U 58 LIBRAR Museum of Modern Scanned from the collection of The Museum of Modern Art Library Coordinated by the Media History Digital Library www.mediahistoryproject.org Digitized by the Internet Archive in 2012 with funding from Media History Digital Library http://archive.org/details/phojun22chic LIBRARY I -TIONPICTURF IENCES YWOOO. - CALIFORNIA January 25c I -4 /^ CORINNE GRIFFITH T TPFK T HT THHF.S— Calls for New F: ■:■:■;■::■ ,■-. :■:■■ . ■ G1FTIESETS Containing a Sheaffer Pen and "Propel — Repel— Expel" Pencil of the same design. ^^ For Christmas? — a SheafFer Pen and Pencil No. 3CR Solid Gold, with Leather Case $68.00 No. 2CR Gold Filled $16.00 No. 1CR I! Sterling Silver No. 89C Ebony "Lifetime"— 14K Gold $15.00 •SheaffefS v-^ PEN-PENCIL ^^ AT THE BETTERDEALERS EVERYWHERE FORT MADISON, IOWA CHICAGO NEW YORK KANSAS CITY DENVER SAN FRANCISCO Photopi.w Magazine — Advertising Si.< ttois Victor Records Approved by the artists for use on the Victrola "HIS MASTERS VOICE" This trademark and the trademarkeil word "Victrola" identifyall our products. Look under the lid! Look on the label ' VICTOR TALKING MACHINE CO. Camden. N. J. Victor Records by the greatest artists are issued only when the artists who made them are fully satisfied that the records exactly duplicate their per- formances. In judging their Victor Records for approval these artists play them on the Victrola — the instrument for which they are specially made. It is only by using Victor Records in combination with the Victrola that you hear their interpretations exactly as the artists produced them — exactly as they expect to be heard. Victrolas $25 to $1500. New Victor Records demonstrated at all dealers in Victor products on the 1st of each month. Victor Talking Machine Co Camden, New Jersey tdvertlsemenl In I'liOTOl'LAY UAOAZ1NE i1ll»)l>»">^H^,»»>n ^WT>.vyv}.v nt)W ^ F E ■^■-:T---.,.>:r7^— ■>>;>■ v_.>>;^^ You take no chances with Paramount '^/'OU fans are the insiders **• among the millions of motion picture patrons. In every audience there are you two or three dozen individuals who get much more out of the photoplay than the rest of the folks. It is you whom we thank for having done an immense amount of word - of - mouth advertising for Paramount Pictures. You know that when the plot calls for a Fifth Avenue mansion, or a Scottish castle, or the interior of a sump- tuous yacht, that Para- mount gives the real thing. You appreciate the ab- sence of skimping, and you know that Paramount can always afford the best, in all the numerous kinds of skill that go to make great photo- plays. It is this feeling of suprem- acy about Paramount that has gradually widened the circle of fans till it has run into millions and colors the opinion of the whole nation. If you're not getting Para- mount Pictures at your favorite theatre ask the manager why. Keep up the good work and Paramount will keep up the great pictures. Cparamount (^pictures Paramount Pictures listed in order of release Nov. 1, 1921, to Feb. 1, 1922 Ask your (healer manager when he will show ihem William S. Hart in "Three Word Brand" A Wm. S. Hart Production George Loane Tucker's "Ladies Must Live" with Betty Compson; by Alice Duer Miller "The Bonnie Brier Bush" by Ian MacLaren A Donald Crisp Production Marion Davies in "Enchantment" by Frank R. Adams Supervised by Cosmopolitan Productions George Melford's ProducHon "The Sheik" With Agnes Ayres and Rudolph Valentino From the novel by Edith M. Hull " Jack Holt in "The Call of the North," adapted from "Conjuror's House" by Stewart Edward White Thomas Meighan in "A Prince There Was" From George M. Cohan's play and the novel "Enchanted Hearts" by Darragh Aldrich Ethel Clavton in "Exit — the Vamp" by Clara Beranger "Get-Rich-Quick Wallingford" From George M. Cohan's famous play A Cosmopolitan Production Directed by Frank Borzage Pola Negri in "The Last Payment" Wallace Reid, Gloria Swanson • and Elliott Dexter in "Don't Tell Everything!" by Lorna Moon "Just Around the Corner" By Fannie Hurst A Cosmopolitan Production William S. Hart in "White Oak" A Wm. S. Hart Production Gloria Swanson in "Under the Lash" From the novel "The Shulamite " by Alice and Claude Askew A William DeMille Production * "Miss Lulu Bett" with Lois Wilson, Milton Sills, Theo- dore Roberts and Helen Ferguson From the novel and play by Zona Gale Betty Compson in "The Little Minister" by James M. Barrie A Penrhyn Stanlaws Production Wallace Reid in " Rent Free" By Izola Forrester and Mann Page Cecil B. DeMille's Production "Fool's Paradise" Suggested by Leonard Merrick's story "The Laurels and the Lady" "Boomerang Bill" with Lionel Barrymore By Jack Boyle A Cosmopolitan Production "Back Pay, "By Fannie Hurst Directed by Frank Borzage A Cosmopolitan Production Agnes Ayres in "The Lane That Has No Turning" by Sir Gilbert Parker John S. Robertson's Production "Love's Boomerang" with Anne Forrest. From the novel "Perpetua" by Dian Clayton Calthrop Betty Compson in "The Law and the Woman" Adapted from the Clyde Fitch play "The Woman in the Case" A Pernyhn Stanlaws Production A George Fitzmaurice Production "Three Live Ghosts" with Anna Q. Nilsson and Norman Kerry If it's a Paramount Picture it's the best show in torwn Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. LIBRARY i ■!' ' 'I "sv*\v — The World's Leading Motion Picture Publication PHOTOPLAY MAGAZINE JAMES R. QUIRK, Editor Vol. XXI No. 2 Contents January, 1922 Corinne Griffith Cover Design From a Pastel Portrait by Rolf Armstrong Rotogravure : Gloria Swanson, Constance Talmadge, Olga Petrova, Pauline Frederick, Rudolph Valentino, Mary Miles Minter and Betty Compson. Make Your Kick Count Editorial Charlie Abroad Charles Chaplin The Adventures of the Great Comedian Told by Himself. Two Great Italian Pictures (Photographs) A Little Pre-view of "Theodora" and "The Ship." Wise and Otherwise (Fiction) Octavus Roy Cohen A Great Story by a Great Writer. Illustrated by R. Van Bitten Constance Binney (Photograph) Who Wishes You a Merry Christmas. My Husband Elsie Ferguson The Famous Star on Marriage — Especially Her Own. Algiers — Long Island (Photographs) And You'd Never Know It Wasn't the Real Thing! Secrets of Mae Murray's Success Mary Morgan The Principal One Is Work. An Italian Villa in Hollywood (Photographs) Castle Casson Ferguson. Smilin' Through (Fiction) The Play Everybody Loved. (Contents continued on next page) Elizabeth Chisholm Told from Its Picturization. 11 19 20 22 23 27 28 30 31 32 33 Editorial Offices, 25 W. 45th St., New York City Published monthly by the Photoplay Publishing Co., 350 N. Clark St., Chicago, III. Edwin M. Colvtn. Pres. James R. Quirk. Vice-Pres. R. M. Eastman, Sec.-Treas. 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-class matter April 24, 1912. at the Postoffice at Chicago. III., under the Act ol March 3, 1879. Copyrijht. 1921. by the Photoplay Pvblishing Company. Photoplays Reviewed in the Shadow Stage This Issue Save this magazine — refer to the criticisms before you pick out your evening's entertainment. Make this your reference list. Page 66 Jane Eyre Ballin-Hodkinaon Woman's Place Fir-t National Theodora Goldwyn Page 67 The Sin Flood Goldwyn Dangerous Curve Ahead.. ..Goldwyn The Sheik Paramount Page 68 Rip Van Winkle Hodkinson Alf'a Button Hepworth rirst National The Case of Becky Realart His Nibs Exceptional Two Minutes to Go. .First National The Wonderful Thing. .First National Page 60 Conflict Universal The Single Track Vitagrapfa Bar Nothin' Fox Nobody's Fool Universal Ladyfingers Metro My Lady Friends. .. .First National Page 120 Under the Lash Paramount Homekccping Heart- Pathc The Poverty of Riches Goldwj ■ Her Social Value Fir-t National The Idle Rich Metro Sure Fire . I'niver- ll Fightin' Mad Metro The Mysterious Rider Hampton Hodkin-on Cinderella of the Hills Foa Go Straicht Universal The Hunch Metro High Heels I niv< The Blacksmith Fir-t National A Certain Rich Man Hampton-Hodkinson P<;qr 121 The Rouch Diamond Fox Red Courage Univei Contents — Continued A Certain Star (Photograph) 37 Her Identity Is Up to You. The Greatest Moving The Girl on the Cover Delight Evans Discussing Several Corinne Griliiths. 38 Picture Magazine Ever Filmdom's Most Devoted Couple (Photograph) Mrs. and Mr. Bill Farnum. 40 Published — Photoplay The Sorrows of Mrs. Carter Eileen O'Connor 41 for February Success from Tears. A line-up you can't beat — in any magazine in the world. Making Good at Sixty Ada Patterson 42 Remarkable Story of "LightnhY Bill Jones." PHOTOPLAY is proud of its Juliet Daniels (Photograph) 44 next issue. It believes that Bebe — Posing as a Capulet. the February number is one of Ask Dad Joan Jordan 45 the greatest magazines of any- Concerning the House of Davis. kind ever issued. There is A Pair of Queens (Photograph) 46 something in it to please Norma Talmadge and Mrs. Lydig Hoyt. everybody. How I Keep in Condition Marion Davies 47 A GREAT NEW CONTEST "There's No Accepted Mode This Season," Says Carolyn Van Wyck 48 — FIVE THOUSAND DOL- LARS IN CASH PRIZES! West Is East Delight Evans 50 The most interesting contest PHOTO- PLAY has ever sponsored. The de- Bill Hart— Elliott Dexter— Dorothy Gish. tails will appear in a later issue, but Rotogravure: 51 we just, want to tell you not to miss it. Mr. and Mrs. Sessue Hayakawa, Picture Stars You've Never Seen and Jackie Coogan. It's unique — it will hold your interest. New Faces for Old Rupert Hughes 55 The Confessions of a The Distinguished Novelist Says We Must Have Them. Modern Woman Close-Ups 57 arc as daring and as original as the Modern Editorial Expressions and Comment. Woman herself. When the confession i< made by GLORIA SWANSON. you may That Chin Mary Winship 58 expect a surprise and a punch in every para- graph. It's feminine; it'^ subtle; it's just — and Jane Novak Who Made the Chin Count. what its tit!<- implies. Mae Marsh, Artist (Photograph) Who Is Painting the Scenery lor Her Stage Play. 60 The Battle of the Cities We Offer No Apology By the Editor 61 Which shall be the producing center of Amer- ica— California or New York ? The most If You Love Pictures You Must Read This. famous financiers and prominent producers have answered according to their own views. The Magic of the Screen (Verse) Clarence E. Flynn 62 .mil it's somr argument! They're Married! (Photographs) 63 Mary Roberts Rinehart Alice Terry Is Now Mrs. Rex Ingram. Perhaps the most popular woman writer in Life in the Films Willard Huntington Wright 64 America, writes on the subject of ".New Faces tor Old." the requirement of new Screen Society Satirized screen faces. Everything Mrs. Rinehart The Shadow Stage 66 writes is valuable and absorbing. Helping You to Save Your Motion Picture Time and Money. Review of the Year's Acting Non-Ge-man Dictators (Photographs i 70 By PHOTOPLAY S critical staff. It is an A Game Girl Adela Rogers St. Johns 71 honest, unbiased opinion of the best efforts for 1921. Like the Shadow Stage every A New Name for Lila Lee — and Why. month, this article will be of real service and instruction. Magic Carpets of Cardboard (Photograph) 72 Something Entirely New in Pictures. Photoplay's Own The Unrecognized Drew Mary Morgan 74 Personalities The Billboards of Berlin (Photographs 76 Next month we are going to show you the people who make PHOTOPLAY. Its Why Do They Do It? 78 writers and its artists and the editors of its departments — even the Answer Man, whom Alice in Movieland William Warren 81 everybody in the world seems to be curious about will have their pictures in the paper 1 Questions and Answers The Answer Man 83 They have written about and drawn every- body on the screen, so it seems only fair to Style Invading the Mennonites Frederick E. Lytle Plays and Players Cal. York 84 86 give the ha u c If you want to read the Star Magazine of the Screen at its Miss Van Wyck Says: 100 Studio on Wheels 104 best, buy the The Proposal (Verse) Carol Sheridan Squirrel Cage 115 119 February Issue of Photoplay Addresses of the leading /notion pic- P. S. Better order your copy now ! ture studios will be found on page 113 1 ^ Photoplay >f \<.\zim; — Advertising Sei tion judau&s Ulary Qarclen FACE POWDER and Rouge Fragrant with Parfum Mary Garden Mary Garden ! So marvelous is her loveliness that all the world pays her homage. Yet even beauty such as hers must be preserved — enhanced — glorified. If you would bring out the compelling charm of a lovely face, touch it with just a little Mary Garden Rouge — and then impart a rose'petal softness with Mary Garden Face Powder. Both are fragrant with the ex quisite Parfum Mary Garden. They will make you beautiful and keep you young. of the Face Powder for your handbag CO., New York, Sole Distributors When you wrll riiOTOi'LW magazini:. R-C Photoplay Magazine — Advertising Section PICTURES' PLACE IN AMERICA'S GREATEST ART C' /FIE motion picture industry is the most spectacu- -. F larly successful business the world has ever seen. ^-^ In fourteen years it has leaped from a cheap novelty to fourth place in the race for industrial supremacy. Through the magic of its enchantment the home folks of Portland, Maine, or Albuquerque, N. M., stroll the streets of London or Tokio, climb the Alps, float on the canals of Venice or explore the out-of-the-way places of the earth. It has brought within the reach of all the people entertainment of the most fascinating type. It has recreated the pageantry and pomp of every age. It has realized in living form the tragedies, conflicts and hero- isms of the souls of men and nations. We see in motion pictures a great force for culture for clean pleasure, for entertainment and education. As producers and distributors of such pictures as "Salvage," starring Pauline Frederick; "Black Roses," starring Sessue Hayakawa; "The Foolish Age," starring Doris May; "Kismet," with Otis Skinner, directed by Louis J. Gasnier; "The Barricade," directed Wm. Christy Cabanne, we have established standard of quality that never has been exce "Possession," a thrilling tale of love, pluck and adventure, a screen version of the novel "Phroso," by Sir Anthony Hope, is a recent R-C release. Set in the sun-blest isles of the romantic Aegean, nothing is spared to make this newest picture meet the highest artistic and moral ideals. The R-C standard of honesty of purpose maintained at all cost. An announcement of an R-C picture will always be a guarantee of artistic accomplish- ment, of scrupulous cleanliness. R-C PICTURES 4» :lle Qjlfewl/ork, Ever) idvcrtlscmen! in PHOTOPLAT. MAGAZINE is guaranteed, Photoplay Magazine — Advertising Section 'BHBBBOCBCBJBTOroaBoBcuBBDBBuBBBBroHBHB^^CTff^^^^T^^ THE LURE OF JADE - "/ Down through the ages love and jeal- ousy have fought for power. In the con- flict men and women have reached the heights of sublimity, or have been hurled headlong to oblivion. "The Lure of Jade" in climax on climax, unfolds a story of deepest love, violent hate and spiritual sacrifice. In the difficult role of Sara, a woman whom sorrow and tragedy at first make bitter and unrelenting, but whose great- ness of soul eventually conquers, Pauline Frederick stands resplendent. No other woman of the stage or screen could have successfullj interpreted this ''enigma woman" and kept the lose ami sympathy of her audien A visionary creature of the author's imagination, Sara steps forth a living, vi- brant woman who will remain as deathless as "Camille," as matchless rmen" or "Clio Cho San" in Madam Butterfly." As a further example of R-C ideals, an R-C picture that will live long in your memory, you are united to sec Pauline Frederick in "Tin- I ure of I ide." When rou write to ■ i PHOTOP1 v\ MAI 10 Photoplay Muiazink — Advertising Section w. , . Watching her from every corner of the crowded nutf Strangers' eyes, keen and critical — can you meet them proudly - confidently - without fear ? STRANGERS' eyes, watching you in crowded restaurants — in thea- tres and ballrooms — can you meet them without awkwardness or dread? The possession of a beautiful skin gives any woman poise and confidence. It is a charm that any woman can have if she will. For your skin changes every day; each day old skin dies and new takes its place. By giving this new skin the right treatment, you can make it flawlessly clear and soft and smooth — free from the little defects that spoil so many complexions. Are you using the right treatment for your special type of skin? Skins differ widely— and each type of skin should have the treatment that suits its special needs. There is a special Woodbury treat- ment for each different type of skin. If you have a skin that is exception- ally sensitive and delicate, use the following treatment every night to keep it in good condition: DIP a soft washcloth in warm water and hold it to your face. Then make a warm water lather of Woodbury's Facial Soap and dip your cloth up and down in it until the cloth is "fluffy" with the soft white lather. Rub this lathered cloth gently over your skin until the pores are thoroughly cleansed. Rinse well with warm, then with clear, cool water and dry carefully. THIS is only one of the special treatments for different types of skin, given in the booklet of treatments which is wrapped around every cake of Woodbury's Facial Soap. In this booklet you will find complete treat- ments for all the different types of skin. Get a cake of Woodbury's today, at any drug store or toilet goods counter and begin tonight the treatment your skin needs. The same qualities that give Wood- bury's its beneficial effect on the skin make it ideal for general use — for keeping the skin in good condition. A 25 cent cake of Woodbury's lasts a month or six weeks for general toilet use, including any of the special Woodbury treatments. A complete miniature set of the Woodbury skin preparations For 25 cents we will send you a complete minia- ture set of the Woodbury skin preparations, containing: A trial size cake of Woodbury's Facial Soap A sample tube of the new Woodbury's Facial Cream A sample tube of Woodbury's Cold Cream A sample box of Woodbury's Facial Powder Together with the treatment booklet, "A Skin You Love to Touch." Address The Andrew Jergens Co.,o0] Spring Grove Ave., Cincinnati, Ohio. If you live in Canada, address The Andrea Jergens Co., Limi- ted, tOl Sherbrooke St., Perth, Ontario. Ccfy right, IQ21, if Tl.a Andritu Jirgir.: Cc, Every advertisement in PHOTOPLAY MAGAZINE is tuarantecd. AC LI ARY PICTURE Kdward Thayer Monro YOU have seen Gloria Swanson in all the expensive, luxurious gowns of a lady of fashion, in surroundings that accentuate her beauty, in parts that demand genuine acting ability. Youth and brains and beauty win deserved success Pach TJ ERE is a new and different pose of the ever-changing personality of Constance A A Talmadge. It suggests the possibilities of deeper and subtler emotions than the parts she so regularly plays on the screen — something very real and vital Campbell CTAGE and film favorite, short story writer, playwright. Brilliant Madame ^ Petrova, who journeyed to Spain to collect material for her own play in which she appears on the stage this year, is going to write a page for Photoplay each month Swly J3AULINE FREDERICK is younger and more fascinating every time we see -*■ her. One who can wear hugh diamond earrings and a real pearl necklace and still look as youthful and naTve as she does, is a really great artist! Donald Biddle Keyca Thci Donald Biddle Keyes COMEONE you think you don't know? Oh, but you do! We are so used to. 0 thinking of Mary Miles Minter in a gingham dress with her hair down, that we may forget the social engagements that demand hair up and French Gowns MandcviUe SURPRISINGLY enough it is not the ingenue roles you would expect Betty Compson to play which have won for her her greatest success. Her picture tells as little as the daisies, for she is best known for her emotional portrayals Actual photograph of white satin chemise and petticoat and black silk lace hose after 60, 45 and 36 wash- ings respectively. Garments and statements of original owners on file in the Procter W Gamble offices. Send for Free Sample with easy directions for the care of fine silks, wools, and other fabrics too delicate for the regular familv wash. Address Section 45-MF, Dept. of Home Economics, The Procter & Gamble Co., Cincinnati, O. WHEN the photograph above was taken, the white satin chemise had ha*d sixty washings — the satin and lace petticoat forty-five — the fragile silk openwork hose thirty- six — yet every one of these garments looks as if it would stand as many washings again. All were washed with Ivory Soap Flakes exclusively. Ivory Flakes works so quickly that it is no trouble at all to rinse out a silk garment right after each wearing. This prompt washing prevents soil and perspiration from drying into the fabric and rotting the silk. Ivory Flakes purity (it has the same freedom from Satin Undergarments and Silk Lace Hose still lus- trous and lovely after 36 to 60 washings apiece — your silk clothes should give equally long, service injurious ingredients that makes Ivory Soap unique) keeps silk from becoming brittle and losing its lustre, no matter how often it is washed. Ivory Flakes makes such rich suds that it easily soaks garments clean, thereby preventing silk threads from roughening or splitting as they would in just a few washings with ordinary soap. An Ivory Flakes bath for a piece of fine lingerie, a delicate blouse, or a pair of silk hose, takes just a few minutes in the bathroom washbowl. It repays you out of all proportion to the time you spend, in the added weeks and months of wear the garment gives you. IVORY*"** FLAKES academy --TmNPinTiiRF Gs-tf ARTS AND SCIENCES PHOTOPLAY Vol. xxi January, 1 922 No. 2 CLsVLake Your Kick Count WHEN you see a bad picture — kick. When you see a sex picture foisted on you under the guise of a picture with a moral — kick. When your exhibitor overadvertises or mis- represents his wares — kick. Don't just tell your friends. Tell the man who got your money. Hunt for the owner or manager of the theater, and tell him that you feel you have both been cheated. Tell him the man who sold him the picture cheated him, and that he, in turn, cheated you. Don't just say this to the man who takes the tickets at the door; don't just tell the girl in the box office. It is nothing in their young lives. They get their pay every Saturday night, whatever you think of the pictures. They will just label you "Grouch" and let it go at that. But if you tell the man who runs the place that he isn't going to get any more of your money if he shows that kind of pictures, you're going to receive a respectful and attentive hearing. Don't be afraid of hurting his feelings. He wants to know what you think. He doesn't want to show pictures that you don't want. He's a business man. If you bought a package of raisins from your grocer, and found they were mouldy, you wouldn't murmur your woe to your next door neighbor. You'd go back to the grocer and get your money back. And he would send the raisins to the wholesaler, and the wholesaler would send them to the packer, and everybody would be set right. If you didn't, the packer would go on putting up his raisins in an improper manner. And another thing — when you see a pic- ture that is deliberately bad, remember the name of the producer. Put him on your black list, and, if he repeats the offence, boy- cott him. If the picture is openly, deliberately filthy, don't even give him a second chance. Tell the manager of the theater that you will not enter his house again so long as he shows pictures made by this man or firm. You who pay your quarter — and war-tax — to see a picture, are the boss of this huge industry. But nobody can be boss by going around sulking because things are not the way they want them. You have to speak out loud — kick. Also you must be fair. If your kick is the result of a nasty disposition, or a mean preju- dice, or stupidity, it will have no effect, because there won't be many like it. But when you kick in a righteous cause, there will be a lot more of the same kind, and the result will be felt clear into the studio where the picture was made. Don't be afraid to boost when you are pleased. It makes your kick that much more effective. But whether you boost or not, kick when you feel you have a kick coming, and land where it will do most good — with the man who got your money; and if he con- tinues to mislead and disappoint you, stay away from his theater. Charlie Abroad Decorated by the French Government — The Hero of the Hour in Paris and Berlin His Face Served as a Passport — Met Pola Negri and Praises Her Beauty — Now Back in California Hard at Work By CHARLES CHAPLIN P ARIS! Yes, I am here again at last after ten years away. When I arrived the newspaper men asked me right off I replied that I had never seen so how I liked Paris, many Frenchmen. I am a bit dis- appointed. My little cafe is gone. When I used to be at the Folies Bergere, there was this little place around the corner from the theater. Here I would take coffee after the performance. It is like losing an old friend — to come here and find it gone. But there have been com- pensations. The polite acclaims of the French, their quiet but sincere "Vive Chariot!" lam not pursued by the crowds as in England. It is a contrast. I came to Paris from London by boat. I did not return by boat, I assure you! Why should one go through the unpleasantness of a channel crossing when one can fly? I am absolutely in- cognito most of the time. I wish I could be many places at once. The "Spiritual Mayor" of Montmartre extended an invitation to visit him and his comrades. I was com- pelled to refuse. But I spent some time with my good friend Dudley Field Malone, Waldo Francis and Georges Carpentier. I went to Versailles with Georges and Sir Philip Sassoon. And I was honored by the decoration of the Beaux Arts in Paris. I appeared also at the first public performance in France of my film, "The Kid." Outside of that, I have been resting. Then I flew over to England to spend several days at Sir Phillip's estate at Luympe and also enjoyed a week-end with H. G. Wells. He is a man I have always wanted to meet. His "Outline of History" and his other great books have interested me tremendously. Wells and I, at his country home, spent a splendid few days together. He is a great man indeed. His latest work, "The History of Mr. Polly," is one of his best. Someday I am going to do it in pictures. 20 In England I was to have met the Prime Minister, Mr. Lloyd George, but was delayed by fog at the channel and it was my misfortune. I am told that he sent for some of my films while he was in Scotland, recuperating. That is most gratifying. James -Barrie, Thomas Burke, Rebecca West and E. V. Lucas were others of the notables with whom I became acquainted while in London. I am impressed with the celebrities I have met. They are, most of them, supremely simple. No matter what great works of art they may have produced, they are as sincerely charming as if they had never written a book, painted a picture, performed a great play, or executed an exquisite bit of statesmanship. In my hotel in Paris, I was interviewed by a great many writers. One of the most inter- esting of them was Cami, very well known in France, and a con- tributor to America's "Vanity Fair." I met him in the foyer. We began to talk. People came and crowded about us. So I took his arm — Cami's — and steered him into the elevator. We rode up and down, up and down, until we had finished our conversa- tion. The hotel staff seemed a bit astonished when one evening at the bar I called for a glass of Vittel water. While I was talking to the newspaper peo- ple, a startled and red- headed young man burst in. I had never seen him before in my life. Evidently he had seen me. He rushed up, grasped both my hands, pumped them, and rattled off in broken English, as if he had memorized it, "My dear Chariot — is it really you? I am so glad to see you. We have been waiting so long for you. Now I do hope you will like Paris. Paris is such a wonderful city, you know. And, dear Charlie, you must visit our shows. But you look so funny. Chariot. Where is your mustache? And where is your hat? And how long are you going to stay in Paris? And where do you go now, my dear Charles? You must be so tired." Pola Negri and Charlie Chaplin in Berlin. Her brilliant acting and beauty established her name in America over night {ARYP^t^^y Magazine 21 Indeed — "Why should one go through the unpleas- antness of a channel crossing when one can fly ? did not dress. I had been browsing about all day. and did not go back to my hotel. I was motioned unceremoniously to the farthest corner, and the tiniest table, of the big dining-room. It was a beautiful place, and there were many beautiful women and well-dressed men there. I couldn't see much from my table, but I meekly sat there, and I enjoyed myself hugely. I was passing out as unceremoniously as I came, when a man from one of the t;ood tables, rushed up to me. It was Al Kaufman, Paramount - European representative. He brought me to hi- table. There sat Pola Negri and Mrs. Kaufman. She is a delightful person. Young, vivacious, beautiful. She speaks no English — she is Polish, you know, not German, even though she has played in the German pictures, "Passion" and "Gypsy Blood'* — and we became good friend-. I dined with the same party every one of the three nights I spent in Berlin. Negri is coming to America in January to make pictures in Cal- ifornia. She will be a revelation. I also met Ernst Lubitsch, the German director of "Deception" and "Passion" and "Gypsy Blood." He does not speak English; nothing but German — so we did not have manv conversations. The others collapsed. I had difficulty in suppressing my own laughter, until I realized how very well meant was this outburst. It was impossible to be amused by it. Instead, it touched me. I visited the Quartier Latin. (Since we are in France, we must not call it the Latin Quarter!) I wanted to see it, but I was frankly afraid of the "intellectuals." I went, and I didn't get near enough to the intellectuals to be afraid of them. I AM reminded suddenly of an incident in London. You remember last month I told you about the little restaurant noted for the excellence of its stewed eels? Well, I went there one night and had four helpings. The news that I had been there got about and some imaginative person said that as stewed eels evidently were a gastronomic obsession with me, I would surely be there the following evening. I didn't come — but others did, so that the restaurant was popular and the bobbies busy! I didn't know about it until later. If I had known it would have been a great temptation to go again! I left Paris to go to Germany. I came back to Paris. I made up my mind quite abruptly to go into Germany and spend several days in Berlin. It never entered my head that there might be passport difficul- ties. There weren't. The Bel- gian inspector who looked at my passport as we came into Ger- many sent it back to me in the train with this message: "I see your face and I know it. You may go." I was not recognized in Berlin. Not for a day. At the Adlon Hotel they did not know me at all. This was a great relief. I do not mean that I am un- grateful for the splendid recep- tions that have been given me everywhere. I mean I was glad, for a day or two, to be simply myself, to see Berlin without being seen. They have had only one of my pictures there, "The Rink," a very old one. It was playing the week I arrived. The evening of my arrival, I went to the leading restaurant, the "smart" cafe of Berlin. I 1HAVE picked up many ideas for future pictures. The "serious" photoplay I am going to do someday will not be entirely tragic. It will have humor in it. just as "The Kid" did. Because of the picture pirates — who grab ideas of others and use them — I cannot tell you what it is going to be about, but it will be in seven or eight reels. I am going to start a new picture as soon as I return to California. This will be the seventh of my eight short reel pictures and the last will follow as soon as this one is completed. I am going back to America as hastily as I left it. Some- how I do things that way. I made up my mind in Hollywood that I was going around the world. I left twenty-four hours after I made my decision. I fully intended to visit other countries besides England and France. But I've got to get back to work. I'm happiest when I am working, even though it seems to me mine is the hardest work in the world. All the while I was traveling, I was thinking ( Continued on page 105) Newspaper men ; where. They are it Cherbourg. France, are like newspaper men cvcry- all waiting and waiting to talk to the Mr. Chaplin Two Great Italian Pictures AND now — Italy. JT V We have had French pictures, and German pictures. Nov*' the Italian invasion has begun. Goldwyn has imported what are said to be the two finest examples of Italian motion picture art : "The Ship, with Ida Rubenstein, the great dancer, in the Gabriel d Annunzio story, and "Theodora, from Sardou s drama, with Rita Jolivet the featured player. "Theodora is now running on Broadway. The picture to the left shows Jolivet, whom you may remember in Famous Players pictures some years ago, in a scene from this photodrama. The picture below is one of the many interesting things from "The Ship. This latter film will soon be released. They are both well worth seeing. A scene from "Theodora, a tremendous spectacular production, which Goldwyn brought from Italy d Annunzio sent us "Caberia, and it was the masterpiece of its day. "The Ship shows how Italian productions have improved since then 22 He emerged from the waiting room and moved hesitatingly toward the alarmingly frank young lady THE future was very promising for Albert Henry Robin- son. Albert Henry was a nice, reliable young man. He had appeared in Woodland six years before to assume the duties of telegraph operator and today held forth proudly as station agent. And while the position of station agent at Woodland was not the most important job in the world, he was yet the biggest frog in a tiny puddle. But the station-agency was not the thing which assured Albert Henry's future. Rather it was his magnificent reli- ability. Quite a personable young man, he carried a worth- while head on not unbroad shoulders. He taught a Sunday School class, attended church regularly and never missed a Wednesday night prayer meeting. True, had Albert Henry been given to analysis of self, he might have made the startling discovery that this punctilious- ness was directly attributable to the boredom of existence in Woodland. But Albert Henry didn't analyze, and the citizenry of the little town cheerfully accepted results rather than bother itself about motivation. During his six years at Woodland, Albert Henry had been preyed upon by no vices. He did not drink, play cards or indulge in any other form of wickedness. And his salary be- came increasingly worthwhile. So it "was, because there was nothing else to do with his money — Albert Henry Robinson saved a goodly portion of his monthly income with the result that he now had on deposit in the Woodland Farmer's Bank a sum in excess of four thousand dollars. And he was engaged Wise and Otherwise This is the story of Albert Henry — who suddenly ceased to be reliable. And of a chorus girl who knocked a paragon off a pedestal By OCTAVUS ROY COHEN Illustrated by R. Van Buren to marry the daughter of the president of that rural Gibraltar of finance. Albert Henry's fiancee was the single un- welcome fly in the ointment of passive, un- questioning contentment. It wasn't that she fell short of being a nice girl. Certainly no one could say that of Phyllis. And Albert Henry didn't know that his instinctive aver- sion to matrimonial contemplation was due perhaps to the fact that she was too nice. Phyllis was distinctly of the type born to be a good wife and mother. She was ample in height and figure, neutral of complexion, several years too late in style and teetotally lacking a sense of humor — which explains how- Albert Henry happened to become engaged to her. That event had occurred nearly a year before on the occasion of a moonlight hayride. The party picnicked in The Grove and Albert Henry found himself strolling through an avenue of maples and spreading oaks with Phyllis Garrison. The night was marvelous: a sensuous, compelling blackness, pierced by the silver of bright moonlight. And Albert Henry was a virile and lonely young man. Phyllis was a full-blooded young woman who indicated very clearly that Albert Henry was personally pleasing to her. They seated themselves upon the trunk of a fallen oak and, quite unexpectedly to Albert Henry, he found his arms about Phyllis and his lips on hers. That was all. But, returning to the picnic grove. ' Phyllis announced to her parents that she and Albert Henry were engaged. This was news to Albert Henry, but he never thought of registering a protest. He was a nice, reliable young man. And for a month or so he passively enjoyed the uniqueness of his position as an engaged man. Phyllis's father approved. The future was very promising for Albert Henry and he was taken into the bosom of the Garrison family. As for Phyllis, she was a vague disappointment to the re- liable young man. She was indifferently quiescent and madden- ingly practical. Within her there was none of the fire with which he understood engaged young women were imbued. Once across the threshold of novelty, her lips became almost clammy against his, and. without knowing that he was doing so — he struggled against the inevitability of marriage to her. Which explains why their engagement already had lasted almost a calendar year. It never occurred to him to break off the engagement He was entirely too steady-going and reliable for any such proce- 23 x iiuiupiay magazine dure. Besides, becoming unengaged to a girl of Phyllis s stolid type is considerable undertaking. And even had she been more temperamental, Albert Henry would not have known how to go about it. Certainly the future promised much to Albert Henry — measured by Woodland standards. He earned a good salary and earned it regularly. He was soon to marry the daughter of the town"s wealthiest man and leading — and only — banker. That meant eventually a cashiership and heirdom to the presidency. Also a good wife and a large family. Or a large wife and a good family. Albert Henry experienced no wild surge of elation at the prospect; yet, because his dis- inclination was founded upon nothing tangible, his protest remained unuttered. He was not even conscious of the vague rebellious yearn- ings within him ... of the unformulated desire for the wine of life: for something which was not so confoundedly correct. Until — it was eleven o'clock in the morning of Monday the thirteenth of April, when Number 119, southbound, hesitated at Wood- land for water. The day was unseasonably hot and the passengers aboard Number 119 intensely uncomfortable. Therefore, the ma- jority of them took advantage of the respite and alighted to walk the platform of the little station. WOODLAND itself was dozing. Albert Henry was alone at the station — the stopping of Number 119 being an unusual and unscheduled occurrence. He noticed, with vague wistfulness, that among the passengers who alighted for a brief constitutional were many young women whose cheeks were abnor- mally red and whose skirts were delectably short. Albert Henry was healthily interested. He would have been more interested had he then known that these young ladies were the chorus girls in the burlesque troupe known as "The Broadway Beauties," en route to the industrial metropolis of Ironton for a week's engagement. Of these salient facts Albert Henry was ignorant. Too, he failed to notice that one of the curviest of the young ladies wandered across the dusty breadth of Railroad Avenue toward the fruit emporium of Peter Pappa- george. But this particular young lady was called pointedly to his attention five minutes later when Number 119 pulled hurriedly jut and upon the platform there appeared a flurry of skirts, a twinkling of well-rounded calves and wild shrieks which he interpreted as demands that Number 119 reconsider. Number 119 obviously did not hear. It rumbled swiftly and contentedly on toward Ironton, disappearing in a cloud of dust around a distant curve. And the proprietress of the short skirts and very prettily rounded calves seated herself on the station platform where she fer- vently and profanely apostrophized herself, the railroad and the town in which she was temporarily resident. It was then that genuine interest awakened in the breast of Albert Henry Robinson. He heard the language of the young lady, but it did not shock him. Not even a little bit. Later he wondered why it had not. Just at present it seemed the most natural thing in the world — and the most pleasant. Perhaps because this particular female person was the direct antithesis of the bovine Phyllis Garrison. Perhaps, too, be- cause she was the personification of the vague yearnings which Albert Henry had so long stifled. He glanced up Elm Avenue, Woodland's principal thorough- fare. Apparently the pausing of Number 119 had precipitated no grand rush to the station. The little building itself was empty. Even the telegraph operator had wandered up the street to enjoy a quiet game of pool in Ransom's place, leaving his superior to handle the key. Without knowing why — Albert Henry was thankful for his underling's transeression. He emerged from the waiting room and moved hesitatingly toward the alarmingly frank young lady. She paid no par- ticular heed until he was upon her, and then her eye lighted upon the black sleeve protectors, the green eyeshade and the sheaf of yellow papers which bespeak the railroad official. The sight did not cause her any great enthusiasm, for she favored him with a glance in which anger struggled with super- lative contempt. "Well," she said finally— and he noticed that her voice was very sweet despite its angry timbre, "what sort of a bum railroad is this you work for?" He found his arms about Phyllis and his lips on hers. Phyllis announced to her parents that He smiled — and when Albert Henry smiled something had to melt: "The train went off and left you?" "No indeed. It's playin' hide an' seek with me." This appealed to Albert Henry as being excessively funny and he said so. But the girl's face became lugubrious in the extreme. "Laugh! Go ahead an' laugh! I wouldn't have minded bein' left in a regular town . . . but a hick burg like this. . . ." "Woodland aint so bad — " "My Gawd!" She rose and shook herself. He again became nervously conscious of her aggressive pulchritude. "Listen here. Little Boy, when does the next rattler come along for Ironton?" "Eight-forty tonight — if it's on time. Which it never is." One shapely foot stamped violently. "Which means that by tomorrow morning The Broadway Beauties will have a new shimmy dancer." There was nothing he could say. He said it. It was she who broke the silence: "Say, Kid — what does a person do in this village when they've got nine hours to kill?" Photoplay Magazine 25 That was a poser. One can occupy six years of time in a town like Woodland with infinitely greater ease than one can fill nine hours. "Why — er — you can eat dinner at the Grand Hotel and go to the movies this afternoon and — er — take a walk — and — " She looked around in a sudden daze and emitted a panicky wail. "And I left my purse on the train. I've got just eleven cents!" That was all. But returning to the picnic grove she ana Albert Henry were engaged He shook his head commiseratingly. "That's too bad.'' "I never expected the durned old train to leave me. The conductor told me we'd be here ten minutes. Said I had time to go over to the fruit stand. I might've known. . . . An' I'm so hungry!" There was but one thing for Albert Henry to do under the circumstances, and he did it. Nor did Albert Henry ponder upon the local effect of his invitation — "Why not take lunch with me up to the hotel?" She met his eyes hopefully. "You mean it: Honest?" "Sure. If you will." And his manner indicated clearly that the pleasure was one hundred percent his. "If I will! Ow! And me so empty my belt buckle is jammed against my SDine! Lead me to it, Kid — lead me to it!" Albert Henry excused himself and traveled with great haste to Ransom's, where he extracted his assistant from an absorbing game of kelly pool. Albert Henry was treading on air, breathing an atmosphere of exotic romance. How differ- ent this from the unbearable placidity of Phyllis: as different as wine is different from tepid water. He yanked the telegrapher to the station and was rewarded by an expression of dumfounded amazement as that young gentleman visioned the frank friendliness with which Albert Henry and the young woman conversed as Albert Henry dolled eyeshade and sleeve protectors and donned coat and hat. The telegrapher had never suspected this of Albert Henry, but certainly his superior lost no prestige thereby. He did not hear the dialog as they started slowly up Elm Avenue. "My name." he hesitated, "is Albert Henry Robinson "Mmm! I might've suspected that." "What's your-'' A dimple appeared at the corner of her mouth. "Myrtillene Farnsworth." "Gosh! That's a pretty name." "Uh-huh! That's what I thought when I made it up." He didn't quite understand her remark but felt that it would be tactless to request an explanation. And then, as they passed the Night Owl Drug Store, he found himself unable to explain anything or to ask questions. '"TPHE Night Owl Drug Store was the corner *■ of Woodland. Daily, from nine in the morning until three in the afternoon, the chairs were removed from the vicinity of the marble- topped tables before the soda fountain and lined up behind the plate glass windows where their occupants could — and did — command a view of the town's chief thoroughfare. And although he heard none of the startled com- ment as he passed, he knew that it had to do with him. "Lookit Albert Henry!" "Who's he with:-" "Aint she sumthin'?" "Gosha 'mighty! Them skirts. Might's well not have on none a tall." 'Pretty legs. Wonder where she come from an' how she got here an' how long she's been with him?" "Painted up — that's what she is. All painted up." "Regalar hussy! I seen some like her in Chicago. A heap of 'em." "Awful pretty gal. though. Wonder if Phyllis Garrison's ol' man knows about her?" "Dunno. But I never would of thought it of Albert Henry — of all people." Myrtillene glanced curiously at her sudden- ly silent companion. "What's eatin' vou now. buddy?" Xothin'." "Aint sore, are you?" "Sore. Mm-mm ! Couldn't get sore at you." "Little ol' kidder. aint you? Say — how long is this street? When do we eat?" They turned in at the gate of the Grand Hotel — a ramshackle, two-story frame struc- ture sadly in need of paint. An old lady who had long since dropped her crocheting that she might miss no step of the slowly approaching couple, rose from her seat and fluttered cluckingly inside. A couple of clerks, awaiting dinner, nudged one another and grinned broadly. "Lookit there!" "Geewhillikens! An' Albert Henry! The proprietress of the Grand Hotel frankly disapproved and, because she did not wish to contaminate her regulars. seated Albert Henry and Myrtillene at a private table in the far comer of the malodorous dining room. And while during the early part of the meal Albert Henry was fidgety — believing that the stares turned upon him were of mere speculation and not at all critical — he gradually became less self-conscious as friendship between himself and the girl ripened with each bit of fried chicken which she eagerly consumed. Xot for one single instant did it occur to Albert Henry that he was doing anything which he should not. Nor did he take into consideration the fact that the too-good townsfolk knew not whither or why came Myrtillene. So far as Woodland was concerned Myrtillene was the guest of Albert Henry — his guest with malice aforethought. And Albert Henry had 26 Photoplay Magazine And although he heard none of the startled comment as he passed, he knew that it had to do with him thus slapped the intensely decorous little municipality in the face. Fortunately, Al- bert Henry did not know that. During the progress of the far-from- unpalatable meal Albert Henry learned many things. He learned, for instance, that there was internal strife rending The Broadway Beauties, civil war having to do with Myrtillene*s proficiency as a solo shimmy dancer and the preference of a portly road manager for another damsel of the troupe who had aspirations to the shimmy spotlight and the additional ten dollars a week which that delectable dance attracted to the pay-envelop. To say nothing of one's name on the program apart from the un- individual group captioned "Ladies of the Ensemble." ACCORDING to the story told by Myrtillene, her present predicament was serious. "That fat old slob can't fire me s'long's I'm on the job. I've got a contract. But lemme miss a show an' he sticks this other dame in there an' wires back to N'Yawk that I've jumped the troupe. An' b'lieve me, Al, (he liked her use of 'Al' — no one had ever thought of it before) there are a heap of good lookin' chorus girls lookin' for work an' the show aint doin' so awful good anyhow — so little Myrtillene is about to get dumped in the soup." Albert Henry was sorry: terribly sorry. He understood that only her appearance at the night performance in Ironton could extricate her from the present dire predicament. And suddenly a thought came to him. He leaned across the table, eyes sparkling: "I've got it!" "My Gawd! What?" "An idea." "No? 'Taint possible.-' "Honest. I can get you into Ironton in time for the show It's only sixty miles- the new roads 'bout three an' : got in this a half hours here county, She gazed upon him with renewed interest. "You don't mean it!" "I do — really." "You got a car?" "No-o. But I can borrow one." Relief shone from her face. Impulsively she reached across the table and squeezed his hand — neither hearing the chorused gasp of outraged propriety which arose spontaneously from the table. As for Albert Henry, the firm pressure of that warm, ardent hand set his heart to beating like a trip-hammer and flooded his face with delicious crimson. Phyllis never grasped his hand like that . . . holding hands with Phyllis was more closely akin to fingering the stock of a fish market. Albert Henry was all excited. So was Myrtillene. They walked to the veranda together with the young lady hanging appreciatively on his arm. The town quivered. So did Albert Henry. He excused himself to the girl and a half hour later drove up to the door in a glistening little roadster. Myrtillene climbed in beside him and they headed for the Ironton pike. A chorus of indignation broke loose on the porch of the Grand Hotel. "The gall of him: borrowing the car of his future Pa-in-law to take that hussy riding!" "You sure that's 01' Man Garrison's car?" "Don't you s'pose I know his car when I see it? I'll bet the old man don't suspect what he wanted it for." "An' I bet Phyllis aint heard nothin' yet." "Of all the nerve. . . ." (Continued on page 116) LIBRARY y ; ; pict r j r\ -LYWOOD, - CALIFO CONSTANCE BINNEY THE Editor couldn't resist this Christmas greeting. An old fash- ioned fireplace, a holly wreath, and a girl like Constance Binney — when such a combination wish you the joy of the season you know that it's the real thing! Incidentally. PHOTOPLAY and all its staff, from the Editor to the Answer Man. second the motion -'7 My Husband As Related by ELSIE FERGUSON To Ada Patterson Miss Ferguson is perhaps our most elusive star. She seldom talks about her private life, and has surely never before written about it I HOLD that the actress does well to marry out of her profession. Whether her aim in marriage be to attain happiness or to further her success, or a combination of both, I believe she is more likely to achieve it in marriage with what we of the screen and stage term an "outsider." For "the outsider" may be without the little circle that binds our lives of make-be- lieve, but he is an insider of life. Big life. He has con- tacts of which we in our land of makeup, treading our little, mimic stage, have but the vaguest knowledge. We. although we profess to hold the mirror up to nature, are the real outsiders of life. We play life, but few of us live it in the largest sense. Only when some great event, as the World War, jostles us out of our dreams, do we sense the fact that we, not they, are the outsiders. I am glad that I did not marry an actor. Indeed, I never considered marrying one of my own craft. Be- cause the player has enough of the details of his work in the theater or the studio. He does not want to repeat them in his home. Just as the business man wants to forget the ordinary details of his business when he reaches his hearthside. IT is argued with truth that a married pair should have the same interests in order that they may speak the same language. But I maintain that the educated and cultured business man may know the language of the dramatic art as well as several others. It would be lamentable if he could talk only of stocks and bonds, or of merchandise. But the well-informed, well read business man is like a lin- guist. He speaks several tongues. Marrying outside the profession has been an undoubted success with me. I married an exceptional man. I be- lieved this when I married him. I am unshakably convinced of it after five years of marriage. Yet I believe the fact that he is an outsider, has helped to make our marriage a happy one. It was a fortunate day for me when I went to the Harri- man National Bank to draw out a part of the little money I had left there. It would have been hard to convince me that 28 it was not a most unfortunate day. I had been in a play that failed. I was going out in another in which I had no faith. I remember that it was a sultry, humid day, which added to the depression from which I already was suffering. It was suggested to me that I meet Mr. Thomas Clarke, the vice president of the bank, so that I might arrange for drawing out my remnant of money while on tour. I re- member whispering, "No, I don't want to meet anyone this morning. I don't feel like it." Besides I had seen . Mr. Clarke several times through the glass compart- ments in the bank. I had thought him a most for- bidding man. Determination had etched deep lines from his nostrils to his lips. He had a habit of staring through his eyeglasses at per- sons in a most bankerlike way. I was positive I didn't want to meet him. Of all times that morning. B1 Mr. and Mrs. Tnomas B. Clarke, as Miss Elsie Ferguson. They UT Mr. Clarke had heard the suggestion. He did not hear my whispered "No, no. I don't want to meet him." And presently I found myself looking up into a face that was minus the eyeglasses and not at all forbidding. He said he understood I was going on a tour. I answered, "Yes, in a play I expect to fail. I am not at all happy about it." He said, "If you will come back in 'Such a Little Queen' I will arrange for a mileage ticket." I looked up in surprise. "Did you like it?" I asked. "So much," he answered, "that I saw it nineteen times." I looked up at him in amazement. This man with the deep lines about the mouth and the banker's look through glasses had liked that delicate little play, whose appeal I supposed had been particularly to women. That argued great delicacy and fineness of perception. I looked up gratefully at him and saw a new being in him. I thought, though I did not say, "You angel man!" My play was, as I expected, a failure. I came back to town. My business at the bank brought about a further acquaintance. Gradually we became friends. But when he talked of marriage he met an amazing antagonism. I told him of my early start on the stage. I had gone in Mrs. Clarke is better known have been married five years Photoplay Magazine the chorus of "The Belle of New York.'' when I was fourteen on a tour of forty-one night stands. Life had been a thing of shocks and surprises to me. 1 must have been sadly dis- illusioned, for at eighteen I had decided that men were my enemies; that I must defend myself against them; when I needed their attention or their advice, take it; use them when they were needed, but I must have affection for none. I had married once, unhappily. I had fully determined that I would never again marry. I told him that men were not dependable. He answered: "I am glad that you don't trust me. I want the chance to prove to you that I am dependable." It took him five years to make me know that. And we were married. Most happily so. Our mar- riage was as successful as was the courtship. He has proven over again in the five years of marriage his complete dependability. I am probably the most shielded, most protected woman that can be found in this country. And yet I have freedom. I feel as free as before I was married. That is because I must be free to do my work. I must travel when my health or need of mental stimulus demand it. Mr. Clarke, being active in the bank, seldom takes a long vacation. He was unable to go with me to the Orient. My secretary went in his stead. But we did have a delightful visit to Europe together last summer. I am fortunate, too, in having a husband with a sense of humor. He has a delightfully fresh outlook upon matters that I would consider vexing. He makes me laugh away what might otherwise be cumulative and troublesome. DOUBTLESS I puzzle him. People of the stage and screen are big children. They are necessarily so else they wouldn't be interpretative artists. Children are mimics. Acting is the mimetic art. Therefore I can understand my husband's occasional remark: "I feel like a hen standing on the bank watch- ing my one duckling and wondering what she will do next." We interpreters of life are emotional. Over-emotional, indeed, for our emotions, being in a way the instruments of our art, are overtrained. The keen, sane, tolerant, view of the man of business is invaluable to the actress. A business- man-husband is a balance wheel. He helps her to handle her business. He is helpful even in her profession, for he sits in the seat of the beholder. He helps' her to see a play as the spectator in a twelfth row aisle seat would see it. I believe in the layman husband because through him his actress wife escapes the continuous life of the theater or studio. Through him she moves far back from it and acquires 29 perspective. It is like leaving the stage or screen and returnin • to it. The truest criticism ever made of us is that we live and play the stage or screen. Life companionship with a man of business corrects this warped view. Association with him compels us to see things straight which, I once heard, was Maude Adams' definition of genius. W HEX Julia Arthur returned to the stage, having been absent from it for a long time after she married Benjamin Cheney, she .-aid that she had returned a better actress than she left it because, for all those years, she had had the companionship of a well-informed, widely-read, intelligent man. The possibility of friction in the home is eliminated by marriage with an outsider. I hold a brief for the layman husband. Summarily, he furnishes perspective and a balance wheel and preserves the normality of his actios wife. Speaking personally. I have an exceptional husband. Some day, when I am As Lisa Panonora the heroine o( " Foot- lights." Miss Ferg- uson does the most notable acting or her distinguished career The Clarkes recently re- turned from a holiday trip to Europe. It was really a Delated honeymoon through with the stage and all public life, I shall sing my swan song. It will be an appreciation of the best, the noblest, the most brilliant and the most modest man on earth. The man whom it is my great happiness to have and to hold as my husband. FOLKS THAT LIVE FICTION is entertainmenr. It must be wholesome and deal with real human beings, FOLKS THAT LIVE and face the same problems that we do — not imag- inary people that talk and live only on pages of printed paper. That's the only kind of fiction Photoplay prints. During the past year Photoplay's fiction, selected on this basis, has included some of the greatest short stories ever written, and has made a real sensation in the magazine world. There are only two in every issue, so don't miss a single one of them. Algiers Island The desert has bl oss omed — the desert of Long Island City. From a stretch of Long Island a scene of Algiers was made; and it was complete t o the last detail, even though it was only a flash on the screen in "Forever" In the picturization of Peter Ibbetson , Elsie Ferguson, as Mimsy, or the Duchess of Towers, and Wallace Reid as Gogo, or Peter Ibbetson, dream a love dream in which they jour- ney to far countries and see strange scenes — always together. Among the many places they visit is Algiers; and since Paramount couldn t send its stars to Algiers, Algiers came to them, summoned by those modern genii, the property men Against a background as sordid as any in the world — stark, drab houses of a Long Island City street — blossomed Algiers, with its picturesque palms and its turbaned natives. In the large picture, above, the versatile car- penters of the Paramount eastern studios are building an Algiers that would deceive a native Algerian, to say nothing of the natives of Long Island City. The small picture in the center shows the scene com- pleted. Note the painted drop against the real sky, with its mosque in the distance. And then look at the picture at the left. You'd never know that the drop wasn t the real thing — that the scene wasn t really or Algiers, would you? And it s so good we hated to give it away! 30 Secrets of Mae Murray's Success By MARY MORGAN How the little Follies chorus girl came to be the famous screen star of today FOR fifteen years I have known Mae Murray. I have seen her evolve from the lowly state of a meek unknown to the shining one of a celebrity; have seen her unfold from a pale little bud into a full-blown rose; have watched her expand from a little girl of Manhattan Island to an accom- plished, everywhere-at-home citi- zeness of the world. They have been growing years. She has been successively chorus girl, principal, dancer, screen star, and before a twelvemonth has passed we are to see her as a luminary of the stage. Why have all her years been growing years? It is not always so. There are slumps and sags and stumbles on the upward way. There are good years and bad. Profitable seasons and execrable ones. Folk who wear the masks of philosophy to hide their tears and frowns know this. But Mae Murray has mounted and mounted. Again, why? I, who have known her since she was sixteen, believe there are several reasons, Would you ever recognize tne Mae Murray you know in this quaint old-fashioned girl? This is how she looked when she played the Nell Brinkley girl in the Ziegfeld Follies of 1908 A portrait by James Montgomery Flagg of Miss Murray as she really looks a chief and several sub- sidiary ones. But first let me picture the Mae Murray of an earlier time. I met her first when her skirts were short, her hair long, and her eyes full of the dreams of romance. She should have been in an exclusive school for girls up the Hudson. She was in the chorus and she had just been married. Her face had curves of baby softness. A mass of golden hair thrust itself from be- neath her quaint, poke- like hat. Her voice had the slow cadence and caress of the South. Sin- talked naively of her year or two on the stage and her runaway mar- riage in Hoboken. It was wonderful to be on the stage; wonder- She was a favorite dancer of metropolitan audiences before she went into the films. She still dances occasionally for the edification of screen audiences \\ \ / ful to be married to a boy who adored J py you. Life itself was enchanting. But through all her girlish speeches, steady as a pulse, constant as a heart, throbbed her ambition. She was one of a group of girls who pre- sented the ideals of famous illustrators in the "Follies of 1908." Charles Dana Gibson's dreams of beauty were reproduced. So were those of Harrison Fisher, the bachelor lover of beauty. And Howard Chandler Christy's. The fair little Virginian was enamored of a newer illustrator. Julian Mitchell became aware that a small, determined hand was plucking at his sleeve. A childlike voice pierced his not acute ear. "Mr. Mitchell, please let me be a Nell Brinkley girl." ''Don't bother me, child: I'm busy with this number." "But Mr. Mitchell. Miss Brinkley 's pictures are quite different. I love them. I've been covering them with tracing paper and doing them over I know every one of her types. And I look like some of them. Can't you see that I do?" held up a Brinkley drawing from one of the news- papers and held her own eager young face beside it. "Cm;" said Mr. Mitchell.' "Well:"' And he gave her a sweeping, critical glance. She knew he had said she "was too little for that group of big girls." "I'm all ready to play her, Mr. Mitchell. No- body could ever have so much hair really as her girls have and I have bought a curly wig. Let me show you." She danced out to the chorus dressing room and back. "Look!" She placed the printed sketch close to her bewigged head. The great ^tage manager was preoccupied. He was unconvinced. She repeated her speech the next day. and the next and the next. Each day she brought the wig with (Continued on page 112) The home of Casson Ferguson, in the Hollywood hills, is not Cali- fornia, not 1921. You feel that you have strayed into Italy, of the nineties. He sailed the seas and visited many lands as an actor and a singer, and has embodied his ideas and ideals in his house A glimpse, as the home-beautiful magazines put it, into the dining room. It is a little gem, and one particularly appreciates it when Ferguson s Jap boy, Ki-ku, serves his celebrated salad of blanched almonds and other things, in jelly The rooms in his house are out of a Casanova tale. This is a great Italian room, two- storied, domed, and with a remarkable effect of age at- tained in the painted, plaster walls and the dark, worn floor. Casson is about to launch into some Debussy dream at his grand piano II m%% There are stained glass windows, and crimson cushions, and old rugs, and a niche with its tiny saint. The little balcony is draped with a price- less shawl of Italian workmanship, and through the windows you may glimpse Hollywood n.lls 32 An Italian Villa in Hollywood LIBP?A F? \jr John Carteret had faced the future with glad eyes and a song on his lips. For John Carteret was about to be married Smilin Throu As a play people loved it: they said, "Wouldn't it make a wonderful picture !" By ELIZABETH CHISHOLM SOME of us are born to be happy and contented. Some of us find, in life, the daily promise of dreams coming true — the almost hourly sign of faith and hope. Some of us know only the sweetness and the joy and the ful- fillment. But there are those among us who lead lonely and monotonous existences in which bitterness goes but thinly masked and romance is laid permanently away — but is never quite forgotten! John Carteret was a lonely old man. For him the sweet- ness of life had turned to disappointment and vain regret. His romance had been folded away in a dusty trunk in the attic of his English cottage — his dearest dreams had turned to dust and vague moonlight. A packet of old letters, a little song book stained with age, and a doll dressed after the quaint fashion of a bride of yesterday — they were all that was left of John Carteret's love story. JOHN CARTERET was not always old. Fifty years ago, a young man with all of life before him, John Carteret had faced the future with glad eyes and a song upon his lips. The song was one that he and his Irish sweetheart, Moonyeen, had loved. It was a simple song, a song about a little green gate, "at whose trellis I wait, While two eyes so true, Come smiling through. For John Carteret was about to be married. The house had been decorated for the wedding, the guests had assembled, and the bride had arrived. It was when she arrived that she sent to him, as a playful little gift, a tiny marionette — a doll dressed in an exact copy of her wedding gown. And then, when life was so full, a great tragedy had taken place. And John Carteret had been left, alone, to face the empty years. It had been the jealous suitor — the rejected lover — who was accountable for the tragedy. One Jeremiah Wayne, he was. a boy who had loved Moonyeen with a desperation that amounted almost to madness. Her coldness to him, and her love for John Carteret, had driven him to drink. And it was in a violently intoxicated state that he arrived at the wedding. Despite all efforts to keep him away, despite all endeavors to soothe him, he had insisted upon seeing Moonyeen before the ceremony and had told her that he could not give her up. But she had begged him, if he really cared for her. to let her marry the man she loved in peace. And so he went away. He went away. But he returned just as Moonyeen. radiant in her bridal finery, was walking up to the flowery altar in the garden where John waited. Staggering toward her, with wild eyes and a twisted mouth, he sneered, with something of pathos in his broken voice: "No place here for the rejected suitor!" Moonyeen's face was white as she saw the man coming in her direction. But there was only sweetness in her voice as she spoke his name. It was John who stepped angrily for- ward— who spoke harshly. 33 How could he know that it was the anger and hate in his soul that had changed things — that the spirit of his sweetheart was still at the garden gate, waiting to come smilin' through 34 Photoplay Magazine 35 "What do you mean." he questioned, "by coming here to create a disturbance?" To Jeremiah Wayne the sound of John's voice was like a blow. All of his fury, held painfully in leash, came to the surface. He started ferociously toward his successful rival. "Get out of the garden, all of you." he roared to the assembled company, "I want to talk with this man alone." But the wedding guests did not leave. And Moonyeen, with a little frightened cry. ran toward her lover. John, his arm tight about her. tried to con- trol his temper. "Leave this place," he said shortly, "leave this place! I'll settle with you later." It seemed as if every word from John made Wayne more furious. His voice was fairly shaking as he advanced toward the altar. "You'll settle with me now!" he screamed. IT was too much for John. Los- ing his temper. completely he started forward. But he had scarcely taken a step before Wayne drew out a long dueling pistol. Leveling it at John he spoke in a furious voice. "I couldn't keep you from winning her," he said harshly, "but, by God, I'll keep you from marrying her!" It was then that Moonyeen made the supreme sacrifice. With arms outstretched she threw herself in front of her lover. And, as W7ayne's pistol discharged, it was she who staggered back, she who would have fallen but for the John's It was even more unfortunate that he should go to the town hall and find Kathleen dancing with Kenneth. All of his bitterness and hatred flared up as he took his niece quite un- ceremoniously away from her partner. She demanded an explanation Of SmilirT Through "VTARRATED. by permission, from ■^ the Joseph M. Schenck - First National photoplay. Adapted for the screen by James Creelman and Sidney A. Franklin from Allen Langdon Mar- tin's play of the same name. Directed by Sidney A. Franklin with the follow- ing cast: Kathleen I x - „ t i j ,, > .Norma lalmadge Moonyeen \ & John Carteret Wyndham Standing Kenneth Waxne \ u • t? i T ■ , TT.' > Harrison rord Jeremiah 11 ayne) Doctor Owen Alec B. Francis Willie Ainsley Glenn Hunter Ellen Grace Griswald Little Mary ( Moonyeen' s sister) Miriam Battista Village Rector Eugene Lockhart strength arms. As she staggered. Wayne dropped the pistol. And the mad- ness leaving him, he began to cry hysterical- ly. "My God, I didn't mean it," he sobbed. And, turning, he ran blindly, from the garden. Of course they did what they could. But there was little that could be done. Dr. Owen Harding, John Carteret's closest friend — knew that the end was near as soon as he bent over her. But to John the realization came more slowly. "In God's name, no!" he sobbed. "It cannot be. In God's name — no!'' Moonyeen was lying against his arm. She looked up at him, smiling faintly. "Love like ours can never die." she said softly. And then — "It's a shame to disappoint them!" For a moment John did not understand. And then, realiz- ing her absolute bravery, he motioned to the minister. And there kneeling on the ground, her head supported on his shoulder, they were married. It was only as he placed the ring upon her finger that she seemed to slump down in his arms, that her eyes began to close. In an agony of grief John bent over her. His soul was in his voice as he spoke. "Moonyeen." he sobbed, "don't leave me!" It was the heartbreak in his tone that made the girl lift her eyes once more to his face. Her voice was a mere whisper when she final- ly spoke. i "John dear . . ." she murmured, "don't be sad . . . I'll find a way ... . to come back. . . ." And then, after a long pause, "at the little green gate I'll be waiting for you . . . smiling through!" JOHN CARTERET, embittered by hatred J of Jeremiah Wayne, who had never been captured and punished, lived alone in his English cottage for many long years. Only Ellen, his servant, and Dr. Owen Harding, his close friend and near neighbor, saw his gentler side. And then, after an aching period of loneliness, a letter came to him from Moonyeen's sister in Ireland. It was the last request of a dying woman and it asked him to take her only little daughter — his niece by marriage — into his home. "She's all alone and I know that you'll care for her," the letter read, "for she is the image of Moonyeen — the woman you loved! All I ask is that you never tell her the story and that you try to forget this hatred for Wayne that has embittered your noble life." And so Kathleen came to gladden the heart of John Carteret. Like a ray of sunlight she was — like a rose bud in the first glow of June. And as John and his friend, Dr. Owen, watched her grow in sweetness and beauty, it was as if they were re- newing their own youth. Everyone loved her and one boy. Willie Ainsley, took every opportunity to propose to her. Only once, in all the years between, did John Carteret hear of Jeremiah Wayne. It was when he received a letter from America, from a woman who signed herself Sarah Wayne. It told that Jeremiah had died and had left only one son. a boy named Kenneth. And it said that Kenneth had never heard of the terrible tragedy. And. in the last sentence, it had begged John Carteret to forgive. But. though John had kept the letter — as well as the one from Moonveen's sister — he had 36 Photoplay Magazine been unable to drive the hatred of even the name of Wayne from his heart. Moonyeen . . . her last word to him had been a promise to come back. And. curiously enough, she had been able to keep her promise. For quite by chance, one night, John had taken the little marionette — the doll dressed as a "bride — into the garden. Sitting there, he had happened to hold it away from him. And by some trick of the moonlight its shadow had been en- larged and had fallen across the garden gate in a strangely life-like way. It might almost have been the sil- houette of a living woman that he saw— the silhouette of his loved Moonyeen ! It was like finding her again. Softly he called her name — and it seemed as if she an- swered him. IT was in the summer of 1014 that war swept over England. And it was in that same summer that Kenneth Wayne came to the peaceful English village from which his father had fled. He came buoyantly, know- ing nothing of the shadow that lay on his name. And Kathleen, who had never heard the story of her aunt's tragic death, met him. And, because youth attracts youth, she liked him very well in- deed! It was in a rather unusual way that she met him. It was when her horse refused to cross a ford that he came to her aid. The first meeting might have been laid to fate, but it was Kathleen herself who arranged the second one. She it was who invited Ken- neth to a bazaar at the town hall, whither she was bound. And it was there that Kenneth interrupted one of Willie Ainley's proposals — there that they laid the foundation of a friendship that was to ripen into something more. It was unfortunate that John Carteret should learn that the son of his old enemy was in town. And it was even more unfortunate that he should go to the town hall and find Kathleen dancing with Kenneth. All of his bitterness and hatred flared up as he took his niece quite unceremoniously away from her partner. She demanded an explanation, and he had only one answer to give. ''He's the son of his father — that's enough," he told her. And then he hurried her home. Kenneth Wayne was left alone with old Dr. Owen, who was also at the bazaar. In his amazement he spoke his thoughts aloud. "Whatever did my father do to him?" he queried blankly. Dr. Owen, who had been a silent and sympathetic spectator, answered. ''Whatever he did, you shouldn't be blamed for it!" he said kindly. Romance thrives on opposition. And so Kathleen and Staggering toward her, with wild eyes and a twisted mouth, he sneered with something of pathos in his broken voice : "No place tor the rejected suitor! Kenneth did not stop seeing each other. It was Dr. Owen who helped them — who carried notes and messages. He did it with no feeling of disloyalty to his old friend, for he believed that Kenneth should in no way be held responsible for the sins of his father. He was an old man and the past was only the past — to him. To John Carteret the past was everything. But — because it is hard for honest folk to carry on anything clandestine — it was not long before John Car- teret discovered which way the wind was blowing. An intercepted note brought the affair to light. It was a note from Kenneth asking Kathleen to meet him, and it en- raged the old man. It precipitated a quarrel between him and Owen. And Kathleen, by bringing them to- gether again, was able to direct their atten- tion from the matter of the letter. And so, for a short time, the affair was calmed down. But Kathleen, be- cause she loved Kenneth, could not ignore the note's mes- sage. Instead she met him in the garden, as he had asked her to, and there learned from him that he had en- listed with Kitchener's army, and was going to Franco. War — and the part- ings that are made necessary by war — has precipitated many a love scene. Playfully — but deeply earnest, withal — Kathleen told Kenneth that she didn't believe he knew how to propose to a girl. And still play- fully she began to give him instruction. It was while the les- son was in progress that John came into the garden. And it was then, with all the dignity his anger had left to him, that he sent Kenneth away. Even Kathleen's plea that her lover was going to the front did not move the irate old man. He would not even let her say goodbye. And he utterly ignored Ken- neth's statement that: "I'm coming back — war or no war. And Kathleen and I are going to be married — with your consent or without it!" It was that evening that John told Kathleen — in Dr. Owen's presence — of her aunt's death and of Jeremiah Wayne's part in it. He told it brokenly — but he spared no detail, though it was like turning a sword in an old wound to tell. And Kathleen listened — with incredulity and horror. He told it to the very end, to Moonyeen's assurance that she would come back. And then, after a moment of hesitation, he went on: "At first I thought that I couldn't bear it," he said, "and then one night as I sat with this toy of hers — " he held up the dainty little marionette, "the moonlight struck the shadow of it on the gate, and she came back to me!" For a moment after he had finished Kathleen and Dr. Owen were silent. And then Kathleen spoke. "If you can love like that" (Continued on page 114) BETTY COMPSON WHO is this? Bebe Daniels? No — but we don't blame you for thinking so. It is Betty Compson. who here presents another portrait to be added to her gallery of them. It illustrates the fact that her "'still" camera personality is never the same as her moving picture camera self, and these two are also different from the real Betty. She shares this versatility with most of the other stars. You may wonder why PHOTOPLAY'S covers do not always resemble your preconceptions of the subjects. You'll have to ask Old Man Camera The Girl on the Cover A girl you haven't heard much about: Corinne Griffith By DELIGHT EVANS She is an amazing contradiction, this Corinne Cjriffith. She is, we might say, a chameleon with a soul. This new portrait shows her in one of her soft ana silken moments CORINNE GRIFFITH has the face of an early Italian angel and the hands of a twentieth-century-American business woman. Her hands are large and thin and sturdy. Her face — you do not need to be reminded of her face. She is ancient Athens in tailor-mades. She is one of Raphael's saints with a hat on. She is Sappho in a smock. She is Swinburne's poems, paper-bound. And that is really all I have to say about her. The rest will only be repetition. You will notice that the hands of great women are never lovely. The Venus de Milo may have had beautiful hands, but there is no proof of it. To get down to current cases: Mary Pickford's little hands are not artistic. Lillian Gish has unusual hands, and expressive hands, but an artist would never approve of them. Elsie Ferguson's are like that, too. Corinne Griffith's do not go with the exquisite rest of her. But they hold the secret of her success. They prove that beauty was not the only reason for her present fame and fortune. They are working hands. Watch them the next time you see her on the screen. Corinne Griffith, no matter what you may have believed about her from Vitagraph's billboards and her popularity, is not really a star. The reason I know she isn't a star is that she has no camp-chair at the studio with her name on the back. She sits in any old chair. And when I watched her one day doing the Salome sequence for the first reels of "The Single 38 Track." every time she walked some feathers fell off, and she managed through it all to keep her aloof dignity and her air of a young de- butante who is indeed working in pictures for a day or so, but after that will go back to being a debutante again. In spite of the fact that she has probably performed before the camera with less on than any other star with the possible exception of her good friend Betty Blythe, Corinne Griffith is an aristocrat. She has an unconscious in- solence that is charming. She is not a snob in fact, but she has all the appearance of one. When I was with her once in her well-up- holstered limousine, she saw a flapper staring at her with round and awed eyes. She smiled at her and carelessly nodded: a very young American queen paying accustomed recognition to the homage of one of her subjects. She seems to have a Southern indifference. I cannot imagine her being surprised at any- thing. When she was discovered at a Mardi Gras. I can see her smiling faintly and almost languidly promising to come and be camera-tested. You may have heard the story of her ''discovery," and then again you may not. She went to school at the Sacred Heart Convent in New Orleans, where her family moved from Texarkana, Texas. She was a first-season debutante when she went to her first Mardi Gras. She happened to meet there Rollin S. Sturgeon, who was then a director for Vitagraph in the West. " He was immediately impressed with her charm, and approached her mother with the idea of putting Corinne in pictures. Mrs. Griffith demurred a little; then she saw that her daughter wanted to do that more than anything else, so she accompanied her to California, where Corinne was given a job. She stuck at it, and was soon advanced to leads, and in two years, stardom. She must have "held the thought" for success. There is no other way to explain it. She is not a girl who has ever had to fight for fame. She would probably be the first to in- dignantly deny this, but I am sure it is true. I do not mean by this that she has never worked night and day to finish a picture; that she has not worked and hoped for success. It is simply that she has always had that invaluable conviction that she was, one day, to be very famous indeed. And she is right. She is studying dancing now. It is simply a preparation for a stage career that she may undertake. She has probably had an intimation that some day a great theatrical manager will beg her to star in one of his musical comedies. She can Photoplay Magazine visualize it all through those mysterious, unearthly eyes of hers. And she will be right. Her dressing-room at the Yitagraph studio in Flatbush is done in rose. It is an intensely feminine room. The dress- ing-table is rose-hung and it has a mirror for her face. But her hands have cleared the room of everything but essentials. It is prosaically neat and practical. Her face is one soft curve after another. Her speech is square and quick and humorous. She never wastes words. She is not a usual person. She is much misunderstood by usual persons. She is an artist, and cannot be understood in inartistic circles. She is fastidious in speech and habit. Yet she has made a deMille bathroom scene that for sheer sparkling audacity has never been approached by Gloria Swanson or anybody else. You can't tell Aunt Susan of Sioux Falls that a nice girl would go around like that. But she should meet Miss Griffith. I am sure she would ask her to be the guest of honor at the Ladies' Aid. This girl who looks at you so wistfully from the Cover can be anything she wants to be. She can be the temperamental artist. She can be the sparkling satirist. She can be the lovable, sweet-tempered girl and she can be the haughty star. Have you ever noticed that it is only extremely interesting and varied personages who care to wear wigs? Sarah Bernhardt, it is said, had a wig for morning, afternoon and night. Other stars have changed their hair to suit their moods. Corinne Griffith has appeared in her own hair, which is a beautiful brown, or she has appeared in a blonde wig. or a dark curly wig. or a black wig. Although she has lived in the Hotel des Artistes, the smart home of such screen celebrities as Mae Murray, Dorothy Dalton. and George Fitzmaurice, for four years; although she has a quiet car and quiet clothes and only one dog. she is a bohemian at heart. Her wise head, symbolized in her hands, is more than a match for her heart. So she has always lived the usual busy life of the usual busy film star in Manhattan; but I have an idea that she would like to be wickedly adventurous. She has done very good work in all her pictures. If she hadn't, she would never be a Yitagraph star. The Vitagraph star has done some of her best work in "poor parts In "The Single Track." she plays two of her several sells. In the first part of the picture, she is a society girl. In the latter reels, an enterprising business woman. This scene with Richard I ra- vers illustrates the contrast 39 But I am sure that some day she is going to surpri>e you with a screen performance of rare power and beauty. <>r she is going on the stage and startle you. I would like to see Corinne Griffith play Dii Barry, or Pompadour. She is the modern incarnation of one of the delicious French beauties. She is the mixture of sensuousness and spirituality that captivates poets and enchants painter- and writers. She is one of the women you hear about. She ha-; been called "a typical Southern girl." Isn't that stupid2 She might have been born anywhere: England or Indiana or France or New Jers Mie happened in Texas. ler film stories have not [ways been worthy of her. \nd when I say that I don't know what I mean. She is not a great ac- tress, so it is not re- quired that she be ca-t as Camille in every picture. She i> not a great comedienne. so that it i> no sacrilege to put her in drama. But it is things like 'The Broadway Bubble" that make her a favorite in the gelatines. She had a chance to be every one of her several selfs in it. Corinne Griffith is the kind of girl you associate with rose colored boudoirs and fudge and toy dogs and wigs and kitchen aprons and books bound in mother-of-pearl and ermine and ostrich feathers and country school- ichers and French novels high heels and chaise- longues and love. She is a contra- diction. The first time I ever saw her was in her dressing-room. She was making up and eating lunch at the same time. She was such a pretty thing, such a frail thing, such a sweet thing, I didn't know what to say to her. One doesn't ask a Dresden china doll what she thinks of her work. Then the ward- robe mistress rapped on the door, and poked her head in and said, "Pardon "me. Miss Griffith, but what dress do you wear for the next scene this afternoon' The director doesn't remember, and I don't know whether it's the black suit or the blue dress." "Neither," smiled the star. "It's the purple tailleur. And don't bother. I've got it all ready to put on." After that it was easier. Don't a-k me why. But when she had eaten a full-sized luncheon and we had talke I about films and fights and drama and dancing. I was a friend of hers. I can't think of anything she has said that I can quote. She doesn't say a great deal and somehow I can't remember it. But you value rather extraordinarily a friendship with her. She is some one you should know. Alexis Kosloff is her dancing teacher, and told some one who told me that if she could keep up her dancing to the exclusion of (Continued on pane 103 J Underwood S: Underwood You don t hear about her in the papers. You have never seen a picture of her before. As far as publicity is concerned, she has let Bill have all the close-ups. But Olive White Farnum has been her husband's manager through most of his distinguished career. Here she is and here he is. about to leave the ship that brought them home after a year's vacation in Europe. Mr. and Mrs. William Farnum visited England, France, and Italy. The Fox star spent much time in the ruins of ancient Rome, where he had been before — as Julius Caesar and others 40 Mrs. Leslie Carter, the heroine of one generation in "Zaza 'and of distinctly another one in "The Circle ECHOES along the Rialto an oft recurrent maxim of art. "Make your sorrows profit- able." Can you? Can't you? It depends upon the inner strength of the man or woman who makes the experiment. Broadway is fitting the proverb to Mrs. Leslie Carter. For while one friend of former days meet- ing her on the intersection of Broadway and Forty- second Street, said gaily, "My only misgiving is whether you are not too young to play Lady Kitty in 'The Circle.' " another who passed on the other side observed: "There is a woman of sorrows. Her smiles are rainbow ones. There are always tears behind them." If ever woman distilled success from tears that Leslie Carter has already done. She wrote her memoirs. Briefly, poignantly, that which she told but emphasizing that which she did not tell. In those memoirs, forgotten by the busy, bias street. I find: "As I look back now, over the new emotions and experience that crowded into this period of my life, it seems to me like the changes in a confused dream in which I took part without volition of my own, — the sick room where lay my dying parent; the heavy sense of coming calamity; the arrival and departure of physicians and friends; the coming one never to be forgotten evening, of a group of unknown relatives, who eyed me solemnly, and then retired to hold a consultation upon my future; finally my hurried marriage and removal from my quiet, peaceful home. ALL these events took place so rapidly that I was dazed. I moved through them all as one asleep, and awoke to find myself in a strange city, Chicago, the mistress of my own home, with entree into a brilliant society waiting to receive me with the eclat due to a young and fashionable bride. "It is not astonishing that I entered into this new life with all the zest of a young, enthusiastic nature. I loved this world of beautiful things, polished manners and sparkling wit. I loved and trusted it. It seemed far more beautiful and sheltered than the woods, the cotton fields and the shabby old homestead on the plantation near Lexington. Kentucky. "I did not take part in private theatricals; in fact I had The Sorrows of Mrs. Carter The story of one of America's most famous stage stars who has just made a wonderful come-back in "The Circle'' By EILEEN O'CONNER 00 premonition of any kind that pointed toward a career that wa> to obliter- ate my past experience and create an entirely dif- ferent life for me. The future was sealed. A season of desolation and utter darkness came upon me. A wi^e pur- pose, they say, is hidden in the throes of those awful tragedies that now and then engulf a human soul. "On a certain morning, a memorable one in my life. I lay on the sofa of my little rented room, staring blankly at the bare, whitewashed ceiling. My own future seemed a- bare and meaningless. If 1 had allowed myself to think of the past I should have gone mad. I stared stupidly at the ceiling and wondered in a vague way by what means thi< broken hearted young woman whom I knew to be myself, lying on the sofa with my hands un- der my head, was to >olve the problem of earning a living. "I can't explain how the thought of being an actress came into re- mind. It was like a flash of blinding light in the darkness. I turned sud- denly to my mother and said: T am going upon the stage. We must start at once for Xew \"ork and see Mr. Belasco.' "I remembered that numbers of society women about this time had gone on the stage. I recalled the eagerness of sev- eral in my own set to appear under the auspices of Mr. David Belasco. That was what had brought his name and repute to my attention. It was by a feat of memory in my grief stunned state that there recurred to me the name of the man whom 1 had never met but who was to prove my savior in the hour of awful disaster." The years of creation of "The Heart of Maryland." of "Zaza." of "Du Barry" and "Adrea" by the distinguished pair, are part of the most brilliant annals of the much historic'! Highway of Amusement. Rose then fog of misunderstanding. Came the time when Mrs. Carter was no longer received in the Belasco offices, when her telephone calls were not delivered Her picture was taken down from the lobby of the Bel Theater. Mrs. Carter said nothing at the time about this fog of mis- understanding. Mr. Belasco withdrew within himself closed the door. Compared with him the Sphinx was chatty. The tall woman with hair of flame who had dominated Broadway, whom the critics have (Continued on page 108) 41 Benjamin. Pari Mrs. Carter, returned from abroad, has recaptured both America and Broadway Frank Bacon — and "Mother. ' This is the favorite portrait of Mr. Bacon, because it is such a good likeness of "Laghtnin Bill Jones wife. "Lightnin has amused and moved the audiences of Manhattan for three years, and now he is entertaining the theater-goers all over the country 42 Makitt IBRARY Z AnitraUILIN ■HOLLYWOOD - . CALIFORNIA The great star of "Lightnin says that he owes his success to his wife By ADA PATTERSON A MAX'S success is the lengthened shadow of some woman, Frank Bacon believes. That lovable actor, successor of Joseph Jefferson in the hearts of the American playgoers, says that but for his wife there would have been no "Lightnin','' the play in which he starred in New York for three years and will go on starring in Chi- cago and on tour three years longer. "I would never have got by with my part in 'Lightnin' ' and in life but for her. But for her there would have been no 'Lightnin',' " so he as- sures all who congratulate him on the unique success that has arrived in the early evening of his life, and lent to that evening the rich glow of a magnificent sunset. "Mother," he calls her. following the example of their daughter Bessie, their son Lloyd, who served in the United States navy during the war, and little Dixie. their second child, a tiny daughter who stayed with them but twenty-one months. ''Mother," he called her. when he made a speech at the actors' strike saying that he was going out with his brethren and sisters of the stage. "Mother says it's all right," he told them. "She said she used to make the children's clothes and she can make them again." She who answers the call of "Mother," responds to it from the lips of her husband. her son and daughter, as often as do any who read this page every day of her busy life, is Jane Bacon. Thirty-six years ago she was Jennie Weidman, a brown- eyed girl with a reputation in San Jose, Cal., and be- yond, as a clever elocution- ist. She was ambitious for a career of her own. But Cupid entered her life and Baconized her, and the career slowly, surely and agreeably melted into, mingled with, and was lost in that of her gifted husband. Sometimes, if you have seen "Lightnin'." you may have seen her, although she has no part in the play. Occasionally. if she is on some errand for her husband, or her daughter. Miss Bessie Bacon, at the playhouse, she yields to the call of the theater and the spirit of fun and sits among the silent supers and extra women in the stage courtroom. She watches with sparkling eyes of appreciation that which is her hus- band's best, the courtroom scene, when in his character of Old Bill Jones he defends himself against the charges that if proven will divorce him. He is quite unconscious of his real wife while he plays this moving scene that causes a general resort to handkerchiefs by the audience, and forces many women to weep without reserve or apology. Once when she had been indulging in what she terms this lark of sitting in the courtroom scene he stumbled against her in the wings. "I beg your pardon, Madame." he said, with his slow and sure gallantry, taking off the shabby blue and the tarnished gold of his Grand Army hat. "All right. Father." she answered with a laugh. "You! What's this. Mother?'' He watched her winking off the drops from her eyelashes. "Only that you made me believe it," she said. "Now hurry up and change or we'll miss the eleven-thirty home." The man who is one of the most beloved actors in America told me this was the highest praise he has ever received. The President of the United States wrote asking him for a copy of the bee story which he tells in the play. An English critic, returning to London from a survey of American plays and players, said the best play in Amer- ica was "Lightnin' " and the best actor, Frank Bacon. I have seen beautiful actresses fling their arms about his neck, kiss him and weep their tribute to his art. His feet have crushed the roses of appreciation at every step he has taken for three success-crowned years. But no encomium has so stirred him as Jane Bacon's speech as she winked off her tears: "You made me believe it." If an actor can make his real wife weep about his trou- bles with his stage one. that is dramatic art. J WE BACON knows the technique of the theater. Jane Bacon, at twenty-six. when she too was on the starve. Today she is content to be Mrs. Frank Bacon, her hus- band s best triend, wisest manager — and sweetheart For twenty years she played at her husband's side, some- times in parts as great as his, sometimes in greater roles. Sir Johnston Forbes Robertson said that the su- preme moment of his life was when he played "Ham- let" at a professional matinee and his fellow actors cheered him. "Praise from our fel- low craftsmen is the highest praise and the mo*t gratify- ing." he said, "for they know theirs is the approval I value highest." On an afternoon when the curtain had fallen upon the matinee of the play that had run loimer in New York than any other play had ever continued, even "The Old Homestead." Mr. Bacon, wearing his uniform of a Grand Army man, leaned back in his easy chair and talked to me about "Mothei." "There would never have been any 'Lightnin1 ' but for her." he said, with the drawl that is an indivisible part of Bill Jones, and of Frank Bacon. "I had played Bill Jones in one form or another for thirty years. Whenever a play or a part needed plumping up I would draw the good-humored, irresponsible old fellow off the shelf and put him to work. People always liked him. I worked him into three or four vaudeville sketches that Mother. Bessie and I played. One day she said. 'I think you ought to expand this into a play.'t Co>iti>u I M 'ILDRED DAVIS plays the motion pic- ture game with reverse English. In fact, she comes mighty near being a paradox. First place, she went from drama into comedy, in- stead of following the recognized order and using the laugh-makers as a spring board into oceans of tragedy. She was born with a fuzz of black hair, that gradually turned gold and more golden, and has never been assisted in its struggle by anything stronger than lemon juice. She went from the screen into boarding school — and back again. And she is the first motion picture actress I have ever met with a father. Undoubtedly sometime, somewhere, all girls — even those that later went into pictures — had fathers. Movie girls may be different in some ways from the ordinary female of the species, but there is nothing to warrant the assumption that they sprang like Venus from the sea. Nevertheless, the percentage to date is certainly in favor of female rather than male parents in the picture game. Mrs. Fickford, Mrs. Talmadge. Mrs. Gish, Mrs. Frederick, Mrs. Daniels, Mrs. Mary Miles Minter Shelby, are almost as well known as their famous offspring. All these ladies are Mildred Davis is the only prominent celluloid personage who has a father. Others doubtless have had fathers, but they are never present. Mildred's dad is pretty proud of her, but he's the boss of the family. Here's Mildred's other boss : her small brother She is the perfect blonde, rose-petal skin and blue, blue eyes. You know her best as the delectable leading woman in the Harold Lloyd comedies widows with the exception of Mrs. Talmadge. Still, we see Ethel Clayton and her mother. May Allison and hers, Mildred Harris and Mrs. Harris. Dorothy Davenport Reid and her mother, Lila Lee and hers. So you can understand how surprised I was to discover that Mildred Davis had a nice, young father — a newspaper man and apparently, "boss." It isn't being done. Even if they have 'em, they never mention them to me. (I suppose I will now be deluged with information concerning male relatives. But the fact remains.) Mildred Davis is the first one to boast openly of her "Daddy." "He's an awful old tyrant." she told me. "Won't let me have callers or go out evenings when I'm working. Has to know every single thing I do as though I were still sixteen, instead of most twenty. Never says a single nice thing about my work, but goes and sits through my pictures five or six times, which I call true devotion." Of course, Mildred has a mother, too. a very charming young person, but she is Mr. Davis' wife, as well as being Mildred's mother, it seems, and there is a young brother of seven, who wields a mean hammer, on the furniture. Father didn't want Mildred to go into pictures. She told me all about it, sitting in her pretty wicker and cretonne bedroom in her Hollywood flat — that surprisingly enough has "H. B. Davis" on the doorplate. instead of Mildred Davis. She is very, very pretty — the perfect blonde doll. Bright blue eyes, roseleaf skin, coral lips over even, little teeth. Very tiny — almost birdlike, yet not childish in any sense of the word. Rather poised, in fact, but jolly and friendly. She finally "got around father" and went to work for Universal. Her delicate prettiness and the perfect way she photographs got her a chance in drama. Later she played in some comedies, and finally with Viola Dana in heavy drama. "I'd really only become camerawise when the war broke out. Father went, so he wanted us to come to Philadelphia, where he was then, and we went. I was born there, you know, so I went back to school — to finish my high school course at the same finishing school. It's a nice old town, but not for me now." When she came back to California, she immediately signed to replace Bebe Daniels with Harold Lloyd, and she has been with him for three years. Rumor now has it that she may make feature pictures of her own ( Continued on page 106) A screen "society queen and a real one — both appearing in the same picture! You see Norma Talmadge s version at the left. At the right, Mrs. Lydig Hoyt. as herself. She is one of America s most beautiful women, ana hap a distin- guished position in New York society. She is noted as an actress in smart amateur theatricals, and went in for it in earnest in Norma s new photoplay. "The Wonderful Thing. We hope to see Julia Hoyt in other films. She brings to the screen a rare delicacy, and good taste 46 PICTURE How I Keep in Condition By MARION DAV1ES I Jfcsa ANOTHER contribution to PHOTOPLAY'S series of articles by famous screen stars on keeping fit. This month, Marion Davies, long noted for her beauty, and generally recognized as one of the loveliest of stars, tells you how she manages to work and keep well. Next month, Lillian Gish. HOW do I look so well — how do I keep so well — how do I feel so well? These are the questions asked me by the score in every day's mail. The writers in most cases, are women and they seem to think that there is a particular charm in motion picture actresses that keeps them immune from age and sickness. This is a ridiculous as- sumption, of course, as there is only one assurance against ill health and one recipe for well being — and that is proper, intelligent and constant care. Don't try to "live on your nerves." It can be done, to be sure, and is done every day but not for long! The person who lives on his nerves, unless he gets other sustenance very soon, doesn't live long. That is the tragic reason for the untimely deaths of so many people of genius. They try to cram into a few brief years the work of a lifetime. Soon the strain begins to tell; the genius falls out of the public's short lived memory, until the next that is heard of him is an unobtrusive death notice — "So-and-so, noted for such-and-such. died at the height of his career at the age of twenty- seven yesterday at Sanitarium." DEOPLE really seem to * pay less attention to their health than to any other phase of their life, al- though it is the only sure foundation for any kind of successful existence what- ever. Not all of us can be a Robert Louis Stevenson who. while coughing his life away, was writing some of the merriest and brightest things of the English language. And how much more he could have written if he had been well and strong! And how many, suffering as he did, even with his many gifts of mind could do the things he did? They would have given up the struggle very early and the world would have never known what great works might have been produced. Good health is the bulwark of life and in our present civilization, so fraught with nerve-racking, head-splitting, vigor-reducing conditions, with everyone on the qui vive all the time, more care than ever must be taken if we are to conquer One of the few stars who possesses neither the temper of temperament nor the grand air of a prima donna. Marion Davies is surprisingly enough thoughtful of others the artificialities around us and preserve our well being so that we may carry out the work assigned to us. And unless one is born with inherited weaknesses which actually cannot be overcome there is no reason for a decline in bodily health. One of the great reassuring de- velopments of the present decade is the child welfare activities and the noble fight made by the govern- ment and other agencies against tuberculosis. Vast numbers of persons are be- coming aware for the first time in their lives of the paramount importance of their health, and the health of their children, and the health of their neighbors, and the health of the immi- grants. AS to my own health. I have never been sick for one day in my life ex- cept, of course, those child- ish visitations such as the measles and croup, which seem as necessary as first teeth, somehow. And I give a great deal of credit to the foresight of my mother who taught me and the other members of our family since we were little tots that we could do nothing in life unless we were always well. I used to think it a nuisance, a "necessary evil," when she would run after me with umbrella and rubbers on a rainy day as I thought I was making a clever get- away out the back door. Now I know what it was all about and appreciate her constant vigilance. She sent us regularly to gymnasium. She put us to bed at the same time every night and supervised all our meals, our hours of study and play, et al. Today it is as natural to me as eating and as pleasurable to consider regularized exercise a part and parcel of the day. No matter how early I have to be at the studio nor how late I must work, I begin each day either with a ride on horse- back or with a walk on the river drive. My hot bath of morning and evening is followed by a cold shower and a rub down. I eat my meals at regular hours and eat only those things that have long since proved beneficial to me. I sleep seven hours every night. (Continued on page 106) 47 There is no set style, no "accepted mode" *? tab Center above : A daring coat dress of duvetyn from Russek's witn quite a Cossack air in its high choker collar and its vividly colored embroidery. Note the decidedly different treatment of the s'eeves Directly above, ' The Sweet- brier — a charming costume sponsored by Abercrombie and Fitch. The cape and skirt are of imported Scotch tweed with striped borders. The hat is of felt and velvet, of the same color as the suit, which may be grey, copen or tan A<<%. Above, the smart girl who goes in for sports wears knickers nowadays. And they are especially smart when de- signed by Davega and made of English tweed, with a pleated back and belt. Incidentally this is the very latest for golf SMiss Van IVyck's answers to questions will be found on page zoo 48 From Paris: gloves! Gloves and more gloves. And three bags. I need not attempt to describe these gloves, for you can see them for yourself. Suffice it to say that they are of many designs and shades and of the finest French kid. The bags are of velvet with steel beads in various designs this season, says Carolyn Van Wyck The Observations of Carolyn Van Wyck rpHIS winter that is upon us. J- brings us the most unusual and interesting fashions we have ever had. There is no set style, no "accepted mode," this season. There are daring originalities, and amazing conceptions ; and long sleeves and flowing sleeves and Vnderwood &: Underwood. Gloria Swanson, the rum star, is noted for her unique Head- dresses. Here she is wearing two big jade combs of fan de- sign in ner hair. Her earrings are also of jade Here is a smart and stunning semi-fitted coat from C. G. Gunther s & Sons, of broad- tail trimmed with chinchilla. Broadtail is extremely good right now. The bell sleeves are trimmed with chinchilla The beautiful and statuesque Marjone Rambeau wears an evening gown of black, with a gorgeous Spanish shawl. Spanish shawls are really Chinese, you know — or don t you? Hope Hampton and Russek offer a compromise between a fur and a duvetyne taillieur. with sleeves and skirts of black duvetyne and the rest of the suit of American broadtail high necks and round n> < there is everything, for every type of woman, for every taste. 1 hope you will find inspiration for your winter wardrobe among them. I wish to recall to your particular at- tention the newest gloves from Paris. They are delightful. m i ' rlli-n Ugujl UJMtJs 't Donald Btddle K*sn My favorite coiffure for a debu- tante, illustrated by Mary Miles Minter. A soft, natural and very youthful headdress; a wreath of silver leaves A' I ^X:^il- 1 'ir^WJ' >w r>:: ':-. iX^( fr> West is East A Few Impressions By DELIGHT EVANS BILL HART was in Town- Three Times. You Know, he was Staying At the Waldorf, and then he was At the Rivoli Twice, In "Three Word Brand." I Hadn't Seen Bill For Three Years, and he Looked Pretty Good to Me. He's the Same Old Bill Except that he Wasn't Wearing His Cowboy Clothes. You'd Know him Anywhere. He is Writing A Big Story about Revolutionary Days, with himself As Patrick Henry. He Played that Part On the Stage. He writes a Lot, you know : Stories for Boys that Other People" Read. He had Some New Photographs, and He Asked me Which Ones he Should Take. This is One of them. If you Dont Like it, you can Blame me. He Made A Few Personal Appearances And Visited his Farm In Westport, Connecticut ; and Then he Went Home. I Like Bill. He Never Disappoints You He is Just the Same As he Is on the Screen. Western, but Not Rough. THEN Elliott Dexter Called Me Up. He Wanted Me To Go to Lunch With him. Imagine. Well, I Went. And We Went to The Gotham, and That's a Very Grand Hotel, and There are Lots of Ladies — Dowagers, you Know — And they all Looked at Elliott And they All Recognized him. He's High-brow, But He's Nice. He doesn't Look Like An Actor, or Talk Like One. I Told You, Once Before About him : That He Wouldn't Talk About himself? But he was Going to Europe 50 To be Gone a Long Time, so He Finally Told me What he was Going to Do. "I'm Going To Visit All the Countries Over There. It Makes it Exciting for Me: I have Sailed On Every boat In the Last Two Weeks — In the Newspapers. I've been Booked. And Mary and Doug Wanted Me to Go Over When they Went; True; but Now W.ll.am S. Hart I'm Reallv going. To Live At the Big Hotels. I'm Going To Put Up At the Small Interesting Places so that I can Study the Country, and The Languages, and The People. I've Never Been Abroad Before. I Know — Everybody Thinks I Have, because I'm Supposed to Be An English Actor. They Say I Have an Accent. Well— I'm Going to Find Out What Kind of an Accent I Have. I'm Taking a Camera — so 111 Send You Some Pictures of Me — " "What?" Could this be Elliott Dexter? "In the London Fog," He Finished. I Hope he Wont Stay Away Too Long. If there is One Actor I'd Rather See Than Another, it's Elliott Dexter. There — The Secret's Out. T WENT with 1 Dorothy Gish To See Her Husband's Play, "Pot Luck." It's a Peach of a Play, And James Rennie Is Great in it. A Woman Next to Dorothy Kept Saying, "That Leading Man Is Dorothy Gish's Husband. Dorothy Gish Is in the Audience Somewhere." And she looked Right at Dorothy — And Didn't Recognize her. Dorothy Looks like A Debutante, and she's Prettier Even Than she Looks on the Screen; but She sits Way Down In her Second-row Seat Every Evening, And Nobody Knows she is There. Just two Nights after I went with her, The Leading Woman Was 111, and Dorothy Got up on the Stage — She knows The Play, Backward and Forward — And Played the Part. The Last Line in The Play is "My Wife— God Bless her"— and The Audience Went Wild. Maybe Dorothy is Going on the Stage As her Own Star Soon. If she Does — Don't Miss Her. MEN and women who do not like dogs have a strange twist somewhere in their, natures. But Sessue Hayakawa and his wife, Tsuru Aoki, are not numbered among these. And not least in their affections is their prize dog, "Dynamite' gENORITA Maria Tubau in characteristic costume. Barings, hat and hair are all typical. One of Mexico's favorites Picture Stars You've Never Seen A country that boasts but one picture studio and almost no good theaters. After ten years of turbulance the picture industry in Mexico is just beginning. But it is not to be disregarded with a word despite that fact, for its one small studio is complete in every detail of lights and cameras such as we have here: and its stars hold a very important position in the amusement industry of South American Republics. Theaters there are dark, dirty and badly ventilated. A foreigner finds the titles all in Spanish, the conversation too, but one is intrigued into forgetting all that by the sheer beauty of the artists themselves. May we introduce CENORITA Maria Conesa, a native of Barcelona, 0 Spain, and the idol of the Mexican theater-going public CENORITA Christina Pereda, who has appeared v"' with Cody and Farrar in American pictures, is also noted for her dancing [T ia rumored that Senorita Conesa may come to thr United States to appear both on the stage and in pictures TTUGENIA ZUFFOLI is a celebrated beauty, a talented singer and dancer as well as a picture actress pMMA PADILLA, the "Mexican Maiy Pickford," *"* ia the original moving picture actress, and is ex- tremely popular CENORITA ELVIRA ORTEZ is 13 ist of Mexican pictures. She i vampire roles s the dramatic art- famous for her A/f ANY people have furniture made especially for them, but it is not often that it suits them as well as Jackie Coogan's suits him. That contagious, mis- chievous smile has won friends for him the world over. You see "the kid" making up Rupert Hughes, in his Beverly Hills home, within easy commuting dis- tance of the Goldwyn studios, where Mr. Hughes is an Eminent Author New Faces for Old You read Samuel Goldwyn's article in the December PHOTO- PLAY. Here Rupert Hughes gives his ideas on the absorbing question of new talent for the films By RUPERT HUGHES NEW faces come along whether we want them or not. They appear in the audiences, and must be reflected on the screen. New faces mean new souls, new needs, new ideals. The same old human soul is still doing business at the old stand but dressing the window differently; changing its ideas somewhat as fashions come and go, and altering its ideals slightly. Humanity does not change so much as we pretend, but languages, costumes, knowledges, sympathies, passions, are in constant flux, since the dramatic art is devoted to holding a more or less cracked mirror up to nature. The dramatic arts must reflect the changing faces and the changing souls, and dramatic art is a business of translating manuscripts into human flesh. Authors must speak through actors. New authors cannot be satisfied with or expressed by old artists. The women of 1865 were neither better nor worse than our own, but their bodily and mental clothes were differ- ent. The wicked ones were more demure in their behavior than our wildest ones now. A woman of then would have been stoned off the street for wearing what our most conservative grandmothers wear now in public. And the graduates of our most learned women's colleges wear costumes and give public performances in athletics, in dancing, or in dramatic roles that would have sent a woman to jail twenty years ago. PNIALOG and dialects change and change the faces that utter *-* them. The author who is true to life or who at least hopes to interest his audiences, must give his stories some resemblance to what the audiences of his day will understand and sympa- thize with. Even if you are writing a new version of "Cleo- patra" or "The Three Musketeers'' you must realize that the spectators are not what they were ten, fifteen or even five years ago. When Mr. Goldwyn calls for "new faces'' on the screen he has many reasons for his demand. The young girl of yesterday is not the young girl of today. Not only does the cruel progress of time change the face of most actresses, but the acting itself is likely to harden most of our players into set methods, set expressions, set gestures. A few great geniuses keep not only their beauty but also their souls progressive. Yet complete elasticity is not given to many. A few art ist < build up such loving followers that they would rather see their favorite of thirty play a girl of eighteen than see the same part played by a stranger of eighteen. But neither geniuses nor loyalty can be relied on for the bulk of the dramatic or cinematic output, and even those authors who mo^t amiably steal each others' plots over and over again must freshen them with little touches here and there and fit them to newer impersonators. ALL screen history is as fresh as paint. It is amazing to realize that the classics of filmdom were produced only a few years ago. The rapidity that characterizes all recent activities has characterized the moving-picture. The fashions move almost as fast as the projecting machines. An enormous public has learned to understand the new language as if a gift of tongues had been suddenly instilled in the universe. It is no longer profitable to translate the old plays and the old novels hastily and dump them in front of the camera. The public will not accept a hack translation. The ulmwright must work directly for the camera, whether he be a layman who adapts himself to its needs or a writer in the older forms who can shift his method of approach. In all the other arts, though the public is far less numerous than the screen public, the great majority of the novels, plays, operas, stories, statues, portraits, landscapes, songs and dances are without originality, novelty or personality. In the screen world one ought not to be surprised if most of the films are lacking in revolutionary inspiration. We cannot all be geniuses and if we were, the public is not cenerous enough to stomach an endless diet of rich for Most of the films must be oatmeal, bread and butter and bacon; staple articles for regular customers who wair be interested but not perplexed, and even the geniuses cannot "u'ene" all the time. Homer nodded and lesser men will fall p. Instead of despairiim therefor, as many of the critics do. and frothing at the mouth because a creat film is not turned out even.- day. or because there are weak spots in the sre.. 50 rnoLopiay magazine film?, let us rejoice that so much wonderful work has been turned out in so short a time. The authors, the directors, the producers are all groping. They make new mistakes in- cessantly, but even their mis- takes are comparatively new and they are turning up new riches every day like pioneers in a gold rush. In the frenzy of pioneering, new blood is required and people of adapt- able natures with new smiles, new heartaches, new opinions and personalities. Someone asked me the other day what type of person was most needed on the screen. I said that every type is needed. We want pink little pretties to play flappers; we want dark gloomy people to play sombre roles; we want old hags to play hags; we want fat and lean, ugly and beautiful, emotional and stolid. The one thing necessary in an actor or actress is the ability to project a personality. If you can look into a mirror and really see what the mirror is saying, really see yourself as others see you, you are an unusual person. If you can throw your soul into unfamiliar situations and realize what it will look like, you have the dramatic gift. To know oneself is considered the final wisdom and to play oneself is the final dramatic art. You may be cast for a thug or a priest; a sister of charity or a shoplifter. You PHOTOPLAY considers this one of the most interesting of all discussions on motion pictures. In no art or profession is so much talent, so much beauty, so much expression necessary as on the sil- versheet. And there must always be new talent, new beauty; there must be new life in the celluloids; new artists to in- terpret the emotions; new writers to describe them. In this series Samuel Goldwyn and Rupert Hughes have so far spoken. Next month, Mary Roberts Rinehart, one of the most distinguished and popular authors in America, will tell you what she thinks about "New Faces for Old." should be able to play the part as you would if fate really made you a thug or a priest; a shoplifter or a sister of charity. But the trouble with the very difficult dramatic art is that we become set in our ways. The newcomer who makes a success with a vivid person- ality and an individual manner can hardly help repeating those things that succeeded when they were new. The more powerful the personality, the harder it is to change. Au- thors also become set in their ways. Most authors repeat themselves in numberless car- bon copies. They happen upon a few new characters and a few new situations, and if they make a hit with them they go on turning out the same patterns with slight alter- ations that only emphasize the monotony. But audiences tire of the same food in the same dish, whether it be fried eggs or caviar. New authors push the old ones into the background and make fun of them, only to be made fun of themselves a little later. Fresh young actors and actresses laugh at the old stagers and by and by are amazed to find themselves dubbed stagey. For such authors as are pleased to build plots without reference to reality, the conventionalized actors serve well enough. If your story is based upon the same old lay figures (Contintied on page 121) Reasons why Goldwyn Pictures has been accused of having a corner on authors. Top row, left to ri^ht. Leroy Scott, Abraham Lehr, ( Goldwyn vice-president); a studio visitor. Samuel Goldwyn, Gouverneur Morris, CU«ton Hamilton, Bottom row, Katherine Newlin Burt, Rita Weiman, Gertrude Atherton, Mary Roberts Rinehart. and Rupert Hughes CloscUps editorial expression and Timely Comment THE difference between the German picture, "Dr. Caligari," and some of our American films, says Will Rogers, is that the former is frankly about the ravings of two maniacs while the latter is the result of the ravings of a director and a star. THERE was once a Alan who said something that had to do with "the leasl of these." He also, at another time, advised against the casting of sto And record shows that, finally, He died upon a cross — between two thieves. All of which has no bearing at all upon the case of Dr. Hillis. Dr. Hillis, who, to quote from the newspapers, is about sixty-five years old, has brought to court a complaint against a certain pastor — the Rev. Pietro Grigilio — who has dared to make open air movies a nightly feature in his churchyard. "Crooks and thieves and many otherwise undigni- fied and undesirable characters from the slums gather in our exclusive street to witness the show!" .-aid Dr. Hillis. He added that the congregation of the church comprised some fifteen nationalities. PERHAPS in his long career of ministering to bodily ills, Dr. Hillis has forgotten that there is such a thing as mental suffering. Perhaps he does not know that life in a city slum is rather conducive to this mental suffering. Perhaps he has forgotten that joy and laughter — rather than dignity and desirability— go hand in hand with real religion. Perhaps he has grown too old (though the man of sixty-five, today, is usually a young man) to remember that there are such things as joy and laughter. At any rate, the Judge — to whom Dr. Hillis carried his complaint — was inclined to be tolerant. For he dismissed the case. There aren't many churches that can boast a con- gregation made up of fifteen nationalities. And there aren't many pastors who can really interest thieves and crooks. Perhaps if there were more of such churches and pastors there would be fewer thieves and crooks. Who knows? Personally, we can not help feeling that the Rev. Pietro has accomplished a splendid work — that he has, in fact, "gone into the highways and the byways" to do good. That one of his mediums for doing good should be the motion pictures seems, to us. rather fine. But then, perhaps, wc are prejudiced. YESTERDAY we sent our office boy, on an errand of no particular importance, to the sanctum of a certain prominent censor. In due time he came back, the errand having been accomplished, with incredulity in his eyes and frank astonishment sounding from his voice. "Say," he told us, "that bird ain't so bad. He's almost a regular feller!" Our office boy was right. The censor, as an in- dividual, wasn't so bad. But — Take poison ivy, for instan e. If you leave the question of infection out of it (as you can't), it'- ,1- pretty a vine as the Virginia creeper or the trailing woodbine. And the bee — so long as it doesn't sting you — is as colorful and vivid as a butterfly. And many snakes, that carry swift death in their fangs, are marked with splashes of gold and emerald. And they blend, \ ery nicely, with the foliage of a sunny forest plate. And some oysters carry pearls under their grey shells and some carry ptomaine poisoning. And. from the outside, they all look alike. Censors, when you leave their profession out of the argument, are apt in In- not very different from other men. They are doubtless good husbands and fathers. They are sometimes successful in business and social life.' But-life snakes an l poison ivy and bees and even occasional oysters you can't leave their profession out of the argument! A PROFESSOR in the Chicago Academy of Fine ** Arts -ays that ninetj per cent of all women are homely. Wonder how old he is. 'T'lIE worst sort of hypocrisy is the sort that hides *■ away under the guise of morality. The wolf who appears swathed in garment- of pure white wool is more dangerous — and infinitely more contemptible — than his brother who howls, quite undisguised, at the pleasant rays of the moon. Under a sheep's clothing of smug title- and assumed virtue another Audrey Munson atrocity has made its appearance or reappearance. It is called " Innocence." That it contains nude scenes and many a questionable episode is — in the eyes of its producer — more than allowable. For it teaches a lesson. Just what that lesson is may be left to the imagination. The picture had its first showing in St. Louis, where it was stopped by the police. According to reports there may never be another exhibition of it. For Audrey .Munson and her manager — one B. Judell — were placed under arrest when the picture was with- drawn. St. Louis has the right sort of ideas. And the right method of enforcing its ideas. If more of our towns and cities would follow its lead thi t menace to better pictures would be swept away. THERE is a movement afoot to regulate the un- scrupulous little theater owner who indulges in sex-lure in his advertisements where there is nothing in the pictures which he is showing to justify them. Of course the right way to treat this skunk i- to hit him in the box office by boycotting his theater. But if the folks in his neighborhood stand for it something else must be done. The patent medicine faker- have been almost smothered and so can these pests. A BRITISH motion picture concern named The Lionel Phillips Co. has some very original idi advertising. Here i- the text of one ol their efforts: " 'I have given up going to the picture-.' says Max Pemberton, 'because I object to tin' shodd\ American dramas, and the preposterous Yankee sentiment. There is a magnificent field for any man who will exploit British ideas and scenes.' Do you think the same? Then don't stop picture-going altogether, but visit the theaters which show British film-." A much better argument would be to produce a few pictures such as Max suggests. We need all the good pictures we can get. That Chin The story of Jane Novak, who made the world realize that a chin can be expressive By MARY WINSHIP Illustrating the thing SOME beautiful women have made one famous — some another. For instance, there are: Mary Pickford's curls. Kitty Gordon's back. Gloria Swanson's nose. Bebe Daniels' mouth. Mabel Normand's eyes. Pavlowa's toes. Phyllis Haver's ankles. And Betty Blythe's figure. When you think of Charlie Chaplin the first thing you picture is the famous feet. Doug Fairbanks could be identified in the pyramids by his grin. Wally Reid has done almost as much to make eyebrows famous as Bob Fitzsimmons did to teach us the locality of the solar plexus. It remained for Jane Novak to bring into the limelight the chin. The idea of a chin that is beautiful, expressive and appeal- ing was originated by Jane Novak, so far as motion pictures are concerned. There is something about Jane Novak's chin that is wholly original. Had she lived a few thousand years ago, her adorers would have written sonnets to her chin. You know the kind I mean. If you will think for a moment about Miss Novak, you will Although they are great friends, neither anticipates wedding bells for a long time recall that chin. When it quivers delicately, uncontrollably, you experience a rush of warm sympathy for which any leading woman should be grateful. When it curls a bit and exhibits a whole flock of dancing little dimples, it provokes a smile — tempered by a tear. And when it freezes stark with terror — remember in "River's End" — it can express more horror and make your hair feel more stand-on-endish than most tragediennes can convey to you with their whole faces and hands. It is a very useful chin — and usually chins are about as useless as a hatpin would be to a bobbed haired girl. It was rather interesting to me to discover, in discussing her with several Hollywood authorities, that she has a marvelous reputation as a business woman and that she is one of the two highest priced leading women in pictures in the west. Colleen Mcore is the other. That is partly of course because a lot of good leading women are now mediocre stars. But the fact remains that Miss Novak and little Colleen — now playing for Goldwyn in Rupert Hughes' productions — have boosted the weekly pay check into the four figure class, and that such money is paid not only for ability but for popularity. I myself feel her charm. But I cannot quite understand it. Sitting across the luncheon table from her I tried to analyze it, to discover the why and wherefore of her success. She is medium tall, with a slim, girlish figure that adapts itself well to the straight-cut, heavy tweeds she affects. Her eyes are a rather light blue — Swedish blue — and not at all out of the ordinary, save perhaps for their expression, which is unusually sweet and placid. Her hair is a nondescript blonde. Her mouth is pretty and very expressive. But altogether she is the sort of a person you wouldn't notice in a crowd. And yet — and yet — All the time your reason is establishing that very thing, her gentle, pervasive charm is seeping into your brain like the pale scent of narcissus. She registers in your brain not flashily, but deep- ly, so that you have no trouble in calling her dis- tinctly to mind. "How long have you been in pictures?" I asked her, as we admired Alice Lake's chic new gray frock across the aisle. (Continued on page ioy) 58 When the newspapers are shy a picture of a pretty woman Monday mornings they run one of Jane Novak above the rumor that she and Bill Hart arc to he married soon 59 ■*' '"' l>iiiBUtcd by Luumwud & Lniterwuud MAE MARSH ^TOU knew Mae Marsh was an artist, but you didn't know she J- was as expert at scene-painting as at acting and sculpting. Here she is, working on one of the cycloramic drops for her new stage play. "Brittle." As PHOTOPLAY was first to announce, she has temporarily deserted the silent for the spoken drama «) ACADEM¥3EtfOT[ON PICTURE V HOLLYvVOQ? '""PHERE are as many -*- fine, sincere, artistic and enduring achieve' ments among American motion pictures as there are among American novels, musical composi' tions, paintings, or plays The young new-comer is welcomed into the sacred midst of the seven older Arts We Offer No Apology By THE EDITOR M OTION pictures have now reached a stage in their development where they are fully capable of stand- ing on their own feet and of entering into equal competition with the other contemporary forms of art. Too long has the silent drama been pampered and coddled like some puny child that was too young and feeble to shift for itself, and therefore needed constant care and attention in order to survive the rigors of life. The self-appointed apologists and volunteer wet-nurses who are constantly prating of the infancy and inexperience of the cinema, and sending forth geysers of impassioned parts of speech in its defense, are no doubt actuated by a most com- mendable instinct for justice and fair play. But the truth is, that, by their attitude of toleration and patronage, they have done more harm than good. Their continual excuses for the screen's shortcomings, their persistent apologies for the extreme youth of the films, and their specious explanations of why the producers have not made better pictures — all this has unconsciously worked against a just recognition and appreciation of the truly high status of cinematographic art; for it has focused attention on the screen's errors and deficiencies, and, by inference, has dis- seminated the erroneous idea that motion-picture productions, as a whole, are inferior to the corresponding productions of the "older" arts. It is true, of course, that the silent drama, as an art medium. is young. But its youth lies solely in its medium. The sub- stance of motion pictures is founded on art forms, and moulded by art principles, which are centuries old, and which have long been understood and practised by mankind. Motion pictures are a synthetic, hybrid art — a combination of pictorial values, literary sequence, dramatic procedure, histrionic projection, and pantomime. They contain no new basic elements, no new aesthetic ingredients. Fundamentally, they follow the same creative and structural lines as do all the other arts — literature, painting, music, drama and sculpture. The same material enters into them, the same mental processes govern them, and the same standards of appraisement apply to them. There is nothing really new about motion pictures except their technique and their mechanism. And once their technical difficulties had been mastered, and their mechanical problem-; solved, there was no reason whatever why they should not produce results fully as artistic and significant as those pro- duced through the media of the other arts. And this is exactly what has happened. Certain serious workers and investigators have succeeded in mastering this new technique; and motion pictures have actually produced. and are producing, their full quota of artistic and worth-while results — results which, gauged even by the most rigid and uncompromising of contemporary aesthetic standards, rank co-equal with the achievements of the other arts of today. OF today." Do not overlook this qualifying phrase; for a certain number of superficial critics have sought to discredit the art of the films, and to demonstrate its inherent inferiority as an art form, by comparing its present accomplish- ments with the art masterpieces of bygone days. It is. however, manifestly unjust to compare the present output of the screen with the art works of yesterday, unless one also compares the output of today's music, literature and painting with the exalted masterpieces of the past. By such a comparison the other arts would suffer fully as much as the art of the screen. Obviously, therefore, the inferiority of motion pictures to the art works of other days is not a question of youth or of inexperience. The explanation is to be found in the very undercurrents of human evolution. There have always been cycles of aesthetic achievement, and recurrent golden ages of art creation. One epoch of history will be aesthetically sterile; another, prolific. The present age does not happen to be rich in the highest artistic production. Other great forces — commerce, science, invention, ethics — are now in the ascendency. Today there are no writers who 61 uz rnuiupiay magazine rank with Balzac. Goethe, Cervantes, Dante. Milton and Shakespeare. Our painting and sculpture are almost negligible art- when compared with the works of the Renaissance Titans — Giorgione, Titian, Veronese, Michelangelo, Leonardo and Donatello. And in music we have no composers who even remotely approach the stature of Bach, Beethoven, Schubert, Mozart and Brahms, Why, then, should the art of motion pictures be disqualified because it fails to measure up to the highest standards of the past r1 Another important consideration is this: certain countries, because of their age, their traditions and their cultural past, produce higher types of art than other countries. America is young, and she is still busy with the great problems of building and commerce. Therefore her arts are a- yet inferior to the arts of certain older European countries. Consequently, it is inevitable that the art of the cinema in America — the only country where it has practically attained to mechanical and technical perfection — should fall short of the art achievements of Europe, just as our literature, our drama, our music and our painting fall short of the European standards. Such a condition in nowise reflects upon the motion pictures as an art, or upon our achievements in that medium. It merely indicates that Europe leads America in art creation. The vital point, however, is that, during the past two years or so, our motion pictures have held their own with the other arts in America; and at the present moment they are pro- ducing fully as artistic results, and fully as high a percentage of such results, as any other art form in this country. For example, select at random any hundred recent American novels, or musical compositions, or paintings, or plays. Among them you will find just as many crude, trashy and utterly worthless productions as among any random hundred motion pictures. Moreover — and here is the point which the screen's apolo- gists have apparently overlooked — you will find among the hundred motion pictures just as many fine, sincere, artistic and enduring achievements as among any of the other random art groups of a hundred. Only a very small number of the novels, or plays, or songs, or paintings, that are produced in this country during the course of a year, are genuine and lasting works of art. In fact, the vast majority of them are cheap and trivial. But you would not denounce our present art production by this worth- less majority. And yet motion pictures are, as a rule, criticized on just such a basis. The fair-minded and intelligent critic does not judge a nation's literature by the average popular novel, or its painting by the average mediocre illustration, or its drama by the average commercial play. He gauges the aesthetic capability of any art medium of a nation by its finest and highest accomplishments. And, gauged in this manner, the art of the cinema in America today is not inferior — either as a medium or in point of actual achievement — to the other arts. To enumerate the specific screen plays which bear eloquent witness to this fact is a task which anyone familiar with the cinema's recent achievements is capable of performing. And after this has been done, let that person make a corresponding list of the truly great American novels, musical compositions, plays and paintings which have been produced in the same period of time. It will then be manifest that the art of the cinema stands in no need of gratuitous vindication or apologies; for these lists will be pretty evenly balanced. Therefore, let us call a halt on these futile excuses for the screen. Let us stop this silly defense of an art which needs no defense. And, above all, let us put an end to this untrue and patronizing insistence on the "youth" of motion pictures. Instead, let us judge the cinema as we judge the other arts — not by the average routine film, but by the truly fine and meritorious pictures which have been made and are con- tinuing to be made in a constantly increasing ratio. The MAGIC of the SCREEN By CLARENCE E. FLYNN "\"\ 7"E look down summer lanes on winter days, * * We see the snow amid the summer's heat. Far lands are brought and laid before our gaze. The woodland stream runs by the city street. The light of noonday breaks the shades of night, And then is softened to the starlight's sheen. The dawn and twilight mingle in our sight, Such is the fairy magic of the screen. ^T^HE heavy-hearted slip away from tears ■*■ And find the gladness of a fleeting hour In fairer spaces and more peaceful years, Where is no dearth of laughter, sun, and flower. Youth sees the future. Age with faded eye Looks back in joy on many a vanished scene, And walks again among the days gone by. Such is the fairy magic of the Screen. They're Married THEY have been engaged ever since the blonde and exquisite Alice Terry became the heroine of director Rex Ingram's finest photoplays. She was a little extra cirl when he. then a promising young director, met her and save her good parts in "The Four Horsemen of the Apocalypse" and then in "The Conquering Power." It i~ -aid that when she became Mr;. Rex Ingram Alice Terry renounced all her stellar ambitions and is going to retire from the screen. We hope it is not true. Meanwhile — congratulations! 63 Society 'T'HIS is the third of a series of satirical articles on the different phases of life as depicted in the motion pictures By WILLARD HUNTINGTON WRIGHT Decorations by RALPH BARTON 1 hey gaze contemptuously at all strangers, with elevated brows and sneering nostrils SAY what you will against those motion picture gentlemen whose occupational livery consists of puttees, riding- breeches and a sport skirt, and whose official totem is the megaphone — call them marplots and ganujs and varlets; accuse them of mayhem and massacre and piracy; denounce them as the sworn enemies of the good, the true and the beautiful. But, in all justice, you must give them credit for a colorful and fantastic imagination — for a rare and rococo originality — when it comes to the depiction of screen environ- ment. Already we have inspected the aesthetic life and the island life as conceived and projected by these Generalissimos of the Lot. Let us now turn our attention to the "society life" as it is revealed on the silver sheet. Here we have a chimerical world of incredible and fascinating aspect — a world unlike anything which heretofore has been witnessed on land or sea — a world whose every inhabitant is possessed of wholly unique and original manners and modes of life. Not even in their palmiest and most passionate literary days did Charlotte Bronte or Mrs. E. D. E. N. Southworth — or even the feverish "Duchess" — produce a blue-blooded fiction wherein was por- trayed so amazing and singular type of "high life" as that which is encountered in the average society film. •"TO begin with, in the exclusive social life of the screen *■ there are no simple or monosyllabic names. The entire Four Hundred are equipped with compounded monikers, rein- forced with umlauts, accents and diereses. And not to possess a composite patronym sutured with hyphens and prefixed by a Van or two, is to belong to the incult rabble. The moment you are introduced to a film character whose (A name sprawls out over the screen like that of an old English syndicate of marmalade makers, you know at once that you are basking in the dazzling presence of the hant monde and are about to hobnob with the elite. Just how the social aristocrats of the silent drama support themselves in their apparent luxury is one of the most cryptic of directorial mysteries; for no member of the cinema's exclu- sive set ever stoops to the vulgar practice of toil. True, some of the gentlemen have elaborate offices with Louis Quinz furnishings and Royal Bakhara rugs; but the only activity one ever surprises in these expensive commercial bureaus consists of the ingenue perching herself on the arm of the swivel chair and chucking the author of her being under the chin for the purpose of wheedling some favor from him. SOMETIMES a bold vampire undulates brazenly and un- announced into these sanctums, and indulges in a bit of blackmail; and now and then the juvenile heavy uses the inlaid desk to forge his father's name to a $1,000,000 check with which to meet his gambling I. 0. U.'s. But no labor is ever done or business transacted in these offices. Indeed, their owners have little time for so inelegant an occupation. The nabobs of film society are too busy diverting themselves and changing their clothes. Which brings us to what is perhaps the most conspicuous idiosyncrasy of the screen's social life. It appears that the members of the fashionable set have created a new and original mode of attire — to say nothing of their multifarious changes of costume. Each film aristocrat is, of necessity, a rapid change artist; and it is apparently an unpardonable breach of etiquette to be seen twice in the same habiliments. Life in the Films The individual dress creations of the film's socially elect need not detain us; but the general styles are worthy o note, due to their extraordinary diverg ency from the current modes. For ex ample, the evening clothes of the mal aristocrat are adorned with miles of tap> an inch or more in width. Not only does the trimming cover the outside trouser seams, but it encircles th coat cuffs and terminates in a large fleur-de-lis figure extending nearly to the elbow. This tape likewise follows the line of the coat-collar. and plays a conspicuous decorative part in the configuration of the lapels, doing snappy figures-of-eight about the marble-shaped satin- covered buttons beneath. In short, wherever tape is usable, i- used. THESE evening clothes of the film gentlemen are almost skin-tight; an the coat is cut so short in front that the white brocaded waistcoat (drawn in until it wrinkles across the midriff) is visible four inches below. Then there is the evening shirt with its pleats and self- figures; the black onyx buttons on the waistcoat; the wristlet-cuffs showing a full six inches; the bulging silk handkerchief in the outside breast pocket; the pendant fob with the huge scrolled monogram of gold, hanging down the right trouser leg; the metal suitcase for cigarettes protruding from the lower waistcoat pocket ; and the wide black ribbon encircling the neck and flapping athwart the shirt bosom. They ne with one arly always fall in love of God s own noblemen Chucking the author of her being under the chin for the purpose of wheedling some tavor from him Moreover, special men- tion must be made of the white kid gloves which accompany thi» nocturnal attire. All male members of fashionable film society invariably wear w h i t e glovc> with formal dl no matter what the occa- sion— at their clubs and cabarets, at private and intimate gatherings, at soirees and dances and dinners. A cinema gentle- man would positively feci naked without his white gloves after sundown. They are his mark of dis- tinction, his badge of position. his social sine-qua-non. AS for the ladies of film society, — it would ap- pear that their sartorial motto is: "Life is short — why not skirts?" For when it comes to public anatomic- al exposure, they leave little to the imagination. If one were to judge the dress of society women by the dramas of the screen, the ineluctable conclusion would be that the feminine aristocrat — 'the woman of blue blood and distinction — goes about in the evenings practically in a state of nudity. There is something downright clinical about her attire. Her gown is little more than a diaphanous drapery, a mere con- cession, as it were, to the Occidental custom of physical decoration. BUT no matter how scant or abbreviated may be the wearing apparel of the fashionable screen lady, there is always a orgnette in evidence. "'High Society" and lorgnettes are indissolubly associated in the average director's mind, with the result that the social life of the films is one long succession of these optical appliances. A lorgnette to a motion pic- ture matron is what puttees are to the director himself, what a bamboo cane is to Mr. Chaplin. what hair-pants are to the "movie" cowboy. The lorgnette, in the society dramas of the screen, is used exclusively for the purpose of inspecting persons who have just arrived upon the scene; for one of the dominating character- istics of feminine aristocrats of the films is their studied and •aggressive hauteur. They gaze contemptuously at all Strang with elevated brows and sneer- ing nostrils; and whenever any- one is presented to them i even in their own homes) they hoist the lorgnette, and coolly, slowly, and with infinite disdain, inspect the person from he.nl to foot and back again before acknowl- edging the introduction. And we find this same arrogant and glacial condescen- sion (Continued on pi^c 1x3) To Assist You in Saving Tour JANE EYRE— Ballin-Hodkinson THIS film may not be a masterpiece. At any rate, it has no log jam, ice-flow, chase or chariot race. But we found it the most restful thing we have seen in many months, and one of the most quietly charming. You know the story by Charlotte Bronte. You have, in fact, doubt- less seen it on the stage, and several times before in the films. Here is the real "Jane Eyre" that Miss Bronte meant when she wrote. Hugo Ballin, who is an artist before he is a moving picture director, has painted beautiful pictures with a consummately quiet brush; and, if dramatic punches are few and far between, we think that you will forgive him. Actors behave so that you never know whether they are acting or not. His wife, the lovely Mabel Ballin of the liquid eyes and expressive brow, plays Jane delightfully. Norman Trevor, as Mr. Fairfax Rochester, is perfect. Others are competent. Mr. Ballin deserves much credit and well-filled theaters for this delightful family film. WOMAN'S PLACE -First National JOHN EMERSON, Anita Loos and Constance Talmadge combine to make this a picture that ranks very close to ioo per cent as entertainment. The Emersons provide a story that is both original and highly amusing, and Miss Talmadge provides herself; and the result will delight every- one except those people who go to the movies to cure their insomnia. "Woman's Place" proves that woman's place is wherever she is needed — in the home, in politics or in the heart of a lonely man. It has a quaint idea, and Emerson and Loos succeed in sliding across some wicked satire in their sub- titles. The consistent Constance is her old roguish self, and she receives excellent support from Kenneth Harlan, as a refined political boss, and Hassard Short as the young social lion with the one-button cutaway and the one-way brain. "Woman's Place" is well directed, well photographed. 66 Shadow Reg. U. S. Pat. Off. A review of the new pictures THEODORA— Goldwyn THEODORA," the latest importation from Italy, is a screen version of Ringling's Five Ring Circus, with a few extra rings thrown in. In attempting to describe it adequately, one looks in vain for suitable superlatives. All the old ones have been used up. on spectacles like "The Queen of Sheba," but "Theodora" so far eclipses these in point of genuine magnificence as to render the reviewer inarticulate. It literally knocks one's eye out. There are so many people involved in the big scenes that the casual spectator is moved to wonder whether there is any truth in the stories that are now going around about the tremendous depopulation in Europe. However, there is a catch in the picture. As is the case with so many productions that are designed on this ex- pensive scale, the dramatic interest is subordinated to the spectacular effect; while you are marveling at the splendor of the picture you may lose track of the superb story. The heroine of the Sardou drama, Theodora, is the wife of Justinian, Emperor of Rome during the final days of the mighty Empire. Even though Theodora is the first lady (if the land, a regular human heart beats in her breast and she yearns for love. Her husband, the Emperor, is old and cold, and so she is forced to turn to Andreas, a young and sympathetic revolutionist. Rita Jolivet, as Theodora, is stately and pictorially effective, but the chief acting honors go to Ferrucio Biancini, who plays Justinian, and who possesses a sense of restraint that is usually lacking in Latin movie actors. The director of the picture, who deserves most of the credit, bears the flowery name, Commendatore Arturo Ambrosio. Motion Picture Time and Money PHOTOPLAY'S SELECTION of the SIX BEST PICTURES of the MONTH JANE EYRE ♦ WOMAN'S PLACE ♦ THEODORA * THE SIN FLOOD ♦ DANGEROUS CURVE AHEAD ♦ THE SHEIK THE SIN FLOOD— Gold wyn IT is a photoplay you will wish to see, and. seeing, you will remember. One hesitates to say the obvious things in connection with it. It is drama, with a beauty and dignity that does not stoop to the melodramatic at any time. Locked in an air-tight bar-room, while a flood surges over the Mississippi town, is an odd assortment of human beings who can live only until the oxygen in the air is exhausted. Among them we find an unfrocked minister, played in masterful manner by James Kirkwood; the bar-keeper, who has stolen his wife; a successful cotton broker, Richard Dix, and the girl he has deserted, Helene Chadwick; a tramp; an actor; riffraff from life's wreckage called to face death together. Those who believe that massive sets and thousands of "extras"' are necessary to the photoplay of the day, that "Action!" must be the watchword, that a vast expenditure of money or the "Made in Europe" trademark makes for success in this field, will do well to see this intense, master- ful drama, unfolding for the most part in one bare room, with but seven or eight members to the cast. Frank Lloyd, with "Madam X" and many other successes to his credit, directed this filmization of Hcnning Berger's "Synafloden." His skilled touch is not unlike that of the late George Loane Tucker. James Kirkwood does the greatest work of his entire career, but the other players have parts of almost equal importance, and play them well. Here is a photoplay for the entire family, an exquisite bloom in a desert of mediocrity. DANGEROUS CURVE AHEAD— Goldwyn HAVING settled the tragedy of motherhood in conclusive fashion, Rupert Hughes turns his attention to another phase of the great American home life, and focuses the lens of his camera upon the vicissitudes of a young married couple. "Dan£erous Curve Ahead" is the result. Viewed as entertainment, it ranks with "The Old Nest." The harrowing experiences of Hurley Jones and his bride, Phoebe, will strike responsive chords in the heart of every normal person who has ever had occasion to murmur those two wonderful and terrible words, "I do." These young people both possess the usual quota of human faults and virtues; they love, marry, have children, and pay the grocer's bill in the usual healthy way. Finally, the inevitable third person appears on the scene and makes an attempt to wreck the happy home. It is at this point that Mr. Hughes almost sails into dangerous waters and almost forsakes the realms of reality for the realms of melodrama to supply a theatrical climax for a story that needs nothing of the kind. THE SHEIK— Paramount HERE is romance. Red hot. If you read the story you will go to sec the filmization. If you haven't, you will go anyway. This is popular entertainment — that and nothing more. But that is enough. The best-selling story by E. M. Hull, scoffed at by the higher-browed critics, but read and re-read by two-thirds of the women in this country, has been made into a very exciting, very old- fashioned photoplay. It's the old-time adventure, much more artistically pre- sented than formerly, but still just a glorified movie. The exquisite Agnes Ayres as Diana, the English heroine, and Rudolph Valentino in the title role, perform their parts splendidly. George Melford's direction is. as usual, compe- tent but not unusual. Vou should see this if you aren't too weary to imagine that you might have been Diana and The Sheik living their desert romance. 67 68 rhotoplay Magazine RIP VAN WINKLE— Hodkinson Washington Irving's immortal classic has been screened in a most artistic and delightful manner, with Thomas Jefferson, whose father first brought fame to the role of the incorrigible but lovable Rip, assuming the screen characterization. You will enjoy every moment of it. if you number yourself among the young of heart, whether your age be eight or eighty. HIS NIBS— Exceptional Charles (Chic) Sale brings a new face and a new- personality to the screen. His first photoplay suggest- his ever-popular vaudeville act in that he assumes seven distinct roles, all rural characters, and is, in short, the whole show himself. It is amusing and unquestionably different. There is a place for this actor on the screen. He is as individual as Charles Ray or Charles Chaplin. [»i»l %s JnE . ] i^^^l MM fln ^.'jMBwl ^■t ■ ^m i 1 ALFS BUTTON— Hepworth— First National A film from Britain, and a novel one. It's about the Tommy who, when he rubs a button on his coat, sum- mons a genii named Eustace, who can give him whatever he wants. He wants fine clothes and harems and a box at the opera. Leslie Henson, playing Alf, indulges in some delicious comedy. Alma Taylor, a fine actress, is Alf's sweetheart. The best of the British films so far. TWO MINUTES TO GO— First National Having tried his hand at every known variety of sport. Charles Ray now turns to football, and appears as a college gridiron hero in "Two Minutes to Go." The re- sults are disappointing, for. while Mr. Ray himself is satisfactory, his surroundings are far from convincing as a depiction of the dear old college life. Moreover, his story is foolish and unexciting. THE CASE OF BECKY— Realart This picture narrowly misses being one of the Six Best Pictures of Photoplay's month. And we can't tell you just where it misses, or how, or why. The direction is able; Constance Binney gives an amazingly accurate performance of Becky, the bad, and Dorothy, the good, in this story of dual personality. There is suspense in it. and climax. Glenn Hunter is splendid. THE WONDERFUL THING— First National Norma Talmadge's admirers, and most of us belong to that class, will view her latest production with satis- faction. It is a filmization of the stage play of the same name, and while it offers no unusual situations, the star is pleasing and sincere. Mrs. Lydig Hoyt, the famous society leader, is most convincing. She possesses personal magnetism and charm. Photoplay Magazine 69 •| r «■ r£ia It J X ^ r"* ^/jj ■ M Tvt CONFLICT— Universal Priscilla Dean's new picture starts with a punch and ends with a wallop, but the intervening space is long- drawn-out and dull. "Conflict" is well worth while, though, if only for the climax, in which Miss Dean rides a log through swirling rapids and makes faces at the waterfall that is waiting to receive her. The picture suffers from poor continuity, but the scenes are splendid. NOBODY'S FOOL— Universal A most scintillating starlet, Marie Prevost. She leaves her bathing suit at home, and fares forth into tin- wilds to get next to Nature. Traps a woman-hate;-. Harry Myers, and whether she finds him worth the struggle or not you can find out for yourself. Remember him as "The Connecticut Yankee?" You'll agree she is nobody's fool. Neither is her scenario writer. THE SINGLE TRACK— Vitagraph Corinne Griffith's latest shows her only in the first reel as her usual screen self, the dashing debutante. But the first reel is well worth seeing, because Corinne dances as Salome, simply attired in a costume composed chiefly of feathers. Then she goes west to see about a railroad. That's where the title comes in. She has to fight for her rights, and she is ably assisted by Richard Travers. LADYFINGERS— Metro Bert Lytell in a role reminiscent of his Jimmy Valen- tine. It is probably the best of his recent releases. The plot has several unusual twists and though the climax is reached, really in the middle of the story, the re- maining reels have been handled in such a manner as to prevent an anti-climax. Ora Carew does some ex- cellent work opposite the star. BAR NOTHIN— Fox A cyclonic melodrama of the fast and furious West, Buck Jones is the fighting ranch foreman who shoots up the town right regular until Ruth Renick slides down a cliff into his life. The story at times bears some claim to logic, and Buck combines his daredevil stunts with a real histrionic ability. The blonde Miss Renick is most satisfactory as the heroine. It's well titled! MY LADY FRIENDS— First National Bringing some of the best of the stage comedies to the realm of the flickering Kleig lights, is the favorite pastime of Mr. and Mrs. Carter De Haven, and who in cameraland can do it better than they? Here's a jolly mix-up. consisting of one virtuous husband, one sus- picious wife and three businesslike vampires. Guess who wins out, and then guess again. (Cont'd on page 120) George H. Cobb is one of the most newly appointed censors in America. Only lately, ana at Governor Miller's appoint- ment, has he taken his place in a New York City office. We hope that his bland expression is a good omen Harry L. Knapp is a better sport than the majority of his profession. He went at itwith surprisingly keen intelligence for he travelled out to Universal City to see for himself Non-German Dictators GOODXESS cannot be put — by law — into the hearts of people. Righteousness cannot be legislated. But there are some folk who think that it can be. And they are the sponsor; of compulsory censorship of motion pictures. The men upon this page are prominent censors. They, for a consideration, are quite willing to undertake the rather thankless job of makintr public morals one hundred per cent pure. One does not question their motives — no indeed ! — but at times their methods seem a bit obscure. And. be it added, more than a bit hard to understand! This is Dr. Wilbur F. Crafts. He is the god-father of every movement that is both violently, and unpleasantly, religious The Honorable Joseph Levenson is Mr. Cobb s associate — also newly appointed. He was a ward leader before he became an arbiter of art Timothy J. Hurley, of Chicago, is one of the more seraphic of this little group. Jackie Coogan in half-socks might be edited out for indecent exposure — if Mr. Hurley were doing the censoring Dr. Harry L. Bowlby, one of our nation s most zealous workers, has tried his hand at estab- lishing Sunday blue laws, at bringing about National Censorship, and at being a Latter Day Saint. All three are fairly difficult tasks ! " LIBRARY HOLLYWOOD, - CALIFORNIA Who was handicapped by too easy a start, who failed, and then fought her way back By ADELA ROGERS ST. JOHNS THERE must be people in the world who are not base- ball fans. Only I rarely ever meet any. so I'll have to write this story just as if the whole world loved a good ball game as much as I do. You all remember Merkle. Fred Merkle — first baseman for the New York Giants — better known as "Bonehead." Sometimes a man is so supreme in his chosen line that his name becomes a synonym or an adjective. Titian is known to the 20th Century because of the color of his ladies' hair. Paul Revere — Marconi — Romeo — you know what I mean. Likewise you could once say — you pulled a Merkle — or a bonehead. Take your choice. Because Mr. Merkle certainly won the tissue paper bathtub and the complete set of rubber knives and forks and the cut glass brassiere. In a game with the Chicago Cubs that would decide the National League pennant, Merkle forgot to touch second base when he brought in what should have been the winning run. Instead, that little oversight lost the ball game, the pennant >■ Declared a failure as a star. Lila Lee did not quit. She stuck it out, gamely she did nits, ugly ones sometimes, until eventually, through sheer grit, she made good and the chance to play the World Series. But "Bonehead Merkle" had so much — I can't use the word I ought to but you know what I mean — so much grit, that he did play the next season. In spite of the Vesuvius of the bleachers and the bayonets of the sporting writers, who have to fill up their columns, he played baseball and good base- ball. He played better than he had ever played in his life. So that by the end of the season, the American public — which is just as quick to ban garlands of laurels on a hit as showers of pop bottle- on a boob play — said. "Come home. Freddy, all is forgiven." That was eight years ago — and Merkle played until last year, when I suppose old age over- came him as it does all of us in time. But what I'm driving at is this — think of the thing it took for Merkle to come back. Think of the stamina, the grit, t h e cheerfulness and sheer courage it required to march out on thai diamond day after day, with nothing between him and the rabid multi- tude but a few cubic feet of ether. Think of the chance of pulling another boot. Think of going to bat in a pinch under those circumstances. I tell you that will break the heart and soul of ninety-nine men in a hundred. It is worse than any physical danger. It requires more than physical courage. It demands moral courage of the highest order. I know of but one other person who has that same kind of sporting blood, who belongs in that peculiar niche in Fame's Hall. And that is Lila Lee. My pet name for her is "Mrs. Merkle." (By the way. if there happens to be a legal one. I offer her due apologies. It is purely a descriptive title.) I have told you all this long tale about the i ball hero, only because in no other way can I illustrate to you the thing that Lila Lee has dime. She is the Merkle of the movies. Let me show you why. and then you will understand why Lila Lee occupies a very real place in my heart as well as in my head. ontinued on page 100) L.la J Cuddles. Thi Lee as ' is the way she looked when she was taken from vaudeville at the age of fourteen and made a motion picture star FERDINAND EARLE, director and artist, has intensely interested all Holly- wood in an idea of his — something entirely new in motion picture making. Everyone knows the enormous cost of ihe difficulty involved in the making of proper backgrounds. Companies have traveled many thousands of miles to find suitable locations — motion picture corpora- tions have gone bankrupt over the filming of one special feature. Mr. Earle's method will never supersede the actual building of sets, but there are many cases in which it can be used to advantage. For his sets consist of innumer- able paintings done on eighteen by twenty- four academy boards. By a method of double and triple exposure he is able to introduce real actors and actresses into these sets and, when the results are projected on the moving picture screen, and translated into terms of light, they look like real photographs. i ar- — ■ — ^H1 1 ■ ^m- ■ ji H & r s - ■ r, •> I^M *>*<«*• .. , -,T. »'& \wj/*Za~'" "f^ ^^^9 Mr. Earle s studio — more like a Parisian artist's atelier than the work- shop of a motion picture director — is hung with a number of his "sets" All the romance and color of the orient is in this scene from "The Rubaiyat of Omar Khayyam, Mr. Earle s most ambitious picture. There is a splendid imaginative quality, a depth and beauty, that is found in some of the larger panels by Maxfield Parrish. One cannot help feeling that the photographer has gone back across the years to secure this effect. But Mr. Earle, with his bits of cardboard, knows better! It s hard for any woman — no matter how clever an actress she may be — to walk up a flight of stone steps that are painted on a small section of academy board. But with the assistance of Mr. Earle and his genius, the well nigh impossible has been attained. Living people stroll through his painted vistas, lean out of his painted windows. And it is all done with an amazing sense of loveliness and unbelievable realism Magic Carpets of Cardboard! 72 Photoplay Magazine — Advertising Sect [on 73 The hands of Mary Nash, celebrated for their beauty, are an example of ko--w proper treatment enhances nat ural charm. Miss Nash uses only Cutex in the care of her nails. She says: "/ don t see how I ever tolerated having my cuticle cut — Cutex is so easy to use, so quick, and makes my nails look so well. I regard Cutex as a real toilet necessity.'"'' Do just two things - and your nails will look professionally manicured Baron dc Meyer Photo A LL that made manicuring slow and difficult has been done awav with. You don't have to soak your nails — you don't have to cut the cu- ticle. Just work carefully around the nail base with an orange stick dipped in Cutex Cuticle Remover; thenrinse, and the hard, drv edges of dead >kin will simply wipe awaj . Then you are ready for the poli.sh. If you are in a special hurry, Cutex Liquid Polish will give you a particu- larly brilliant shine — instantaneous]) and without buffing. But if you are doing a more leisurely manicure, you will probably wish first to burnish yournails lightly with oneofthe other marvelous Cutex Polishes, which for convenience come in Paste, Cake, Powder and Stick form. Then apply a light coat of Liquid Polish. You can torm no idea of how quick and easy Cutex has made manicuring until you have given it a trial. This very minute before vou for- get, sit down and send for a Cutex Introductory Set. In the cunning little box of black and rose — so smart and taking in itself — you will find samples of everything you need for manicur- ing this new way — with a book of instructions. Follow the directions and give yourself a complete Cutex manicure. It will seem like a miracle to you. However ragged you may have made the cuticle by cutting, Cutex Cuticle Remover will leave it smooth and even . And you will agree that you have never used a polish from which you get as quick, lasting and brilliant a shine as from any one of tho>e provided by Cutex. Cutex sets in three sizes Tc > many thousands ofpeople, a Cutex Set is now an absolute toilet necessity. You can buy them in three sizes, at 6oc,at $ 1 . 50 and at S3. 00. Or each preparation can be had separately at 35c. At all department stores in the United States and Canada. The quickest, easiest manicure ' - y Spread the Polish on the soft part of the hand and burnish by passing thenails light- ly over it - or, if you want a still quicker, brighter lustre, coat each nail lightly with Cutex Liquid Polish. First dip the end of the orange stick in Cutex Cuticle Re- mover, work care- fully around the nail base, then rinse. The hard dry edges of dead cuticle will sim- ply wipe away. MAIL THIS COUPON WITH 1 5 CENTS TODAY \ Northam Warren, Dept. 701,1 1 4. West 1 "th Street, New Yorl; City. Name- Street _ Introductory set- only 15c now Citv and State- Contains besides ihe samples of Cutex Cuticle Remover, Powder Polish, Cuti- cle Comfort, emery board and orange stick, a little bottle of the marvelous new Liquid Polish, exactly what every wom- an wants for an instantaneous, dazzling polish. Address Northam Warren, 114 West 17th Street, New York, or, if you live in Canada, Dept. 701, 200 Mountain street, Montreal. 'When you write to advertisers please mention niOTOH.AY MAGAZINE. The Unrecognized Drew Introducing Georgie Drew Mendum, cousin of tte celebrated Barrymores, Ethel, John, and Lionel, and niece of John Drew By MARY MORGAN IN circles that know her well, Georgie Drew Mendum is regarded as one of the cleverest of the Drews. Some per- sons, over cups of loquacity stimulating after dinner coffee, pronounce her the cleverest of them. Save in those circles she is still The Unrecognized Drew. It were idle to deny her cleverness, or to minimize her resemblance to that unique and brilliant family whence she sprung. She has the facile, flashing, sometimes stinging wit, of the Drews, that which causes the bon mots of Louise Drew, daughter of John Drew, to be quoted in the Twelfth Night and the Sixty Clubs, and the words of Ethel Barrymore to pass into headlines, as, for instance, Miss Barry- more's summary of Maxine Elliott's beauty. "She is the Venus de Milo with arms." She has the full, Drew eyes and employs them ac- cording to the Drew methods, the methods, in the main, of comedy. Too there is a hint of the Drew characteristic that still in- heres in her cousin Ethel, of dragging speech. Yet she delivers her speeches with all the propulsive power of her cousin Louise Drew, and the significant pauses of her "Uncle Jack." John Drew, schooled of Augustin Daly, had learned perforce, as all that eminent manager's eminent actors learned, the empha- sis and the suspensive value of the pause. Physically she bears no challenging resemblance to the present generation of the old and esteemed family of actors. By one of the caprices of capricious nature she is of physique and physical traits more like her aunt, Georgie Drew Barry- more, than is that gifted comedienne's daughter. Ethel Barry- more. A few ancient folk, last leaves on the nearly bare tree of other generations, find in her facial resemblance and man- nered reminiscence of her grandfather, John Drew. Visible in her, they assert, are the rounded profile and the engaging insouciance of the ancestor who was an Irish singing comedian, a Billy Scanlan of his long gone time, and who returned from a trip around the world in time to help his distinguished wife to manage the Arch Street Theater in Philadelphia and re- trieve its fortunes. Mrs. Drew often looked fixedly at large eyed Georgie and said, "Child, you're very much like your grandfather. Very." Miss Mendum is the daughter of Louisa Drew, whom, the casual minded say, was "the only one of Mrs. John Drew's chil- dren who never went on the stage." Her daughter corrects this impression by a characteristic speech. "My mother was on the stage, but only for a few minutes. She had evinced comedy gifts. But she married when she 74 Sh Hers are th has all trie wit and the charm of her famous mily, though she is not quite so well-known. i full Drew eyes ana the slow speech was seventeen and she had three children. They kept her busy in a constant re- hearsal of life. And she died while we were very young." Louise Drew chose for a husband Charles Mendum, then a theatrical manager. Their abode was Boston. That was the abode of the child, Georgie Drew Men- dum, although as others of that family she was born in Philadelphia. "Grand- mother would never have forgiven any of us if we had been born in any other city," says Ethel Barry- more. At two Louise Drew Mendum's daughter evinced a trait to which we will give the name firmness of will or tenacity of purpose. Noting it her father be- stowed upon her an after christening title. "Let us call her Budge because she won't." he said, a suggestion that has been adopted by the Drew fam- ily unto the last ramifica- tion. At four she displayed the spirit of comedy which after a decade or more was to register in the apprecia- tive consciousness of Joseph Jefferson. For after her debut in the usual maid's part, with Annie Russell in "Catherine," a debut which was followed by small parts in her Uncle Jack's company in "Richard Carvel" and "The Tyranny of Tears," Joseph Jeffer- son selected her as his leading woman in a company made up largely of members of his own family. She was Dot in the "Cricket on the Hearth" and Lydia Languish in "The Rivals." The venerable actor discovered one night that she had the family assertiveness and will to command in a crisis. She came off the stage one night during a performance of "The Rivals," and found Mr. Jefferson sitting in the wings, spend- ing a wait in amiable chat. "I wish you wouldn't talk in my scenes," she flashed. The venerable actor rose a little stiffly from his camp chair. Awed members of the company awaited rebuke of his childish censor. Instead he said: "You are quite right, my child. I shouldn't like it myself. I won't do it again." Tradition of one honored family was making obeisance to another. She went on a road tour in "The Secret Dispatch" and with "Would You for Five Millions?" She rejoined her uncle in "The Mummy and The Humming Bird" and was with Ethel Barrymore in "Cousin Kate." As Tessie Rode in "Glad of It," she made a strong impression upon both public and author. Clyde Fitch declared he would write a part for her that would establish her for all time, or approximately that period. The author died untimely and Miss Mendum was one of those players whose ambitions were nipped by his premature passing She was one of Clyde Fitch's dramatic widows. (Cont.on pageioi) Photoplay Magazine — Advertising Section 75 Today- - women who for years had streaked, faded or unbecoming hair are frankly telling their friends the secret of their IMPROVED APPEARANCE. The Favorite of Two Continents False notions and old-fashioned methods of hair dyeing have passed away, thanks to the discov- ery of the new art of Hair Tinting by Dr. Emile, Physician-Scientist of Pasteur Institute, Paris. Today, women of refinement consider Inecto Rapid with the same frank acknowledgment that they do other articles on their toilet table. There is no more prejudice against Tinting with Tnecto Rapid than there is against the use of face powder or cosmetics. Women praise INECTO RAPID instead of being secretive about it — because hair tinting with Inecto Rapid is truly a scientific and fashionable success. INECTO RAPID is sold under the following specific guarantees: 6. Never to cause too dark a color through inability to stop the process at the exact shade desired. 7. To color any head any color in IS minutes. 8. To be unaffected by permanent waving, salt water, sunlight, rain, perspiration. shampooing, Russian or Turkish Maths. 9. Not to soil linens or hat linings. 10. To produce delicate ash shades hereto fore impossible. 1. To produce a color that cannot be dis- tinguished from the natural color under the closest scrutiny. 2. Not to cause dark streaks following successive applications. 3. To maintain a uniform shade over a period of years. 4. To be harmless to hair or growth. 5. Not to make the texture of the hair coarse or brittle and not to cause breakage. / / Inecto Rapid applications are made at the leading hairdressinir salons throughout the world. In New York, you will rind it used in the Plaza, Commodore, Biltmore, Waldorf-Astoria, Pennsylvania, etc. SEND NO MONEY Just fill out coupon and mail today. We will send you full details of INECTO RAPID and our "Beauty Analysis Chart" to enable you to find the most harmonious and becoming shade for your hair. 818 SIXTH AVENUE, NEW YORK INECTO, Inc., Laboratories Laboratories— PARIS, LONDON, BRUSSELS, MILAN, MADRID / .-*>? / J Every advertisement In l'HO'l'Ol'I.AY MAGAZINE ll guaranteed. The Billboards of Berlin WHEN Herr Dinkleblatz comes bustling home from the office and tells Fran Dinkle- blatz to hurry along the frankfurters and sauerkraut and to wash little Ludwig's face so that they won't miss the first show al the picture-house around the corner, it is because he has seen a big teal ure announced with a poster similar to those reproduced (from Das Plakat) on this page. We can only wonder what our Censors would say if they were used on our billboards to exploit the "alarming invasion" of this country by — as far as we know, some half-dozen German films. MADAME 5HTBARRY SOMURUM ,.uu, POli HE6RI .. LOB1TSQ4 ».„. , ^■%s MS 5 8& /*A«Mor"hAUS UPPl!.R right-hand corner — the famous chopping scene from Madam DuBarry, the film that we called Passion. Above at the left — a difficult step in The Dance of Death. Center — Lubitsch s Sumurim, with Pola Negri in the hauptrolle. Above — The Island of Happiness: population 2; flora, daisies, pine- apples and cabbage; boat runs every hour. Left — the hymn, and her of "Hate." 76 Photoplay Magazine — Advertising Section What do they think when they leave your parties ? MY, oh, my, 1 was never so bored in my life," or "Well, didn't we have a jolly time! Those folks certainly know how to entertain." The answer is in the kind of entertainment you provide. Follow this suggestion — Play cards for wholesome recreation and you will find everybody helping to make the evening pleasant for everybody else. The most backward people will enter into the spirit of a card game as if they had known each other for years. The informal folks will be calling each other by their first names before the evening is over. And they'll all be glad to come to your house again whenever you say the word. Send for these books: "The Official Rules of Card Games" giving complete rules for 300 games and points for better playing, and "How to Entertain with Cards", a 48-page book of interesting sug- gestions. Check these and other books wanted on cou- pon write name and address in margin below and mail with required postage stamps to The U. S. Playing Card Co., Dept. TJ-3, Cincinnati, I '. S. A. Manufacturers of BICYCLE PLAYING CARDS (Also Congress Playing Cards. Art Backs. Gold Edges.) TIIF. PACK— Two-liand, 24-card pack, A (high) to 9 (low) ; three-hand, M cards, A to 7 ; four-hand, 42-card pack, A to 4, (omitting two 4'sJ ; five-hand, regular 52-card pack; six-hand, 61-card pack, with 1 1 .mil 12 spots; plus Joker if desired. PLAYERS — Two to six; agood three-hand game. Four, six, and five-hand arc partnership games — four hand, 2 against 2; six-hand, three pairs of partners. In five-hand, successful bidder calls any one player as his partner for that hand; or he may designate one partner on bid of six or seven, and two partners on higher bid; or he may call holder of a certain card for his partner, but holder of card makes no announcement until card called for falls in play. RANK OF CARDS— Trump suit: Joker (when used) high; J (right bower); J of same color (left bower); A, K, Q, 10, 9, etc. Other suits: A, K, Q, J, 10, 9, etc. CUTTING— Cut for deal. Low deals— ace low. DEALING — Deal 3 cards to each player, then for a "widow" lay 2 cards face down on the table. (3 if Joker is used) .then deal 4 cards to each player.then 3. OBJECT OF GAME— To take tricks. Bidder, (or partners), must take full number of tricks bid. Ad- versaries score each trick they take. MAKING TRUMP— Beginning at dealer's left, each has one chance to bid or "pass." Bids are made to take a certain number of tricks, with a named suit as trumps; or to take them without a trump. Form of bid is: "six clubs"; "eight diamonds," etc. Six tricks is lowest bid. When all pass, cards are bunched and deal passes to left. In some localities, if no one bids, the hands are played "no-trump", without using "widow"; each trick taken scores 10; and there is no "set back.' AVONDALE SCIi EDUL E Tricks 6 7 8 9 10 Spades 40 140 240 340 440 Clubs 60 160 260 360 460 Diamonds 80 180 280 380 480 Hearts 100 200 300 400 500 No Trump 120 220 320 420 520 IRREGULAR BIDDING— In partnership games, if any player bids out of turn, his bid is void, and his partner loses right to bid that deal. DISCARDING— Highest bidder takes "widow"! then discards to ten cards, and leads any card. PLAY — Beginning at bidder's left each player must follow suit, if possible; otherwise trump or dis- card. Winner of trick leads for next. On "no-trump" bid, the hand is played without trumps, with Joker as highest card of all; but Joker may not be played to another's lead if holder can follow suit. Player who leads Joker names the suit that shall be played to it. IRREGULARITIES IN PLAY-Failure to follow suit, when able to do so, is a revoke. When revoke is proved, hands are abandoned. If adversary of bidder revokes, bidder scores full amount of his bid; side in error scores nothing. If bidder revokes, he is set back full amount of his bid. and adversaries score any tricks they already have taken. SCORING — If bidder takes number of tricks bid, he scores amount bid as per Avondale Schedule, but no more, except when he takes all ten tricks. For this he scores 250, if his bid was for less. Adversaries score 10 for each trick they take. SET BACK— If bidder fails to "make" his bid, the number of points bid are deducted from his previous score. If set back before he has scored anything or for more points than he has scored, he is "in the hole" (indicated by drawing a ring around the minus amount). Partners are "set back" together. GAME — Game is 500. If more than one player scores game on same hand, and one of them is bidder, bidder wins. If neither is bidder, player first winning enough tricks to make his score 500 wins. FIVE HUNDRED FOR TWO When 2 play Five Hundred, 33 cards maybe used and a third hand dealt, besides usual "widow ". This "dead" hand must not be touched. Its purpose is to make bidder speculate as to location of cards and make high bids possible. For full rules and hints on play see "The Official Rules of Card Games" or "Six Pop- ular dames" offered below. The CARD y c TWO*?' Iv,.i i j*.x einnati. I fpr poatpala book* checked oelow. n~ "Official Ruin of CardC-ames" IVIN6'' 800 game*. 250 l » npr' I — I "Si* Popular Games" '">• I 1 Auction. Cribbaga, Pitch, ,.,.-'' Fivcllundred.Solitairc, Pinochle. 6c. 'i r) r\ — I "How to Entertain with Cards" as.V"'V I J Suggestions for parties and clubs. 6c. CTW^ I 1 "Card Triclca." Mystifying tricks that I I can be done with a deck of carri? 6c. "Fortune Telling with Playing Carda." How to tell fortune wth a regular deck of cards. 6c. □ "Card Stunta for Kiddie.." Amusing and in- structive kindergarten lessons. Not card cf. pasteboard etunte, using old cards as bits of board. 6c. All 6 books 40c. Write Name and \ddreaa in marcin below. Why 'Do -They Do -It Title Reg. U. S Pat OB. ' / HIS is TOUR Department. Jump right in with your contribution. ■^ What have you seen in the past month, that was stupid, unlifelike, 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. It Happens — In The Movies W7ILLIAM S. HART, in "O'Malley of the Mounted," enters " the presence of his superior officer, and salutes. The salute starts with a real military snap but ends with a graceful wave of the hands. M. C. M., Chicago, 111. That Was The Miracle T N Episode Number i of the serial, "The Miracle of the *■ Jungle," just before the hero recovers from his fight with the lion, he is seen with long scratches in his face and shoulder; but a few minutes later when he is looking into the Pool of Life, there are no traces of the injuries. Q. B.. Bryn Mawr, Pa. Movie Mommers HPHE day his wife (Helene Chadwick) presents him (Richard *■ Dix) with their first born, in "Dangerous Curve Ahead." he is given a day off by his office. But when he returns home half an hour later, his wife is all dressed up and entertaining five or six other ladies, who are "making over" the baby. Edna Wold, San Diego, Cal. Leave It To 'Gene TN Eugene O'Brien's picture, "Gilded Lies," the two men in *■ the cabin are able to see through a snowed-up window, and at a distance through a blinding blizzard the form of a man quite a way off. Before the men inside can get into their coats, a matter of a few seconds, O'Brien opens the door and enters. Snappy work, eh? Mrs. C. B. Brooks, Somerville, Mass. They Undoubtedly Do CONWAY TEARLE, in "Society Snobs," is a waiter at the Ritz. He is posing as a duke. Pays his own expenses and everything, and later is installed in a wonderful suite of rooms. Why don't waiters at the Ritz own pleasure yachts? Miss H., Cowden, 111. An Artist To His Finger Tips? CHARLIE RAY plays the part of a country boy in the picturization of James Whitcomb Riley's poem, "Ole Swimmin' Hole." He keeps a diary of his own and in his own style, yet when a close-up of him writing is shown, his fingernails are as nicely manicured as any nobleman's you ever saw. C. B. A., Greenville, Texas. Old Stuff TN "The Fighter." a girl and a young man are supposed to *■ have fallen from a canoe, into the water. Conway Tearle, the hero, had left the scene, but was called back immediately. Upon his arrival the girl's hair was perfectly dry, and the young man had on the same clothes, and was comfortably dry. A doctor was on the scene at once, even though the camp was out in the wilds. Mrs. B. F. C, Indianapolis, Indiana. It Wore Well I NOTICED this in that splendid picture, "The Four Horse- men of the Apocalypse." As Julio Desnoyers, Rudolph Valentino wore the same tweed suit at the reading of Madariaga's will in Argentina that he had on in a scene in Paris five or six yearsjater. K. S. R., Wilmington, Delaware. 7s Lessons In — Well, Not Love KENNETH HARLAN, Connie's leading man in "Lessons in Love," places his hand — gently on another man's face and pushes him. Of course he falls — but backwards. Yet, when he gets up, he has a most beautiful "shiner" and a lip that would do credit to a prize fighter. G. E., Dalton, Mass. It Was A Great Piciure, Anyway IN the beginning of Charlie Chaplin's latest, "The Idle Class," a title reads: "The summer season, etc." Yet you see the beautiful Edna Purviance getting off a train, wrapped in a huge sealskin coat. At the hotel you see the girls in light dresses. Adele Rolland, New York City. Censored, Perhaps IN "Whizz Bang," yes, a comedy — the heroine falls into a deep puddle of muddy water; the villain follows. In the next scene, they are both clean and dry. Why didn't they emerge good and dirty as you or I would do? Schuyler Sanford, Hollywood, Cal. I'd Hate To Think That WHEN Marguerite Clark jumps off the train in "Easy to Get," she carries only a small week-end bag, and is wearing one — one — count em — small hat. She takes refuge in the Professor's cottage. When she leaves next morning, lo and behold she has changed her hat. Did the Prof, keep a supply of hats for unexpected visitors? M. E. M., Boston, Mass. We Have Always With Us — The Papers IN "The Golden Snare," Bram rescues the baby from the burning boat, and nothing but the baby. When Cecelie — the same baby — has grown up. she is shown treasuring a chest of clothes and some Papers. I can understand her acquiring the clothes, but the Papers! How? When? Where? Norma Ender, Wyoming. Coiffures De Cinema MAY ALLISON, in "The Cheater," is first seen with her bobbed hair beautifully curled. Later she is wearing a sweet little bun, neatly twisted. In "The Man from Nowhere," Elaine Hammerstein returns from a masquerade with her hair powdered as white as snow. When she is seen a second later, her hair is perfectly dark, and arranged differently. Lucile Harrison, New York, City, N. Y. Premature IN Lionel Barrymores "Jim the Penman," Enoch Bronson and Jim Ralston leave the Bronson home on Christmas day to go to Bronson's office. The calendar in the office is dated September 25th. G. M. I., Indianapolis, Ind. Evidently IN "Three Musketeers," Douglas Fairbank's corking picture, when he returned the diamond buckle to Anne of Austria his shirtsleeves were tattered and torn from his strenuous activities. But when the Cardinal's guards captured him and brought him before Richelieu, the sleeves were whole again. Did he change his shirt on the way? Ben Bliss, Cleveland, Ohio. Keep That Wedding Day Complexion The blushing bride of today should be the blooming matron of tomorrow, retaining the charm of girlhood's freshness to enhance radiant maturity. For bridal beauty should not fade, nor the passing of each anniversary be recorded on your face. Keep the schoolgirl complexion which graced your wedding day, and you will keep your youth. With a fresh, smooth skin, no woman ever seems old. The problem of keeping such a complexion was solved centuries ago. The method is simple — the means within the reach of all. Cosmetic cleansing the secret To keep your complexion fresh and smooth you must keep it scrupulously clean. You can't allow dirt, oil and perspiration to col- lect and clog the pores if you value clearness and fine texture. You can't depend on cold cream to do this cleansing — repeated applications help fill up the pores. The best way is to wash your face with the mild, soothing lather blended from palm and olive oils, the cleansers used by Cleopatra. Science has combined these two Oriental oils in the bland, balmy facial soap which bears their name. You need never be afraid of the effects of soap and water if the soap you use is Palmolive. How it acts The rich, profuse lather, massaged into the skin, penetrates the pores and removes every trace of the clogging accumulations which, when neglected, make the skin texture coarse and cause blackheads and blotches. It softens the skin and keeps it flexible and smooth. It freshens and stimulates, encour- aging firmness and attractive natural color. Oily skins won't need cold creams or lotions after using Palmolive. If the skin is inclined to dryness, the time to apply cold cream is after this cosmetic cleansing. And remember, powder and rouge are per- fectly harmless when applied to a clean skin and removed carefully once a day. Volume and efficiency produce 25-cent quality for 10c Don't keep it only for your face Complexion beauty should extend to throat, neck and shoulders. These are quite as con- spicuous as your face for beauty or lack of it. Give them the same beautifying cleansing that you do your face and they will become soft, white and smooth. Use it regularly for bathing ami let it do for your body what it does for your face. Not too expensive Although Palmolive is the finest, mildest facial soap that can be produced, the price is not too high to permit general use on the washstand for bathing. This moderate price is due to popularity, to the enormous demand which keeps the Palm- olive factories working day and night, and necessitates the importation of the costly oils in vast quantity. Thus, soap which would cost at least 2C cents a cake if made in small quantities, is offered for only io cents, a price all can afford. The old-time luxury of the few may now be en- joyed the world over. Till I'M MOl l\ I O IMPAN1 Milwaukee, I'. s. \ THE PALMOLIVE COMPANY OF CANADA Tuiuiitu. OnUnu >.*«» . -it t*«*« ♦.I|».t!» 1 ap& N "ENCHANTMENT —that exquisite j|LB photo-comedy, in which Miss Davies — — ^ graduated into the galaxy of stars — her admirers are delighted with the strides this brilliant young player has made in her art. Tn "The Bride's Play," soon to be released, • »;, i fi ■ ;' ALICE sat in the movie theater watching the show. She was very much interested in it and wished she had brought along the black kitten that had started her on her adventure in Looking-glass Land so he could see it too. But they did not allow kittens in the theater on account of foolish rules made by the grown-ups on the Board of Health. The place was nice and warm, and Alice felt quite comfortable as she sat watching the hero and the heroine ride along a gray ribbon of road on the screen and vanish over the top of a hill. "I wonder what it's like in Movie Land." said Alice to herself. "Everything seems so nice and quiet there. I'd like to walk along that road and take a peep at the' country behind that hill." Then Alice remembered how easy it had been for her to get into Looking-glass Land by just walking through the mirror. Why couldn't she do the very same thing here? All she would have to do would be to step right through the screen onto that road and fol- low it wherever' it led. Alice got up from her seat and made her way to the aisle, apologizing to the people whose feet she stepped on. She trotted down to the stage and climbed up by the organ. The large lady at the console who was chewing gum was surprised to see Alice clamber by her. She was so surprised that she pulled the vox humana stop all the way out and left it there. She started to call Alice back buf it was too late. Alice had walked up to the screen and found that, as she had thought, she could go rig lit .through it. The next minute Alice was pattering up the road. She got to the top of the hill and there, By WILLIAM WARREN Illustrated by l^prman cAnthony on the other side, she came upon the hero and the heroine sitting by the road eating lunch out of a tin box, "Hello, little girl," said the Movie Hero to Alice. "Who are you and what are you doing here?" "Why, I'm Alice." said the little girl. " I'm Lewis Carroll's Alice who went to Wonderland and to Looking-glass Land afterwards. I thought I'd like to see what Movie Land is like so I came up your road." "Well, we're glad to see you, Alice." said the Movie Heroine. "Sit down with us and have some lunch, won't you?" Alice thought it was nice of the Movie Heroine to ask her to eat with them ,1:1 1 thanked her with a curtsey. The Movie Hero pulled out a sandwich and gave it to her. The long performance in the theater had made Alice quite hungry and she took a great, big bite out of the sandwich. But it was a funny kind of a sandwich. Instead of having butter and chicken between the slices of bread it had newspaper clippings. " Don't you like it, Alice?" asked the Movie Heroine. "I'm sure it is a very nice sandwich." said Alice politely, "but I am not used to eating sandwiches that are made of paper." "Why, ih. it's what we live on here in Movie Land," -aid the Movie Hero. "That paper is newspaper (dippings about ourselves telling vvdiat tine actors we are and how many hundreds of thousands of dollar- we get a year. In Movie Land we eat up all the notices about ourselves we can find." Alice could not think of anything to say to this. 'and she did not want to hurt their feedings by refusing to eat the food they had offered her so she pretended to nibble at the sand- wich while watching them closely. (Continued on page 103) fa : Alice was staring at an immense jumble of wild west saloons. Moorish palaces every kind of building H 82 Photoplay Magazine — Advertising Section Larger Picture Puzzles Free How Many Objects Beginning with ** C* Can You Find in Picture? How to Win $1,500.00 MINNESOTA HERE is an opportunity for you to get a handsome Christmas Present for yourself. It is not a faneiful dream but a straight out and out opportunity for you to win $1500.00. In the picture here, you will find a number of objects and parts of objects whose names begin with the letter "C." Pick 'out ob- jects like cat, cane, chest, etc. Nothing is hidden. You do not even need to turn the picture upside down. Everybody Join In It Costs Nothing to Try Sit down right now and see how many "C" words you can find. The object of this picture puzzle game is to get more people acquainted with Minnesota Fountain Pens. Thousands of them are now giving satisfac- tory service every day. We want you to buy one of our pens for yourself and another one to use as a gift. A Minnesota Fountain Pen makes a hand- some Christmas present, and it will solve the problem of deciding "what shall I give for Xmas?" Fun for AH the Family Start in now and see how many "C" words you can find. All can join in, from the old folks down to the little youngsters. You'll have loads of fun, and if your answer to the pic- ture puzzle is awarded 1st prize bv the Judges you will win $20.00. However, by pur- chasing a Minne- sota Fountain Pen you will be eligible for the big cash prizes. r tl Observe These Rules 1. Any person who i nplo; Of tin- Mm It costs no nuBt be mailed by Dei 'ft; °. to try. .i-r only, b should be ■ and words i: ame and addrt «h page. the English dictionary * obsolete, hyphenati-d or compound words. Use either the singular 0r plural, but where the plural is used the singular cannot be counted, and vice versa. .5 Wordw of the mime spelling can be used only reti though used to designate different objei ts An objeot can be named only once. However, any part of the object may also be named. 6. Tim answer having the largest and nearest oorreot list of names of visible object* shown in the picture thai begin with the letter "C" will bo awarded NentnesH, style or handwriting have n,| bearing upon deciding the winners. 7. Candidates may co-operate in answering the puzzle, hut only one prize will be awarded to any ■ ■i,. i, i ,,i.j v -il „,,/. ■■ b< awarded to more than one ol any group outside of the family where two oi more bave been forking together. ft. In the event of tie;., bhfl full amount of the prise will be paid each tying contestant. g. Three well-known business men, having no con- nee t ion wuli the Miim>.-p...t» Pen Co., Will judge the amiwcre submitted mid award the prizes. Participant* 'h-i'i i>n of the judges as final and fill • follow in have agreed to judges of this unique competition: W. B. Heavens. Cashier Produce Exchange Bank St. Paul: .1 E Remke. Principal. Franklin Public School. St. Paul; K. W. Hustcd, Civil Service Bureau, Bl Paul 10, All answers will receive the same consideration regardleai of n liethar or not an order for a Minni iota Fountain I eat m. • Ill Of Uie pri cc winners and i-t of wordi "ill be prir ed at the oloaf r and a copy mailed to e ich person pur- The purchase of one of our S5 Minnesota Foun- tain Pens makes your answer to the picture eligible for the $500.00 Prize, as shown in the second column of prize list. However, as we want more people to know our pens, and as a special adver- tising feature, we are making this Special Christmas Offer As r. special Christmas Offer, we are offering the grand prize of SI. 500. 00 to the one who sends in the best answer to the above picture puzzle, pro- vided he has purchased two of our S5.00 Minne- sota Fountain Pens at our special Holiday Price of only $9.00. Two Five Dollar Pens for $9.00. is all. Or if you would prefer, three S3. 00 Minnesota Pens at SO. 00 will also make you eligible for the SI. 500. 00 Prize. Answer the puzzle and send j'our order now. State Style of Pen Wanted The Minnesota Fountain Pen comes in two styles, ladies' and gentlemen's, in both the S3. 00 and $5.00 sizes. The pens pictured here are our five dollar ladles' and gentlemen's pens. The pic- tures shown are about two-thirds the actual size. In ordering state whether you wish fine, medium or stub point. Money-Back Guarantee We guarantee Minnesota Fountain Pens to be perfectly satisfactory. If you are not satisfied with it on arrival, return it and we will exchange it or refund your money. MINNESOTA PEN CO. Dept. 666 Saint Paul Minnesota "The Easy-Writing Fountain Pen" You will find the Minnesota one of the finest pens you ever used. The ink flows smoothly, and you can't resist the easy way in which it writes. Unless our pens were the very best that money can buy, we could not afford to advertise them the way we do. Thousands of them arc now in use. Their popularity is increasing by leaps and bounds. If you need a good pen. or if you would like to make a useful and handsome gift to someone, the Minnesota is just what you have been looking for. The pen speaks for itself. We cannot tell you in words, what five minutes' use of the Minnesota will tell you. Satisfied Users Everywhere In New York, in Chicago, in Boston, in St. Louis, in San Francisco, and in fact in almost every town and on many a farm you will find the Minnesota Fountain Pen. The ink flow in the Minnesota is perfect. It does not blot or stain the fingers. Writing becomes a real pleasure when you use the Minnesota. , q fHE PRIZE C* ■ i *J If no If one If S9.00 pens are $5 pen is Worth purchased purchased Pens are purchased 1st Prize $20.00 $500.00 $1,500.00 2nd Prize 10.00 250.00 750.00 3rd Prize 5.00 125.00 375.00 4th Prize 5.00 75.00 187.50 5th Prize 5.00 50 00 100.00 6th Prize 3.00 25.00 75.00 7th Prize 3.00 20.00 50.00 8th Prize 3.00 15 00 40.00 9th Prize 2.00 15.00 30.00 10th to 15th 2.00 10.00 20.00 Every advertisement iu PHOTOPLAY MAGAZINE is guaranteed. AND NS ANSWERS &tr\ '% v V^OU do not have to be a subscriber to Photoplay A 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 if requested. If you desire a personal reply, enclose self- addressed stamped envelope. Write to Questions and Answers, Photoplay Magazine, 25 W. 45th St., New York City. MISS) BEAVAN.— The (Mr.) Answer Man is only too glad to answer your questions (Miss) Beavan. Alec B. Francis is a character actor. He's a fine chap, and is now appearing with Norma Talmadge in "Smilin" Through." There is also Harrison Ford and Wyndham Standing, a real all-star cast. Francis was Matt Sills in "The Man Who Had Every- thing." Come again, (Miss) Beavan. Charles T. — You can always apply to the casting director for work in the films. You have to fill out a blank and they call you when and if they want you. You can- not get inside a studio unless you are cast for a part in a picture, or are a friend of the director or the star or the head elec- trician or somebody big like that. Holly- wood is a suburb of Los Angeles, Cal. Cal. is a state in the United. The center of Hollywood is about thirty minutes, or a half hour, on the street car from the business center of L. A. There are not many hotels in Hollywood, but Los Angeles proper (sometimes) has scores of them. I never advise anyone to go out to L. A. to work in pictures unless he has genuine ability or is sent for. But that won't stop you. Jenny. — Please read the answer to Charles T. The same applies to you, only more so. Of course, telling you not to try your luck in pictures is like advising a small boy not to smoke cigarettes. They do it just the same. Norma Talmadge and Con- stance are going to work in the west, Con- stance will be gone only for a month, but Norma may stay for a long time. Natalie, (Mrs. Buster Keaton) is living out west and they are anxious to see her. Yep — Norma is a peach. She's not upstage a bit. Raphael. — You're a bit optimistic in your choice of a nom de plume, if you're an artist. You want to know about Photo- play's covers, as you like them. Well they are all painted from life. The pastels are the same size in the original form as they are in the reproductions. Rolf Armstrong usually works about three weeks or a month on our covers. I particularly like the cover in this issue: that of Lillian Gish. You want Norma Talmadge and Constance on the cover? Better write to the Editor about it. B. L., New York. — One of these little gals from upstage, eh ? Robert Gordon seems to have dropped out of the public eye, so to speak. He is in California and has finished "The Rosary."' His wife is Alma Francis, a former Merry Widow — on the stage, of course. Jealous. — You have nothing to be jealous about. Harold Lloyd is not married. But I suppose it is easier to be jealous of one wife than a lot of women who may want to be Mrs. Lloyds. Never mind. .Harold is still fancy-free at present. Hazel McC, Rochester. — You are right. Ethel Clayton is not by any means as obviously Irish as you are, with all due respect to you, but she has Irish blood in her veins, and it probably accounts for her sense of humor. Although I am one of those few who does not think it necessary to be Irish to have a sense of humor. Now that you pin me down to it, I'll admit that I am Irish — also Scotch and English. Some combination. You really can't blame me for being a bit scrappy at times, can you now ? Sandy. — Why, the best book I know is William Butler Yeats' ''Irish Fairy and Folk Tales." It is most comprehensive. I don't blame you a bit for studying the lore of the little good people. It's fascinating: and good to know something about the be- liefs of every race. It's a pity that America is too young to have much folk lore. The Pickfords, the Gishes, and Mabel Normand and Mae Marsh are Irish, although none was born over there. All the Moores are Irish, and born in County Cork. Stranger. — You certainly are — stranger than anyone who has been writing to me lately. You want to know if, if you came to New York, you could'go up to see Lillian Gish. You could go up, but whether you would see Lillian is a question I cannot answer. Visitors are not allowed at the Griffith studios in Mamaroneck unless they are connected with the company, or news- paper or magazine or have a permit. I can't tell you how to get a permit. I'm really sorry. I can sympathize with you about wanting to see Lillian. I've a pretty good job, after all. Helen of Troy. — So you have been to Paris. I've been wondering why you haven't written. Gaston Glass with Mary Miles Minter in ''Her Winning Way." They had the loveliest newspaper office in that picture. It had oak panels and shiny desks and Japanese prints on the wall. And on the door of her office Mary had "Literary Editor" in nice big black shiny letters. I wish I knew where that newspaper office is. So do lots of other fellows. Roberta. — It is awful the way price; and things stay up. And I thought — at least Miss Wan Wyck tells me — that skirt- are coming down: I'll be glad. There will be some sense to seeing a Sennet t comedy or a musical show now. There was a time when every man to himself has said: "Why spend the money?" Dorothy Gish is Mrs. James Rennie. Her husband is in -'Pot Luck." a new play, and is not doing pictures right now. Dorothy is, he repeated wearily, one of the two heroines of Griffith's "The Two Orphans" Lillian is the other. Bobbette. — Oh dear, oh dear! You are too clever. I never can think of a retort to one of your hot shots until the Magazine is on the stands. Every time. too. that I think of something snappy, I rehearse it and wait for one of your billet doux. And then, when they come, they're so sweet I can't be mean. You say. among other thing-. "And some day when I'm famous, when I'm on Easy Street, I'll change your cold hall- bedroom for one with furnace heat." Bobbette: I've heard that before. You people are all so kind — in correspond) The gentleman who presented me with the carved ivory cane is the only one with a really good memory. Candy and ties and cigarettes; but only one cane. You didn't ask any questions, did you ? Thanks for that. But don't do it again. Bert Lytell Admirer. — So you want pictures and stories about Virginia Valli. your admiree's (careful there, printer leading lady. Virginia is a beautiful bru- nette, twenty-two years old. and married to George Lamson. Address her Metro studios, Hollywood. Cal. Mr. Lytell i- married to Evelyn Vaughn. Ruth Rob.nd is not married. But she has been. (Continued on page 84) 84 Lena. — From Palcstina? Charmed, I'm sure. I've heard about you before. How le do love to gossip! No, I am not Delight Evans or anybody else but me. I'm sure I don't know why you should think I am a woman. Perhaps because I am so vehement in my denials of it. Hester. — Lester dc Fester's sister? Charmed — charmed again. Mary Miles Minter has not married since you last asked that question. Billie Burke was born in 1886; this makes her — let me see — Oh, figure it out for yourself. I never was good in arithmetic. Crystal May. — And then again — Why, Bessie Barriscale is appearing on the stage in ''Skirts." Yes — that's the name of the Questions and Answers (Continued from page 83) play. She was born in 1885, and is married to Howard Hickman, and is the mother of a son. ' Natalie is the middle Talmadge, older than Constance and younger than Norma. Kermit, Mass. — May McAvoy is the radiant acting child with Lionel Barrymore in "The Devil's Garden." She played Grizel in "Sentimental Tommy-' and then became a star. Since she has become a star she hasn't done much acting — she hasn't had a chance in "A Private Scandal" and stuff like that. Her latest are "Everything for Sale" and "A Virginia Courtship." Let's hope the "Courtship" will be good. May is a marvellous little actress, and I believe she has a wonderful future if — they give her a chance. Isabel M., Hasbrouck Heights, N. J. — The Talmadges use their own name. Their father is living. He is employed at the Talmadge studios in New York. Norma is Mrs. Joseph Schneck. Constance, Mrs. John Pialoglo. Natalie, Mrs. Buster Keaton. Those girls sure married well. Bobby. — I don't blame you for not going to that barber shop any more. That was one of the last refuges of man. Now where can he go? (Chorus of ladies: — ) Mar- guerite Clark is married and has retired from the screen. Her last picture was "Scrambled Wives." Whether or not she returns depends upon whether or not she can find a good story. And whether or not I answer you next time depends upon whether or not you sign your right name. (Continued on page 122) Style Invading the Mennonites Are the "Movies' ' Responsible ? By FREDERICK E. LYTLE DOWN around Lancaster, Pa., travelers ten years ago used to hang out of train windows in order to see the' Mennonites in their quaint costumes. They still do — but in a lesser degree, because the great god Change has been at work and today the costume has been largely replaced by ordinary clothes. In those days, Mennonite men, women and children dressed according to the prescribed pattern. Most of the men have broken away from the con- ventional straight cut coat with stand-up collar, but until re- cently the women still wore the plain drab dress, wide of skirt and tight of bodice, with a little triangular shawl down the back affording the only relief from a rigid plainness. But today the tight little bonnet of the sect, beside which a sun-bonnet is a frivo- lous affair, is the only distinguishing sartorial feature of the younger generation. The older women still wear the regulation dress, but it is evident that the younger women are in revolt. Can the change be traced to the influence of the movies? With no inspiration, or with no examples before her, a woman may permit herself to wear a dowdy costume. But show her a few fashion plates or a few pictures of pretty clothes, and there is bound to be a change in her appearance. Only a ribbon at first, perhaps, but eventually the ever victorious Fashion will emerge triumphant. If the movies have done nothing else, they have spread the gospel of fashion far and wide, and few there are who can resist it. So the Mennonite costume of plain gray, blue or black is gradually being replaced by more becoming clothes. A few of the bolder spirits even go so far as to If the movies have done nothing else they have spread the gospel of fashion far and wide wear frilly hats to church instead of the customary bonnet. As yet they are in a minority, but they are undoubtedly pioneers of the new movement. Never yet has a costume designed by a man for women en masse been successful unless it has been be- coming. And the Mennonite costume is notoriously ugly. Therefore it is doubt- ful if it will with- stand a sustained re- volt against it. At the same time, ugly or not, a cer- tain amount of old- world picturesque- ness is lost in the transition to every- day clothes. Partic- ularly in the church itself, where the women, set apart from the men, re- moved their bonnets and displayed their little linen caps. These are the only attractive feature of the whole costume, and in a way it is strange that no Fifth Avenue milliner has adapted them to city wear. With a little adornment they could be made quite charming, bewitching even on some few. Certain adverse elements are predicting the downfall of this church because of its apparent laxity in the matter of clothes. But the change has not been unaccompanied by bitter controversy, and perhaps the guiding spirits realize that their tolerance in the matter will do more to prevent a break than a rigid enforcement of obedience to the old laws. There is always, sooner or later, a natural reaction from ugli- ness to beauty. And from an aesthetic standpoint there is as little of beauty in the religion itself as in the adopted dress. So, while it may be worldly to wear pretty clothes to worship, the chances are that the Mennonite maidens have found it much more agreeable. They have evidently come to the con- clusion that the maximum amount of spiritual beauty does not necessarily require a minimum of exterior attractiveness. Photoplay Magazine — Advertising Si .i no GETTING THIN TO MUSIC Reducing Reduced to a Science ARE you bulky of body, aud heavy / \ of heart? Would you really like •L 3L to reduce? Will you accept with- out cost the proof that you can? Then read what this man has done! Not long- ago, in Chicago, it was stated that the scientific secret of weight regulation had been discovered. Wallace, a leading physical director, had worked seventeen years to make the announcement. But it did not take long to prove it was true. TNDER observation of the press, he ^ took fifty persons, each at least 50 lbs. overweight. Pictures and weights were published daily. In exactly forty days, every member of the class was down to normal weight and measure- ments! Nothing so crude as starving was employed; the method lets one eat. In fact, Wallace's success in reducing is due to his discovering that food does not cause fat. When you stop and think, some of the most humorously fat folks eat less than a child. Wal- lace simply found a way to prevent the system from turning too much of what is eaten, into fat. His course gives you things to do — to music — which makes your He makes them thin to music. A close-up of Wallace, a physical director now nationally known for his discovery of an unfailing, scientific method of reducing weight. It is done to music. His phonographic reduction records are sent everywhere. knowledge of it grows, the number of women who carry a burden of excessive flesh will grow visibly less. Dis- tance is no obstacle, for the lessons are sent everywhere. One's own phonograph is all the equipment needed. No incentive to keep at the course is required — it is all too novel and interesting to be a task. The course is full of surprises, and results come very quickly. system use every bit of nourishment for blood, bone "VOU may test this wonderful method of reducing i • >t . i • • i r. e i-i. t _ _ r_i /-■ i. X ,..:<. l,^...* .-. : - ~„ \\T»11». ...111 A..~~ .. and sinew. Nothing is left from which to make fat. Get- ting thin to music is simple enough, but results are fairly astounding. HPHIS interesting course has reduced thousands of women living in all parts of the U. S. Most of them had tried other means of losing weight without success. A typical example is Mrs. Grace Horchler, who resides at 4625 Indiana Ave., Chicago. She weighed 242 lbs. and in four months reduced to 168 lbs. This loss of seventy-four pounds was accomplished solely by Wal- lace's reduction records, sent her by mail. Because of the natural method of reducing Jher body was left symmetric, firmly moulded. A hundred similar instances are on record, while the loss of fifteen, twenty or thirty pounds seems mere play; innumberable women have reported reductions of these amounts. Every mail brings new letters of appreciation. /~^ET thin to music, and Nature will make your bodily ^^ proportions normal, and keep them so. For this re- markable reduction course on phonograph records — set to music — brings instant and permanent results. As the without paying a penny. Wallace will reduce you five pounds free. He will do it in five days' time! You don't have to agree to take the course. You don't have to send any money. He will send postpaid, plainly wrapped, a full-sized regular reducing record and in- structions. All he asks is to try it. For your own sake, don't doubt what he can do — for his method has proved unfailing. Women of every weight, height, and age have been rid of their fat as if by magic. How can anybody who really wishes to get thin de- cline such an offer of proof! Clip or tear off the coupon below; fill it in now; mail it today. WALLACE, 178 Jackson Blvd., Chicago: Please send record for first reducing lesson, free and prepaid. I will either enroll or return your record at the end of five- day trial. G34) (Miss or Mrs.) (Address) (Advertisement) When you write to advertisers pleasi mention photoplay MAGAZINE, Plays and Players The livest, most accurate, and most interesting news and comment about motion picture people By CAL. YORK MARYON AYE, vaudeville star, has just signed the first movie contract with a "morality clause" in it. This young actress put her name to something that reads like this: "SAID party of the second part will at all limes conduct herself in public in such a manner as not to subject herself to any great amount of publicity or criticism of said conduct." Will Rogers, as usual, pulled the most pertinent remarks on the subject: "I hear they're going to put what they call a morality clause in contracts," said Rogers. "They've appointed a committee to see about it. Don't suppose they'll take any action until the com- mittee finds out what mo- rality means. And if any of them guys asks me to sign a contract with that kind of a gewgaw in it, I'm going to tell him, 'Well, you sign it yourself first.' " MAE MARSH'S play, "Brittie," has not yet had its New York premier; but the advance notices from out-of-town are distinctly favorable. The star plays a little slavey with all the fa- mous Mae Marsh pathos. IN his quest for "New Faces for Old," Samuel Goldwyn is entirely sincere. He practices what he preaches. The other day he signed up James Rennie for a big picture, with an option on the actor's services for two years. In spite of the fact that he was Dorothy Gish's lead- ing man in several comedies, Mr. Rennie's is a new face to screen-goers. He is ex- ceedingly— and deservedly — popular on the stage. If "Pot Luck" hadn't closed prematurely, he probably wouldn't be going to California now. Dorothy Gish is consoling herself that it is only for four weeks. After that, Jim will come back east, or Dorothy and her mother, who is just recuperating after her long and serious illness, will go out west to join him. Lillian? I think it's the stage next season for the beautiful Griffith heroine. HERE'S Barbara La Mar, whom you saw and admired as Milady in Douglas Fairbanks' "The Three Musketeers." Miss La Mar has not always been a film queen. Once, she was little Reatha Watson, and figured in four marriages, and was advised by a judge to leave Los Angeles, California, because she was too beautiful. 86 She took the advice and left, only to come back as Barbara La Mar, and to "come back" is probably the most difficult thing in the world. But she did; first as an ingenue and then she was acclaimed one of the screen's most beautiful girls. She is now happily married, and is sought after by the producers to play important parts. Barb arbara La Mar's beauty got her into a lot of trouble, but now it s earning a big salary CLARA WHIPPLE YOUNG was granted a divorce from James Young — former husband of Clara Kimball Young — in the Los Angeles divorce courts the other day. The second Mrs. Young declared that Jimmy insisted on twin beds. The furniture dealers should be forbidden to sell 'em if they're actually grounds for divorce. AT a hearing on the proposed ordinnace providing for the establishment of a board of motion picture censors in Los Angeles, the old arguments both pro and con were retailed. One reverend Breigleib — that may not be exactly right, but it's some appellation of that character — orated at length, taking as his text a subtitle from Marie Prevost's first starring vehicle — ONE DIMPLE IN THE KNEE IS WORTH TWO IN THE CHEEK. It distressed the reverend gentleman ex- tremely. Evidently, he had never seen Marie's knees. SPEAKING of ministers— Will Rogers addressed a meeting of them recently. On the censorship bill. One preacher had spoken and Bill got up to answer him. "Now," said the famous cowboy, "I want to explain something. I was in that brother's church last Sunday evenin' an' — " "Don't believe it," shouted the pastor, "don't believe he was ever in my church Don't believe he was there last Sunday night. If he was, let him tell what I preached about. Tell me my text." Bill twisted his hat, hung his head. "Well, brother, you got me there. I can't do it. I can't tell you what you preached about. But you bet next time I go to your church, I'll stay awake and hear what you say." MY young friend Al Wilkie, Cecil deMille press agent de luxe, is responsible for the announcement that the new deMille feature "Saturday Night" is not a bathing picture. It isn't. But, oh boy, wait until you see the new bathroom in it and what's in it. A PRETTY little movie actress was coming out of a drug store on Hollywood Boulevard. She paused at the news stand and saw the Hollywood daily paper, prom- inently displayed, sporting a three-column cut of William Shakespeare on the front page. "Who's that?" she de- manded of her escort. "Will Shakespeare," said that enlightened young man. "Well, my gracious, what's he been up to to get his face on the front page of the paper?" demanded the brilliant young thing. WE do not wish to dwell on the Ar- buckle disaster. But this is too good to lose. "Yep," said Will Rogers to a friend, "I been hired to do the story they was goin' to have Arbuckle do. I — I got a little money for doin' it, too. Well, yu see, here's where virtue and ignorance finally cum into their own." YOU just never can tell about these blond ingenues. Never ! Now when our little Bebe of the sparkling black eyes and the wicked Spanish walk and the pouted mouth was arrested for speeding, we felt bad, but not wholly sur- prised. But Mary Miles Minter — she of the blonde curls and the round blue eyes — and four times in one day. Well, as my grandmother (Continued on page 88) Photoplay Magazine — Advertising Section By Every normal skin needs two creams A protective cream for daytime use a cleansing cream at night Complexion flaws prevented by a daytime cream without oil Rough, chapped skin. To make up for the drying effect of dust and wind you need a daytime cream that softens and protects the skin without adding a particle of oil. Before going out into the cold air, touch your face and neck and hands with Pond's Vanishing Cream. It disappears at once and leaves the skin delightfully soft and satiny. Shiny skin. This almost universal annoyance is due to powdering without providing a base for the powder. Try powdering this way — First rub the face lightly with Pond's Vanishing Cream. It cannot reappear in a shine. See how smoothly and evenly the powder goes on over this base and how long it stays. Dull, tired skin. Whenyouaretired apply a little Pond's Vanishing Cream to your face. It instantly relieves thestrained look about the eyes and mouth and gives the whole face a fresh vouthfulness. Before going out smooth a little Pond's Vanishing Cream into the skin PONDS Vanishing Cream Start using these two creams today The regular use of these two creams helps your skin to be- come continually lovelier. They will not clog the pores or encourage the growth of hair. In both jars and tubes in convenient sizes. At any drug or department store. The Pond's Extract Co., New York. Flaws prevented by nightly cleansing with an oil cream Blackheads. Blackheads need a more thorough cleansing than ordinarv wash- ing can give. Wash your face with hot water and pure soap. Then work Pond's Cold Cream thoroughly into the pores. As this rich oil cream penetrates the skin, it loosens all the dirt which has lodged deep in the pores. Wipe the cream off with a soft cloth. This leaves theskin really clean. Wrinkles. For wrinkles you need a cream with an oil base, for oil is the great- est enemy known to wrinkles. Pond's Cold Cream, rubbed gently into the face at night, acts as a tonic, stimulatine the blood, rousing the skin, and warding off the wrinkles. Too vigorous rubbing is apt to be harmful, but gentle, persistent rubbing, systematically done, is bene- ficial even to the most delicate skin. i -> / PONDS Cold Cream GENEROUS TUBES— MAIL COUPON TODAY The Pond's Extract Co., l,;o Hudson St., New York. Ten cents (ioc) is enclosed tor your special intro- ductory tubes ot the two creams every- normal skin needs — enough ot each cream tor two weeks' ordi- nary toilet uses. Name Street . Citv_ State- When you write to advertisers please mention THOTOrLAY MAGAZINE. 88 Photoplay Magazine — Advertising Section The Letter That Saved Bob Johnson's Job — and paved the way for a better one! IT was written to his employer by the International Correspondence Schools. It told how "Robert Johnson had en- rolled for a course of home-study and had received a mark of 94 for his first lesson." Bob answered the summons to the Chief's office with just a little fear and trembling, for a lot of men were being dropped — a lot more were having their pay reduced. But as Bob came in, his employer did a surprising thing. He got up quickly from his desk and grasped Bob warmly by the hand. "I want to congratulate you, young man, on the marks you are making with the I. C. S. I am glad to see that you are training yourself not only for your present job but for the job ahead. "We're cutting the pay-roll. Until I received this letter, I had you in mind as one of the men to be dropped. But not now. Keep on studying — keep your eyes open — and pretty soon there'll be a better job for you around here. We're always looking for trained men." Won't you let the I. C. S. help you, too? Won't you trade a few hours of your spare time for a good job, a good salary and the comforts that go with it? Then mark the work you like best on the coupon below and mail it to Scranton today. That doesn't obligate you in the least, but it will be your first big step towards success. Do it notv! ^— •— *— — I EAR OUT HERE ^— "— • ——*• ^— ™ INTERNATIONAL CORRESPONDENCE SCHOOLS BOX C452-B SCBANTON, PA. Without cost or obligation, please explain how I can qualify for the position, or in the subject before which I have marked an X in the list below: — DELEC. ENGINEER □ Electric Lighting & Bys. P Electric Wiring D Telegraph Engineer D Telephone Work □ MECHANICAL ENGB. □ Mechanical Draftsman D Machine Shop Practice □ Toolmalter □ Gas Engine Operating □ CIVIL ENGINEER □ Surveying and Mapping □ MINE FOR'N or ENGR. □ STATIONARY ENGR. D Marine Engineer □ ARCHITECT □ Contractor and Builder □ Architectural Draftsman □ Concrete Builder □ Structural Engineer D PLUMBING & HEAT'G □ Sheet Metal Worker □ Text. Overseer or Supt. □ CHEMIST D Pharmacy D BUSINESS MANAG-M'T a SALESMANSHIP D ADVERTISING D Railroad Positions D ILLUSTRATING D Show Card & Sign Ptg. □ Cartooning □ Private Secretary n Easiness Correspondent Q BOOKKEEPER □ Stenographer & Typist D Cert. Pub. Accountant Q TRAFFIC MANAGER □ Railway Accountant D Commercial Law □ GOOD ENGLISH □ Com. School Subjects D CIVIL SERVICE D AUTOMOBILES Q Railway Mail Clerk □ Mathematics Q Navigation O Agriculture a Poultry Q Spanish D Banking I □ Teacher Name. Street and No.. City. Occupation „ RESINOL 5oothinq and He&linq Household Ointment for Cuts* Burns* Scalds* etc. Every home needs it Plays and Players (Continued from page 86) Photographing a foot! It belongs to Allan Hale, who is registering emotion aided by a good stout Norwegian calfskin oxford. The envious gentleman is Will Rogers ; the lowly ones are the poor cameramen, who have to go through fire, water, and gymnastics to get their pictures used to say, still waters run deep. And sometimes shallow waters run still. However, it was only for breaking a few speed and traffic laws and Miss Minter will come out with nothing damaged but her check, book — and since she has a checking account for S7500 a week, it won't hurt her. She wisely selected Los Angeles instead of Santa Ana for the scene of her operations. Pretty Mary has other troubles, too, they tell me. The Pacific Fleet inconsiderately sailed away right in the middle of a Per- fectly Good Romance — in which Miss Min- ter and a handsome young officer had the star parts. And when a romance is interrupted like that — especially in the Navy — you never can tell, can you? DOUGLAS McLEAN, whose reputation as a real story teller is rapidly growing, related the following at a recent luncheon ^iven by the Los Angeles Ad club with such success that it seems worth repeating. "A young motion picture director," said Mr. McLean, "of excellent reputation went to a friend of his who was a banker and asked for the loan of several thousand dollars on good security, to use in his busi- ness. "The banker hemmed and hawed a bit and finally agreed to let him have it, but added 'Look here, John, it's a shame for you to go on in this picture industry. It's a rotten game — a rotten game. Look at this Arbuckle mess. Why don't you get out of it?' " 'Well,' said the director, T have thought of it. But what'd I do? What other busi- ness is there. I thought some of banking. But look at this Stillman mess. I'd be just as badly off.' " HERE'S something new — from Paris. It's a memory test, a liberal educa- tion, and good entertainment, all in one. The idea is to show, on the screen, scenes from the classical works of French literature, offering substantial prizes to the person who is successful in guessing the work from which the scenes were taken, and the author's name. Every idvertisemenl In PHOTOPLAY MAGAZINE is guaranteed. RUPERT HUGHES was watching some esthetic dancers floating about with little on but soap bubbles the other evening on a set of Goldwyn's — in connection with the new Lon Chaney production. "Those young ladies are so well developed I know it wasn't done in our laboratory," remarked the chief Eminent Author. CHARLIE CHAPLIN stopped over in Chicago for two day; on his return from his European trip. He was a very busy man, of course, sought after by inter- viewers and people with all sorts of propo- sitions. Yet the way he spent his last evening was typical of Chaplin. He put everything aside and went to dinner at the home of Paul Frank, 5478 Greenwood Ave., whose eight- year old son had broken his leg, was in constant pain, and in his suffering had only one wish and that was to see Charlie again. The boy had met the great comedian in Los Angeles and they became great friends. It was just like Chaplin to make life more pleasant for the little sufferer for a few hours. THE King of Comedy has been offered $15,000 a week to go in vaudeville as a single act. But Charles Spencer Chaplin, on his return from Europe, refused the offer. IF anybody but Tommie Meighan had told me this I wouldn't believe it — but you know how Tommie is. You just believe anything he tells you. Anyway, he went north to make some scenes for his new pictures — to a small town in the country Bret Harte made famous — a little town that is almost like one of the "ghost cities of the west." Haven't built a building in ten years. "Day I got there, they were having an e'ection,'' said Tommie. "What kind of an election?" I asked. "To see if the town'd go wet or dry," said Tommie. "And the drys won by two votes. But the wets were still hopeful because they had the town marshal on their side. He owned the saloon." (Continued on page go) Photoplay Magazine — Advertising Section 89 hmnnHiinii iiiHimiiiiiiiniininnilnnmiimniiiimini|inn)i|iiiiiiii iiiiiiiiiiiiiiiuiiiiiiiiuiiiiiiiininiiii mini iiiiniiiniiimiiiiiiii iiiiiiiini iiiihiiihummhiiimi iiiiiiiniiiimiinmiiniuunnpmiiimitu||||BIIIIWIIIIIimiMmifT A Beauty Secret that Has Been Kept Too Long ; / O the Women of America: ■*- There are few complexions which cannot be made abso- lutely perfect in three weeks. This is not an advertisement for a book, nor for any cream, lotion, powder or soap. There is one beauty truth all women should know, and we are determined to tell it. We are a women's organiza- tion, now 22,000 strong. How to FORCE a Beautiful Complexion In England, they do not have bad complexions. Skins are satiny, cheeks abloom. For they know over there how to 'force' good complexions. Many of our actresses — notablv those in the movies — know and apply this principle. It's simple enough, once learned, but amazing in its results. The whole secret is just this: The skin is an organ; just as responsive as heart, lungs or liver. Normally, it is of fine texture, glowing and pink. But one skin in a thousand is normal! To bring the skin texture to perfection, you have only to restore it to normal action. The 'Inside-Out' Method Human skin has three lavers. Skin action is outivard. So any beauty treatment font the top is only tem- porary. Nothing can be applied to the innermost skin laver — but you can take something away! Chem- istry of the body is the force that will clear any skin, make any skin smooth — and this wonderful, natu- ral action can be brought about almost instantaneously! Black- heads, for instance, will begin to disappear in 48 hours. Blemishes of years' standing start yielding to this treatment within a week. Even a thickly-pimpled skin turns smooth. Prominent pores contract to rightful size. All without drugs or doping, or any drastic measures. It Requires Only Three Weeks The beautiful part of it all is the ease and the speed with which women posi- tively transforming skin by this method. Not merely a slight improvement that you must look closely to see, but a beautiful, velvety skin, with surges of natural color. In other words, a com- plexion requiring no make-up of any kind. This result is attainable in three weeks' time! Any type — blonds or brunette — skins too dry or skins too oily — no matter how sallow or yellow, or deathly white — a rich, natural color comes speedily through this method. Here is the letter tli.it inspired me, to- gether with other Olympian associates, to put this course in the compact and handy form now offered to you: Hollywood, Calif.. July 9. 1921. Dear Miss Roberts — The information 1 got from you has done unbelievable things for me. I never dreamed of having such color of my own! My skin is such as now defies the 'close-ups' which only a month ago were such a nightmare! Why can't a way be found to tell every woman in the land of this marvelous way to build beauty' Ever gratefully. I Will Reveal This Plan to I Any Girl or Woman on One Condition: Olympian Society made it possible to offer these scientific beauty building prin- § ciples in wonderfully practical form, with § plainest directions for each dav of the three § weeks. Everything in one compact box; § there are many features I cannot mention here. I know you' 11 be delighted with it all. If you fill out the blank below, I'll send you = the full course — but please do not send any s money. Your course will be mailed in its turn, {§ and you can pay the postman. The total cost is just $1.50. No further payments — nothing = more to buy — the $2. 50 covers everything. The condition I make is this: When you have gained the marvelous results desired, tell S other -women of the course, and where to get it. = Care of Olympian Society Calumet at 2 1 st St. : Chicago, In, (10a) § Send me in plain package, complete course reveal- ^ ing the natural means of securing an absolutely per- = feet complexion in three weeks' lime. I will pay post- = man $1.50 on delivery, in full payment of everything. = Address- City State = ^^itMiriini 1 sinrMiiiiiiiMMiiiMiiiiiiiiiMtiiiMtiinrMi tiiiiitiiMiiiiMiijtiiiiMiiiiiiMitiiiiiMiiiititiiiinii 1 1 n 1 1 1 1 1 1 1 m 1 1 1 1 ■ 1 1 1 1 1 1 M 1 1 1 r m i ( 1 1 1 1 r 1 1 1 ■ m i t ■ 1 1 1 1 1 1 r 1 1 ii 1 r 1 1 r 1 1 ii 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 n 1 1 1 1 1 1 1 1 1 1 1 h 1 1 1 1 1 1 ii 1 1 1 mini 1 mi 111111111 1111111111111111111 nn= When you write to advertisers please mention PHOTOPLAY MAGAZINE. Photoplay Magazine — Advertising Section — the Finest '•Reproducing Phonograph in the World TO bring to you the voice of the artist in all its beauty and to reproduce faith- fully the music of any instrument — that is the supreme achievement of a phono- graph. The STEGER, of all phonographs has succeeded — and because of this dis- tinction it is universally regarded as the finest reproducing phonograph in the world. The Steger plays all makes of disc records correctly — without change of parts. Hear and play it at your Steger dealer's. Style book mailed on request. Steger dealers everywhere. STEGER & SONS PIANO MFG. COMPANY STEGER BUILDING, CHICAGO, ILL. Factories: STEGER, ILLINOIS, where lite "Lincoln" and" Dixie" Highways meet "l/it's a STEGER — it's the inost'valuahle piano in tht world" A New' The most exquisite perfume in the world, send for sample— sells at $15 an ounce and worth it. Rieger's Flower Drops — made without alcohol; made direct from the essence ot the flowers themselves. The most refined of all perfumes, yet concentrated in such a manner that a single drop of the delicate odor lasts a full week. Hence, an absolutely superior odor becomes economical at $16 an ounce ! Never anything like this before 1 [ Send for Sample Send 20c (silver or stamps) for a sample vial of this precious perfume. Your choice of odors, Lily of the Valley. Rose, Violet, Lilac, or Crabapple. Write now. PAULRIEGER&CO. 13S First St., San Francisco, Cal. (Since 1872) Other Offers Direct from ua or at deal « Bottle of flower drops v long glass stoppe Hh ing SO drops, a supply for SO weeks. Lilac, Crabapple $1.60 Lily of the Valley, Rose, Violet $2.00 Mon Amour Perfume sample offer, loz. . $1.60 SOUVENIR BOX Extra special box of five 26c bottles of five different perfumes .... $1.00 4 PER nii^e i TOIIET-^VATEI* fibwerBrops Qo SilkVelvet Silk-lined, trimmed with ribbon and bow. Fits any size head. Made in Black, Blue, Brown, Red. Same style in all wool felt, alls-lined; $«25 'V^l made in all colors. I "JOSIE" Wonderful Values TAM We pay postage. COD. 10c extra. Write toDept.P. CRITERION CAP CO. |57 W 21st Si.N.Y Plays and Players (Continued from page 88) Norma Talmadge " Smilin Through" — trie lights, and the clicking cameras, and the scurrying property boys, and the studio sun ! Here is the Dig set at the Talmadge studios in New York, where Norma made her latest and largest picture. This is an exterior scene, with the "sun ' just as realistic as the original, the grass even greener, and the flowers blooming brightly. They couldn't "go out on location"' for this scene, because they couldn t find a manor house in the vicinity of New York to suit their purpose ORMI HAWLEY is back— again. The erstwhile Lubin luminary, after a long absence from the screens, spent at her home in Whitesboro, New York, person- ally appeared in conjunction with her film, "The American Prince." PIE Los Angeles postoffice handles 8500 letters a day addressed to film stars. Of these letters 1500 go to Mary Pickford. About 500 each to Douglas Fairbanks and Wallace Reid. Other stars whose mail is noticeably heavy are Bill Hart, Bebe Daniels, Pauline Frederick, Charles Ray, May Allison, Douglas McLean, Tony Moreno — who has an enormous foreign collection — Mary Miles Minter and Bert Lytell. WILL ROGERS, after leaving Goldwyn and making one picture for Para- mount, has signed a contract to appear in Shubert vaudeville, according to an authentic report — if a report is ever authentic. The screen will miss him. Rogers will get $3,000 a week. This is said to be the second largest salary ever paid to a vaudeville "single." Rogers, who first won fame as the lariat-monologist in the Ziegfeld Follies, became one of the most popular entertainers in the world as a Goldwyn star. He is a homely man, and a shy man ; he is not a great comedian like Chaplin. But he has made a place for himself that is unique. People go to see Will Rogers on the screen when they won't go to see anyone else. HERE'S an absolutely new one: David Wark Griffith has lodged a complaint with the War Department against airplanes flying over his studio estate at Mamaroneck, N. Y. And he introduces a brand new reason. There is a very costly reproduction of a French village — very old, very genuine — on the big lot. It's for "The Two Orphans," and a year's research work and many months' construction made it. Griffith alleges that the airplanes flying over the set are for the purpose of photographing it, so that some "promoters" may use the photograph in a book they are getting out, to help other directors in building similar sets ! Besides, the plane, which sometimes almost sweeps the house-tops, and its noisy progress is a great annoyance to the players. We don't blame Griffith for objecting. THE Ohio censors are at it again. Censorship in its most virulent form has broken out in Cincinnati. This time, they picked Marshall Neilan's masterpiece, "Bits of Life," as their victim. They saw it and slashed it. If you have seen it, which you undoubtedly have, you remember the first of the short stories that made up the picture, "The Bad Samaritan." It was a little tale with a big wallop. The censors cut it out entirely, so that the picture had to be withdrawn altogether — and something else — something innocuous and uninteresting and unoriginal — was substituted. Marshall Neilan did a daring thing when he produced this picture. Because he dared to be original, the reformers have landed on him. Where is the great picture of tomorrow going to come from, if this sort of thing is permitted to go on? ANITA LOOS and John Emerson have moved again. A month or so ago they were leaving their town house in Gramercy Park for their country place in Great Neck, Long Island. Now they're leaving the Park for the Fifties off Fifth Avenue, where their new house is. Anita is such a little, such a pretty chatelaine. She and her husband go to every one of the first nights on Broadway. Incidentally, they are going to California soon to write more stories. (Continued on page 91) Kviv advertisement in THOTOPLAY MAGAZINE is guaranteed. Photoplay magazine — ADVEirnsixc, section 9i Plays and Players (Continued jrom page 90) ALICE JOYCE is the mother of another little daughter: born in October at the home of the James Regan Junior's. The beautiful Yitagraph star retired from the screen six months ago. You remember her marriage to the son of the former owner of the Knickerbocker Hotel in Manhattan was one of the most charming of all film romances. Miss Joyce has a little girl named Mary Joyce Moore, whose father is Tom Moore the film star. Now the tiny Joyce Regan has come to keep her company. AT last — the Legend of Sleepy Hollow- is to be immortalized. Allan Dwan, one of the screen's greatest directors, is to film it. He is going to take a company to Tarrytown and put into pictures Ichabod Crane and the others Wash- ington Irving wrote about. America is filled with charming folk lore. It is a great field for the more artistic producers. WHEN Mildred Harris was suddenly released from the cast of "Miss Lulu Bett," film circles wondered just what she had done — or what she was going to do. Guesses were wild and plentiful, but Mildred said nothing — only smiled her sad, sweet smile. And now we know why she was smiling, although we cannot understand the sadness of it. For Famous Players-La sky have announced that she will play opposite Thomas Meighan in his next picture. HERE is something that should be not only interesting, but very lovely. Florence Walton, the dancer, has promised to pose — in a series of dances — before the slow motion camera. The machine will register every movement in exact time, and every detail of' her consummate grace will be shown minutely. SOMETHING new landed in this countr a few days ago — that same being a vest pocket movie camera. It arrived on the Cunarder Bulgaria in the possession of one C. D. Wellington, who hails from Australia. He bought the little thing in Paris where he paid about one hundred dollars for it. Its capacity is twenty-five feet of regular film, and it operates by a spring instead of the time honored crank method. We imagine that this camera will be much in vogue with the society folk who prefer a self-starting method. MME. OLGA PETROYA has successfully opened in a new stage production, "The White Peacock." The program states it was written by a Polish woman who has lived in America ten years. We more than suspect that Mme. Petrova is the author. The critic, of the Indianapolis News, among other nice things says : "In the first place, the dialogue is unusual in that it is natural speech, and not theatrical. This is a Russian trait. Tolstoy, the greatest of all Russian writers, was always straining to have his characters say what would obviously be said under the circumstances. He hated artificiality. So it i- here. There is scarcely a speech in the whole play that seems forced. The leading role is, of course, emotional, but the star does not "act all over the place," as the saying is. For the most part her acting is restrained. She has a problem to contend with and she faces it as any intelligent woman would." (Continued on page 02) Ask Us Now This test will delight you Again we offer, and urge you to accept, this new teeth-cleaning method. Millions now employ it. Leading dentists, nearly all the world over, are urging its adoption. The results are visible in whiter teeth wherever you look today. Bring them to your people. The war on film Dental science has declared a war on film. That is the cause of most tooth troubles. And brushing methods of the past did not effectively combat it. Film is that viscous coat you feel. It clings to teeth, enters crevices and stays. Then night and day it may do serious damage. Film absorbs stains, making the teeth look dingy. It 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. Very few people have escaped the troubles caused by film. Two film combatants Now two combatants have been found. Many careful tests have proved their efficiency. A new-day tooth paste has been created, and these two film combatants are em- bodied in it. The paste is called Pepsodent. Now every time you brush your teeth you can fight those film-coats in these effective ways. Pgpsaclgivt REG U S k^BB^B^^^K^^a^M^^MMaB The New-Day Dentifrice The scientific film combatant, which brings five desired effects. Approved by modern authorities and now advised by leading dentists everywhere. All druggists supply the large tubes. Also starch and acids Another tooth enemy is starch. It also clings to teeth, and in fermenting it forms acids. To fight it Nature puts a starch digestant in saliva. She also puts alkalis there to neutralize the acids. Pepsodent multiplies the salivary flow. It multiplies the starch digestant in the saliva. It multiplies the alkalis. Thus these teeth protecting forces, twice a day, are much increased. They must be done These things must be done. Teeth with film or starch or acids are not white or clean or safe. You know yourself, no doubt, that old tooth-brushing methods are in- adequate. See what the new way does. Make this pleasant ten-day test and watch your teeth improve. A few days will tell Send the coupon for a 10-Day Tube. Note how clean the teeth feel after using. Mark the absence of the viscous film. See how teeth whiten as the film-coats dis- appear. Do this now. The effects will delight you and lead to constant delights. To all in your home they may bring new beauty, new protection for the teeth. 10-Day Tube Free THE PEPSODENT COMPANY. Dept. 387, 1104 S. Wabash Ave.. Chicago 111 Mail 10-Day Tube of Pepsodent to Only "ne tube to a family wiipn j0u write to advertisers please mention niOTorLAY magazine. 92 Photoplay Magazine — Advertising Section CftasefainAway witfiJMusterole When the winds blow raw and chill and rheuma- tism starts to tingle in your joints and muscles, get out your good friend Musterole. Rub this soothing white ointment gently over the sore spot. As Musterole penetrates the skin and goes down to the seat of trouble you feel a gentle, healing warmth; then comes cooling, welcome relief from old man Pain. Better by far than the old-fash- ioned mustard plaster, Musterole does the work without the burn and blister Grandma knew so well. For croupy colds, sore throat, rheumatism and congestion of all kinds, just rub on Musterole. Don 't wait for trouble, keep a jar or tube on the bathroom shelf. Recommended often by nurses and doctors, it comes in 35c and 65c jars and tubes; hospital size, $3. The Musterole Co., Cleveland, Ohio BETTER THAN A MUSTARD PLASTER 9* Face Powder J^v mere — Vividly I remember the delicate fragrance of her lightly pow- dered cheek. Lablache — her powder — always suggestive of her complexion, beautiful as wild ros petals. More than ever I appreciate the refreshing pur- ity of Lablache. Refuse Substitutes They may be danger- ous. Flesh. White. Pink or Cream. 65e. a box of druggists oi by mail. Over two million boxes sold annually. Send 10c. for a sample box. BEN. LEVY CO. French Perfumers, Dept. 57 125 Kingston Si.. Boston, Mass. An Easy Way to Remove Dandruff If you want plenty of thick, beautiful, glossy, silky hair, do by all means get rid of dandruff, for it will starve your hair and ruin it if you don't. The best way to get rid of dandruff is to dissolve it. To do this, just apply a little Liquid Arvon at night before retiring; use enough to moisten the scalp, and rub it in gently with the finger tips. By morning, most, if not all, of your dandruff will be gone, and three or four more applications should completely re- move every sign and trace of it. You will find, too, that all itching of the scalp will stop, and your hair will look and feel a hundred times better. You can get Liquid Arvon at any drug store. A four- ounce bottle is usually all that is needed. The R. I. Watkins Co., Cleveland, Ohio. Plays and Players {Continued from page 91) In the spectacular set at the huge studio ranch in Berlin, Germany: "Pharaoh himself, Ernst Lubitsch, the famous director of "Passion and "Deception; Albert Kaufman, European manager for Famous Players; Watterson R. Rothacker, the well-known American laboratory wizard; ana two production men of the European company. Lubitsch s newest spectacle will soon be seen in this country. P. S. Sorry Pola Negri isn t in this. But you 11 find a snapshot of her with Charlie Chaplin on page twenty GLORIA SWANSON seems to have more than her share of troubles just now — and troubles that really don't belong to her, either. A suit has been filed in the Los Angeles courts against Gloria and her mother, Mrs. James Burns, which has all the earmarks of being very silly but which still may do harm to the reputation of one of the fore- most women of the industry unless the other side of the affair is brought to the public. The suit is an attempt to break the will of the late James Burns, Gloria's step- father, who left his widow an estate valued at $100,000. It is filed by Mr. Burns' sister and other relatives and alleges that Gloria and her mother used undue influence upon Mr. Burns, first, to make him marry Mrs. Swanson and then to leave her all his property. It declares that Mr. Burns was never, in love with the mother but with Gloria, and that — as Gloria was married at the time — he was persuaded to marry the older woman upon the promise that he should see Gloria every day, be with her constantly and live under the same roof with her. ALL of which is most vigorously denied by Miss Swanson and her mother. Miss Swanson was not then and never has been in need of money. Mrs. Burns is her- self a young and attractive woman, and during Mr. Burns' lifetime they were happy and devoted, according to their friends. Mr. and Mrs. Burns never did live under the same roof with Gloria, except for one day. And while the old man was proud of his famous stepdaughter, there seems to be no proof of any kind that it was anything but a fatherly affection. "Oh, it's wrong," said Gloria, her wonder- ful eyes full of tears, "that's because I'm known — and because they want to get some of the money. It's a lie — every word of it. He adored mama. We didn't want his o'd money. Why, I earn more than that in six months." ' I 'HEY say that the Famous Players 1 studio in Long Island City, the largest in the east and one of the best equipped in the world, is going to open soon. This will pep things up some in Man- hattan and film environs. There hasn't been much doing, now that D. W. Griffith has finished actual shooting on 'The Two Orphans," and the Talmadge sisters have gone to the coast, and Selznick is 'way over in Fort Lee, and Fox has moved most of his companies to the coast. NO, the Duke of Manchester hasn't made a picture yet, Annabelle. But he may any day, so you had better keep your eyes open. A real live Duke would be a bit of a novelty, what? Even though we have had plenty of close-ups of princes and premiers and presidents and ladies, a duke is some- thing else again. The Duke of Manchester has, like so many movie actors, had an offer. An American film concern has begged the Duke to be photographed in a fiction film. But he says himself nothing has been definitely decided. Have patience ! A PARISIAN doctor has discovered a new disease called screenitis. "Screenitis," said Micky Neilan, "is the disease screen actors and actresses get when they see the fatal old camera beginning to show the least little bit of sign of slipping in their looks. That's all. But it really is — a nervous collapse." BARBARA BEDFORD has been made a star, by Fox and for them. Outside of "The Last of the Mohicans" and a few other films, Miss Bedford has had (Continued on page pj ) Every advertisement in rilOTOrLAY MAGAZINE is Guaranteed. Photoplay Magazine — Adykhtising Section Plays and Players (Continued from page 91) little screen experience. There were those who, when her stardom was announced, doubted that she was stellar material. Her first Fox release is by no means a master- piece, but it proves that little Barbara, with her eccentric coiffure, and her piquant and decidedly not pretty little face, and her uncanny eyes, had a definite place on the silvershcet. That doesn't mean that she will rival Mary and Lillian and Norma right away. It does mean that she is a new and vivid personality, and as such she is interesting. FOUR times married, once kidnapped, finally exiled, Miss Watson had a lively career. First she was abducted, according to the story current at the time, from her father's house in El Centre Then she was married to a caveman who held her prisoner for several months. Later, her husband died. Another marriage, this one annulled. Then came her cruel exile. After her fourth marriage, she attracted the attention of Fred Niblo, the director, who cast her in an important part in "The Three Musketeers." She has made good. The face that caused all the trouble has now brought her fame and fortune. WELL, the ladies are going to have to stay up late nights for a while, but it's in a good cause. However, in passing, I should like to men- tion what they seem to have passed over. and which it might have been tactful and right to have noted — that there are in Holly- wood many people connected with the motion pictures who are as eminently re- spectable, as cultured, as high-principled as the clubwomen themselves. And that while there are no doubt people in Hollywood who would be better for a little vigilante-ing, some movies and some not, there are also many people claiming connection with the industry who do not actually belong lo it. NO one desires to see the "morals of the movies" held to a high level as much as the people themselves — for everything of that kind reflects on their standing. For instance, the homes of Mr. and Mrs. Charles Ray, Mr. and Mrs. Conrad Nagel, Mr. and Mrs. Douglas McLean, Mr. and Mrs. Robert Ellis (May Allison), King and Florence Vidor, Mr. and Mrs. Charles Meredith, Mr. and Mrs. Charles Eyton (Kathleen Williams), Mr. and Mrs. Jack Holt and their three kiddies, Mr. and Mrs. Milton Sills and little Miss Sills, Mr. and Mrs. Paul Scardon (Betty Blythe), Mr. and Mrs. Rudolph Cameron (Anita Stewart), Miss Constance Binney, Mr. and Mrs. Robert Gordon, Mr. and Mrs. William de- Mille, Mr. and Mrs. Wallace MacDonald (Doris May), Mr. and Mrs. Bryant Wash- burn and their two sons, Miss Ethel Clay- ton, Mr. and Mrs. Will Rogers and the three Rogers youngsters, Harold Lloyd, Mr. and Mrs. Lon Chaney and their son, Miss Lois Wilson, Mr. and Mrs. Ralph Lewis, Mr. and Mrs. Tod Browning, Mr. and Mrs. Sam Wood, Miss Katherine MacDonald, "Mother" Sylvia Ashton, Mr. and Mrs. Lloyd Hughes, Mr. and Mrs. Sessue Haya- kawa, Mr. William and Miss Mary Hart, Miss Gladys George, Miss Mildred Davis, Mr. and Mrs. Sam Wood — OH, I could go on endlessly, really I could. And all the people I have named have charming, respectable, cultured homes in Hollywood, most of which they own, and spend their time as decently, as quietly and as morally as any vigilante committee mnlH wish. (Continued on page 94) ys>0t y°u can learn easily &x\c.. J wjn send you one lesson FRF.E. For m:iilintf. etc.. send 10c todttyl ARTHUR MURRAY, Studio 62, 290 B'way.N.Y. Plays and Players {Continued from page 93) Making a poor girl climb up a houses — just to shoot her! Just before the lump that provided the biggest thrill before the "Continued Next Tuesday slide in Universal s serial, "Terror Trail. Eileen Sedgwick remains calm and unruffled through it all So, as I say, it might have been at least polite for the 1200 clubwomen who passed that resolution, to mention this fact in pass- ing. TRVING BERLIN'S beautiful new theater, 1 ''The Music Box," has been filled to capacity at every performance since the opening in the early fall. Mr. Berlin, who you may remember was once engaged to Connie Talmadge, and is one of America's most popular song writers, appears in the show himself. Norma Talmadge and her husband, Joseph Schenck, have a large financial' interest in "The Music Box Revue," the theater, and the expensive ground it's built on. Saw Norma before she shut up her East Forty-eighth Street studio. She was glad and sorry to be leaving. Sorry to forsake her studio, and glad to go to California to see her sister Natalie, who has been Mrs. Buster Keaton for some months now. LUIGE MONTAGNE, Italian by birth, became a full fledged United States citizen the other day when U. S. Judge Bledsoe passed his application in a Los Angeles court. That probably doesn't sound interesting, but when I tell you that under that dignified moniker is hiding one Bull Montana, hero of a thousand battles and a thousand films, all is different. But the judge handed Bull an awful jolt when he informed him that he couldn't be an American citizen unless he understood and would abide by the 18th Amendment. "Will you lay aside all prejudice and obey the liquor amendment?" asked the judge. Bull swallowed a couple of times before he got out a "Yes." EAST is east and west is west, etc.," as Mr. Kipling so aptly said. It had a new experience the other day, too, that saying. Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. Constance Binney, the Realart star, came west to work after the closing of the Famous Players-Lasky studio in New York. Miss Binney comes from Boston. She had never been west before. The first day she worked at the Holly- wood Realart studio, her maid came on the set during the afternoon and said: "Four- fifteen, Miss Binney." Miss Binney smiled. Later, "It's four-thirty, Miss Binney." Miss Binney smiled, stopped work in the middle of the scene and walked off the set. The frantic director flew to Elmer Harris, studio chief of the Realart forces, who caught Miss Binney as she climbed into her limousine. "I always stop work at 4 130," she said sweetly. "And I never work Satur- day afternoons. It's in my contract. Good-bye." ELMER HARRIS sought Charles Eyton, general manager of the Lasky studio and the next day Mr. Eyton, who has the reputation of being one of the best poker players in California, sent for the pretty star. Miss Binney came and brought her con- tract. "Dear, dear," said Mr. Eyton, calmly, "this is too bad. Because out west here we always work until 5 o'clock and sometimes we work Saturday afternoons." "But it's in my contract," said Miss Binney. "I know it. So that if we asked you to work until five and even on Saturday after- noons, it would break your contract, wouldn't it? And this is a bad time to have a broken contract isn't it?" Miss Binney has acquired the 5 o'clock and Saturday afternoon habit, now. Quite western. But it really wasn't quite fair. Because poker is a western game — and little Miss Binney came from Boston. (Continued on page g§) Photoplay Magazine — Advertising Se< tion 95 Plays and Players (Continued jrom page 94) ERIC VON STROHEIM was guest of honor at a dinner given the other even- ing by the press agents of Hollywood — though how they find a place big enough to meet in I don't know — there are more press agents in Hollywood than anything else ex cept puttees and palm trees. He related one very interesting item. Paul Christian was engaged to play the lead in the monstrous von Stroheim-Uni- versal spectacle. When he went on salary, von Stroheim wasn't ready to shoot and an enterprising young director begged Mr. Laemmle, presi- dent of Universal, to let him make a picture with Christian first. Said he'd complete it in twenty-one days. He did. But when he'd finished it, it was too terrible for even Universal to release, When Mr. Christian died toward the end of the Si, 000,000 production Mr. von Stro- heim was frantic. He doubled Bob Kdeson in for the long stuff, but he was floored as to the close-ups. It was then that he remembered the other picture which was too bad to release. He went to this and found there emotional close- ups of all the stuff he needed. "And it all came of having faith in the working out of a thing, too," he said. A PRETTY little wedding took place in Hollywood the other evening — one of those real love affairs that make everybody remember their own courtship. Bill Boyd, a young juvenile of promise now working at the Lasky studio, and Ruth Miller, the pretty girl whom you've seen many a time as the ornamental maid in Cecil deMille productions, were quietly married at the home of "Mother" Sylvia Ashton. Wallace Reid gave the bride away, while Mrs. Wally served Miss Miller as attendant. "T HAVE to look young and beautiful and I everything in this picture," said Colleen Moore to the cameraman, after she had read the script of the new Goldwyn-Rupert Hughes production in which she is to play the lead. "It's not my style — no acting. Just looking. Very ingenue." "I'll do my best, Miss Moore," said the cameraman, "and if I make you look better'n Mary Pickford there's a new suit down in — " "Say no more," said Colleen, "it's yours." By the way, Colleen and John McCor- mack — western head of First National — are ceen continually and constantly together lately. Don't know whether it's serious, but they make a nice looking couple. THE national anthem of Hollywood is now going to be "The curfew shall ring tonight." And when it rings everybody has to go to bed and be good, or if they don't the vigilantes'll get 'em if they don't watch out. Nobody is going to be naughty or im- moral or noisy any more. All "wild parties" are off. The Hollywood Women's Clubs got to- gether and decided all about it. It's very simple. They passed a resolution which stated that: Hollywood should become a strictly moral residential district. That everybody must go to bed at a respectable hour. That they will aid the police by reporting all unseemly activities and all elements of the kind which we desire to suppress. And that the stain attached to Hollywood by reason of the alleged immorality of the picture people must and shall be wiped out. And that the City Council should give them some policewomen. (Continued on page 06) He sold two stories the first year \\ ill you clip the coupon, as Mr. IVfeeban ME8 It QuntK Editor and Publisher Photoplay Magazine Vl.I.AN Dw\N Allan Thnan Productions Pom \V ii;\tii \11thor and Sell Authority We invite you to apply this free teal Clip the coupon below, and we will send you the Van Loan questionnaire. You assume no obligation, but you will be asked to be prompt in returning the completed test for examination. If you pass tie test, we shall send you interesting material descrip- tive of the Palmer Course and Service, and admit you to enrollment, should you choose to develop your talent. If you cannot pass this test, we will frankly advise you to give up the idea of writing for the screen. It will be a waste of their time and ours for children to apply. This questionnaire will only take a little of your time. It may mean fame and fortune to you. In any event it will satisfy you as to whether OT not you should attempt to enter this fascinating and highly profitable field, .lust use the coupon below -and do it now before you forget PALMER PHOTOPLAY Corporation. 12 1 Weal Please send me. without or obligation on my part, your questionnaire. I will answer the questions in it and return it to you for analysis. If I pass the test, I am to receive further infor- mation about your Course and service. Dept. of Education P. 1 Mh Street. Los inseles N IMt Address. When you write to advertisers please mention PHOTOI'LAA" MAGAZINE. 96 "Danderine' Photoplay Magazine — Advertising Section Plays and Players (Continued from page 95) Grows Thick, Heavy Hair 35-cent Bottle Ends all Dandruff, Stops Hair Coming Out Ten minutes after using Danderine you ran not find a single trace of dandruff or falling hair and your scalp will not itch, but what will please you most will be after a few weeks' use, when you see new hair, fine and downy at first — yes — but really new hair — growing all over the scalp. Danderine is to the hair what fresh showers of rain and sunshine are to vegetation. It goes right to the roots, invigorates and strengthens them, helping the hair to grow long, strong and luxuriant. One application of Dander- ine makes thin, lifeless, colorless hair look youthfully bright, lustrous, and just twice as abundant. Wanted: RailwayMailClerks,$135to$195Month FRANKLIN INSTITUTE, II, pi. Ti -boys t positions now 'd. ROCHESTER 17. Write N. Y. Little "Breezy" Eason is dead. This child star was playing outside his parents home in Hollywood when an automobile ran over him. He died within an hour. He was the only son of Mr. and Mrs. Reeves Eason. and had appeared with them, and with Harry Carey, in Universal pictures. Universal City in California was closed trie day of the funeral. Breezy was one of the few screen children who was absolutely unspoiled and sweet. His death is mourned by everyone in the film industry and by many who knew him only on the screen r left Manhattan for California, in com- pany with Norma Talmadge. Frances, after a summer up in the Maine woods, looks and feels better than ever. Since she left the Mary Pickford company the public has not seen much of her work, since the beauti- ful little picture that she directed herself — 'fJust Around the Corner," has not yet been released. But now she is going to do the continuity for Constance Talmadge's new film, an original by Edgar Selwyn. Miss Marion and her husband, Fred Thompson, have always been lovers of dog's. They have always kept kennels of 'em — all kinds and colors. One day a sick canine rushed up on Frances and seriously bit her, and her husband, coming to the rescue, was also hurt. They were laid up for several months. But just before she left for the Coast, she said to me: "I'm busy today — running out to Long Island to look at my dogs before I go !" SPEAKING of the Talmadges: I hear that Natalie is very happy in her Holly- wood home, that she loves to cook and keep house for Buster, and that — there may be a new little Talmadge added to the family before very long. Norma and Constance may be aunties. They hope so. VERA STEADMAN, whose pretty face and other things you have seen so much in Christie Comedies, is the mother of twin girls. One of them is named after Marie Prevost and the other is named France- Miss Steadman is married to a good-Iookintj young chap who leads the orchestra at the famous Ship Cafe. And oh, by the way, don't expect to see Naomi Childers — now Mrs. Luther Reed — on the screen for some time to come. Mrs. Reed is likewise to be otherwise occupied. THERE was an "old timer's party" at Cecil deMille's home the other evening — a party which included such veterans as Dustin Farnum, the first Lasky star, Wil- liam deMille, Cecil, his father-in-law, Judge Adams and Mr. and Mrs. James Neill (Edythe Chapman). Those who remember 20 years ago when Neill and Chapman were great stars of the day will appreciate the directions Mr. Neill gave for determinins whether or not you are an old timer. "Twenty-five years ago when I was a handsome young leading man," said Jim Neill, "when I passed a pretty girl and looked back, she was always looking back too. Now — she isn't. That's all." By the way, it developed that evening, too, that Dusty could have bought a quarter interest in Lasky-Famous Players then for $5000. Imagine! (Continued on page 97) Every advertisement in I'HOTOPI.AY magazine is guaranteed. Plays and Players (Continued from page 06) Photoplay Magazine — Advertising Section ^grrrrmi in 1 1 1 n in 1 1 1 n 1 1 n i n i n iim r 97 MAUDE ADAMS is still in Schenectady, New York, where she is co-operating with the officials of the General Electric Company in the further development of new ideas in motion pictures. Miss Adams has been working on a picture and many outdoor scenes have already been taken. The General Electric Company has fitted up a studio for Miss Adams. Some scenes in this film are laid in the General Electric Plant — new lighting effects are being tried out — and that is all that anybody knows. For Miss Adams' silence is not yet broken, and the General Electric Company is not exactly chatty! RALPH GRAVES has reached the West Coast. We print this because some of our fair readers have made innumerable in- quiries as to the whereabouts of this Griffith player — despite the fact that he is but re- cently married. He has gone to Hollywood to play in a R. A. Walsh production, "Kin- dred of the Dust,'- which was taken from a Peter Kyne story. A SENSE of dignity is a curious thing. And a difficult thing to carry about with you. A sense of dignity is quite likely to interfere with a sense of humor. As was proved in New Jersey a few days ago. Right out in public one of the New Jersey police force spoke up and said that he disapproved thoroughly of the comedy cops that are put into the movies for the edifica- tion of the T. B. M., and his equally tired wife. And so, the first cop being backed by all other Jersey policemen, a resolution was drawn up asking that all comedy min- ions-of-the-law be clipped from all films — feature and otherwise. And the police force believe — and who are we to doubt 'em? — that their resolution will be taken seriously. We have been thinking lately that New Jersey was getting too much in the line of amusement — what with Governor Edwards, and Sandy demons and the Dempsey- Carpentier fight and everything. But we've about decided that the law of compensation is beginning to work. BEN TURPIN tells this one on himself: He hunted up a restaurant to buy himself some near-beer in New York. And, as he sat drinking it, he heard two men arguing at a table close by. "Say, I hate that stuff, Joe," said one. "Well, near-beer is all you can get," an- swered the other, "what you gonna do about it?-' "I can stop drinkin' it," retorted the other man, "it ain't even got the shadow of a kick !" "Oh, I dunno," replied his friend, "I saw Ben Turpin drinkin' it, and he seems to find a kick in it — they say he hasn't been able to see straight since he drank the first glass!" WILLIAM FARNUM says that his trip abroad was his first vacation in twenty-five years. All through Europe — leaving out the cen- sored bits — went Mr. Farnum. And at last he reached Rome, where, he says, he was handed the greatest thrill of his not over- quiet life. • "I can't begin to tell you how big a thrill it was," he says, when asked by an interviewer. "You know I have played every Tole from a page boy up to Julius Caesar. Well, I went to the Forum one morning — that is, what was left of it. All those Shakespearean characters — Caesar, Brutus, Cassius, Marc Antony — seemed to come up around me. Honestly, I wanted to get into action." (Continued on page 08) Buy Today 10 MONTHS TO PAY &BSB E35— Four Wliii • Cold inverted hearts are set with 1 supe- rior Quality, spark- ling Diamond. $75. 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