U 58

LIBRAR

Museum of Modern

Scanned from the collection of

The Museum of Modern Art Library

Coordinated by the

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in 2012 with funding from

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LIBRARY

I -TIONPICTURF IENCES

YWOOO. - CALIFORNIA

January 25c

I

-4

/^

CORINNE GRIFFITH

T TPFK T HT THHF.S— Calls for New F:

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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

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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

: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.

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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