little less barren — and if you suggest to her that she is doing a charitable thing she will turn blazing eyes to you and say indignantly: "It isn't charity — I like them." Mae Murray Reno, third member of the Murray-Leonard menage, is a good dog, a wolf-hound to whom you must be introduced before he will deign to bark at you. ryEEL I— The mere beholder gets Dramatic personnel and title, Director, author, owner, etc.. Including other things quite vital. Verse hy Howard Dietz oi J^EEL 2 — The heroine appears, A simple, dimpled sort creature. She registers some hates and fears To show that she's the star and feature. N JDEEL J — We get the atmosphere — A desert scene with tents and arabs, Each bearing the accustomed spear And wearing the accustomed scarabs. o n c e 11 eONV-£RTGD VV/E used to sneer at movies; they were vulgar To our aesthetic, cultured sort of mind; Amusement for the lowbrows or people who had no brows And passions of an ordinary kind. But now we must admit we are converted; You'll find us at the pictures rain or shine. No matter what the features, we're just the sort of creatures Who stand in line from seven until nine. friend of ours once said that he liked Chaplin. •O tush!" we said to him, and likewise, "Pooh! You mean to tell us that you are honestly infatu- .\tcd with such entertainment, too?" Hut now our tone assumes a new crescendo — We'll say this Chaplin chap is more than there; .^nd when he's on the proRram, we'll instipate a pocram To reach the theater Rate and pay our fare. To think we used to stand aloof from "Fatty.'' Or Roscoe. as the better class would say; To think we wouldn't truckle to this renowned Arbuckle— But those arc horrid thouphts of yesterday. SulTice that now we're with him soul and body. SufTice that now we're fans, to say the least. And happy that the cinema is shunted by the minima .■\nd that our snobbish pasts are now deceased. A Primer for The Fadc-Oiit When stars are out-of-date and played out. We sav ibat ibcv bave iiiade a iadf-oul Shooliiig To "shoot" a scene is nothiii;: new- Din t tors shoidd he shot at. too. 42 TDEEL 4 — Ike hero's introduced ; He spies the heroine and hurries. His hair is neatly oiled and spruced ; The lady peeps at him — and scur- ries. nEEL J — The action now begins; ^ A fight ensues, a desert scram- ble; The hero jumps right in and wins. Although his chances are a gamble. ~DEEL 6 — We pass the awfid pinch. ^ The heroine applauds her splendid And virile hero — then they clinch. . . The censor's iuime..the picture's ended. s o r s h i p Picture Patrons The Box-Offiee The ticket-seller s boxed that wav To stave off your attack When you re disgusted with the plav And want your money back. Location A picture filmed in Singapore Was taken at your verv door. Decorations by Ralph Barton ^ ^i^e MOVIE? T HE picture theater's always dark So things you throw won't hit the mark. II The actor in the movie play Can't hear the things you often say. Ill The spoken drama s always longer; The movie hero's always stronger. IV The spoken drama thinks it's witty — The movie heroine is pretty. DEOPLE who are critical, ultra-analytical, Comment on the movies as they be In a query passionate — This is how they fashion it: '"Are they fit for juveniles to see?"' We attack these querulous people, though it's perilous- We would change their hue and eke their cry. Give us pictures anyway — dollar way or penny way — If they're fit to reach the adult eye. 43 The Truth A Near Tragedy that Grew Out of "Little White Lies" By NANON BELOIS DO not imagine for a moment that Becky Warder was stupid, or uRly, or — attractively speaking — in any other way undesirable, when we tell you that she was a good girl. She was not the sort of person whose goodness people proclaim because there is nothing else to say for them, but Becky was a good girl. She was at the same time a pretty one, and a charming, warm, impulsive one whom people liked, and who liked people in return. But Becky had a weakness — it might almost have been called a fault. The truth — that is the truth about little things — was not in her. With the big. important things — well, they were different. They were big and important and if one didn't tell the truth about them, one was lying. If one deviated from the exact facts in speaking of little thing.s — that was fibbinc There was a vast difference between the two, in Becky's mind. When the Hobarts invited Becky and her nice, big, adoring husband Tom, over for dinner and the evening, and Becky did not feel like accepting, did she decline in as truthful a manner as it w-ould have been within the power of any womao under the circumstances? No — "I'm so sorry we cannot come. We are going out of town," she would answer sweetly, looking at Mrs. Hobart with great serious brown eyes. "But. my dear, " Tom Warder would say to Becky after she had confided one of these little white lies. "We are not going out of town. Why under the sun should you say we are? The Hobarts can easily find out that we did not go." Becky's innocent eyes would take on a hurt look. "But darling." she would reply, "pt-rhaps it isn't exactly true, but saying you will be out-of-town is so much more interesting, and it arouses comment. I — I — I — just couldn't help it." There didn't seem to be any way of arguing with her about it. No woman could be perfect. She was sweet, splendid, and generous and Tom attempted to forget about her habit of playing with the truth, but being a man of scrupulous honesty, it bothered him. Not that it ever occurred to him. in his 44 Photoplay Magazine 45 confident, mannish way, that Becky ever would try an\- ol this petty deceit fulness on him. Tom knew that Becky loved him, but he saw no need for this sort of thing, and he was afraid it might lead sometime to a serious misunderstanding on the part of their friends. BREAKFAST in the sun-filled breakfast room with Becky near him in a lacey cap and a soft clinging gown, of some lovely neutral shade that emphasized the vividness of herself, was the happiest hour of the day for Tom Warder. They had been married several years, but there was an illusive some- thing about Becky — perhaps it was that quality of mind that never permitted her to be trapped into an absolute statement on any subject — that kept Tom always the eager lover. He never understood her, but he was always hoping to come up on her unawares and find out what was really going on behind those eyes. They were breakfasting thus on the very day on which our story opens. It was spring. The sun poured its early morning fiood of gold over the table. Tulips of a pink thai matched the color in Becky's cheeks blushed in a huge bowl on the table. The canary trilled its heart out in a cage by the windows The world was very, very sweet. "What's the program for today, dear?" Tom always asked this question as he arose from the table. The day would not have been started properly without it. Ii was not that he was tr}*ing to keep track of Becky or her whereabouts; he was just very much interested and .hoped that she would have a good time while he was off pegging at the ofSce. Becky looked a bit confused at Tom's question. She caught her breath, her lashes fluttered down for a moment, then she answered with a laugh: — "Why — just a bit of shopping, and — 'bridge later." Becky was not in the habit of fibbing to Tom. But if he had been as observant as he gave himself credit of being, he would have noticed her momentary em- barrassment. Instead of suspecting, he took her in his arms for farewell. "You are my dearest little wife, and 1 lo\e you, my dear," he whispered tenderly. "You are my darling husband — and Tom, I do love you more than anyone or anything else in the world," she whis- pered back. Again, if Tom Warder had been ob- servant, he might have noticed a new note in Becky's voice — a sort of argu- mentative undertone, as if she were carry- ing on some sort of discussion with herself, trying to persuade herself that something she had in mind was perfectly all right. As a matter of fact. Becky had an en- gagement. She had an engagement with a man — a thoroughly good looking, fasci- nating, dashing man. She was at the same time excited, anxious, intrigued and fearful. The man was married to one of her very best friends. Becky was going shopping with Nadinc Gray. That much of what she told Tom was true. But she was not going to play bridge. Afterwards, at three o'clock pre- cisely, she was to meet Fred Lindon at the Museum of Natural History. She was filled with conflicting emotions be- cause in her heart of hearts, she knew that there was no real necessity for this engagement with Eve Lindon's husband, though there was a surface excuse to justify it. Becky first had met Fred alone a fortnight ago at the request of Eve. Fred Lindon was a notorious and unscrupulous man with the ladies. And Eve was a carp- ing, weeping, and suspicious wife. She was enthralled by these same ciualitics in Man- her husband, which made him so fasci- with nating to other women. The fact that he treated her with the utmost harshness and unkindness seemed to make her the more in love with him. If she had been less insistent in her claims on his aftection, and more clever and indifferent, they might have got on after a fashion. But Eve was the sort who talked loudly of her woe. A month earlier she had decided that she would not stand her husband's actions any longer, and in a jealous rage had taken bag and baggage from her home on the upper East Side, and had established herself in a suite at a fashionable hotel. It had been her hope that her husband would succumb to the emptiness and sadness of a wifeless home, and would plead with her to come back. But he did not. And before two weeks were up, Eve had sent for a detective and for Becky Warder too. To the detective she gave instructions to watch her husband's every move. She had a good weep on Becky's shoulder, rehearsed to her all the ghastly details of her treat- ment at her husband's hands. (Eve was the sort of a woman who reveled in ghastly details) and then persuaded Becky to see Fred and ha\e a talk with him. DECKY had rung Fred up at his home, and had gone to their •D first meeting with the twin fires of indignation and of noble helpfulness glowing in her eyes. It is true that she had said nothing to Tom about it — Eve had asked her not to tell a soul. And then Becky knew from experience that Tom would not have approval of her mixing in other people's private troubles in this manner. "Becky" — Fred's voice had caressed the name, "how fine of you to ring me up for tea. It's great to see you without .Eve and Tom hanging about. I never could get near enough to see what you really looked like." Becky had not expected this from Fred. In all their years ud luppincss based on niiitiial trust. A w ite \^ ho trifles her husband s confidence is traveling a dangerous road. 46 Photoplay Magazine and a fourth, and again and again. If Becky hac faced the matter out with herself, had told the truth, she would have reckoned that she was traveUng a dangerous road. By the morning on which our story begins, Becky was quite convinced that Fred had been abused. Becky was a little bit late at the Museum. Fred was on time. His cynical mouth was twisted in an amused half smile as he waited in the main hall. Self satisfaction and com- placency were written on every feature of his face He stepped forward eager ly to meet her, reached for her hands, and held them boldly. Becky drew them determinedly away. The fib she had told to Tom that morning was weighing a little more heavily than most of her fibs on her con- science. The N.ARR.\TF.D by permU- duction, adapled by play of the same title by by L. Wiiidom with the Becky Warder Tom Warder Eve Liiidon Fred Lindon Stephen Roland Mrs. Crispigny Jcnks If husbands and wives would look facts squarely in tlie face, if they would nip any misunderstanding in the bud, there would be fewer domestic tragedies. of acquaintanceship he had never expressed anything but the most impersonal interest in her. It threw her off her guard; she almost forgot the speech she had prepared. "I've come to talk to you about Eve — " The outcome of the conversation was not at all as Eve would have wished it to be. Fred was skillful in the ways of playing with the feminine weaknesses. By a subtle method of flatter)- combined with an artful sincerity of manner, he half persuaded Becky into the belief that he, and not Eve, was the abused one of their conjugal experiment. When the time came for her to run home, if she meant to get home ahead of Tom, and the old dear was always hurt if she was not there to greet him. Becky discovered that she was no nearer patching up the Lindons' quarrel than she had been before meeting Fred. It was her sincere wish to do so. Also, she was almost sorry for Fred, but she did not intend to let him see it. "This has been a very unsatisfactory afternoon. Fred, " Becky had said, about to hurry away. "You have rcfu.scd to let me talk with you about the very thing I wanted to. What shall I tell Eve?" "Let's make it tomorrow afternoon again. We can talk this thing out then." had been Fred's reply. So Becky had agreed to their meeting — impelled (even a more truthful woman than Becky would have refused to admit it to herself) somewhat by the sudden and unaccustomed regard that Frc-. "This proves to mc that you are 35 much to blame as Eve — even more so. Just remember that Tom Warder is Photoplay Magazine 47 my husband and your wife is my friend," she said, indignantly. They rode the rest of the way in silence. Becky refused 10 listen to an apology. Jenks, the Warder butler, let his mistress and Fred Lindon in. As he closed the living-room door, his wise old head shook rather sadly. Even Jenks knew Lindon's reputation. "Come, let's be friends again. A pout is very unbecoming to you." Fred gave every appearance of penitence. "You're so silly, Fred. We'll be friends, of course — ^but you know I am just a plaything for you — the old story. It's time you asked Eve to let you come back. She adores you." "Becky — you know that I am not playing with you — I really care for you, I always have — Becky — " Lindon's pleadings were interrupted by a ring at the bell. A minute later, Jenks in great perturbation, squeezed himself through the door from the hall, and announced in a low voice (that could not be heard outside), that Mrs. Lindon was calling. Becky and Fred both started visibly at the name — then Becky gathered herself together. "I will see her in a minute," she said. Jenks squeezed himself out again. "Get out into the garden" — Becky opened the French win- dows, and Fred ran to shelter behind a clump of flowering bushes, while Becky braced herself for the ordeal of meeting Eve. "Eve, dearest." Becky stepped forward with great show of affection, but her heart was thumping against her ribs. Eve returned Becky's hand shake stiffly, and snapped her lips, to- gether frigidly. When they were seated Becky looked Eve sweetly in the eye. "Well, how is Fred behaving? Has he shown any signs yet?" the truth, and now she did not have time to decide whether this was a big important thing, or just a little one. "I see him every day! Why I haven't seen or heard of him for — for ever so long!" There was stillness, while Eve glanced haughtily and scep- tically about the room. When her car had rolled out of sight. Becky stepped through the window and went out to Fred. She sat down beside him on the bench. "She carried on terribly, Fred," Becky exaggerated. But she meant to. "You've got to go back to her. She said she would die if you did not." Fred slipped his arm around her shoulder, but she drew away. "Fred, you know why I have been seeing so much of you?" Becky looked at him closely as she asked this question. "I had hoped for the same reason that I have been seeing you — because you care for me," Fred answered. "Don't try to flatter me. I know exactly how you regard me. I know that I have been foolish in meeting you. I almost felt sorry for you. I feel sorry for you still. Can't you go back to Eve and be happy as Tom and I are? Eve is a good woman and she loves you. That is not to be despised, Fred. I wish you would promise me, because I am not going to see you again." "I will never ask Eve to come back," Fred answered, — and then, because he could not bear to let any woman slip through his fingers when he had 'considered that she was nearly his — "you wouldn't send me off this way so unceremoniously, Becky, — let me come tomorrow for the last time." Becky thought for a moment. After all. there was Fred's (Cont blued on page 115) Truth sion from the Goldwyn pro- Arthur F. SlatLer from the Clyde Fitch, and directed following cast. Madge Kennedy Tom Carrigan Helen Greene Kenneth Hill Frank Doane Zelda Sears Horace Haine "How should I know?" Eve answered vindictively. "That's what I've come to ask you about." Then — "I think there is a woman in the case." Becky's eyes widened in horror. "Another woman! How foolish! Eve, that dread- ful suspiciousness of yours is the cause of all your troubles." Eve bit her lip. Then almost triumphantly — "I knew you'd excuse him. Why is it that you see him every day?" If Becky was the sort who could be frank with other women, she would have admitted to Eve that she had been seeing a good deal of Lindon and would have told her exactly why. She might have comforted Eve, might have read her a lecture on her weaknesses and given her some worth while advice on how a wife should not behave toward her husband. But it was easier for Becky to avoid "It was all a lie to get you here . said Beckj • Wear America First The third of a series of articles by the Lest dressed star of the screen By NORMA TALMADGE Illustrations by John M. Barbour MET a frienr] of mine a few flays ago who was rushing arounrl to gel ready for a trip abroafl. "I'm so excitef] ! " she exclaimerl. "This is the first chance I've had to go to Paris since the war, and I really must have some clothes!" I asked my excited friend what she had been doing for clothes during the four years when it was impossible for the average person to cross the At- ^ lantic, and when only a vf.ry few daring buyers took their lives in their hands in order to find out what the French creators were making. "Why, of course, I had to have my things made here then," she replied, "but now — isn't it splendid that we can go over again?" Ah, Old! I assented to the "splendor" of it somewhat absently, for I was thinking of a remark I had heard a few days before. "Americans boastful?" queried a man who has the habit of doing his own think- ing. "I should say not. Why, when any one asserts timidly that there are a few things we do rather well in this land of the free, there are at least twenty loyal Americans ready to rise up and shout that we do nothing of the - kind, or if we do that it isn't nearly so good as the things 'they' do on 'the other side.' They complain that we can't make clothes like the French, not cloth like the English — in fact, the only statement they might not con- tradict is that we make better fighters than the Germans." Now, I have a convic- tion that it might be a good thing for all of us if we were to sit dowr> oc- casionally and think out lor ourselves some of the reasons why we should bt proud to call our- selves Americans. I think you will find that one of them is the fact that we do create in this country —European - worship- pers to the contrary. There are certain myths that die hard. One of them related to German kultur. Another is the con- viction that some American women have that they can't be properly dressed unless every stitch of clothing they wear bears the trademark of a Paris house. I am not saying that Paris doesn't lead the world in the dresses she makes. I might correct myself there, and say in the style of the dresses she makes. Everyone knows that the French creators of clothes have a chic, a feeling for line and color that is unmistakable, but when it comes to expecting French clothes to hold together — ah, name of a name! as our Parisian friends would say The French gown is put together with genius and a few pins. I chanced to be present one flay when the head of a house that imports many of the dresses it sells was supervising the unpacking of a crate of French gowns. .She took fjne out. looked at it and shook her head. "I do think they might learn how to sew." she said mournfully. f OXE of the false gods that has been overthrown in this country in the last few years is the l^elief that all gfjofj music must have the German stamp. But sf^me impious Americans began to raise their voices and protest that genius isn't the God-given right of any one country, and that we had right here in America young men and women of great ability. Furthermore, they insisted that our fjwn musicians be given a hearing. The result is that American makers of music are being ac- claimed, both in our own land and abroad. The very same situation holds true in regard to clothes. In most things we can rival successfully the French — in some types of clothes we can beat them so far that there isn't any comparison. Above the uproar that this statement will call forth I want to be heard, saying that I mean it. At the present time we have in America three or four houses that make dresses with quite as much chic and dash and feeling for color and line as there is in French clothes, but these stylists do A feature of the summer suitf with short jackets it the exceed- ingly bright ribbon sash. If you fringe the ends and paint or em- broider above them a design ic color, you will have the Lates*' thing in sashes not as yet tower above the French couturiers. However, in tail- or-made things we are so far ahead of the French that they aren't even in the running. But the English, you exclaim? Yes, the English make lovely sports clothes, but when it comes to the tail- ored suit or dress for street wear we beat the world in style, in finish and in beauty of line. Take furs as another example. Did you know that a great New York house recently opened a Paris branch? And this Paris branch was started because European wom- en couldn't buy on that side of the water furs that had so Photoplay Magazine 5^ the beauty and style and workmanship that we produce. There are some very interesting reasons back of all this. One of them is a question of figure. Another has to do with class distinctions. The French woman is petite. The average woman in France, especially in Paris, is much smaller than the average American woman. " And the Paris creators of dress build their gowns for small women. That is why some of our own people, espe- cially those built on the ample lines of their native land, look so funny when they essay French clothes. One of the fine arts of the couturiers in America is the ' adapting" of French styles to meet the demands of the Amer- ican figure. There are only one or two classes of women in each country abroad that dress well. Outside of these classes are the workers in the cities and the peasants to whom style changes mean nothing. But America is the land of good clothes for everyone. Our class distinctions here are elastic. Mrs. Butcher today may be Mrs. Mil- lionaire tomorrow, if father strikes it lucky in oi or stocks. And ]Mrs. Millionaire will demand the best clothes that the markets of the world can produce. Moreover, the workers in the ordinary walks of life in this country draw salaries that permit fashion to be a serious topic with their wives and daughters. So that in this country our problem is not dress a small class of women beautifully, but to dress beautifully all the women of America. That is why there is rather more uniformity in the clothes produced in this country, every- one must be dressed weh instead of the fortu- nate few. AFRIEXD of mine, who was purchasing some dresses in a noted Paris establish- ment last winter, noticed that the woman serving her kept eyeing her suit curiously. Presently she went away and returned with '"Madame."" The latter picked up the jacket of my friend's suit and inspected it carefully. Then she offered a handsome reduction on the gowns if the suit might be left over night at her establishment for copying. The habit of keeping the suit-jacket on in restau- rants and other places has led to the extensive popularity cf the waist- coat. In bygone days the tailors of Vienna and Paris were the best in the world. Perhaps they have migrated to a land where their ability brings greater returns. Perhaps we have raised a race that eclipses their work — whatever the reason may be, the fact remains that when you buy a tailored suit from a first-class establishment in this country you may rest secure in the knowl- edge that nothing in the world can equal it. The tendency of the present season in tailored clothes IS toward brilliancy. Your suit may be black or navy blue, but if you want it to be in the mode you will insist that it have a vivid waistcoat or bright buttons. One of the clever- est creators of tailored clothes in this country startled his cus- tomers recently by exhibiting a suit for summer wear in canary-colored broadcloth and black oilcloth. The .^ikirt was in the' black oilcloth with large diamond-shaped motifs of stitch- ing in the canary-yellow. The jacket was in the yellow broad- cloth and reversed the procedure of the skirt by stitching of black silk. A yellow tam stitched in black completed this daring costume. The maker of tailored clothes in this country, however, is so sure of his work that he seldom goes in for effects that are bizarre. The plain skirt, trimmed with braid or stitching, the jacket that drops from hip to fingertip length, the narrow shawl collar and the one-button closing is the type of suit that is generally seen. With these may be worn the most vivid of blouses or vests and these may be made at home at compara- tively small expense. The habit of keeping the suit-jacket on in restaurants and other places has led to the extensive popularity of the waist- coat. This does away entirely with the necessity for wearing a blouse. In fact, one of the smartest houses in this country is showing lingerie so elaborate that the camisoles aje designed to take the place of a blouse or waistcoat for hot weather wear with one's suit. This year we have seen another encroachment in the field that is supposed to be man's own. Formerly we had one skirt with our suit. When the skirt got ""shiny" the suit could no longer be worn, even though the jacket was still in good con- dition. This year practically every smart tailor is turning out two skirts with one jacket — and here is where our versatility goes man one bet- ter. He, poor creature, is content to have two pairs of trousers identically the same. But we have a pretty plaid skirt, with blue predominat- ing, as the additional skirt for our navy blue suit, while if the suit be black we have the tailor add another smart skirt of black and white checked material — that gives us the effect of an entirely different suit even though we y^r\ wear the same jacket with both skirts. FOR sports wear this year there are some exceedingly good looking tweeds, and these are made with a skirt full enough for comfort- able walking and with a hip length jacket. Tweed hats to match the suits are a feature of these sport costumes this year, and soft blouses in bright shades give the needed note of bright- ness. In suits as in dresses it is the day of the short skirt, but here especially one must con- sider one's figure. The large woman will do well to avoid the skirt that is more than seven or eight inches from the ground, although the slender girl may wear her skirts as short as the dictates of good taste permit. For hot weather W'ear there is an infinite variety of silk suits this year. The coolest looking are those of shantung, that are shown Th is does awayentirely with the necessity o£ wearing a blouse. in oyster-white and the natural shade. A great many of them are embroidered — for embroidery appears on practically everything this summer — and they have large, practical pockets that will appeal to the business girl or to the woman of the suburban town who comes to the metropolis frequently. Also there are many coat-dresses being shown this sum- mer that are ideal for travel or street wear in hot weather. Blue taffeta suits are also smart for street wear or travel in the hot months and are usually ac- companied by sheer little blouses of batiste or georgette. One of the features of the suits this summer is the sash that accompanies them when the jacket is short. These are ex- ceedingly bright and are done in Roman-striped ribbon, silk tricolette or the new crepe weaves. If you will buy enough of the latter for a sash, fringe the ends and paint or embroider above them a design in bright colors you will have the very latest thing in sashes. This matter of making one's own acces- sories is a money-saver in these days of high prices. One of the most sensible ideas that has arisen in regard to clothes is being put forward this summer by the leading (Continued on page iii) Humoresque A romance of the Lower East Side and Fifth Avenue with colorful adventures along the road between By GENE SHERIDAN Sarah drew her son to her and sat Kim on her knee, and crooned over Kim as Ke played LITTLE Leon Kantor emerged from his fathers brass shop in smelly Allen street with measured careful steps and paused to survey the neighborhood with an unwonted dignity of bearing. His exit was quite unnoted by his father Abraham, busy behind the shop partition converting factory made candlesticks from Brooklyn into aged and timestaincd antiques from Russia. The street was surging with traffic and the medley of childlife of the foreign quarter, chattering in mingled putois of American, Russian and Yiddish. Leon, prim in gala new clothes, strode down the street in the full pomp of his newly attained seventh year. This was his birthday and in consequence a day of vast importance in the household of ]\Iama Kantor, up over the brass shop. Our pompous seven- year-old, holding aloof, keenly enjoyed the sidewalk comments on the grandeur of his raiment. He passed without noticing a group of ragamuffins at a crap game on the walk. He did not so much as glance at the milling fringe of pushcart vendors along the curb. A little girl, wan and thin, stood leaning against a tenement wall, alongside a garbage can. She peered into the can and pulled forth a fuzzy something that she folded under the ragged bit of a shawl about her shoulders. Then she stood rocking back and forth, maternally clutching the something to her bosom. Leon's curiositv was awakened. He stepped over to the scraggly little girl. "What you got?" With an air of great tenderness, she revealed her treasure. "Gee — a kitten. I know a feller as is got a dog!" She smiled and Leon took courage. "I can wiggle my ears. Can you?" She shook her head and Leon proceeded to demonstrate his ability in that direction to her amazement and delight. Genius commands recognition, and Leon got it. He turned to find that he and the girl had become the center of a mouth-gaping group of .Mien street kids. With a quick motion, the girl, sensing peril for her charge, pulled her shawl over the kitten. In a flash the gang of gutter boys were at her with reaching hands. "Watcha got hid? Bet it's a pup." The crowd pushed in and the girl tightened her hold, with a look of standing ready to fight to the last. Leon, quite forgetting his new suit, remembering only that he and the girl were friends by virtue of her smile, plunged into the gang with both fists, as she, taking advantage of the distraction, ran away. The melee over, Leon picked himself up. sore with much pommeling, his new sui? drab with the grime of .Mien street. A hard hand seizetl him and the harsh voice of his father was in his ears. Si Photoplay Magazine S3 •'So this is the birthday you got it!" But INIama Kantor was in a kindlier, more forgiving mood as they entered the stuffy quarters over the brass shop. She rendered first aid with water and a towel as her husband stood by in grim disapproval of the young man. "It is his birthday, papa, and here is one dollar that I have saved — it is you should go buy him a present." Abraham first argued that fifty cents was enough for a birthday present, then yielded, kissed his wife, took Leon by the hand and went forth. Mother Kantor smiled to herself as they departed and looked about the tiny rooms they called home — home for father and mother, two older boys, Leon and a little sister — and the imbecile eldest child. It was better than Russia and persecution, but it was far from comfort. It was their narrow- niche in the world of moil and toil. Life was work, work, work with hope away off on the horizon. The mother turned her ministering attentions to the imbecile son who sat as always in an invalid's chair, vacuous and pale, as near dead as li\ing. She had the persecutions of Russia, the long flight in the bitter winter, the bitter hate of an au- tocracy, to thank for the idiot son, Mannie. The children came trooping in from the street, with selfish eager eyes for the resplendent birthday cake with seven candles for Leon's seven years. His birthday was to mean something to them after all. They waited the supper with impatience for the pleas of the mother. THE gift shopping tour of Leon and his father was taking more than the calculated time. And it was all the fault of Leon. In an Allen street shop, where all the things fascinat- ing to childhood were spread in alluring array, stood Leon with his impatient father. Abraham, guided by all the best judgment of childhood desires, was insisting on bestowing upon Leon a woolly dog that wagged its head and tail — all for the reasonable price of fifty cents. Leon v.ould have none of it. The boy clutched at a violin bearing the tremendous price of four dollars. Argument was to no avail. Neither were excellent harmonicas and other noisy but inexpensive affairs. It was violin or nothing for Leon. So Abraham seized thj boy by the hand and led him protesting away, pushing him up the step's ahead of him and back into the tenement home. Leon stood weeping bitterly. Abraham hastened lo e.xpla n with many gestures. Four dollars for a violin! That was too much, even for a birthday. Abraham stopped short in his declamations, amazed, and questioning the tears in the eyes of his wife. "Thank God, my dream has come true; it is coming true — he will be a great musician. I have dreamed it for years and now it is coming true. He will make us all rich and he will be famous." The mother stood patting the boy on the head. Abraham expressed doubts. This was a considerable flight of fancy for the hard-headed maker of antique brasses. "He shall have a violin. I have it for him." The mother ran quickly down the stairs into the shop and produced from a hidden corner under the counter an aged, battered instru- ment, dark with the dust of long neglect. The family, clamouring for food, sat down to the table and fell to with chattering, quarreling, noisy vigor. Leon had before him the cake with the white frosting and the seven candles, all alight. When the boy went to bed that night on the cot he shared with his father he dreamed of violins. He dreamed of playin; for a little girl, with a shawl about her and a half-starved kitien in her arms. He even awoke and felt under the cot to make sure that his birthday treasure was still there. Morning in Allen street has no poetic setting. There is the noise of milk bottles on fire escape landings, the jostling of pushcarts on the pavement below, the rattle of elevated trains, and the crying of sleepless children. Leon was the first in the Kantor household to awake that 54 Photoplay Magazine "I can t allow you to sacrifice yourself to a cripple. next morning. He felt under the cot and pulled forth his precious violin. He tucked it under his chin, as though born to the instrument, and drew the bow across the strings. The first note brought his father bolt upright, but the boy paid no attention to him. There was a wrapt look in the face of the child and there was a calming peace in the notes that he drew from the disreputable old violin. Abraham listened with a mingling of skepticism and hope. Maybe the boy's mother was right — this boy of seven was playing — music, and never a lesson in all the world! The father slipped out of the bed quietly, without disturbing the boy and made his way to the mother's side where she stood in silence with tears streaming from her eyes. "You should not be feeling bad." Abraham patted his wife on the shoulder with his best approach to tenderness. She replied with a smile through her tears and a wide gesture with her generous arms to indicate that she was happy with the world before them. She drew her son to her, and sat him on her knee, and crooned over him as he played. "Come with me, Leon, and we buy the real violin." Thus was Abraham converted. AMONG the neighbors in that Allen street settlement was Solomon Ginsberg, a wholesaler of the brasses from which Abraham's Russian anticiues were derived. This Solomon Gins- berg was by local repute something of a scholar as well as a merchant and it was but natural that Abraham, in quest of authority on this cultured matter of music, should seek the counsel and advice of Ginsberg. And so it was arranged that Leon would play for Ginsberg, who would know what to do. Leon, again dressed in the magnificence of his birthday suit and bearing the four-dollar violin, was taken by his father and mother to the Ginsberg apartment. As Leon played, Abraham watched closely the face of Gins- berg and saw there an expression that meant the justification of the visit. "Have I the right?" he asked as Leon finished. "It is a trust — a gift," replied Ginsberg. Leon tucked the violin gently into its case and went to the corner of the room to greet the little girl he saw there. He remembered her as the lady of the kitten episode. He wiggled his ears again at little Minnie Ginsberg and she laughec Mother Kantor looked on with approval and even Ginsberg nodded. Anything that genius does is genius. "I'll play for you someday," Leon volunteered to the little girl. She clasped her hands with a rapt look. "Outdoors in an orchard, yes? And with the apple blossoms falling like snow." "Yes, yes." Minnie nodded in violent approval and caught her breath. "Wc will call again, Mr. Ginsberg." Abraham interrupted "Yes," Ginsberg was cordially en- couraging. "I will see my friend who knows of all such things and then you shall know what he says about the study for Leon." But Fate, aided and abetted — or at least invited — by the able Abraham was to do more than friendship. Among those who came to the Kantor shop for old brasses were two rich wom- en from "the .Avenue," who had more of a taste for bargains than a knowledge of the antique. When their limousine stopped in Allen street before the shop .\braham was quick to sense an oppor- tunity. "Here Leon," he called to the boy. "You should go up stairs and play the feedle a little." . " Leon needed no urging. Abraham's customers were within the shop and seated for bargaining in brasses when Leon's first notes, limpid and pure, came floating down the stairway. The shop- pers stopped to listen. Abraham smiled with a glow of fatherly pride. "It is my son," he said with an air of vast simplicity, at the end of the melody, "and he is already seven." Mrs. Van de Venter was overtaken by an idea. "Seven — is that all? I wonder if we might not have him for our ne.xt musicale?" And so it came that one day .■\llen street was agog with the news that Leon Kantor and his violin had rolled away uptown in a big limousine with footmen and everything. IX a great salon in the great gilded home of Mrs. Van de Venter on the .Avenue the pathetic little boy from .\llen street stood, abashed and frightened. The audience of wealth and splendor about him overwhelmed his .\llen street eyes. A hush came over the room and the child plucked at the strings of his violin. Through his brain surged the waves of a mcloclv he had heard at a park concert. Leon lifted his violin and shut his eyes. The room faded away and he was in an apple orchard with the blossoms shower- ing from the trees. He had seen a picture like that once And he was playing the famous sonata he had heard in the park. When he had finished there was a long silence — then as a storm breaks in summer came the applause. .■\ man came forward with Mrs. \'an de \'enter. "Where docs this lad live?'' the guest asked. "I am always anxious to pay tribute to genius.'' When Leon went home it was in the big limousine again, w;th a new fifty-dollar bill and a crested, scented note to his parents. So it came that within a month Leon was taking vioh'a lessons from the most famous master in all Xew York and the Kantors were dreaming tlrcams of a new life. When Leon had reached the age of seventeen he had con- quered a city and the brass shop in Allen street seemed a long way in the past for the Kantors. Leon's dream of the orchard had borne golden apples anil he had been able to pro- vide handsomely for the household. Father Kantor now sat late at the breakfast table and improved his mind and manner with the morning paper. The brothers were promising youn? men and sister Esther a young woman of appealing grace. Bcl Photoplay Magazine 55 none of the household had shown more progress than Mother Kantor, who had travelled the nation over as the guardian of the prodigy musician. Leon had played in nearly all the country's big cities and the call of Europe was in his ears. His mother broke the news. And there W'as a storm of protest from the family. "I've got to go — more studying," Leon broke in, and that silenced them. Even Father Kantor had no answer. Leon's deft violin lingers constituted the family asset. Any study or anything else that might better that asset was good. "But better that you be with me sometimes," Kantor pro- tested to his wife. "That I should be here all summer alone with the kids!" Leon had an idea and a solution. He had long ago risen to the dignity of the possession of a manager, one very effi- cient Mr. Hancock, a person of vast abilities and a sort of a guarantor of maximum profits and minimum troubles for the temperamental performer. "Mama shall stay with Papa — I am only going to study — and Hancock can come with me. He needs a change and a fling himself." As Leon said, so it was. It was the third night at sea, with Hancock the manager away tending strictly to his own business, that Leon came into collision with a young woman at the head of a compan'on- way. He drew back, cap in hand, apologizing. In the dim light she stared at him a moment, then broke into a laugh and held out her hand. "Leon Kantor — can you wiggle your ears as cleverly as you used to?" The light of They heard the cor recognition flashed into his eyes. frozen lest the cl "It's Minnie Ginsberg!" Their hands met in a hearty greeting. "It's funny our meeting on the ship among so many pas- sengers— and how delighted papa will be." "You — you've grown up," Leon stammered. He was trying hard to reconcile his mental picture of the weazened little girl with the shawl and the alley kitten in Allen street with the handsome and graceful young woman before him. "You have, too, Leon, and I want to tell you how much I have enjoyed all your success." "And you?" He smiled at her in the half dark. "Oh, I've been trying, too, only with singing. I'm on my way to Vienna to study. You know, it is always study, study, and practise, practise, practise. "Yes, I know, Miss Ginsberg." "Please call me Gina — I'm Gina Berg, it's the old name transformed by an astute father." In due course Leon and Gina's father, now Mr. S. S. Berg, met, appraised each other at a glance and passed on their ways, pleased but neither especially impressed. Gina did not tell Leon of what their progress from Ginsberg to Berg had been, how her father had grown from the wholesale brass busi- ness to the steel industry and fortune. Berg was taking his daughter to establish her for a season at Vienna. He would take a walking trip through the Tyrol and then return to home and business in America. The young people saw a great deal of each other for the remainder of the trip. At the steamer dock in Liverpool they said their farewells, [position through, Lcon was going for two weeks in the Lake larm be broken. country. (Cotitmued OH page 119) Here s a Director who docsn t let a technical education interfere with Art. Artistic Efficiency — That's Dwan By ADELA ROGERS ST. JOHNS Ax electrical engineer with an artistic temperament. An artist with an electrical engincerinK education. A brisk, efficient young man with humorous eyes and a sympathetic mouth, held firmly in place by a business-like expression that occasionally strays from the paths nf virtue into an audacious grin. I had just been congratulating myself that I had directors cla.ssified for all times when I met Allan Dwan. I could simply say. when a new one dawncfl upon the horizon. "Oh yes. >ou belong in Section O, with the tcmperamcnial ones — the nut ones — the raving ones — the gentle, benign ones — the serious, literary, highbrow ones — the rough nock ones — the brilliant ones, etc." .\nd along came Allan. He is an extremely husky gent — this Dwan. Rumor hath it that Doug Fairbanks himself once admitted he'd take a lot off Dwan before he'd feel inspired to "tangle" with him. When you look at him you remember that Napoleon was a short man. (Gosh, how his Majesty would have liked movies, Josephine had a hard life, hut she ought to be thankful she didn't have to live with Nap after the cinema royalty began to flicker.) Being, as I- knew he had been, an electrical engineer by previous engagement. I suppose I should have boon prepared for shocks. (Oh, oh!) But when he told me unblushingly that after four years at Notre Dame— that romantic, seasoned old institution in Indiana— he rubbed all the bloom off by actuallv being graduated from Boston Tech, I almost had to have the kind of medical attention prohibition is making so popular. 56 Photoplay Magazine I regretted the useless, if decorative, tassel on my tarn and prayed inwardly that the pins in the back of my collar didn't show. If they did, and I knew Tech men, I might never get the story. Tech men are like that. They radiate an efficiency that is fascinating. You feel cast into outer darkness if there is a curl out of place. Because you know what kind of a mind you have to have to get into Tech — and at that, it's like Sing-Sing, getting in is a heap easier than getting out. An eight-day clock is a gay and giddy irregularity com- pared to a Boston Tech mind. But Allan Dwan saw the poetry in electricity and the busi- ness possibilities in the movies. So you see it is a bit difficult to classify him. There wasn't a single smidge of cretonne in his nice, brown leather, tobacco office. He's an anecdotal sort of person, not given to talking about himself e.xcept by inference. .'\nd if you don't remember every picture he ever wrote, acted, or directed, you can tell him so without wounding him with your abysmal ignorance. "Didn't you know there were business men in the pictures?" he asked. "Yes," said I, "I supposed there w'ere, but I thought they kept them well out of sight. How in the world did you happen to choose the movies?" Allan Dwan straightened some papers that didn't need straightening on a table that was a disgrace to any right- minded movie. "It's a good profession — a good business," he remarked, "as good as any. I saw the business possibilities, and I saw the adventure. The combination of business and adventure is what has kept us from reverting to the stone ages, you know. Pictures seemed to me to combine them best. "It was a funny thing, though" — He ■ >, paused with a reminiscent grin. "I was sent out to the old Essanay studio in Chicago one day to install some Cooper- Hewitt lights. They were new then, an 1 took an expert to handle them. While I was adjusting them, I watched things that were going on and became in- terested. "Now comes the horrible part of m_\' confession. I had written a story. Personally, I thought it was a durned fine stor\- and the more I read other people's, the more I decided I'd have to send it out for the poor editors to see. Sometimes the simplest methods pro- duce the best results. Allan Dwan discovered by experiment that the best lightning can be produced by scratch- ing it in on the film with a pin-point whereas the older and more costly way was actually to photograph static elec- tricity, which never looked like the real thing. 57 It struck me as I watched that it had enough action in it to make a film. So the next time I was sent out, I took it along. They bought it. Then I wrote some more. They bought them, too. "The company was being reorganized in some ways — a lot of the old bunch had left to go west to form the Ameri- can— and they made me scenario editor. I thought it over and decided there was a great, an absolutely stupendous future ahead of this new thing. So I took it. "That was eleven years ago. I've done everything around a movie lot since, even act — at least I thought it was acting — but never mind that. I've weathered a lot of storms, I've seen things come and go. I've tried stars, stories, worked like a dog. "And I say it's the doggone most fascinating game there is — directing motion pictures. It's a sense of power and a sense of creation in one. It's a gamble. Even if you know something about it, you're not so sure you know anything about it at all. "The pictures that I loved, that I thought were great, have been flivvers nine times out of ten. The ones that I sort of turned up my nose at went over^with a bang. The things I was sure you couldn't do, the public liked and the ones I was patting myself on the back about, never caused a ripple. "You can shoot fifty thousand feet of film and then you may be wrong. What's the use? Do it the best you can and say your prayers. Maybe it will sell, may- be it won't. T am a business man. I have commercial mind. It is my personal opinion that things that are 'too good' are generally not good enough. A man can make the most artistic picture ever filmed, but if it plays to empty houses it hasn't achieved a thing for Art or for Humanity. This old stuff about not ( Coiitmiied on page log) WEST IS EAST A Few Impressions By DELIGHT EVANS ROHKRT GORDON Came Up to See Me : and Sat Down in The Swi%'el Chair that Squeaked. He Didn't Like it; it ('•oi on his Nerves — Vou Know How it Is — Vou Get Interested In What you're Saying, and Lean Forward Suddenly — And the Chair Groans, And Takes all the Enjoyment Out of Ordinary Conversation. But Mr. Gordon Took Some Candy I had on my Desk, and • Tried to Forget the Chair. Ever Hear about His Beginnings in Pictures? He had Hung Around the Lask\- Lot Plaving Extras in Ballroom Scenes. One Day Cecil dcMille Told him He was to Dance with Litt'e Mary in The Scene before the Shipwreck Of 'The Little American." Think of that— With Little Mary! Robert Rehearsed In his Faithful Dress-suit, And Came Back after Lunch Full of Ham Sandwich and High Hopes. Only to Find Another Young Man In his Place with Mary ! Robert's Dress-suit w^ouldn't Do — Something Had Happened To the Trousers. But that On'y Made him More Determined than Ever, and Today, all the Girls Are .Asking For Dress-suit pictures of him. He's an Awfully Nice Boy About Twenty-five, with Brown Eyes, and A Nice Wife. He's Going to Ha\e His Own Company-, and Pl;iy All Sorts of Parts— ' The Tennessee Shad'' One of the Stories He ha? in Mind. He Sold Ribbons Once — and His Favorite Screen Leading Woman Is Alice Joyce. (I'm Going to Have That Swivel Chair Removed. I flidn't Have .\ Single Piece of Candy Left.) TI ANITA HANSEN J May Be The Most Fearless Serial Queen, Ks[)e(ial'v Now that Pearl White has Gone Out of the Business, but .She'd Rather Face a Couple of Lions Any Day Photo by Llimiere He's an awfully nice boy. Than the Traffic Cop On the Corner of Fifth Avenue and Forty-second Street, New York. Thev Say That Once When she was. Making a Scene In the Jungles — of the Selig Studio — With about a Dozen Lions-and Tigers around, she Looked Up at an Airplane In which a Daring Pilot blic l.iu^li> .It roaring lion5. Was Doing the Falling Leaf .And Banking his Passenger .About OS — if vou Know What I Mean! Juanita Pointed up there With One Hand as she Stroked her Favorite Lion With the Other, and Remarked: "It Must Take -A Lot of Nerve To Be an Aviator." She's a Blonde with Blonde Eyebrows that She doesn't Try To make Over. .And she Says She Never Did Like To be a Target For Pies and Lobsters — That she'll Never Go Back To Comedv If she Can Help It. I JUST Met an Author Who Admits That there May be .A Few People Who Know More about Pictures Than he Does: Bayard Veiller — You Pronounce it Vay-ay. Why? I Don't Know. But he Wrote "Within the Law " .And a Lot of Other Plays; and Knows a Thing or Two About the Broadway Drama. So Metro Made him Production Manager. He Came East On a Literary Shoppine Spree, Signing Irvin S. Cobb and Henry C. Rowland and Arthur Somers Roche and Others to do Original Stories. \ cillcr says That Magazine'^ have Been The Shop-window For the ^lovies : Writers wrote With Pictures in View. Now Whv Not Gel Them To Turn Out First-run Stuff? He doesn't Care Much about Technique. \ Theatrical Producer S.iid to him. when he Sicncd A New Plav wilting Contract — ■Well. Bayard— there's One Comfort : you won't ("live me Anv Hich-brow Stuff!" lUil if \ou Want .\ Hijzh brow Playwright. I think Mr. \ ay-ay Can Give \ou As Good an Imitation of one As anybody. 58 (Hartsook) YOl' iioed no intHxluctioii to Theodore Roberts. One of the foremost uet<)rs on the American stajje, he hrou^lit all his mellow art to the screen, with the result that he often "steals the picture." Rising Young Performers (Wltzel) THE father of Clara Kimball Young. Eklward Kim- hall, frequently acts that role in his dau^rhter's plays. He is siM>n to become an individual star in a picturlzation of "Old Jed Prouty." W'I'H Kdyfhe ( liiiiiiniiii coiiu's also the tliou^'hl i>f her hiislianil, .laiiies NelU. These two hiive playere\\. You have si'i'ii this sweet face many times in the vision of tlie waywaril son who dreams of home. Jauies J. ('e Medici" in "Intolerance" that Josephine Crowell's name will go down In shadow-stage history. (Evan.'i) FRANK CrUIUEU has l)tH>n called the dean of cinema actors. At any rate, he is one of the youngest of our performers of elderly gentlemen, and makes as fine a father as the screen has known. CAMK a plaintive li-ttcr U) tlic Editor: "Why can't you put a kid's picture in okasioiialy ?" The eijrlit-yoar-oldV request is granted herewith. This is Jimniie liogers. son of Will, who shares honors with his dad in the hitter's picture-;. CLOSE-UPS &dUorial Sxpression and Timely Comment A Bubblino" While producing giants of the ' motion picture world view rount. with alarm the scarcity of good plays, there still lies apparently unconsidered the real literature of the generation just gone. While producers are reported to be paying vast sums of real money for "Westerns" by Bill Bjinks or Bertram Bjones, there lie, within dusty book-covers, the masterpieces of J. Fenni- more Cooper on whose works the copyright has long since expired. Willie Wallflower, the demon dramatist of deadwood, demands $25,000 for his latest mystery tale, yet "The Moonstone" of Wilkie Collins is forgotten, but may be re-woven into moving picture form for the price of the book, a dollar or so. And what a veritable gold-mine there is in Dickens. Some of the pioneers in the photo- plays produced Dickens in a crude, inelastic fashion, but what say to a production of "Nicholas Nickleby" or "Oliver Twist" today with Marshall Neilan's kid star, Wesley Barrie, in the leading roles? And what about the absorbing stories of Hawthorne, Poe, and the rest of the American- made classics done into film plays with all the improved and advanced paraphernalia, method anci mode now commanded by the director and the camera-man? The fact that some of these were done in a shabby hang-dog way five or more years ago is all the more reason why they should be done again. Too Much Conference. One of the curses of movie- making in the contemporary manner is that everyone in the business knows all about it, and, generally speak- ing, everyone knows more than anyone else. There is too much advice, too much conference, too much talk. The average studio resounds as we imagine a Bolshevik parliament resounds — everyone has a great deal too much to say, and a great deal too little to do The scenario department pities the actors, the actors tolerate the scenario writers, both of them honestly regret the commercial ignorance of the production department, and the director feels loftily lonesome, as befits a great superior mind. There are a few studios where each department has come to recognize the special expertness — possibly — of the other departments, but in most of them there is a lack of team work, a willingness to solve every one's prob- lem save one's own, which makes it a wonder that pictures are gotten out at all, instead of the prodigal number which actually do appear. The average director can tell you instantly why he hasn't made a masterpiece in the last six months — they won't give him a story. The author can tell you why his piece failed to beat "The Miracle Man" — poor scenario and ignor- ant direction. The scenario department admits that real playwriting is hopeless as long as the director can have his assistant rewrite the script enroute to location. And, when all together, they unite to damn the general manager or curse the policy in the home office. But these are juvenile faults. Slowly, the photoplay is establishing traditions. When these are more generally recognized, perhaps when there are more of them, you will see departmental pride, specialized excellencies, as the rule instead of the exception. Autocracy's According to The New York ■p Times, the Bolshevik govern- Kevenge. m ^nt in Russia is giving official . support and recognition to the movies, and has even instituted schools in its studios for the training of actors and actresses. And here, sharper than a serpent's tooth or Mr. Lear's well-known ingratitude, bites the sinister point of the story: the young actresses are almost ex' clusively from once-aristocratic families! Is there a master intellect behind all this? Is this an arch-plot of the reactionaries, a de- signing and suspensive contrivance worthy Napoleon or Hal Reid ? Figure it out for your- selves. Humanity, as The Man From Home said, is pretty much the sarr.>" ^rom Kokomo to Pekin. Whether you live in Boston or Bolshe- via, you may have observed that the neighbors can't resist a Mary Pickford. Is some ex- Romanoff at this moment practicing as a curled Pollyanna to lead her benighted people out of Sovietism ? We opine that a strike of the gov- ernment-trained movie actors in Russia would cause any government to come to their terms or lie down and die. First of all, Russia must be attuned to — what shall we call the neighbor- hood theatre of Muscovy — a kopeckodeon? When seeing pictures has been made a fair sub- stitute for something to eat and something to do and something to believe, then will come the turn of the worm — the strike of the acting autocracy! And then the art ticket for a new government: for president, Lew Codovitch; for national treasurer, Myron Selznicksky; for sec- retary of state and fashions, Bebe Danielskaia, Mr. and Mrs. Douglas Fairbanks Ta}{en in the garden oj their Cahfornia home especially for Photoplay Magasnic. 64 A WESTERN UNION MR. AND MRS. DOUGLAS FAIHBANK3 HONEYMOON LANE HAPPINESS AL'WAYS COME HOME ALL IS FORGIVEN PHOTOPLAY 6S 66 Middle Age and the Movies A heart to heart talk with the Family Circle By MARGARET E. SANGSTER THE little woman sitting opposite me at the luncheon table looked up from her club sandwich. "Do you like the movies?" she questioned abruptly. "Do you go to your picture theater — often? And just what sort of features do you most enjoy?'' I looked up. a shade startled, from my c!ub sandwich. For the little woman was a stranger to me— a casual sharer of' my table at the tea room where I usually take my luncheon. "Yes,"' I answered, "I do like the movies. But why?" I paused. The little woman laughed, in a slightly shamefaced manner. "You must pardon me for seeming inquisitive and rude," she said, "but I'm afraid I was thinking out loud. You see I own a motion picture theater. And, of course, it's a vitally important question to me — just what the movies mean to people. I always want to ask strangers what they like, and what they don't like, and what films they'd show in my theater — if it were their theater." I laid down my fork and looked across the table into the little woman's earnest face. "I suppose," I said, "that it is hard for a theater owner to know what sort of films to show. It's hard to know whether a theater should be run in a way that very young people will like — Wild West pictures, perhaps, and serial thrill- ers, and much comedy, or — " The little woman was leaning across the table, her eyes alight. "Do you know what I do?" she asked. And then, not waiting for an answer, "I try to make my theater the sort of place that middle-aged folk will enjoy," she told me. "It's the middle-aged foik who need the movies — really need them — most of all." I must have looked my surprise. For, after a minute, she continued. "When I say middle-aged folk," she told me, "I mean the people whose children have grown up and left home — ■ married, perhaps, and started homes of their own. I mean the people with gray hair that is turning white, the people who attend church and prayer meeting, who get up early in the morning and go to bed early at night. I mean the sort of people who either don't approve of or can't afford the theater, the people who aren't invited, any more, to parties — who feci too old to dance. The movies have a very vital place in the lives and hearts of such people. "Twenty goes to the moving pictures for excitement and fun — to see romance and life, to dream rosy dreams of the future. "Forty-five goes to the moving pictures to look back into the past, to find lost memories and to escape from the realities of living. That's the difference! "Look around you," the little woman was warming to her subject, "the next time you go to the movies. See the number of middle-aged couples in the audience. You'll be surprised at the way they follow the picture; at their whole-souled interest Niargartt E. gangster and their heart-warming laughter. They respond mo-e quickly than the young people to a good story — they keep up with the serials and show an intelligent appreciation of the news reels. They can be relied upon as the steady patrons of any well kept theater." It was after I had finished luncheon — when I was hurrying back toward my office — that I began to think, seriously, of the little woman's conversation with me. It was then that I began to consider her point of view. .\nd I found myself agreeing with her, step by step. I found myself endorsing each one of her theories. I have, for a good many years, been connected with a certain religious weekly. And for that reason I know, as well as any one knows it, the point of view of the mother and father who, at the age of fifty or fifty-five, find themselves left at home — left quite alone upon an extremely empty family shelf. Many of these mothers and fathers, as the little woman remarked, do not ap- prove of, _or cannot afford, the theater. Many of them disapprove strongly of card playing, of public restaurants, and even of concerts. Their evenings, with- out the reflected youth of thc'r children near them, used to be drab affairs. The fading firelight and a dull book or two and the commonplace happenings of the commonplace day were their only mental relaxation until the moving picture theater made its appearance. Until the movies took their place in community and city, these middle-aged people faced only a growing boredom, a growing restlessness, and a growing soul hunger for something new. Life was like a walk up a dusty hill on a hot day — with nothing for refresh- ment at the top but suet pudding. And then came the movies. And those people who had dis- approved of the stage, of card playing, of dancing, and the cabarets, found a new and unobjectionable form of amusement — an amusement that required no bodily exertion, no mental strain, and no conscientious excuses. Now, instead of the dull book and the fading fire, mother and father go out, arm and arm, to the pictures. They come back an hour or two later, animatedly praising Mary Pickford, or discussing the relative merits of Bill Hart and Douglas Fairbanks. They tell each other how much that little Mary Miles Minter looks like Jane-Anne did when she graduated from grammar school; and they wonder whether Charles Ray is as young as he looks — and how proud his family must be of him! During the time of war I've seen many a mother watching a topical weekly — one, perhaps, of khaki-clad boys marching through France — with tears streaming down her face. I've seen many a father grip the arms of his chair with rigid hands during the battle scenes. And only last night I saw a man's arm (and he must have been sixty-five years old) steal about the shoulders of a woman whose hair was softly white, while a love scene was flickering across the silver sheet and the orchestra was playing "Hearts and Flowers." 67 'Jjrjati by l^rnun c/tnlhony Moving Picture M.igiiatc: "We're going to builJ a new studio, but .ne undecided where to luiild. Wc want it convenmcnt for the players." Director: "\Vliy not Reno?" What Do You Think About When YouVe Going To Bed? Do you really think it does any good to have the hair singed? Of course, we know it helps the barber buy shoes for h babies, but, on the level, do you think your hairs enjoy being singed ? Bedtime is the mystic Hour when this subject may confound you as it is obvi- ously confounding Elsie Ferguson. Sometimes wc go to bed thinking of how nice it would be if we could awaken to a break- fast of broiled guinea-hen and champagne on th c morrow. Judging from the opulent scene above, C. K. Y. could order that kind of a dejeuner and it would be forthcoming. Wonder what has startled C. K. Y.? Funny how you never think of getting the new meat-chopper until you re all undressed and just about ready to put out the light. You had it on your shopping-list, today, too. Or maybe this isn t what Norma Talmadge is thinking of, at all. When one is a film favorite with the fans of Petoskey, Mich., and Petaluma, Cal. there is always a lot to think about. W e can =ee it in a glance. Hilda is going to be fired in the morning. Just as Mary Thurman (on the right) slipped out of her dark-blue kimona she discerned a long black hair upon the off shoulder of that strictly personal garment. Hilda has black hair. Mary s own is ruddy red. Do you blame Mary for resolving to dispense with Hilda s service on tbc morrow? I'hoi.. hy J. C. Milllgr.n When cuckoo sounds the arrival of midnight hour and we begin to discard our exterior raiment we indulge in introspection. It is a sportive pastime, thinking of the things we have done and the things we have left undone during the day. Sometimes we take a wide peek at our reflection and say to ourselves: "Well, this wasn t such a bad day. We are not alone in this quaint conceit. You will note that Mildred Davis, Harold Lloyd s new leading lady (above) has the same habit. 69 The Shadow Stage Rez. V. S. Pat iJH. A Review of the new pictures by Burns Mantle and Photophix Magazine Editors "Romance, w ith Doris Keanc as the attractive heroine and Basil Sidney as the enamored young rector, is one of the few recent pictures applauded by audiences. WK are all imitators of one kind or another. We live in an imitative world. All the philosophy and . most of the wisdom known to man was chipped ou( of stone or scrawled on papyrus centuries be- fore it found its way into senatorial debates or fourteen- point editorials. Why. then, should we complain if the motion picture is imitative, or that every director carries in his box of tricks all the tricks of all the other directors with whose work he is familiar? Or that ^^^^^^^^^^^ the weakness of the picture is its re- peated duplication of the "old stuff?" We complain Rcnerally because wv grow weary of repetition. But we com- plain specifically because the imitators imitate so badly, and because of the thins; they select for imitation. The fact that every director who stages a battle scene imitates other battle scenes is not important, because all battle scenes must of necessity b:' much alike. One fight in the hills be- tween four cowboys and fifty Indians, in which the Indians invariably jxet the worst of it. is much like anolher fight in which there are fifteen would-be seducers and only one stronghcart to protect the heroine. The poverty that i)reeds virtue and the high life that spells sin have been imitated for several --------------------- centuries in all dramas, and will con- tinue to be imitated for centuries to come. .\nd the fact that 08 fxTcent of all pictured and -acted romances are concerned with two women and one man or two men anil one woman rather justifies (he continued use of that familiar and popular formula. That is not the kind of imitation film fans and lilm critic^ object to. It is the imitation of tendencies anil themes rather than of pictured backgrounds and scenes that discourages THIS department is designed as a real service to'Photoplay readers. Let it he your guide in picture enter' tainment. It will save your time and mo)iey by giving you the real wortli of curroit pictures. By BURNS MANTLE •them: the imitation that produces a hundred lurid se.\ plays because a half dozen have been successful; the imitation that demands that all scenarios shall be adapted from acted plays or printed stories because one or two firms have specialized successfully in this field: the imitation that is just now prompting the buying of the screen rights to such plays and stories at ridiculously high figures and refusing to pay a tenth the amount for an original yarn. And my own pet objection is to the producers and directors who. with the proof before their eyes, refuse to see that the really big screen plays today are invariably the simple and convinc- ingly plausible adventures of real people. There was nothing sensational about "The Miracle Man." except that it reached down and took 3 mighty grip upon the fundamental aspirations and beliefs of human beings. There i- nothing sensational about "Hunior- esque." except that it tells a story on the screen concerning a group of human beings who are recognizable to other humans who sit in the audience watch- ing them. There is nothing sensational in "Jes' Call Me Jim." but it is Will Rogers' best picture because it. too. in its main story and its chief character, is of the true stulT. ^^^^^^^^^"^ These pictures, and a half dozen others that have found their way into ihe best-seller lists of the screen, are not without a padding of hokum. Such of the literati as wander into the cinema tempk> will >n\it at them for their obviousness and their sentimentality Each of them is in some degree imitative, and no one of them i^ startlingly original. But they are big in the sense that they are basicly human, .ire simply told and are at least >iiggestively true. Vet I see picture after picture in which seemingly no attempt 70 rnotoplay Magazine 71 has been made to tell the story plausibly or to illustrate it reasonably. And the pity of it is that a good half of them are not bad stories to start with. They are ruined in the making. The effort is always to overdo. If the heroine is poor she is living in the most dilapidated of tenements. If she is rich she occupies nothing less than a mansion. If the hero fights, he must fight enough men to smother him. If the cowboy rides to the rescue he must gallop no less than eighteen miles. If the girl is virtuous she must also be simple. If the villain is a rotter he is a non-union rotter and works at it twenty- lour hours a day. If the jailer is a brute he must wear hob- nailed brogans the better to stamp upon the face of the prisoner. If a small crowd is suggested a mob is shown. And so it goes. I SAY "Jes' Call Me Jim" is Rogers" best picture. And to me it is. Yet its story is founded on two of the oldest aids tc a quick sympathy in the theater known to playwrights — the tortured inventor who is thrown into the asylum by the man who steals his patents and the homeless waif who is thus_ robbed of his daddy. These were old when Mount Ararat was a swamp. But the point I'm making is that even an old story is an interesting story, if it is well told by interesting people. Jim Fenton is an old simpleheart of the woods. Paul Bene- dict, his friend, is an inmate of the county asylum. Jim is led to believe, through the village milliner, who has taken charge of Benedict's little boy, that Paul is not insane, but the victim of a plot. He effects his release, hides him in his cabin, throws the pursuing authorities off the scent, and finally has the satisfaction of seeing him recover his health and prove in court that he is the lawful owner of certain patents stolen from him by the villain. Familiar movie material, you"ll say, reading the outline. But see the picture and you'll see how it is possible to take a story that could have been as easily spoiled as any of them and by the employment of intelligence in its adaptation and direction, and by the refreshingly real and wholesome appeal of a man like Rogers, make of it a fine evenings entertain- ment. In this picture Rogers gives the lie to all those who have been insisting that he is only a rough comedian blessed with a likable personality. Show me an actor who can play with more genuine feeling than Rogers does the basicly theatrical scene in which Jim sends Benedict's little boy into the woods to pray for the recovery of his father and I'll intro- duce you to one of the leaders of his profession. It is a gripping bit of drama. Little Jimmie Rogers is as genuine as his dad playing the Benedict boy; Irene Rich is a lovable milliner, and there are excellent performances by Raymond Hatton as Benedict and Lionel Belmore as the br-rutal thief of the patents. Thompson Buchanan dug the story out of J. G. Holland's novel, ''Seven Oaks," and Clarence Badger directed it. It is one of the real films of the month. ROMANCE— United Artists I CAN say for Doris Keane's "Romance" that it is one of the 'few pictures I have recently sat through that was applauded by its audience at its close. This. I take it, was an indorsement of the romance itself, which has a definite senti- mental value on the screen just as it had on the stage. There was nothing unusual in its picturization to warrant enthusiasm. Miss Keane is an attractive actress, though her beauty occasionally flattens under lights that add years to a face that is still youthful and lines to eyes that are brighter than the camera permits them to be. The story is told, as it was on the stage, with the aid of an artificial prologue in which the aged Bishop of St. Giles relates his own romance to a youthful grandson who asks his per- mission to marry an actress. The play proper follows, de- tailing the interlude in which the passion of the bishop (then a young rector) for the gifted prima donna, Rita Cavallina, might have been the undoing of his career if she had not been a finer woman than her record of many loves indicated. It is rounded out with an epilogue in which, the story finished, the youth is so impressed that he hastens after his actress fiancee with the intention of marrying her before he loses her as grandpa lost his song bird. Basil Sidney, Miss Keane's English leading man, who is also her husband, plays a stodgy but plausible young rector of St. Giles and Norman Trevor lends dignity and weight to Slixrley Mason is a sweet youngster in the story-book romance, "Love s Harvest, and she grows up for her hero just m time. Olive Thomas is most delectable as "The Flapper, a dar- ing little boarding school miss who imbibes ice-cream sodas and everything "The Silver Horde,' Rex Beach's picture of the Alaskan snow wastes, gathers momentum with every scene and ends with a romantic flourish. 72 rnotopiay Magazine "The Deep Purple would suffer for lack of sufficient punch were it not for Miriam Cooper and her co-stars, who save it from mediocrity. J. Warren Kerrigan wears a monocle in "No. 99. and you 11 probably know all through this entertaining play that he's falsely accused of being a crook. "The Courage of Marge O Doonc i.« a red-blooded tale of the rugged North that will make you want to go up there, bears or no bears. ihe role of Cavallina's patron. Betty Ross Clarke is an attractive ingenue and Gilda Veresi and Amelia Summer\'iUt' have small parts. The direction by Chet Withey, is able and the old New York settings attractive. THE DARK MIRROR— Paramount- Artcraft THE D.\RK MIRROR" is also a blurred mirror. A highly improbable melodrama in the telling of which the author, director and star are constantly being forced to admit that the story they are relating is not at all true. The two heroines, played by Dorothy Dalton, are twin sisters. Separated in their infancy, neither is conscious of the other s existence, yet, like the Corsican brothers, so close is the bond between them that each subconsciously reacts to the emotions and ad- ventures of the other. Thus the girl who was brought up by wealthy foster parents in refined surroundings is given to dreaming that she is the other girl, who has fallen in with a band of crooks. In her dreams she is variously pursued and mistreated and prevented from following her naturally wholesome impulses. But as the audience is aware that each of these episodes is a dream, the story is never convincing and excites the flippant remark rather than the gooseflesh thrill. In the end the unfortunate sister is drowned and an amateur psychoanalyst clears the dis- turbing complexes of the other, making a happy ending possible. Dorothy Dalton gives a vigorous performance in the melo- dramatic episodes, and does her best to make them seem real. She is still a lovely camera subject, though, strangely enough, considering her experience, her beauty is frequently minimized, particularly in the close-ups, by the too-hea\y shading of her lips. The lip-fault in pictures is as common as the foot-fault in tennis, and should be as quickly penalized. THE DEEP PURPLE— Realart PRODUCER R. A. Walsh is to be credited with the employ- ment of a real all-star cast for "The Deep Purple." Without these exceptionally gifted players — notabiy \'mcent Serrano. W. B. Mack, W. J. Ferguson, Miriam Cooper and Helen Ware — it would be a very ordinan,' crook play. As it is played it holds a reasonably sustained interest in the familiar adventure of the up-state innocent who is lured to the city by the plausible thief on promise of marriage, and there forcibly inducted into the crook's game. She is finally rescued by Stuart Sage, as the understanding juvenile. The backgrounds, both interior and exterior, are splendidly pictured and the de- tail carefully worked out. The individual performances are all excellent, proving, as said, the wisdom of spending money on actors to save a weak storj', or the extravagance of wasting so good a cast on a story unworthy of them^ just as you please to look at it. "The Deep Purple" perfectly represents the type of crook play that by repetition has lost its punch. THE SILVER HORDE— Goldwyn SI.M1L.\R virtues have saved many a Rex Beach picture. They may be 80 percent "trick stuff." Sections of the >now wastes of .-Maska that decorate them may be nothing more than a quarter acre of salt and potted firs in Hollywood, Cal. The story may bend suddenly toward the highly imagina- tive or . slide off into pure picture stuff that irritates more frequently than it stimulates. But ever>- Rex Beach slor\- I liave seen on the screen is told with a certain masculine directness that is refreshing, and no one of them has ever been permitted to become so downright silly as to insult the intelligence of us bourgeoisie. "The Silver Horde ' is a good picture in spite rather than because of its commonplace romance. It combines with a well-told stor>- the virtues of the scenic and the weekly pic- torial. Few pictures have been more convincingly aimos- liheric. thanks to the frequent cutting in of scenery bits show- ing the Canadian lakes and rivers and a fine set of salmon- tishing views. It is a perfect job of assembling, and Larry Trimble's scenario is at least a near-perfect job of plot build- ing. This stor>- has a firm foundation from the moment Boyd Emerson, befriended by Cherry Melotte and George Bolt in the north, starts East to raise the money necessary to start an independent canner\^ It gathers momentum with even,- scene, without doubling on itself or becoming entangled in rhotoplay Magazine 73 side issues; it picks up a legitimate thread of comedy in the person of the youth who expected to help supply fish for the tannery with a bamboo pole; it develops some f,'enuine thrills during the trust crowtl's attempt to blow up the independent traps and it ends with a romantic flourish that sSlisfies the romantic and offends no one. But Beach and Trimble and Frank Lloyd, the director, all fell for the hackneyed incident of the polite villain who is proved the father of the Indian woman's child, which was a foolish and unnecessary bit. seeing that it weakened an otherwise reasonable conclusion. The cast is an especially well chosen one. THE DANCIN' FOOL— Paramount-Artcraft THE DANCL\' FOOL " is another of the month s pictures in which the virtues of a human story overcome the handicaps of a feather-weight and fantastic comedy plot. It really doesn't matter how trivial a story may be, if it is sound at heart. The world, it happens, is full of "dancin' fools," bright lads who just can't make their feet behave and find it irksome to buckle down to work with the lure of the jazz ring- ing in their ears. It isn't as easy to accept the wise Wallace Reid as an unsophisticated country youth as it is Charles Ray. but he has enough of the same engaging quality of youthful exuberance to endear him to a large public, and he carries the hero of this story through a series of city adventures with un- common skill. His regular job is that of a $6-a-week clerk in his old-fashioned uncle's jug business, but he happens to meet Bebe Daniels, who is dancing at a cabaret, and after she has taught him the newest steps he becomes her partner. Of course uncle discovers him foolin' away his evenin's, and fires him for the fourteenth and last time. But Wallace refuses to be fired and ends by saving uncle from selling out his busi- ness to a couple of TuUy Marshall villains just as it is about to boom. Then he marries Bebe, which is bound to be a satisfying ending to anyone who has taken note of the physical attractions of this young lady. It also happens that Miss Daniels is something more than beautiful. She has that "certain subtle something'' that differentiates the real from the merely personable heroine, and her announced elevation to stardom is easy to endorse. Raymond Hatton is excellent as the Uncle Enoch of the jug business, and Willis Marks, Tully Marshall, and Lillian Leighton help considerably. RIDERS OF THE DAWN— W. W. Hodkinson WHATEVER else may be said for or against the Zane Grey movies, they certainly do move. "Riders of the Dawn" is as full of excitement as an extra inning baseball game, and as thrilling, if it happens you are a Zane Grey fan. I'm not. Not, at least, a regular Zane Grey fan. I like the story back- grounds his adapters and scenarioists extract from his no\'els; like the themes, and usually the selection of the players. But I wear>^ of the fighting and the fires; the heros who cannot only whip their weight in wildcats, but are not at all averse to taking on a crowd of bellowing hippopotami. Old Kurt Dom in this picture (he being Roy Stewart in makeup) not only bowls over a quartet or two, but he fights at least one army, and maybe two, of rioting I. W. W. bolsheviks, killin:^ five or six of them with a single bullet, as nearly as I could make out. Villains to the right of him, villains to the left of him, crumpled and fell each time Kurt raised his pistol arm. Which is neither good sense nor good direction. An honest-to-goodness fight with reasonable odds against the hero is always twice as exciting as one of these overdrawn scenes. The story is of a war hero's effort to readjust his affairs in the wheat country after his return from France. He is much in love with a belle of the township, when the villain rings in a French girl on him — a French girl with just enough English to insist that Kurt is her naturally, though not legally, begotten husband. Which discourages the heroine considerably for three or four reels. But after the fighting and the fires are over, the truth is told. The French intriguante admits she is a liar, the villain confesses he should be hanged, the bolshe- viks take again to the road and their tomato can kits, and all is as well in "The Desert of Wheat" as could be expected. Robert McKim. the producers' favorite highclass bad man, stressed his villainies rather (Icsperately, probably under the instructions of his director, Hugh Ryan Conway. ( Continued on page go ) Even Katlilyn Williams and Leatrice Joy leave Eugene ^X'alter s play "Just a Wife" — just a film, warmed over from its stage form. The rather melodramatic title of "The Path She Chose may be misleading, for it is an interesting story with a true-to-life appeal. • Dorothy Dalton does her best to make "The Dark Mirror"' seem real, but it excites the flippant remark rather than the gooscflesh thrill. r E3 Title Kce. U. S. Pat s .\ ^ ^e." ne iaid solemnly. "I do. I've never been f'-- -T-ed before and I simply can t understand how s.^-r.e Tvi->r>!e habit of it the way lhe>- do. The 5 . : — de::''e ''y impleasar.t. I ^ee' Ml:e ?. the de Hai oeen doesn't f -He a oeiier girl. ^ - ^• the s- didn't '■.\nd now — " accuf. to $5C there but jgether? time." he f vely. "Six -es. She wa* — a one little w '. haven't a - world to say against her. ^' . . i ask for eirl in lots of ways. She v. : panner. that v:. :. Arjp lots in cor; vays weathered 1 successfully, were the right size and . niore than once a week. He shook his head sadly, is like that, isn't it? Just when \-ou get .5? (iays. the\- raise the price of potatoes . where are you?" Divorce a la Film A little iuside infor- mation on Movielancl"s latest separation. Bv GENE NORTH He gazed meditatively into space, redectively chewing a lettuce leaf which must have belonged to the spearmint family because it didn't seem to evaporate properly. BUT seriously. Douglas MacLean did see the world through blue glasses that day. Thomas H. Ince had just informed him that his co- starring partnei^hip with pretty Doris >Iay had come to an end. The pictures for Paramount Ancraft, which the two were engaged to make, had been completed and the Powers That Be ( who have the papers locked in the safe, you know") had decreed that henceforth the\- should be sepjarated. .And Douglas MacLean. who has probably done more to e^taMi^h corr!e<^v of the siimt-less, slap-stick-less \-ariety than is to be an independent star. The second Paramoimt held on his services has been e.xcrcisc>- > at present deep in his first starring vehicle, •The Ya: billies'' (I know. I felt exactly that way -.it. I may be wrong. But after I'd had it repeated three - and spelled twice. I was afraid they'd make me walk so I shut up.") ^"es. it s hard to lose a good wife, even just a professional one."' went on MacLean. "and Doris has been a good one. A? 3 film vk-ife. she is par excellence. Now it's all ended. Oh. -esay I shall have other good wives. I have had some ones in the past B it I shall always remember Doris.]' There was a no- , ?s in his voice. Outside his swiftly moving dramas, kc ~d acts as little like a comedian as anyone I ever saw. i That in a world where ever\ one in comedv wants to do tragedy and a lot of tragedians do a lot of comedv.") He has brown eyes of the kind that lady novelists describe as "nice and honest." Minus a little twinkle. the>- would be soulful. -You are married aren't >-ou. Mr. MacLean? " I asked, since the conversation seemed to be running on things matrimonial. "Oh ves." said Mr. MacLean enthusiastically. I have been forced to ask that question of a number of men a number of times ( professionally— professionally V Some answer it flabbily, as if thev were agreeing with a rich aunt (Continufd on page 123) Photoplay ]VL\gazine — Advertisixg Section A sweater for every frock — now that you can wash them yourself •'I do believe that's another sweater, Betty! You have more sweaiers than any other THREE girls I know." "Well, as a matter of fact, my dear, it isn't a new one — it's just washed.'" "That fuzzy, woolly sweater washed ? I simply don't believe it!" **Of course it's washed, goosey. In Lux suds just the same as your blouses. It does look new, doesn't it?" Lux whisks into the most wonderful suds. You just swish your sweater around in them and squeeze the rich lather again and again through the soiled spots. There's not the least bit of rubbing. Rubbing hard cake soap on wool is simply fatal, you know. Either you get the tiny fibres all mixed up and maned, or else you pull them so far apart they never can go back. And of course when you scrub the soap out again, you're scrub- bing the pretty colors out, too! The Lux way is so different. It's so care- ful and so gende with the delicate wool fibres. You can trust the brightest Shetland, the fuzziest Angora to these pure suds. Your newest gay golf sweater with its short sleeves and big checked scarf that tucks through the belt and floats away — don't let it grow loose and baggy, nor get ridiculously small and tight. Launder it the Lux way. It will come out soft and shapely, fit just as perfectly as the day you bo ugh tit. Lux is so easy to use, so wonderfully quick. And it can't possibly hurt any fabric or color that can be trusted to water alone. Your grocer, druggist or department store has Lux. — Lever Brothers Co., Cambridge, Mass. HOfF TO irASH Sir EATERS USE two tabiespoonfuls of Lux to a gallon of water. Whisk into a rich lather in very hot water and then add cold water until lukewarm. Work your sweater up and down in the suds — do net rub. Squeeze the suds againand again through soiled spots. Rinse in three lukewarm waters. Squeeze the water out — do not wring. Spread on a towel to drv- in the shade. Cttyrtgkttd 1930, by Ltvtr Bris.Ct When you write to advertisers please mentioo PHOTDPUAT MAG.\2r\E. This was one of the most romantic ot the 250 stereopticon slides tliat made up "Miss Jerry. " The lovers are William Courtenay and Blanche Bayliss cf 25 years ago. "Miss Jerry was a newspaper reporter. The "still below shows her out on a "sob" story. Note how the "sets" were made in those days. The Grandpa of the Movies RELEGATED to the limbo of the past is the remembrance of most of the early efforts that helped bring the art of motion pictures to the high plane it has reached today. Even now, many maintain, the possibilities of the film are only beginning to be realized, but it is interesting to look back just a quarter of a century when Dr. Alexander Black was seeing visions as he looked into what then doubtless seemed a far, far future. On October 9, 1804, William Courtenay and Blanche Bayliss appeared as the first motion picture stars, in Dr. Black's moving stereopticon, "Miss Jerry," a tale of love, ncwspapcrdom and Wall Street. Dr. B!ack, now a noted novelist, was a newspaper man with an interest in photography years ago. It occurred to him that ordinary stereopticon slides could l)e s ipped in and out of the then popular stere- opticon lantern in such a way that they overlapped — li u r.iiiKin'j; iixm di.<-olvc into one another in a way which suggested motion. He experimented, found his idea worked, wrote the drama called "Miss Jerry" in 250 scenes, engaged actors and made it with rough — very rough sets. His second drama was called "A Capitol Romance." Grover Cleveland, then president, posed for it. Dr. Black's motion picture dramas took forty-five minutes to present. He stood beside the screen and told the story as the picture appeared. He toured the country and made a great hit. The Paramount Magazine, in a recent issue, showed Dr. Black's invention. Photoplay M voazink — AnvFiirisiNr. Sixuov 79 MADC WITH A VEST POCKET KODAK You don't carry it; you wear it — like a watch. The Vest Pocket KODAK W\x\\ a "Wst Pocket" you're always ready for the unexpected that is sure to happen. Your larger camera you carry ^^ hen yow plan to take pictures. The \^est Pocket Kodak you ha\ e constantly w ith you to capture the charms of the unusual. It is small in size but lacks nothing in quality. The price is $9.49. Film for 8 exposures is 25 cents. Both prices include the w ar tax. All Dealer s\ ACTUAL SIZE Eastman Kodak Company, Rochester, N. Y., Tlic Kodak City tu .lavLUiici^ ijlL-ase mcution PHOTOri-iV .MA(JAZ1.\£. Murdered Bram Children Being a .small portion of the docket in the Great Assize Court, in the case of the Scenario Author vs. the Producer, Direct- or, Cameraman, Scen- ic Artist, Cutter, et al. By RANDOLPH BARTLETT Decorations by Norman /tnlhony SUPPOSE you were the proud father of a newly born infant. To you it was the mo.^t wonderful thing in the world. It was beautiful, enhaloed in sweetness and light. The least movement of its small hands, the least flicker of its eyelids denoted intelligence of a precocity- that almost frightened you. At once you were overcome with a sense ol your responsibility to this splendid oftspring. and were deter- mined that it should be reared to manhood in such wise that all the world should bow to this, your child. Suppose now that you showed it to one whom you had con- sidered a friend, not so much to get his opinion as to permit him to gaze and admire, and suppose he said: "Ugly brat! Why let it live?" Suppose, feeling only contempt for a person so blind and ignorant, you showed the wonder child to another friend and he looked pityingly at you and said: "What is it? The missing link?'' Still the pride of paternity persisted, but one after another those wnom you had long regarded as good friends cast sky- ward noses at the child. This did not weaken your own love and faith in the infant's destiny, but merely made you bitter toward all the world. And that is why scenario authors become pessimists. Every man, woman and child who has written moving pic- ture scenarios ha? some fa- vorite scene, some delectable brain-child, not necessarily the main part of a plot, nor the theme of a drama, nor the big scene, nor the su- preme thrill — but just some- fragment of fancy that its mental parent knows is one of the most exquisite things ever given to a waitinf world. It would embellish any picture, fit into any story, perhaps, and so with magnificent persistence the father of the idea writes it into every script, only to sec it foully murdered by one or another of those au- tocrats throuch whose hands each picture must pass. The producer thinks it is over the heads of the pub- lic, and slays it: the stuflio manager thinks it would clog the action, and decapi- tates it: the casting director says the right type cannot be found, and garrotes it; 80 I .SB- — the electrician foozles the light effect and smothers it: the cameraman throws it out of focus and gibbets it: the director decides it would be too much trouble, and stabs it: the star iloesn t like her close-up in it, and strangles it: the editor needs footage and guillotines it: and if, by some twist of luck it should pass all these perils, the negative will be lost in the cutting room. This is the history of, not one, bui many scenes, of which a few have been compiled. Here, for the first time. ;hese favorite sons shall see the light of publicity, and you shall decide whether or not they belong upon the screen. One of the most populous of the private graveyards is that of Charles E. W'hittaker, author of numerous shadow tales for Paramount, Clara Kimball Young, Maurice Tourneur and others. The gem of the collection, the most tearwashed of all the tombs, is this: A French actress, after a terrible tragedy at home, comes to America, and living quietly in the country makes friends with a young American boy, about ten or twel\e years old — a dreamer, not a roughneck: polite, not flip: clear-skinned, not freckled: romantic and decently clad. In the actress" garden is a statue of Pan. and she tells the boy of the love symbolism of the ancient deity and his pipes, giving the lad a whistle which he learns to play for her. She finds her romance, but tragedy again comes to her. and she goes back to her garden, where she finds the bov's whistle, broken. "They told me it was too highbrow,"' moaned Whit- takef. as he sketched the fable. Luther Reed, now in the Thomas H. Ince scenario department, tells of the following crime perpetrated by another concern: ".A light woman of Paris, tired of her companion, a wealthy munition maker, is about to leave him for a vulgar liason with an apa- che, when she meets a blind sergeant, now dependent upon the irovemment for hi< living. For the first time in her life she is stirred by a worthy passion, and she takes the blind man to her (Continued on pa^r io(^) "\Ve see this dream eh and her perfectly-marcelled locks, standin(J in a lacy nightie — but the curl papers and cold cream never get heyond the scenario depart- ment. Photoplay Maca/im: Adn i :h i isinc. Skction 8i ~-ni m. Drink, cca DELICIOUS AND REFRESHING The Coca-Cola Company Atlanta. Ga When you writa to ailviriiscr'i iiliasp mention I'IIOTmIT.A Y MAOAZTNi;. 82 PHOTOI'I.AV Ma(. \/,INE — A0\ KHTISING ShXHION AQQp meirna ROPER SHAMPOOING is what makes beautiful hair. It brings out all the real life, lustre, natural wave and color, and makes it soft, fresh and luxuriant. Your hair simply needs frequent and regular washing to veep it beautiful, but it cannot stand the harsh effect of ordinary soap. The free alkali, in ordinary soaps, soon dries the scalp, makes the hair brittle and ruins it. This is why the leading motion picture stars, theatrical people, and discriminating women use WAT KINS DKAN hnd WatKIN- I • I.MUl-U Cir . A s u T On MAMI'I)') vcn ' ncticial tu m'. r. I' 1 . ,1 fin. This clear, pure and entirely greaseless product can- not possibly injure, and does not dry the scalp or make the hairbrittle.no matter howof ten you use it. Two or three teaspoonfuls will cleanse the hair and scalp thoroughly. Simply moisten the hair with water and rub it in. It makes an abundance of rich, creamy lather, which rinses out easily, removing every particle of dust, dirt, dandruff and excess oil. The hair dries quickly and evenly, and has the appearance of being much thicker and heavier than it is. It lea,ves the scalp soft and the hair fine and silky, bright, fresh-look- ing and fluffy, wavy, and easy to manage. \ oil can Kl'l Watkins Mulsifikd Cocoanut Oil Shampoo .it any druR store. A 4- oiince l)olllf should last for months. Splendid for Children QoitU Packed In a Carfon WATKINS \ iiiib ' MVLSiriKD' MULSIFIED fOCOANUTOlL JHAMPOOj ETCH' ailvcrllji'iuciu In I'UOTOPLAY MAUAZl.Ni; U gu.iraul«0. AND ^ QUESTIONS 1 ANSWERS \/OU do not have to be a subscriber to Pliotoplay Magazine to get questions answered in this Depart- ment. It is only required that you avoid questions that would call for unduly long answers, such as synopses of plays, or casts of more than one play. Do not ask questions touching religion, scenario writing or studio employment. Studio addresses will not be given in this Department, because a complete list of them is printed elsewhere in the magazine each month. Write on only one side of the paper. Sign your full name and address; only initials will be published it requested. If you desire a personal reply, enclose self- addressed stamped envelope. Write to Questions and Answers Photoplay Magazine, 25 W. 4^th St., New York Citv. M.-VKY D., Los Angeles. — Bert Lylell is a lucky man. If one woman was ever true to me for five years, I"d — but why specu- late? It could never happen. Do you like Lytell better in pictures than you did on the stage? "The Right of Way'' was my favorite Lytell piece. Bert is five feet, ten and a half inches tall ; weighs one hundred and fifty five pounds, and has brown hair and hazel ey^s. Haven't his age. He is married to Evelyn \'aughn; they have no children. He's signed up with Metro. Come again. LORR.4YNE H., MlLW.\UKEE. — It was a bad day when I got j-our letter — gloomy inside and out. But what mere male is not susceptible to flattery? Not this one. Yon cheered me con- siderably. Viola Dana was born in 1808; she is a widow; her husband John Collins, the direc- tor, died of influenza. Yes, Tom Meighan is married to Frances Ruig. Jack Barrymore was born in 1882. He was divorced from Katherine Harris Barr>'- more, an actress in his sister Ethel's "Declasse" company. Do I like blondes or brunettes? Yes. M. D. S., Newton Centre, M.-kSS. — The spirits are certainly kept busy. I suppose the Shade of Cleopatra is the most popu- lar. I don't mind confessing to you that I'm ouija bored. No — I can't tell you my favorites, and I've never talked with ]Viiss Elsie Ferguson. So now I sup- pose I am relegated to the limbo of lost and forgotten things, said he sorrowfully — and inaccurately. Friend, Havana — I am young but that isn't why I make you laugh. Yoti are young — that's why. Dick Barthelmess un- iloubtedly will get around to your letter in due time; he's a very busy young man. Friend, and there may be a thousand letters ahead of yours. T don't want to discourage you or anything. Pearl White has red hair and, yes, she wears a blonde wig. G. C. T., SuLPHt-R Sprtngs, Tex.— IMy head still aches from that violent green paper. You girls love to torture me, don't you ? There's nothing about stationery in all its most ghastly phases that I don't know. Lillian Gish is not married. She has left the David Griffith company to star for Sherrill, or the Frohman .Amusement The Ingenue By Jane Bernoudy Corporation. .Alice Brady's hr^i two Real- art releases were "The Fear Market'' and "Sinners." She is working at this writing on "The Dark Lantern.'' \'iola Dana isn't married to Lieut. Omer Locklear. But some busybody saw him fly away with her — in his airplane — and jumped at conclu sions. .\. N.. Oakland. — So you saw Wallace Reid in "The Rotters." the legitimate play, and would much rather see him in pictures. Yet I have had other letters which raved over Reid in his part of the chauffeur in this spoken production. James Crane played with .Alice Brady in '"Sinners." \o\x say their love scenes were so realistic. No wonder — he's her husband. RiBLA, Argentina. — Now you're a con- tributor after my own heart. Your letter heljK-d me a lot. Sony you think I'm not rough enough. You must want me to be the Tom Meighan of .Answer Men. Down where you live, you tell me, they are chang- ing the way of telling time. After twelve o'clock at noon they go right on , counting thirteen, f o u r te e n fifteen, etc., to twenty-four, when they start at one again. They don't do that here. Im- agine knocking off work at eighteen o'clock I Yes, tell your friends to write me. I'll give them very sarcastic answers; will that please you? Miss EsiiLY, Boston. — You're wrong — an editor isn't a man who puts things in the maga- zine ; he's a man who keeps things out of the magazine. David Powell in "On With the Dance." Karl Kermes was the justice of the peace in Constance Talmadge's picture, "Up the Road with Sallie.'' Constance has traveled a long bright road since that Select picture. Neoma A., Beaumont, Tex.^s. — You may now enjoy life. I am overjoyed to be able to tell you that your favorite, William S. Hart, is not married. Never has been married. Lives with his sister Mary in Los Angeles. Recently sustained several "broken ribs and was badly bruised as a result of falling from his horse while making a picture. Hart and his mount were dashing in pursuit of the "villain'' when an overhanging bouch caught them and frightened the horse, which threw Hart. He's getting along nicely, according to latest reports. Think of all the sympathetic letters he'll have to answer when he recovers! Nazimova's first name is .Alia. Maria. — I'm thinking \ery seriously of writing a book about myself. Everybody's doing it, why not the .Answer Man? Bill Hart has written several books, but never, as yet, the story of his life. "Pinto Ben and Other Stories" is one of Bill's com- Dositions. AntoiU'.< Moreno, I hear, is en- ASSES of curls rippling and falling. ■^^■^ Eyes wistful and blue. Scarlet lips, parted revealing, Pearls not a few. Cheeks like the first flush of morning, Soft like the breast of a swan. Voice like the breeze through the tree tops, In the cool hours of dawn. Flirting, Deceiving, Coquetting, Never Alone. Listening, Laughing, Forgetting, Nobodv'Home. 83 84 Photoplay Magazine i.'a;;ed upon his autobioeruph>-. Wonder who's wrilintf it for him? He's much ion hu5>- himself. Bes-ic l.uve is still in her teens. ' Susie, Gloversvilll. X. V. — Well, women may suffer — but every man knows ih •>• never suffer in silence. So you iro to ^oe pictures three times a week. That's ab >ui my average, too. Ann Little. Lasky, Holly- wood. Walter McOrail. S I'.ni k. Fort Lee. X. J. Others answered elsewhere. H. .Ml . \\ .. Mhkki.MA.v, Xkh. — Ljf.itc (ieorae is Alice Brady's stepmother. Miss Brady's own mother, William Brady's first wife, died years ago. Miss George is one of the leading ligures on the American stage. She has a son. Mary Fuller has been retired for a !ong time now. I doubt if she'll ever return to active participation in pictures. KaTHEKIXE. MOOKEKIELD, WeST Va. VoU think I fle-erve a pat on the head. H'lw and Wanda Hawley? Xo — but I'd like to. However — Miss Dorothy is heart-whole and fancy-free. Wanda Hawley is ver>- much in love with J. Burton Hawley, who has been her husband for some time. Wanda is a Realart star now and so is Bebe Daniels, who was Harold Lloyd's lead- ing woman before she went in for drama. Are Harold and Bebe married? Well (■ W F. D. D., F 0 s T o H I A . Ohio. — ^L^ny a true word is spoken careles;- l\ . That man who once said "The public be damned" was sure'.v a prophet. I don't ha\e jam on my brea<. any mo-e. Elsie Ferguson will probably be in Japan when you read this. She's going to rest, not to make pic- tures. She was born in Xew York, and she stands five feet, six in- ches, in her stock— 1 mean in her heel-less slippers. Wlu w ! D. D.. Blikai.o. Yes, prices are terrible. Lverytime I go into a shop to buy a tie I be- come angry over the price and argue with the clerk. Then I leave in a huff — and go some- where else and pay more. Dorothy Ciish L- five feet tall. Bobby Vernon stands five feet two inches. He's with Christie comedies. Con stance Talmadge isn't engaged. Yes, I know there are rumors. Charles Ruy's wife was Miss Grant, Connie Miller, Lon DO.v, England. — X'ornui Talmadge's latest re- lease is "The Branded Woman.'' Miss Tal niadge conducts the Fashion Department in Photoplay and has a signed article, illustrated, every month. Watchout for them. Thanks for > our good wishes. Please write soon again. Cakio. — Sylvia Breamer has been married, but ob- tained a divorce. Her husband was an Aus- tralian theatrical man- ager, I believe. There is a report that Miss Breamer is engaged. She has the leading feminine role in '■.\lha- lie," Syd Franklin'? new picture. Doris May. C. M. L., Shi;ihi:li), i'.v— One way to judge an intellectual woman is by how much she bores you. I hearti'y approve of higher edu- cation for women: for instance in the matter of dress, coiffure, ami I irriaue. Xiles Welch is iiiarricci to Dell Boone. Welch is a free-lance, meaning that he is not contracted lo any one company but plays engagements here and there. He is the leading man in "The Courace of ^L^rl:e O'Doonc" and the fol- lowing James Oliver Curwood picture, for We-tern \'ita«rapli. His personal a{ the popular novels of the Elinor GK'n type. W'e are presupposing that a mere century or so will not make any i^reat difference in men. Dickens and Dumas will, no doubt. Have the same nice, steady, constant, respectable followinf! as today. And un- less putting tbem into pictures peps tbem up into a more lively form, it s dolLirs to dou)- Thurman ma>" be reached care Allan Dwan's company. The same Mary who used to be such an ornament to Sennett comedies is now a full-fledged dramatic actress — and a good one. Mary decided sensibly that beauty wasn't everything, so she pitched in and began to learn a new technique. She's certainly made good. M. D. S., WlLLLXMS- PORT. P.*. — June El- vidge, that statuesque- brunette, may be reached in care of Mayflower Pictures. 400 Fifth .\ve- nue. She plays in Charles Miller's pro- duction. "The Law of the Yukon." Edward Karle, remembered from Edison and Vitagraph- O. Henry days, and .Nancy Deaver. a blonde newcomer, share honors with June in this north- ern tale. Miss Elvidge is Miss Eividnc now: she has been married. H.\RRY M. F.. Wash- ington. D. C — T am ver>' sorr>-, but we have no record of Ted Lorch. Does anvone know Ted ? t.ill are you? \'ou're right — it is my bre ni and butter, answering all the questions; but if these hiuh prices don't come down, it won't be my bread and butter any longer. I'll be luck\- if I have a crust to nibble. If only some of you i;irls would come through with the cakes you were goini; to send nv ! .\ny Scotch Iri-h girl who can write such a uood letter ha* hopes of getting there in anytliini: -he wants to do — even journalism. B. X., FnxHOKO. — Do I love Dot Gisii T. R. K.. Xebr.\sk.\.— I would suggest that you write to the Talmadges - to Xoniia or to Constance, because Xatalie is abroad right now — and put it up to them. You know I can only give information as it is given to me. Louise Glaum was a Triande v.impire a few >ears ago. She's still playing vamps, but she h.as her own company now Bkrnice B. Hernfbfrc, Xtw York Citv. — I'm not the P:ditor, child. You can dc- |H'nd on that. If I were, I'd never have discontinued runnine pictures of screen (Covlinufd on page 108) Photoplay Magazine — Advertising Section CAt the Seashore OU won't need to worry about getting vour hair wet while in bathing this Summer — or waste precious hours with old-fashioned curling irons and night curlers — if you own a Nestle Home Outfit tor per- manent waving. Salt water, shampooing, hair tonics — nothing mars the natural, wavy beauty of the Nestle wave. 1 he Nestle Home Outfit is an exact copv of the process used in the famous Nestle Fitth Avenue establishment. It is absolutelv harmless to hair and scalp and will last a litetime. it is in use in more than 10,000 homes, and everv woman can obtain one virtually on trial. On receipt of 1 19.00 we will send vou the Nestle Home Outfit complete, subject to vour approval within seven days. You can use materials enough for five permanent curls, and if dissatisfied return it within seven davs and we will refund vou $17.00. We could not afford to make such an offer it we were not tullv confident that you will want to retain it for the lifetime of service it will give you. After using the Nestle Home Outfit on trial, you can test the per- manency of the Nestle waves bv washing vour hair with soap and water. If the simple directions have been followed, the soft luxu- riant waves will in no wav be affected; thev will remain until new hair grows in again — a period of four to six months. Send for the Nestle Home Outfit (o/^ax — or for further information write for our illustrated free booklet. Please address Dept. K. C. NESTLE CO. Largest Permanent Hair W avers in the JV orld 657-659 FiKTH A^ EN'UE New York Citv J Wlicii you wiile to advcriistTS iiltaac mention I'UOTiJl'l^V .\l.Vt;A21.Ni„ PHOTO[•I,^^ >r\r.\/i\i; Ai)\ kh i isinc. Sr:rTioN TALC - TOILET WATER IN summer, especially, you will appreciate Mavis. The fragrance of the Toilet Water — the sense of satis- faction as it caresses your burning skin — the very delight of its refreshing coolness will tell vou the reason why millions of women prefer it. And Mavis Talc ! Of course Mavis Talc has become a very part of your summer existence — but do you know all the ways it can be used ? There is so much tragrant comfort packed in each can of Mavis that it is no wonder more of it is sold than anv other ix cent' in tfam^t. Hear it on the Etnerwn Record, i\o. lot }3 for lale at alt phonograph shopt. PARisviVAUDOU NEW YORK The Professor Uplifts By RALPH E. MOONEY TO the Editor of The Photoplay Magazine, Dear Sir: It is with trepidation that I take up my pen to com- pose this letter. To be plain, sir, I fear for the result. Vou have been most kind in suggesting that I, Erasmus Samuel Weatherbutton, professor of the conte or short-story at Wall- ingford University, might have a Higher Mission in the up- lifting of the Motion Picture Industry. Yet I find myself able to make but a poor return for your interest. For. sir, as I write, I find myself in a condition of such hopeless befud- dlement that I am totally unable to fulfill the mission you propose for me. I have visited a picture theater, but remain, nevertheless, wholly at loss to suggest a program for the Uplift and Improvement of the Photodrama as an Art Form. You suggested that I fill the post of Critic Extraordinary for your journal ; that in such post I review the productions on exhibition; and that, having reviewed them, I indite criticisms of them and letters of pleasant chatter concerning them, not with the simple intention of descanting upon the productions from the public's or the critic's viewpoint, but with the Higher Motive of Uplift, as explained previously. This, I agreed to do. This, I have attempted, but I fear I have failed. Your note of instructions informed me that I was to review the performance at the Palladium on the same evening. It was to be a premiere or first night production. Now, although I have long been aware of the existence of motion pictures, I ha\'e never found time to witness them and, accordingly, was in somewhat of a dilemma as to how to go about the matter. A friend, who is accustomed to social procedure, informed me that it was customary to wear evening clothes to dramatic openings. I was put to considerable inconvenience while en route. Being the result of a personal investi- gation by Professor Weatherbutton for the enlightenment of Photoplay readers. Firstly, my silk hat has never sat me well and, indeed. I have been informed by a reliable haberdasher that my head is ex- tremely hard to fit with any style of hat. Secondly, while in the army I was so bullied and badgered for neglecting to salute officers that the thing has become mechanical with me. Going to the Palladium. I met two captains and a lieutenant. I knocked my silk hat off three times. At the box office I rccjuested the critic's scats and was told there were none. I tried to explain, but was so jostled by folk about me and so shrieked at by the young woman in charge, that I waived the point and placed money before her. \ ticket snapped out from a slot .so suddenly that, what with the jostling, I lost my hat again and, stooping to recover it. lost my nose glasses. When all was set straight. I proceeded to the door of the auditorium amid much ill-mannered laughter. .'\t this point, let me remark that I was misinformed concern- ing the wearing of evening clothes. !Mine were a subject of constant and audible remark. Furthermore, the theater provided no cloak room, a fact which forced me to hold my coat on my knees and to place my silk hat beneath my chair. As for the evening s production, I found it chaotic and con- fusing, with little to hold the interest and certainly with no logical conclusion. It was, I grant you, somewhat Dickenson- ian in concept, but the producers had failed just where Dickens is strongest — in linking the assorted plots together and making the conclusion the direct and inevitable outcome of the pre- vious actions of the characters. Another fault is the too great dependence which motion picture makers place on printed legends explaining the matter in progress. It is a terrific in- convenience to the critic, busy as he is with note book and pencil. I was constantly raising my eyes to glimpse a fading 87 ^8 Photoplay caption and I missed so many of them, while noting down important thoughts, that I was often entirely at sea as to what was coing on. I merely mention these details and leave it lo others lo correct them. A critique may be suggestive, but never concrete. And now I shall try to describe each fletail of the perform- ance as it impressed me. From this, the managers, who, as you say. are eagerly awaiting my message, may be able to draw inferences that will help them. The opening scene of the evenings production I found to be meritorious, impressive and understandable. I heard the noise of the picture machine, raised my eyes and saw before me an inscription which read: "General Pershing Reviews Overseas Veterans." A splendid sight and excellently pro- duced, except for the fact that the infantry companies did not keep so good a front as we were accustomed to in my old regiment. I saw the purpose of this at once. I flatter myself. The author was sketching in his atmosphere. This is undoubtedly a good enough technical usage, but. as time went on. I observed the man was o\erdoing it. For example, instead of proceeding from his "atmospheric" opening to his ston*-. he laid out more background, depicting a line of battle-ships under steam. And when he went on and supplied us atmosphere from a Philippine cigar factory and a reception to the Archbishop of Senegal and a sketchy view of the natives of Mozambique, I felt it was going too far. X'aluable parts of the production were wasted because of its creator's fever for detail. With no previous explanation, an unfortunate, enfeebled woman was shown, back bent above the washboard. After a moment, with a display of faintness. she collapses into a nearby chair. Thereupon, with nothing to indicate why or wherefore, her husband peeped roguishlv through the doorway, winked, and proceeded to" enter the room, followed by two deli^'ery men bearing the contrivance known as a washing machine. The woman revived, clapped her hands, and kissed her husband. A caption was then displayed, as follows: "Be Good to Your Wife. Buy Her an .\utomoto Washer." After which the woman in question was shown sitting in an arm chair, reading a book with an infant in her arms, while the washing machine performed its salutary functions. This. I submit, was technically wrong. If it was intended as a moral for the picture it was stated too soon. The end of the per- formance, after the wife's trials and troubles have been out- lined, after her soul has been laid bare, is the proper time to state the lesson of a motion picture. If. on the other hand it was intended as a motif, it was acain wrong. The motif, or theme-exposition, has its uses in Music, but I do not believe it can be applied to motion pictures advantageously. Then, wholly without preparation, we were plunged into what I take to be the author's comic underplot. .-X succession of ludicrous characters here indulged in various forms of horse- play which ended in their be-smearing each other liberally with pastry. Good enough for dull wit. but as "The Comedy of Errors" is to "Twelfth Xight." in relation to real humor. On the heels of the comic underplot, came the depiction of the author's first main plot. This, based upon the theme-ques- Magazine tion, "Should a Husband Know?" was melodramatically Inter- esting, but dealt with everything else under the sun bu; the answer to the question. It told a story of a young man who was nervous and who smoked cigarettes visiting a pretty wife. Her husband, who was strong and smoked cigars, found out about it. He began to hold his head. A friend of mine who frequents motion picture exhibitions, tells me there are three types of serious photoplay plots: ( I) That in which a man holds his head all the time. (2) that in which a woman holds hers and ^3 ) that in which they both hold their respective heads. This was of the first type. The strong husband attempted to kill the nervous young man and held his head: he was persuaded not to do it — by the wife — and held his head: he dismissed them and, when left alone, held his head. Then all three progressed through various stages of dissolution and poverty until the nervous young man ran away: the woman attempted to destroy herself, but was saved by the husband, who effected a reconciliation with her and then — even at the very last — would sit near her and hold his head. Leaving us to infer that a husband should not know? Or merely that some husbands should not? Who can tell? AH of this was confusing enough, but you may imagine my puzzlement when at this point the author jumped in again without preparation to a secondary main plot. This was a rather indecorous affair dealing with a gentleman who. when born, was so affected by a thunderstorm that ever afterward he suffered temporary amnesia when it thundered. The gen- tleman married the only daughter of an enemy and avowed that she should be the last of her line. No issue should she beget by him. However, during a thunderstorm she took advantage of his arnnesia — but why go into details? A baby was born. The angry gentleman held his head and suspected his wife. She convinced him the child was his own. Thereupon he lost his fortune and went away to work. The neighbor, under pre- tense of investing the remnants of the woman's personal for- tune, contrived to provide her with riches. Of course, when the husband had made another fortune and returned to his home, he was suspicious of the luxury in which she lived. He held his head, then announced he would leave her and take his little son with him. Whereupon, in order to keep the child with her. she convinced him that the boy was not his. Then the neighbor explained his investment proceed- ings, the wife was forgiven and — she convinced that incredible husband that the baby was his after all, .\nd then — then what? Then the grand climax? The intermingling of all the plots in Dickens" best style? The final disposition of the characters of the plots? No. None of this. With the completion of the third plot, the performance was brought to a summary end and we were dismissed with no knowledge of what followed in their several careers. Information was afforded that those who came late might remain to witness a duplication of the material already wit- nessed and I departed, hat in hand. I carried my hat, of necessity, because of the efforts of a tobacco eater who sat behind me. ■^^4;$^ 3 Her Alibi SHE had read. She had one ambition: to succeed as a film star. But had she not been assured, lime and again, via the printed page, that to succeed in the films a young girl must be willing to sacrifice everything? Simply everything? So she went to the City, and wormed her way in to see someone in authority at her favorite studio. "I am willing," she said suulfully, "to do anything — anything — to succeed!" The authority seemed unimpressed, "\o place right now." he replied. She tried another studio, bringing photographs and arguments. "I am willing" — again — 'T don't care what it is — I'll do absolutely anything to succeed!" They .said they'd put her name on the waiting list. She tried others, each time using more heart-throbs in her voice, more transpiircnt stockings, more rouge on her lips. But everywhere she met with the same answer: "Nothing lor you." Finallv she became discouraced: besides, her money ran out. When she got home she told the folks, "it's not worth it. Some girls may do it, but I never could sell my soul to succeed!" And they believed her. PiioTOPr.AV Magazinf — AnvEnTisiNf, SF.rTiON 89 The most humiliating moment in my life When I overheard the cause of my unpopularity among men A CHICAGO girl \vi itt's to iTic : "Oh, if I had only read one of » 30ur articles years ago! Many times 1 have heard women criticize voii for publicly discussing such a deli- cate personal subject. But I know what I Avould have been saved had I known these facts sooner, and I know that man\ of these women who criti- cize you would benefit by taking your message to themselves. "I learned the facts about myself, as unpleasant facts often are learned, bv overhearing two girl friends talk about me. " '\\'hy don't the men dance \vitli her,' one of them said." Here came a lew words I couldn't catcli, and then — 'of course she's imconscious of it, poor dear, but she does suffer fright- fully from perspiration.' "It was the most humiliating mo- ment in my life! I, who had priture and odor. Odorono was formulated b\' a physi- cian who knew that perspiration, be- cause of its peculiar <|ualities, is be- yond the reach of ordinarv methods of cleanliness — excessive moisture of the armpits is due to a local weakness. Odorono is an antiseptic, perfectiv harmless. Its regular use gives that absolute assurance of perfect daintiness ihat women are demanding — that con- sciousness of perfect grooming so satis- f\ing to men. It really corrects the cause of both the moisture and odor of perspiration. Use Odorono regularly, just two or three times a week. At night before retiring, put it on the underarms. Al- low it to dr\, and then dust on a little talcum. 1 he next morning, bathe the parts with clear water. The under- arms will remain sweet and drv and odorless in any weather, in anv circum- stances! Daily baths do not lessen its effect. Saves gowns and cleaners' bills Women who fiiul that their gowns are spoiled bv perspiration stain and an odor which drv cleaning will not re- move, will find in Odorono complete relief from this distressing and often expensive aimoyance. If vou are troubled in any unusual way, or have had any difficulty in finding relief, let us help vou solve vour problem. Write toda\- for our free booklet. You'll find some verx- interesting information in it about all perspiration troubles! Address Ruth Miller, The Odorono Co., 514 Blair .Avenue, Cincinnati, Ohio. .'\t all toilet counters in the United States and Canada, ^^c, 60c and $1.00. By mail, postpaid, if your dealer hasn't it. Men will be interested in reading our booklet, "The Assurance of Perfect ( irooming." Address mail orders or request as follows : For Canada, to The Arthur Sales Co., 61 Ade- laide St.. East. Toronto, Ont.: for France. toThe Agencie Aniericaine, 38 Avenue de I'Opem, Paris; for Switzerland, to The Agencie Anier- icaine, 17 Boulevard Helvetique, Geneve: for England, to The American Drug Supply Co.. 6 Northumberland Ave.. London, W. C. 2: for Mexico, to H. E. Gerber& Cia., 2a Gante, 19, Mexico City: for U.S.A., to The Odorono Company 514 Blair Avenue, Cincinnati, Ohio N\1icn vou uTlte to ao long ago they were beine called to l)ook because they were too free in their cxajigeralions of the stories from which they look their plots. Xow they appear to be swinging to the other extreme and following the plots too closely, particularly in the case of the ^tage plays they reproduce on the screen. "The Fortune Teller" was a failure as a play largely because it was not reason- ably filled in. The prologue introduced the heroine as a dissolute fortune teller travel- ing with a circus. As a young woman she had been turned out of her home by the husband who had unjustly accused her of l)ein'.r too friendly with another man. The circus plays the old home town and the for- tune teller's son, whom she left as an infant, comes to her for a reading. She discovers that he. too, is in trouble and is able to help him. To be near him she quits the circus and stays in town. In two years she is es- tablished as a famous psychic, without her son knowing her real relation to him. Ex- ■ posurc threatens and she is about to leave rather than jeopardize her 5on"s future, when a satisfactory explanation is made possible. The picture goes back of this episode and show~ the original quarrel with the husband, but it does not in any way develop the epi- sodes concerned with the gradual regenera- tion of the fortune teller or the real drama of her efforts to help her son and still keep her sreat secret, wherein the real suspense of the situation lies. Neither are the titles properly utilized to make clear the lapses, ^lariorie Rambeau gives as effective a per- formance as the mother as the scenario and the director permit, but she is pretty se- verely handicapped. DOLLARS AND SENS^ — Goldwyn GOLDWVN could, if Goldwyn wanted to, adopt a general title for all the Madge KeniuiK comedies. Call them "Jes' Like Madue." and add an explanatory subtitle. Tiial for the current showing would be •She Runs a Bakery."' In this picture Madge again slips gracefully into those easy picture making channels in which a succes- sion of attractive scenes takes the place of a soundly reasoned logic. In "Dollars and Sense" she starts as a chorus sirl. is stranded, sidesteps the temptations offered by a rich man who considers stranded chorus ladies fair game and accepts a job in the bakery of a young philanthropist who had rather '.;ive his bread to the poor than sell it. She quickly puts the bakery on its feet, and falls in love with the proprietor, but their ro- mance is halted when he is taken ill. Then, to help the plot, the bakery suddenly be- comes bankrupt and Madge is forced to reconsider the sale of her good name in or- der to raise funds to pay the youth's bill at the hospital. She is willing to make the sacrifice, but the man who would buy is not such a rotter as she thought him, and in- stead of taking advantage of her predica- ment he arranges for her marriage with the baker. A pleasant little short story in five reels. Miss Kennedy is daintily effective, as usual, and has a personable hero to play i opposite her in young Kenneth Harlan. AN EASTERN WESTERNER — Rolin Pathe IV I he only Charles Chaplin does not hurry back to the job he is likely to find that the only Harohl Lloyd has replaced him in the affections of that vast public thai dote^ on the rough but often riotously amusing comedy of the screen. Lloyd's "An Eastern Westerner" presents that agile youth at hia best, and its first reels are a perfect sample of how legitimately funny a farcical comedy tan be made on the screen. Harold's at- tempts to avoid dancing the "shimmy"' in a dancing place where the wriggling is for- bidden, and his later experience in lr>-ing to sneak into his room without arousina the family, which he would have succeeded in doing if he hadn"t stepped on the cat. are real bits of unforced comedy. Later his ad- ventures in the West are more wildly ex- aggerated, and less effective in con.H-quence, though the comedy tricks of the usual pur- suit and capture, escape and recapture, are full of laughable incidents. A burlesqued poker game is also ingeniously built up. As Chaplin's successor, this bespectacled youth is striding forward in seven-league boots. THE BOTTOM OF THE WORLD— Roberston - Cole THERE are more wonders twLxt heaven and earth, and within reach of the re- cording eye of the camera, than were ever dreamed of in the stuffy offices of the sce- narioist. The record of Sir Ernest Shackle- ton's search for the South Pole, as shown in the two-part film. "The Bottom of the World." is one of the fine achievements of the screen, comparable only to the thrilling adventures of the ill-fated Scott's dash north- ward some years ago. The director of the local theater who gave it the featured posi- tion on his proiiram exhibited excellent judgment, and the decision to show it in two parts, holding over the second chapter from one week until the next, displayed good showmanship. It is far more holding in its interest than ninety-eight out of a hundred feature films, and more instructive than any number of ordinary educational films. It bears the stamp of authority and of actu- ality. It literally brings the day by day liv- ing conditions, the hardships and the com- pensations of the explorers' lot, to the audi- torium of a theater. And the fact that the spectator knows most of the pictures were carefully posed for his entertainment docs not rob them of their fascination. It is a promise of the finer achievements of the screen that will come to view as time goes on and the intrepid camera men push their way into the weird and allegedly inaccessible corners of the world. By Photoplay Editors THE COURAGE OF MARGE O'DOONE — Vitagtaph ONE of those tales of the rugged North with its red-blooded men and its brave women. I don't know why the men should he any more red-blooded and the women more brave in the rugged North than in the rugsed Middle-West, but they undoubtedly are. Vou don't mind it when the woman is that weird and wistful mite, Pauline Starke; and the man a new Niles Welch, who left his striped shirts at home and forgot his ar- row-collar eyes, emerging a very real actor. It s a James Oliver Curwood story, as you probably guessed; directed by David Smith, brother of .Mberl K., whose work would be just as praiseworthy if his name were Jones. You'll enjoy this, particularly if you see it in July or .August. 'V'ou'll want to go right up North, bears or no bears. LETS BE FASHIONABLE — Iiicc-Paramouiit-Aitcraft AS if prohibition weren't enough, alonf; comes Thomas H. Ince to rob us of one of our next-best things. To make it all ETcry «drffrtl»orfume over prodiired, HuUc without alcobuL A sinirle drop lasts a w<-fk. Bottle with lonu" irlass stopper, containinff fnoutrh for 6 monTh-*. Ito^^eor LUaf. $1.60; Lily c»f T he Valley or Violet. $2.00: Uotiianza. onr very latest Flower Drops, $-^..*A Scnd'A)*' stamp'* or t^ilvt-r for miniature bottle. Flow. r Drops Toilet \Vater, 6-oz. bottles $Lio; Talcum, plasH jars 60c; at druicsrists or by zuaU. ^ TftAOC M*OM OCGlSTCfiCO PER n5j>ME tc -roiL^T-^ATER Rleerer's Mon Amour, per ounce, tl.50; GardPn Qni i n. <2.0li Coliliniin I(In>l •"> /»»»"<'"""--■'''' I'U Ifi lyv !■> ■ r>,uh,i f FORBIDDEN TRAILS - Fox ACO\VBO\' is named a; a guardian to a beautiful sirl. The cowboy is Buck Jones and the !;irl is Winifred VVestover. We never saw such a troublesome child. She is continually getlins mi.xed up with bandits and kidnapers. The cowboy should have checked her in a nice quiet orphan asylum. But he doesn't. He marries her. A lively picture, but, as Sherlock Holmes misht say, elemental. THE FOOL AND HIS MONEY— Selznick EUGEXE OBRIEX in a George Barr McCutcheon story. .-^ picturesque young author hides from the madding crowd in a Swiss castle. A lovely lady (played by Ruby De Remer) flies to that gorgeous spot for protection against her cruel husband. The lady is an .American heiress and the husband is an Italian count. That's why he is cruel. Pretty romance, pretty snow scenes and a pretty light between the author and the husband. And, as we have said, Eugene O'Brien in a George Barr Mc- Cutcheon story. JUST A WIFE — National Picture Theatres TUST a Wife. Just a film. Eugene Wal- J ter's stage play is not a great success in its warmed-over form. Perhaps this elabo- rately devised plot belongs to the stage. It has drama and situations. You miss any human appeal. It is stilted and unnatural. However, we will give three silent but well- meant cheers for Lcatrice Joy, who makes emotional acting positively painle.-s — to the audience. "NO. 99" — Hodkinson N.'\l\ E and merry entertainment. J. Warren Kerrigan is still seen as a con- vict who, with the help of a pretty young person, walks into a houscparty in prison arcy and emerges its honored guest. We knew all along that he had been falsely ac- I cused of the crime that put him under such : a cloud during the first reel. Bui "Xo. 90"' is harmless entertainment. Mr. Kerrigan wears a monocle. WOLVES OF THE STREET — Artograph DO you remember when the man who owned the movie theater also took the tickets? Do you remember when the girl in the booth was a'so the chief soloist? Do you remember when pink, blue and green slides were used for the illustrated songs? Do you remember when Tom Ince was mak- ing Indian pictures? Do you remember \\hen Mary Pickford was a face and not a name? Do you remember the sort of "thrillers"' that were shown then? When you sec "Wolves of the Street" you will think of them happy ilays before the war tax and the super-extra deluxe special. This picture was made in Denver by a new com- j pany and there is a chase and a knock- down tight in every scene. Just like the good old days. I THE THIRTIETH PIECE OF SILVER — Amcric.111 THIS is a lilm version of the old ;:dme "button, button, who's uot the button." A collector of rare coins his one piece that lie values above all others. Xo wonder; it was the thirtieth piece of silver given to Judas for the betrayal of Christ. The gen- tleman also has a wife, whom he prizes highly. He lives in fear of losing his two treasures. The coin is constantly disappear- ing and the wife is constantly threateninc a domestic row. The picture is foolish, but not dull. Margarita Fisher and King Baudot have the leading roles. LOVE'S HARVEST— Fo.x LON E'S Harvest " is a light romance that has walked right out of the covers of a story book. It is straight from the nevir- never land of popular fiction. Shirley Mason plays a child role and only grows up in time to slip into the arms of the hero in the last reel and tell him that love is the most wonderful thing in the world. A dog named Buddie figures prominently in the story. Buddie does tricks and s*j does Shirley. THE FLAPPER — Selznick A PERFECT nut sundae jag b "The Flapper." It is all about the goings-on of a silly, harmless and charming boarding school flapf)er who wants to be tough and doesn't care how many ice cream sodas she drinks. It is a resular banana frappe of a picture; amusing without being inebriatine. Olive Thomas is the most delectable flapper that ever evaded a chaperone. Her tiny step-sister has an important supporting role which she plays enchantingly. THE MIRACLE OF MONEY— Pathe WHEX Hobart Henley pa.sses the age of forty- live, we hope life will be good to him. For he is a staunch champion of middle age. When all the other directors are demanding youth, he turns his camera on those who have passed beyond first ro- mance and deals gently with the.«e bachelors and spinsters. Do you remember "The Gay Old Dog"? "The Mirac'e of Money" is its successor. Two old maids uo on a hunt for life, love and happiness. Their quest is inid with touches of humor and sentiment. THE ONE WAY TRAIL— Republic EDYTHE STERLIXG is a lively youns woman in "The One Way Trail." Just because she spells her name with a "y" in- stead of an "i" you need not think she is all lady-likc and refined. In a story of the lumber country, she is in the thick of the thrills. The story is just the conventional melodrama but there are some interesting details that make the picture cnlerlainina. THE TERROR- Fox MORE Tom Mix stunts and more We>tern thrills. This time Tom is a sheriff and it is his duty to find out who is siealinc so d from the mines. Chases and gun -play keep him fairly busy. Mi.x must slay up nights thinking of new ways to break his neck. THE SHADOW OF ROSALIE BYRNES -Selznick IN" movie stories of twin si>liTs, why is one lister good and the other one bad ? Why does the good sister have to suffer for the misdoincs of the bad one? Why do pro diicers consider one dual role picture a neces- -ity in the screen cancer of any actress? .\nswer these questions and we shall tell why "The Shadow of Rosalie Byrnes'" came to Ih". Filaine Hammerstein, who always sug- gests common .sense and a good disjxisition, does her best with unconvincing material. I•^^r) uiheillTn.eiii III riliiT"?"! \Y MxnxZINi: la siiirAntrril. PiKiKii'i.AV Magazine— AnvFRTisiNT. Sivciiox The Shadow Stage ( Concluded) BURNING DAYLIGHT— Metro THIS tale of Wall Street and the Klon- dike is served up in Jack London's best fashion. After a great run of Western stories you realize that Jack London pos- sessed an art that is not easily imitated. For ''Burning Daylight," outwardly just like many other tales of the East and We-t. ha> an inherent story value that makes it better than average picture entertainment. Mitchell Lewis plays the role of the miner who nearly meets his Waterloo on Wall Street. Helen Ferguson is a charming heroine. SCRATCH MY BACK— Goldwyn RUPERT HUGHES' comedy is as origi- nal as its title. Moreover, the title isn't just a bit of flippancy. It has some- thing to do with the story. And what's the story? It is too good to describe. "Scratch My Back" is something new. It is told with a combination of artlessness and sophistication that is enchanting. The sub- titles win the floral horseshoe that goes to the person who can write captions that are funn\' without being obnoxious. Mr. Hughes may be an Eminent Author but let us not hold that against him so long as he can be so merry and bright. Sidney Olcott helped a lot with his direction. T. Roy Barnes makes his screen debut in this pic- ture and Helene Chadwick is the leading woman. Just this much about the story: a gentle- man who always does what he wants to do scratches the back of a strange lady (or ihf strange back of a lady ) , as she is sitting in the theater with her husband. Does she have him arrested? No, she is grateful. Does she rid herself of her husband and marry the gentleman? No, she does not, nor does Mr. Hughes hint at such a thing. It is a picture that is different. NOTHING BUT LIES — Metro A WILLIAM COLLIER farce that has been transferred to the screen and to Taylor Holmes. It is too mechanical to be amusing, even though Taylor Holmes does his best to please. Justine Johnstone (ask any man-about-town who Justine Johnstone is) brings her blonde beauty to the produc- tion. It is her first appearance in the deaf and dumb drama. We prefer to see her on the stage. EVERYTHING BUT THE TRUTH— Universal IT is not a sequel to the Taylor Holmes picture. It is just another fibbing farce that jumps around like a Mexican bean. And, like the Mexican bean, it gels no- where. However, it is told in sprightly fashion and it has fairly amusing subtitles. And there is plenty of Eddie Lyons and Lee Moran. THE PATH SHE CHOSE — Universal IF you think this is another "Why Girls Go Wrong" melodrama, you are wrong. It is a sensible and human interest story of why girls go right. The heroine is a girl who emerges from a sordid family life in the slums and makes a success in the busi- ness world. Her story has true-to-life ap- peal. The girl is pleasingly played by Ann Cornwall. NEXT to Barthelmess and H. R. H. the Prince of Wales, Constance Talmadge is probably the most "reported engaged" person in the world. Once she was even reported engaged to Dick Barthelmess. Then to Irving Berlin. A rich tobacco merchant is the latest ''fiance,"' but Miss Talmadge's intimates say there is nothing in it. m K In Ffisdlla Dean ' • Vnhersai Star Delights in Wearing ^f^nnic^ Veils — irom France ^i?""^ Veils embody all the delicacy, flatter- ing charm, beguiling designs and soh silken meshes, favored by the smart Parisienne. The slender silk elastic keeps it trigly in place — without tying, pinning or knotting. A wonder- tul convenience, especially when motoring. Fascinating designs in chenille and silk em- broidery. If you have ne\'er worn a ^""''"Ji, get one today and experience a new \'cil joy. Prices 10c, 15c, 25c and 50c. For sale at Department Stores and Drug Stores ereryn here. If your liealej cannot iupply you send 2^c for the Veil Miss Dean iiwearing. Pal. No. i iff. J]\e]f^niQ3 Co., Inc., 222 Fourth Ave.. New York, N. Y. Alio Importers of the farr.cus Hair Nets WTieu }er, for instance, was the re- ; t iif a workman's spoiling of a l>.;i. 'i into which he had forgotten to any sizing material. Nobel ■li-i ered dynamite by a slip, and the bayonet was the result of a soldnr s suggestion that, as the powder w.is done, they should lix their long knives into the barrels of their ritle~ and charge. But one of the funniest .iccidenta' discoveries relate? to bottled beer. In the reign of Queen Mary a certaiti llean of St. Paul's and Mastir i Westminster School had to tly t i ■ Continent for his life. He was ai c • by the silvery Thames al^ thi • the warning reached him. Some ; - later he not only returned to l.i:^- land, but to the very spot for the \-cry same purpose, with rod and line. (Jrowing thirsty, he rcmemhci ! that he had left "a bottle of hi < the hollow of a neighboring tree v. n he had suddenly taken night years before. The bottle was : but when he removed the c.nk :! went olT with a bang. I SEE that the old liglit-hous* where we used to picnic on the shore has been destroyed by ,1 storm." Mr. Biggs observed, looking up from his ]>aper. _ , „ "Well. 1 m not surpi;iscd. Mrs Biggs resiiondcd as she picked un hi • sewing. "I always said it won' 1 Kcallv. I can't understand lu'". Government is of such poor judcr..^ ■ as to build light-houses in such c\ l>osed places as thev do."— The Honu Sector. Y(TL"\'E probably heard that lin. pulled by some punster, " h' questioned as' to his ancestry, t' • iiseJ to have some Scotch in him. .\lso t! ■ about the chap who was said to be of ^ rxuaction because he coubl extract so Scotch from — . But Sir Thomas Mackcniu ( .nnmissioncr of New Zealand, tell- a new The New Zealand forces — a part of the fan ■ •us \nzac9 — contained quite a large number natives and one of the dusky warriors waited o . Sir Thomas, claiming that he was a .Scotsitiar • Why do you claim to be a .^^cot ?" asked Si Thomas. "Well," replied the Maori, "rvc Scoltis! blood in my veins. >jv grandfather .tie a Scote'. Prcgbvtcria'n minister.' 94 'T^O make milady more beautiful, Nadine has created six toilet preparations. They are Nadine's gifts to lovely women, to meet every toilet requirement. And the assistance they give milady will enhance her beauty, giving her a delicate roscpetal complexion of bewitching fragrancy. Milady will have a soft, smooth, velvety skin, with just a tint of color, protection from sun and wind, with never a hint of harm, and a delightful charm which will linger in the memory. Millions of discriminating women have learned the old, old secrets of endearing loveliness from Nadine. And, if you wish, you, too, can learn these secrets. You can satisfy your Nadine needs at your favorite toilet counter, or by mail from us. NATIONAL TOILET COMPANY Paris, Tennessee Kadi ne Pr excavations Truly a dainty vision of loveliness and pleasing fragrance. Nadine Talcum 30c Nadine Face Powder 60c (Flesh. Pint. Brunette. White) Nadine Flesh Soap 30c Nadine Pou^e Compacte. . 50c (Light. Medium. Dark) Egyptian Cream. . . . 60c (Heals and Whitens) Nadmola Cream (2 sizes) (For clearing complexion) 60c and $1.20 NADIMOl_A THe SKiNPUCi^ lEO. BECOriMeNOEC "^ob Cue IMC Twt EKiN OF BLEMISHES VC AS Oi'*tCTiiD FOn A Hnt*%0- LllK.rU OF ■"'"I IT «>H.L RCMOVS f >ItCKl.ti LIVtK 3*i.uo»-»»«a. ium tf Bi.AC~- "f^a OTMtn OiSCOuOnATtOMS drink Unusual delicious ness, purity and quality — these are the features which have made Ward's Orange-Crush and Lemon-Crush so pop- ular everywhere. The exclusive ^ ard process blends the delicalc. fragrant oil pr<■.'^sp(^ from the a<'tual fruit with finest sugar and citric acid, the natural acid of all citrus fruits, to produce the inimitable flavors of Orange- Crush and Lemon-Crush. at fountains or in bottles Prepared by OraniJc-Crush Co. Chicago Laboratory, Los An^elct Stnd for frft hook. " The Story *f Orange CrusA^' ancf Real news and inter- esting comment about motion pictures and motion picture people. / CAL. YORK PUBLIC sentiment is a chameleon. And never more so than in that romance which culminated in Mary Pickford's mar- riage to Douglas Fairbanks. At the rumor? of its budding public sympathy seemed to be with Mrs. Beth Sully Fairbanks — until, as soon as she had obtained a divorce from Doug, with a reported monetary compensa- tion of something like a half million dollar.^, she married James Evans. Mary Pickford"; followers, particularly those of the Catholic faith, received a real shock when she divorced Owen Moore, whom she had married at seventeen. Her marriage to Fairbanks capped the climax of public dis- favor. But now, with the Nevada court instituting proceedings to investigate the Pickford-Moore divorce, the pendulum has swung again, in favor of the famous newly- weds. Says Old Public Opinion : '"They're married now — let 'em alone I"' And we hope the matter will rest there and that Mary Pickford and Douglas Fairbanks may be permitted to have a real-life honeymoon that will last a long, long time. PRESIDENT WILSON has become a most ardent movie fan. During the long days of his illness, nothing entertained him so much as a reel or two of film. Hard- ly one day passes now that he does not call for his projection machine and operator to reel him off the latest comedy — for comedy is his preference, and one good one is always shown at every performance. But if Woodrow Wilson likes one form of screen drama better than another, it's a detective film full of thrills. CHARLES ABBE, a character actor, who is playins a pauper in a forthcoming production with Corinne Griffith, came down one morning in the elevator of hi.- hotel in Charleston where he was on loca- tion with the Griffith Company, with his make-up on and dressed in the nondescript dilapidated attire of "Old Hank Dawe." Several prosperous looking Southerners were in the car. One of them studied Abbi- closely, trying to reconcile his refined, clean- cut features, framed by his Baconesque white hair, with his poverty-stricken attire. As Abbe stepped from the elevator the Southerner remarked to his companion: "Say, Jim, this old clothes scheme is a great thing to beat the high cost of dress- ing. I think I'll put on overalls, too." The answer to Mary Pickford's advertisement for an equine wreck: Lavender, who appears in "Suds."' So fat did he become from good fare that toward the end of the picture he had to be made up to look as if he were really on his last legs. It s a new Mary in^this adaptation of ""Op o' Me Thumb. " AFTER the war was over, Roi)crt War- wick walked into a film office in hi- uniform, his overseas cap. and his Sam Browne belt, and smilingly signed an ad- vantageous stellar contract with Famous Players-Lasky for S_?,ooo a week. Now he is suing that company for ^525,644. 23, for alleged violation of contract. The story goes that Warwicks pictures failed to get over in proportion to the salary he re ceived. The powers of Paramount offered him an alternative: would he take a salar\- reduction and play supporting roles? Warwick would not. Famous decided it couldn"t lose any more inoni-y in a legal suit than on Warwick"? pictures, so they simpK let him go ahead and litigate to his hearl'.< content. MRS. MAY PRESTON DEAN has dis- covered a unique way of adding to her fund for the Los .\ngeles Orphans. Her daughter Priscilla was married a few months ago to Wheeler Oakman. Both arc pro- fessionals and therefore temperamental. So Mother Dean made a rule. It was, ■'Ever\ time Priscilla and Wheeler have words, the part)- who started things must place one dollar in the bank on the mantel.'" And although the Oakmans are happier than most married couples, you"d be surprised to know how much that little old bank is hold- ing ! JUNE WALKER, the brune baby vamp of Clifton Crawford's stage comedy, "My Lady Friends," has been signed for film service, as Photopl.w predicted sometime ago. She will be Bobby Harron's leading woman in that young man's first stellar vehicle. Miss W^alker is not new to pic- tures: she was an extra at Essanay in the good old days. OF the many film folk booked for foreieii trips, only a few really sailed. The whole Talmadgc family, including ^lother Peg, Constance. Natalie and Norma Tal- madge Schenck announced their intention to depart for Europe early in May but only Mrs. Talmadge and Natalie got across. The rest of the family, swamped with work right now, may follow later. John and Anita Loos Emerson have postponed their scheduled sailing. While Mr. and Mrs. Douglas Fairbanks, who had made all plans for an early voyage, were forced to cancel their bookings and stay at home. Their manager says it's because they must oblige United Artists with new releases. Gossip says it's because Mrs. Charlotte Pickford didn't like to be left at home. She has been ill. but accompanied the honey mooners to Manhattan. Mary's mother, comrade and guardian until Fairbanks came on the scene, naturally finds it hard to play only an at- mospheric role in one of the world's greatest romances. PRISCILLA DEAN has utlered against the overall craze. She doesn't think it will last; what's more, she doesn't approve of blue denim for girls. "Personally," saifl Miss Dean. "I should just as soon see a woman walk down the street in a bathing-suit as in a pair of overalls." "I'd sooner," remarked Hoot Gibson, who overheard. WILL ROGERS is one of the few motion picture stars whose mail is not clut- tered with requests for autographed photo- siraphs, scented notes and other flatteries usually received by film celebrities. For one thing, he boasts of his love for his wife and their four children. .\nd besides, ho isn't the matinee idol type ot hero. Not long aso, however, a large square envelope came to him by special delivery. He opened it and read: "Dear Mr. Rogers: "All my life I've been the butt of my family because I'm the homeliest man in town. They are all pretty good looking folks, but I'm a sort of throwback that don't seem to belong. Now. they tell me you've got a reputation along that line, so I'm writing you to send me a large photo- craph of yourself to hang next to my shav- inc mirror for consolation. "Sincerely yours, " (Name deleted to spare writer's feelings.) 97 98 Bp T Loved B>^ CHildrerv? PiimoiM. A^ M \(.\ziM-; — Af)vkktisin(; Skchon Plays and Players ( Continued j I JAP ROSE ^' SOAP If you could see a cKemical analj'sis of tKis ultra refined toilet soap ^ou tOouId know vJK]? it is al'cOa>'s so pleasing and refresKing to use, and vjKj) it lea\)es the skin in suck per feet condition. You tOouI'Atclv iMrfiiinccI poudcr: removes hair, leaves skin siunoth, white; lor arms, limls, lace: 50c. also $1.00 siJ^e whicli in< litiles cold cream, iiiixing cup and spalula. At drUK and .VY .MACAZI.VE. ir)0 CLEAR YOUR COMPLEXION I'lioioi'i.AV M \(. AZiNK — Ain iJt risiN(. Si:( rioN Plays and Players ( Continued) WITH CUTICURA * SOAP * This fragrant super-creamy emollient for cleansing, puri- fying and beautifying the skin and complexion tends to pro- moteand maintain skin purity, skin comfort and skin health if used for every-day toilet purposes. Largest selling complexion and skin soap in the world. Sold everywhere. ^■f^Cuticura Toilet Trio'^P© Consist inK of Cuticiira Soap to cleanse nnd purify, Cuticura Ointment to soothe ana heal, and Cuticura Talcum to powder and perfume. Everywhere for 25c. Sample each free by mail. Address postal: Cuticura Laboratories, Dept. AA, Maiden, Mast. Cuticura Soap shaves without mug. None Better No matter what the price deniiiiK' nrl im ic pliotiiKriiptiM of >llr <'m h or I'.: for .S.') (10. Von Hill clcliuhted with llii' 1>i'hiiI.\ iiml iirti»tic> IIiiIhIi of llic-«' Kfiinlnc I'hoto. urapliM. Miilio vour M«'Ioclioii from 111'/ f Norma Talniade* l-rarl Whll" m.ii K. Wll.. f r.„. I..X l-*< j€.yr«' - .lac-k KTrliran Mar) Mll>» Mli Mnhrl N'.rman (Ilua lVtr..v.i . Marv I'Irkr.inl lllunrhr. .^w.-ot Ma rlc .Sn.i , ..f II,.. Oran.' Wllliiii (Mara K. Yoiins C%,n"tanc*. illnncy (iliiria .Snranx.n Tli'imaa MrtBhan .Shlrl.-y Maann J..hn riarrvm.irr Wan.la llawL.v nr ,«.|"ilnr »l,.r. 50c Each 12 for $5.00 ' .lii'. if.ilh r. fuTi.liwI if iiol «jiIi»fn. lorv Mciil 1,1 .11. I- ullh 11,1111,. nil. I a.|.|ri...« |,li,,i,l> wrllli'Ti lo S. BRAM. D*pl.S2, 209 W.4Sth SI., NawVorhClly Ever since his "Frog" in "The Miracle Man " Lon Chaney has been sentenced to a nightmare career. You see him, here, getting into the harness which transforms him into a cripple. He can wear it only ten minutes at a time. ELSIE FERGUSON' will not be seen on either the .stase or screen for some time. She is fioins to the Orient for a rest. But on her way home, she may stop in Los .■\ngeles and make one picture. She always insisted tliat she never would make a picture in the West as she di.slikes the Coast colony. But she apparently has chanjred her mind. THINGS to worry about: Alice Delysia, a French beauty and actress, signed a contract to come over here to act for Morri> Gest and make pictures for William Brady on condition that her wine would be fur- nished. Georges Carpenlicr has signed with the film company that launched him as a silent star for three more years. 1 WH.\T Mary s fabled little lamb was lo Mary, K. Tanaka was to Douglas Fairbanks. Wherever Doug went, there was Tanaka. for he was Fairbanks' "man." But sometime ago he disappeared. Search was made for him — but no Tanaka. Imagine, therefore, Fairbanks" astonishment when he showed up the other day, with several of his countrymen and a card inscribed, "K. Tanaka, Teikoku Motion Picture Corp.. Tokyo, Japiin." He"s a full-fledged movie magnate, dresses the part, and says he has been making pictures in the land of cherry blossoms right along. WHILE we're talking about Doug: watch out for his new picture. Mar>' Pickford and Charlie Chaplin are in it, al- though you won't see their two distinguished names in the cast. In the Monte Carlo scene, Mary and Charlie look part a> "extras," neither turning toward liie camera. Mary may be n rognizetl by the back of her golden head. Charlie appears also in a street scene in a very emotional role as a passer-by. You can't see his face, but if vou watch closely you'll spot him ; you can't possibly mi.slake that walk. Mary Fair banks and Charlie received S7.50 each for their services. Don't miss 'em ! M.XRGERY WILSON. the "Brown F^yes ■ of "Intolerance" and since then rather obscured, has started a company. She will direct comedies and later branch out into features. H.^RRY L.\UDER, the Charlie Chaplin (i! kilts, will make a series of two-reel comedies for Paramount. We have yet to discover if his Scotch burr is as attractive in canned comedy as in canned song. ANEW legal suit involving prominent members of the film colony is not ex- actly rare, but Helen Holmes started some- thing never before attempted when she got herself sued by her manager, Harr>- M. Warner, for Sjcooo for "temperament." Warner says hu^ serial starring Miss Holmes cost .S5o,ooo more than it should have cost because Helen was habitually late for work, keeping the company waiting, and that on one particular occasion she refused to work at all because of an extra girl in the cast, demanding ."^5.000 before it was due. .\lto- gelher they are having a merry time of it. Well, three hours for lunch is a little loo much. TOM S.ANTSCHI. the fighter of "The Spoilers." who is working in Goidwyn pictures now. i5 commonly described as "that tall fellow who is so funny."' He is so much over six feet that he says if il"s all the siinie he"d rather iell his height in yards instead of feet. The other day hi met an elderly woman of his acquaintance who is an ardent worker for the .Xnti-Cicarette League. Sanlsthi threw away a perfectly good cigarette, but that did not satisfy her and so she l>egan lo talk to him on her hobby. ".After all,"' she s;\id, "you must admit we have a lot of argument* on our side, and you haven t one really good one on yours. Now. have you? I challenge you lo tell me one advantage there is in sniokinc " Sanlschi drew hinis«lf up to his tallest and gazing down on the little woman, said; "Well, it might stunt my growth,"' l.iirj- a»lTirtUciiionl In rnoTori-Mr M.m:.\ZIVB I» jiurMitwJ. Photoplay Magazine — Advertising Section lOI Plays and Players ( Continued) FAIRE BINXEY, that smaller sister of Constance — in other words, one of the "Fair and Warmer" Binneys — is playing the leading feminine role, opposite Georges Car- pcntier, in that French idol's first motion picture. There is a rumor that Realart may star Faire as well as Constance, one of these days. WILDA BENNETT, a graceful bru- nette who has been a musical comedy favorite, will make her lilm debut with Metro. Miss Bennett, who toured the coun- try in "The Only Girl" several seasons back, was the prima donna of the play-with- music, "Apple Blossoms," which had a long run on Broadway. You pronounce it Wild-a — with a long "i." THERE will be a good many regretful exhibitors and patrons when they learn that the co-starring team of Douglas Mc- Lean and Doris May is to be dissolved. From their first appearance together in "Twenty-Three and a Half Hours Leave," these two youngsters c^ragged picture-goers and the almighty money into the bo.x-offices of the country. But Thomas H. Ince evi- dently has decided that Mr. McLean is just as big a drawing-card without Miss May. and he will star the >oung man alone. It is not said what work he will assign to Dorris May, or whether she will even re- main with the Ince company. WILLIAM COLLIER. Senior, is going to try it again. If you remember, his previous filming for Triangle wasn't a huge success. But he was on Broadway last sea- son in a new comedy, "The Hottentot." which a good many Manhattanite? were paying top prices to see, so evidently the picture people thought him a good bet. At the same time his son, Willie Collier, Jr., known as "Buster,'' join? the juvenile rank* at the Lasky studios. Buster made a real hit in a Thomas H. Ince picture called "The Bugle Call,"' some years ago. TWO popular plays of last season — which are still running, either on Broadway (meaning the real White Wa3' or any one of the innumerable theater streets that branch off it) or the subway circuit on tour — have been sold to the screen. "Wedding Bells," in which Margaret Lawrence and Wallace Eddinger, fine comedians of the stage, scored, has been purchased for Con- stance Talmadge. And "Smilin' Through,"' Jane Cowfs successful semi-spiritualistic ve- hicle, will be used for Norma, as soon as Miss Cowl has exhausted its money-mak- ing powers on the legit. BRYANT WASHBURN has left Para- mount and it is rumored he will be a star under the management of A. J. Calla- han, who "presents" Bessie Love. Both actor and manager were with the old Essa- nay company in Chicago. THE fiance of Sylvia B reamer, who had been given up for dead, has returned from two years overseas. He is Lieuten- ant F. C. Lewis, of the United States Army Intelligence Corps, who was gassed and reported killed. He returned to Los Ange- les in April. "<-pWIN BEDS" has reached the screen 1 at last. The Carter DeHavens— Mr. and Mrs. — recently severed their contract connections with Paramount, came East and bought the farce, which will be produced at once and released as one of the four- a-year productions of the Carter DeHaven company. For You, Also Teeth that glisten^ safer teeth All statements approved by high dental authorities You see glistening teeth wherever you look today. Perhaps you wonder how the owners get them. Ask and they will tell you. Millions are now using a new method of teeth cleaning. This is to urge you to try it — without cost — and see what it does for your teeth. Why teeth discolor Your teeth are coated by a viscous film. You can feel it with your tongue. It dims the teeth, and modern science traces most tooth troubles to it. Film clings to teeth, enters crevices and stays. The ordinary tooth paste does not dissolve it, so the tooth brush fails to end it. As a result, few people have escaped tooth troubles, despite the daily brushing. It is the film-coat that discolors — not the teeth. Film is the basis of tartar. It holds food substance which ferments and forms acid. It holds the acid in contact with the teeth to cause decay. Millions of germs breed in it. They, with tartar are the chief cause of pyorrhea. So all these troubles have been constantly increasing. Now they remove it Dental science, after years of searching, has found a film combatant. Able authorities have amply proved its efficiency. Millions of people have watched its results. The method is embodied in a denti- frice called Pepsodent. And this tooth paste is made to in every way meet modern dental requirements. Active pepsin now applied The film is albuminous matter. So Pepsodent is based on pepsin, the digestant of albumin. The object is to dissolve the film, then to day by day combat it. This method long seemed impos- sible. Pepsin must be activated, and the usual agent is an acid harmful to the teeth. But science has found a harmless activating method. Now active pepsin can be daily applied, and forced wherever the film goes. Two other new-day methods are combined with this. Thus Pepsodent in three ways shows unique efficiency. Watch the results for yourself. Send the coupon for a 10-Day Tube. Note how clean the teeth feel after using. Mark the absence of the vis- cous film. See how the teeth whiten as the film-coat disappears. This test will be a revelation. It will bring to you and yours, we think, a new teeth cleaning era. Cut out the coupon so you won't forget. H^HBMMiM PAT orr I The New-Day Dentifrice A scientific film combatant com- bined with two other modern requi- sites. Now advised by leading dentists everywhere and supplied by all druggists in large tubes. 10-Day Tube Free THE PEPSODENT COMPANY. I Dept. 637. 1104 S. Wabash Ave.. Chicago, 111. I Mail 10-Day Tube of Pepsodent to | I Only one tube to a family When you »rito to mlvertisers iili'aso mcntiou PU0'IX>1'L».V1' JlAGAZlNi;. I02 PilOTOPLAV M \(..\ZIMi — AUVKH I ISINO SlC I loN Plays and Players ( Continued i Hermo Hair-Lustr 'Keeps the Hair Dressedj FOR MEN AND WOMEN Theh.iir will stay dressed after Hfnr.o "U AIR- LUS ri<" lias bet-n iipplied. No more niussy, un- tidy looliiiiK haii. Acids a charming sheen and luster, iiisuriiiK the life of I he hair, as well as its beauty. Dress it in any of the prevailinK styles, and it will stay that way. Gives the hair that soft. kIossv, well Kroomed appearance so becom- int? to the stais of the sta^e and screen. Guar- anteed harmless and grreaseless. Two Sizes — 50c and $1 ll sizr Uirtc nM..-llic -iiiit in coin, iiLuiry urdcr. or f. S. stamps, and we ivill s<-ik1 Hcniio ' HAIK I.USTR," .ui.l llie Hernio liooklet, "Ciiific to Iteaiily." prcp.ii with loacr glass BtopiM-reoii- ifttninir enonirh for 6 months. Hose or hilar $1.50. Lily of the Vallt-y or Violi-t **^.(:0. At (lrut:L''isl8 (»r by mail. Seml20cts. stamps ft>r miniature bottle. Send $1.00 f'-r bci of fivf25ot. bottU-st—di(rpr<-iit odors. PAUl RIEGfR CO. iw::> 172 first SI.. Sanfrancisfo Send $lop For Five 250^ Bottles ALLEN'S FOOT-EASE! The Anlisrptic Powder to Shake Into Your Shoes And si>riiikle in the Foot- Jlath. It takes the sting out? ol Corns, liiiiiioiis, lilistcrsj and (.'alloiises, and gives rest ( and coinftjrt to hot, tired, 5 smart iiif:, swollen feet. \ More than 1,500,000 pounds} of I'owdcr for the Feet were' used by onr .\riny and; %>^.^/~\^'i>a\y dnrint; the war, ^ Allen's I'ooi-ICase, the t^^^Kii "^^yfr^ ])OW(l(T for the feet, takes flf^^H" the frict ivU. PnOKlPr.AY iNI VC.AZIXE — Al)\ Kit I I.SIN(. Sl-;( TION in- Plays and Players ( Continued J ETHEL BARRYMORE will do 'De- classe" for the screen. Paramount Art- craft, which was to have presented all three Barrymores in a screen version of "Peter Ibbetson" will present, sometime in the future, this individual success of Miss Barrymore's latest season. Reasons for dropping the "Peter Ibbetson" plans have been given by Mr. Lasky. He says he thinks the public wouldn't be much inter- ested in seeing a brother and sister in senti- mental sequences on the screen. So when this play is finally produced, it probably will contain only one Barrymore — John. HERE is hard news, so prepare your- self for a blow. William S. Hart says he is going to leave the screen for good and all. Five more pictures and then all is over between him and the public. After that, it's the lone trail. Hart was badly injured in IMay when he was thrown from his horse while riding at breakneck speed past the camera. He broke several ribs and was considerably shaken up, but is reported to be convalescing rapidly. Al H. Woods tried to capture Hart for a stage production. Mr. Woods has been making so much money with Theda Bara"s play that he has decided to go in for screen stars with the same intensity with which he cultivated bedroom larces. Mabel Xor- niand is also mentioned as another Woods possibility and so is June Elvidge. It is ;aid that Mr. Woods has gone a-gunning in the studic ind has succeeded in interest- ing several celebrities in stage contracts. ALL who know her will testify that Alice Joyce is probably the most crowd shy star in motion pictures. She was in New Orleans on location recently, stopping at the leading hotel of the city. Her ar- rival was heralded in advance and she was a constant subject of newspaper comment and compliment. The result was that she was stampeded by fans, and the rush became so great one day that she had to ask the man- agement of the hotel for a guard. Mothers with children who were certain to be great picture stars waylaid Miss Joyce in the lobby, they waited by her car and they even got past the sharp-eyed clerks and arrived unannounced, at Miss Joyce's door. One of these, a be-diamonded lady, became very indignant when Alis.- Joyce's maid informed her that the star was dressing and could not receive visitors. "I do not see why," snapped the woman "Miss Joyce is a public character and public characters are public property.'' Exit lady, angrily, and Alice learned something new about the law of possession. DORIS KE.AXE, statuesque star of "Romance''— more than 2,000 of them — is an ardent fan of Mary Pickford. An English cinema manager likes to tell how Doris came into his office about four years ago when she had just arrived in London to play in her great success. "I want to know where I can see Mary Pickford's pictures," she said. The manager found his schedule and told her where she could go. It was far from the fashionable West End, but the actress took a taxi and went to the little theater to find Mary. Incidentally the En;;lishm:in re- lated how "Romance" was almost a failure at first. But the star had a gre-it manager, who held on until the tide turned — and Ed- ward Sheldon's play and Doris Keanc's act- ing ultimately registered a wonderful suc- cess. It was in London that sh,' first met. later loved and married. Basil Sydney, her youthful acting husband. Rumor has it that she could have married any one of a score of Dukes, Counts, and Lords, but she preferred Basil. Millions Saved on Dinners By serving Van Campus Pork and Beans Van Camp's have made Pork and Beans a delicacy. They changed all old conceptions of this dish. They made it convenient, made it delicious, made it easy to digest. Multitudes of housewives discovered this new dish. They serve it in place of meat at a fraction of the cost. They serve it often, for everyone enjoys it. Thus millions of dollars have been saved on dinners by Van Camp's. Now this prize dieh awaits you at your grocer's — in any size of can you wish. Find out how much it means. This famous dish The Van Camp beans are selected by analysis. They are boiled in water freed from minerals to secure tender skins. They are baked in modern steam ovens — baked for hours at high heat without bursting or crisping the beans. They come out whole and mealy, easy to digest. They are baked with a matchless sauce, whose tang and flavor give zest to every atom. They are baked in sealed containers, so the flavor can't escape. You will never know how good baked beans can be until you try Van Camp's- Pork and Beans Three sizes, to serve 3, 5 or 10 Baked With the Van Camp Sauce— Also Without It Other Van Camp Products Include Soups Evaporated Milk Spaf^hetti Peanut Butter Chili Con Came Catsup Chili Sauce, etc. Prepared in the Van Camp Kitchens at Indianapolis Van Camp's Tomato Soup Also 17 other kinds, based on famous French recipes. ^ ^ 1; s Spaghetti Italian style, made with the rarest materials. Van Camp's Evaporated Milk From hiKh brcd cows kept in sanitar>' dairies and inspected. When you write to advertisers please meutlou PUOTOPLAY .MAGAZLNJi. PnoTopi.w M\(.\/iM> Ai)vf:ktisin(; Section Plays and Players ( Continued ) MARY MILES MIXTER has won her >uil against the American Film Com- pany for alleged arrears in salary. She was awarded .S4.000 by ihe court, while Ameri- can lost its counter suit for Si 00.000 dam- ages. So what good did it to to say Mary- was twenty-sbc years old, anyway? ERIC VON STROHEIM has announced his engagement to Mi>s \'alcrie Girmon- prez. who played with him in "Blind Hus- bands." \'on Stroheim first met his fiancee about eight months ago at Universal City, where he was directing and she was acting. GLADYS B ROCKWELL has severed her connections with the Fox company. She has been with this organization for a long time, rising to stellar heinhts under its management. Future plans unknown, e.\- cept that she plans to take a long and much- needed vacation. OLR own census bureau reports that, during the past three years, nine out of ten press stories have begun in this fashion : "According to a recent announce- ment made by James Fishback, president of the Frantic Film Corporation, George K. Davenian's next vehicle will be 'The Dawn Man,' adapted from the widely read novel by Remington Underwood. Auga^ius Mc- Megaphone will direct the forthcoming super-production and the plot will be sccnarioized by Helen Rubberslamp.'' OUR census bureau further reports that any woman figuring in a taxicab ac- cident at four o'clock in the morning, any woman named in a divorce suit, any woman arrested for shop-lifting, or any woman ac- cused of deserting her husband and children is described in the newspapers as a ''prom- inent motion picture actress."' Once we recognized the name? of one of these women and recalled that she occasionally played small parts. And. oh yes, another one ap- peared as a dancing girl in "Intolerance."' PRISCILLA DEAN started something when she married Wheeler Oakman, her leading man. Josephine Hill, also a Universal luminary, recently announced her marriage to Jack Perrin, a serial performer for the same company. ENID BENNETT and Fred Niblo have left the Ince kindergarten to tr>- their wings in the independent or grammar grade of pictures. Enid was at first directed by her husband: then Ince gave Fred "specials'* to do. Now Miss Bennett will have a sepa- rate company for herself, releasinc medium not yet divulged, and so will Niblo. Mr. Ince, you know, has no further use for stars — he is one himself. With Maurice Tour- neur. .\llan Dwan. George Loane Tucker. Mack Scnnett, and Marshall Ncilan, he formed the "Big SLx." AND speaking of Woods, here is the very latest Theda Bara rumor. Out in Calilorniii they claim that the real Theda is (lead. That .^he died at the time rumor had her l«tso m£uUon PnOTOFUAY MAGAZINE. io6 Photoplay Mu.vzinf. — Adntrtisint. Skciion V " It is Truly Summer's ' . Qreatest Beauty Aid" Your complexion, hair and scalp require more than just ordinary care these enervatinjj; days. Yet it is no task to keep your skin fresh and youthful if you — like scores of beautiful stage and screen stars— will rely on home electric massage. Here is the one really scientific way to beauty. Convenient. Delightful. Inexpen- sive. Get a "Star" today. Ideal for week-end trips. On sale at drug, department, electrical stores, or direct from us. Costs only $5. (In Canada, $7.50.) Fitzgerald Manufacturing Com- pany. Dept. 214, Torrington, Conn. Vibrator Q^or Use m lour Own Q-fome Men ! Use your "Star" every morning after shaving. Keeps your skin soft, smooth, fresh. Just add a little cold cream. T)IAMOND DON'T BUY WITHOIT THIS BOOK It's nikd with scilid facts .iboul 111. values of hlKh Kr.idi- Diamonds. Watches .11 Jewelry thai will double Ihc puidiising power of youi piii: WRITE FOR THE ROYAL CATALOG (Edition 171 ) nil! |.|l> IlKllt. ul-h.-ll; \ will.!. j<,o,i« III (.rii t"* iiiimiH lliiildU'liH'irH '//^L l^.lil- Ccl n lopy NOW : ll I. 1 RKl : I'L''* lW.,u 1,.... 1.. ..|.>-n ., . I).,rii>- ,i,r..iml .ni.l pi) •. ""Wioi-t nwlhiT or •Mkl) ii 1 Ikr. fall lor EDI riOM 171. y»V2'i LIBERTY BONOS ACCEPTED " ' ROYAL Diamond JtmitH Cb, 35 Malden't/S^ ^ NoWV&t^v WATER-WAVE yYOUR HAIR tv. 1 \- y ] A\r i-i wit hi n of fvcry woman. Water-Maid Wavers (l'.>leiilr,l) Will prtxhicc .1 natur.il brautilul iip(>Ic wnvc ttint will rrmain in llu- m— ' ^ir.iinhtcst iKiir a »x < k or loiiKcr \ i vrn In clami> "f allirr or when prr- '» HplrlnB. II linir Is fliitty only use tin- \ravi-rs once alu-r rviry sli.impoo III for the Water Wavers today and mop burninx lit liair witli hot Irons or Iwlsilns with curlers iili tends to lireak thelialr. Ahsoliilclv sanitars I up six indh iiliial wavers to a set. and sent by lil to any nililress In the I! S . wilh lull dirci lions "11 ri ieipl ,.( f; .... Oiil.T |...l.[\ WATKR-MAIO WAVI R < 0. 7A West 7tll Street - ( i n , 1 1, i, :, I i . Ol.io Murdered Brain Children (Coutinued from page 80 1 iiome. Throu(;h brinKine happint??? into hi* life she lindi- her own reeencration. Blinded .1- he ii. the helpless, sergeant sees the deeper -ifie of those wilh whom he comes in con- tact, and through the plot is woven the Ijtttermtnt not only of the woman, but ilso of her previous companion and the ipache. What did they do with the story? They made the soldier a famous sculptor, -weet as Xi-w Orleans molasses, and effected tlie regeneration of the munition maker and tlie apache by having the former shoot the latter and then commit suicide. I should liave been happier had the child been mur- ■lered outright and not compelled to live mutilated thus." Vou may have noticed that when the heroine arises from her downy couch to greet the dawn or the hero as the case may be, she U always immaculate, and her toilet is a perfunctory affair. The chief ambition of .^gnes Christine Johnston, of the Ince staff, is to show the trouble a girl takes to make herself presentable for her beloved. This is how she has offered it for screening: "SCENE 13: IRIS IX on BOUDOIR of SHERO. She is asleep in bed. She wears a very plain night-gown — not the usual moving picture lacey variety — she is spending all her money on hats with which to dazzle the hero and there- fore economizes on things he doesn't see, like night-gowns. Her hair is done up in curlers — those dreadfully un- comfortable iron things. She is sleep- ing on one. which evidently sticks straight into her scalp. "She wakes, makes a wr\' face as she rubs the spot where the curl-paper hurt. She has spent a night of torture but it is all for the sake of the hero and she smiles. She rises, covers her face with cold-cream, then applies lemon with one hand and boiling water with the other. She winces. The Tortures of the Spanish Inquisition have nothing on the modern beauty treatment. But Shero smiles dreamily into the mirror, knowing that she will emerge, radiantly beautiful and the hero will certainly fall for her this day." " 'I'm going to change that boudoir scene.' •he director tells me. 'We ll take a silhouette shot of her in the moonlight, with her hair flowing down around her lacey pajamas." ■'I protest. 'But that's how she loves the hero — she is making herself beautiful for him.' " "Nonsense ! We'll shoot a scene of her kissing a letter or a glove.' " 'But girls don't do that." I am cryine by now. "When a girl loves a man she con- centrates everything on her looks. She suf- fers agonies of beauty treatments for him.' " 'But the audience doesn't want to see the star in curl papers and cold cream.' "'The women would be tickled to death to find her so human." I persist, 'and as for the men — it s time they learned what we undergo for them.' "But the director turns a pitying smile upon me and hurries off. Sometimes I see tlie ghost of this dream child in the shape of the shero brushing her perfectly marcelled locks, standing in a lacey nightie, but the curl papers and cold cream never get beyond the scenario department." Edward T Lowe of the C.oldwyn stafif has a standing kick against the clinch at the finish — the inevitable emotional halfnelson that has come into recognition by some producers as the onl\- way .1 picture can be permitted to end. Says Sir. Lowe: "How many times have you .seen the , riticism which berates the imbecility of the scenario writer for inevitably ending the Kvery idtcrl Itoinciit In I'llOTOI'LAY MAGAZINU U guarwUcoO. Photoplay Maoazinf. — Adxertising Section 107 Murdered Brain Children ( Concluded ) stor\- with a clinch between hero and hero- ine? Well, in at least thirty stories which I can recall off hand, the general average of the last scene would run about like this: "Scene 313. Closeup of William and Mary. Play for artistic lighting effect as William looks into Mary's eyes and sees the answer to his question. Mary starts to hang her head shyly and as John starts to take her in hs arms, IRIS OUT before thry clinch. "But why. or. WHY:* doc; the last scene usually appear like THIS : "lyiary starts to hang her head shyly and as John puts his arm about her, she snuggles her head contentedly upon his breast. Then he raises her face to his and as their lips meet in a kiss, and he strains her to him, IRTS OUT." Frank M. Dazey. who is furnishing the scripts for .\nita Stewart and Mildred Harris Chaplin, confesses to a weakness for a certain bloodcurdling incident as follows: "My favorite d— d (director deleted") sequence comprises some fight scenes between two turtles. My argument for them i? that 'animal stuff' is always interesting, and that the screening of two turtles alternately pro- truding and withdrawing their ugly heads to take vicious but hopeless snaps at each other's impregnable shell would be an amus- ing novelty. The directors — to date — have protested 'It can't be got — and turtles don't fight anyway !' To this my reply, always rejected as inadequate, is that I've seen 'em. And there the matter rests." Rex Taylor, of the Goldwyn staff, has a subtitle in his system that you will see on the screen one day if his health and strength hold out. The idea is that the hero, in hardluck, goes into a small town hotel and .settles himself in a chair. The clerk is clos- ing up for the night and suggests that the hero take a room for the night. Now comes the big title. The hero replies: "I've got insomnia so bad I can't sleep," and settles himself for the night. "A lot of people and directors have told me that this isn't funny," says Taylor. "I think it is, and I'm going to see how it goes with the public some day, if I have to con- spire with the cutting department to do it." What has sent .Albert Shelby LeVino of the Metro staff, up in the air more than once is this, in his own words: "In the last few years I suppose I've had to use an aeroplane some ten or more times for various purposes. The hero or the heroine had to get some place in a hurry; or the villain had to gum the works by being first on the job; or there was a mili- tary situation ; or it was just a stunt that characterized the person doing it as a bit reckless and sporty. So as a bit of passing comedy, as a cutin to flight scenes particu- larly when the plane was doing a loop, or the falling leaf, or a tailspin or any one of the numerous anti-prohibition moves a plane can make in the hands of a world-weary pilot, I always have had the mental picture of a worthless, absolutely good-for-nothing indolent negro watching the aerial antics. "And, whether he was just a roustabout at the hangars — or a darky husband bask- ing in the warm shade of his wife's wash-tub — or a soldier attached to the aviation sec- tion, the comedy seemed to me there when the lazy coon was jokingly asked how he'd like to take a ride in the sky-tumbling craft. "He looks up at the plane with eyeballs that show the white which is the base of spinal yellow — shakes his head decidedly no — and says: 'I may be a lazy dawg — but I ain't no skye-terrier !' "On one occasion this was eliminated be- cause the director didn't think it funnv; another time the star thought it was and, since the said star didn't have the gag-line, deemed it had better be cut out ; again, the coon wasn't funny; on another occasion, the cutter didn't like darkies on the screen anyhow ; once more it was eliminated for footage. But I'm not downhearted. My child's time shall come.'' Gerald C. Duffy of the Goldwyn scenario department has a pet scene that he has written four scenarios around, sold the scenarios, and still the scene has never been produced. "I have given up hope for production," he says, "so I am sending it to you in hope that, at least, it will enjoy publication and be off my mind. It will never. NEVER be aimed at by a motion picture camera. I offer it to you in the boots" in which it died : 'SCENE? AUDRY'S BEDROOM: Pop is in a terrible fi.\". The tie has at last been placed around his collar, though its disordered arrangement makes it resemble a spattered blot of ink. The Jap is holding up the tuxedo and wait- ing impatiently for Pop to make up his mind to get into it. In proportion to Pop's regular clothes it appears to him about the size of his vest. He eyes it in disgust for a moment and then, realizing there is no alternative, punches his arms into the sleeve-holes and draws it around him. He wriggles in anguish. INSERT TITLE : YE CANNOT BE BOTH GR.\ND AND COMFORT.\BLE BACK TO ACTION. Pop feels like plum that has outgrown its skin and is about to burst. His collar saws his neck, his .Adam's apple bangs against the barrier for freedom, his clothes smother him." This is a curious companion piece to Miss Johnston's picture of the girl dolling up for conquest. The male of the species has his sartorial tortures. Jack Cunningham, who turns 'em out for Robert Brunton and George Loane Tucker, is not a bloodthirsty gentleman in private life, yet list to his wail : "I have had some pet ideas that I never have been able to foist upon an unsuspecting producer. One of them is a title that I yearn, — with all of the fervor of Bill Nye's famous mule — to see spread across a lurid twentv-four sheet. .And that is: — "'Murdered at Midnight!!!' "I have thought up, I don't know how many, howling melodramas and, at the top of the first, or title, page of each and every one, I have set down the thrilling words: 'Murdered at Midnight!' No one will have it. One or two of the melodramas have been sold — maybe only one — I am unused to figures when talking about the number of stories I have sold. But, some way or an- other, probably an accident, the title has been lost. "At last, T have given up in despair, and now freely hand this pet title — 'Murdered at Midnight' — to the world, unless the man who reads copy on this symposium dislikes it and shoves in some aenemic desisnation like, 'Sudden Demise at Twelve o'clock'!" There y'are. Jack— in print at last. We shall take great pleasure in watching the screen for the appearance of any of these murdered children, dragged from their tombs by borrowers of ideas, and while the original parents thereof will, perhaps, be glad to see them brought to life, it will be interesting to see whether this exposure of the slaughter of the innocents, will result in belated rec- ognition of their virtues. How to Find the Cream You Need Stand in a good light — examine your face care- fully in a mirror, and then — Study this Chart Acne Cream — for pimples and blackheads. Astringent Cream — for oily skins and shiny noses. Combination Cream — for dry and sallow skins. Foundation Cream — for use before face powder. 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( Continued from page 84 ) You d know without being told that when Roscoe Arbuckle bought a new car, he would have to have it made to order. An ordinate kind of car that anyone could use, wouldn't appeal to him. So when he left off slapstick and went in for comedy-drama, he celebrated the event with a new Fierce-Arrow, a touring car with special body, which set him back just $25,000. "Fatty" took Bebe Daniels — beside him — and Lila Lee. in the tonneau, with him when he "tried her out." Follies girls. Phyllis Haver, Marie Prevost, and Harriett Hammond are great upholders of the American drama, it seems to me. I can't tell you the number of the house in which Norma Talmadge first saw the light of da}-. I can only tell you it was in Brooklyn. Vork. Hazel Dawn, care A. H. Woods, New York. Others are verv much out of mv line. C. L. R., Fredericktown, Mo. — I have a smattering of live languages and a slight knowledge of some dead ones. Why? Did you want to write to me in Sanskrit? It would be as intelligible as some letters I receive, I'm sure. Cullen Landis, Goldwvn, Culver City. Cal. Jack Mulhall and Tom Forman Lasky studio, Hollywood, Cal. Landis and Forman are both married — and both fathers. Landis has a little girl and Forman became the daddy of a son on May 4 last. M. H. T., Dec.\ti r. III. — You can best judge a woman by the men who make love lo her. I don't know who is most popular of those seven actors you mention. Each has his share of boosters. Why. Bill Hart is still very popular. So is Doug'as Fair- banks. And I don't notice that the Talmadge sisters have been falling off any. Read Xorma's fashion articles appearing monthly in this magazine. Maybe you can under- stand them better than I. who am one of these mere males who can't make head nor tail of a fashion plate. M.\RY C. CoBiRG, Oregon". — Dorothy Gish always answers her letters. She has blue gray eyes and blonde hair. Not mar- ried. Her latest pictures arc "Remodeling a Hufband" and "Her Majesty." The lat- ter may be renamed for release. Constance Talmadge's latest arc "The Love Expert" and "The Perfect Woman." They have bought "Wedding Bells." the Selwyn stage i comcdv. for Constance's future use. JfST Be.\. — Can't give you the name of the actor who has worn a mustache since fifteenth episode of "Hands Up. " I am sorr>- if he is very tall. ver\- dark, and very ro- . mantic-looking. Write me again when you have recovered. tl S. L., SniENECT.ADY. — \ bomb-proof cellar is out of date. It's the bum-proof cellar we want now. I can't give you a list of the ten greatest actresses. Some worthy one woultl be sure to be missing and I wouM be arriised of favoritism forever after. Pro- nounce it Xa-zim-ova. with accent on second syllable. Bebe Daniels pronounces her name Bee-bee, but doesn't object if you call her Baby. Ellen B.. Rogers. .\rk. — You say that was an expensive suit of Mary's — ^^40.000 — and you would like lo see her wear it. I think that's a pretty bum joke. Marillyn Miller isn't in pictiiiTS, but is with Ziegfeld FoMies; address her at Xew .\mslerdam Theater, Xew York City. Ann Little, Lasky, , Jeanne Eagles, Playhouse Theater, New Florence. W-xshingtox. — A chap may have a deeree or two or three in scientific research, but that won't help him to find a good job. Bill Hart's first picture for him- self was "The Toll Gate." Alice Joyce i* with \itagraiili. working in their studio in Brooklyii and occupying a stellar dressing- room next to Corinni' Griffith. .\ll the Yita- graph stars seem to he pretty friendly. Tom Mix is married to Yictoria Forde and a Fox contract. K. K., AsHL.\N-D. Xebraska. — Some in- spired scenario writer oucht to utilize the new theory of grafting goat glands. Well, if that aviator who llew se\tn miles towards the sun came throuch with no ill effects, prettv soon we'll have chapter thrillers filled with' bold Martian hcroe.': and pretty little \'enus heroines. Louise Huff has signed with SeUnick for five years. Marie Walcamp with Universal. Lola Fisher is not on the ■icrecn but on the stage. Yivian Martin has her own company. Fannie Hurst mav be reached in care of Cosmopolitan Troductions. (Co'itiuucd oil />(i,C'' Enry nirerUicnKnit In PUtm>I'LAY NLIC.VZINK it «uir»me«d. Photoplay Magazixr — Advertisint. Si-ction toq Artistic Efficiency p^uw^kwit- ^ intvwii^k^mmjij^ That's Dwan ( Continued from page 57 j commercializing Art is the bunk. What, in the last analysis, does commercialize mean ? It means to cash in on, doesn't il ? As a matter of fact, pictures that are up- lifting, that make people happy, are com- mercial pictures. ■'The great problem of the pictures is the welding of art and business. Waste is not artistic. Inefficiency is not artistic. "The director is the man who has control of the money. The director is the man who can make or break a picture financially and artistically. Most clirectors are not business men. Therefore the films have had to arrange for business managers, for men who, when the director had laid out the thing artistically and outlined the results he could achieve, will find out how it can be done at the lowest cost. These men contract for material, set salaries, tend to .ill the commercial delay. "When harmony can be completely estab- lished between these two factions, pictures will become better, because there will be no waste. "A dollar is a dollar to everybody but a director. He may know it when he meets it in private lite, but professionally, it isn't within the range of his acquaintances. But a dollar is a dollar, and it takes a lot of dollars to make it worth while to make pictures. And if it isn't worth while, the most artistic director in the world won't .get to make any. "If you haven't made your lemons yet, you will. But there are always some sure •fire appeals that may tide you over — a child, or an animal. Sex, of course, is the most universally interesting thing in the world. As a matter of fact it is the only universally interesting thing. Eve invented it, and Cleopatra perfected it, and now it's safe in the hands of the movies. Its more uni- versal than patriotism or the League of Nations, because after all, the League of Nations is only to prevent wars, and every- body wants to prevent wars so the men won't have to go and leave their women any more. (It isn't safe, anyway.) "Pictures must be made fast. If you muddle around with them, you lose your clear vision. You cannot hurry art, of course, but you can hurry commercial pro- duction. Get your art in hand before you start to produce and you'll save a lot of time and trouble." "I've just one prediction. The day of the book, the published story, is done. The original stor>' has come back, is coming back, must come back." Dwan is now making his own production for the ^layfiower. He has just completed three pictures, "The Splendid Hazard ' "In the Heart of a Fool" and "The Scoffers." Of a Different Color LO THEODORE, how's you-all?" Theodore Kosloff looked askance ai the slouching negro who accosted him at the American Legion benefit in Los Angeles Saturday evening. Not recognizing the black man, he sidled off. But when he saw the Ethiopian pick up a saxophone case lettered "W. R." he realized he had been "sold.'' For the fresh colored person was no less than Wallace Reid, in the make-up used by his Jazz Band. © THE e.v.o.COk TRUE ECONOMY RECKOMS THE SERVICE RENDERED -THE LONG SERVICE rHAT BVD UNDERWEAR- GIVES MAKES IT the: economical UNOEIiWEAR NO UNDERNX'EAR. IS BVD WITHOUT THIS RED WOVEN LABEL MADE FOR THE B.VD. TH E VD CON1 PANV NEW •yOFLK^ WE ET TRADE MARK REG. 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I jiiHl nne an invi^ilth- pin to attach ttn- nwi it'sdn and ot! in ii jitfv. How flifl I |;et it? 1 Heiit a strand of my hair with $10. and it was .s<'iit postpaid. E.'ctusire Ar/eraif.^gimi Iha hrs o lul fhautt/ /v/,7<»r.< National Hair Goods Co. S'^*?o^',{'" *»•• (iridiiiiilom ttf the Bub Annette ' Kellermann Bathing Apparel of Distinction Universally recognized .is "The Smartest Togs on the Beach." Invariably the choice ot the most smartly dressed women everywhere. Plays the 'star role" with the theatrical profession. Dar- ing, yet refined! Supremely modish, yet practical! See the distinguished "Two-in-One" and "Slip- On" styles worn by the famous Annette Keller- mann — herself — in her latest film success " What Women Love." Made of finest Wool Jersey. All sizes. Most ex- f]uisite colours. Obtainable in all modern shops. Lookfor ANNEm KELLERMANN Label. /('nVf to us, if cannot obtain ASBURY MILLS N. Y. Office: 200 5th A ve. Make Every, Electric Socket Twice'as Useful Every single electric socket in your home can ho mndn twice oa useful find the use of your ticctricnl Apphanccs twice as cnjoynhli- with Ben(dmm At ynur OR tl" EACH BENJAMIN F,l FTTRir MFC fO Chi O' My Thumb " Teddv, Memphis — Vou may consider me very discreet, I assure you. That reminds me of the little girl whose mother asked if she had told God how naughty she'd been. "Oh, no, mother," replied the young hope- ful. "I thought we'd better keep it all in tile family." Now I have that off my chest. I must upbraid you for your perfectly ter- rible stationery. Be\ond a doubt it's the most vivid purple I have ever seen, not even ixct|)ting the ink that Theda Bara used to use when she wrote to me. Natalie is in "The Love Fxperi " w ith Constance Tal- madgc, also playing with Norma right along. Norma hasn't bobbed her hair, I assure you. Can a sixteen-year-old girl get into the movies? Di'pend- upon the sixtcen-vcar-old girl. A. M.. AiGfSTA.— If I ever have to be castaway from a ship wreck on a desert is- land I hope I shall lind the supply that Bill Farnum found from the wreckage in "Wings of the Morning." ranging from am- munition and firearms to a pipe and smok- ing tobacco. Of course it may not have been Bill's favorite tobacco: still, I sjip- po-e he was glad to Have anything. Mad- laine Traverse has left Fox and gone I know not whither. Mary Pickford is twen- ty-sL\ and she isn't going to retire. Irene, Milwaikee. — When we find a man who is as distinguished as Alice Joyce is beautiful, maybe we shall put him on the cover — perhaps. We think the public likes to see a feminine luminary's shining like- ness on our cover and we aim to please the majority. Zasu Pitts isn't married; I haven't her exact age. but she isn't very old; I should say in her late teen? or early twenties. Wallace Reid's one son Bill isn't a regular movie actor, yet. But Will Rogers' son Jimmie is. M. L.. Midland. Texas. — Your letter was a thoughtful and good one. I am sure Earle Williams will be glad to know the mother of four grown sons and one little daughter admires his work enough to follow ever> picture he makes. Wliy not write to him in care of Vitagraph? Irene Castle hasn't quit the screen. Her latest is "An Amateur Wife." She married again, you know — Rob- ert Treman. of Ithaca. New York. Write again sometime. W. P. B.. Exeter. N. H.— Violet Heming was "Evcrywoman" in the picture of that name. Wanda Hawley was Beauty: Clara Horton. Youth : Bebe Daniels, \ icc. and Margaret Loomis, Modesty. Marguerite Courtot, Myrtle Stedman, and David Powell played the leads in "The Teeth of the Tiger." Gladvs M., Marshfilld. — I am as patient as a Chinese exponent of the philosophy of passivity — as a rule. But when you ask me for your sake to send you thirty, (30' count 'em, addresses of various screen stars — why child. I couldn't do that for anybody. However, you will find many of them given elsewhere, besides these: Geraldinc Farrar. Associated E.xhibitors : Dorothy Dalton, Paramount-.\rtcraft : Shirley Mason. West- Coast Fox ; Bebe Daniels. Lasky studios. Hollvwood. The MvsTir Rose.— I am obliged to lauch at you for taking your favorites so seriously. Never take anyone too seriously ; they are bound to believe it themselves and then — ! Please don't be angry with me. 1 have the best of intentions; in fact, one whole avenue in that well-known Hades is literally lined with mine alone. Write to Enid Bennett, — care Ince. in Culver City, and tell her what you told me; I'm sure she will be glad to hear it. No. Dick Barthelnu-ss is not going to play with Dorothy Gish any more, but he will play opposite Lillian in "Way Down East." Clarine Seymour, our little "Cutic Beautiful." died in April. It is very sad to think of an.\one with so much to live for passing on so soon. Miss Seymour was not married. \ iRGiNiA. Kankakee — So you like Rubyc OeRenu-r and Constance Talmadce. So do I — but I can't send you photographs of them because I haven't any myself. In fact, I was going to ask you to request two from each so that you could supply me. On .sec- ond thought, you'd better not: I don't want to get this collecting fever. Rubyc Pe- Remer, Selznirk. (Continued on page 114) livery idtcrtlMniciii In riIOTuPI_\Y MAUAZI.NK guirmteoil. Photoplay !\T\r,AziNF — Advertising Sectton Wear America First ( Continued on page ji j millinery people, and I am going to discus- it with you next month as well as do a little talking on the kind of hat that make- cach type of woman look prettier. FOR a long tramp in bad weather oni may now be just as smart as when tin :^kies are bright. There is a new tweei: that is guaranteed to be rain-proof ain that does not lose its shape after encountoi ing a violent storm. For added practi- cability the skirts of these sports suits ai\ devised so that they may be turned inii divided skirts, making them especially valu able for the woman who adds mountain climbing to her other accomplishments. The raincoat, too, is a totally differeni garment today from the raincoat of formn years — that dull, drab garment that was fci utility alone. One of the smartest new rain coats is a white rubberized silk enhancni with stitching in bright scarlet silk. To bi worn with this is a jaunty little sports h:ii of the same material that shows a plain white crown and the brim entirely covernl with rows of the scarlet stitching. Add :i .scarlet umbrella to this suit and you ha\i a costume that will enliven the rainiest da\ imaginable. For the woman who travels considerabi; — and that means most of us in the-t nomadic days — there is a suit that has tin skirt knife-pleated in the machine pleatinL' that will withstand any amount of hard usage. One may sit in a train all day or carry this skirt in a suit case on a Ion'.' journey secure in the knowledge that youi pleats are proof against all such conlingen cies. The Last Word H.\ROLD LLOYD and his battery mat. . Harry (Snub) Pollard were talkinv uver some of the old time troupers who hai; worked with them in Los Angeles. Thr name of one Jimmy Patton came up durin- the conversation. "The last I heard o' Jimmy," said Pollard, "last I heard o' him he was dead down in Texas." "That's usually the last you hear of anybody," Lloyd remarked. And Harry is still thinking about iht answer he ought to have had ready — but didn't. The Proverbial Chip IT isn't every four-year-old boy who gels a check each week for services rendered, so perhaps it is little wonder that Jimmii Rogers feels just a wee bit important when the cashier out at the Goldwyn studio pa\ - h'rii each week for supporting his lather Will Rogers in pictures. There is nothing crude about Jimmic' sense of importance; he never brags or com pares his bank account with that of tin other children in the Rogers family. Y\' he evidently looks upon himself as a man of money. A few days ago his father said to him, just after their salary envelopes had been handed to them : "Want to trade, Jimmie?" Without a moment's hesitation, Jimmie answered : "Xot without knowing how much you heve in yours." N„t.- W Iw.t 1 li. Havlnff t«dtcd Inatrument'i of cVery known maDufactiire both in tnte nnd forcliyn countrle.i wo unhcsitutlntrly pro- noiiiK-o tho Conn Saxophone to b« In better turu-. lo [.lay l iuHter. lo po»SL-«s • more beautiful tone with jcri-uti r VMhiin.i of the flame, and to be of superior mechanical conntrn n u than any Haxopliono on the market tAday. That mui-lk ■ ptu-noini-nal Hucoea!* of the Sousa Saxophone Sextett.- 1 ./ liie paHt transeontinental tour la due to tbe uao of » m, Instruments gooa without saylnif." Souaa Hand Saxophone Sextett« H. Benne Henton, Soloist Albert A Knecht Alto Andrew Jacobson. Tenor Arthur Ki>.sander, BariCOM ChB3. Weber, .Ir.. Hnii Saxophones H. Betme Henton Soloist with Sousa's and Conway'e Bands and Victor Talking Machine Co. Mr. Hfiiton is one of the cele- brated Soloists of the world and abandoned the use of a wt-ll known foreign make Saxophone many years ago after tryinc a Conn. He bays— "! am positive in my own mind, and I believe I know what I am talking about when 1 say there ii not a Saxophone made today that in anyway approaches the New Wonder Saxo- phone." Jean Moermans A Saxophone Artist of rare ability; for a numberof years t he Soloist of the Pat Gilmore and the Sousa Bands. He studied at the Royal Con- servatory of Brussels and won distinction i n Europe before touring America. Note what he says— "I can now openly state, afttr a number of years* experience with the Conn Saxophones, that they are in perfect tune and the workmanship is of the fin- est. I firmly believe they are the best that money can buy." Conn Saxophones exclusively. The Conn Saxophones possess improvements not found on any other makes. Testimonials from all parts of the world are received daily. These artists claim Conn Saxo- phones highly superior in tone quality, intonation, up-to-date key system, character of mechanism for rapid and sure fingering, gen- eral construction for standing wear and usage. These, with the artistic design and most beautiful finish in silver or gold plate with hand engraving, afford you the highest class saxophone you can possibly purchase. Play a Popular Song in One Hour's Time You can learn to play a tune on a Conn Saxophone in one hour's tinn-. The most popular instrument of the day — can be used any place. Write for particu- lars and free book. Free trial — easy payments. When you write to advertisers please mention PUOTOPLiY MAGAZINE. I I 2 Pll()l01'LA^ M \(.A/.INE — ADVF.I(OI§&OCL ALSO fm'body was excitedly ad- miring everybody else. "Honest, Sally, you look like a thousand dollars,'' someone cried out across the room. "Where did you get that swell dress?" "Rich cousin," retorted Sally laconically. "She and her sister give me lots of things. If they didn't I could never be an extra. Where would I get the money to buy new evening dresses and wraps? Isn't it lucky, though, that I can wear anything from a thirty-four to a forty-four? I always say I got a regular poor relative's figure." It was now twelve o'clock. Most of us had risen sLx hours earlier. Those six hours were only a prelude, however, to the real days' work. Not until half-past two were we finally summoned to the studio where the carpenters had been busy constructing the lobby of a big New York hotel. In the meanwhile a lunch of sandwiches, coffee and pie had been served us. I learned that this was almost as unforeseen as manna. For, although some of the studios possess lunch-rooms and others dispense refresh- ments such as we had today, the timeliness and the presence of food is so uncertain in the movie world that the average extra ex- pects as little sustenance as a camel in the midst of the desert'. "There are two things you have to learn to do without, once you get to be an e.xtra," remarked Sally, swinging her golden-slip- pered feet from the big table upon which she was sitting. "One is food and the other is the back of a chair.'' As she dispensed this sunny philosophy my own back was aching. I remembered that I had been sitting here on this same bench for more than two hours and a half. Heavens I And I had conceived the extra's work to be merely sitting at a cabaret table or walking across the drawing-room floor I Even so, however, I had as yet no idea of the discipline involved. I was to get a further revelation when we all descended the two flights of stairs to the hall outside the studio. Here we were met by the director. He had decided that, after all, he would make this a day-time scene and would we all kindly change to our street clothes. Imagine any other class of women receiv- ing the news that hours of primping have been in vain ! Yet my fellow martyrs ac- cepted this announcement quite as a mat- ter of course. "Well," said the fat sirl who feared bal- conies as, pulling her brocade evening wrap about her, she began her ascent of the stairs to the dressing-room, "I might have known it. They're always changing their minds at the last moment. Take all your clothes to a studio, that's what I say — all your clothes and a mackintosh." It was three o'clock when the man at the camera really started. In my trusting way I had imacined that you performed once and then all was over. Not so. The "grinder," as I heard the girls, call the camera, was as painstaking as a miniature painter. Seven times I rei>eated my own "action" — the involved one of walking across the lobby to the hotel desk and back to a big leather settee. For three hours we waited and acted and acted and waited. .\11 of thb might have been somewhat trying even in the temfjerate zone. But this studio was so hot that an electric cabinet would have seemed quite clement in comparison — and I was swathed in the long squirrel coat I had worn on my trip. AT last, at sLx o'clock, we were dis- missed. I heard my companions con- gratulating themselves on the earliness of the hour. It might so easily have been eight or nine, they said. But. as for me, I was unsoftened. I was hungry. I had never been so tired. I was prostrated as an Eskimo in the tropics. And as I dropped into my little room on Madison .\venue that night I reviled each person who had ever come forward with the ghoulish suggestion, "WTiy don't you go into the mo\ies?" Never, never would I tr>- being an extra again. Yet I did try it. Whenever I got a day s work I took it. Some of these days. I may add, were much easier than the one I have just described. Others, on the con- trary, were infinitely harder. Often I put in fifteen or sixteen hours. Often I went without food. -And it frequently happened that I spent more than a dollar on the phones and car-fares preliminary- to getting me a five-dollar job. But I persisted and after some months I got my reward. Per- haps it was my looks, which proved to be the kind that did film well. Perhaps it was my wardrobe. .At all events. I was given a small part in a big picture and the di- rector is most encouraging about my future. This luck of mine is not. however, the common fortune. As a rule, indeed, the movie moth does not become the movie star. She — or he — can look forward to nothing much save days such as I have described. For this reason the person who wants to be a movie extra must regard it merely as an income e.xtra. And it is not strange, therefore, that the ranks of super- numeraries are toade up of four leading types. One of these is the chorus girl or man who wants to make a little money on the side. The second is the actor or actress of the legitimate stage waiting for an engage- ment. Next comes the woman who is bored with life. .\nd last is the wife or daughter of the small-salaried man, who uses the screen as the magic to bring her the gold- mesh bag. the ostrich plume, or any of the little frivolities that Home Sweet Home will not provide. However, much as all of these may realize the steps between them and stardom, they are all unconsciously sustained by hope. Some day some director may notice a par- ticular bit of promise in face or gesture. Some day a small part may be given them in which they have a chance to show their real fitness. For hope is more active in the movie world than any place else. It never stops moving across the screen of one's consciousness. So. even now, I myself am looking for- ward to the day when I c.^relessly open my pay-envelope upon a three thousand dollar check. Ercry adn-rtisciucnt In PHOT<>PL.\Y MAGAZINE (• gt.«riiitcc use. COSTS l!UT T-'h :i month. Send for a mi.nlh s ?.iit>pl> or frut- circiiiar C. PARK HUMPHREYS 4867 Hazel Ave., Philadelphia The Secret of a Perfect ^ r • Am:i/int4 new eas> mi.'tlio our voice etn'Qger. cle^irer. wider iit ninge. Throujih the woii.lerful FElTCHTINGKli secret of voeal control, anyone can now have ii i>frfei't vi.ice. Simple, silent exercises in spare inomentBat home. Stuttering, Btanuneriu^, lispinfc banished. rDPP RHAIf explains the wonderful Feuchtinircr secret of a per- riVLC DUV/n feet voice. Write for it today. S«h- how you can easily Kavo a beautiful singinK and speaking voice. No costor obligation. Perfect Voice Inslilute. Studio C-153, 1922 Sunnyside Ave.. Chicago, ID. FRECKLES POSITIVELY REMOVED by Dr. Berry's Freckle Ointment; Your drugRist or by mail, 65c Free book. 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I't'idiicfN iiiid HU|ip(irtH iiii- rdiicfd iiiteroal oiijuiih; n- diK CH enliirued iiWdoiiu n f truiKhletiH iindstrerii.'t li eiiH the Itiic k; corriM lH Htoophiu Hhon IdoiK; di- vehn'M IniiLrH. rhc-l find liiiHt ; rel levcH hnrkache. cnrviit iir*'ii. iu-rv(»iiHn(>M>.. rn|.t iin'f . conril i imCion <'"nifor«iible and Pufty to ;v rmliiv for illii>«tnit<>d li-f. nieafiiireiiiciil hliittk. otc, and ri'ii'l oiir ver> libera) i>ro()Ottitioit . HOWARD C. RASH i'ri's. NnliirMl Hotly nrnrc Co. 330 Rush IU' day," he said, search- ing Becky's face. "Do you want me to deny it? It's like a trial isn't it?"' Mrs. Warder answered lightly, trying to make herself feel more easy than she did. "Did you break an appointment to see Fred this afternoon by telephone?" This time Becky was cornered. She de- cided to play for time, until some new sort of fib could present itself to her. "The whole thing is false. If you think I'm a home-breaker. Eve. you've made a mistake. What do you mean coming to my precious home to make trouble?" "You know what I mean." Eve replied. "I must go — I'll leave the papers for you to look over. Tom.'' For the first time, Becky seemed to realize that the papers Eve had brought might have anything to do with her. As Tom saw Eve to the door, fifty thoughts crowded into her mind — she would take them, tear them up. Tom came back and sal down beside her. "I want you to be truthful, my dear," he spoke deliberately. "You have married a man who has every confidence in you. My faith in you is the best thing in my life — but it is a live wire and neither of us can afford to play with it." As he finished he reached for the papers on the table. Becky, frightened, tried to delay him. "Tom. dearest,"' she said, embracing him, "truthfully. I love you. and you are the only one I have ever loved." Tom looked deep into her eyes. "Becky." he said. "I tell you frankly that I do not know what to think. I believe that you do love me. but I want to get to the bottom of this sickly mess. Eve tells me \ ou telephoned Fred not to come this after- noon." "Eve never could tell the truth."' Becky flared. Tom picked up the papers and began glancing them over. Becky looked over his shoulder. She had never really srasped the full significance of them before. "Detectives."' she shuddered. "Oh. this is awful. You don't mean — and Eve hired — the suspicious cat." "Becky, bow could you have gotten into such a mess? " There was anguish in Tom's voice. "The reason I saw Fred at all was be- cause Eve wanted me to I was trying to bring them together again." Tom smiled rather wearily at thi^. Then Tenk<; came in to announce that Mr. Weld was at the door to take Tom to the golf ( Uih For the fir-t time in their wedded life. Tom went mit of the door without kissing K. I k\- good bvc. T Ue \\V. importance of always telling the truth was becinninc to iiercolate into kv"< disturbed mind "Oh. if I hadn't Eviry a.lvorUtiiiHMit hi I'UoTorLAY MAti.V/.lNK I3 sii»r*»twa. Photoplay Magazine — Advertising Section The Truth ( Contin begun telling those miserable little fibs. If I had only told Tom all about it from the bei;inning," she mourned. "I will never tell a lie again." But habic, as it has been so often said, is a chain that binds us fast. Becky had no sooner made this oath, which gave her a certain amount of righteous feeling, than she began to cast around in her mind for a way to get out of this terrible situation. She thought of Fred. He must help her. He was more at fault than she. In a few minutes a note was on its way to his home. "If this note reaches you at once please come over. I don"t think Tom will be here before six. Important. '•Becky." The messenger had hardly gone, when Becky's father, jovial, flashily and nattily attired, with the air of a gentleman with no responsibilities in the world, arrived. ■'Well, little daughter," said he, kissing her affectionately and tweeking her checks, "aren't you surprised at my arrival? Mix me up a little old whiskey and soda, my dear, and I'll tell you what it's all about." Becky went to the cellarette. Mr. Roland drank his drink, smacked his lips, then chuckled. "My dear, it was a great joke on me. I meant to ask for five hundred — not fifty, though I appreciate the fifty." "Five hundred more," Becky gasped. "Tom would only let me have fifty, father. He said to send it to you with his love. I'm sure he can't let you have any more just now." The florid features of Mr. Roland flushed redder. Becky did not ask him to sit down, but he did so, with quite a hea\-y sigh. "It's a question of five hundred or a new- Mrs. Roland," he said. Becky started. "Father, you can't possibly owe your land- lady that much money?"' "Yes; haven't paid her for two years." Becky's father settled himself, as if for the afternoon. "I wish I could ask you to stay for the afternoon." Becky said nervously, "but, you see — I — I — am to meet a girl friend." Mr. Roland save no outward expression of any intention to understand Becky's hint. Becky became more and more nervous every minute. What if Fred should come ! "I've got time to drive you to her house if it's not far," he said at last. It made no difference to him that a taxi was waiting outside clicking up a bill that Tom Warder's money would have to settle. Becky shook her head. "I'll get there all right. You stay here,'' and as she went out her father settled himself in more comfort on the couch. Becky ran lightly down to the corner and stationed herself behind a hedge, where she cou!d look up and down the street, and at the same time not be seen from the house. She would stop Fred Lindon before he could reach the house. She had hardly taken her place when she was astonished by the approach of Weld's car from the other direction. It drew up alongside of Roland's taxi. Tom jumped out, threw the hired car a glance, and went slowly to the house. In a few minutes her father came out and rode awa.w Becky, from lu'r hiding place, was just making up her mi«d to go back home and face the mu- sic, when a taxi came speeding from the other direction. It held Fred Lindon. .AiS it passed her she called out to him, but he did not hear her. The car drew up suddenly at the curb in front of the house, and Fred ran up to the house three steps at a time. Becky wruns her hands in distress; her heart dropped : she felt very ill and miserable and unhappy. She waited in dread and anxiety ned ) for what should happen. She did not know quite what Tom would dx) to Fred. She was afraid. In a few seconds her husband walked out of the house. Becky prepared for flight when she saw him coming, but he went in the direction from which he had driven a few minute'^ before. When he was quite out of sight, Becky summoned up courage enough to go home. Lindon was sealed complacently on the sofa, reading and smoking. He felt very well satisfied with him.sclf. On arriving, he had met Tom Warder, who had told him that Mrs, Warder would be sorry that she had been away when he called. "But I don't understand." Lindon had said. "She wrote me this note." .Vnd he produced Becky's message. Tom, thoroughly disgusted, had gone off to his office saying he had some important papers to look through. He had left the house to Fred. Becky did not see her visitor when she entered the living room. Sick and fearfu ly she leaned against the door. Fred heard her, went to her with the greatest confidence, drew her into his embrace and kissed her. "You beast I" Becky jerked herself away violently. "Didn't you send for me?" asked Fred. "What was I to think but that you found that you cared for me?" "Yes, I did send for you," Becky's voice was very bitter, "but it wasn't because I wanted you to kiss me. I've been a fool, and you're a cad. I want you to know that there is only one man I love. That is Tom. There is only one I despise — that is you. And to think that you made me believe you were an abused husband ! Please go. I don't ever want to see you again." Fred Lindon knew when he was whipped, and with an air of indifference he left the house. Naturally he did not find it neces- sary to inform Becky that he had shown to her husband her note urging him to come to the house, and Becky, in her own blun- dering way. because Tom had in no way committed violence on Fred, believed her husband had in some way missed seeing him when he was in the house. BECKY WARDER'S emotional resiliency was remarkable. No matter how black one moment might seem, given time, her optimism was back in full glow. The lower h.er state might have been, the higher it went when reaction set in. Perhaps it was the same quality which so many women possess — that same inability or constant refusal to look things squarely in the face — that had' caused so much of Becky's present state of affairs, and which drugged her into the belief that everything was all right. By ten thirty in the evening she had gone through the dress of despair and had climbed throush the various processes of self argu- ment, until now she was in amazingly good spirits. Jenks had said Tom had gone to the office. At about eleven she called him and asked him to come home. One hardly could have suspected that there had been a serious situation the entire day, from the looks and voice of Becky when Tom entered her bedroom. The softly shaded lights envelojied her in a rosy glow. Her cheeks were pink; her eyes sparkled brilliantly. She wore a turquoise blue gown — soft and clinginc — the gown Tom liked best. It was only Tom who showed signs of mental strain and unhappiness. Becky called to him gaily as he opened the door. She ran to him expectantly, but he pushed her away. Why Tom. dear!" Becky spoke with Before Your Dip You should remove unsightly hair from any part of the ex- posed body with DeMiracie, because it is the safest, nicest, cleanliest and easiest way to re- move hair from face, neck, arms, underarms or limbs. When you use DeMiracie there is no mussy mixture to apply or wash off. It is ready for instant use and is the most economical because there is no waste. Simply wet the hair with this nice, original, sanitary liquid and it is gone. Write for free book. Three Sizes: 60c, $1.00, $2.00 At all toilet counters or direct from us in plain wrapper, on receipt of 63c, $l.04or$2.08, which include} IVarTax. I)eo^lraefe Dept. Q-23. Park Ave. and 1 29th St.. New York ^4iltiuiearVe^ arc really cxqitisili: Writf to Dept. E. for " Veilei -ihowinw many favorite FITLD. 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Tom ignored her question. He motioned to her to sit down. She sat on the edge of her bed, and he dropped down on the edge of his, facing her. "Have you had any callers today?'' he asked, looking her directly in the eye. Oh habit, habit— the trickster! 'How it cheats us when we do not want it to ! '■Why — er — only father. I'm sorn,' you missed liim,'' answered Becky. .And she had meant so much never, never, never, again to tell a lie. "I did see him,"' came Tom's response. "He told me about the money you sent him — from me," then caustically — "where"s the new hat?" He glanced about him for a moment as if looking for something, then brought his steely eyes back again to Becky's face. "Was Fred Lindon here?" Becky was caught. "Well, I'll be truthful for once. Fred Lindon was here, but I did not ask him. I excused myself at once.'' Tom's expression was not pleasant for Becky to look upon. ''Oh, indeed ! It happens he showed me your note asking him to come ! I don't sup- pose you know anything about the note?" There were no more possible lies for Becky to hide behind, so she became very, very angry. ■'I did send for him. It was about those abominabie papers that Eve gave you." "And I don't suppose you kissed him."' Tom grew still whiter at his own sugges- tion. '•No, I didn't," Becky snapped back. "He kissed me. How could I help it? I didn't know he was there — he was in the living- room when I came in." "Of course not. Of course not. How could you resist him?'' There had been little f;imily spats before — the nice kind that end in ki.-^ses, but up until this moment the full significance of this pres- ent difference in opinion between herself and Tom had not struck Becky. There was something in the deathly pallor of Tom's face, in the iciness of his tones, in the man- ner in which he went to a far corner of the room as if to be away from her, and stood looking down at her, which sent shivers of fright through Becky. She was no longer angry. She was tired of it all. She wanted Tom to forget what had happened and to take her in his arms and comfort her — as he had always done before. Sobs rose up in her throat. "Vou don't have to believe me," she wept. "I told you why I was seeing Fred Lindon. I told you that I was trying to bring him and Eve together. Oh, dear! Oh, dear! I wi-ih I had never been born," Becky fell back in a little shaking heap. But Tom, usually all concern at such a mo- ment, was adamant. "Go ahead and cry all you want to," he said, "I'm through. The money to your father! This rotten evidence of Eve's that you've been meeting Fred right under my nose, and mc an unsuspecting fool all the w hilc ! You couldn't help his kissing you ! Lies — damnable lies, and another dozen to try and save yourself. I'm through. I tell you !"' Becky's torrent of tears dried up under the blaze of Tom's anner. She sat up and looked at him through dazed eyes. "^'ou don't mean you — ," she could not s;iy the word. "^'es, we separate — flivorre if you wish it. I tell you I'm through. You don't know what the truth is. I can't stand \our lies ,iii\' longer. .And so it came that Becky Warder, the entered her father's ^habbv boarding house with a couple of suit cases and the announcement that she was goine lo visit for a while — "while Tom is away." ' But there was something about the droop which the widow had long been layine for him. came into the jx-aceful knowledce that he was now settling all her claims for hi- unpaid board bill, and that he would never have another one to worry about. ".And. Tom," whi'^pt red Becky against her husband's broad protective shoulder. "I shall never, never, never, tell another He — not even a while one." Cur>- aUrrrtlacmntil In riloTOPI.AY M.\C3.^7.1NF. h ruamnlml. Photoim.av M\(.A/rM.— Advkhtisixc. Section Humoresque (Continued from page 55) 119 "Perhaps you will run over to \ ienna," said Gina at parting. '■Wh>- not? I'm soing lo \enice later on and then to Rome." Leon's letter home to his parents men- tioning Gina Berg for some reason of femi- nine intuition raised a shadow of a feeling in the heart of Mother Kanlor. Hancock the manager went about his leisurely business of resting with little at- tention to or from Leon. The violinist put himself to work under the most rigid of Berlin instructors and kept faithfully at it for three months. Then he wrote to Gina, suggesting that he might run down to 'Vienna. Her reply was cordial. When Leon opened the subject of \'ienna with Hancock that wise and worthy person cocked his head on one side and spoke blandly. "You'll be right back, won't you?" "Oh, yes. I just want to have a talk with Eydler there — on technique." "I see," Hancock answered with a certain dryness. He knew that neither Eydler nor anyone else could give Kantor points on technique. Leon left his vio- lin safe in Berlin. Tw-o weeks went by and Hancock sent a wire: "How about that technique?" Leon showed the wire to Gina. She smiled and said she knew it was time for him to get back to his work. And back to work it was. Hancock felt it was time, to be stirring. He made ar- rangements for a concert in the Prussian capital, which proceeded to a marked suc- cess and much lionizing of his violinist. Then came Italy with its blue skies and langorous days — and a triumph. Leon played a command performance before the King and Queen. He was applauded, ap- proved and decorated. The doors of the old nobility were opened to him and it was a milestone in his career. Leon Kantor was now a musician of world fame. Hancock began to urge a return to Amer- ica. He saw a precious season of big receipts slipping away. Leon was reluctant. Italy was in his blood. Hancock retired to his quarters and cogitated, then evolved a very careful cablegram to Mama Kantor. He placed emphasis on the fact that Leon was well but suggested that the mother's presence would have its values. "You better go," said her husband. "It makes no money to be there so long, and Kings and Queens!" He shrugged his shoulders expressively. "They advertise good," observed Sarah. "Rut Hancock, he has a level head," she Med, and set off to prepare to go. She 1= wondering what Leon found to keep ;i!m so long in Rome. Hancock received a cable announcing the coming of Mother Kantor, and carefully kept that matter to himself. Meanwhile a letter of congratulation from Gina in \'ienna had started up a new correspondence be- tween her and Leon. Presently she wrote that she was coming to Rome for a week, and promptly followed the letter. After which she and the young violinist were much together. Hancock noted the fre- Humoresque NARR.\TIiD by permission from the Cosmopolitan Production based on the short story of the same title by Fanny Hurst, and produced for Paramount -Artcraft, scenario by Frances Marion, under the direction of Frank Borzage, with the follow- ing cast: Mama Kantor ...Vera Gordon Abraham Kantor .. .Dore Davidson Leon Kantor Bobby Connelly Leon Kantor. Zafer. ... Gaston Glass Sol Ginsberg Louis Stearns Minnie Ginsberg .. .Miriam Battista Gina Berg Alma Reubens quency of their meetings and marvelled at his own sagacity in sending for Mother Kantor. While Hancock was off to Naples on a pretext that permitted him to meet Mrs. Kantor. Leon and Gina were playing and picnicking. At a luncheon spread between them on the bank of a babbling river the dangerous topic came up. "Gina. have you ever thought of mar- riage?" The question was blunt and im- mediate. ••Yes. many times." She faced him frank- ly. "But I have other ideals. I shall never break away from them." She thought she spoke with great finality. "You mean that art and love are not compatible?" Gina nodded, her gaze on the ground. "And you agree with me, don't you?" "I did, until — a little while ago." Leon was red and stammering. "We'll have a great afternoon for the ride back,'' was Gina's response. When they ar- rived at the hotel Mother Kantor was there, awaiting Leon with out- spread arms. There was an exchange of surprised greetings. Hancock faded out, and Leon presented Gina Berg. Gina's manner captured Leon's mother. After the girl had gone the mother opened Leon's eyes wide with the story of the success of Gina's father the onetime brass dealer. In her pension room, Gina was fighting out with herself the problem of love and making the decision which she felt would make her career. A simple note to Leon the next day con- veyed Gina's good wishes to his mother and announced her departure for Vienna. "A fine girl, Gina Berg," observed the mother carefully to Leon. "One of these days she'll be marrying." "No she won't; she's for art, not mar- riage.'' Leon's reply gave his mother a great deal more information than he intended. "Yes," the mother assented. "It's the American way — it should be everything first, then marriage." Leon stood sadly with Gina's note in hand. The mother intuitively knew that this was the time to push the matter of a return to America. Hancock was an able second. Leon was meekly willing. Nothing appeared to matter much to him just then. His heart was in Vienna. Hancock arranged affairs with great dispatch and in _ three days they were on their way. IN New York, Leon was greeted " with enthusiasm. Reporters flocked for inter- views and Hancock displayed the decorations from the crowned heads of Europe. It was a winter of new triumphs for Leon. His playing had acquired a new depth and insight. The critics' remarks were highly gratifying to Mother Kantor and Leon's father felt much improved at the increased box-office returns. Hancock, partly for advertising and partly as good business. -proceeded to insure Leon's gifted "$100 a Week! Think What That Means To Us ! " "They've made me Superintendent — and doubled my salary ! Now we can have thecomfortsand pleasures we'vedreamed of — our own home, a maid for you, Nell, and no more worrying about the cost of living! "The president called me in today and told me. He said he picked me for pro- motion three months ago when he learned I was studying at home with the Inter- national Correspondence Schools. Now my chance has come — and thanks to the I. C. S., I'm ready for it." Thousands of men now know the joy of happy, prosperous homes because they let the Interna- tional Correspondence Schools prepare them in spare hours for bigger work and better pay. Why don't you study some one thing and get ready for a real job, at a salary that will give your wife and children the things you would like them to have? You can flo It ! Pick the position you want In the worK you like best and the I. C. S. will prepare you fori! right In your own home in your spare time. Yes, you can do It ! More than two million have done It In the last twenty-uine years. More than 100.000 are dolna it right now. Without ol>liKatlon, find out how you can join them. Marl< and mail this coupon 1 TrAR OUT Hcnc • INTERNATIONAL CORRESPONDENCE SCHOOLS BOX 6523, SCR ANTON. PA. Explain, without obtieating me, how I can qualify for th% position, or in the subject, b Iei.eotuicai, ENdi.veeit lEIeetrio Mrhtinc >n or E.Mi'it l§T*rlOMltT EXai.SEEll Marine Engineer IShip Draftsman 1 ARCHITECT Contractor and Hnlldcr I Aretiltectnral llraftiaiaw □ Concrete Builder □ Structural Engineer n l-l.t'HKIXl AMI IlEt ll.va □ sheet Metalworker nTeJtllc OrerieerorSnDl. 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Every Article In Our Large ewelry Catalog is specialty • < f ' <] and price' .ti-rouifcput just cnouuh color , in the chevkf to make (no cvcti ^ npitrkle, develops brii:htncs.i and bonutynnd mnloKthc wholv face raiH- nnl.altrnctivonndallurinK. Wlion niiplicil, will la»t 1'^ to 24 hount; it will not njl> itfT: nwimmini; or pcrnpini- tion will not afTcct ir. Lucll.'s Rous* hng pleased thouxanda brcauttc tlio reault in ho natural-like. Ppo prominent laily wrote: "Lneile^n Rnugr iathe 'pink oj prrleetion/or auy type ot comfiltxinn." CJuarnnteed nlinolntelv harmlpHK. Two slzas, SOe and Sl.OO. at your doalor's nr if you ari'tinahle (<■ <'t)tuin <-tiru)y will Im' »rnt direct hv mail in plain wr«p- I- r. pre,,,,,, I Tl,.- i(iiuri.ei..„f ,..rf. .1 • :.ti fi,.-(,oMc.r Ili'-rii V t < ( tii'iN .1 n w ' \ f^nry : ti. kll^'i THE ALPEN CO., 23 C. MONROF ST . CHICAGO right arm and fingers for a king's ransom. One evening Abraham came home fu!l of irossip. "Guess who I saw? Solomon Ginsberg, the fellow that used to sell me brasses in .Allen street.' As his father prattled along of Berg, Leon listened attentively, eagerly awaiting a word of Gina. At last it came. "And that daughter of his that's study- ing music, he says, she will come back soon. In the fall she goes to sing by the stage, maybe." Leon pretended to be highly abstracted. Hancock betook himself to Kansas and the old farm home for the summer and the Kantors went to a cottage resort in Maine. It was not a success. In that cynical community Leon alone was socially welcome. Then came the thunder clap of war in Europe. To Leon came only one thought — Gina was in Vienna — how would she get away? The papers printed sensational accounts of the difficulties of American tourists. Europe was a boiling chaos. Hancock came rushing East. He was full of the anxiety that beset everyone. The Kantors gave up their Maine cottage and hurried back to the Xew York suburb tliat they ca'led home. Leon was glum and silent through the days. His heart was heavy. At last in an afternoon paper he found the paragraph he had been seeking for days. Gina Berg, the singer, was safe aboard ship and coming home. His face lighted up. There was no need to tell his mother; she read it in Leon's face. "Money, money, it does anything? What's a thousand for a steamer tot for Sol Berg?" When the great boat docked Leon was in the crowd that stood about the pier, eagerly looking. But Sol Berg had used his open sesame of wealth. Gina was one of the first to touch foot on shore and swiftly she was borne away in her father's car, while Leon vainly waited. When evening came Leon wandered dis- consolately home. He found the house bubbling with talk. Gina Berg and her father had been there, and she had seemed disturbed not to find Leon. "What did they want?" Leon could think of nothing else to say. "Why you, of course." His question had carried no cover for his feelings. His mother knew him too well. Then Leon motored alone out to the great home of the Bergs in Morristown. Gina came down to greet him. Their hands met as the hands of those who understand. "And now you're back Gina — what will you do?'' "I shall go on with my work — of course.'' There was a note of surprise in her voice. "I think if you have any sort of a gift and keep at it long enough you will succeed." "But it's not necessary, is it, Gina?" There was pleading in his tone. '"Not for my worldly self, Leon, but for me it is." "Gina I" Leon's voice was vibrant and low. "I've been hoping ever since those days in Rome that you'd change your mind. 1 have never changed since that day of the ))icnic, (Jina, and all the lime I want you. Always I want you.'' "Oh Leon I You mustn't talk that way — you make it so hard for me." ''But, Gina. I can't help myself." Leon stood up with his hands held out to her. She faced him with tears in her eyes. "Leon. I can't — not yet." Whin, (Jina?'' '.Afler the war, Leon.'' ' Then you care — a little." Gina s eyes drooped and he drew htr lo him. The girl raised her head. "You'll not ask me again until then?" Leon promised and went home — praying for the end of the war that had hardly begun. "How lonj; rlo you think it will last?" he asked Hancock, to whom he looked for everything. Hancock could offer little en- couragement. The news was all against it. Then deveopmenis followed faster and faster. There came the unrestricted sub- marine warfare. The parleying of diplomats and then the last word. The United States was in the war. Preparations came fast — the draft. Hancock came to say goodb)°e to Leon. "Sorry, but j'ou'll have to get a new manager. I am not going to wait to be drafted. I'm going now."' "We'll be waiting when you get back, Mr. Hancock," spoke up Mrs. Kantor. As Hancock departed the mother looked at Leon. She made bold to ask the ques- tion that she feared. ■"Leon, you wouldn't think of going?'' "Mother— I— I think I'll have to go. ' She shook her head. "Xo, not with vour talents. It wouldn't be right." ■'My son, that he should fight for Russia -that's folly ! " shouted Father Kantor. Leon played through a prosperous season to big successes. The Kantors took a house of great elegance on Fifth avenue. They were getting on. All Spring and Summer Leon played with growing popularity. Each day his mother was wondering when he should lay down his violin and take up the army's rifle. A great day came. Leon played a con- cert benefit for his own peop'e. It was such an audience as even Xew York seldom sees. It was a tremendous success. Fifteen times the audience recalled him. At the end of the concert .Abraham burst into his son's dressing room. "It has come Leon — it has come. Here is Mr. Elsass, the big manager, he wants to pay you two thou.sind a concert." Leon choked. "Xo papa, I can't.'' Mrs. Kantor, standing in the door, swal- lowed hard. She knew the meaning of it. Elsass, white-haired and dignified, entered. Leon nodded a greeting and took his hand. "It's generous of you — but I can't take it."' "Would you mind tellin" me why?'' "Xo — I'm going into the army." "Yes,'' said Els;iss slowly. "If I were younger I'd go too." SO Leon enlisted and went away to the training camp, a private in Uncle Sam's , rmy. And sailing day came with its tear- lul iioodbye. "Remember, when ihe war is over I shall iiavc something to .«ay to you," Leon said to Gina Berg. The weeks that came dragged slowly !• ' in aching suspense for the Kantors and the thousands of other families like them, with son* overseas. Xo news for weeks. Xow and then a card from Leon, s;iying that all wa<; well and chafing at the del..yed pros- pects of action. And then, suddenly, things began to hap- pen. The German armies rushed the .Mlies. There was Chateau Thierry, St. Mihiel and the .Argonne. .A master stroke from Foch, and then the .Armistice. That night of the .Armistice there wa« no sleep for the Kan- tors— they wtpt and laughed and waited. Surelv Leon must be safe. Kverj- adrcrtlnMiiciK In rHf>T'>rLAY XfAOAZINE 1» euirftntceO. Photoim.w M\(i\/iNf: — Ad\-ertisi\t. SFrnox 121 Humoresque ( Continued ) A letter from Leon came through. It ua; months old, but certainly he was all right then. Impatient, his father and mother went to Washington and battled with the red tape of many departments. Xo news. Then it came in a cable — speaking of Leon as slightly wounded. The terrible an.xiety of it ! Mother Kan- tor called Gina Berg, who hastened to the Kantor home. She read and re-read the cold, formal notification — "slightly wounded." "Vou don't think — it surely can't be his arm, his violin fingers!" Mother Kantor moaned in agony for fear for her son. "Let's hope not. Let's hope not, pray not." Gina was doing her best to be re- assuring. But it was only a hope. Then as the drab days dragged on the Leviathan with its burden of wounded was reported on the seas. At night fall it ar- rived off Sandy Hook. Another sleep'ess night in the Kantor home. Another tossing night of dry-eyed anguish for Gina. In the ruck and jam of motor cars at the pier when the great transport docked was one carrying Abraham and Sarah Kantor. For two terrible hours they waited as wounded men limped down the gangplanks, as hospital attendants carried off men in litters. There seemed no end of it. Mother Kantor cried out. There was Leon walking alone. He came to them, with a look on his face that his mother had never seen before. His right arm was hanging useless at his side. Abraham gulped back a sob and leaped to the ground beside his son. The mother greeted the boy rapturously. "Your arm?" Abraham managed to ask when they had Leon seated in the car. "Xo good," said Leon. His voice was cold with apathy. "Can't you use it again?" the mother gasped. "No." Sarah Kantor leaned far back in the car and tried to cry si'ently. THE homecoming at the Kantor house on Fifth avenue was a sad one. His mother went with Leon to his room to make him comfortable. Abraham tele- phoned to summon the city's greatest spe- cialist, an authority on shell shock. The doctor's call was brief. His trained eye saw the answer. Abraham followed the physician out. "You should tell me, doctor — will he ever play again?" • The specialist shook his head as one in grave doubt. "He doesn't think so — but someday may- be a great mental shock will restore him to himself. It is possible. Meanwhile, see that he eats regularly, rests and is not an- noyed." Gina Berg came. It was a heartbreaking meeting. ISfothing mattered to Leon any- more— not even Gina. She offered words of cheer. She drew her chair up beside him and took his limp hand in hers. It laid there, inert. "There is nothing left, now,'' he said in dull tones. "They have taken away my music. There is nothing left.'' "Oh Leon — nothing — not even me? You don't mean me?'' Leon arose. He forgot momentarily, that his right hand was cioomed to uselessness as he took her slender lingers in both his hands and pressed them against his breast. "I am sorry Gina — I can't allow you to sacrifice yourself to a cripple." The girl went out with a smile for Leon. But outside she fell sobbing into the arms of Mother Kantor. "Best Knit" Hosiery is smart Hosiery — good hosiery. Althothe silk and lisle are more sheer than other makes, they wear longer because of perfect mate- rials and workmanship. The wool and cashmere altho light in weight are strong and serviceable. "Best Knit" sizes are marked accurately — no skimping. A wide range of colors and de- sirable weights and styles. Silk, cashmere, lisle, silk plaited, silk lisle, silk and wool. See your dealer. If unable to obtain write us direct. Milwau- kee Hosiery Co., Milwaukee, 'isconsin. 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Y i^'li',;*; 'if ■ ) Oiin Rfdurrr $2.S0 ( Ent.on 34lh St. .3rd Door l.a>l i Humoresque C Concluded) The mother repealed the words of tin specialist. For weeks Gina and the mother planned and sought the word, the thougl • that might awaken Leon to himself agaiii It was in vain. Nothing could break the drab chill that had settled over the genius ' of Leon Kantor. Then Hancock came. He did not tru-i himself to speak to Leon. .As he left In encountered Gina Berg. "Well, what are you going to do?" Han cock demanded abruptly. 'I? ' Gina looked at Hancock in aston ishment. "Ves, you !"' Hancock reiterated. ' Yoi, can make him play again." , "Tell me how ! Oh tell me how !" Gina j smothered her resentment for the hope in Hancock's words. ; "The doctor said he might come back if he got a shock. You shock him some- [ way, somehow. Take his violin to him and when he refuses to play pretend you are go- ing to smash it — smash it if you have to do i it to make good." I "When?" I 'Now — this is as good a time as any." LEON" was sitting listlessly when Gin;i entered. I "Leon," she spoke firmly, almost gaily. "I have been thinking it over and I think you are right — you can t play any more. The violinist-that-was shook his head. "You remember before you went away >ou played Alan Seeger's 'I Have a Ren- dezvous with Death'?" Leon nodded. "You wouldn't play it again would you? — because I am going to do something I know you will like." Leon looked at her with an air almo-i expressive of interest. Gina ran from the room and returned with Leon's priceless Stradivarius, the instrument of his many triumphs. "I know you wouldn't want any onr else ever to play the violin you have made so famous — so — " Gina raised the instrument over her hea<>'.. »r you will be- iflkt Ir.y ( -'pulKr ur* 1 THE FAMOUS %uesche^GralK^C6rflfet The blreeet tone find the most p*rf«t of »oy Conwt made. 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Many of our mem- bers have taken staff positions in studios and many of our successful members begin to sell their stories shortly after enroUin!.'. For vou start work on your picture play almost immedi- ately. Palmer students are entitled to the fret> and unlimited use of our Consulting Service for one year. This service gives our members the priv- ilege of calling on our staff for help and counsel at any time desired. Special Contributors Included in the P.VLMKlt Course is a series of printed lectures by piomiuent motion picture people, whose pictiues are shown in this announceiuent. They cover every essential phase of photoplay plot construction. Advisory Council The educational policy of the Palmer Photo- play Corporation is directed bv the bisgest figures in the industry. (See the four illustrations at the top of this advertisement.) Send for this Free Book For thobe who are really interested in this >zreat. new oppor- tunity, we have prepared an elaborate book. "The Secret of Succewful Photoplay Writing." It lay;; before you the Palmer rour?ain(i Service In greater detail. Mail the coupon for it now. Palmer Photoplay C'orporntioii nepartntent of Education ^ 787 I. VV. Hellman Building. Los Angeles. Cal, ^ ^ P.\LMEfl PitOTOPL.ir Couroit.xTKi.v ll('t>artint'iit of I'lliicalioit 737 I. \y. llelliuan Muildlng. Los Angeles. Cnl. I enclose 6c in stamps to cover cost of in.Tiliiig mo your new book, "The Secret of Successful Photopl.iy U'riting." Also "Proof Positive," containing Success Stories of many Palmer members, etc. Name Ho -Vddress City . Stat. «lioii you wilte to advertisers please nientioii PHOTOPUVY .XfAGAZIXE. 124 PH0T0i'LAV M \(.A/CINE — ADVF.H I ISlNd SrCTlON Questions and Answers ( Coutinued ) DIAMONDS For a Few Cents a Day SKND your name an-fi''«l in«tnictlon: rn'Mltrn rhv i.t .-v-nin^ , cn.-y lorm-. Th.> i.rh™.! ..f i rllo,! nuprnoi Ity. Callor wnlc lormtaloi; N< N. Y. INSTITUTE of PHOTOGRAPHY Ml W. 36(h Si., Ntw Yorh 505 Slile Si.. Bfooklvn Grace, Springfield. — Vou neglectfd to observe the rules and regulations, my dear. I know how it is — I hate rules myself. But ■ Photoplay simply can t (urnbh stamps to every inquirer who wanLs a persona! reply by return mail. Pauline Frederick is still on the West Coast ; Robertson-Cole has a ^tU(lio out there. Georges Carpentier is the only star for this company who is work- ng in New York — pardon me, Fori Lee. Xew Jersey. Miss Frederick is not married now. She had been married before she became Mrs. Willard Mack. Divorced. The Plaixfield Ckitic. — Thafs a new idea— that girls like to see a vampire at work because they enjoy seeing anyone even another woman, get a man just where they want him. I don't think you need to pity "poor Theda Bara." She is making an awful lot of money and plays to packed hou.ses and has a good time at her work. .\ddress her care A. H. Woods, New York City. Pearl White only went to Europe for a month's vacation. So Mrs. Barthel- mess, Dick's mother, was in your town. I suppose if Dick ever comes you'll welcome him at the station with a brass band. Mary Jane, Colu.mbus.— Mary Pickford was the little girl in "Less than the Dust," David Powell the Englishman, and Mary .-Mden the other woman. You're very wel- come. A. v., K.\Ns.\s City. — Come, come — don't you think you're a bit too harsh? Let your criticisms be consUuctive rather than de- structive and you may get what you want. In part, I agree with you. Reno Romeo.— \Molet Heming is with Paramount Artcraft; address her there. She is in "The Cost,"' from David Graham Phil- lips' story. The Talmadge sisters are not Italian : they're American, born in Brook- lyn. Natalie plays with Constance in "The Love E.xpert." Constance is to do "The Perfect Woman" next, then "Wedding Bells." What an intriguing list of titles, what? v. J., Red Wing.— You must not be so impatient. Consider the letters that must have come before yours — both in your favorite film star's mail and in the .An- swer Man's. The Talmadges will send you their pictures; just wait awhile. Douglas McLean is married but not to Doris May. They are not playing together any more, which seems a pity. Address McLean care Thomas H. Ince, Culver City., Cal. Don't know what Ince is going to do with his stars, now that he is an .Associated Pro- ducer. There are star directors and star producers; pretty soon we won't have any acting stars: all the actors will be in those all-star casts. Cullen Landis, Goldwyn. John Hines is making the "Torchy " come- i dies. G. P., Minn. — I don't know that any \ film star sends out eight-by-ten photo- graphs. You'll just have to select one of your particular idols and write to him or lier as the case may be. Your writing and paper don't divulge your sex. Learn to Dance! fj^ ). I . ;,M I. Mm Vox I r<.t. On. -.--1. 'I .-i. |. Willi/. iiimI hil.-: I "UD to lhe-IIlliiUU " ho. h I . di*nri«i 111 (;oiir 'Mi ll honir by Oir wonijrrful I'Hiik .'^yNifm of Mnil lrwinii*tion. ><■«' Dliiirnilll M<-tlln.il. ,l lli..,iun lauirlil •iirro..full> W rill" for S|mtIiiI 1'itiii>. S.111I f...(.iu for ri.iin.ri>ln>lv lowulTcr ••IU.I*M CHUNDLfR PEAK. M. ■. M**m JO 021 Cr»c«nl riao - CMcMo, III. Florence, New York City. — 1 hate to tell you — but Jack Pcrrin, dashing hero of the serial, "The Lion Man," is married. He is married to Josephine Hill, the subject of the Easter picture-page in Photoplay, who was a Universal feature-ette and who is playinn now in Metro's "Parlor, Bedroom anci Bath." She will not give up the screen. Dorothy. Muskegon Heights, Mich — So your teacher said she was glad when you stayed out of school, becauf* you asked so many questions. Your teacher and I must be kindred .spirit; — no. not spirits — souls. It's hard to get away from our old figures of speech, isn't it? But it's always best to let the dead past, etc. Pearl White, according to the bc-l records, is ihirt> -one. She works for Fox and should be addressed there- — Eastern studios. You're welcome. R. N., K.\NS.\s Cm'.— The companies are having a merr>' time buying old stories. Metro bought ".Alias Jimmy \alentine" for Bert Lytell but theirs is not the original screen production of this crook play. Maurice Tourneur directed Robert War- wick in it when both were with World. Harold Lloyd has a car, but I don't know what make it is. Is it absolutely essential that you should know? H. R. L . KiNGSvn.LE. — You would never make an art director on a modem maga- zine if that picture of Renee .Adoree you cut from Photoplay and pasted on your desk keeps you from working. You should see the pictures that surround even the old .Answer Man ! Renee played in Fox's 'Clemenceau Case. " Better not see it. If a "still ' of her kept you from work, what would moving pictures of her do to you'^ Pioneer, Miami. — You don't have to have any pull to get an immediate answer from me. Truth is, there isn't anyone who gets a thing like that. You see. no matter how soon you think you write, there is al- ways some one else whose letter gets here first. Yours simply had to await its turn. Historj' has a right to repeat itself and so has the .Answer Man — when flappers ask him the same Barthelmi^s and O'Brien ques- tions in every mail. 1 don't like it any bet- ter than you do, but it's my duty, me child. Roy Stewart made a Western or two for an independent company or two after leav- ing Triangle. Lately he appeared in Ben- jamin Hampton's piciurization of Zane Grey's 'Desert of Wheat, " renamed "Riders of the Dawn." Now he is Betty Compson's leading man in her first stellar picture. I hope you're satisfied. Better write to him and ask him that other question. Oratorical Assocl\tion. .Ann .Arbor. — ' You were a bit careless in your request. If you had read the rules at the lop of thb department you would know that a stamped addressed envelof>e is required for a reply by mail. If you read the Magazine you would get the names of the leading pro- ducers from the Studio Directory, which always occupies a column somewhere in the front or back of the book. I would advise you to consult this Directorv. CATIirRINE. HOLIIDAYSBURG. Pa — I don'l mind being called an old man but I do mind being called an old woman. .As a matter of fact, I am not either one. Con- . now. Further details will be given later. Bebe Daniels played in several DeMille pic- tures, notably "Why Change Your Wife?" She has also done leading business with Wallace Reid for Lasky. And now Realart, a branch of the Paramount-Artcraft com- pany, is going to star this little brunette who used to be Harold Lloyd's feminine foil in his comedies. Mildred Davis is the blonde who took Bebe's place; I like her very much indeed. She is in "Haunted Spooks," "The Eastern Westerner," "High and Dry" and all the future Lloyd re- leases. Mabel Normand's latest is "The Slim Princess," from George Ade's play, so you can see she is still doing comedy. You want a picture of Snub Pollard. U. F., Tacoma.— Of course I liked "The Mirac'e Man." The principal players in- cluded Thomas Meighan, Betty Compson, Lon Chaney — he was "The Frog." Meighan is now a star and so is Miss Compson. Meighan is good in "The Prince Chap" — watch out for it. Marguerite Clark is not going to retire, but she will play for some other company than Paramount, I believe. She's Mrs. H. Palmerson Williams, as I've told all of you so many, many times. Taxi, S'alina.— Most of your questions I have answered many times. It was Con- stance and not Norma in "A \'irtuous Vamp.'' Connie is a comedienne while Norma is an emotional actress. Conway Tearle has been divorced, but he is married now to Adele Rowland and I have heard no rumors of impending separation. Mrs. Tearle is now singing and dancing in "Irene," a New York musical comedy. Har- rison Ford isn't married now ; he is a regu- lar Lasky leading man, appearing opposite W^anda Hawley in Realart's "Miss Hobbs." For Sunburn after a lazy hour on the beach, a speedy hour on the tennis court or a round of the golf links, splash the burned skin freely with AbsorbineJ^ tKE ANTISEPTJC LfNiMEHT It cools and soothes instantly ~ takes out all soreness and inflammation. And the next day, only a slightly deeper coat of tan as a reminder of the day's sport. Absorbine Jr. is used witli absolute safety and with equally beneficial results on the rugged skin of the athlete or the most deli- cate complexion of the debutante. No vacation kit is safely complete without a bottle of Absorbine Jr. for its healing uses are so many and so efficacious. $1.25 a bottle at most dru^Bists pr delivered. A Liberal Trial Bottle will be mailed to your address upon receipt of luc in stamps. W. F. YOUNG, Inc. 18 Temple Street • Springfield, Mass. wind.indumpncss.inliKtit.U'l Curnicn ffuard your complexion. It stoys on.'.^ Whili-, Fink. Flesh . Cream i and the ^;cll■ CAIiMlCX- t IIUrXIJTTE- Shade 50c Everywhere Trial Offer— Si ncl IL'c to cover |)o9taifc lintl pnckint; for purso size box witli :i weeks' supply- state shade preferred. TAFFORD-MlLLERCO.St.louls Mo. i REMEMBER ^^^^^^^^^ ;\iiU ed. not only by the advertiser, but by the pub- lisher. When vou write to advertisers please mention PHOTOPLAY. Wlien you write to advertisers pleaao mention PUOTt)I'La.Y .MAUAi^LXL;. J 26 Ma21e C, Brooklyn. — Vou re dead wrong, Mazie. I'm not blessed or burdened with a sweet liillc wife and cunning child. You flatter me when you imply that if 1 were #0 burdened or blessed, my wife would be sweet and my child cunning. I am a bachelor. Mazie — a born bachelor. \ iolel Heming is being featured in Paramounl-.^rlcraft photo- ()la>i. ^'ou a.-k me what 1 think of a cer- tain producer. I'd hate to tell you. And 1 refuse to divu ge how I do my hair. A chap mu.>t maintain some individuality, mustn't he? Questions and Answers ( Concluded J G. C. M., Pakap.arap. — If you think I am harsh, you should have an Answer Man who drove army mules for two years. I am really very sweet-tempered. Ill look that up for you. Rolf .Armstrong has never (lone a portrait of Madame Olga Petrova for Photoplay. Petrova is coming back to pictures soon, she says. Makjokie Z., Santa Susana, Cal. — I have conveyed your felicitations to Miss Evans and 1 think she will write to you herself. It's a great thing to make anyone say, "Why are dishes — I laugh at them." I suppose a lot of you contribs think that writing to me for an answer is like trying to set a number on the tele- phone. By the time I answer you're too old and feeble to care. Bui always remember that my pile of let- ters is just as appal- ling as your pile of dirly dishes. Casson Ferguson, Lasky, Hollywood, Dorothy, (iish. Griffith, Ma- maroneck. Zasu Pitts in " Poor Relations." She has her own com- pany now- ; address her at 5.32 S. Fremont Avenue. Los Angeles, Cal. Many thanks, and write again soon. Jimmy, Denver. — Some men spend half their lives raising whiskers to conceal their youth and the other half dyeing them to conceal their age. Lou Tellegen is married lo Geraldine Farrar, with whom he played in Goldwyn's "Flame of the Desert"' and "Woman and the Puppet." Tellegen is on the stage now in a new play. Cullen Landis. (loldwyn, Culver City. Theda Bara, in 'The B.ue Flame," an Al Woods produc- tion for the legitimate. Theda's sister is not an actress. Pegcy W.. Schenect.^dv. — It's all right for you to eat one and one-half pieces of lemon- cream pie for luncheon, I suppose — that is. if you can stand il — but why write me about it? 1 haven't had a really good lemon-cream pie for months — and have been tr>ing to forget. Sessue Hayakawa's new picture is "The Devil s Claim/' Nice little title. His wife, Tsuru Aoki. is twenty-eight years old She is in Japan on a visit right now. Mad- laine Traverse was born in Boston, but won't say when. C. M. B., W.xsiiiNGTON. — Your quesiionr were rather vasiuc and decidedly gossipy. Don't believe half that you hear nor any- '.liing that \ou overhear, my friend. Mary Pickford is as popular as ever. Barbara, Battle questions have been CVRLY R., RCTH- EKKOKD Heights, Pa. — You say you never see a good answer to the question, "How can a fellow get in the movies?" And good reason why. A fellow usually cant. You must hunt up a studio city, apply for a job and stick around. That's the only royal road to film success I know of. George Walsh i> sti I making pictures for Fox. C. C. T., W.xsH- iNGTON. — Paramount- .■\rtcraft is the official name of the concern of which Adolph Zukor is president .ind Jesse Lasky vice- |)resident. All Fa- mous Players and Lasky pictures made by this company are relea.-^ed under that one brand name — P. A. Zukor established Real- art, but Paramount-.Aricraft does not ofii- (ially re'ease Realart pictures. Realart is of 460 FiHh Avenue. New Yor'k City. Con- sult directory. Creek. — All of your answered before, but since vou are such a little girl I don't mind answering them all over. Dorothy Gish and Dick Barthelmess will not appear to- gether any more Dick is a star himself now. Mary Mile; Minter in "Jenny Be Good." Ralph Graves opposite Dorothy Gish in "Her Ma- jesty."' Norma Tal- madge is married to Joseph S c h e n c k ; Constance and Na- talie are not married You weren"t a bit of bother, child. Drantn^ by 'T. i. 'Toiist'y After traveling 1200 miles to New York for entertainment, the Dobson« find themselves re-observing the .same film they saw in Horsford Center two weeks ago. -- Courtesy oj Judge. Copyright, /920 Clevel.\nd. ^L S. — Short and snappy, yours. You only want the birth-places and dates and pres- ent addresses and matrimonial inten- tions of a dozen stars. Can't give you all of ihem. but here arc some: Conway Tearle, Selznick: mar- ried to .Adele Row- land. .Anita Stcwan and Katherine Mac- Donald. Louis Mayer studios. Los .Anceles. Miss Stewart is really Mrs. Rudolph Cam- eron. Elsie Ferguson. (Mrs. Thomas Clarke t. Paramount Artcrafl. Mrs. .A.nswer Man, Bellevve. — This nom de plume that you insist upon is going to cause me an awful lot of trouble. Suppose I were really married and my wife should >ee it? .As it is, everyone will be asking me why I never mentioned it if I have a wife in Canada. But I aim lo please and >ou a.'-kefl it of me. Francis McDonald was born in Bowling Green, Kentucky, in iSoi. 1-ast appearances in "Hearts and Mask--"' .inec- — tioii . If I ke. p it. 1 w ill pay s57 iit tlie rule of s:j per month. The lilli' t'> reiuuin iu yoii until fullv piiiil for. My -hippinii l.oliil ii I iloes not place mi- umler ony nhliiiniion to buv. If I i hoofo not «<'nil » nuiehini' until I order it. Moll me ■ y.Mir book— "ThM Hliili Cogt nf T>pewritor»— The I KeiiMin iind the Rfmi-tly." your do luxe entoloK and > further infftrnuition. Name Strcri .\4lilrr»». f liy '. &utc. Occupntlon or Bu*inrft» . _ I 3 £ n I Savf» tfJ^O For $57 you can now obtain the identical OdVC «p'*0 Oliver Typewriter formerly priced at $100. W e are able to save you nearly half because of our radically new and economical melliod of distribution. During the war we learned many lessons. We found that it was unnecessary lo have such a vast number of travel- iii.cc salesmen and so many expensive branch houses throughout the country. We were able to discontinue many other superfluous sales methods. Result — we can afford to sell at $57 the very same Oliver formerly priced at SlOO. Mail the Coupon Now Check the coupon to net the Oliver for live days free trial in voui own home. If you decide to keep the tvp<-writer you c.iii pay for ii on terms so easy that you won't ntiss the money — only $3 a month If you prefer to have further information before orderinK. fill in th< Coupon for otn free c.it.il.'K. Clip llu- i .'ujvmi new and mail it at nnre Canadian Price, $72 until Aug. I. 1920 I I TT>e OLIVEP Typewriter (pmpanV 147 B Oliver Typewriter Bldg., Chicago, III. Enrj- «Uxrrthfiiiriii in PIIOTOrLAY MAOiUNC U guwauteeJ. Famous Users of the Oliver Columbia Grapho- phone Co. Pennsylvania Rail- road National City Bank of N. Y. Boftton Elevated Railway Hart. Schftffner & Marx U. S. Steel Corpo- ration New York Edison Company American Bridtre Company Diamond M • I C b Conir.-%nv Don't Envy Beauty- Use Pompeian " SHE seems the only one in the world to dim. Ker lovely color enchants him — her beauty captivates. She will always seem young and girlish to him, for she has the secret of instant and permanent beauty. She uses a com- plete "Pompeian Beauty Toilette." First, a touch of Pompeian DAY Cream (vanishing), to soften the skin and to hold the powder. Thoi Pompeian BEAUTY Powder. Ao« a touch of Pompeian BLOOM. Day Cream, Beauty Powder, Bloom, at all druggists. Also Pom- peian MASSAGE Cream, Pompeian NIGHT Cream, and Pompeian FRAGRANCE (a talcum with an exquisite new odor) . See sample offtr^ Special Offer — Half-Box Powder and Trial Talc Can Either or both sent to one person only in a fani'ly. For a dime you get a half-box of 50c Pompeian BE.AUTY Powder and samples of BLOOM and DAY Cream For a nickel vou get a beautitul trial can of Pompeian FR.AGRANCE; (a talcum) for your purse. For 15c you get both. (BEAUTY Powder offer is good only in case neither you nor any member of your family has tried it before). Many interesting beauty experiments can be made with these trial pnckages. No letter necessary with coupon. We'll understand. THE POMPEIAN CO., 2131 Payne Ave.. Cleveland, O. I BEAUTY ' POWDER / THK I'OMPKIAN CO.. 2KU P«yn.- Ave. ClcvrUnd. O. fv-ntl thin coupon tu abuve stldrviiM. ICncloKr im- idlni Half-Hox r<>ni|H iiin B«uuty Powdrr. Or Tm- iniok*r< for t-iin of I'nmoi-iuii Kritift-mnrr im Utlcumi. Or IGc «lim nickfl I for both parkutreN. Flesh Beauty Powder svnt unlfMii anothM- ultail* rvquoaicJ. When I drive Around In niy costly motor c-;ir (as Uini^ Lardm-r s-iys) I always take A spare tire An extra tube And My Life-Savers. I can't smoke — The ashes blow In my eye Or my friend's eyes And the cipar Burns up one side. Or goes out. But I want something —don't kiiowjust why— To turn over And twist around On my tongue. The answer is Lifc-Savers, So snappy So comforting So smooth and cool, They keep my throat Moist and flexible And each one Sort of wears down Slowly Giving off that spicy Honey -fied Aromatic Piquant flavor Until it's just a thin Brittle Delicious rim Of sweetness ; And it breaks And is gone. Like a pleasant dream: But 1 can dream it All over again Whenever I lilce. Tlic K]iH D. Muctening tnnp of CloVTS. No ftiivor Iran < i-. r mme popular than M'intcrgrcciu and cookies -that's Cinnamon. Thro. i l- >■■)!■ -i.u-<. i-i'T oood /or a"rtcMM" tkr,mit. too. ^^Don't Snry Beauty — Use Pompeian In a moment, she has aJJcJ the warm color of healthful youth — her complete " Pompeian Beauty Toilette." Don't envy her beauty. Have it, too, by the Pompeian Instant Beauty method. First, a touch of Pompeian DAY Cream ( \ anishinij) , to sottcn the skin and hold the powder. Then Pompeian BEAUTY Powder. It makes the skin beautifully fair. Note a touch of Pompeian BLOOM for youthful color. Day Cream, Beauty Powder, Bloom, at all druggists. Also Pompeian MASSAGE Cream, Pompeian NIGHT Cream, and Pompeian FRAGRANCE (a talcum). Special Offer — Half-Box Powder and Trial Talc Can Either or both sent to one person only in a tamily. For a dime >'ou pet a half bo« of Pompcun BEAUTY Powder and samples of BLOOM and DAY Cream. For a nickel you got a beautiful trial can of Pompeian FRAGRANCE (a talcum ) for your purse. For i^c you get both. ( BEAUTY Powder offer Is good only in case neither you nor any member of your family has tried it before.) Many interesting beauty experiments can be made with these trial packages. No letter necessary with coupon. We'll understand. THE POMPEIAN CO., 2131 Payne Avenue, Cleveland, Oiuo Also Made in Canada I BEAUTY ' POWDER / GUARANTEE The name Pompeian on any package is your Ruarancee of quality and satecy. Should you not be completely sat- islicd, the purchase price will be gladly refunded by The Pompeian Co., at Cleveland, Ohio- THt rOMPfclAN' CO.. 2131 Payne Ave., Cleveland. Ohio Send this coupon to above address. Enclote 10c Idinie' for half-box Pompeian Beauty Towdcr. Or ic InickcH for handy can of Pompeian Fragrance <» talcum). Or ISc (dime and nickel) lor both pickagev. Name , A Jdiess . Photoplay Magazine — Advertising Section Look at this for a program! «V^wO**^ Leoncavallo Kilns'*^ It is possible on the Victrola only ! For only with Victor Records on the Victrola do you get the subtle shades of color, tone, and interpretation which mean pre-emi- nence. When you hear Victor Records played on the Victrola, you hear precisely what each artist heard and approved as his or her own work. Any other combination must necessarily be less than the best. Be sure you get a Victrola and not an imitation. $25 to $1500. Victor dealers everywhere. New Victor Records demon- strated at all dealers on the 1st of each month. VICTROLA Victrola XVII, $350 Victrola XVll, electric, $415 MahogBHY or oak BtC. U. S PAT. OFF. Victor Talking Machine Co* Camden, New Jersey This trftde/nark andith« irAdemarkftd ^ord 'Victroto' tdentify all our products. Look under the lid t Look on th« label ! VICTOR TALKING MACHINE CO Camden N J, When you write to advertisc/d please mcDtion I'llOTOl'LAY MAGAZINE. 4 Photopi^w Magazine — Adm^rtising Section "Let us off at that Paramount sign'' DOESN'T matter where you get on. The thing is to know where you get ojf. All trolley cars stop at theatres showing Paramount Pictures. That's where they unload the pleasure-loving fam- ilies. That's where the coins tinkle merrily on the little brass plate that passes you into the witching time with Paramount. The eleven thousand or so theatres that are lucky enough to ha\'e Paramount Pictures, announce it in lobby, poster and newspaper. Keep your eye open for the name. That's what tells you where to find the kind of entertainment you seek. Qhramouni pictures The World's Leading Motion Picture Publication PHOTOPLAY MAGAZINE JAMES R. QUIRK, Editor Vol. XVIII No. 4 Contents ' September 1920 Constance Talmadge Cover Design, From a Pastel Portrait by Rolf Armstrong. Rotogravure Sylvia Breamer, Wanda Hawley, Roberta Arnold, Bessie Love, Irene Rich, Dorothy DeVore, Enid Bennett and May Allison. Great Themes — Great Photoplays The Day of the Deb Editorial Arabella Boone The Very Young Binney Sisters' Fling With Fame. Marsh and Company . . , Mae's Little Sisters Follow Her Into the Films. An Interview With a Baby Adela Rogers St. Johns Mary Johanna Tells Why She Picked Bill Desmond For a Daddy. Gone Completely to the Bow-Wows Gladys Brockwell's " Dog Heaven." She Changed Her Coiffure Settling a Dispute About Gloria Swanson. ■ Their Beginnings How Our Movie Magnates Started — Mostly on Nothing. Society in the Films Mrs. Belmont Sets the Pace and Isn't a Bit Up-stage. The Misfit Wife Nanon Belois The Story of a Girl Who Made Herself Wanted. (Contents continued on next page) 19 27 28 30 .31 32 33 34 36 38 Editorial Offices, 25 W. 45th St., New York City Published monthly by the Photoplay Publishing Co., 350 N. Clark St., Chicago. 111. Edwin M. Colvtn, Pres. James R. QuntK, Vice Pres. R. M. Eastman, Sec.-Treas. W. M. Hart, Adv. Mgr. Yearly Subscription; $2.50 in the United States, its dependencies, Mexico and Cuba; $3.00 Canada; $3.50 to foreign countries. Remittances should be made by checlc, or postal or express money order. Caution— Do not subscribe through persons unknown to you. Entered as second-class maner Apr. 24. 1912. at the PostofEce at Chicazo, III., under the Act ol March 3. 1879. Pictures Reviewed in the Shadow Stage This Issue Save this magazine — refer to the criticisms be- fore you pick out your evening's entertainment. Make this your reference list. Page 66 The Mollycoddle United .\rtists Page 67 Suds United .\rtists Mme. X Goldwyn Page 72 Madonnas and Men Jans Pictures, Inc. The Branding Iron Goldwyn The Wonder Man .... Robertson-Cole Page 74 The Return of Tarzan . . Xuma-Goldwyn Human Stuff Universal Sand W. S. Hart Productions Page 104 The Great Accident Goldwyn Married Life Sennett Miss Hobbs Realart Page 105 A Double Dyed Deceiver.. . .Goldwyn Velvet Fingers Pathe Bab's Candidate Vitagraph Page 106 The Cheater Metro The Third Eye .^stra-Pathe The Invisible Hand Vitagraph The Silent Avenger Vitagraph Object Matrimony. . . Hampton-Pathc The Grocery Clerk Vitagraph Remodeling Her Husband Paramount .'\rt craft Daredevil Jack Pathe Sick-a-Bed Paramount .Artcraft Pride and Pork Chops. . . . J. M. Flagg The Restless Sex Cosmopolitan Page 108 Midnight Gambols Pioneer The Desperate Hero Selznick Twins of Suffering Creek Fox The Woman God Sent Selznick The Street Called Straight. . Goldwyn It Happened in Paris For the Soul of Rafael Equity The House of Toys .American Under Crimson Skies Universal Page 112 The Trail of the Cigarettes. ... .\rrow Wits vs. Wits Hallmark White Lies Fox The Man Who Lost Himself. . Selznick Copyright, 1920. by the PHOTOPLAY PUBLISHING COMPANY. Chicago. 5 Contents — Continued " Not That Kid ! " Delight Evans 42 That's What You'd Say About the Remarkable Frank Borzage Harold Astounds the Musical World With His Genius Drawing. Norman Anthony 44 Confessions of a Caveman (As told to Adela Rogers St. Johns) Thomas Meighan 45 Kiphng Might Learn About Women From Tommie. The Scoffer Gene Sheridan 49 A Powerful Story of the Battle of a Strong Man's Soul. A Date With Connie Edward S. ("Tex") O'Reilly 54 Tex Makes One as Miss Talmadge Prepares to Sail. West Is East Intimate Impressions of Filmdom's Folk. Dual Lives Kaoul and Miriam Cooper Walsh Lead Them— But Together. Delight Evans 56 57 Rotogravure Harold Lloyd, Ward Crane, Frank Mayo, Nor- man Kerry, Rosemary Theby, Conrad Nagel, Robert Cain, Mary Thurman, Allan Dwan, Mr. and Mrs. Harry Carey. Close-Ups A Page of Hats A Few of Norma Talmadge's Favorites. The Shadow Stage Candid Reviews of the Latest Pictures. Why Do They Do It? What's Your Pet Peeve About the Pictures? Questions and Answers : • ., ' ^ Plays and Players What's Doing Behind the Silversheet Cal. York 59 Editorial Comment 63 64 The Little Things That Count Norma Talmadge 65 Photoplay's Fashion Editor Gives Some Valuable Advice. Burns Mantle 66 Dick's New Contract Frances Denton 68 Miss Hay Becomes Barthelmess' Real Leading Woman. 76 The Answer Man 78 81 Metcalfe? Who's He? Now That He's Back From the War, Hell Show Us. The Squirrel Cage ] A. Gnut 83 A Nut Sundae for Weak Days. j . , Marie Doro: An International Ingenue 84 What Has Happened to the Ivory Goddess. The School House Margaret E. Sangster 86 Another Heart-to-Heart Talk With the Faniilv Circle. {AddresSfS oj the Leading Motion Picture Producers appear on page t6) Author in Wonderland A FAMOUS woman writer was invited to witness a murder ! She accepted the invi' tation — wouldn't you? You would if the murder was scheduled to happen in a £lm studio. Everyone who hasn't been initiated into the wonders of the land of Kliegs and Cooper- Hewitts wants to visit It — and this writer was no exception. She had as many adventures as Alice in Wonderland. She saw other things besides the murder; fascinating things and beautiful things. And she wrote about her experiences. She'll make you want to visit the nearest film studio right away. The mysteries of movie- mak' ing are told in this story in the October number of Photoplay Magazine hy . Alice Duer Milier Photoplay Magazine — ADVEKTisiN(i Section 7 Pre- War Price $100 Now $36 Less In these days when the cost of many things is higher than before the war, it is a distinct contribution to business econ- omy to be able through more direct selling methods to offer such a great and decided sav- ing on so popular a typewriter as the Oliver. A Finer Typewriter At a Fair Price Over 800,000 Sold Save $36 on $100 Oliver New Olivers direct to you at 36% saving Free trial — No money in advance Let us send you the Oliver for free trial. The coupon brings it. If you agree that it is the finest typewriter, regardless of price, pay for it at the rate of $4 a month. We ask no pay- ment in advance. You have over a year to pay. And you'll have the Oliver all that time. There is no need to wait until you have the full amount. The free trial does not cost you a penny. For, if after trying the Oliver you wish to return it, we even refund the transportation charges. Our new plan has been a tremen- dous success. We are selling more Olivers this way than ever before. Over 800,000 Olivers have been sold! Oliver popularity is increasing daily. You save $36 For $64 you now obtain the iden- tical Oliver formerly priced at $100. We are able to save you over a third because of our radically new and economical method of distribution. During the war we learned many lessons. We found that it was unnec- essary to have such a vast number of traveling salesmen and so many expen- sive branch houses throughout the country. We were able to discontinue many other superfluous sales methods. The result — we can afford to sell at $64 the very same Oliver formerly priced at $100. If you wish to have further informa- tion before ordering, fill in the coupon for our free catalog and our astonish- ing book explaining why typewriters have been expensive heretofore. Check the coupon for free trial Oliver or the catalog just as you wish. Clip the coupon noiv and mail at once. TT>c OLIVEr? Typewriter (pmoany 147-C Oliver Typewriter Bldg., Chicatio, "l- THE OLIVER TYPEWRITER CO.. 147-C Ollv«r Typ»writ new Olivor Nino for five dnya' froc in^-pcctio krep it. I will p»y tM ot the ri lain in you until fully pnid for. Mail the coupon now | I I HH krep'it. i"wiirp»y tM ot theVaie ofYl p«r montli.' the till,- to ain in you until fully paid for. I..., jjhippitiK point is • ; Thi« docs not placo mo undcr any oblitration to buy. "^l eh' My uhippinK point i: ■ K*» not place - - - , , the Oliver. I will ship it back at your expense at the end of five days. □ Do not send a machine until I order It. Mall me your book- "Tho HiKh Cost of Typewritcr«-The Kia.ton and the Remedy. •The HiKh Cost of Typewriters- The K.ai r dc luxe cataloit and further infornmtion Remember, you need not send any money with the coupon. Send the coupon only to get the Oliver for five days' free trial in your own home. Street Address Occupation or Business. When you wiiiu to advertlaiTg please menllon I'MOTOMyAY JIAGAZINE. 8 PHOTOI'I.AY M.UiAZINK — AdVKHTISING SECTION PafteComedies Harold Lloyd — From Coast to Coast the Trail of His Comedies is Swept With Gales of Laughter! - Real comedy is the hardest of all forms of motion pictures to write, enact and direct. Is it not remarkable, then, that many dramatic critics and theatre men state in pos- itive terms that the Harold Lloyd comedies give more entertainment and are more popular with audiences than the "feature" pictures which are supposed to be the backbone of the average niotion picture show ? "Lloyd is a big league comedian, his company is big league, and whoever does the directing is big league," says a magazine critic of these wonderful comedies. "Lloyd is the chief bulwark of the Strand ( New York J program this week in 'An Eastern Westerner,' a fwo-reel comedy," says Variety, a leading theatrical magazine. "In this laughing delight not a foot is wasted from start to finish. One laugh chases another con- stantly up the throat. In short this issue is a corker and should continue Mr. Lloyd on the pleasant trail of ten thousand weeks, which is understood to be his speed." "Astonishingly fresh and diverting." — N.Y. Tribune. " Lloyd made a hit." — N. Y. Globe. 1 "The audience roared. 'Haunted Spooks' is the funniest comedy of the season." — N. Y. Sun. "The man who discovered Harold Lloyd deserves a vote of thanks." — Minneapolis Tribune I What so many have found to be astonishingly clever and diverting is worthy of special effort on your part to see; ask the manager of your theatre the days on which he shows a Harold Lloyd! Pathe Cqtnedies — Motion Pictures at their Best HAROLD LLOYD TWO-KEEL COMEDIES, master- is scoring an even greater success on the screen than in pieces of mirth, one every month, iTodviced by Hal Roach. various theatrical productions in Broadway theatres. MRS.SIDNEY DREW TWp. REEL COMEDIES, clever ROLIN COMEDIES, featuring "Snub" Pollard and tha screen portrayals of the famous "After Thirty" stories by funny little darky, "Sunshine Sammy." One one-reel Julian Street. JOHN CUMBERLANDas"JimmyWickett" comedy every week, produced by Hal Roach. pATHE EXCHANGE, INC. Ftul Brunei. Vicr-Pmidrnt and CrnersI MunaUrr 25WF. ST45thSTREET NEW YORK Photoplay Magazine — Advertising Section 9 Joseph M. Schenck presents the screen's most winsome comedienne Constance Talmadge in her funniest comedydrama ^ "Good References" Love, Romance, Intrigue, and the most comical situations ever imagined — full of pep and spice — and a million laughs ! By E. J Rath Picturized hy Dorothy Farnum Directed by R. V^illiam T^eill Watch for It at Your Theatre! A FIRST JiATlOHAL ArTRACTIOH when jou wriie to aJvertl3«rs please raenlloii PHOTOl'LAY AIAUAZINE. lO PnoroiT.N^' Ma(, \/.i\f -An\ i:h iisinc. Skction A Wife Too Many\ Into the hotel lobby walked a beautiful woman and a distinguished man. Little indeed did the gay and gallant crowd know that around these heads there flew stories of terror — of murder — and treason — that on their entrance half a dozen detectives sprang up from different parts of the place. Because of them the lights of the War Department in Washington blazed far into the night. With their fate was wound the tragedy of a broken marriage, of a fortune lost, of a nation betrayed. It is a wonderful story with the kind of mystery that you will sit up nights trying to fathom. It is just one of the stories fashioned by that master of mystery CRAIG KENNEDY American Sherlock Holm:'-: ARTHUR B. REEVE 5he American Cotian Doyle S i >* He is the d,tcctivc cenius of our age. He has taken science— science that stands for this aKC— and allijd it to tlie mystery and romance ot detective Action. Even to the smallestdetail, every bit of the plot is worked out scientifically. Fornearly ten years Anitrica has been watching this Craig Kennedy— marvcline at tlic .St range, new, start line things that di tective hero would unfold. Such plots — such suspense— with real, \ivid people moving through the maelstrom of life ! Frenchnun have mastered the art of terror stories. Kngllsh writers have thrilled whole nations by their artful heroes. Russian ingenuity has fashioned wild tales of mys- tery, I!ut all these seem old-fash- ioned—out of date— beside the in- finite variety — llic weird excite- nu rit of Arthur B. Keevc's tales. 17DI717 POE r IXIIiEj 10 Volumes To those who send the coupon promptly, we will give FIIEK a set of Edgar Allan I'oe's masterpieces in 1 O volumes. When the police of New York failed to solve one of the most fearful murder mysteries of the lime, Edgar Allan I'oc — far otT in Paris — found the solution. 'I'lie story is in these volumes. This is a wonderful combina- tion. Here are two of the greatest writers of mystery and scientific bli»hcd 1817 NEW YORK Harper A Brothcrt, 18 Frinklm Stjiure. New York S«'Tnl m* nil rh^rtrrw nr»-t>wM. urt <.f Arthur H K<>*»» - In 12 voltim'a Al... irn.! inf . •l>»nliH«'lif frrr. th*. of F^nr Allan l'o« —In 10 *n1«itnr». If llio Imx.Ii* Brr not KiitUf artorjr I will rstiim h..lh •cU within in risT* at vour rKp«n«i>. OthrrwUe I wHI aaad rou SI. 00 within h dan and |Z.(W a month for 14 monUi*. At Home Quickly and Easily Interesting and attractive posi- tioHH for men and women at Bubstantial salarieB are always ready for trained wireless operators. Sala- ries start at $I2.'> a month, plus board, lodginir. and laundry, which moans a total of ?200 or more a month. One of our recent Graduates is pettingr $6,000 a year. Get in line for a !>!« po- sition At n bile imlnry ! lA-l UB help you! Write for informdtion nnd we will Bend you tliin Fre« l>oolili-t. full of valu- able information. 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Bv Rrtum Mail FREE . Write LACEY frXACEY, Dept. E. W»8funJton.D.C For 65 Cents You c.in obtain the next throe numbers of Photoplay M.iK.izine, delivered to you by the poslm.Tn anywhere in the U. S. (Cinada ROc.) This special offer is made.ns a trial subscrip. lion. Also it will avoid the old story of "Sold Out," if you happen to be a little late at the news-stand. Send postal order to Dept. ITC PHOTOPLAY MAGAZINE 350 N. Cli«rk Street CHICAGO Finish This Story for Yourself — New York had seemed so wonderful — art had seemed so big — but M«w ^'ork turned a cold shoulder — .irt proved hard and bitter. -Mone in the big city, at the end of her resources, she was too weary to cry. This special day she went out.to seek — not glory or fame — but just for something to eat. She found — but let the story be told bv O. HENRY 274 Complete Stories One Long Novel He finds romance everywhere — around the corner — in the department store — in the shop — in the gutter — in the street car. 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Your Last Chance tin in^ flwa> botks in these da>5o(high priced paper is eiting away doilari, and we can assure you (hat if we had to buy the ;'3per for these books today we could not give tSrmlo)oi:;buI it happens that wed id buy .1 limited amount of paper some time ago uhich we set aside, ard this paper is to c v.^cA for thr*r S'^rr!.>ck H^^'mrs «r'fifs. Your chanc* l« now— now. whilo you mrm lookinc Jit the coupon — toar k\ off and mail it today — now — at one*. Review of Reviews Co., 30 Ining PUct. N.Y. REVIEW OF REVIEWS CO. I h..l.. li-M 30 Irvins Place, Naw York City Spnd mo on nrrr'"'T«l. chnrtrtw I'niil by >i>\i. O. Honry'« work* ill I- vol.uui-R, l-» \l»o tlir 7 Toliim.' Ki'l of Oonan IVvIo'k " Shacioch Holmaa" •lories. IvmiikI in c loth If I kiH>p lh<> lM>okil 1 mil ri niil SI ..M' in S itnvi-. nnd Ihon >2 W • month for It month" for th» t) Honry iwt only nnd kwr Iho i roliiniiM. of .Sherhvk Itolmo* FKKK. 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Our machines are used and endorsed by gDvernroent insiituUons. Cata- log free Atlas Mioring Picture ( cmitr.y, 431 Monon bldg.. Chicago. Copy this Sketch •nJ let me !<*h- m hai >oii cdo do with it. Manv newnpaper artists earoinK 00 to $r.S,ni> or more per week were train- ed by my course of pen^ooal individual Iokw^dr bv m;til riCTrUE CHARTS make oriK'nal dra«inc easy to learn. Send eketrh of rn< 1»* Sam with 6c in stamps for ■ample Picture Chart, list of Huccemful students, example of their work and o\ iden - _.aceof what VOU can at coinpl i-li. ^m^- TheLandonSchool 2107 SChotield Bldff., Cleveland, 0. PUait itatf 1 arn*35to*100aWee BECOHE A PROFESSIONAL PHOTOGRAPHER Big Opportunities NOW. (i )alif y for thi." f.-i^cinatirtp i r. fission. Three months' course covers all branches: Motion Picture — Commercial — Portraiture ■ -nnurns and Malcruils Fu.uol..,! yv.yf Pr»(-tir«l tn.^tnirtlon: m.Hirm •.quii'mfrt. r>«y « N.^ ,■: N. Y. INSTITUTE of PHOTOGRAPHY 141 W. 36iliSl., NewYorl 505 Stjie St.. BiootilT, Delivered y™ FREE "Don't shout"| .Hi([li School Graduate . Illcctriv^il hnifiiircr .Elcc. Liifht & P.i^rr Siii 1 .Hydroelectric Mni;iii*rr .Tricplionc I-nk'tnc^r .Tclcic'-tph linifin'-T . FurcnianS Traininif Ccnjr% .Archttcci .Uuikhna Contmctor .Civil trufincer .Struclur.il Hnulnrrr . Mch-mii.tl I-n^tirrr .Shofi S'li-crintrndrnl .Slrniiil-nKUirft .[>rBll«iiMii ^iid I>t^lirncr ....I-ax%>er ....Uusinrvs Manager ....Ccnihed Pub. Accoiinl.ini . . . . A< > oiintant and Audiii>r ....B<><>kkf-rt>cr ....Plioiopl.iy Writer ....l-irr Insurance Fxpert ....Sinit.ir>' I-.nifinccr ....E'liploynient Managrr ...Ilr.iiliig A: \'ent. I nii'iirn ....Autninobtlc l-.nKinerr ....AninbiIr Kep^iriii-in ....Airplane Mcthani- ,,,,i*fener.il F.duc^tion Course ....Common School Hranthc* Your choice o5 44 styUft. colors ind f>iz>>8 in the famous line of RANGER" bicycles. We pay tho frt ik'ht from ChicaRO to your town. 30 Days Free Trial "J'r.li ■..I.- \.Hj S.I. rt . iirtiial ridinii test. EASY PAYMENTS if dal«. I inCOsitiKlc wheoU and r(*p.iir nrtu for all maki s of hirycles at alf usunl pric.-B. SEND NO MONEY but write today for the 1..K- n. w Catal I lovN 1 With iIk MUKin PHONE. I've a pa" 11 <"•> now, but iScy arr inxuihlc. uid niil know 1 had thctn in. v^rif ..n!v lh»l I hear all tighl rhr MORLEY PHONE (oc the DEAF urun CYCLE COMPANY inCllll Dept. B-40 t.« the rar5 wksl ..(ve? ate to the cyr*. In- iMhle.comlortible, wrifihl- lr*5 and harmJew. AoToiir can dcijusi it." 0\ri 100 into sold. Wnte for bo«kW( aod Chicago | THE MORI FY (O. .Dept. 789. 26S.l5th St. PhiU. DOYOU LIKE TO DRAW? CARTOONISTS ARC WELL FAID „. ...r n. li In « «r«k lUit if u ur.' ntiO.oi- to ilrvrlop y-tll I. t I »iih n •tic,-<>**r o»»» r.»* t o, hu, »r..^ . ■ TYPEWRITER EMPORIUM la.iaw L.>. «tr»«i. CMicaco ^ tVtKJ -.11 I HiiTori-VV .M.\i..\. WK ^uaraiilt't'U. utn itiilV/ Photoplay Magazine — Advertising Section 13 Double What Would an or More TAKE a pencil and jot down the things y-ou would like to have, the things you would like to do, which could easily become realities if you were to double your present salary. If you could double your present salary the high cost of living would solve itself — wouldn't it ? You could buy pleasures for yourself or your family which now are impossible; you could associate with business men among whom you now feel ill at ease; you could enjoy many of the good things of life which always accompany success. You can never double your salary by con- tinuing in the work and sticking in the job you have today. The only way you can double your salary and earn promotion and success is to prepare and train yourself to fill a position in which you can earn more money. It Is Not Difficult Thousands of other ambitious men have proved it. Are you willing to pay the price— a little spare time? You surely are willing to invest a few of your evenings at home to gain a big increase in earning jxjwer. More than 225,000 ambitious men have already been helped to promotion, increased salary and success because they have traded some of their spare time for the knowledge and training offered by one or more of the thirteen specialized home-training courses in higher business subjects as taught by LaSalle Extension University. • Study the list of names in the center col- umn of this page. These men and hundreds of others reported increases in salary during a period of only six months. They did it right at home. The increases reported range from 100%to400%> and the average is 145%. We can give you the names of such men from every state. Each month brings hundreds of reports of advancement from LaSalle students and graduates. Many who report such increases have not half completed the home-study training course in which they have enrolled. They were able to cash in on the knowledge and training long before they completed their courses. You Can Do As Well All that is necessary is that you have ordi- nary intelligence and the ambition and the courage to be willing to spend part of your spare time in training by mail under the personal direction of LaSalle experts. It is the quickest, surest way to prepare yourself for the big job ahead. The training you receive thru LaSalle is a real training. You are not asked to memorize a lot of principles and theories and then turned loose to practice them as best you can. , On the contrary, the new and in- teresting LaSalle "Problem Method" by means of which you work out for yourself actual business transactions, makes you feci as though you were at the very desk and on the very job you are training to fill. It is like being privileged to sit in a council of mod- em business executives, assisting them in the solution of their daily business problems. You are, in effect, taken behind the scenes ol big business; taken into every depart- ment of business; shown the relation of each department to every other department; trained to look upon business as the great, smo(nh- working machine that it is. Under the LaSalle ' ' Pn)blem Method ' ' you are not risking your position, your money, nor the Present Salary! Increase of $1,000 to $5,000 a Year Mean to You? These Men Increased Their Salaries From 1 00% to 400% — You Can Do the Same if You WillTrain in Spare Time Under the LaSalle "Problem Method" N.A.Borgen rose from $87.50 a month to $5,600 a year. He says: "Less than a year ago, when I enrolled, I was earning $87.50 per month as a clerk with the C. M. & St. P. Ry. Co. I am now managing the promotion department of the Standard Oil Company, but in addition I am promoting sales, criticising correspondence, and gingering the salesmen of the White Salmon Development Company, The L. C. SmithCom- pany, and the Northwestern Marmon Company. JVIy present salary is approximately $5,600 per annum, or an increase of over 400 per cent. I am writing this to show what a good course of study planned along specific lines can do for a man." Cordially yours, (Signed) N. A. BORGEN Minneapolis C. Deusch. New York. N. Y 400% M. C. Kockman. Norwood. 0 400% E. M. Burlfson, San Antonio. Tex 300% W. F. Strumke. Racine. Wis 300% C. H. Puenhagen. New Lebanon. O...-300% G. E O'Brien. Akron. 0 300% J.H. Mack. Denver. Colo 300% Mr. Schmidt. Springfield. 0 250% H. E. Cabaniss. Memphis. Tenn 235% L. S. Meyers. Boston. Mass 233% F. Wunder. Cincinnati. 0 227% C. Lausch. Whitehall, Mich _ 220% R. E. Urfer. Decatur. Ill _ .200% G. H. Tibbets. Clintonville. Wis 200% F. G. Brumund. Joliet. Ill 200% H. Freichofer. Dayton. 0 200% R. W. Hoff. St. Marys, Ga _ 200% H. G. Almand. LaGranpre. Ga 200% F. H. Hamack. Washington. D. C ^00% O. Lambdin. Marshall. Ill 200% D. B. Holwell. New Rochelle. N. Y....200% W. M. Taylor. Columbus. 0 200% J. H. Worman. Greenville. Mass 200% H. M. Hillgardner. Memphis, Tenn. ...200% H. R. Cox. Knoxville. Tenn 200% L. P. Taillon. Manitoba. Can 200% A. H. Satterlee. Gilroy Calif 200% L. C. Whitten, E. Las Vegas, Mex 200% C. Laitsch. Whitehall. Mich „ 180% W. R. Pope. Schenectady. N. Y 175% L. R. Christie, Columbus. Ga 166% E. S. Davis. Chattanooga. Tenn 150% H. C. Barker. Houston. Tex 150% A. L. Schwab. New Philadelphia. O 150% E. Hoover. Lansing, Mich i50% E. L. Brown. Sumter, S. C 150% (;. W. Carus. Battle Creek. Mich 150% S. C. Harkness. Springfield. Mo 150% B. N. Ward. Rock Island. Ill 140% R. A. Moore. Macon. Ga 133% C. R. Passapae. Baltimore, Md 130% R. G. Fellows. Lansing. Mich 125^ W. Eisenhuth. New York. N. Y 125% F. L. Leslie. Riverhead. N. Y 125% F. H. Liedike. Albany, N. Y 122% H. S. Leigh. Memphis. Tenn 105% You will find LaSalle trained men hold- ing responsible positiuiis with large busi- ness firms and corporations everywhere— and what Borgen.and Deusch and O'Brien, Schmidt and thousands of others have done, is a (air indication of-what yuu can do if you will (ollowtlie plan they liave found so ettective. time and money of your employer on untried schemes, ideas and methods. LaSalle organizatitm comprises more than 1, 150 people, including 4,50 trained business executives, traf¥ic experts, certified public accountants, efficiency experts, trained busi- ness correspondents, bankers, lawyers, business authorities, text writers, lecture writers, instructors and assistants. You are carefully and painstakingly coached in every duty of the position you are training to fill. Help That Insures Success During your enrollment and also after you have completed your course you have at your command, 8 hours each day, the University's big staff of highly specialized experts to help you make good, not only in your present position, but when promoted to the bigger job. This consulting service is not paralleled by any other educational insti- tution and enables you to bring your prob- lems, at any time, to men of practical busi- ness expenence for their help and advice. Decide to train now and in a few months you, too, will have greatly increased your earning power. The first step is to fill in and mail the coupon below marking the course which would fit you for the high sal- aried position for which you wish to train. We will send you full information as to the LaSalle Problem Method of Training, the reasonable cost, the convenient terms of payment, and a copy of our famous book, ' ' Ten Years' Promotion in One' ' —a book which tells how men with the aid of LaSalle training have obtained in one year promo- tion which without the aid of this training they could not have realized in ten. Which course shall we tell you about? I COUPON 1 ' I — (HIGHER ACCOUNTANCY: ' l_JTraitHng for positions as Auditors. Comptrol- i lers. Certified Public Accountants, Cost I Accountants, etc. ' □ BUSINESS ADMINISTRATION: I Training for Official. Manaserial, Sales and | Executive Positions. . □ TRAFFIC MANAGEMENT- I FOREIGN AND DOMESTIC: ' Training for positions as Railroad and Indus- B trial Traffic Managers, etc. | □LAW: , Training for Bar; LL. B. Degree. I □ COMMERCIAL LAW: ' Heading, Reference and Consultation Service I for Business Men, | □ PRODUCTION EFFICIENCY: i Training for Production Managers, Department I Heads, and .ill those desiring training in the 48 I factors of efficiency. i □ BUSINESS LETTER-WRITING: | Training for positions as Correspondents. Mail Sales Directors, and all executive letter- I writing positions. | □ BANKING AND FINANCE: I Training for executive positions in Banks and I Financial Institutions. ' □ BUSINESS ENGLISH: jTraining for Buiiiness Correspoijdtnta and I Copy Writers. . □ COMMERCIAL SPANISH: | Trainingforpositionsas KorcignCorrespondent ' with Spnnish-speaking countries. I □ EXPERT BOOKKEEPl.NG: I Training for position of Head Bookkeeper. □ EFFECTIVE PUBLIC SPEAKING: I Training in the art of forceful, effective speech I for Ministers. Salesmen, Fraternal Leaders, i Politicians, Clubmen, etc. | □ C. P. A. COACHING FOR ADVANCED ' ACCOUNTANTS: I Prepares for State Board and Institute Ex- | aminations. LaSalle Extension University I Tll»Largonal use. Send six cents today for your copy of this book. Be sure to vtate your age and present occupation. Federal School of Applied Cartooning 098 Warner Building Minneapolis, Minn. ^THIWIWfW'WIH'M'WlWj^f Dr.EsenWeiii HoW i^o Write, WhaHo Wriie, and Where \o sell. Cultivate your mind. Dc\'elop yonrlilcrary gifts. Masl|r 10 (vnts. «nnu*l •ubwnr^ion |1 00. UmkW« our twchmg s»fvic«, wf a0«r • fnanuKncf i;riiicttfn UfK*. ISO-Page illustrftted cftlalogua lr«<. P/mm 4W^r««s Xixc Home forrespondciicc School Dcp"t o- 5prin.|fuld.Mti^ft tr^'wJi jLr»-«-g-B-g-Bi-W'Wii|-H-WTgS^j m ft: Musiclessons UNDER MASTER TEACHERS A Complete Conservatory Course Rv 1V4ail Wonderful home study music lessons under Dy IVldll jrreat American and European teachcrB. Endorsed by r;id<.rewski. Master teachers Kuide and coach you. Lessons a marvel of simplicity and completeness. Any Instrument or Voice ^s"^^^^J>S5 are interested in— Piano. Harmony. Voice. Public School MuBic, Violin. Cormt. Mandolin. Guitar. Banjo, or Kced Orjjran— and we will send our KKEE CATALOG covering all instrumental and vocal courses. Send NOW. UNIVERSITY EXTENSION CONSERVATORY 108 SicKel-My«ra Bldg. Chicago, IllinoU SHomc Study Course in ■ ■ PANISH Salesmen, Bookkeepers, Clerks. Stcnoftraiiliorg. can increase their earnintr power thru a kiiowlodno of Commercial Spanish. The South American tiold. now openinK up on a trcmcndoue bcalo. olTero splen- did inducements to men and women who understand Spanish. The LaSalle Home Train i nit Course gives you o mastery of Spanish in n surpri.sinjriy short time. Instruction can be carried on during your •pare time without interference with reirulnr work. Every week you let hours slip away in which you could easily learn Spanish and quahfy for n respon- sible position with some larife American exporting firm desirous of incriasintr their Latin- American business. Write for cataloK completely describinir our Homo Study Plan and the opportunities open to IhoHi' hnvinir n kniiwli-an method utrrnpthcnj the heart and r'-nTally im- proves the t-ntirr (irjrariir system. Come thm. U t l-- 1* m. a.;, the betrinnmir of new lif.- to YOU. Send for My New Book "Muscular PevelopmeDl" ,thtrle« It tctls the srcret. HandBomcly illuatnted photographs of rorscif and some of the world's bt-»t whom I have traiD<-d. AI.10 cootaina fullparticulars of m> spVen- did offer to yua. The valuable book and ape^iaj oiTrr will be sent on receipt of only 10 cents, to cover coat of wrappin« and mail ing. ^it rishtdown now and filt in the coupon. The S'xiiner >'<f. without any obligation on my part whatever, a copy of >our lateat book. " Muscular Development." n! Send now! Tb* Hawanan Ustihrte of Mssic 1400 BroidaaF.Oepr.SZ-A.Nnfork fear n How to Writ^ /r ShOtt Stories nu c > a for ihnn none*. r'>'-'^T'->" »'J fci/v-c j-t , n ^ .--Jc.-n h.^ to UTitc It home in ipirc limc Jack London Mid so. He and other ereat wntcn have endoncd our home »tudj cv'jttc- 1 Be coune ii (iKinatin£ and uVei onlr a few o4 ymii ipalT houn \\T •< f e D I. and detaibofcwr Limited Inm> Wnte tor rree Book ductorr otier. n o owicanon HCX)SIFR nsSTTaTT. S. SIXtpt IT-li Ft Warrn. Ixtw Kuth ilUi.lni(<^j. All muf Warrv Ti*Y r<>R V'rki: IVmik Quinn Consarvatory.Sltuit H. SM C«lmb IT AT // A 1 /-? /<"" 1 ^ .idverlisemcnt in l\tLDlL^i^lLiL,l\ PHOrOPL.W IS Kuar. mifoil. not onlv bv the .idvcniser. but bythe pub h-bi r Wlien vmi write to advertisers please nionlion I'l ll )TO!'I..\ V. Photoplay Magazine — Advertising Section 15 "Keep Your Eye on Jim!" "It's not alone what a man does du7-i7ig working hours, but outside of working hours — that determines his future. There are plenty of men who do a good job while they're at it, but who work with one eye on the clock and one ear cocked for the whistle. They long for that loaf at noon and for that evening hour in the bowling alley. They are good workers and they'll always be just that — ten years from now they are likely to be right where they are today. "But when you see a man putting in his noon hour learning more about his work, you see a man who won't stay down. His job today is just a stepping-stone to something better. He'll never be satisfied until he hits the top. And he'll get there, because he's the kind of man we want in this firm's responsible positions. You can always depend on a man like Jim. "Every important man in this plant won out in the same way. Our treasurer used to be a bookkeeper. The sales manager started in a branch office up state. The factory superintendent was at a lathe a few years ago. The chief designer rose from the bottom in the drafting room. The traffic manager was a clerk. n TEAR OUT HERE" All these men won their advancements through spare time study with the International Correspondence Schools. Today they are earning four or five times — yes, some of them ten times as much money as when they came with us. "That's why I say that Jim there is one of our future executives. Keep your eye on him. Give him every chance — he'll make good!" Employers everywhere are looking for men who really want to get ahead. If you want to make more money, show your employer that you're trying to be nuorth more money. If you want more responsibility, show him you're willing to prepare yourself for it. For 29 years the International Correspondence Schools have been training men and women right in their own homes after supper, or whenever they had a little time to spare. More than two million have stepped up in just this way. More than 110,000 are studying now. Ten thousand are starting every month. Can you afford to let another priceless hour pass without making your start toward something better? Here is all we ask — without cost, without ob- ligation, mark and mail this coupon. It's a little thing that takes but a moment, but it's the most important thing you can do today. Do it now! INTERNATIONAL CORRESPONDENCE SCHOOLS BOX 6524, SCRANTON, PA. Explain, without obUgatlnK me, how I can qualify {or the post* tlon, or in the subject, btfort wlilcb I marl< X. KLECTKIClL ENQINEKR Electric LiKhting aod Railway* Electric Wlrlne Telegraph Engineer Telephone Work UECIIlKlCil. t'.MdlNEFB Mechanical Draftsman Machine Shop Practice Toolmaker Gas EnKine Operatlns VITIL F.NUINEKIt Survcylne and Mapptne UINE KOKEHIN l)K KMUI.IEEB STlTIOKilir E.lltil.NeEU Marine Engineer Ship Draftsmaa ARCHi 1 tor Contruclor and Builder Architectural Draftsmaa Concrete Builder Structural Engineer PLVUIIINU l.NU IIEITIRS Sheet Metal Worker Textile Overvecr or Supc CHEMIST Navigatloa SALESMANSHIP AUVERIISING Window Trimmer Show Card Writer Sign Painter Railroad Trainman ILLl'.S 1 RATING Cartooning |RlSI>f S.S H1<71()CIIENT 1 Private Secretary j HOOKKtEPEK J Stenographer and TyptaC jCert. Public Accountant TRAFFIC MANAGER IRallway Accountant J Commercial Law GOOD ENGLISH J Teacher j Common School Subledi ] Mathematica CIVIL SERVICE Railway Mail Clerk tliTnnoiiii.F; offKiTixs jinlo Hopalrlnt I^Npaalsk J KJItlClT.TrilK lUKreask a l-oDlIry lUUlag lU lUUaa Present Occupatloti_ Street and No. City. Whea you write to adrertlsers ulcaso mcnUou PUOTOPUAV M.\(;.\ZINB. i6 Photoplay M\(.\zim; — Advertising Section A thousand separate joys Each serving dish of Puffed grains contains a thousand separate joys. Each grain is a bubble, thin and flimsy, puffed to eight times normal size. A hundred million steam explosions have occurred in each, blasting every food cell. The airy globules are crisp and toasted. They taste like nut-meats puffed. The morsels seem like fairy foods, almost too good to eat. Yet, these are the utmost in scientific foods. Two are whole grains, with every food cell fitted to digest. They are the foods that children like best, and the best foods they can get. Serve with cream and sugar. Mix with your berries. Float in every bowl of milk. Crisp and douse with melted butter for hungry children in the afternoon. They are nothing but grain foods. The nutty flavor comes from toasting. The flimsy texture comes from steam explo- sions. The delights are all due to scientific methods. Serve morning, noon and night in summer, between meals and at bedtime. The more children eat, the better. What other food compares with whole grains puffed ? Puffed Puffed Corn Wheat Rice Puffs Also Puffed Rice Pancake Flour The new pancakes Now we have Puffed Kice Pancake Flour, self raisinR, mixed with .trround Puffed Rice. The Puffed Kice flour tastes hke nut tlour, and it makes the pancakes fluffy. This new mixture makes the finest pancakes tliat you ever tasted. Try it. The Quaker Qals (pmpany Studio Directory -1 Soh- Makrrs For ihc convenience of our readers who may desire the ad- dresses of film companies we give the principal active ones below _ The first is the business office;' (s) indicates a studio; in some cases both are at one address. .\ilEIUCAN FILM jrFG. CO.. 6227 Bro«d««y. Cblcuo: (SI Santa Barbara. Cal. BLACIvTON PRODUCTJOXS. INC.. 25 WeW 45th St., New York: (s) 4 23 Cla^ii Arf.. BrtMktyu. X. y. BOHKRT BRl'X"TOX STL'DIOS. 5300 Melrose Ave.. Los Angeles. Cal. CHRISTIE FILM CORP.. Sunset Botil. and Cower St.. Los Aiiseles. Cat. F1B.ST XATIOXAL EXHIBITORS' CIBCVIT, IXC 6 West 48tli St.. Xew York: .MiKlred Harris Cliai>Uu and Auita Stevait Studios. 3800 MIssloa Boul.. Los Au- gelcs, Cal. : Xuruia and Constance Talmadxe Studio. 3 1 s Ea=t 4 8th St., New Yorli; King Vidor Production, 6642 Santa Siunica Buul., Hollywood. Cal. Kallietiue MacDouald Productiuiis, GeorKi* and Glrard Sts.. Los Augeles. Cal. FOX FlLil CORP.. lOUi Art. and 0«th St., Nsandro St.. GOUJWYX FII.M CORP., 469 Flftb Ate., Xew York: (s) Culver City. Cal. THOMAS IXCE ,STt"DIO, Culver OtJ. Cal. ilETRO PICTCBES CORP.. 147 6 Broadway. New York: (si 3 West 61st St.. Xew York, aiid 1025 Lillian Way, Los Augeles, C-al. PARAMOCXT ARTCRAFT CORl'ORATIOX. 4*5 Fifth Ave.. Xew York: Famous Players Studio, 12S West 5«th St,. Xew York: Lasky Studio, Hollywood, Cal. P.4THE EXCHAXGE. 25 West 4:.tli St.. Xew York: is) Hollywood. C«L REAI..\RT PICTURES CORPORATION, 4*9 FlfUi Ave., Xew York; (a) 211 NortU Oo-ldentJl Boul.. Hollywood. Cal, REELCB.\FT PICTURES CORP., 7 29 Setwitli Ave.. Xew York: (s) 1107 Xorth Bronson Ate., Hollywood, Cal.. and 1729 North Wells .-St., Clileago, 111. BOllERTSOX-COLE PBODUCTIOXS. 1600 Broad- way. Xew York. RKTIIAI KER FILM MFG. CO., Parkway, Chicago. III. 1339 DivfrseT SELZXICK PICTURES CORP., 729 SeTeiilh Ate.. Xew York: (s) 807 East 175th SI.. Xew York, and West Fort Lee, N. J. UXITKl) .XRTISTS CORPORATIi>X, 729 .SivriKli Ave.. Xew York: Mary Pickford Studio?. Hollywood. Cai.: l>ouRlas Fairbanks Studios. HollywMod. Cal.: niarles Chaplhi Studios, 1416 LaBrea Ave.; ITollytvood, Cal.: D. W, Griffith Studios. Oriental Polm. Maniaroneek, N. T. UXIVERS.iVL FILM MFO. CO., 1600 Broadvray, Now York: M Unltcr«a1 ClIT. Cal. VrTAORAPH CtlMl'AXY OP AMERICA. 1600 Broadway. New York; (•» Ean..\ Y M-Mi ^/iVf" f- marartt. ^ 17 J Wben you write to advertisers please mentloa PIIOTOl'LAY .MAGAXINK. i8 PiioTOFi^w M\(.\zim: — AnvKHiisiNG Section Your complexion tells a story to the world How fearlessly, how confident- ly, the girl with a fresh, soft, lovely skin meets the eyes of the world! Nothing to conceal! For almost always a clear, radiant com- plexion is an indication of a buoyant, well poised nature, healthful living and fastidious habits. Nothing so quickly creates an im- pression of your personality as your skin. By keeping it soft, clear, radiant — you can make it speak in- stantly, unmistakably of fastidious freshness and charm. Don't let your skin tell a story of neglect or thoughtless habits. Even if through the wrong kind of treat- ment your complexion has lost the smoothness and freshness it should have, you can give it back the color and clearness that make other girls' complexions so attractive. For your skin is constantly chang- ing. Each day old skin dies and new skin takes its place. And you will find that this new skin, ii given the care its particular need demands, will respond instantly and gratifyingly. Perhaps you suffer from that em- barrassing fault of so many com- plexions—an oily skin, and a nose that will get shiny. To correct this excessive oiliness use this special treatment: Every night with warm water work up a heavy lather of Wood- bury's Facial Soap in your hands. Apply it to your face and rub it into the pores thoroughly — always with an upward and outward motion. Rinse with warm water, then with cold — the colder the better. If possible, rub your face for thirty seconds with a piece of ice. Use this treatment regularly every night, and see what an improvement it gradually makes in your appear- ance— how much firmer and drier your skin becomes under this care. Special treat m cuts for every type of skin This is only one of the famous Woodiiury treatments for improving the skin. Get the booklet of treat- ments that is wrapped around every cake of Woodbury's Facial Soaji and use the treatment for your individual type o\ skin. Woodbury's Facial Soap is sold at all drug stores and toilet goods counters in the United States and Canada. Get a cake today — begiri your treatment tonight. A 25-cent cake lasts for a month or six weeks of any treatment, or for general cleansing use. "Your treatment for one week" Send 25 cents (or a dainty miniature set of NNoodbury's skin preparations contain ing^our complete h'ooJbury treat- ment for one week. You will find, first the little book- let, ".A Skin You Love to Touch," then a trial-size cake of WorL.A V M^ijA/I.M. i'« cuaraiiUi'U, Hoover C YLVIA BREAMER, born the daughter of a British ship's commander, came from ^ Australia and is now gracing our films. And she proves that she is an interna- tionally-minded young woman by her subtle facility in any kind of exacting role. Northland Studios 'VX7' E have lost one of our most cliHrming loiuliiij; women — but gained a new star. Waiidii Hftwley. who haw Ihhmi the ])artner of Wallaoe Ueid and Bryant Wash- hiirn iu screen domestic dramas, seems to have found lierself as a light comedienne. Charlotte Falrchlld ■p OBERTA ARNOLD first scored on the stage in "Upstairs and Down" and is ■'■^ now repeating that success in "Adam and Eva." A gifted girl with a sense of humor, she is, besides, the wife of one of the screen's best bets — Herbert Rawlinson. THAT tragic child from old Fine Arts; Bossio Ia)vi>. has hlossomed into a star. The dol)utante boas of her own conipariy, she is doing the sort of thing she likoK hcHt : talcs of young love in itx most refreshing and humorous aspwt. i T RENE RICH is the wholesome young woman you have seen with Will Rogers. •■■ She's the sort of a girl who always makes Will feel — just before the satisfying final fadeout — that sometimes it is decidedly worth while to be a homely man. Kviiiiii DOROTHY DkVOHK of Christie is an apt illustration of the new era in screen comedy. She never wears a one-piece bathing suit, and seldom serves as a target for custards — yet somehow or other you always like to w>e her pictures. EXID BEXXETT has formed her own company, and so has her director-husband, Fred Xihlo. Enid's progress — since she first appeared in celluloid for Thomas Ince — has been a record of real achievement. We have Australia to thank for her. You may have wondered why any girl with nioro tlian her share of heauty and clmrm shoiild want to l)0 a pofxl actress. Go to see May Allison and find out Do you remember her as leading woman for tlie late Harold IxK'kwood? ^Tjhe World's Leading CvVfoym^ ^i6lure CL^a^azine PHOTOPLAY Vol. XVIII September, 1 920 No. 4 Great Themes — Great Photoplays photoplay can be greater than its theme. In the age-old discussion as to the comparative merits of story, acting and direction, the story has won its rightful first place, but the time has come when we are thin\ing bac\ of the story — or beyond it, as you choose. "Theme" does not mean "sermon." Dramas primarily intended as ethical lessons usually fail, as they should. Unless an artistic wor\ intrigues the senses — to put It more plainly, unless it entertaiyis — it is not an artistic wor\at all. The themes of the photoplays that have been memorable, from "Stella Mans" to "The Miracle Man," from "The Birth of a T^ation" to "Madame X," have been based on the deep'down things which are every mans inheritance; the simple things which it ta\es neither book-learning nor artful accomplishment to appreciate and comprehend. American life, we admit, was once lived too easily, too superficially. But we are no longer a childishly happy, snugly contented nation; we are a nation in manhood as resolute as it is restless, bearing our share of the world's burdens and sorrows, as well as parta\ing of its fruits of victory. The day is past when we can consider as "good stories" many of the mechani' cal contraptions of young love, hero and villain, small complication, easy triumph and happiness forever, which were, quite honestly, "good stories" yesterday. We have, as we said, gone beyond childish things, and as men and women reaching maturity we see that the fundamentals, the greatnesses of life, are always simple, old things that have been with us always, even while we \ic\ed them aside in our search for new sensations. The trust of a child, the devotion of a mother, the faith of a wife, the grim determination of honest ambition — these are among the foundatioy^ stones of humanity, which, endure unchanged from age to age, while the shallow waves of society, luxury and fashion advance and recede, and the clamor of war dies and comes again and dies once more. T/je Day of the DEB '^'oiith is being served in the persons of Constance and Faire Binney By ARABELLA BOONE riioto liy Edward Thayer Monn r Constance danced her way to recogni- tion, then became the satisfying ingenue. THERE they are!" exclaimed the woman with the red hat, in Delmonico's, "over there, at the corner table. Constance is the older — but they look almo:,t the same age, don't they? No — you'd never dream they were actresses. They don't look at all theatrical. Such 7iice girls — the Boston Binneys, my dear I" Conjuring a mental vision of two nice little girls who never tore their frocks, never got their faces dirty, never had to be told to wear their rubbers in bad weather — one is given a most distressing portrait of those bantams, the Binneys. Now listen: Two little girls from Boston went op the stage. One of ihem danced her way to recognition; then, when it had come, stopped dancing and became the satisfying and never sac- charine ingenue of a perfectly nice play written by another New England lady. The other little girl followed in her foot- steps and found a place, too. And then both of them came to the screen — because all little girls from Boston who go on the stage must come to the screen eventually. And they came to be known by people — perfect strangers — to whom they had never been introduced; and the mailbox of the New England home in the East Sixties in New York began to receive letters from others than intimate friends and polite creditors and relations. .■\n(l now the debutante or even sub-deb Binneys — at very early ages indeed — are famous. .\nd Constance, the first little girl, who danced, is a film star whose face is known from And now both the Binneys arc famous and ihe .Atlantic to .Maska: and Faire is travelling along the glory road as fast as her little feet can carry her. It is Constance who has been the directress of the Binney destinies, who is the First Binney. the young conqueror of Manhattan. She might have been another Marillyn >Iiller, the iilol of Mr. Ziegfeld's costly entertainments in and on top the theater; but after a trial she decideil she didn't like it and started all over again in something different. Something different proved to be "j>o East. " That she made good in it, is attested to by the fact that she has just returned from a lengthy season "on the road ' with it. and is soon to do it in pictures. She came home to the transplanteii Boston household with a plain cold. I didn't know stars ever had plain colds; but Con- stance said she had and then proved her place among the immortals by tilting a nose that was not red, and using a \(iice that was not mufilcd. You have to be a Boston Back- Bay Binney to do that. "I was in Chicago. " she said quite clearly, "the guest of honor at a'ladics" luncheon. .Ml very nice ladies, you untler- sland. But fancy having to eat a quantity of food for which 28 Photoplay Magazine 29 you have no appetite and answer a lot of questions that are silly, anyhow! Women who have seen perhaps one moving picture will ask me how it feels to be a movie actress and don't I have a queer feeling when I see myself on the screen. And others will wonder if I use make-up and does my director beat me. Women, " concluded Constance, "who have nothin-j; to do. and pity me because I have something to do! It is hard to imagine an idle existence. I couldn't live without work." JUST a little past twenty, she has only been working for a very few years — but, by youthful nerve and ver\e ^e has climbed until she is very near to that shining thing called Success. It wasn't '"pull" that got her there; it wasn't the family name or fortune — it was young Constance herself, who, bubbling over with optimism of the less offensive sort, and inspired by her own good spirits and good looks, stormed the defiant citadels of theatrical Manhattan and emerged a tiny Winged Victory— with two perfectly good and perfectly beauti- ful arms. Constance says — and believes — that the day of the youth- ful actress, the actress of unspoiled viewpoint and wholesome philosophy, is here. "Vou don't have to be a tragedy queen to succeed nowadays, necessarily." she says, "or you don't have to be a comedienne of the kind the press-agents call 'sparkling.' The young girl of today who possesses a fair amount of good looks and talent child, the screen, arc still uncharted seas, in which she will be, she is sure, an entirely original Columbus. Faire should be called Fritzi all the time because of the nose that in Susie Jones of Sioux City would be called a snub; because of her short refractory iiair, which she is permitting to grow again; because Constance is always correcting her impulsive "sure" to a more sedate "surely"; because her mother tells her to pull down the skirt of that tight short dress when she sits down — and finally because she has a penchant for personal dignity which even Constance's kidding and the playful puppy of the Binney menage cannot rufifie. IH.WE heard of actresses looking for engagements, but I never heard of so many engagements looking for one actress. Faire was in demand, but because of her extreme youth some shrewd gentleman hoped to put something over on her. He reckoned without Faire, who seems to be the business woman of the family. (Mrs. Grey, their mother, is artistic, but not financially shrewd, I suspect. She may understand Chopin but not contracts. Constance isn't exactly what you would call business-like, for all her youthful wisdom.) Faire believes, with the quite correct self-confidence of her years, that she is going to mean something in pictures some day — and her next contract will be stellar or nothing. If I know Faire, it will be stellar. (Continued on page 116) Fa«re followed in Constance s foot- steps and found a popular place, too. joth have played with John Barrymore. and common-sense who wants to win rec- ognition on the stage or in pictures — with circumstances being fairly favorable — should not find it hard to do so. It's youth they want — natural and unspoiled youth." Well, anyway, Constance ought to know. She has the composure of middle-age but hardly the sophistication. She is naive as well as poised. She superintended the entrance of Faire into the theater, but Faire, in her short apprenticeship, has be- come shrewder and more sophisticated than Constance will ever be. Both pro- vide in their joint career one of those wonderful and simple chronicles of con- quering youth whose struggles have been easy to meet because the prospective re- wards have seemed so great. To Con- stance, the stage has become a pleasant and profitable way of earning a luxurious living. To Faire, the theater and its step- Marsh and Company OF course there is only one Mae Marsh — but (lid you know there also are a Leslie Marsh and a Mildred Marsh? Mae followed her bij: sister Marguerite into films; and now liir own cousin Leslie and her younger sister Mildred are following .)fae in ! Just before Mrs. L. L. Arms — to speak of Mae in formal fashion — left for the Coast to begin her first picture since the arrival of little Mary Marsh Arms, Mildred decided that beaux and dates and lessons were all a bore — that she would simply expire if she didn't do a picture. You see, Mi dred had acted in several pictures with Mae, and was not new to the camera. So when Dorothy Gish was looking for a maid of honor — for the wedding scene in "Remodelling Her Husband" — Mildred ap- plied; and being a chum of Dorothy, got the job. And Leslie, who is a very little girl indeed, played the flower-girl. Mildred is a beautiful b'onde with gray eyes and red-gold hair and an ingratiating gigg e — she looks like Mae. Some day we may have two more Marsh stars — well, the more Marshes the mer- rier! And here they are. M ar>h on tlic* left . Di>ri.>tKv Gi-K an i Mac Marfli Armj at work in the studio of her California home. If Mac ever tire? of actinif. fhe can always earn fame as a sculptress. The figures in the forejjround arc examples of her work. 30 Mary Johanna Des- mond playing with the movie papa she picked. An Interview with a Baby Future applicants for infants should read what this new arrival has to say. By ADELA ROGERS ST. JOHNS IS this the William Desmond residence?" I asked respect- fully. "Yes, miss," said the butler. "I wish," said I, "to see Miss Mary Desmond." The butler raised his eyebrows until they registered well- bred surprise. "Oh, no, miss," he corrected coldly, "I daresay it's Mrs. Desmond you want to see." "Oh. no indeed." I said positively, though I am rather afraid of butlers, "Miss Desmond, Miss Niary Johanna Desmond." len Uill was quite a youngster himse She was curled up like a pink kitten in a rosebuil bassinet that absolutely frothed with lace and frills and ribbons, I think she was taking a wee nap. but when I approached she opened one blue eye and cocked it up at me inquiringly. Then she opened the other and smiled — actually — and such a tooth- less, companionable, interesting smile you never saw. The butler had disappeared. The nurse, in her white apron and perky cap. was sitting in the next room. We had things quite to ourselves, Miss Mary Johanna Desmond and I. "Tell me, Mary Johanna," I began softly, "how in the 31 32 world did you happen to select movie folks for your father and mother?" ■ Well." said Mary Johanna, taking a comfortable wet thumb out of a mouth that curled up into dimples at the comers, "if you really want to know. 1 11 tell you all about it." " Of course I want to know," I said impatiently. "Why do you think I climbed up to the top of this mountain if it wasn't to ask you that very question? Lots of babies all over the world will be interested." The day I got ready to come down here, about five weeks ago. " began Mary Johanna, wriggling one pink toe in an infinitesimal bootie until it stuck out from beneath the pink silk quilt that was tucked about her, "there were a lot of appli- cations. While I'm the last person in the world to talk about myself. I dare say I could almost have had my pick. Every- body up th'ere in Babyland thought I ought to do very well, there's such a demand for pretty girl babies with curly hair and blue eyes and dimples. "Personally. I never could see why there's such a crush for the pretty babies. We're asleep so darn much of the time, and the pretty ones grow up ugly oftener than not. And I can tell you the second time they send up. they're much more fussy about the disposition and the comfortableness than they are about the looks." .\nd Mary Johanna chortled gleefully. "Why. there was even a Princess sent for. Of course Prin- cesses aren t up to what they used to be. but this was quite a good one, very secure in a social way, and not so apt to get kicked out as some. That wasn't bad, you know. But still, in some ways it's a great handicap. While you're a great swell, nobody takes much time to love you. and after a while they marry you of! to just anybody and I shouldn't like that. I'm a great believer in marriage through choice myself. "There was one woman who wrote most of her application about the layette. It certainly sounded luscious. Everything Photoplay Magazine handmade by the dozen, with crepe dc chine nighties and Italian silk shirts and a while satin coat with ermine tails on it. I nearly fell for that. But as a matter of fact they aren't half so comfortable. This woman had such a lot of money and money is nice, isn't it? But it's not ever>'thing." Mary Johanna wrinkled her button of a nose in a way that I knew she had caught from her Daddy already. "To tell the truth, though, I didn't like the father she had picked out for me. "Then there was a famous suffrage leader sent up and wanted a girl. My goodness, she wanted one bad. She had its college all picked out. too. But she didn't say a thing about looks and it seemed such a good chance for one of the homely girls. Besides, we slipped in a boy. too. just to see how she'd take it. We didn't want her to get narrow-minded. "There were several nice — just average ones. too. But some were poor and some were dull and some had a lot of children already. Everybody in Babyland said I had a pretty good disposition, but still I'm not goody-goody like Angel nor noble like Baby Bunting, to stand poverty and having other babies use my things. "I just couldn't stand a family where they shoved you off in a silly, tame old nursery where you had to look at a blank wall all day. and never had any excitement or gossip or saw- any people. Heavens, don't they think a baby ever gets bored? Not talking all that first year makes it even worse. That's one thing I adored about this place — the nurser>'. "Look at these sweet walls, with all the stories and pictures about Bo-Peep and Little Miss Muflet and the Old Woman Who Lived in a Shoe. See the lovely birdies and butterflies. "One couple sounded nice, but they were awfully young and I was afraid they wouldn't know how to bring me up. There wasn't any grandmother there, either, and I couldn't think of a place where there weren't any grandmothers." (Continued on page iii) Gone Completely to the Bow''wows These little pigs will some day go to market to tiuy Gladys Brockwcll ? poor do(?? fomc bones. But rnjKt now iKc squealer* seem quite content to hog the camera, from their privilcjlcd position in Glady.s floppy hat. Mijs Brockwell owns a ranch out near Los Angeles that she calls "Dog Heaven." It gets its name from a two acre plot in the center of her land. In honor of Hoho 1.. who was killed in France. Mis,« Brockwcll ha.s devoted this patch as a permanent abode (or all unloved and un- wanted dogs of w h.ifcvcr prcvioii" po«ition in society. Any dog is accepted and no questions asked. Hoho I \\ a.', the father of Hoho II.. seen in the picture, the largest Airedale in the world. II She Changed Her Coiffure ALL those disputes as to whether Gloria Swanson's oriental head-dresses or Gloria Swanson herself is responsible for that young star's success, will be settled as soon as this page is in circulation. Take one look at the picture directly above. Yes — that's Gloria — but not the Gloria of the peacock coiffure and Far-Eastern gowns. Remember when she smoothed her hair back in '•Why Change Your Wife?" She completes the transformation in Cecil DeMille's "Something to Think About" — a new problem-play of pur- pose rather than passion; sincerity, not se.x. Those lovely beckoning eyes are sunken; those smooth cheeks hollow; while that coiffure — there's nothing left of it at all. Now that Gloria has successfully settled the argument as to her acting, we hope she'll keep right on in gowns like that at the upper left — a mole- skin affair with ermine tails and the usual glittering train. You see the real Gloria at the left, below, with Elliott De.xter in a scene from the picture which marks Mr. Dexter's screen return after his long illness — and Glorias last appearance before her temporary retirement as Mrs. Herbert K. Sombom. Their Beginnings HORATIO AL(;ERS newsboys who became great men and millionaires single handed have nothing on the gentlemen on this page, from the heart of our own litt e motion picture industry. Take Adolph Zukor, for instance, president of Famous Players. He counts [he week lost in which he does not sign up somebody for a million or so. He began life the son of poor parents in Hungary. At i6 he arrived alone at our shores, got a first job sweeping fur scraps out of a fur store, invented a patent fur snap, saved money enough to go into the Penny Arcade business, and from that to the pictures was only a matter of time. WILLIAM FOX will aiways have the cloth sponging business to fall back on if films ever go completely out of style. His first couple of dollars a week were earned sponging cloth on the lower East Side of Xew York. From workman he gradually progressed to o«-ner of the establishment. His start in films w'as as organizer of a film rental com- pany. Dissatisfaction with the kind of films he got from producing com- panies was the little acorn from which sprouted the idea of making pic- tures for himself by himself. The branches of the Fox Film Corporation now spread all over the world. DAVID WAKK (.Ril in H. whin a mere boy. was a can- vasser for I he "Haplist Wi ekly" and covered the hills (if Kentucky in quest of subscribers. Born near Louisville Mr. Griffith found it necessary to "go to work" at an early age, as his family with many thousands of others never really recovered from the impoveri.'-hnienl following the Civil War. From his job as reporter on the Louisville Courier Journal he enterefl the theatrical profession, and it is interesting to note that he earned Ss u day as an actor at the Biograph before he became the chief director there I PAIRING gloves in a glove factory may not be such excit- ing work as chimney sweeping, but it offers as many op- portunities to a bright boy to climb up in the world. Samuel C.oldwyn found so much lime to think as he measured glove tips as a boy that pretty soon he thought himself somclhin-.: better to do. .At today he is head of a several million do'la.- corporation bearing his name and he lc\h Mary Roberts Rire hart. Rex Beach and M.iurice Maeterlinck what stnl of picture s'ories he'd like to have them write, and Wi'l Rogers. Mabel Normand and Madge Kennedy how he'd like to have them act. If Zvikor was store sweeper, and DeMille a carriage washer, perhaps there's a chance for you. /^ECIL B. DE MILLE'S father was a partner ol David Belasco and ^-^ a playwright, but that didn't keep Cecil from going to work early. He quit school and went into the army before he was i8, but his mother didn't think the army was the place for a boy declined to become one of the motion picture industry's snappiest directors. She exposed his age, and the army authorities did the rest. This made her son so mad that he started washing carriages in Jersey out of revenge. Later on he went to art school' and college for a while. Now, with a corps of able as- sistants, he thinks up titles like "Why Change Your Wife?" JD. WILLI.AMS, Manager of the First National Ex- • hibitor's Circuit and .Associated First National Pic- tures Inc., started his meteoric flight toward fame and fortune in the motion picture art by practicing the mo- tions of a grocery clerk taking and filling orders for beans, sugar, eggs and stick candy in a store at Parkers- burg, W. Va. His entry into the motion picture world consisted in his chartering the curtain of the local motion picture theater, and soliciting ads. He eventually becgme ticket chopper, assistant doorman, usher, operator and eventually manager of the said local movie before he became a lllm broker. I'holugr.ipli I. THE first job of Richard A. Rowland, president of the Metro Pictures Corporation, at the age of twelve was as his father's assistant in a Pittsburgh theater playing "Uncle Tom's Cabin." From his post in the gallerv, center, vouns Dick was required to keep his calcium trained on Eliza while she kept ahead of the leashed blood hounds. When he was eighteen his father died, and the youn^; man drifted to motion pictures. He then struck up a partner.^hip with J. B. Clarke, starting a system of exchanges in a >mall way, laving the foundation of the chain of motion picture theaters thev now control. S.A.MI F.L L. ROTH.APFEL— in other words "Roxy"— was a cash boy in a store at i.v But he wouldn't stay put. So he joined the marines, became a book agent, sold insurance and eventually found himself bartender at Forest City, Pa., where he became father of de luxe presentation in motion picture theaters. He believed that pictures set to good music and artistically presented would be worth more money. He tried it out in the dance hall back of the saloon and quit bar tending. His idea later brought him to Broadway, where he is recognized as the peer of picture showmen. He presides over the Capitol. 3S Mrs. Moig.m ikliiioiit is Anicrican society's first contribution to films. She is seen here, at the left, with LiUian Gish, whom she met when both were appearing in Griffith's" Way Down East." ■u. W^as Mrs. Belmont "up-stage"? Slie was not. She made a friend of every member of ttie company from Lillian Gish — center — to Pete Props. Mrs. Belmont at the right. Society in the Films A FRIEND called the residence of Mrs. Morgan Bel- mont, prominent member of that exclusive circle known as "the four hundred'' in New York society. I\lrs. Belmont's butler informed the friend that ^ladame was out. "Madame is working today," he said. "What?" gasped the friend at the other end of the wire, "working?" "At the David Wark Griffith Film Studios," came the urbane voice of the family servitor. There was something sounding like a muffled, well-bred shriek from the other party; a receiver clicked — that's all. It was almost as bad as the scion of an aristocratic family going in for trade! Friends couldn't believe it. Other people, not so fashionable but no less skeptical, branded the announce- ment from the Griffith offices that "Mrs. Morgan Belmont is appearing in 'Way Down East' " as a press-story. But it proved to be true. Mrs. Belmont is working in "Way Down East," playing the part of the Boston society woman: Mrs. Belmont is made-up every morning and on the set at eight o'clock and often works until midnight. What's more. Mrs. Belmont loves pictures and says she intends to go in for them. What do you think of that? A queen was Griffith's star and innumerable Countesses and Duchesses and Ladies have posed for his camera in England. But American royalty never capitulated to the lure of the camera until Mrs. Belmont set the style. Now it would not surprise us to hear that Mr. and Mrs. Vincent Astor are to co-star in a domestic drama written especially for them: that ■ Clarence Mackaye is going to do a race-horse story, or that the entire Vanderbilt connection is appearing in a serial written by Mercedes D'.\costa, direction of George Gould, with artis- tic effects by Mrs. Harry Payne Whitney. Society's first contribution to films was Margaret Andrews, daughter of Paul Andrews, distinguished millionaire of New ■^'ork and Newport, before she married Morgan Belmont, son of August Belmont. She has an enviable position in that upper strata so-called "society:" she has wealth: she could spend her time in London as the house-guest of half the nobility if she had a mind to: she can live in Manhattan or she can pack up her jewels and take one of her many motor-cars to her lu.xurious "country" place on Long Island. But Mrs. Belmont says she is having a better time working in pictures than she ever had in her life before, although the hours are long and the rehearsals hard. A great admirer of Mr. Griffith, she proved herself a partic- ularly apt pupil under his guidance, acting with the greatest ease and naturalness. The assembled company watched her with ill-concealed curiosity. What would she be like? Would she be "up-stage?" Would she hold herself aloof from the regular thespian strugglers or ignore them completely? She would not ! She met them all. She became a friend of Lillian Gish, playing Anm Moore, the little country girl who comes to the Boston lady's house. Mrs. Belmont learned that Lillian pos- sessed as much dignity and charm as any New York or New- port debutante, and infinitely more brains than some. She liked to talk to her: asked her many questions about her work. (Continued on page joj) Peter Crandall. the ion of wealth, grasped the slender arms of the manicurist and ex- laundry worker in his two strong hands. Misfit Wife By NANON BELOIS The story of a girl who made herself wanted. IX a way you could not blame Peter Crandalls mother, nor his sister Edith, nor his brother-in-law. Henry Gilsey. Neither could you blame Dr. Merlon, the family physi- cian, nor the household butler, for the part they played in frying to keep Peter and his wife apart. All of them — even Peter Crandall himself up till the time he met Katie — were victims of an inherited attitude toward life — the attitude that dominated Gilcrest. their home, and that dominated the other homes like Gilcrest, which, solemn, enormous, terrifying in their grandeur, decorated the beautiful streets of the neighborhood. Peter s family, for generations back, had "belonged." Peter's dowager mother made and broke aspirants for .social recog- nition with a flourish of her lorgnette. Peter's dainty, slimly aristocratic sister had entrenched the family position still more deeply, if such a thing were possible, by marrying Henry Gil- .scy. a man of vast wealth, prominence, and prestige. The feeling of superiority to all who did not move in their circle, all who did not have money, was as inbred in all of them as a distaste for red and white table cloths. And in their ways. Dr. Merton, the family physician, and the butler reflected the same snobbishness. Peter and Gilsey, being men. and men of the world, were aware that roses even more beautiful and sweet than grew within the confines of their own social borders blew along despised lanes and in simpler meadows. But they never men- tioned their discoveries at Gilcrest. Even Peter's utter worthlessness. his selfishness, his abso- lute lack of serious purpose were excused in the society in which he had grown up. He was young. There was time for him to sow his wiltl oats. When he was settled down there would be plenty of young women, rich young women of the most exquisite bringing up and breeding, who would welcome him. not only for what the Cranilall name meant in society, but for Peter him.'^elf. Peter was abomin- ably good looking. Peter was fascinating. There were many hearts in the vicinity of Gilcrest that sighed for dashing Peter Crandall. And Peter went out and threw away all this family glor\- and position. Peter put a knife in the hearts of his mother and sister Edith and disturbed the snug complacency of his sister's husband. Peter married a manicurist — a manicurist from Paris. Wyoming! And her name was Katie — Katie Malloy! Photoplay Magazine 39 IT happened logically enough. One morning Peter did not show up at the breakfast table. Had it not been lor the fact that Peter had not shown up at the breakfast table for several weeks previously, the members of his family would not have been particularly annoyed about it. As it was, Peter's inclination to late hours and dissipation and heavy sleeping it ( il in ihc mornings was beginning to get on the family's nerves. .■\fter the meal, Gilsey went up to Peter's room. He was disgusted at what the harsh morning light, streaming in through the closed windows, revealed. Peter, still clothed, lay in a heap on the counterpane of his bed, heavily asleep. The air was charged with the odor of stale liquor. On the f^oor. where it had slipped from Peter's pocket, tiny heel pointed in the air, lay a brazen gold slipper. "Come on, old man,"' Gilsey said sharply, propping Peter up against the pillows. 'T'm going to tell you a' few things." Henry Gilsey did tell Peter a few things, and the upshot of the whole interview was that Peter Crandall departed ne.xt day for the town of Paris, Wyoming — since Paris was the name that first met his gaze on looking at a map. He de- parted amidst the tears of his mother and his sister, and the earnest supplication of his brother-in-law that he buck up, make something of himself, and learn how to be a man. Katie Malloy — like Peter Crandall and his immediate rela- tives— was also the victim of an inborn attitude toward life. Katie was an orphan. Her parents had been as fine and self respecting a couple as ever left the ould sod. They had left her nothing but her pride and a ready wit, and the knowledge that if you are to get anywhere in life you have to work, and work hard. Katie believed in work. She liked it. She i.cspised everyone who avoided it. Katie Malloy never associated with persons she considered beneath her. She was continually reading, studying and try- ing to get ahead. As a matter of fact, it was her ambition that brought her to Paris, Wyoming. She had gone to work in a laundry so that she might earn enough money to take up the manicuring business. She was an excellent ironer, but one day she became so inter- ested in her "Instructions on Manicuring," which she always kept handy so that she could snatch a few sentences here and there, that she left the iron standing on the silk shirt on which she was at work. Not even the smell of scorching fabric distracted her from her reading. But the foreman called her attention to it soon enough. "You'll pay for this, and you'll get out. You're too smart lor the laundry business," he sneered, while the other girls gathered about. Katie Malloy looked in horror at what she had done. But no situation was too much for her long. With a maddening little twist, she put one hand saucily behind her head, and the other on her hip. and looked the foreman in the face. "You needn't be worrying," she said. "I've been saving my money to go to Paris." She drew several bills from a safe hiding place, threw- two of them on the ironing board, took her hat and coat down from the peg on the wall, and walked out. Katie's arrival at Paris, a few weeks later, set that dusty little town agog. Xo queen ever descended with more regal dignity from her throne, than our Katie, togged out in new clothes from sailor hat down to buckled slippers, stepped down from the Paris depot bus when it pulled up before the Trav- elers' Rest Hotel. The Paris gentlemen who gathered about the vehicle gasped openly and unashamed, too overcome, at first, to move. Then there was a general scramble, led by Duff Simpkins, for her suitcase and her camera. From that moment on, Duff Simpkins considered that th* new "manicurist l:id'' was his girl. H.' helped her get her nook established in the corner of the lobby at the Travelers' Rest. And he saw to it, too, that none of the rough, uncouth men who crowded about her table dis- closed too personal an attitude toward her, though Katie her- Stamping angrily througli the door and up to the table she denounced the card sharps and dragged the stupefied Peter to his room. Photoplay Magazine 40 self would have disposed of them soon enough if they had tried. KATIE was firmly established in Paris when Peter Cran- liull arrived. It was a case of love at first sight — on Katie's part. From her corner of the lobby she saw Peter approach the wooden desk and ask for room and bath. She heard the laughter of the men gathered about to listen to what the stranger might say. and filed through the skin on Duff Simpkins' hand as she watched. Duff demanded a kiss for the hurt. It was Duffs little way of making it clear that he would not stand for any interest in a new arrival. Katie re- fused the kiss, whereby Duff proceeded to take one. But as he reached out for her, he was jerked from his feet and whirled backwards to the floor over a pair of strong young shoulders. Simpkins leaped angrily to his feet again to face Peter Crandall, who looked him calmly in the eye. "After this when I'm around, I beg you not to kiss young ladies who object. There is so little satisfaction in it. It isn't being done,"' Peter advised mockingly. Peter prided him- self on his chivalry. Duff reached for his gun. then changed his mind and turned on his heel, muttering all sorts of vengeance as he strode from the room. Katie Malloy looked with undisguised rapture on the face of her defender. The other Paris g-^ntlemen drifted out of the lobby after Duff, leaving Peter alone beside her table. He asked her many questions about herself, and Katie told him. and they were friends. In the days that followed, Crandall might have become broken beyond all hope in the rough mining town had it not been for Katie Malloy. When he came back tired, miserable and disgusted, with blistered hands and aching feet, from his first day of shoveling dirt. Katie was there to greet him and cheer him on, and put heal- ing lotions on his hands. When the miners and the cowboys made fun of his city ways, she flung herself at his defense. When she saw through the swinging doors into the bar room one night that card sharps were taking advantage of the fact that Peter had been drinking to cheat him out of his money and valuables, she stamped angrily through the door and up to the table, told the men in no uncertain terms what she thought of them, and dragged the stupified Peter to his room. There, before his eyes, she proceeded to pour out the contents of sevend half empty bottles. So day by day, almost hour by hour. Crandall came to depend on the slip of a girl who was the only true ally to the cause of Peter Crandall — a cause that Peter himself had not yet learned to espouse. She shamed him into refusing to accept money from his relatives, who. now that Peter was gone, were wiring fran- tically for his return or for him to permit them to send him funds. At times she pled with him to make a man of him- self. At times she lashed him with her tongue and ignored him for his weaknesses. At times tenderness laved the wounds inflicted by her eagerness to make him realize the unworthiness of himself. "Oh God." Katie would pray at night, "he's a good boy. but he hasn't had a chance at all with this fool rich family of his that wants to spoil him. Don't let him go to the dogs." In time the girl and her prayers and the great outdoors, which is a healer and a leveler as well, did for Crandall what all the power and wealth of his family and home environment could never have done. From one who scorned work and felt himself superior to those who were born less privileged than himself, he came to see how weak and futile his life had been, how inferior he was to those who had met life honestly and with determination. One evening he learned that Katie had advanced money for his hotel bill so that he would not be thrown out. She had told the proprietor that Crandall had given the money to her to keep for him. That was the real turning point in Cran- dall's career. went to Katie's door, the proprietor's re- ceipt in his hand. He could not find words to tell her how he felt. "Oh. that's all right." Katie laughed. ' That was only a loan. '\'ou don't need to think I was giving it to you. When you have the money handy you can pay me back." "MotKer. " Peter 5 eyes plead with her to understand, "this is Katie, my wife. Edith, this is your new sister. ' Photoplay Magazine 41 She laid her hand on Petcr"s arm. Her eyes were like two stars. Up until that moment Crandall had not thought of Katie :Malloy as a woman — a real. hve. warm, lovable girl. He had not even thought of her as a person. But there outside her door, with her hand on his arm. and her eyes like stars looking up into his, his heart beat unevenly. Of a sudden, his inher- ited notions about family and breeding and wealth, which had come down to him from long lines of stern ancestors, were forgotten. Peter Crandall, the son of wealth, without premeditation grasped the slender arms of the manicurist and ex-laundry worker in his two strong hands. "Katie Mallov," he choked, and he was as astonished as she was when he said it, "you are going to marry me just as soon as I am worthy of you."' Katie did marry Crandall, of course. Duff Simpkins kept pretty quiet during all the preliminary days, which was a bad sign, as every one who knew Duff should have recog- nized. On the evening after the wedding ceremony, when Peter and Katie returned to register as Mr. and Mrs. Peter Cran- dall at the Travelers' Rest, Duff Simpkins, standing near them, pretended to' drop his gun. ' There was a loud explo- sion, and Peter toppled over on the floor. Katie, as she thought it her duty to do, wired to Gilcrest that Peter had been hurt. On the next train Dr. IMerton and a trained nurse left for Wy- oming to fetch Peter back with them. At the desk of the Trav- elers' Rest, the doctor learned the story of Peter's marriage. A few minutes later, at Peter's bedside, he was introduced to the new Mrs. Peter. Katie realized when she looked into the unsympathetic face of the Crandall physician, and felt the disapproval of his attitude, that the tide of affairs in her young life was taking a new turn. She refused to leave Peter's side, though she was actually worn out, until Peter himself, believing that it would smooth matters out if he could explain the circum- stances of his marriage, asked her to go and rest. It was late at night when Katie's exhaustion spent itself, and she awakened with a sense that something was wrong with Peter. She slipped on a negligee and ran to his room. It was empty. Taking advantage of her exhaustion, and an un- conscious spell that came over Peter, the doctor had sur- reptitiously started back to Gilcrest with Katie's bridegroom on the evening train. Katie Malloy Crandall had ideas on matrimony. It was her creed that when two persons married, they got married to stay married because they loved each other and needed each other and w^anted to be with each other. She did not intend that a stuck-up city doctor and a putty-faced nurse should take her own husband away from her. So the eastbound special out of Paris, that evening, bore her away forever from the little manicure desk in the Trav- elers' Rest lobby into a life that she had never dreamed of. ACCORDING to the standards of the Crandalls and their set, it was much more disgraceful that Peter should have raarried a poor, self-respecting manicurist with ideals and am- bitions than for him to waste his precious young manhood in riotous living, fall back on his mother s fortune, marry a girl with a fortune to meet his own. and grow to be an unhappy, dissatisfied old man with never a single useful thing to his record. That was their accepted method of reasoning. So it is not necessary to say that when Mrs. Katie Crandall, nee Malloy, "This IS a secret for you alone. Katie read the letter while the maid unhooked her govn. arrived at the front door of Gilcrest she was not met with lov- ing arms and kindly hearts. Mrs. Crandall did not believe that Peter's wife would have the audacity to follow her son. when Dr. Merton had made it plain to her how they would accept her. But she was just a little bit hazy in her mind ,ibout manicurists. More than once she had read scandal about that sort of young person, though she recalled that the girl who did her own nails was quiet enough, and she was ready for any emergency. The butler was informed that no one calling and asking to see Mr. Peter should be admitted. And so when Katie arrived, travel worn and pale from anxiety, at Gilcrest's heavy front door, she was told that no one could see Mr. Peter. The (Continued on page 120) 'Not That Kid!" Helping little Miriam Batista to put heart throbs into her part in "Humoresquc. IT WAS a first night, a new kind of first night; just as bril- liant as any premier of the legitimate in a Broadway theater and with a well-dressed audience — but the actors were silent, and there were no calls for "author — author." It was the first night of "Humoresque," Fannie Hursts story put in pictures by Cosmopolitan. In the black, mass of the audience were many celebrities: Morris Gest, of the theater; Matt, the only unmarried Moore, with a nice, quiet, dark-haired girl who slipped her hand into his when the lights went down; Rosa Ponselle, the dusky prima- donna of the Metropolitan; Gail Kane — and countless others. I sat between a smartly-dressed woman of ma- ture years and a very tired business man. The business man, three times in the course of the picture, took out his handkerchief and blew his nose noisily. The woman at my right sent out a faint lilac fragrance as she used a bit of lace to wipe away a stealthy tear. Came the satisfying finale with Leo7i Kautor in the bosom of his family — the closing scenes of a great picture. The audience cleared its collective thsoat. The tired business man sat up in his seat and tried to look bored. But there was a sort of gleam in his eye. The woman at my right sighed. The theater began to empty for the next performance. Someone in front of me clutched her neighbor. "There he is!" she said, pointing rudely. The woman at my right followed the direction of the pointing finger and so did I. And pretty soon everybody was looking at a youngster with curly hair and an un- spoiled grin coming up the aisle. He was acclaimed by friends on both sides. He clasped hands in all directions, blushing a bright red as he countered such compliments as "Fine picture, Frank I" "(.ireat stuff" — and more like that. "Frank Borzage!" confirmed the original Columbus in front of me. The woman at my right looked again. "Not that kid'' she exclaimed incredulously. He is only twenty-seven. His record is unique even in an industry where rare records are common-place. He has had much to contend with and his achievements have been many. But that isn't the remarkable thing about Frank Borzage. It is that, after his early discouragements and heartaches and hard work and hard knocks, he could still direct such a homely, human 5tor>- as "Humoresque"' and make it live. LATER on he told me all about it. I should like to tell it to you as he told it to me. but I can't. Nobody could. To begin with, he has a sort of crinkly hair that, if it belonged to an ingenue, male or female, would be called red-gold. He has deep-set eyes of the same shade that crinkle, too, when he laughs — which is very often. He has white teeth and dimples, which might annoy some of our best-known matinee idols if Frank ever decided to re- turn to acting? He is, in short, an extremely boyish indi- vidual whom you might mistake for a juvenile if you didn't know better. He came from Salt Lake City. Utah. He was one of a family of fourteen children of Italian-Swiss parents. His father and mother will someday provide living portraits for one of Frank's pictures; his accounts of them are lender ami human to a degree. He was only thirteen when he left school and went to work in the Park City mines. His father was a Frank Borzage directinfj the audience for the Frank Borzage often receives that appel' lation — but he hopes to live it clown. By DELIGHT EVANS 1' sione-cutter and contractor and Frank was expected to fol- low in his footsteps. But they reckoned without Frank. He wanted to get out and see the world — preferably as a member of the theatrical profession. So at a rather imma- ture age he informed his father and family that he was ' leaving home. He packed his few possessions and made ready to go. His father accompanied him to the door. "Frank," he said, "if you go into this play-acting busi- ness, you may never call me father again." The boy looked up and saw that his father meant it. He wavered — but only for a moment. He turned to go. "But Frank," his father called him back, "here is fifty dollars. I don't want any son of mine to be in want. If you ever need any more money, let me know!" : Frank says the finest portrait in his gallery of recoUec- i tion is of his father as he stood there with tears in his stern old eyes, bidding his son goodbye, yet loath to see ; him go. Another — of his mother, whom he kissed for the ' first time in his life at the station where she was waiting I to w^elcome him home — after he had become well-known as an actor and his home town was proud of him. E\en his father was at the station to welcome him. Frank looked over the shoulders of the crowd of former neighbors and acquaint- ; ances who wanted to shake hands with him — and saw his lewisK concert scenes in "Humoresque. I An unspoiled, curly-haired young- ster— he's only twenty-seven. father, looking on. He had come and gone from the station no less than ten times, trying to make up his mind to wel- come his prodigal son home! But we have been skipping. On his first engagement, Frank [received one dollar from the management. Later the management went broke and asked Frank for a loan. "How much you got, kid?" "Fifty dollars," beamed Frank, pulling out all his money. He had to walk home. He started out again, and this time met with better luck. He got a job as general utility man with a reper- toire company. The manager was perpetually drunk ; the other members of the company were in various stages of b. p. joy most of the time, and at all times lazy. Frank wanted to learn. He did. He made up as a clown for the show, rustled props, was sole stage-hand, managed transportation, said his ten lines, scattered "dodgers" from door to door. When the other actors didn't feel like working, he learned their lines and doubled and tripled for them. In short — Borzage learned to "troupe." He is one actor who would be justified in writing "The Story of My Life." It's some life. Before he was through he had played every part from butler to burglar and grand-duke to grandpa. He has slept in parks and petrified holes — meaning empty sewer-pipes. He has partaken of free-lunch in Denver and lived on five cents a day in El Paso, Texas. He knows the West and Far- West like a book. What is more, he has learned human nature and turned himself out not a cynic but a philoso- pher. Finally, after a long, hard apprenticeship, he became identified with character parts. And it was as a char- acter man that he first went into pictures — at the ripe age of twenty. Thomas Ince, then making pictures for the old Kay-Bee, looked him up and down. "You re no heavy," he declared, "you're a leading man." Frank, much against his will, was assigned to heroic roles and had to display his even, white teeth, his crinkly hair, and his dimples all for the delight of young ladies throughout the United States, who still remember him as ( Continued on page 113) 43 As the essential materialist in "The Miracle Man. " holding his girl by sheer brute instinct and sex magnetism, Tom Meighan and Betty Compson. Confessions of a Caveman As Told by Thomas Meighan to Adela Rogers St. Johns OTHER EVE invented the alibi. She was the kind of a lady who hked her champagne, but could put up a good line about its being ordered by "the ' doctor.' Tommie Meighan leaned over and tapped one finger emphatically on the broad arm of my chair. "And that," said Tommie, with a bit of Ireland peeping out of his eyes, "is the secret of the rough lover. He's a combination alibi and recommendation, that's all." Now, Tommie is naturally supposed to be something of an authority on rough lovers. He's treated more ladies rougher than any other man on the screen. From a "King in Baby- lon" who tamed a beautiful slave and then threw her to the lions, to the essential materialist of "The Miracle Man," hold- ing his girl by sheer brute instinct and sex magnetism, he has shown motion picture audiences a character almost Balzac-ian in its frankness. Out in Los Angeles the other night in a packed theater that watched this handsome young man with his sullen eyes and his smiling mouth back an intentionally-enticing woman against the wall and make her like his kisses, a woman in the audience fainted — possibly from the dramatic suspense of the picture. Be that as it may. the world antl his wife — and not even especially his wife — have signified vast approval of the cave- man sort of lover that Tommie Meighan has given the silent drama. Therefore it seemed safe to assume that they would like to know something of the philosophy of his work. The confessional was the most delightful room in the world — William DeMille's library out at the Lasky lot. The studded walls, the old books, the candles under their yellow parchment shades, the paned windows added just the right touch of in- spirational background. And Tommie Meighan in a brown suit that matched his hair and a brown shirt with one of those smart collars that match, lounging in a big brown leather chair in the pale, bright light that sifted through the scarlet cur- tains, a cigarette comfortably alight between his fingers. (Life — even that of an interviewer — has its compensations.') "I w-ant you to understand," he said f|uitc unpleasantly for such a very pleasant, human, good-natured sort of person, "that, personally, I don't know a darn thing about women. I've been married to one woman for so long that she won't let me 45 . 46 Photoplay Magazine A real caveman, tlie Adinr- able Crichton, carries Lady Mary into his cave. Gloria Swanson and Meiglian in "Male and Female. tell how many years it is, any- more. My philos- ophy of a cave- man has been worked out from a purely pro- fessional basis, and is based on that good old saying about dog, and a hick- ory tree; the harder you beat 'em the better they be.' " "Was it Eve you accused of inventing the alibi?" I asked. Cecil DeMille once told me that the great difficulty in directing Tom- mie Meighan — whose work he admires tre- mendously — lay in his abnormal fear that some- body might think he "liked him- self or was ridiculous. "It's a bit diflicult to figure out why the popularity of the caveman, the treat-'em-rough guy, seems to have increased in- stead of declined with the advancement of women. But the way I figure it out is something like this — "You can't have ever>'thing, but you can't take evcrythinc away, cither. Turkey's a prohibition country, too, but at that I expect they still have a lot of fun over there. "That's the way it is with women. As a matter of fact, time lia.sn't changed women a bit, ever. The so-called freedom of woman is the Frankenstein of the 20th Century. Woman fought to gain the thing she didn't want simply because some- body told her she couldn't have it. Anything now that will slay this monster of her own creation and still save her pride is as welcome as a bottle in the American Sahara. The cave- man that just grabs her and shows her — and everybody else — that she hasn't got a chance to get away from him, is the one prize excuse for returning to the dear departed days of her slav- ery. "Of course, there are lots of advantages to the view from a pedestal, and she generally can't make up her mind to climb down voluntarily, but in a wicked world nothing is so lonesome as unappreciated virtue and it's apt to get a bit tiresome up there. If anybody will rock the altar and tumble her down into a good, strong pair of arms, she's naturally grateful. "Constant posing, masking of emotion, veiling of thought, even from herself, has been the portion of woman since time began. It is her method of pro- tection. And the protection of woman will be necessary just so long as the propagation of the race is necessan.' — don't forget that. Therefore, she pretends ignorance and innocence concerning things that are as easy for her as the prohibition amendment for Sing-Sing. That's merely again her method of self-defense, since while man is credited with many poten- tial virtues, woman has only one that appears to be worth losing. "The caveman forces her to do what she actually de- sires to do, but has not the courage to do without the ex- cuse of coercion. He wins nine times out of ten because her real nature and feminine instinct are his allies. "Nobody can deny that the court of last appeal de- clares that woman was made 'for man.' And she is still for him. "The myriad laws of con- vention and custom, which she will never be stronu enough to lay wholly aside, have made things very com- plex for woman, who is naturally exceedingly direct and simple, and whose de- sires are exceedingly strong and undeniable. Therefore, the best of them turn with unconscious relief to the man The rough lover tactics are employed with great success with Martha Mansfield, Tom s leading lady in "Civilian Clothes. Bebe Daniels played a direct descendant oi Mother Eve in "Why Change Your Wife '" butTommiewonher,too. Photoplay Magazine 47 whose force makes the decision not only easy but unavoidable. It saves such a lot of time, stress, and suspense — not to men- lion some disappointments. "The most active fear of the woman who says "No' is that you will take her at her word. "Most of woman's tears are shed over sins she never committed. "Then, again, woman is expert in the thought of love, but her execution is poor. She is too self-centered through the very object of her creation to fear being thought ridiculous, but she is — among the so-called 'good women' intensely afraid of being thought immoral. Man, on the other hand, doesn't care how immoral you think him, he doesn't want to be laughed at. In fact you can do anything in the world to a man but laugh at him, anything to a woman but take her seriously. "The purgatory of the female is Jthe state of the unsought — of the male, the state of the unseeking. "Emotion for the sake of emotion is the aim of all women, emotion for the sake of action is the aim of all men. But women forget that the basis of life itself is the desire for expression. They have the subtle ecstasy of omission, men the crude privilege of commission, in matters of love. And a woman's love happiness may have to be forced upon her. "Understand, of course, that everything that can be said concerning the type that has been familiarly styled caveman must apply where there is a mutual, possible at- traction. No man can force unpleasant or entirely impossible advances upon a woman. "The truth is that wom- en are actually much more innocent than men believe them. They have less knowledge of sex wherewith to defend themselves from the ter- rific power of love that men direct against them. Meighan as GloriaSwan- son s husband in "Why Change Your Wife?" "Personally. " says this handsome young cave- man with his sullen eyes and his smiling moutk, "I don't know a darn thing about women. "If woman surrenders her prerogative of yielding, she surrenders her greatest weapon and she makes the love game a sort of a 2.75 affair. The modern woman abrogates her greatest strength in denying her weakness. It is only the sweetness of her continued sur- render that sometimes holds a man forever from that state of pursuit, which is his natural one. "Unconsciously realizing this, woman to- day accepts the old role of the mastered with good grace, glad to relinquish the try- ing compensations of her emancipation. Woman knows that she has sold her birth- right for a mess of theories and traded a master who was her slave for a thousand masters who are her equals. "The domestic virtues have no relation to romance. Conscience has no more to do with love than it has with — art. A woman longs for a man who can demonstrate this forcibly. She is naturally intensely im- patient in love affairs. .She is impatient 48 Photoplay Magazine of the longer game of sparring, subterfuge, attentions. She is in constant fear lest the methods of self-protection, which society has taught her, may prove effective. But she is adept at concealing what isn't there, so she must wait for the man to use force in breaking down the barriers. "But it is the marvellous, unparalleled flattery that he uses which is the actual club of the caveman. "Nobody ever heard of a bald-headed woman being dragged to anybody's cave by the hair of her head. An unattractive woman is pretty safe from the rough methods, you'll notice. "The end and aim of woman's existence is to charm, to delight, to give pleasure. Why else was she created so beauti- ful, so exquisitely more delightful than man? Heavens, what more could she ask? But the burden of proof that she has fulfilled this aim rests upon her. The caveman convinces her — and everybody else — that she has achieved her destiny. The unleashed, uncontrollable or slightly controlled emotion which she has aroused is more flattering to her than an immortal sonnet. "The danger of the widow's attractions are historical. In- cidentally the divorcee is always in the money somewhere. Usually she has the advantage of coming well recom- mended. "To the intellectual woman, boredom is the dread spectre. There can be no ennui in anything so intensely personal as passion. The primitive is the last resort of the cultured. "To the average inarticulate mind, the caveman lover is a perfect medium of expression. "To the girl, he is the open door to the unnamed mysteries that lure and fascinat.: her, but to which she can give no name, even to herself. He is the vibrant answer to all her questions. "But the man who uses the caveman method must always remember that if woman has a narrower sense of life, she has also a finer sense. Those inner visions, even when the most earthly, have a soft, clear, beautiful radiance that man never knows. She owns from the day of her birth what few men can hope ever to achieve — the beauty of service to mankind. We men are apt to smile at what seem to us subterfuges on the part of woman, without realizing that she is able to lose herself in a cloud of blankness where she can actually refuse lo know, to understand, to acknowledge, what seems most obvious. "The truth is that women are actually much more innocent than men believe them. They have much less knowledge of sex wherewith to de.'end themsehes from the terrific power of love that man directs against them. This betrays them much more often than wickedness. That is one of the chief holds of the caveman — his method arouses the impulse of life and love which this unfeigned ignorance leaves a girl utterly unable to combat. "The type of man who is a 'rough lover' generally needs reforming somewhere along, the line. All women are naturally reformers. The only kind of a husband that would be fatal to most women is a perfect one. They wouldn't have a darn thing left to do." "What is the defense — if there is one — for the caveman stuff?" I asked, as he paused. "A sense of humor. No man can get rough with a woman who laughs at him. ' (Continued on page loj ) FOR tlic first time in film history, a galaxy of (Jrcat scrccn-star.i appeared tojietKcr in a stajje production. It wa* for the hcncfit of the Hollywood Po.