^7^/ /:/ 4'; \

SCANNED FROM THE COLLECTIONS OF

PFA Library and Film Study Center,

University of California, Berkeley Art Museum & Pacific Film Archiv

bampfa.berkeley.edu

Coordinated by the

Media History Digital
Library

www.mediahistoryproject.org

Funded by an anonymous donation
in memor>' of Carolyn Ilauer

Digitized by the Internet Archive

in 2009 with funding from

IVIedia History Digital Library

http://www.archive.org/details/motionpicturecla1920broo

ACTION PICTVDE

JANUARY

MARION DAVIE5 '

r^"

-•? \'

A Startling Memory Feat
That^u GanDo

How I lesu-ned the secret in one
evening. It has helped me erery day

WHEN my old friend Faulkner invited
me to a dinner part}' at his house. 1
little thought it would be the direct
means of getting me a one-hundred-and-fifty
per cent, increase in salar>'. Yet it was, and
here is the way it all came about.

Toward the close of the evening things began
to drag a bit. as they often do at parties. Fi-
nally some one suggested the old idea of having
everyone do a "sttmt." Some sang, others
forced weird sounds out of the piano, recited,
told stories, and so on.

Then it came to Macdonald's turn. He ^vas
a quiet sort of chap, with an air about him that
reminded one of the old sa)ing that "still waters
run deep." He said he had a simple "stunt"
which he hoped we would like. He selected me
to assist him. First he asked to be blindfolded
securely to prove there was no trickery in it.
Those present were to call out twenty-five
numbers of three figures each, such as 161. 249.
and so on. He asked me to write down the num-
bers as they were called.

This was done. Macdonald then astounded
everyone by repeating the entire list of twenty-
five numbers backwards and forwards. Then
he asked people to request numbers by posi-
tions, such as the eighth number called, the
fourUj number, and so on. Instantly he repeated
back the exact number in the position called.
He did this with the entire list — over and over
again, without making a single mistake.

Then Macdonald asked that a deck of cards
be shuffled and called oijt to him in their order.
This was done. Still blindfolded, he instantly
named the cards in their order backwards and
forwards. And then to further amaze us, he
gave us the number of any card counting from
3ie top, or the card for
any number.

You may well imagine
our amazement at Mac-
donald's remarkable feat.
You naturally expect to
see a thing of this sort
on the stage, and even
then you look upon it as
a trick. But to see it
done by an evervday
business man. in plain
view of everyone, blind-
folded and under con-
ditions which make trick-
ery impossible, is aston-
ishing, to say the least.

ON the way home
that night I asked
Macdonald how it was
done. He said there
was really nothing to it
— simply a memory
feat, the key to which
anyone could easily learn m one evemng. Ihen
he told me that the reason most people have bad
memories is because they leave memory develop-
ment to chance. Anyone could do what he had
done, and develop a good memory, he ^id, by
following a few simple rules.
told me exactly how to do it.

'Our president compliment
to tell him instantly fac

And then he
At the time I

Bttle thought that evenmg """'f. P™;!* •" °*u°'\'
of the most eventful in my life, but such tt

"'what'^Iacdonald told me I took }o^"'^
In one evemng I made remarkable stndes t<^
ward improving my memory and it was but a
miestion of da* before I learned to do exacth^
what he had done. At first I «n»*edmyself
with my new-found ability by amazing people at

(Three)

parties, ^f^ "memorv-
feat." as my frieiuU
called it, snrel)' made
a hit. Every one was
talking about it. and 1
was showered with in-
vitations for all sorts
of affairs. If anyone
were to ask me how
quickly to develop so-
cial popularity, I would
tell him to leam my
memory "feat" — but
that is apart from what
I want to tell you.

The most gratifying thing
about the improvement of
my memory was the re-
markable way it helped me
in business. Much to my
surprise I discovered that
my memory training had
literally put a razor edge
on my brain. My brain
had become clearer, quick-
er, keener, 1 felt that I
was fast acquiring that
mental grasp and alertness
I had so often admired in
men who were spoken of as
"wonders" and "geniuses."

The next thing I noticed
was a marked improvement
in my conversational pow-
ers. Formerly my talk was . , ,^„ |,is „,„, Sashes to my mind, together with a
halting and disconnected. I never '°"''' '"'""."j string of facts about him. 1 always NkeS to read hot
things to say until the conversation »>" ""V; /*"„^ „,„all, forget most of it. Now I find it easy to recall
then, when it was too late. I .•»"!'' /'"^''(..'^'""buI what I have read. Another surprising thing is that 1
apt and sinking thing. I . ""C'"^",' ,~ talking I <:»n now master a subject in considerably less Ume than
now I can think like > fl»«b When I am "'""^K ' ^^,„„ p^ce Usts. market qnoUtions. data of all kinds,
never have to hesitate for the "«•" ,»'°'°- '"h,?*"! I can recall in detail almost at will. I rarely inake a
expression or the ngbt thing to say. It seems ">» »" mistake

I have to do is to start to talk and ■"'"""i' j", ,h° My vocabulary, too. has increased wonderfully. When-

myself saying the very thing I want to say lo ma»e ^^^^ I see a striking word or expression. I memoriae it

urealest impression on people. ,i:,:,, ,„ remem- and use it irt m. diclalion or conversation. This has

It wasn-t long before my newfound =>'"'■"', '° '""X put a remarknbk sparkle and puHin, power into my coo

•"^ii-.^rSl ,T,he riiht Hine versation and business leUers. And the remarkable part

".£V,i^ fhe a tentVon of o"r "f it all is that I can now do my day's work quicker and

!3h.S?i He go" in °he with much less effort, simply because my mind .orb

GbTtS calling me in when- like a f!a=h and I do not have to keep stopping to l«.k

fhe" biLi^JL'"' ir^e'l"' All'thi^is extremely satisfying to me. of course. But

the busioes^ ,'" °'..y„u ,he best part of it all is that since my memory power

pressed himself •» ■".'■ »°," g„, ^itracted the attention of our president, my salary

T., I Jam o know while hos steadily been increased." Today it is many bme.

Thl^otheT fellows annoy me greater than it was the day Macdonald got me ..u,e«ed

by dodging out of the office m improving my memory.

?*jM .^^Hk. and saying 'I'll look it up.' " '".*.'... ^ , â– 

â– ^^ ^^^^^ ' . . . ^ I THAT Macdonald told me that erenffnl erernng

Ipni-Nn that m» ability VV «" <^"' "''" '*" R""" Memory Course." I did.

,o remembe? h^'Jd n,e ' * That is how I learned to do all the remarkable

wondeTfi^lv in ^ling thing, I have told you about. The publishers of the

.iT !^rhJr neoolT mVHcu- Kofh Memor. Course-lhe Independent Corporapon-are

with .°'h" 1P~P''- J!"^^^" „ confident that it will also show you how lo develon a

Ivi'en'a d1"u«!oS "A». S remarkable memory that the, will gladly send the Coar«

'L'l ^"nU^SckW '".rX '': '"Vr ne'edTo?:^' a single penny un.il vou ha,e ex_

'^^r of de^nUe fact, and amined .he Course and found that it full, bves up to al

fiJi^f, usnaflv dom nllJ, the the claims made for it. Send no money. Merely ma.1

^ T^e .nSHme^nin ihc couoon or write a letter, and the complete CourK

oUiers. Time and lime agmn lue . instantlv. all charge, prepaid. If

L^'of "hinkiSr^^^pTy T- ;7ter e«mi\iat°or"ou deciiS; l^t yordS n"^ wan.

' I â„¢;winl.:.nM; recall to keep the Course, then return it and you will owe

?'T „.Sfiile, While l"m nothing. On the other hand, if you find, as thousand.

„f„,;d;?f^ triumphs in 'f others have found, that the Roth Memory Course wiU

.. • u. Ku resnecr I often fee" do wonders for you, then merely send five dollars in

ed me on altvays bong able this f/spect. 1 olten leei m

,. he u^anted to *.««-." '?X Xr „'" wh'^S YoS^tove always -anted •» good memory. No- yoo

of the other men wno <»"»»■ . ■ Remember, you pay no money unbl yoa

hold an their end in the argument becauje •>•" canno '^'^.^^i:^,^ that"™ C^irl: -Si benefit you. You ha«

recall facts instantly. It seems as 'h?""* ' "J^'T. ""' evervtbing to gain and nothing lo lose by taking imme-

get anything. Every '»« .J. ";°" P." ^2 iTonS U -e?e diate arton So mail the coupon NOW before thi.

clear and as easy to recall ■?«;""'"'??"«'' " "" hheral offer is withdrawn.

teriK^v Wfore mr in plain black and wdhc. , . , „ „.„„

wVallTeai a lot about the importance of sound jud*- FRKK EXAMINATION COrPON^^^_^^

».*«» Pmnlc who ouaht to know say that a man cannot «••« — ■. — — ---<•-- — --

^% tr^jircs^ s^ufd judgment until he is forty to INDEPENDENT CORPORATION

fifty years of age But I have duP'or;?^ >» «»t 1 r,bll.l,OT .f Tk. I>d«pradr»t W»*It

have found that sound judgment i, "o">'°# "JTS '".S Uepl. K-S71. Il» Wert Wth Slre»«. !««» ¥«fc.

'*'eh"S'V,Si1,rv'?s're'^Li''o"«uid7udSeo"t° 'l Please send me the Roth Memory Course of seven

each """V,;. "!^° but many times I have been compli les«,ns. I will either remail the Course to you within

m°^^rf^? Sl'vi^g Ihe ird|^er;t of a man of forty five. fi„ ,|,y, after it, rcceio. or send you $S in full pa.vmen.

?"ke no p^^l creditor thi»-it is all due to the „f the Course.

way I trained my memory. .. ,_,

' »•••••• natmr

TuE-QF irf ooW a few of the hundred* of way* I
ha^Vofited by Hiy'^ned memory. «»•»»«''*. Address
I sufle- the humiliation of meeting ■»»» ' '"'•"•"f M. P Clasnc 1-20

not being able to reeaU their namev fh. moment I Ke

-^and they both

show the same pictures f

WHETHER you attend a million-dollar palace of the
screen in the hig dty, or a tiny hall in a backwoods
hamlet, you will find that it is always the best and most
prosperous theatre in the communi^ that is exhibiting
Paramount Artcraft Pictures.

It does not matter whether you arrive in a limousine, a jitney,
on trolley or afoot, you are immediately taken out of yourself
by these great pictures which delight so many thousands of
audiences every day in the week.

Human nature has deep-down similarities wherever you find
it, and Famous Players-Lasky Corporation has made the
bigger and better theatres possible by supplying a great
variety of photo-plays which touch the roots of human nature
with absolute certaint>'.

A theatre cannot be better than the pictures it shows. Good
music, wide aisles, luxurious seating and fine presentation
have all naturally followed as the appropriate setting for
Paramount Artcraft Pictures.

Find the theatre or theatres in any town that show
Paramount Artcraft Pictures, and you have found the spots
where time flies.

paramount Cuicrcdt

Jiotion pictures

Tbcse two trade-marks are the sure way of ideuUfying
raramoutUAncraft Pictures— and the theatres that show them.

Latest Paramount
Artcraft Pictures

BUlie Burke in

"WANm> A HUSBAITD**

Btfad Clayton sm

*^OKE Deaely Than the Malm."
Mmrzaentc Clark in

**A Giu. Named MAmr"
Irene Castlem

*nrHE Invisible Bond"
Cecil B. DcMiUe's Productioii

**Maix and Female"
"Everywoman** Whfa All Star Cast
Elaie Ferfoson m

**Coo kte«feit"
Dorothy GUh in

•TumKiNG THE Tables"
D. W. Griffith Production

"ScAJULBT Days"
Wm. S. Hart t»

"Saicd"
Hondini in

"The Geim Game"
Vivian Martin in

'*His Official Fiancee"
Wallace Reid in

"Hawthokne of the U. S. A,"
Haurice Toameur*s Production

"Victory"
Georee Loane Tucker's Production

"The Mimacle Man"
Robert Warwick in

"An Adventitke in Heakts"
Biyant Waihbum tM

**It Pays to Advertise"
'The Teeth of the Titer**

With a Star Cast
•Tlie Miracle erf Love**

A Cosmopolitan Production^
**The Cinema Murder"

A Cosmopolitan Production

pMwIwcft

Thomam H. in

Kiid Bennett in

••What Evehy Woman Leakhs"
Dorothy Dalton m

"His Wife's JF«iekd"
"2Z% Hours' Leave-
Douglas MacLean & Doris May
Charles Ray »h

"Ceooked Stkaight"

P^tratnount Comcdie*

Paramount-Arbuckle Comedies

one every other month
Paramonnt-Msck Sennett Comedies

tmo each month
Paramount-Al St. John Comedies

one each month
Paramount-Ernest Truex Comedies

one each month

Panauoani Short Sa^ifa

Paramonnt MaEaztne issued weekly
Paramoimt-Post Nature IHctures

issued every other week
Paramount-Burton Hohncs Travel

Pictures one each week

EMbfOQS FLAarERS-LASrar OQRFCXBAIION

(Four)

Write the Words
For a Song

Write the words for a song. We revise
song-poems, compose music for them, and
guarantee to secure publication on a
royalty basis by a New York music pub-
lisher. Our Lyric Editor and Chief Com-
poser is a song-writer of national reputa-
tion and has written many big song-hits.
Mail your song-poem on love, peace, vic-
tory or any other subject to us today.
Poems submitted are examined free.

BROADWAY COMPOSING STUDIOS

H7-ERvnU tt^^tnmiwmr aarHM>S«nn. NEW TOU

Vi.I. IX

JANUARY, 1920

KTATEMENT OT THE OWNEKSinP MaNACKUKNT. flll-
Cm-ATION. ETC-. REQUIRED BY THE AlT <1K rONUJUlittr
&r AUCCBT 24. 191X «« MOTION I'HTUKE t L-VSSU: puli
UMbtd MONTHLT at 175 DCEFIELD «T.. BKOOKLYX. X. T..
ror OCTOBER 1. 1«5L SUte of NEW YORK, rnoiitT of KIX*;».
Bffon me, m. NOTARY PUBLIC in mml for Uu- Mtate â– ml'
cooBtr afonsaM. pnsaaaOr AptH-aml ECUENE V. BREWSTER,
wto. h ■¥»■*> been duly nrani acccnUnc to law. tlepotM^ au<l Baj»
that, he is Ui» rREEEDENT of ihf 3J0TION PlCTl^KE CLASSIC
•mi that the foUtMriac is. to tht best cf his knovlctlce and
brtkf. a trot 5tatwr«M of Ute ownrrahip. managwnrat (and U «
daily paiwr. the drmJatlon). ete., trf the iforesaid publiratkn
f(V the date sbbwti in the alxne caption, rrquimi by tbc Act of
Aiwwl a. 1912. atfbofhcd tn section 443, Postal Laws uid Rccu-
IM*****, prilled on the reversp oT lbt« fonn. to wit: L That the
iiafi md addreaan «C the pnUislier, nittor. -'■'■-^'"g «tiilar,
and hvinoa manners «c: PobtLibn-. THE M. P. PUBLISH-
ING COl. 175 DuflMd St., BrmUju. N. T.. ICditor. EUCSXE
r. BREWSTKR. 175 Dafflrid St.. BrDoUyn. N. T.. 3fanasfaw
EOiKv FREDERICK J. SMRII. 175 Xtaffletd St.. BrooUjm. N. T..
Bnatecn BCanaccr. GUT U HARRINGTON. ITTi Dafflrid St..
Brookljn. K. T.. 2. That the ovum ur: (Gir<f> namrs and
addrcavrs of indiildaal owners, or if a conioralion. cive its nama
and the maaMS and addrewn at itoridiolden o»ntoc or hoMing
1 per ctnt or move of tlw total aBoant t£ Moefc) EUGENE T.
BREWSTER. 175 DafBtid St.. Bmidni. N. T.. EDWDC M,
LA ROCHE. 175 Ditfeld SL, Bnvoklyn. X. T.. ALBERT E.
SMITH. E. 15Ui St.. and Loraat Awe., ^ooUrn. NL T.. EUZA-
BKTTH'M. HEIXEMANN. 175 Duffletd St.. BRMkljn. JX. T..
ELEANOR V. BREWSTER. 175 DnSeld St., BMoUyn. K. T.„
WM. ROCK. K. ISth St., SMl Lonnt Ave., Bmhlim. K. T.,
GASTOX MELI^. 32S Lexincton Ave.. New Tork Citr. 3.
That Ibe known baBdholder&. BDrtcasrts. and other semiitT
halders ewninK w hofcHng I |per ecnx or aaorv of total anoont
bond». ■oetcn^it or other seraiities atv: flf there an none,
an Male) NONE. 4. That the two paracrapba next abow, ctrinc
the names of the awneni, storkhoMevn, and aecoritj bolden. tf
tma. eootaln not onlj the iKt <J stockholders and aeranty holden
â– K they avpear upon the books of the eompanj. bat abo in caaea
wheie the stockholdas or aecoritT holdos appear upon the books
of Oie company as tzvstee or in anr other OdndarT relation, the
name of tlw pcraon or cmpuratfon for whom sorh tmatee is setinc'
ia siren: abn thai the said two paracrsphs cootain Btatcments
ewheaitpg ananfs fnJI knowledce and belief aa to the ctonna-
ataners and eondltiaas ander which <itorUiolder<i and secvrtty
botders who do not appear opon the books of the company as
tnatees. hohl atork and aemrlties In a rapacity other than that
of a bona tide onmer; and this ailiaDt has no reason to bellenf
thM anr other iiersoh. aasoriatloa. or cnrporaliou bas any in-
terest cUrect or indirect in the said Btork. hoods, or other aeenr-
fttes than as so statevl by bfm. 5, That the areracc nwnber «f
ee|d<s of eneii tmne of this poMScatioD mid nr <ILitrilMiled throuch
the mails or otherwfae. to paid subscriber* diuiac the all moaitln
imudlut the date shown aboR' ia^fTTiU informtfon to re-
unbed from daOy pnbUcatiana otdy). EircEXE T. BREWSTER.
(Slsnataiv of editor. pnUtsher, bostnesa ntanacrr, or owner).
Sworn to and nhocTibed ttefore me this 29tb da* of September.
1»19. K M. HEINEMANN. iXj comntisaion expirvs Uarcb
3». 1919.)

llfllllllllllilliliW

Tdephone 5499 Bfain

cfhe

IDm. q. tietuitt
r— Press "•■" —i

PRINTERS

and

BINDERS

Sfarty-ooe to Sixty-seven Navy St.
BrocAlyn, N.Y.

20
22

24

28

THE GIRL ON THE COVER

(Painled by Leo Strike, Jr., from a photograph by Campbell
Sludioi.)
Probably no player who has yet graced the silversheet has
ever received the vast publicity campaign accorded Marion
Davies, the star of International pictures.

Miss Davies, it will be recalled, was very well known on
the musical comedy stage before she invaded the celluloid
world with "Runaway Romany." Widely known as a footlight beauty. Miss
Davies proved to be a remarkable Camera beauty, as welL She has been
steadily developing in the 61ms.
Photogravure Gallery of Players. Full page studies of" Pace

Lou-Tellegen. Mary Miles Minter, Corinne Griffith,

May Allison 'and June Caprice 11-15

Bartfaelmcss: The Boy. A composite study of the beloved

Yellow Man of "Broken Blossoms" Frederick James Smttk lo

The Youngest of the House o' Ha in stem. Elaine is the

junior of a famous family C. BIythe Sherwood IB

The Owner of the "Uncaa." No other than John Bowers,

who is one of our few seagoing leading men. . EHaibeth Peltret

The Amazing Interview. An infomuU littltv chat with the

real Norma Talmadge Failh Service

An OU-Fashioned GirL The happy life of Mary Maclvor

and her hubbv. William Desmond FrUzi Remont

The Holidays in the Theaters. The footlight successes at

Christmas time 'â– â– ' 26

On Vamps and VanqMng. Dorothy Green tells what she

thinks of the screen adventuress Ethel Rosemon

If I Were King. WiUiarti Famum's newest romantic pho-
toplay told in interesting fiction form OSve Carerv 25

Krich Von Strobeim and the Miracle. The story of the
man who a short time ago was a life-saver on Lake

Tahoe Maude S. Cheatham 34

The Director-Diplomat. Edward Jose, master statesman

of the studio Mary Keene 36

The Cinema Comes to Carleton. A breezy chat with

William, Jr.. Elsie Ferguson's leading man Harrirlte Vnderhill 31

The Gorgeoos (Horia 38

Victory. Short story based upon the silverscreen version

of Joseph Conrad's famous novel Faith Servtce 39

At the World's Foremost Screen Theater. Interesting

scenes at the New York Capitol Theater 44

The Hidden Egyptian. The vivid Edith Storey and her

return to the world of motion pictures Elizabeth Peltret

Marie: the Mystic Marie Walcamp and her odd vein of

mysticism Fritxi Remoni

The Girl From Ont Yonder. Fictionized version of Olive

Thomas' newest screen vehicle Dorothy Domnell

Double Exposures Conducted by F. J. S.

The Cellnloid Critic The newest photoplays in review. .

Frederick James Smith

Filming Treasure Islatid

The Riddle Man. Meaning William Russell Pearl Mahem

An Earle and His- Dixnain. Mr. Williams in Snnny Cali-
fornia

Look for the Last Minute Features in the Advertising Section.

Subscription. $2.50 a yrar. in advaocr, indndtar postaiEC in the U. S., Cuba, Mexico, and
Philippfnes^ in Canada, $3.00 a year; in foreign cowitrica, $3.50. Single cOfMcs. 25 cents, postage
prepaid. One- and two-cent stamps accepted. Sabscriliers ranst notify ns at once ot aMj change
of address, giring both old and new address.

Entered at the Brooklra. N. Y_ Poat OCce a< Seomd.cIaaa Matter.
CopTright, 1919, br the M. P. PnbEskiiig Co., in tke Dniled Slates and Great Britain, a New York
corporation, with its princmal oSces at ^yshore^ N. Y. Eogene V. Brewster, President; J. Stnart
RUil.ton, Vice-President; Gay 1.. Harrington, Vice-President; E. M. Hcineamm, Sccrctarr; ElcaBor
V. V. Brewster, Treasorer. "

STAFF FOB THE CLASSIC: '

â– Ttinli â–¼. Brewitar. WIl.i

F»«<Mh> I- n»lll. Maai^ctaw EdH«^

Dorothy Donnell, Robert J. Shores, Friizi Renoot Associate Editors

Gay L. Harrington Business Manager

Duncan A. Dobie, Jr Dtrcctor of Advertising

Rufns French, Inc . Eastern Manager

.Archer A. King, Inc Western Manager

Mriz B. Hayes \rw Enfland Manafer

46

48

50

55

56
38
59

60

m

(rite)

Thj^ Buca^nv, pablisiied monthly, comes o«t on the 15th. Its cMcr sastcr, the MonOM PicnniK Macazibk,
ciMBcs out'oD the first of ctct7 month. Swabowluiv appears oo the 23tA ot each mfth.

tntnung^/Tiitiiorshtp

^^"^"^ ftjWteWrftie.WlurftoWrile.
and Where io sell.

CiAnUe yov •muL DnUop
yowr wktr^ry nfts. Notawr the
«vt of a^-ci^mtfsion. Moks
IKMT «pat« Hna* pro^^ddble.
Ivm ycvr id#a< mlo 3oILn«.
Coursea in Short -Story Writ-
iocVeraiBcation, Joumabsm,
Play Writing, Photoplay
Writing etc, taufbt pcnoa-

Dr.E5«nWein al»y by Dr. J. Bert E«=nwein.

lar many y«ar* etfitor of Lippincott'i Mae^xine, and

â–  ataff of hter^ry experts. Coostructrre critiasm.

Frank, honest, helpful mAvicc. /fc^ tcMJiing.

%0ritimg mtamw.

. otfacT loatitubaB or atB^BCy doinc ao mocb for

[ or old. The tsuv^raitia reoocnuc thim. for over

laba-i oi tbc ^''^g*^* CToitira al tucbcT Bubto-

c umiyg^ IB Ota- Utcnry DcpTtinent- Tbc editors

c it.(ar they ■«<

Xfif Home Cbrrespoiuknce Sdiool

Dcpt. 1 1 2. SpringfieLd, MoAS.

fflMIMIWffrMITW-

PAINTING

AND

SKETCHING

CELECT your own

^ subject — love, patriotism

— write what the heart dictate^

then submit yoor poem to us.

We write tbe mcomic and wamrmattee: pwbliefc-

Our

compoeer â– 

Mr. Leo Friedman

one erf A]Berica*B wcO^known muticiati*. die aathor
al ouoT •OBC «uixij»L». audi as "Mmt M4t TomgU
m l>F»i»ili *.- "Ul Ut CmU Yam SmtHmml."
'Whtm I Dnmm t<OU EHm," and othen the niei

ml wtlt^ tmm itm mi «t CTi»»«i

■■ r«B wMl »Mi*t o»tov. Ova ■

Stage Plays That Are Worth While

(Readers in distant towns will do well to preser\e this list for reference when these
spoken plays appear in their vicinity.)

TRK Imm Ulnd Sctool of An offen cxCfOcal
CiaMaB !• a^Mtnui and mn atDiloits. Our oitcai
iBMJUMkn HtMlnale* tht tlBV^«ani
r Io niiiiiumi I la luidjrapr pslm-
Ms. PVOi w laatrwd IB a uctmlqiM bom nited
to tkHr liM>inw in and ■Ulltj. « iTAfvi wUdI
wlU i^Htv ^n III, an all year armscti allow tba
■ ■■hall to bcKlB tb«lr coarse at ajij Umt. Ow dtr
■■MIM Bi« alwaja oven to our pupUa li* crlUdak
«i. aailmta wbhtnc to Bl«r ax our U 1- atudloa for
A* MMI^KV. wtu find ezcellou tioardlrK ixar-lv-
rnwiH* aotlal affair* will Ivinc tlica In pef^aoal
iiaail wlKk ^nj cT «v aaat favaM sftlila. Addna

LONG ISLAND SCHOOL Or AR.T

I7SJ7 5-177 I>uffl«U St. Bnkoklrn. N.Y.

I ^jfor. — Fay Bainter in "East U West." The
I story of a quaint little Chinese maid who falls
in love with a 30ung American. Racial bar-
riers seem insurmountable, but there is a hap-
I py and surprising ending. Has all the ingredi-
I cnts of popular drama. Miss Bainter is pic-
I turesqucly pleasing.

I Century. — "Aphrodite." Highly colored and
lavish presentation of a drama based upon
Pierre Louys' exotic novel of ancient Alexan-
dria. Superbly staged adaptation of the play
[ that cau.sed a sensation in Paris. Dorothy
I Dalton, the screen star, returns to the sUge in
I the principal role of the Galilean courtesan.
I Chrvsis. and scores. McKay Morris is ad-
! mirable in the principal male role. The ballet,
directed by Michel Fokine, is spirited and
colorful.

Cohan and Harris.— "The Royal Vagabond "
A Cohanizrd opera comique in every sense of
the words. A tuneful operetta pins Cohan
?peed. pep and brash American humor. .\lso
tinkling music And a corking cast, with Grace
llsher, Tessa Kosta, John Goldsworthy and
Frederick Santley.

Cosmo.— "The Little WTiopper." Lively and
amusing musical comedv with tuneful score by
Rudolf Friml. Vi^enne Segal pleasantly
heads the cast, which also numbers Harry C.
Browne, who does excellent work, Mildred
Richardson, and W. J. Ferguson.

Comedy.— "Uy Lady Friends." Highly
amusing entertainment adopted from a Conti-
nental farce. Much of the humor is due to the
able work of Qifton Crawford in the role o£
a guileless young manufacturer of Bibles
whose efforts to spend money get him into all
sorts of difficulties. June Walker scores in
Mr. Crawford's support

Eltingc— "The Girl in the Limousine." A
daring, boudoir farce, by Wilson CoUison and
Avery Hopkins, centering about a bed, which
is invaded by every member of the cast during
the evening. John Cumberland is very amus-
ing, and prett>' Doris Kenyon, fresh from the
screen, lends every aid.

George M. Colian's. — Elsie Janis and her
gang. Lively entertainment built about the
experiences of the A. E. F. on the other side.
Well put together by Miss Janis, who shines
with decided brightness. A pleasant entertain-
ment.

Clobe. — "Apple Blossoms." The ambitious
and much heralded operetU of Fritz Kreisler
and Victor Jacobi, plus colorful Joseph Urban
settings. An offering far above the musical
average. John Charles Thomas sings admira-
bly. Wilda Bennett is an attractive heroine
and Florence Shirley lends a piquant person-
ality to the proceedings.

Hippodrome. — "Happy Days." Big and spec-
tacular production t>-p<cal of the Hippodrome.
The diving girls are again a feature, disporting
in the huge "Hip" tank.

//•«<xoii.— "Clarence " Booth Taddngton's
delightful comedy, built about the way a re-
turned soldier reunited a disturbed but typic-
ally American household. Superb perform-
ances by Alfred Lunt, Glenn Hunter and
Helen Hayes give the comedy a fine verve.

//ofTii. -"Wedding Bells." A light and
highly amusing comedy by Salisbury Field.
\dmirahly written and charmingly played by
Margaret Lawrence and Wallace Eddinger.
One of the things you should see.

Henry Miller's. — "Moonlight and Honey-
suckle." Ruth Chatterton in a charming
comedy that might have been a big hit had the
playwright taken full advantage of some Splen-
did situations in the last act. As it is, it starts
like a hare and ends like a tortoise.

Maiine Ellioll's. — "The Unknown WoniaiL"
.\ very emotional melodrama with Marjorie
Rambcau in Bendel gowns and tears. Jean
Robertson contributes a vivid bit as a "dope."

Morcsco. — "Civilian Oothes." A delightful
comedy to please evcr\-body. Brand new idea
and cle\'erl}' worked out. Thurston Hall in

the title role shares the honors with beautiful
Olive Tell. Suppc.rt excellent.

P/oy/iOujc— "Palmy Day>." A picturesque
drama by Augustus Thomas, in which Milton
Lackaye does the finest work of his career
since "Jim the Penman."

Plyiiioiilh.~"The Jest," Arthur Hopkins
production of Sem Benelli's colorful and grip-
ping Florentine drama. John and Lionel Bar-
rymore arc again seen in their original roles.
An admirable cast and Robert Edmund Jones'
settings lend splendid aid.

Princess. — "Nightie Night." Described by
the program as a "wide awake farce," "Nightie
Night" lives up to its billing. It has plenty
of verve, ginger, and some daring. There are
scores of laughs. Heading the very adequate
cast are Francis Byrne, Suzanne Willa, Mal-
colm Duncan and Dorothy Mortimer.

Shuberi. — ^"The Magic Melody." A "roman-
tic musical play" with a tuneful score and a
picturesque Willy Pogany setting. Charles
Purcell, Fay Marbe, Julia Dean, Earl Ben-
ham and Carmel Meyers, the last two well
known to the screen, head the cast.

Tliirly-ninth .Street Theater.— "'Scandsi,"
Cosmo Hamilton's daring drama which Con-
stance Talmadge played on the screen. Fran-
cine Larrimore and Charles Cherry have the
leading r6!es in the excellent footlight produc-
tion.

ON TOLIR

"Ah Exchange of Wives." Another Cosmo
Hamilton comedy which, however, never at-
tains the spontaneity or piquancy of "Scan-
dal." The chief blush-inducer is a scene on a
sleeping porch. ,

"See-Saw." — A pleasant musical entertain-
ment. The delightful Elizabeth Hines stands
out and Dorothy Mackaye is pleasantly cast.

"She Would and She Did." Grace George
in a light (very light) comedy founded on a
little hole in the golf links which Grace angrily
made, resulting in her suspension from the -club
for two months. Society and golf folks will
probably find this an entertaining little play.

E. H. Sothcm and Julia Marlowe in
Shakespearean repertoire. These artists rep-
resent the best traditions of our theater and
their revivals of "Twelfth Night," "Hamlet,"
and "The Taming of the Shrew," are distin-
guished in every sense of the word.

"The Better 'Olc." The Cxibum production
of the musical comedy based upon Bruce
Baimsfather's new immortal cartoon creation.
Old Bill Mr. Cobum's characterization of Bill
is still as remarkable as e\Tr.

"A Lonely Romeo," with Lew Fields. A
lii^t show running in the usual groove.
Frances Cameron, who is developing remarka-
bly, is the bright figure of "A Lonely Romeo."
while Mr. Fields is hisJuunorous self. There's
a decidedly funny scene in a men's hat shop.

"Chn Chin Chow." An opulent and beautiful
musical extrax-aganza based upon the Arabian
Nights tale of Ali Baba and the Forty Thieves.
Dazzling series of sensuous stage pictures.
"Oiu CMn Chow" is presented this year with
an entirely new edition and new costumes.
Marjorie Wood makes a colorful desert
woman, Lionel Braham is very effective as the
robber sheik and Eugene (Towles makes the
role of steward stand out. George Rosely plays
the young lover admirably.

"La La Lucille." Musical comedy built
around the efforts of a loving couple to ar-
range a divorce in order to live up to the
lerms of a millionaire aunt's will. A co-
respondent is engaged and troubles begin. John
E. Hazzard and Janet Velie play the would-be
divorcees, while Marjorie Bentley and Helen
Oark give able assistance. Light sonuner en-
tertainment

The Shuberi Gaieties of igig. A lively revue
/with scores of statuesque girls and sttmning
frocks. A decidedly attractive entertainment.

MOTION PICTURE CLASSIC

"John Ferguson." A straight drama ihat
compares favorably with anything of the kind
that New York has seen for years. Beauti-
fully staged and acted. Masterpieces of tliis
kind should be liberally patronized to encour-
age others.

George White's "Scandals of 1919." All
sorts and \^riations of dancing make up for a
lack of story or humor. The real star is
piquant little Ann Pennington — as seductive a
little iazzer as ever shimmied on Broadway.
Then there's the lively dancing of Mr. White
himself.

"Friendly Enetmes." This is the record-
breaking comedy drama of last se^ott, with
Louis Mann in his original role.

"At 9:45" An absorbing melodrama by
Owen Davis. One of those thrillers in which
every one in the cast is suspected of murder
until the hiial curtain. Marie Goff proves to
be a genuine discovery as the heroiue, and an
excellent emotional performance is given by
Edith Sha>'ne.

"Three Wise Fools." Austin Strong's hu-
man little drama of three crusty old bachelors
who are bequeathed a young woman and who
are subsequently rejuvenated. Melodrama
with a heart throb. Helen Menken gives a
striking performance of the nerve-racked hero-
ine, while Claude Gillingwater is a delightfully
testy old Teddy Findl'-v.

"She's a Good Fellow." A light but pleasant
musical comedy built about the efforts of old
folks to break up a marriage between a loving
3'oung couple. Joseph Santley is a likeable
lover-husband, masquerading in skirts for a
whole act Iv>' Sawyer, the very pleasing Ann
Orr and Scott Welsh lend delightful assist-
ance.

"Listen, Lester" Lively, dancy show with
considerable humor. Cast includes Gertrude
Vianderbilt, Clifton Webb. Ada Lewis, Ada
Mae Weeks and E^die Garvie.

"39 East" A charming comedy founded on
a boarding school romance in which many in-
teresting characters make love-making difiicult
for a pair of j'oung lovers.

. "Up in Mabel's Room." Piquant, daring but
decidedly amusing farce built about the pursuit
of a dainty pink undergarment which bears the
same name as a recent jazz dance. Admirable
cast, including the radiant Hazel Dawn. "Up
in Mabel's Room*' is an admirable example of
well-knit farce.

"The Unknown Purple." Interesting and
well sustained thriller. The story of a convict
who discovers a way to make himself invisible,
transforming into a purple ray, and who starts
out to get revenge- The invisible man steals
necklaces, opens safes and passes thru doors.
Richard Bennett gives a vigorous performance
of the human ray.

"Take It From Me" A comedy with music,
in which a sporty young man falls heir to a
department store and runs it according to the
latest musical comedy methods.

"Three Faces East." Another Secret Ser-
vice-German spy drarti^ this one by Anthony
Paul Kelly, one of our most successful photo-
playwrights. The principal charm of this play
is in trying to guess who are the German spies
and who arc the Allies, just as we were puzzled
in ''Cheating Cheaters" to know who were
burglars and who were not.

LEADING PICTURE THEATERS.

Loew's N. V. and Loew's American Roof. —
Photoplays; first runs. Daily program.

Loea/s Metropolitan . Brooklyn. — Feature
photoplays and vaudeville.

Riz'oli. — ^De luxe photoplays with full sym-
phony orchestra- Weekly program.

Rialto. — Photoplays supreme. Program
changes every week.

Strand. — Select first-run photoplays. Pro-
gram changes even,' week.

Capitol. — Special screen prtKluctions phis a
de luxe "demi-tasse" revue. An extraor-
dinarily beautiful playhouse.

(Seven)

AN APOLOGY AND
AN EXPLANATION

On October ist, 1919, practically all of the printers and type-
setters in and around New York went out on strike, including
those who print this magazine. Without going into the merits
of the controversy between the employers and the employees, we
will simply say that we had no voice in the matter one way or
the other. Several labor unions had differences among them-
selves, and these differences caused the Publishers' Association
to refuse to comply with the demands of certain labor unions.
We do not belong to the Publishers' Association. That body
conducted all the negotiations. When the printers and com-
positors walked out, it was not in our power to make them walk
back, even if we had been willing to give them everything they
asked. Had we terms with one union, another union would
have refused to handle our paper, and another union would
have refused to make the plates which are necessary for us to
have. In other words, our hands were tied. We were helpless.
Some publications were fortunate enough to have some of their
printing done for them in distant cities, some had it done by some
other process (such as typewriting photographed) and some
could not have their work done at all. The strike did not end
until the latter part of November, having lasted nearly two
months.

During this time we did everything possible to supply our
readers with this, their favorite magazine, on time and in good
condition, but such was not possible. We left no stone unturned
and were willing to go to any expense, but in spite of every effort,
we were unable to meet the schedule, hence we were late.
Furthermore, the magazine that you received was not the one
we intended to give you. When the strike came on, this magazine
was partly made up and partly printed, but we were unable to
move either the type or the parts that had been printed. We
managed to get out a MAGAZINE, but it was not the kind of
magazine we wanted, it was the best we could. We could not
even print an explanation and an apology, hence this one. We
hoped, and still believe, that all of our esteemed readers, even
those in distant parts, had heard of the great tie-up strike and
that they would patiently wait. Some of our contemporaries took
advantage of our extremities by issuing extra large editions on
an advanced date, hoping thereby to secure some of our readers,
instead of extending us the brotherly hand and saying, "Is there
anything we can do for you in your distress?" We hope that
they have largely profited by their business sagacity, but we be-
lieve that we have not lost a single reader. Once a reader always
a reader.

We are now fully recovered from the disaster and from now
on our readers may expect the finest magazine possible We
have done this for ten years and we can do it now. WATCH US.

THE M. P. PUBLISHING CO.

Why Do People Like

AV^Uiam S. Hart and
Dorothy Dalton

WHY is Dorotfav Dalton so well loved by
her follower? Why does William S.
Han attract and hold the admiration
of almost every one? They both know the
secret of nuking people Ukc them.

If DoToth) Dalton and William S. Hart can
do the thing that makes themselves liked by
ihe most cosmopolitan audience in the world —
people the>- never see — think how much easier
it will be for yon to master this ability — win
the confidence and liking of the people with
whom yoo come in ccmtict.

You too can have the power of making
people like yoo. For by the same method used
by Dr. Illackford in analyzing Miss Dalton and
Mr. Hart, yoo can, at a glance, tell the char-
acteristics of any man, woman or child^ell
instantb their likes and dislikes, and YOU
CA.\ M.\KE PEOPLE LIKE YOU. Here is
how n :s done.

Everyone you know can be placed in one of
two general types— blond or bmnet. There is
jts big a difference between the characteristics
of a blnnd and those of a bnmet as there is
between night and day. You persuade a blond
in one way a hmnct in another. Klonds en-
joy one phase of Ufe- bnmets another. Blends
make good in one kind of job — bruncts in oae
entirely dilTerenL

To know these differences scientifically is
^e first step in judging men and women; in
getting: on with them; imtstering their minds;
in making thenf like you; m winning their
respect, admiration, kive and friendship.

And when yon have learned these differ-
eiicr»— when yon an tell at a glance just what
to do and say to make any man or woman
Hkc yju, yoor success in life is assured.

What Dr. Blackford Says

{Partial OMOlysit tmade frorm Photog rapks\

Miss Dalton has'a particDlarly fine physical iirganization. She belongs to
the vital-motiTe trpc. Note the roundness of her features and tlic fullness of
her figure. Tlie motive qualities show in Uie squareness of her face in full
front view, and in the graceful poses and movements of her body. She lias
splendid recuperative power. This gives vivacity, responsive energies, warmth
and enthusiasm of nature.

Miss Dalton is distinctly feminine in type. Note the slightly concave nose,
tilted up at the end, the soft cnrves of her face and body, and the cnpid^low
lips. Feminine characteristics are further shown in her lar^e, soulful eyes,
her long, curling lashes, and the subtle humor and coquetry m her facial ex-
pressioo.

Miss Dalton belongs to the convex type, with the exception of the nose,
which is plane tending to concave. Convexity of features indicates keeilness,
quick responses, quickness in action and directness in speech. These qualities
Miss Dalton manifests in her quick responsiveness to conditions of environ-
ment, in her quick comprehension of artistic values and her readiness to iKake
the most of a dtamatic situaticm.

She is very emotional and strongly sentimental, and appeals to- these
qualities in her audience. One loves Dorothy Dalton because she has the alt
of winning yooT affecticm through her heart appeaL

Paul Graham was a blond, and not until He
had learned that Ihere was all the difference
in the worM between the characteristics of a
blond and those of a bnmet did he discover
the secret of making people like him.

Paul had been keeping books for years for
a large corporation which had branches all
over tlie country. It was generally thought
by his associates that he would never rise
above that iob. He had a tremendous ability
with figures — could wind them around his little
finger — but he did not have the ability to mix
with big men ; did not know how to make
people like him.

What Miss Dalton's Manacer Says:

Then one day the impossible happened. Paul
Graham became popular. Business'men of im-
portance who had formerly given him only a
passing ncd of acquaintance suddenly showed
a desire for his friendship. People — even
strangers — actually went out of their way to
do things for him. Even he was astoimdcd
at his new power over men and women. Not
only conid he get them to do what he wanted
them to do, bat they actually anticipated his
wishes and seemed eager to please him.

From the day the change took place, he
began to go up in business. Now he is the
Head Anditor for his corporation at an im-
mense increase in salary. And all this came to
him simply because be learned the secret of
making people like him.

Another example — the case of a large maim-
facturing concern. Trouble sprang up at one
of the factories. The men taSced strike.
Things looked ugly. Harry Winslow was sent
to straighten it out. On the eve of a general
walkout, he pacified the men and headoi off
the strike. And not only this, but ever since
then, that factory has led all the others for
prodoction. He was able to do this, because
he knew bow to make these men like him and
to do what he wanted them to do.

Another case, entirely different, is that of
Henry Peters. Because of his ability to make
people like him — his faculty for "getting under
the skin" and making people think his way,
he was given the position of Assistant to the
President of a large firm. Two other men,
both well liked by their fellow employees,
had each expected to get the job. So when
the outside man. Peters, came in, he was
looked upon by everyone as an interloper and
was openly disliked by every person in the
office.

Peters was handicapped in every way. But
in spite of that in three weeks he had made
fast friends of cvcrytme in the house and had
even won over the two men who had been
.most bitter against him. The whole secret is
that he could tell in an instant how to appeal
to any man and make himself well Hked.

(Kigkt)

A certein woman who had this ability
moved with her family to another town. As
IS often the case, it was a very difficult thing
for any woman to break into the chill circle
of society in this town if she was not known.
But her ability to make people like her soon
won for her the close friendship of many of
the "best families" in the town. Some people
wonder how she did it It was simply the
secret af work — ^the secret of judging people's
characters and making them like you.

You realize of course that just knowing the
difference between a blond and a brunet could
not accomplish all these wonderful things.
There are other things to be taken into ac-
count. But here is the whole secret.

You know everyone does not think alike.
What one likes another dislikes. And what
offends one pleases another. Well, there is
your cue. You can make an instant "hit"
with anyone if you say the things they want
TOU to say and act the way they wani'you to
- act Do this and they will surely like you and
believe in you and go miles out of their wav
to PLEASE YOU.

You can do this easily by knowing certain
simple signs. In addition to the difference in
complexion eveo' man, woman and child has
written on them signs as distinct as though
ihey were in letters a foot high, which show
yon from one qnick glance exactly what to
say and to do to please them — to get them to
believe — ^to think as you think — ^to do exactly
what yon want them to do.

As tmerringly as Dr. Blackford has told the
characteristics of Miss Dalton and Mr. Hart
yon can tell the weak and strong points of
character in everyone you meet.

Ill knowing these .'•imple signs is the whole
secret of getting what you want out of lifc-r
making friends of business and social advani.
tage. Every great leader uses this method-
That is why he IS a leader. Use it yourself
and you will quickly become a leader — noth-
ing can stop yoiL

You have heard before of Dr. Blackford
•he Charaaer Analyst Dr. Blackford's de-
velopment and application of the science of
Character Analy^sis has been built «on a sohd
foundation of direct professional study of all
kinds of men and women. After years of ex-
ten.sive consulting work among business con-
cerns, merchants, manufacturers. Chambers of
Commerce, and trade associations. Dr. Black-
ford made a trip around the world, observing
widely different races, comparing notes with
leading specialists of forty nations, comparing
theories with such famous authorities as Al-
fred Haddon, Metchnikoff and Giuseppe Sergi,
and studying the exhaustive records of Ber-
tillon. So Dr. Blackford's store of ideas in
the realm of human relations has become
probably the most carefully arranged exhibit
of facts on cliaracter stndv in the United
States. " .

It is not surprising, therefore, that many
concerns will not employ a man without first
getting Dr. Blackford to pass on hmi. Con-
cerns such as Westinghouse Electric and
Manufacturing- Company. Baker- Vawter Com-
pany, the Lanrentide Company, Ltd., and
many others^ pay Dr. Blackford large annual
lees for advice on dealing with human nature.

So great was the demand foi- these service*,
that Dr. Blackford could not even begin to
fill an the engagements. So Dr. Blackford
has explained the method in a simple se»'en-
•eson coarse, entitled, "Reading Character at
Sight" Even a half hour's reading of this
wonderful course will give you an insight-
mto human natiue, and a pow-er over people
which will surprise yoa.

Such confidence have the pubUshers in Dr.
".•"cfcford's Coiu-se, "Reading Character at
Sight," that they will gladly .send it to you on
approval, all charges prepaid. Look it over
thoroughly. See if it Kves up to all the claims
made for it If >-ou do not want to keep it,
then rctam it and the transaction is closed.
And if you decide to keep it— as you surely

What Dr.
Blackford Says

[Partiaf analysis tuade
from Photographs]

Mr. William S. Hart is a
fine c&amplc of a ketn intel-
lect, dominating and direct-
ing both the activities of his
muscles and the play of .his
emotions. This characteris-
tic enables its possessor con-
sciotisly and uncrringlr to
express in the finest shad-
ings of posture, gesture,
walk, and features, just the
meaning he wishes to con-
vey.

This is shown first, by the height, breadth and depth of his forehead and the keenne« nf hi.
fl!- "^■*^''"^ intellectual power ol penetration ; second bv the length an"firm^« of hie ?. J^L
p£;3S*iTc"^tir''"' "' cmotion-and the length and fineness of Si? chil. tTa^ng c'o^trTTf

Keen observation is shown in the fine development of the lower oart of th*. inr-h^ i _^--». -

aliiO as 1 basis for jtidKineDt as to what will plijast thtm in the pictures. sjrmpatlues, bat

One of the most marked traits about Mr. Hart is his determination which is d»>-_ ^ .1,-

n.s.r^'^^st^.i'^'-n^i^^^^^^^^s^'t:^ ^d^'f's'f'eh^^ '■•« -■"•^-o

hjs ^^r-.^ Lâ„¢ws "ETw f^^i^-s. "J^ssi'^nf i^~^,rr;;faAre.n^-in"^

5SfeVd^•^B^'ti"'an7•SSlc',es.*"™-' ""^ *'^' "■" '^' ''"^^^tion tVU^'plSTlhS. "^

. .J^'^ "* I"*!""" «•"<* liTK^Iy eipUm Mr. Hart's stu»~ss in motion nictnm ht h, ,AA.
to them an miusoal capaoty for concentration. He not oniT starts, bu. ^o ^.^fTu^' ^ ^.

and difficult the job, J.e sticks and he finishes. ^ ° """" '""• 'b««r«»»>fc

will— then merely remit five dollars in fnU
payment

Remember, yon take no risk, vou assume no
obligahon to buy. The entire "course goes to
jou on approval You have everything to

^. '■??"' *^"' ''°* *° ""^f: people like you.
whde this remarkable offer is still on.

Indq>endent Corpcx-atkm

Publishers of the Independent Weeklv
DfVt- B-S7I. 119 West 40th St. Nei' York.

You may send roe Dr. Blackford's Course
of seven^ lessons entitled "Reading Oiaracter
at Sight" I -will either remail the course to
you wthin five days after its receipt or send
you $5 in full paj-mcnt of the Coiu-se.

Name

Wliat Mr. Hart's Manaccr Siqrs:

Address

M. P. CiMrtc l-M

If you loDg for more color

Csr tku immtotu tre*tmtnt
for rounuf slugg%sk sk%m

lost before rctirittf. »***» TO"*"
Ucc »nd neck wilh plrnly o* Wood
btU7** Kacial Soap xnA warm water.
I( your »kin ha* been badly neg
Icctrd, rob a genfroo* lather thor-
Ottshly into the pores, mm% an up-
ward and outward motion. Oo
llm tintil the »kin (eels somewhat
â– rnvtive. Rinse well m wami
water, then in coW. Whenever
pc«siblc. rub your skin (or five min-
utes with a piece ol ice and dry
carefuny.

For pale, sallow skins

grealer stimntation.

requinnc
the nrw

treatment. You will find it

.J the booklet wrapped around every
cake o( Woodbmr'* Facial Soap.

To make your skin

noticeably lovely - Give it the reguW care it had
when you were a baby

When you were a baby, your
skin was exquisitely soft — clear,
delicate — daintily rose-pink and
white.

People loved to touch your rose-
petal cheeks, your soft smooth
little hands.

Do you ever stop to think what
kept your skin so fine and soft?
What is keeping it now from be-
ing as fine and soft as it can be?
No matter how you have neg-
lected your skin, you can make
it exquisite in texture. You can
have the glorious color of youth.
You must begin at once to give
. your skin the tender, regular
care it received when you were a
baby.

Every night Ijefore retiring,
cleanse it thoroughly — just as
thoroughly as a baby's skin is
cleansed every night. If your
skin has lost its delicacy and
clearness, use the particular

Woodbury treatment indicated
for its needs.

Do you want more color? Are
vour pores enlarged ? Have you
disfiguring blemishes or black-
heads ? These conditions are the
result of neglect and the constant
exposure to which your skin is
subjected. The right Woodbury
treatment, used nightly, will cor-
rect them.

Get a cake of Woodbury's Facial
Soap and have your first treat-
ment tonight. The feeling the
first two or three treatments
leave on your skin will tell you
how much good its regular use
is going to do you. In a week or
ten davs vou will begin to notice

a decided improvement — the
greater clearness, smoothness,
fineness and color you long foi

Woodbury's is for sale at drug
stores and toilet goods counters
throughout the United States
and Canada. A 25 cent cake
will last a month or si.x weeks.

Sample cake of soap, booklet of
famous treatments, samples of
Woodbury's Facial Powder,
Facial Cream and Cold Cream,
sent to you for 15 cents.

For 6 cents we will send you a trial size
cake (enough for a week or ten days of any
Woodbury facial treatment) together with
the booklet of treatments, "A Skin Vou Love
To Touch". Or for 15 cents we will send
you the treatment booklet and samples of
Woodbury's Facial Soap. Facial Powder,
Facial Cream and Cold Cream. Address the
Andrew Jergens Co.. 901 Spring GrOTC
Avenue, Cincinnati. Ohio.

Wrapped around every
cake of Woodbury's Fa-
cial Soap is the booklet,
"A Skiu You Love To
ToL'ch." It contaims set-
cmtific adz-ice ok the skim
and scalp, and fnil di-
rections for alt the fa-
mous Woodbury treat-
ments.

(Ten)

LOU-TELLECEN.

loTicssr

Fhotocraph hj De Meyw

liA.eCIC

Photograph © by Alfred Chcnty JohnilM

MARY MILES MINTER

A IxMiisiuu (irl, little Miss Minter,
then known as Juliet Shelby, served a
lone stage apprenticeship as a child.
Her real hit came in the girl in "The
Littlest Rebel" with the Famums. "The
Fairy and the WaiT' shortly after marked
her silTersbeet ithat

Photograph @ by Alfavd Cheney Johnston

CORINNE GKIFFTTH

Miss Griffith is nniversalljr recofnixsd
as one of screenland's beauties. Bom
in Texas, Miss Griffith started with
Western Vitasraph — and she has since
continued with that orfanization; altho
society drama, nther than rugged
frontier stories now serre as her Tehides

MAY ALLISON

May Allison is now accepted as one
of our foremost comMiennes. Miss
Allison is a Dixie girl and a member of
the famous Wise family of old Georgia.
The stage served as a stepping stone to
the screen, where she first attracted
attention as a leading woman for the late
Harold Lockwood

Photograph by Evans, L. A,

§

natetnsh bj Caapbdl Stndioi

JUNE CAPRICB

Miss Caprice is a Boston eirl- She made
her film dibut as a star with William
Fox in "Caprice of the Mountains" and
a star she has been ever since. Jnst now
she is under the Caprllani banner

THIS is no conventional chat-
for-an-hour interview — this
composite view of Dick Bar-
thelmess. For it is the product
of many hours together ; in the
country, in the city, under vary-
ing conditions.

I would shudder to write my
impressions of Barthelmcss after
seeing him once. He is too elu-
sive, too much within himself.
He sits half broodingly, saying
ery little, laughing now and then
ith typical boyish high spirits, tempered by an odd
mi-worldliness. But to paint a word picture of
im after one meeting would be impossible.

I know that now I have not wholly found the
real Barthelmess. But here and there in our con-
versation flashe.s have revealed something of this boy
who became famous over night for his Yellow Man
in "Broken Blossoms."

We first met after the premiere of the Griffith pro-
duction He had everj- reason to have lost his head
in the avalanche of praise. But he hadn't. A sin-
gular mental balance is his.

Indeed, he is the most nniisnal young actor I ever

Barthelmess: the Boy

met. Because be isn't the least like a player. None of the
things we call temperament are there, just a down-right,
reguhu', breath-taking boyishness. Not a slam-bang, certaiu-
of-himself bojrishness either, but a quiet, introspective sort

Just before this "interview" was written we went to a
musical comedy together. Barthelmess didn't lan^ at the
cheap humor of it. Neither did he assume a high-brow air
in commenting upon its banality. But he was frankly — and
boyishly — interested in the girls.

Some one interviewed Barthelmess on the coast and pro-
nounced him a shrinking lad who loved books. They dtdt^t
see him as I saw him.

Yet Barthelmess does lo-'e good books. He reads a great
deal One night he dropped a volume of Blasco Ibanez
to have dinner with me.

But Barthelmess is many sided.

He loves the feminine note in life.

His ideal type of girl ? "Rather tall and slender," he said,
(and I know he will shudder to read this), "she needn't
necessarily be either blonde or brtmette, but she must be
attractive."

"What about brains?" we parried.

Barthelmess paused. "I was thinking of an ideal dancing
partner. Of course, I hope some day to meet a combination
of beauty and brains. Possibly I have met them but they
have not been able to see me for dirt." No coiKeit there.

Yes, Barthelmess loves to dance. Cabarets appeal to him.

But he confessed: "After two or three weeks of New
York night life — with theaters and midnight dancing — I
feel as if I were wasting myself. Sort of as tho I needed
a mental bath."

Then — odd as you may think — Barthelmess goes away
into the country, near his home in Connecticut.

"I have a quaint old room in a quaint old farmhouse," hf
relates, "I sleep in a four-poster and I sleep. I
read a lot and I dream. Somehow. I guess I like

Dick Barthelmess -isn't the least like >
pb^er. None of the things we call tem-
pcrunent are there, just a down-right,
regalar, breath-taking boyishness. Not
a slam-bang, certain-of-himself boyish-
ness, but a quiet, introspective sort

that best of all." Did I .say
Barthelmess is many sided?

No, Barthelmess is not "tem-
peramental" as the word is used
in screen circles. Not that he
lacks ambition. He has fought
every inch of his way.

His mother an actress. Bar-
thelmess came from collie to
try his luck on the screen. The
role of the younger brother in
Herbert Brenon's "War Brides"
with Alia Nazimova, gave him
his surt. But it by no means
made him. He drifted, not quite
able to do anything big anywhere.

"I almost starved before my
opportutiity with Griffith came.'
he told me laconically, "really al
most starved."

Naturally Barthelmess looks

(avteen)

A Composite Study

By Frederick James Smith

npon Griffith with eyes of genuine worship. "He
is more like a father than an emplojrer or the
master the world sees," the young actor says.
"Gee, 111 be glad when he comes easl I always
feel that I can tell him all my troubles and atways
be told just how to solve things?"

That was before Griffith brought his studio
staff eiist and b^;an producing in Westchester.
(Right here let me add that the producer re-
mailcs anent' Barthelmess and Bobbie Harron:
"No cleaner minded boys ever lived.")

Of course, Barthelmess just a bit envies the
young stars of the celluloid drama who have
every means, particularly financial, to advance
themselves. "I wish I had money to buy plays
and books now and lay them aside for a future
day, when I shall have learned enough and made
enough friends everywhere to be a star — that is,
if that day comes."

His favorite role? Not the Yellow Man but
the lover with Marguerite Oarke in "Three Men
«nd a Girl." He likes that sort of light romantic
character best. Probably, "111 Get Him Yet" is
his next choice.

The Mexican vagabond hero of "Scarlet Days"
interested •Barthelmess a great deal. "It was
different, at least, to ride a mustang and wear
a mustadie," he laughs. Critics have said that
it was a boyish Walthall come to the screen, this
stesitive, glamorous, dashing desperado with the
haunting vein of humor and sadness. ^

Barthelmess has been playing a beachcomber m

Bartfaelmeas loves mo«t of all to May
at his old home in Connecticiit.
"I have a <iiuunt old room in a quaint
old fannhoose," he lays, "I deep in
a foor-poiter and I aleep. I read a
lot and I dream." Two viewa of
BrthflmfM in "Scarlet Days" are
iriiown on dieac pacea

a forthcoming Griffith story of the South
Seas. This will be his latest contribution
to the screen — and a fascinating one it
should be, with. Barthelmess plajring
opposite Clarine Seymour, the famous
"cutie beautiful.'' Miss Seymour por-
trays a hula hula maid — and does it viv-
idly, judging from our studio glimpses.

But to return to Barthelmess.

There is no question but that Dick
holds a place all his own on the screen.
Comparisons have been made with Charles
Ray, but the two young men are poles
apart. Youth alone makes them com-
parable. Ray is the film's foremost ex-
ponent of the genre school — Barthelmess
of the humanely romantic school.

The silversheet has needed just this
touch. It has been missing since Wal-
thall contributed his "little Colonel" to
"The Birth of a Nation." The Yellow
Man was the first idealistic touch of poet-
ry since that lovable character.

There is one vivid thingin Barthelmess'
character that I haven't touched upon.
{Cotttinued on page 74)

(Senenleeiti

The Youngest of the
House o' Hammer-
stein

to be {Jaced, we didn't actually get started until
three this morning, and mother and I didn't get
home until five, and— O, well, the world's going
around just the same."

She laughed and curled up in a brocaded chair.
I was glad it was near the window, because every
now and then, as she turned, the light reflected
the moist greynesS of her eyes, and from the twin-
kle they flung out I knew I liked her right away—
that she was the sort everybody liked— enor-
mously^right away. She was so vibrant, so full
of fun. . . _

"Yes, the suburbs of Phfladelphta. They were
my background until I was seventeen," b^;an
Miss Hammerstein. "I was brought up at a per-
fectly dear seminary called 'The Armitage.' If it
wasn't for 'The A r-
The sut)urb« of PhiladelphU milage,' I suppose I'd
were Elaine Hammerstein's (,£ a musical comedy
background .inta she was seven- gtar today. So— thank
teen. She was brought up m ■ »"■ ,^ t„, 'Th^ Ar.
seminary caUed The Armitage.' the Lord for Ihe Ar-
Across the page is a glimpse of milage'."
Elaine and Myron Selznick, her Then she jovially

manager ^Q^^ ^^ „£ jhe sum-

rwas the first taste of November. Rak
shot thru the air and there was suffi-
cient chill to warrant furs and a wrap.
Brrxl

The soap-scented elevator lifted me to im-
4neasurable heights, where I got out amongst
the clouds at the — th floor, and sailed in
upon a soft atmosphere of blueness that was
— heavenly. A maid told me to wait. (There
are maids in these places.) And from my
glory of azure velvet, underneath a lamp of
golden tints, nooked out on the drizzle —
doubting its reality.

Elaine came into the room, and I saw the
purple of her kimona, the grey of her eyes,
and the tiniest auburn veil that glimpses
thru her hair — and I knew movies were
never like this!

"Good morning," said Miss Hammer-
stein. My maledictions on November
changed instantly to enthusiasm for the sea-
son. "Good morning. It's funny how I can
say 'Good morning,' isn't it, when I thought
a few hours ago that everything in the uni-
verse was changed. You see, all day yester-
day I was working on 'The Country Cousin'
at Glen Cove. Last night we were called up-
on to go to Scarborough to take some scenes
of a garden fete, and, due to the many lights
that had to be used, and the extras that had

(SigM»tit)

f^a

By G. Biythe Sherwood

mer she was vacationing in Canada.
Elaine loves the outdoors. She is crazy
about swimming, riding, paddling, and
keeping generally fit for sportsmanship.
Along towards the end of a glorious Au-
gust came a note from her father which
read, "Come home. I have had a part
written for you in 'High Jinks'." Elaine's
father is Arthur, and Arthur's father was
Oscar — the late Oscar Hammerstein. The
one.

Elaine went. She rehearsed. And had
a violent time with the make-up. For
"The Armitage" even powder had been
forbidden. And the day after the pre-
miere at the Casino Theater in New York,
Elaine — by the critics and by the public —
was acclaimed a hit I Everyone went wild
over the freshness and piquancy of Mr.
Hammerstein's young, beautiful daugh-
ter. They thought she
had the most delight-
ful, natural way. But
no one, except Elaine
and her mother and

(Nineteen)

Elaine Hammerstein loves tlie outdoors.
She is crazy about swunming, riding,
and boating. Indeed, she went on the
stage in her father's "High Jinks" after
a summer in the Canadian wilds

her father, knew that she had never sung
or danced before in her life!

Miss Hammerstein laughed so deliciously
as she confided all this to me now, but a
moment later she sobered, when she recalled
the nights thaf followed nights with her pic-
tures in the papers — and how it hurt her —
along with the way the people of the com-
pany felt towards her because of that pub-
licity.

"I didn't care a bit for the old clippings,
and worse than that, I couldn't stand the
footlights, and the necessity of having to
work on Wednesdays and Saturdays — when
tITe sun was out — and on evenings when
there was another play I wanted to see, or
a party of my friends who were going off to
dance or skate. It was a miserable time for
me. The only nights that were happy ones
were when the boys and girls from school
would come and sit ip a box, and wave to
me. And I'd return the salutations and
forget the play — and father would send
{Continued on page 78)

JOHN BowEKS, leading man
of many pictures, has just
signed a contract for an-
other year of work with Gold-
wyn ; a year which — who
knows? — may end with his
becoming a star.

He is very handsome, is John Bow-
ers— but this could hardly be called
news — at least six feet in height and
athletic looking with dark eyes and
chestnut brown curly hair.

He tells a pathetic story about those
curls which is worth repeating here in
order to have it over with.. It seems
that recently, when he went to see one
of his own pkrtures run oflF at a local
theater, he heard a violent argument
between two women about his hair.
One insisted that "no hair could curl
naturally like that" and offered to bet
the other "every cent she had in the
worW" that it was marcelled. Let me
say right here that he was more in-
dignant than amused; he has done
everything possible to keep it plastered
down ever since.

But to get to my interview :

The fact that he is a good actor and
handsome are not his only claims to
distinction. Along the water front
many people entirely unfamiliar with
the famous ones of the stage and screen

The Owner of the
"Uncas"

"When the northwest wind is blowing hard.

And blue and while is the sky.
And the sharp-cut waves are streaked and scarred.

Where the darting squalls race by;
When the leeward shrouds are whelmed in green

And the leeward deck's a foam,
\^nd a dancing wake all "white is seen

Back toward the shores of home —
OP,, that is the day mv heart would choose

For setting sail on an Augtist cruise."

—At. A. Dellolfe Howe.

recognize the name of John Bowers just as soon as it is spoken.
"Who, him?" one of these will say, "Why, sure! I know who he is!
He's the owner of the Uncas, a racing yacht with just about the classi-
est li'l record you ever saw ; bought her some little time ago — "
It is this yacht that John Bowers thinks of as home.
This doesn't mean that he has no love for the little white bungalow
just two blocks from the Goldwyn studio, where he and Mrs.
Bowers play at keeping house. He couldn't help being fond
of it, the place is so pretty. And, too, "We have lived so
long in hotels and apartments," he said, "that life in a real
house seems like a game." But "a man's home is where his
heart is," and on the day I saw John Bowers his heart was
away off with the Uncas on the Hudson River. He was, I
think, the most homesick young man in the world. It was
a warm day in early August and a light breeze blew in from

the Pacific, reminding one that
Venice (and solid comfort in
a bathing suit) was only about
twenty minutes away. He was
playing the part of a photog-
rapher. He stood on a London
roof at the Goldwyn studio ; a
nice, solid, realistic roof about
twenty feet from the ground
with no house underneath,
and under Frank Lloyd's
direction, photographed
the funniest family group I
have ever seen. Director and

John Bowers loves
his yacht, the "Un-
cas," nore than
most anything else
in the world. The
* Uncas" is a $25,000
schooner yacht — a
70-f ooter — built on
long, graceful lines,
painted white and
with fittings of ma-
hogany

fTtoenty)

By ELIZABETH
PELTRET

cameraman were precar-
iously perched on a mov-
able platform opposite,
which rocked lightly at
their least energetic
movement while an or-
chestra, there for "at-
mospheric" purposes,
played teasingly a f e w
bars from "Rocked in the
Cradle of the Deep."

"The Uncas is really
doming," John Bowers
said, joining me when
the scene was over. "I've
made definite arrange-
ments at last. Hal and
Doc Wilson (shipbuild-
ers of Balboa, a sea-side
resort near Los Angeles,
and his inseparable com-
panions on many a
cruise) are going to
oiake up a party of seven
or eight people and bring
her around thru the
canal. I almost think I'd
like to sleep until she gets
here, the waiting will be
so long ! Talk about your
passionate love scenes —
I'm going to stage one
when that boat arrives."
He was speaking lightly
and whimsically but with
an undertone of serious-
ness. "I'm going to wade
out into the Pacific to
meet her and kiss her
right on the bow-sprit !"

He laughed at the idea
but he was more than
half in earnest. Anyone
who has ever owned any
sort of a boat knows that
it may seem as vivid and
living a thing as one's
dearest friend and as full
of unaccountable moods
and actions. And when,
in addition to this, she is
a beautiful boat and fa-
mous— well, one could
not ask for more. And
the Uncas is both beau-
tiful and famous ; she has
a raring record known
among yachtsmen everywhere.

She is a $25,000 schooner yacht — a seventy- footer — ^built on
long graceful lines, painted white and with fittings of rta-
hogany. Her staterooms are large and comfortably furnished.
He could take nine guests for a thirty-one day cruise without
their missing any necessities or luxuries. One does not won-
der that her young owner speaks of her with all the warm en-
thusiasm of a young man describing his sweetheart as "the
only girL" John Bowers has been interested in boats ever
since he can remember, he told me. The first one he owned
was a twenty-one footer and he built her himself when he was
still in his 'teens. He used to sail her around Lake Wawasee,

(Iwtnt]i-&iit)

John Bowers has a broad and
characteristic philosophy — a
belief that everything moves in
cycles and that individuals re-
turn again and again, each time
OA a higher pliuie, until they
reach perfection

Indiana, and he grew so expert in handling Eer that the only
"way he could get any excitement was by purposely "turning
turtle" when he knew his parents were watching him, frighten-
ing them almost to death and getting a lot of fun out of the
many attempts to rescue h'm. He is, by the way, one of a
{Continued on page 79)

veasted in lien

Photograph b; Puffer, N. \\

THIS is an amazing interview
because, (this will require
elucidation), it is not amaz-
ing at all; that is, save as an
interview. It is with Norma
Talmadge, and the day I sallied
forth to "get" her, I sallied pre-
pared to be amazed. "Of course,"
I thought, subwaying jerkily
along, "of course . . . young,
very young, really . . . the ex-
traordinary and undeniable touch of a
real genius . . . widely acclaimed . . .
at the top of the ladder, so to speak . . .
things are bound to have happened in her
as it were . . . sybaritic, perhaps . . . some distni;^iishmjf
eccentricity . . . couldn't be helped ... I dont know just
what . . . bat so met hint/ ..."

Nothing at all. The girl who, admittedly, stared, some years
,igo, at the .screen and murmured to her mother, in the .sur-
roundins; darkness, "That's what / want to do . . . be a movie
actress," who, afterward, wandered solitarily about the \'ita-
graph studio until she was given a chance — that self same
girl talked with mc in her own stmlio, the Norma Tahuadgc
Film Corporation, the other day. Talked tii//i me. not to me.
I say that advisedly.

In one preconceived particular I was right. She is young.
Marvellously young. More as to viewpoint and general man-
nerism, or rather, total lack of conscious mannerism, than cither
line or tint. She is possessed of that sophistication which ap-
pears to be unconscious of itself. She has ideals and does not
attempt to conceal them. There is no thinly applied veneer
of cvTiicism, nor, on the other han<l, is there the sugar-coated
b.^by-staring of the curly ingenue. .'>he is just a girl with a
soice of the divil in her and a belief in things . . . probablv
Santa Claus and fairies. She appears to be quite unconcerned
about herself, the eminence she has achieved, the altitude
from which she could look down upon the lesser lights.

A (if not the) consuming passion with her is her work. It is

The Amazing

By FAITH

interesting to know that she really and absorbedly loves it ; not
he resuhf only, generally she feels a dissatisfaction with them,
but wth the work itself, the details of it, the everyday, all-
night details. "I took a three months' vacation th>s â„¢e;
she said, "or tried to and after about one â„¢"th "early
went mad. 'Phoned the studio every day and finally cut it
; month short and got back imo harness 1 -ould never
stand the gentle art of doing nothing. That would be too

strenuous for me!" •Ronlah

We had a plain chummy sort of an afternoon, B^ulah
Livingstone, who does all of Norma's publicity and also that
of wf sister, Constance. Norma and I. There was only one
tentatively uneasy person present. That person was Beulah
Livingstone. She had "arranged" the mtervievv and she
was immensely anxious that the mterviewee and likewise
the interviewer should, as it were, come up to scratch, buch
did not seem to her to be the case. What possible press-
value could result from two giggling people who seemed to
be saying nothing more pertinent than admissions of jond-
ness for the same brand of cigaret, for "hen parties and
for certain unimportant persons having nothing to do with
the intensive field of interviewing? U' hat mdeed
thought Miss-Livingstone, prodding first Noniia and

Norma Talmadge is young.
Marvellously young. More
as to viewpoint and general
mannerism, or rather, total
lack of conscious mannerism-
She has ideals and does not
attempt to conceal them.
There is no thinly applied
veneer of cynicism' not any-
thing of the baby-staring of
the ingenue. Center, Miss
Talmadge and W y n d h a m
Standing at Miami, Fla.

Photograph by Puffer, N. V.

(Tuenlii two)

Interview

SERVICE

then myself, furtively and occasionally, in the
vain hope of turning the talk into publishable
channels. Eventually, be it said, she, too,
succumbed and we smoked and gossiped and
laughed a perfectly good interview away.
Also, this is probably more important to
me than to anybody, else, we spent. Norma
and I, several more of the precious inter-
rogative moments in comparing palms, both
hers and mine being equally wrinkled, lined
and then crosslined. "My child," said Norma,
with sagacity, "you're going to have a fear-
ful life, all .sorts of weird and interesting
things. That is what everybody tells me."
We were holding this frivolous session,
be it said, in Norma's (I am a realist, so it
has to be Norma . . . that is, she is going
to censor this interview, so it may NOT be
Norma, in whicji event you will know that
she has blue-pencilled it, which I lay an

Norma Talmidee ii a "regu-
lar person." She ii essen-
tially human. She is nothing
of the snob, nothing of the
highbrow. She detests the
easily and prudishly shocked.
She is free - and easy and
talk to-able and at-able

even wager with you she will not) as I was saying
when I interrupted myself, the wholly desirable "hen
party" was held in Norma's private apartment built for
her and by her in the Talmadge studio. I believe it is
the only thing of its kind in studioivity. I may be
mistaken, in which event there will be more blue-pen-
cilling done. This relieves me of all strain. The apart-
ment is delicious, compact and complete, aside from
being an innovation. You step from the hammering
and shifting and shouting and general activity of the
studio into quite another world, quiet, tasteful, apart.
There is a tiny entrance hall. There is a large sort of a
main room, part living room, part dressing room, which
is, of course, its .chief use. The walls are a soft cream
effect and the high windows are hung in some sort of
effective cretonne. There is a mammoth black wicker
dressing table topped by an oval mirror framed in black
wicker. There is a comfy black wicker chaise-longue,
occupied that afternoon by a diminutive and much-
beloved "Pom." There are one or two made-to-be-sat-
in black wicker chairs. A broad window-seat, uphol-
stered, runs beneath the cretonned windows. There are
two capacious clothes closets containing sundry cos-
tumes. Aside from all this, there is a complete little
(Continued on page 87)

\ An

Old-Fashioned

Girl

of nventj-fiv-e doUars a month denved

frotn some prop«rt>- ot her ovrn. The
br^e V^g mother did the thmg she
S best how to do She raised blooded
stock and pedigreed hunting dogs. Her
f^°^ts caK live with her and a new

â– '''%UrMacIvor was a deUcate child.
^bVw'as unable to attend school regu-

•";-;v and was taught by her mother at
•:-V~;e Her maternal grandparents were
Scholarly people, and Mao'^s first recol-
■e-°ons are ot the poems her grand-
t::lr ,..ed ro recite. His collection of
-:,s ;.s her playground^^ She^began

early and
whiled away
the hours
curled up in
an armchair,
either read-
ing to herself
or listening
to her grand-
father.
Mary's first

L«ft. William .Des-
mond, hnrtrnd ot the
"old-fashioned gin
and, below, the^ De*-
mosds at breaiiast m
their HoUywood bun-
gilow. Miss Maelvor
is ii:8t past e:«ateen
and' looks Uie a mere
schoolgir'.. raOier thyi
a leadLng lady and wiie
o! a star

naiorn^ b«:cw by S-.ifJ

W« WiHr Wintao ri»s thra *25^
L,>tair» mi" Aoaaatam in ba B«btSoaa;
Peerin' m th' window.
Cryw- at th' loA—
'Are th" haims a' in bed? Noo, ifs ten
o'clodc."

THAT was one of linle Mary Mac-
Ivor's favorite nursen.- rhj-mes^
Her ancestors on both sides of
the family were Scotch, and tradition
has it that ti>e wotnen of her clan are
small, the men tall and handsome —
true 'defenders of their kith and kin.

Mary never saw her father, but

she \tms to hear how splendid and

how good he wa* and to look at his

pictures. VMien her brother had

passed his ninth birthday, the young

fyttyr dMd of doable pnetunonia.

and the shock of hw death caused the

premature birth of the child, .^fter

his death there were money worries.

and when all the debts had been paid,

the great farm sold and the little

family forced to leave the beautiful

old house for a smaller place m the

mountains of Virginia, Mary's mother

had nothing to Stan on but an income

rrK«i««*7o»rJ

By FRITZl REMONT

great grief came with the death of the only real "cjaddy" she
had ever known.

As she grew up and became stronger, Mar>- was taught to
ride the fine horses her mother bred. She was afraid to take
the high jump, but she would ner\e herself for it whispering
her mother's instructions, "Give him his head when he goes
down, pull him up as he lands."

Mary Maclvor is an old-fashioned girl, rich in the tradi-
tions of the South. She knows how to do fine hand-sewing
and can dam a hole in such a way that it improves a frock.
On certain days o'f the week, her mother used to have Mary
prepare the luncheon and taught her how it should be served.
At such times Mary put on a tiny cap and apron and waited
on the table with great formality. It was a game, but it pre-
pared the girl for the home she manages so gracefully now.

"We had the prettiest wedding ! An old friend of ours, in
Pasadena, has a rare collection of Chinese works of art. She
insisted that we should be married at her home, and we were.
We were married
in a Chinese room,
with a low seat,
covered with hand-
somely embroid-
ered draperies
serving as a
prayer-bench with
canopies overhead
of the same rich
materials. At our
engagement din-
ner, given by Mr.
Desmond, every
one had place cards
of Kewpies sa\e
Little Mar>-. Mr.
Desmond turned
to the guests and
announced the fact
that 'Mary gets an
Irishman!'" She

CUmpiet of the
Desnionds at home
and motormg. Mn. opened a Chi-

cal Dixie gizl »nd "«*« °°^ *°"

related to the Bu- took out a

chanan» and other funny little

Southern lamiUe. -^^^^ ^f ^ .

Irishman.
That Chinese box is a veritable
treasure house. It contains miniature
Buddha^, temples, sombreros, furni-
ture, dishes, holy-water fonts, dice
that are almost too small to be seen
with the naked eye and hand-carved
ivories. Nothing is more than an inch
long and most of the treasures are a
good deal smaller. They have been
sent to Mary from her admirers all
over the world who know her fad.

Mary's biggest hobby is — bottles !
WTien she told me about that. I said,
"Beer bottles?" Laughingly she an-
swered, "They're almost rare enough
now to be saved as souvenirs of the'
twentieth century, aren't they? But
no, my bottles are of all sizes, shapes
and nationalities."

.She owns a whiskey flask used by high-bred
women of the Gvil \\'ar period, camouflaged
in a peculiar manner. It's of china^ colored
and built like a small prayer book, with a hole
at the top for a tiny cork. .\ "lady" of that
period could carry this spiritual volume in her
muff without exciting suspicion. It was the
fashion to faint in 1865 and old Bourbon was
much in demand.

Miss Maclvor is related to the Buchanans
and many other famous Southern families.
(Continued on fage 90)

(TKenty-five)

PbotOfftph (loi)) by Whit*. Both photogriphi below by Abbe.

(Xmenty-iiJiJ

The

Holidays

In the Theaters

Below, a lively moment
in "Ni(fhty Night," the
rollicking farce at the
Princess Theater. Left
to right, Francis Byrne,
Su2anne W i 1 1 a and
Dorothy Mortimer

(Twenty-seven)

Photograph by While

On Vamps
and Ingenues

By Ethel Rosemon

" T^ROM the inginue with the
P golden curls, the floppy
hols, the short -laaisted
frocks and — and everything;
from the vamp with the heavy
eyes, the carmined lips, the snake
glide, the Oriental jewelry and—
and nothing, ye gods of the
screen, deliver us."

Dorothy Green sat on the edge
of the bed, swung one shppered
foot in midair, ran the comb
thru her bobbed curls and dis-
cussed the vamp "on and ott.
There was nothing of the picture
star about her, everything of the
typical young American, mental-
ly keen, phvsically fit to cope with
life The white shoulders that
fairly gleamed thru the sheer
negligee, the rounded arms, the

jfi.'.y'j.troy^.iafewsatac-

Pholo»T»ph © by Lumlere

clear gray-green eyes, the
peculiar luster of the dark
hair bespoke joyous, vibrant
health. Keeping the ma-
chinery of mind and body
in perfect order is her main
object in life, for with it,
she declares, you can ac-
complish everything, with-
out it, nothing.

Dorothy started life— her
moving picture life — as a
vamp, but she was never tne type of vamp from
which she prays to be delivered. In her opinion
there is no state of society in which he shadow
conception can hope to fulfill her^destined end.
(^Continued on page /o)

"Deliver me from the
ingfcnue with golden
curls and the vamp with
heavy eyes," says Dor-
othy Green. Miss Green
is a healthy type of
young woman. She ra-
diates joyous, vibrant
health

If I Were King

Fictionized from the William Farnum Photoplay
By OLIVE CAREW

'• A ND you should have the sun and moon to wear —

ZA if I were king — "

^ The pen was rusty, the ink vile, the man who
bent over the rude deal table a scarecrow figure in a
velvet doublet so bepatched it was hard to say what its
original color had been. His hair, dark, long and un-
kempt, fell about unshaven cheeks on which a week's
beard blurred the lines of expression, a battered cap,
adorned with a draggled cock's feather lay on the
bench beside.

"If I were king — ah, love, if I were king — " he read
aloud and his voice shook oddly in the reading, and
the wild, bright eyes, deep-sunken and surrounded with
the fine lines that told a sorry tale in Life's handwrit-
ing were actually filmed with strange drops. For the
nonce, Master Francois Villon, of unsavory name, pick-
pocket, rhymster, marauder, sometime jail-bird, emp-
ty of stomach, emptier of purse, was transported to
that seventh Heaven of the poet — Inspiration.

The Fircone Tavern on the afternoon of a warm
June day in the middle Fourteen Hundreds was hardly
such a place as would beget thoughts of love and royalty.
Rather would one expect its smoke-stained walls, its
atmosphere of stale wine and mouldy cheese and un-
washed humanity to spawn a litter of evil deeds, of foul
oaths and deformed fancies, but the crew gathered be-
fore the wide hearth, tatterdemalions, rogues, girls of
the oldest profession in the world, merry vagabonds,
all seemed happy and at home as they clattered
mugs and cans of ale to the accompaniment of
brisk tongue wagging.

"Come, Francois ! Art dry as that vile
stuf! Master Robin here serves us for
bread," slim Rene de Montigny
called to the silent figure in the

For the nonce, Maiter
Francois VUlon, of un>-
• •vory name, wis
transplanted to that
seventh heaven of the
poet^Inspiration

\

>**

^

A,

^k<'jmtw

corner, "canst moisten your gullet with
ink, lad ? Be not so chary of your sweet
company !"

"Leave him be," said one of the girls,
a slip of a lass in boy's habit, who looked
despite it no more a boy than stout Colin
Cayeux, sprawling on the floor at her
feet looked a woman ; "he wants none of
our company, being in love with his own.
Look !" she wagged a derisive hand.
"Canst not see he has a goodly crowd
about him? There is Sir Villon, poet of
Paris, and one Francois, gentleman ad-
venturer come upon evil days ; then there
is Francois Villon. King of the Cockle-
shells and Rogue V^illon, known indiffer-
ent well to the keepers of His Majesty's
gaol, and there is Villon the sot. N'illon the
huckster of rhymes, Villmi
who has betimes an itch of
the dagger and Villon — "

(Twenty-nine)

MOTION PICTURE

"The lover!" tittered a full-bosomed wench who seemed
bursting with ripeness tliru the straining sheath of her bodice;
"forget not his best role. Abbess! Js no other i' all of France
can match him at sweethearting!"

Tigerishly the girl sitting on the table's edge, swmging one
shapely green clad leg, twisted her lithe body upon the speaker.
"Have you been making eyes at my man, minx? I'll teach you
to meddle — "

"Come, come," interposed the swinish landlord, thrusting
his fat body between, "no hair-pulling! Settle your differences
outside, and," significantly looking about the circle of emptied
mugs, "settle your scores here ! No excuses, mind, in the stead
of coins or you'll find a leak i' the bottom of your glasses
hereafter!"

The crew of ragamuflfins looked askance at one another,
and Jehan. the Wolf, slapped a lean pocket forlornly. "Have
none" of you the wherewithal to appease this grasping ale-
draper?" he whined; "if we would keep up the dear habit
of eating and the dearer habit of drinking we must find some
good burgher whose purse suffers from a plethora and needs
bleeding."

Rene de Montigny thrust his hatchet face' mysteriously for-

ward. "Know you any of you, Thibault D'Aussigney, the
Grand Constable?" he hissed. "Ods blood, if 'tis not he who
has just entered — the fellow in the black cloak yonder in the
corner, I'll dine on my doublet! There's no hiding that beak —
but what can the Constable of France be looking for in the
Fircone Tavern?"

"Shall we stick him?" queried an ill-favored Cockleshell,
jerking a dirty thumb, "my dagger has no objections to spilling
blue blood as well as red."

"Let's ask Francoi-s," Rene suggested, and approached the
figure sprawled over his writing, shaking him boisterously.
"Come! Enough of rhyming — can you fill your belly with
rhymes ? We are hungry, and an ill world demands vile silver
in return for food. Poems are good but fat capon, cheese, meat
pies, pink ham and brown ale are better !" and the rogue's eyes
glistened and he licked his lips.

The figure' at the table unhooked itself and rose with a ges-
ture of brushing away cobwebs. Francois 'Villon looked dazed-
ly about him, at the sanded floor, the guttering candles and the
motley assemblage turned toward him, looking in the flaring
and uneasy light like so many hobgoblins, and the light went
out of his face as tho extinguished by a cold gust of mem-
ory. Then, drawing back his lips, he began
to laugh with no mirth in the sound.

"Welladay, lads and lassies, so ye are hun-
gry !" He struck a fantastic pose, tattered
cloak fiung back, palms on hips showing the
dagger and the vellum book that kept strange
company in his leather belt, "that is a fash-
ion all Paris will soon follow unless our
straw King finds himself the guts of a man
ere long !"

He would have thrust the paper he held
into his doublet but the Abbess, leaping for-
ward like a tigress, snatched it away. "Let's
see to what mistress he writes now !" she
snarled, "of love that ever finds your face
more fair" — bah ! should I be jealous of a
paper wooing — I know better ways of love
than that — eh Francois? Eh, my little mon-
key?"

Francois 'Villon unwound the arms she
flung about his neck and put her aside gent-
ly, with a curious look of pity. "If I can-
not fill your stomachs I can fill your ears
with a well-seasoned tale," he promised, as
he took his place, back to the fire, the leap-
ing flames making him a still wilder and
more grotesque figure, a knight of the gut-
ter, a gallant of the gibbet. "Hark then to
the story of how one Master Villon met with
the One Woman in the World."

The Abbess gave a sound of rage, but
Villon shook his head. " 'Tis the tale of
the moth that scorched his wings at a star,
Hugette !" he comforted her. " 'Tis not love
as you understaiid it but rather something
else that only the good God understands, the
mystery of the ages, the riddle of the Sphinx.
Know, then, that on Wednesday last as I
was strolling — for my health alone! — near
the Church of Notre Dame, watching the
good folk enter, suddenly, I felt myself
caught up to Heaven, and I saw — the love-
liest she alive beneath the sun. She saw
me no more than the pave aneath her little
foot, but I saw her, and I see her now, and
I shall see her in all the dreams I dream till
it comes my time to die ! It was not that

"I was atandinK near the church of Notre

Dame when auddenly I felt myself caught

up to heaven and I saw — the loveliest she

alive beneath the sun."

(Thirty)

CLASSIC

her hair was so much brighter than the sun,
or that her eyes were bluer than the blue
overhead, or that her little mouth was red-
der_ than the roses in the King's garden ; it
was something else — a soul that peeped
from her eyes, a God-knows-what that made
her the queen among women. The sight of
her beauty hurt my eyes, the taste of her
beauty burnt my lips, and the ache of her
beauty troubled my heart, and she passed
me by, unseeing and entered the church,
and I stumbled away drunk with a headier
wine than you have in your rotting bins.
Master Robin. And," he groaned, and
mocked the groan with a jangle of laughter,
"I think I shall be drunken with her all njy
days."

"Why didn't you follow her into church
and get near her in the crowd and pinch
her?" queried Colin, sleepily; "I like not
your tale, Francois. It has an ill sound in
ears that ring with hunger. Love! Balder-
dash ! Oh, for a roll of sausage — " and he
looked greedily toward the cloaked figure
drinking a sedate noggin in the corner.

At that moment, as tho summoned,
the figure rose and moved toward them.
"Is there among you a braggadocio ruffian, a
loose-tongued fellow known as Francois Vil-
lon ?" asked a voice from under the conceal-
ing hat brim, "if so I have a word for him."

"At your service, good Cuffin!" bowed
Villon, airily. "Your description fits me an
ill cloak, and I like not the cut of it, but
never mind. Has your word the ring of
metal ?"

The stranger glanced about ths circle o
wolfish faces, and apparently decided they
were birds of a feather. "It has," he an-
swered surlily, "the sound of a thousand
francs to one who can do a simple errand."

"For a thousand francs," smirked Villon,
"I would carry a message to the devil him-
self. Out with it, friend! What's to do?"

"Only this," said the newcomer, lowering
his voice, "as you know, the Duke of Bur-
gundy besieges Paris and King Louis Do-
Nothing sits idly by, willing his people
should starve. But some there are of us this
likes not, and we want a trusty messenger
to carry word," he regarded Villon watch-
fully, to Burgundy that the defence of the
city is a pitiful myth, that there is no wall
but may be carried, that the army dices, and
the Court dances and there is nothing in the way of his enter-
ing whenever he wills !"

"Ouch !" Villon gave a sudden cry as if of pain and clapped
his hand to his side; "I have a cramp — in my sword I It needs
exercise!" He drew it, and flourished it fantastically above
his ragged head. "It is a French blade, fellow, and thirsty to
"drink the blood of a traitor!"

Like a frightened hen, the man in the cloak scuttled across
the room, and the door- erased him. A murmur of discontent
rose among the fellows of the Cockleshell. "You fling away a
thousand francs glibly, Francois," grumbled Rene, "who'd have
suspected you of such a tender conscience? And what differ-
ence does it make to you who sits on the throne of France?"

Villon sheathed his sword. " 'Tis a whim of mine," he con-
fessed, half ashamedly, "to be loyal. There's no accounting for
whims, but I'll not let mine rob you of your supper. Come!
The good moon has drawn a curtain across her window like a
tidy housewife and the world's adark. I know a church chest
waits us, bursting with spoils pilfered from the pockets of the
•poor. Let's be gone, what say you. Hearts of Gold?"

It was a windy night, the gusts rushing down the little
crooked lanes, setting i le shop signs creaking, and the lanterns

(Thirtyone)

IHitt" wiTcd VUlon, "one
Cornell"

flaring overhead. The Fellows of
the Cockleshells slunk along the
streets like shadows cast by the
moon, and without accident elud-
ing the watch, arrived at length
at the church. "Ods blood I" then swore Rene de Montigny,
softly,* "but the fellow's brought us to the chapel of His Ma-
jesty!"

"Who better?" whispered Villon, gaily ; "one goes for riches
where riches are. Does o.ne seek poultry in a draper's? To
work !"

A hasp on a window at the side was loose and Colin, who
despite his flabbiness, could twist a bar of iron as it had been
cheese, snapped it in two. Pell-mell into the dark interior
hurtled the pilferers with as much ^clat as tho thievery
were not a hanging matter, and Villon followed them. The
chest was soon located, its contents distributed among the sev-
eral jerkins which closed over the yellow meul cosily. Then,
as they were about to leave, Villon held up a warnmg hand.
"Hist!" he muttered, "one comes!"

A gleam of a torch pricked the darkness of the chancel. The
intruders shrank into the shadows as a woman's figure rayed

MOTION PICTURE

Louis turned to. Villon,
"After such a conqueit
m e t h i n k I Burgundy
should be easy for you,
my Lord Constable, *"
sneered

he

about witli a nimbus of liglit paused at the altar and motioned
the attendant with the torch iiway. "Wait me outside," said
a voice. Iil<e the deep tones of a bell, and hearing it, Villon
gave a great start, and forgetful of caution leaned to look down
at her. "God in Heaven!" he muttered, " 'tis she!"

There in the darkness the five rogues listened to a woman's
prayer, a prayer for the safety of France whicli was dearer to
her than her heart's blood, a prayer that a weak King might be
given strength — or "that a man should come to court" and rouse
the painted pujijicts to be men. Only one of the eavesdroppers
gave the words inuch liecd. chafing to b<v gone and taste the
sweet fruits of their thievery. When at last the white figure
had trailed down the iiisle. Rene de Montigny prodded Villon's
side.

"Come, let's be off I'' he nuitlcrcd. "before anotlicr wench
comes a-prayingi"

A ray of the moon, pryin'.,' t''iu a shutter, fell across
Villon's face, showing it aflame! Ills fellows stared curiously,
as tho they hardly knew him, but Villon gave them no heed.
"A man woulrl come to court!" echoed N'illon. with a great
loni;ing shaking liis voice into ra^'s and tatlers of soimd. "Now
if there be a God. how Me must be I;iu<;liingl .\ nincompoop
upon the throne, nnd a .ijiitter rat with the s])irit of a king! If I
were the king of France—" His head rocked liack on his
shoulders, he spi^kc as one inspired in his beloved rhyme —

"We want a chief to bear the l)rand —

And bid ilie damned Biirguiidians dance —
God I Where the oriflamme should stand
If Villon were the King of France — "

In flaming measures he poured his heart into the words.
the wild, untamed. Hcnrt of \illon the rascal, beating beneath
the rags of shame ami terrified by the sound of approaching
feet his friends fled from liini, Oiving from the windows with
their spoils, bent on iaving their skin whole. In the vestibule.
a small crooked frgurc in a velvet doublet, with silken hose
sheathing his lean shanks liste-icd. and smiled with wry. thin

lips. "A braggart, mouthing easy nothings!" Louis of France
murmured to his entourage, "still — the fellow has fire in him.
Get him, and bring hiin to me!"

Dazed, Villon saw himself suddenly surrounded with pikes
and the flash of steel, he whipped out his poor blade but too
late.

Louis looked down at the wretched huddle of limbs they
brought him, and laughed softly. "An ill-looking bird, but he
croaks like an eagle. Thibault has gone over to Burgundy and
the post of the Grand Constable is empty — take him in, 'wash
and dress him in fme linen and lay him on Thibault's bed.
When he comes to himself address him as Grand Constable!
We shall see whether he has aught can match his bravery of
tongue I"

And so it happed that on the morrow, Francois Villon opened
his eyes upon purple draperies and tapestried walls, upon servile
faces bowing about his bed. upon gold lace and velvet and
plumed hat laid by ready for his donning. " 'Tis a monstrous
fine dream, at any rate," he murmured, as he was helped to
dress, "if I might dream a few gold pieces in my pocket now — "

He thrust his fingers into the wallet at his belt arid drew them
out full of coins. He raised his eyes and beheld in the mirror
before him not the scarecrow figure of yesterday, but a gallant
gentleman, barbered, freshly shaven, carrying his fine plumage
easily and well.

"His Gracious Majesty the King to speak with the Grand
Constable on affairs of state," intoned a voice at the door. The
small, crooked figure in black velvet waved his attendants
away. He regarded the transformed thief, and sniggered.
"Welladay. my good Constable!" shrilled Louis, "I trust you
have found all to your taste? We are but humble folk at
\aucelles: you must overlook our failings."

Villon fell upon shakine knees and touched his lips to the
hem of the black robe. "Sire !" he choked, "Sire. I know not
what to say !" .^

"Yet last night you were at no loss," chirped the king; "you
Ind a mouthful of fine words and boasts as to what you would

(Thirty-two)

ClAbSlC

do if you were France's king!"
His tone grew sharp, his smile
more malign; "I have decided
to give you an opportunity to
make good your words — if you
can. For one week you shall be
the Grand Constable of France
in very sooth. You shall do as
you will and drive Burgundy
from our gates if you can. Af-
terwards," the thin lips sneered,
the small cold eyes twinkled up
at him, "afterwards your final
act as Grand Constable will be
to pronounce sentence of death
upon one Master Francois Vil-
lon, scapegrace and ne'er-do-
well, provided that in that week
you have not made good your
words and won the heart of the
Lady Katherine of Vaucelles,
proudest lady of the court, and
hardest to win !" The wry smile
became a cackling laugh. "Egad,
it would serve Katherine well
to have flouted me and to pin
her faith to this thing of ra^s
anil tatters I'' chuckled Louis.

Villon was very white, but his
eyes glowed. "Is that the only
choice. Sire?"

"Louis made a contemptuous
gesture. "Oh, no, you may don
your vile rags and go back to
your gutter this moment if you
choose a longer lifetime of lying
in the mud rather than a week
of sitting among the stars."

Villon bent his head. The
sunshine was pure gold across
the floor at his feet, the air was
soft with roses. Life was very
sweet even to a poor rogue of a
rhymster — yet, to play a man's
part for a week — to be near his
Lady, to speak with her as an
equal, to woo her perhaps —

He bowed low. "I have chos-
en the week, Sire," he said
quietly, "if I cannot make good
use of it I would rather die than
live longer to hate myself."

Of the strange, wondrous
days that followed, there is no
space to tell. Francois Villon,

Francois Villon caught the

slim white hands with a

great cry. "You would do

that for me?" he asked

'gutter-born, found himself at no loss
among the great lords and ladies of the
court. F,ven when Katherine of Vau-
celles bent her shining head to him and
spoke in the tone she used toward the
king himself, his lips fell into the courtly
phrases of compliment anil badinage,
tho his heart beat to sufTocation with
great joy and great pain. And the hours
sped across tlic sundial in the castle gar-
den, and still Burgundy crouched with-
out tile gates.

Then came a herald, bearing insolent
word<. "Surrender Pnris or taste of our

guns!" Louis tlie King listened, small,
weazened face inscrutable, while the court
chafed under tlie insult of tlie message
and the messenger's bearing. "My Grand
Constable will give you our answer," said
the King, calmly. "He krtovvs our heart,
ant! our will."

Francois N'ilion rose to his feet, in his
soul a great humbleness, in his eyes a
flame. He had dreamed always of great
deeds that he would do. and now great
deeds were possilile to him. He .spoke
with his lips to the herald, with his heart
to Katlierine. "Go back to your master!"

he bade the messenger, "and take him
this word from the lips of France Her-
self. Defiance for defiance, menace for
menace, blow for blow I This is our an-
swer"— and he drew his sword and flashed
it aloft, "God and Saint Denis for the
King of France !"

Up sprang the perfuined courtiers,
dragging their sleeping blades from silk-
en sheaths, the air was full of their flash-
ing and the sound of cheers. His words
had burned away the painted threads of
lassitude that had enmeshed iheir nian-
(Continued on page 68)

(Thirty three)

i

««fT is like a miracle! I can hardly yet believe it.

I After so many struggles with heavy odds against

me, to have at last become a director — well, as I

say, it is like a miracle !" And while Erich von Stro-

heim smiled, the eyes remained serious. The memory

of those struggles is not readily effaced.

There is a saying about the motion picture studios
that in every life there is at least one good scenario.
If this be true, Mr. von Stroheim has a dozen stowed
away behind those serious eyes, for during his 32
years he has touched the dramatic contrasts of life
that develops the emotional powers and he has — lived!

Before meeting him I had been told that he was
by birth Count von Strolieim. of the Austrian nobility,
his father having been a colonel in the Austrian army,
and he himself a graduate from the War College of
that country in 1905.

When I asked Mr, von Stroheim about these early
years he shook his head, saying, "Titles mean noth-
'"g" } gave up mine for I am an American citizen.

"This .American citizen had a hard time during the
war, however," he continued, as we lingered over our
sandwiches in the little cafe at the Universal City
studios. It was long p.-ist the usual lunch hour and the
room was deserted.

"My name, my face, in fact, my whole Austrian
make up was against me. I was shunned and disliked.
At one time I was even under observation, but about
six weeks before the armistice was signed I was of-
fered a commission in the Intelligence Department of
the United States Government. I had served four
years in the U. S. .\rmy when I first came over ten
years ago."

Erich Von Stroheim
and the Miracle

"Perhaps it was your splendid acting in the
role of the hated German officer in various pic-
tures that helped prejudice the public," I re--
marked. "I confess that your subtleties made me
long to see your punishment several times."

"What could I do?" he replied. "The moment
a director saw me I was immediately cast in that
role. I played it in 'The Unbeliever,' 'For
France,' 'Hearts of the World,' "The Hun
Within,' and in 'The Heart of Humanity.' Prob-
ably I could never have given such a villainous
characterization in the latter picture had I not
been conscious of the hatred which every mem-
ber of the cast felt for me. I sensed their an-
tipathy so distinctly that it was reflected in my
acting and I put into the role just what they
were thinking of me.

"It was after a disa-
greeable affair t h a t m y
father thought the Amer-
ican climate w o u 1 d b e
good for me and he sent
me over for five years, I
doubt if I shall ever go
back.
"During the y e a r s of

Erich Von Stroheim
went thru painful
privation when he firBt
came to America from
Austria. In those days
of frayed collars and
run-down heels he en-
gaged in every possible
occupation, except bar-
tender and waiter

(Tliirtiifour)

By Maude S. Cheatham

run-down heels and frayed collar bands I en-
gaged in every possible occupation, except
bartender and waiter, to keep from starving.
Oh, yes, I was often hungry. I recall that once
in New York I didn't have one cent and was
miles from my lodging in Brooklyn. I stood by
a subway entrance determined to ask some-
one for a nickel ; I had frequently helped
others, but I didn't have the nerve and walked
home after all.

"Struggles are all right to look back upon.
but so far I derive little pleasure in contem-
plating mine, they are still too recent to have
gained any glamour. I came from a fighting
family, however, and I fought my way thru
every inch."

Whatever the bat-
tles, Mr. von Stro-
h e i m has finally
emerged not only as
an actor of subtle
force, displaying
the rare ability to
sink one's personal-
ity into the role he
is playing, but he

Once on the coast. Von
Stroheim found the
screen no easy goal. He
was a life saver on
Lake Tahoe, with the
unlucky number of 313,
before he succeeded in
breaking into pictures

Y

has achieved a signal success as a director, for his first
picture, "Blind Husl)ands." places this young man among
the foremost directors of the day. This may well be
termed a personal triumph for not only did he direct the
production but he wrote the story, under title of "The
Pinnacle." and acted one of the i)rominent roles.

"It was Mr. I.acmmle who gave me my chance," Mr.
von Stroheim replied, when 1 congratulated him. "He
came west just as we were finishing 'The Heart of Hu-
manity.' Meeting him, I told him what I wanted to do and
he said to go ahead. 1 still feel it is a miracle, four
months ago I little dreamed my chance was so near."

It was after a series of hard.ships during which he had
tried everything, from writing a vaudeville sketch and
playing it on the Orpheum Circuit, to being Life Saver
at Lake Tahoe I with the unlucky number of 313) that
he broke into pictures.

Being down and out but still determined, he walked
over to the Griffith studio in Hollywood every day for
two months and waited around the outside, hoping to at-
tract .someone's attention.

One day John Kmerson, who was playing a riMe in Ib-
sen's "Ghosts." stepped out of the studio in his evening
clothes with a ribbon across his breast. "For the first
time in my life I was nervy," observed Mr. von .'^trohcim.
"I stepped up. told him my name and asked if he was
playing comedy or drama. \\'hen he said drama, and that
the ribbon was a badge or decoration of a Chamberlain.
I told him it was not correct. 'What do you know abniu
it ?' he asked. I replied that it was too long a story to tell
(Continued nn pof/c 69)

(TMHy-fve')

The

Director- Diplomatic

By WARY KEENE

. the usual rest of il.

I saw Edward Jose d'ff"f""/„f „^ _,is,ion had I been

vith the intent

iiin, a director. I can hardly say why.

I found him as diplomatic
as his appearance conjec-
tured. Quite charmingly so.
He has a fine discrimination in
giving his point of view and
in keeping it. He is a man
pre-eminently fitted to direct
because there is always a
deep reserve fund within
himself of power, of thought,
of feeling.

He is wholly void of per-
sonal egotism. So much so
that I found it very hard to
keep him to the topic of the
hour — himself. He talked
readily and engrossingly on
many things— on the absurd-
•ity, for instance, of the indi-
vidual pitting himself or her-
self against tradition ; against
world-old laws and orders.
"It is inevitable destruction,"
he said. "Take marriage, for
example. The scenario I
am doing now deals with the
revolt of a woman against

st rerth"ruouUf"o^rse. What does. one case of unhappiness
or two or three, or as many dozen, prove? What have you and I
to do with what has been ordained from the begintiing?

I had come however, to hear him talk about htrruself, and if it had
no Jeen foMhe gentle interpolations of Mrs. Jose who sat sewing m
"he adjoining room, I should certainly have gone away wUh the
charm of his indubitable personality about me, but wholly, too, without

^°jSras"'aSiner 1 asked him what he considered the requisite of
a truly great director. It is the prize question.

He shrugged his shoulders, elevated his bro,ys, threw up his hand
and took a few steps about the room in what I discovered to be a char-

acteristic way. . , r ' . j St

"H I -^ay." he said finally, "people will think I speak of. or A.w.

from, or about myself. It will sound too . . . well, too
egotistic. It is better that I do not say at all. '

{Continued on page 80)

Edward Jo»6 with lu»
wife and child and, 'be-
low, on location wlw
the Norma Talmadge
company

(ThiriU'*'}

The Cinema Comes to Carleton '

W

By HARRIETTE UNDERHILL

ULIAM Carleton, Jr., laid the corn muffin which he was buttering
down on his plate, looked at us seriously and said. "You are rieht—
there is I" ' • 6

Now William, Jr., is a mild-mannered man and he is particularly fond oi
corn muffins, so we knew something untoward was egging him on to this
display of fierceness and this renunciation of his beloved viands.

"You are right, there is a fly in the ointment. I dont like cinema field
days — community acting, if you know what I mean."

"But we dont know," we murmured, outwardly timid, but secretly exult-
ant, because we sensed a story. "What is community acting ? Something to
inspire good fellowship, like community singing?"

' Yes," answered Mr. Carleton, still gloomily regarding his neglected muf-
fin; "something like community singing, only not so sweet and I cant say
that it is particularly conducive to good fellowship — in me, at any rate."

"And what are cinema field days?"

"The same, only more protracted."

And all this because we had inadvertently asked Mr. Carleton if there was
not a single fly in his syrup of contentment.

"Never mind," w. soothed, "you needn't tell us what community acting is
, and we can live if we dont know what cinema field days are. Dont excite
yourself and we'll talk about birds and flowers."

"No we wont ; we'll talk about cinema field days," for William Carleton,
Jr., can be a "majerful" man when he wishes, ''if it wasn't for them, life
in front of the camera would be one sweet song. But people never can be
induced to believe that we make motion pictures because it is our profession.
They firmly believe that we do it for their delecta- ~~

tion. Have you ever made exteriors in a popular sum-
mer resort? No, of course you haven't — I forgot."

"Well, you needn't be so superior," we replied. "We
have had three oflers, but we dont like to work so
hard."

"Well, community acting is when the whole <;om-
munity decides to take part in the picture. Cinema field
days are those awful days when mothers gather on the
site which has been selected for the exteriors for your
new picture, bringing with them numerous little Cuth-
berts and Cedrics who, they fondly hope, will be the
picture heroes of the next generation.

"You select a nice secluded spot back of a stone wall
for your dressing room. You find a hollow tree evi-
dently placed there by providence to be your make-up
table. You work for an hour in the sun. Then the
director will say, 'AH ready for this scene ! Carleton,
your nose is shiny. Better touch up your make-up !'
and you rush away to your nice secluded dressing
room to find an angel-faced, flaxen-haired child dig-
ging in your box of powder with a stick. His face
is daubed with your grease paint. Mamma sits nearby
reading. You take your cherished possessions away
from him, get out your mirror preparatory to holding
it up to nature and proceed to touch up your make-up.
Cuthbert stands wild-eyed. 'Mamma,' he shouts,
'come and see the man putting powder on his nose just
like you do !' or, if you carry your make-up with you
and hide it under a stone, when you return you'll sure-
ly find some coy belle of '84 in a picture hat using your
powder puff and mirror. It never fails."

"Poor dear," we murmured, "the subject is evidently
a painful one. Tell us some more."

"Well, there isn't going to be any community acting
in 'The Copperhead.' That is the picture I am work-
ing in now with Lionel Efarrymore. Charlie Maigne
has made me a deputy shcrifT and I am going to wear a
'tin star' and everything just like a regular one. So
when the people gather on the field for the ceremonies,
as they surely will — 10,000 strong, I suppose, to see a
real Barrymore, I can order them back and flash my
badge and be real impressive,"

"Did Mr. Maigne select you as a minion of the law
because you are six feet two?" we asked. "And im-
portant-looking." (Continued on page 70)

(TMrtyieven)

A study of WillUm Carle-
ton, Jr., and two viewi of
him on the acreen with
Elsie Ferguson. "I love
cinema work," says Carle-
ton, "if it wasn't for com-
munity acting."

The

Gorgeous

Gloria

Ttiis unique b«thiii([-BUit is in-
troduced in CecU B. De MUle »
"Why Change Your Wite?
While we rather doubt its sea-
going qualities, we frankly ad-
mit Its effectiveness. H it isn t
aquatic, it Is optical

(TMrtij-cighl)

Fictionized from the Maurice Tourneur Photoplay

By FAITH SERVICE

Just now. rankling virulently, was
the girl in the Zangiciamo orches-
tra, lately arrived from Eastern
ports and stopping a few weeks at
the hotel en route for California

IN his very early days Baron Heyst had been badly battered been vague persons . . . even his father with his detached
and mauled by life . . . there had been a great many things bitterness, so detached, indeed, as not to be bitterness at all, but
... it had not seemed able to let him be. With the passing only a wraith of other days, still shrouded. There had been
of his youth passed, too, his faith. He drew, as it were, an vague events . . . and many books . . . and travels . . .
envelo])ing cape about him and stood aloof, mocking tliru seen, as it were, thru a haze, darkly . . . nothing had been
badly twisted lips. real, ever. Nothing had given any stabbing joy. Nothing had

'"Jhe thing to do,'' he told, his son, shortly before he came to given any drivep pain. There had been no palpable sense of
die, "is to do nothing. Only by establishing an absolute nega- discomfort, nor yet the glow of any substantial comfort,
tion of attitude are you safe. Do not attempt, either, to be After his father's death, Axe! Heyst left London. He had
.anything. Be //; the world, because read of the South Seas and they

to remove yourself from it involves called to him. There, he thought,

an infringement of negation, of all on those deep lulling waters, among

infringements die greatest . . . but VICTORY those drugging scents and thick

be not of it. Stand apart. Live apart. Fictioniml by special permi..sion from the see- strong .sounds, one might, like

Say little and condemn, mevitably, ,,^^;^ ^j Stephen Fox, based upon Joseph Con- maiiimoth lazy birds, wheel away

all that you hear said. If you evolve ^.^^.^ ,,^^^, ^j „,^ ^^^^ ^^„,^ pubhshed by o"^ s time, su.spended between,

philosophies, the rabble, swine all of Ooubledav, Page & Company. Produced by literally and figuratively, earth and

them, will still go nosing for truf- Maurice Tourneur and released by Famous hea\-en.

Hes. If you ponder the philosophies piavers-Lasky Corporation. The cast; One could readily establish nega-

of others you will become evolved. ' t i, « i ''°" ^^' ''^^ natives. There could

Establisli an absolute negation." '^'"^' f^^*^-'" J'"^'' "°" be no possible other stand. There

To establish a negation was not Alma Scena Owen would be no intrusions.- Things

peculiarly hard for Axel Heyst. Cu- Rlcardo I.on Clianey woukl not happen. There would be

riously, he had never believed very Schomberg Wallace Reerv no women. Not that .Axel thought

vitally in his own identity, in his Ben Deciy of women m the way of intruders.

own essential existence. He had „ ' ^°'\ , ,„r, wi.,«„„ Actually he did not think of them

been, to himself, a shade 'walking ^^''- Schomberg • Laura Winston ^ 3,, He knew that part of his

among shades ... he had estab- fedro Bull Monuma father's philosophy had had to do

lished no contacts . . . there had Captain Davison Georce NichoU* with woman's component part in the

(Thirty-nine)

MOllON PICTURK

She made a difference m

the bungalow on the

island. Heyst admitted

that almost at once

cosmos. And then, with the

hejiinning of the bitterness.

woman's part had been ruled out

of the i>liiloso|ihy and P.aron_

Hevst had ex|iatriatecl himself •

fro'm his native Sweden and

M.me sort of a cliapter had been shuf down, a seal affixed.

Nsel Hevst roamed five years amonf,' the islands ot the

South Seas,' druKCinjr himself with a sweet narcotism, not so

mnch wakinu' as sleei-ini,'. There had been no mtn.sions .

There had been passing dusky faces . barbanc sot nds

aiKl smells . . . lagoons like fluid souls . . . endless bine
waters endless gold shores . . . endless sailings . . .

coming and goings . . . nowhere . . . to no purpose . . ^
the world did- not knock at his door ... He might have been
his father, entombed, for all life had of him. or he of he . .
Then as abruptly as poetrv might turn to prose and almost
as shockinglv, he fell in u ith .Morrison. Morrison was mere
man. He didn't know anvihing about negations You couUhi t
have established the abstract fact of negation in his head by any
sort of means. He was utterly the positivist. He had a iias-
sion too. .\ ruling one. .\ii overruling one It was tor lis
trading brig, the "Capricorn." Morrison had been born on the
Capricorn. He had grown up on her. with her, body and soul
lie had got his life and his livelihood from her. She was
living tisMie to him. He had a tremendous sentiment for her
a f.^eling composed of tissue and blood He had sailed the
lava sen on her and now, it seemed, in the port of Timor, be-
cause he had no cash, some irregular had been found in his
oaper. and the I'ortugueM- otficials were going to impose a hue
he couldn't pav on him. arrest his brig and, at the expiration of
the week, knowing the fine was beyon<l him, sell her at auction.
Sell the Capricorn ... It was like the sacrilegious sale, the
sacril ;8i VIS public sale of some beloved woman • ■ ■

MorriBon was in the throes when he ran into Heyst. fie was
loo le'-rijly in the throes to take notice of anytlnng different

about ?Icyst. He was just someone to pour out his heart to
. his 'big heart, which was breaking.
It was a sort of a vandalism, after a fashion. Morrison
was a sort of a, no. distinctly, a vandal of dreams. He thrust
his lieavy. hob-nailed boot into the delicate aloofness of Heyst's
absolntci negation. He showed him a bare heart, a rugged
])iece of suffering, easily averted.

Heyst was shocked. Of course, he felt at once, the Capri-
corn could not be sold at auction. He sensed tbe tragedy there,
immediately. Sensed, too, somehow, remotely, the clamor of
resistance Morrison was making.

Consummately and very delicately, he made it possible for
Morrison to pay his fine and assure the safety of the Capricorn.
He turned away before the sight of the big man's heaving ]oy.
It was somehow cataclysmic. The primitive forces in the man
slei)t, or dozed, so close to the surface that one felt the sense
of ari upheaval of nature in his emotions, forces • • •

"I'll tell you what," said Morrison, after he had released
Heyst's sensitive fingers from his blunted ones; "I cant do
enough for you. I cant, for a fact. I ... but what I can do
. I'll let you in . . . there's coal on the island of Samburan.
i happen to know ... come closer . . . hearkye . . -that's
how I know. I've been waiting ... for the right man. You re
him, Mr. Heyst. You're him. You are, for a fact. There s a
fortune. A fortune. There is, for a fact. Here's the de-
tails. ..." , , u

Three hours later, Heyst said all right. He didn t know why
he had said all right ; why he had agreed. It wasn't in accord-
ance—it wasn't in accordance at all with the utter detachedness
preached him by his father. He couldn't see why this huge
crude man should break thru the delicate, impalpable, yet
very potent doorway between himself and the rest of the world.
His had been a huge fist knocking . . . knocking smashing
sorts of blows ... he had, it seemed, battened things down.
Heyst was conscious of a tingling in his veins. After all, per-
haps, outside the thick blue haze shot thru with dreamy

(Forty)

CLASSIC

gold in which he had lived and had his separate heinfj after all
there were men who weiif immense tears over the threatened
loss of a grubby trading schooner; to whom these staple things
of hfc meant breathing and being. Odd sort of a surmise
but probably true after a limited fashion

And then, it had occurred, even to Heyst,' that to dream
one must have money. Dreams, even, are quite costly One
must pay, it .seemed, to float about on the South Seas watch-
mg the curious native life thru half-closed eyes. This coal
mine of Morrison's . .it could be got thru with and
then he. Heyst, amply supplied for endless dreaming could
go back ... M

But one doesn't go back, it seems .

Morris^on went to London to float the company and in Lon-
don he died. There was too much fog there perhaps— the
details were never made very explicit. But he died And
\vhen Heyst heard of the big man's death he felt precisely as
tho someone had given him a crude rent with a knife A
most unthinkable thing.

Before he died, however, it seemed that Morrison had. been
successful in forming the company. Heyst found himself
nominated manager and with the mushroom growth of such
enterprises coolies were imported, engineers arrived from Lon-
don, bungalows sprang up, a gallery was driven into the pro-
ductive hill.side and coal in vast ([uantities was taken out
Heyst had felt quite excited up to the actual time of the min-
ing. There was something, he thought, in the nature of a
gigantic dream about it all. He felt detached from it, in-
terested, immensely interested, but as a spectator. He missed
Morrison. Morrison had a fresh salt tang. There had been
an invigoration to Morrison powerful enough to pierce the veil
of Heyst's dreaming. Now Morrison was gone and the old
lethargy was creeping about him again. His father had been
right . . . detachedness ... all this . . . what did it amount to?
Shortly thereafter the company went into liquidation and

Heyst was left alone on Samburan with his chinaman Wang
1 le was content to slay. He had his pipe and the biiii-.-ilow
had been fixed to suit him. He rather thought he woufd stay
on indefinitely ... he was at peace. On the other islands,

When he had gone to and from while the mining was on active
process, there had been nast'y talk back and forth. Schom-
berg the big Cerman who kept the hotel on Sourabaya seemed
absolutely to hate him. This seemed absurd to Ilevst who
had never hated as he had never loved, a living soul. ' Schom-
berg, It seemed, accused him, with equal absurdity of an
absurd thing. He had used Morrison, Schomberg alleged had
even been responsible in some occult way for Morrison's death
I here had been mysterious dealings . . . hidden wealth .
Heyst laughed at it, silently, after his fashion, yet it was he
thought as tho something gaseous, no.xious alloyed un-"
pleasantly, a trade wind from the south, spiced and aromatic
t â–  K !i'^''' certainly negative on Samburan. He was forgot-
teri by the world. In his turn, he too, forgot

When, finally, therq came an occasion for him to go to Soura-
baya on some sort of a final transaction for the liquidated com-
pany ho had forgotten along with other things, the dead Morris-
son and his own brief days of activity, the hatred of Schomberg
He remembered it when the bearded German glared at him
and spat a reluctant consent to his registration at Schomberg^
of It, k' ^"g''^hman with the woman's eyes didn't know
of Schomberg's hatred . . . Schomberg himself was rather
indefinite as to the original source . . . he only knew that he
had a deep antipathy for Heyst . . . that his fingers twitched
£em4"htTnfiiJr."'°" ' ^'■'^'^^' '" '=°"'^'"P'^tion of cruelties

Heyst's odd presence inflamed the
hatred. Schomberg wanted to talk
about it, wanted to plot and plan
about it, wanted to allay, it. He had
wandered on this desert of his de-

And always Ricardo
followed Alma, beg-
ging her favors, making
rove to her, threatenine
her

(Vorty-ont)

MOTION PICTURE

Alma in the power of
Pedro

testation long enough. He was
parched.

He couldn't talk to Mrs. Schom-
berg. The woman had sympathies,
despicable trait. Her sympathies, tho, were never for him,
for Schomberg. For him she entertained some sort of a
primitive passion which did nothing save preclude him from
such other, infrequent and diverse pleasures as might chance
his way. An occasional native, now . . . Mrs. Schomberg had
no sympathies for him . . .

Just now, rankling virulently, was the girl in the Zangiciamo
Orchestra, lately arrived from Eastern ports and stopping a
few weeks at the hotel en route for California.

The girl was different from most people, from almost all
the women who came to Sourabaya. She was white, that was
one thing, dead white. She was whiter than the whitest flower
ever stjincd with native blood. And her hair was like gold,
like the sun that pours like heavy brass, all liquid, over Soura-
baya. Her eyes, now, they were blue, sea-blue and sky-blue.
She wore a blue uniform, too. Schomberg had a passion,
probably Prussian, for uniforms. This one was a particularly
taking blue uniform and it matched her eyes. It was adorned
with copious brass buttons and considerable gold braid. It
fitted her trimly and gave evidence, delicately, of soft, very
young lines. She moved gently, too, and rarely spoke.

It was horrible to have the automatic, seldom sympathetic
Mrs. Schomberg perpetually between them. It was maddening,
like a red banner waved eternally before an inflamed bull.
There were so many ways of disposing of automatons on
Sourabaya . . .

When Heyst came he listened, tfie first night, to the Zangi-
ciamo Orchestra. He didn't know why he went in, and once
in, he knew still less why he stayed in. The discord, of course,
was quite obvious, and outside the sea was murmuring, almost
restfully . . . and there was a low sky, all weighted down with
depending stars . . . there was a trade wind . . . thickly spiced
. . . Heyst had felt a little dizzy . . .

After the Zangiciamo Orchestra had done he knew why he
stayed. He stayed because the very white girl in the impos-
sible uniform stayed, solitarily, on the platform, immediately
abandoned by the other members of the Lady Orchestra and
by Zangiciamo himsetf. She seemed to Heyst to be shrinking,
up there on the platform. She wasn't looking at him, either.
On the contrary she seemed to be trying very hard not to look
at anybody at all, as tho .she were fearful to.

Of course, following the absolute negation, Heyst knew that
he should go out at once,' lose himself in the night, let it con-
sume him. But he had noticed her as the Lady Orchestra
played, vaguely, but still . . . she had had a luminous quality
. . . she had seemed to shine softly, faintly, like some fragment
of a fallen, drifted moon ... It occurred to Heyst that she
was the loneliest thing he had ever seen. He had always, here-
tofore, thought that of himself, thought that indigenous to
himself. It was a new thought, wholly new. Just as Morrison
had been a new thought, Morrison who could weep and wring
tremendous hands over the loss of a sailing brig, run with
rats and smelling of rope and tar.

Heyst approached the girl and from behind the bar Schom-
berg glared and chewed his beard, his mustache, his chin itself.

Schomberg had had three new guests the day before and
until this instant he had felt .some sort of a clammy fear of
them. One gets fears of that nature on the South Sea Islands.
One of the guests had registered himself as Mr. Jones. That
was simple and unfearful enough, certainly, but Mr. Jones
belied his name. He had a horrible air of a recent gravel.
Schomberg swore to his wife, pinching her the while he
mouthed his fears, that there was the smell of grave-mould
on this Jones. Ghouls had disinterred him, avowed Schomberg
in part, and he had drifted here. The ghouls, he thought, were
his two companions, Ricardo, an ex-seaman with a smell of
fresh blood about him, and Pedro, their Venezuelan servant
with fifty devils in his eyes and a smile cruel enough to congeal
the blood Ricardo might well be expected to spill.

Tonight, tho, Schomberg saw the three horrors he was

fForty-two)

housing in a different light. That they were bent on human
death he was convinced. Plain Mr. Jones had been unearthed
fron:i some unholy grave and now he. in his turn, was about
to destroy and to raise up. Suppose that Schomberg told them
about Heyst, over on Samburan. and about the death of Mor-
rison and the hidden treasure. Suppose they left his hotel.
these somehow terrible three, and went to seek out Heyst
Schomberg crept up to the corridor where the three occupied
three lordly rooms. He whisi>eied tn' them thru the evil
hours until the dawn, sickly, turned to bannered splendor.
Now and again he rubbed his hands violently together and
mopped his brow. The pale proximity of the* plain' Mr. (ones
beaded him with agues of cold sweat.

The second night, too. Heyst waited for the white girl, who
waited, too. On the second night she talked to him. Oddly.
he had the dawning feeling that a human being was talking to
another human being. Always, before this, he had thought a
human being was talking to a shade, soon would sense this to
be so, soon would chill and draw away.

Toiiight, with this girl, it was different; how he could not
say, did not want to say. She did not draw away, either. They
walked on the curving half moon of the white beach along
the edge of a lagoon within whose calm transparent breast a
single star shivered, yet remained . . .

She told him about herself. Her mother, who wore a great
deal of jewelry and then was kind, or who wore none and was
rather terribly cruel, who spent a great deal of time out, grew
very tired of walking . . . pavements being hard ... Of her
father whose name her mother was vague on and so, in conse-
quence, was she. He had been a gentleman she said, her
mother had told her she was certain of that, as certain as cer-
tain . . . a gentleman, she could bank on that . . . that nebulous
fact, it seemed, was alone substantial in an insubstantial world
thru which this child had drifted, white like a fragment of
a moon . . . Her mother had died, after coughing a great deal
... somehow she had got this job with Zangiciamo . . . and
she was here and she was very much afraid . . . Zangiciamo
and .Schomberg were like two maddened dogs, it seemed ; she

the pitiful bleached small bone between the pair of them .
She didn't know . , .

On the third night he waited on the curve of the beach for
her. When she came, she came flying. "Oh. Jake me away
with vou !" she begged, her breast' torn like the wings of a
bird, "take me away. Take me away! I'll work' for you. I'll
live for you and die for vou. I wont ever bother you, anv.
I wont ... I wont ..." '

It was like, even tho unlike. Morrison attain . . . some-
thing battening . . . this time .something soft ... it occurred
to Heyst freshly that he was a man . . . that the world about
liim was made up of two component parts . . . man and
woman . . . fundamentally, inescapably . . . and that he was,
he. Axel Heyst, was the man and this white girl clinging to
him, was the woman . . .

He took her with him to Samburan, escaping that night, with
the help of Mrs. Schomberg, only too glad to be rid of her,
and Davidson who passed to and fro on his schooner and had
done sundry small services for Heyst in the past.

She made a difference in the bungakjw on the island. Heyst
admitted that almost at once. It seemed to him, unobtru-
sively, as tho the house were flower-filled, even while he
knew that it was not. Everything seemed softer and, at the
same time, sharper.. He, himself, seemed to be somehow quick-
ened. Things were more acute, possessed more significance;
daily things such as the eatingof meals, thedrinkingof tea before
dusk, dinner by candle light. Heretofore they had been things
to be got thru with, generally with a newspaper propped
before his plate. Now . . . now he liked to linger over each
detail of each one of them . . . there were her hands to watch,
daily miracles, her eyes catching, holding, giving forth to him,
again and again, new and amazing lights. Her talk ... all to
him. Suppose she should ever talk in the same way to any
other person, to any other

man. He knew, with his new- Alma made the next sudden

ly awakening self, that he move— a knife flashed thru

wouldn't like that. And then, the air — Ricardo toppled over

(Continued on page 81)

(Forty-three)

Helen Lee Worthing, one of tne
honor leaders in our Fame and
Fortune Contest, has an important
role in Ned Weyburn's revue at
the Capitol Theater. She may be
observed at the left assisting the
Capitol constructors

(Forty-four)

At The

World's

Foremost

Screen

Theater

Broadway's newest home of
the photoplay, the Capitol
Theater, is now open. This
de luxe film institution fea-
tures an elaborate musical
revue, in which Lauretta
Harris, at the right, and
Helen Herendeen, below,
have leading roles

(forty- five)

/

The Hidden Egyptian

Exclusive Photographs by NELSON EVANS

Clothes, and, if he happens to be in "the speakies/' it even influences
his diction If the truth were recognized, it would be seen that men-
tally, at least, he frequently goes on playing it forever.)

-Think over all the players, both of the stage and screen, whose work
you have followed and see if you can pick out the character or scene
ihat they love the best. Frequently, you will find it very easy. You
Lst use your detective powers, however. No true artist ever repeats
a favorite scene or a favorite character in all o its details. But
will creep out; as is the case with all true love they cannot help but
sliow it Even the very versatile Edith Storey has a love of this kind
liidden behind her many distinct and perfect characterizations. If you
watch her closely, you niay see it there; a persistent suggestion of the
Egyptian, in her clothes, her dry quiet humor her enigma .c ^^'e^ Her
favorite part was in "Dust of Egypt," a comedy made by the Vitagraph
Company about four years ago.

"It was so entirely different from anything I have ever done that
eve y moment of it was a pleasure," she sa id (she had on a dres of
every muinc t- ,^^^,,^5^^ striped organdie at the time.

Later when the photographer saw her,
she had on a different dress but it was ,
striped, just the same).

"In the beginning of the picture, I
was an Egyptian princess. Nothing
could stand in the way of my getting
anything I wanted. I could take it or
liave it brought to me. My will was
hw absolute. And then this Princess
died and her mummy came to life in
the present century. (In the end it

The most noticeable thing
about Edith Storey is her sin-
cerity. She has the most ex-
quisite sense of humor and
her viewpoint on life is a very
lovely one, indeed. "I am a
regular tomboy," she ex-
plains. "My brother and 1
are the best pals in the
world''

HAVE you ever
stopped to think
how many dif-
ferent kinds of love
affairs there a re ?
But of course you
have; everyone does
at some time or oth-
er I There is, fpr in-
stance, puppy love
that doesn't last, and
Indian summer love,
that doesn't last eith-
er. There is the love
of the leading man
for the leading wo-
man (on the screen)
— ^and the love of the
leading woman for
the leading man
(who is usually a
member of some oth-
er company) ofT of
it and this last s —
sometimes. But there
is one love that lasts
thru life and be-
yond, and that is the
love of a player for
his, or her, favorite
part.

(It influences his
mannerisms, h i s

By Elizabeth Peltret

turns out that she was the crea-
ture of a dream).

"Her su'-rounclit)gs were no
longer regal, but the princess
had not changed in the least.
She wants to use a certain
table as a couch. It is loaded
with beautiful things, but she
just brushes them off — (Miss
Storey illustrated with & non-
chalant gesture) — and orders
a bear rug that she fancies
brought to her.

"The sub-titles were so
good, too.

"Without being in the least
conscious that she is saying
anything unusual, the Princess
remarks to her host, speaking
of his wife, 'The Woman is
old and ugly ; why dont you
send her away and get a
younger one?' A man inter-
feres with some little thing her
Highness wants done and she
deliberately attempts to stab
him . . . But always she
is possessed of a deep inward
sense of her dignity as a prin-
cess . . . ."

Perhaps the most noticeable
thing about Edith Storey is
heri sincerity. She has a dry,
quiet way of talking, her
voice is low, rather "husky"
perhaps, and even in tone, but
never monotonous. She has
brown hair, with the prettiest
possible little wave in it, and
large oval-shaped brown eyes.

The first thing you notice about
Edith Storey is her deep humani-
ty. She has a gift of fitting in
any scene or becoming one of
any group of people in any walk
of life. The scenes on these
two pages show Miss Storey at
her California home

She has the most exqui.sitc sense of
luiiiior and her viewpoint on life
is a very lovely one indeed,

"I'm not looking very far ahead,
towards any wiilc or distant hori-
zon." she said; "1 like to do the
tliini; tlial is with me now. in the
licst possible manner. I like to keep
busy. 1 dont even like to sit still
and read unless I am doing it for
some definite purpose. I would
much rather be outdoors. I l('\e
nieehanics ; T can do almost any-
thing about an automobile down to
taking it apart and putting it to-
gether again. 1 am a regular tom-
boy ; my brother and I are the best
pals in the world."

He is three years younj;er than
his famous sister and enlisted in the
navy immeiliately after the declara-
tion of war. Edith Storey enlisicd
{Conthntcd on f^ni/c 7.^'>

/

Marie: The Mystic

M'

Three glimpses of
Marie Walcamp at
home and motoring.
Miss Walcamp, be-
fore she gained her
success on the screen
as a daring cinema
serial belle, was a
show girl in musical
comedy

By FRITZI REMONT

ARiF. Walcami' will do any sort of stunt so long as
she has faith in her director.

And let me whisper: Marie is so sensitive to
thought transference that nobody working near her dares
think anything that Marie isn't supposed to know.

Now isn't that sensitiveness queer in a girl who is a
death-defying, gymnastic wonder?

Miss Walcamp's eye.s. change color while you talk to
her — from grey to hazel, from hazel to grey. Everything
about Marie suggests mysticism. Her smile is inscru-
table. No two people know her in the same way. In-
wardly, she is perfectly sincere, but outwardly she is as
changeable as a chameleon.

She may be happy one moment and somberly reflective
the next. She isn't just exactly beautiful, but her great
individuality marks her as one having a beautiful soul.
She is reserved and likes to spend odd rr.oments in reading
and study. At night she usually reads herself into a
sleepy mood, then tucks the book away under her pillow
so that it can easily be drawn forth the first thii:<r in the
morning.

Miss Walcamp has a great deal of humor. You need
watch her smile but a moment to be convinced of that.
She has a large mouth, with perfect white teeth, slightly
overlapping on the upper row, and that is why Marie wont
smile often before the camera. Meeting her occasionally,
one would not even notice the slight irregularity unless
Miss Walcamp mentioned it, for her teeth give one only
the impression of wonderful strength, resistance and per-
fect health. However, serial pictures never require
smiles, so perhaps that's why the girl changed from
comedy to stunts,

"Did you ever attend a seance?" I asked. I hadn't
known about the Anna Eva Fay business up to that
time, but Marie's mystic eyes — eyes which make one
think of looking thru seven veils and trying to pierce
an inner shrine — had given me courage to accuse
her of being a psychic.

"Yes. just once. It was in a town far away from
here when I was about twelve years old. .Mother
heard of a spiritualists' meeting and decided that it
would be interesting for us to go and get a 'message.'
if possible. I had always a.stonished her by my sud-
den hunches, and .she was more or less interested in
psychic phenomena anyway, so she mustered up
courage enough to take me. It was her first expe-
rience also.

"We sat in a darkened room. I felt delicious thrills of
expectancy and just a little shiver of fear. After a silence,
the medium said — and oh, oh, he was so funny, with an im-
pediment in his speech — well, he said, 'Thumbuddy kicked my
calvthes awful hard just then. Does anybody here weck-
onize that spthirit?'

"I forgot all about thrills, fear, spirits and good
behavior, because the idea of being kicked on the
shins was so irresistibly funny. I laughed and
laughed until I almost rolled off my chair, and
then it struck mother, too, and she began to
suppress giggles, and a man asked us to leave —
and we did! So my first and last seance was a'
real failure and. I never tried it again. I
told mother I was sorry we hadn't behaved
well, for I did want to see a spirit that had
gumption enough to announce its
presence in such a forcible way.
I always did admire people who
had the courage of their con-
victions, no matter what
form they took."

(Forty-eight)

Miss Walcamp's first
Blm work was in a
Lee and Moran com-
edy at Universal.
Her first real chance
came in the serial,
"Patria," with Irene
Castle. After that
she did "Liberty" for
Universal

"Do you have liunclies
about getting hurt when
you do stunts ?"

"Oh, often. Last week, when Mr. Mac-
Gowan was going to throw that block of
wood at me, of course, aiming to avoid
actually hitting me, I said, 'You are going
to bit my head with it.' He said he would
aim low and never get near my head. A
few minutes later I was almost knocked
out by the block ! I guess that ought to be
the other way around, tho." Again the
alluring smile brightened Marie Walcamp's
hazel-grey eyes.

"Did you ever play anything along
occult lines?"

"Well, you know my coming into the
picture? M'as rather strange. I'll tell you just how I happened to be
cast for Bob Leonard's 'The Evil Power,' which was a hypnotic play
with a very powerful part in it for nie. I certainly loved doing it.

"I was a showgirl with Kolb and Dill and had a great admiration
for Laura Oakley, who was their leading woman. Every night I'd
go to her dressing-room and watch her make up, glad to get any
advice from her as to acting and the show business, or ready to sit
quietly by and study her if she reheansed anything. At that time
she was working in pictures as well as with the comedians on the
stage.

"One night she suddenly turned to me and said, 'Marie, why dont
you try for the pictures? I think you'd make good. You have ex-
cellent features for the business.' I said, 'Oh, I dont know ; I hardly
think I'd have a chance, do you?' She replied, 'Well, nothing like
trying. Come out to Univer.sal witn me tomorrow and I'll introduce
you.'

"Next day I accompanied her early in the morning and was put
right into a comedy with Lee and Moran ; then I had a chance to
work for Mr. Leonard in the occult play; then two pictures with
Daddy Turner and 'The Village Blacksmith' with Harry Pollard.
I did a great many dramatic leads after that with Otis T'lrner and
Mr. Pollard.

"The first two weeks I worked I earned ninety dollars a week. I
simply couldn't believe it. You know what the life of a showgirl
means hardly a cent left for necessaries, so much goes for board
(Continued on paije 72)

(Fnrty-nine)

/

The Girl from Out Yonder

Fictionized from the Selznick-Olive Thomas Photoplay

By Dorothy Donnell

"X/OL- lo^^t some of vour hair, and all of your complexion

Y and one sandal," itemized Flotsam, dispassionately. 1

gues^ that's all. Luckily I happened to be out with the

lobster pots." She lifted one foot and scratched the ankle ot

the other with a bare pink toe in a carefree manner. Like that

king of France who replied to a

courtier venturing to criticize one of

his acts, "I am the State!" Flotsam

might have said "Convention? I am

Convention !"

Mrs. Reggie Elmer, who had spent
a very bad five minutes clinging to
an unstable lobster pot and wishing
fervently that she had been a bet-
ter woman, giggled hysterically and
made a futile attempt to wring a
considerable portion of the Atlantic
Ocean out of her salmon colored
hair. "If you hadn't come along
when you did — " she chattered, "my
friends would have been saying,
'how natural she looks' in a day or
so ! I suppose I am a perfect sight —
you haven't a powder puflf about
you. have you?"

The young person in the baggy

corduroy breeches shook her curly

brown head. "N o p e. I

wanted to send for one

out of a Sears Roebuck catalog but Fardie wouldn t let me.
If you come up to the house you canhave some tlour, tho.
.\re you a w:ck-ender or a permanent?" _

Mrs Elmer seemed tn be staring thru a lorgnette. Us
all very well to Ir.ve vour life saved, and all that but it does
put one under obligation to such odd people 1 'I beg your par-
don?" she queried, frostily, "if you mean am I summer board-
er at the Point, no. That is my yacht off the Reef.

Flotsam was serenely unconscious of bemg snubbed 1
thought I hadn't seen you at the Light," she rejoined, pulling
the fjreat oars thru the water with magnificent sweeps of her
strong young arms, "we're one of the sights, you know. All
the summer folks come out to the Reef in Abe Barrow s motor
boat and .squeal when ihcy climb up the stairs, and say how
pictures-yiif' and 'I suppose its frightfully lonesome winters,
and buy souvenir postcards."

On the rocky ledge they were approaching two figures stood
looking out into the dazzle of blue and gold. The one, sinewy,
sliehtly stooping, with grizzled grey showing beneath the oil-
skin hat, waved his hand as the dory swept about the ledge.
"Thar they be!" he beamed, "I told ye my gal 'ud find her.
She's the greatest hand to be pickin' up queer things out of the
water, once 'twas a turtle, and once a devil fish and now your

Ma!" ,. . , u

"Aunt " corrected his companion with a slight cough. He
was a handsome, well-tailored young fellow whom Captain Joe
Barton had classified already as "a city toff." Just now his
expression was oddiv compounded of anxiety, amusement and
boredom. Edward Elmer was usually bored. He found thi
flavor of Life insipid to his tongue, as is usually the plight o!
those who have never wanted anything they could not have.

"Oh Eddie !" chattered his aunt, hysterically as she tottereo
over the side of the boat. "Oh, Eddie, it's a miracle I'm not
lying at the bottom of the Atlantic! And after all those ex-
pensive swimming lessons I took too! But this water was wetter,
or at least it seemed so— it behaved so oddly— and I got a punc-
ture in one of mv water wings— oh, Eddie, I have a feeling that
when I get around to it I'm going to have hysterics —
"There, there, Tootles!" her nephew soothed her
perfunctorily, patting her upon the back— the i-'ifalh-
ble masculine remedy for all feminine ills whether of
body or soul. But his eyes strayed undutifuUy from
the sod'cn salmon tinted head upon his .shoulder to the
quaint little figure dragging the dory up beyond the
water line.

Flotsam was small, but her sturdy boy s attire gave
her a look anything hut frail. She had crisp bronze hair,
an audacious tip-tilted nose, a mouth, just a .shade
too large for classic perfection, not a whit too large
for charm, and eyes that, from long gazing had caught
â– ,c color of the sea. blue and gold, darkening into slate

grey when there
was a storm brew-
ing. She gazed di-
rectly and honestly
at Edward Elmer
without a trace of
t h e sex-conscious-
ness which a pretty
girl usually shows
when meeting a
good-looking man.
Gasping and gig-
gling, Mrs. Elmer
chattered out an in-
troduction and fled
up the rocks to the
shelter of the light-
house for her bath-
ing suit was of the
kind that is intend-
ed for beach bath-
ing, and likely t o
dissolve embarrass-
ingly when in con-
tact with water.
Captain Barton fol-
lowed, leaving t h e
two young people
alone. Flotsam
stood poised on a
peak of granite,
humming a little
song, apparently
quite unaware that
Convention expect-
ed her to make con-
versation when she
had nothing to say.
There was nothing
uneasy about her si-
lence ; it was that
of the sea itself,
brooding without
revealing its s o u 1.

Edward, who was used to girls that chattered, girls that tit-
tered, girls that flirted, girls that gossiped, but not to girls who
said nothing at all, found himself suddenly desirous of hear-
ing her speak.

"It was certainly deuced lucky you were out this morning."
he began, with a smile intended to put her quite at her ease,
a smile that seemed to say, "Dont be abashed by my grandeur,
little girl. I'm awfully democratic and all that!"

"Wasn't it?" rejoined Flotsam, continuing to gaze out to
sea with unflattering interest in the fleet of fishing boats just
jutting out from harbor. Devil take it, but she was really ex-
traordinarily pretty — rigged out in one of Clarice's gowns she'd
be a winner. His tone lost a trifle of its patronage and ac-
quired deference.

"Tootles ought not to go swimming in anything deeper than
a bathtub," he confided, "she loses her head too easily ! So you
live out here on the Reef, do you? I suppose you must — "

"Xo," replied Flotsam, coolly, "I dont get lonesome winters
at all. Yes, indeed. I love the ocean. No, I've never been to
Xew York. Yes, I'd like to. I'm not your baby doll, thank
you, and I dont care to row over to the mainland some day
and take a little ride in your car."

Edward F.lmer stared at the mutinous little face blankly a
moment then burst into a roar of laughter. "So that's what
they say to you, is it? Then I wont say it. We'll talk about
anything you choose, only do let me stay and talk. I'd like to
awfully well, honestly!"

Unexpectedly the stormy face opposite broke into dimples.
Flotsam sat down on the roc!<s beside him with as much grace,
in spite of her salt-stained corduroys and clumsy shoes, as
tho she wore organdie and patent leather pumps. "Then
tell me," she begged him. hungrily, "every single thing you
know about rlollu-s" Her tone quickened, her eyes held

(Fifliioiu)

And so began, on the
rocks beside the morning
sea, the stsry that was to
lead to other, stranger
chapters

a light almost holy. "Are
they still wearing narrow
skirts?" breathed Flotsam,
"and tight sleeves, and are
the hats turned up or
down?"

And so began, on the
rocks beside the morning sea, the story that was to lead to
oiher, stranger chapters, as the sea has other, somberer
phases. It was the first of many talks they had, Edward
doiiT? most of the talking, while Flotsam .sat enthralled,
listening to the tale of a world as remote from her ken as
Fairyland.

"Why you allow it!" marvelled Clarice Stapleton. with
the edge of spite in her voice, "that common little thing
knows well enough who he is and how much money he has!
Of course, I dont mean to imply that Eddie could be so
ridiculous as to think of marrying her, but that sort is danger-
ous. Marriage isn't the only way to get hold of a rich man's

money '

Mrs.' Elmer looked shrewdly at the speaker. Morning was
always unbecoming to Clarice, tho she was still able to shine
under electricity. In the full, hard light her face showed every
one of the thirty-two years — she only confessed to twenty-
eight — of struggle and disappointment. Clarice had tried
(lesjierately to marry alnrost every eligible young man she had
inet since her debut, and the campaigns had left their traces in
fine lines about her rather pale eyes, in a certain acidity of
vievnoint, and drawn expression about lips that art rendered a
vivid Vermillion.

"She's young and pretty, you must retnember," she remarT<ed
sweetly, and apparently without guile, "even in those outrag-
eous togs slit wears she manages to look like a little soubrette

in ,. mu>-.cai comedy, and withal she's as utterly natural ad
unaffected as a wild rose." It was not that Mrs. Elmer really
approved of Flotsam as a prospective niece-m-law, but— as any
feminine reader will uiulcrstand— she took tli.stinct pleasure
in making Clarice writhe.

There were others than those on the yacht who regarded
with alarm the friendship of Edward Elmer, clubman, million-
aire first-nighter of all musical shows and Flotsam— the Oirl
( )ut' Yonder, the village called her. Of these, one, Joey Clarke,
heavy of hand and feature, with hair burned a strange, tawny
rc<l by long davs of fishing under the blazing sun, was the bit-
terest'. Twenty-nine was Joey, a hard man, his fellows called
him— a dangerous man. He could drink any other fisherman
on the coast under the table without anything to show for it
outwarilly save a tendency to smile and talk more than when
he was sober. He could strike with his tarry fist a blow like
that of a sledge hammer. He could hate faithfully— could love
bitterly. .\nd he loved Flotsam Barton. There was a burn-
ing in his eyes when he looked at her, a thickness on his tongue
when he spoke to h' . , ,,

"Cioing to let the city dude cut you out, Joey." his fellow
fishermen jibed as the dory with Elmer and Flotsam put out
from the Reef, "I hear they're as good as promised a'ready.
What gal who c'n have silk gownds and a fine house in the city
is going to choose a fisherman's shack?"

To none of (heir jeers did Joe Clarke reply but his jaw had
an ugly set, and his eyes, under scowling brows smouldered.
Alone in his three-roomed shanty he considered possibilities.
She had liked him well enough before that damned dude with
his silk socks and silkier words had come. She would like him
—well enough, if he should go. .\nd he should go.

"I could kill him," Joey muttered, and played with the
thought for a moment, but in the end relinquished it. "But
I'm not going to. I'm not hankering to spend the rest Of my
years in jail — or mebbe get kicked out o' life with a dose of
iectricity. But if he stays much longer it'll be too" late — he's
I'ot to go, but how — "

His great fist came crashing down on the pine table, setting

MOTION PICTURE

the dishes chaflering with nervousness. His lips drew nack.
"Why didn't I think of that afore?" he blazed, "if that dont
.send h'im kiting nothing will !"

Edward Elmer was surprised the next morning, to see the
sliaggy head and lowering face of the most unprepossessing
fisherman on the Cape rise over the edge of the yacht to be
followed by six foot two of oilskins smelling vilely of fish long
defunct. "I beg your pardon. Mister," Joey Clarke said sur-
lily, ''but might it be as how I could speak with ye, a moment ?"
But when the desired permission was given he seemed at a
loss how to begin. His great hands, shaggy with black hair
twisted his greasy cap, his eyes were fixed upon the far-away
ledge of the (ireat Reef Light. When he did speak the words
seemed somehow wrimg out of himself. "It's about Flot.sam
Barton. I've heard you're sweet on her — is that so?"

[•Ilmer's eyes flashed dangerously, but his tone was level !
"I'dont recognize your right to ask such a question. However,
if it is the least interest to you I am quite willing to tell you
that I intend to marry Flotsam. And now — if that was quite
all — " he gestured suggestively toward the gangway, "it would
be a pity to lose a morning's fishing — "

Joey Clarke's great hands worked silently with the hat, a
slov,-, dreadful twisting movement as tho he were strangling
something. "You cant marry her," he said, "you cant marry
her. It isn't safe — she comes from a bad stock — "

Edward Elmer laughed scornfully, then, little by little the
hiugh became mechanical and forced as his eyes studied the
other's face. "Just what" — he wet his lips — "just what do
you mean?"

"I mean," Joey Clarke said heavily, with monotonous inflec-
tion, "that she's the daughter of a murderer! And what's
more Barton killed his own father. That's why he's tending
the loneliest light on the coast — to keep out of the way o' the
Law !"'

"You're crazy," stammered Elmer, ashy of face, "stark
crazy !"

"You dont believe it?" Joey pointed toward the Reef, wtiite
in the sunlight. "Ask him then! He knows I know it — 'twas
me as found the old man with his head beat in and him lying
in a drunk alongside with his hands — red — "

Captain Barton
touched the great brass
reflector with his cham-
ois as a mother touches
the cheek of a new-born
child. Next to Flotsam,
singing below over her
housework he adored his
Light. It was somehow
a symbol to him, those
clear white rays brush-

V<

/

\ ^,

(Fifty two)

CLASSIC

ing the darkness triumphantly
away —

"Captain Barton !" He turned,
startled, then extended a hear-
ty hand.

"Mister Elmer ! I didn't hear
ye, ain't you a mite early this
mornin? Flotsam's down-
stairs— "

"I didn't come to see Flotsam,"
the boy said tragically. The agony
in the young eyes searching the
tanned weatherbeaten face be-
fore him drove the smile from
the lighthouse keeper's lips. "I
came to see you. To ask you —
this man Clarke here says that
you — Oh, I cant say it ! He
must be lying — he is lying, isn't
he. Captain?"

The strength seemed to go
from the gaunt figure before
them. All at once he was an old
broken man, an old frightened
man with quivering lips that
worked loosely and cheeks that
twitched. His eyes roved dully
from Elmer's tense face to Joey
Clarke's implacable one. "So he's
told ye?" he wheezed, "I've been
payin' him for fifteen year to
keep shet o' it. But — it's true —
leastwise I s'pose it's true — "

"You suppose it's true?" the
boy snapped furiously, "dont you
know?"

"I was drunk," Captain Bar-
ton said, heavily, "I used to go
on sprees — those days. A n d 1
come out o' one of them with Joey
here, shaking me, and hollerin' —
and there was Pap — andmyclo'es
all over blood — "

"God !" said F.lmer, and shrank away shuddermg. Below
stairs came the sound of a brisk broom and ihe lilt of a clear
soprano. "I have heard the mavis singing, her love song to
the morn — "

"She dont know," the father cried, as tho in answer to
some unspoken argument. "What makes you look so queer like?
It ain't her fault! She ain't done nothin'," he plucked feverish-
ly at the boy's sleeve, "what you turnin' away like that for?
You aint — going — to leave her 'count — of me — "

"I've got to!" In the face of Life's realities all the affecta-
tions and artificialities dropped away from Edward l''lnier, and
he spoke with his soul to the ear,-, of the other's soul. "I love
Flotsam — but I'd be afraid, afraid hideously, of the taint in
her, afraid of what — my son would be and do — "

"She's good!" babbled the old man. "I wont never see her
again —if you'll take her away — I'll promise you vou wont
never hear of me! I'll give myself up, and tell 'em Pap didn't
fall onto the cellar floor like they thought. I'll — I'll do any-
thin' you say. on'y dont break my baby's heart, dont — "

"I'm breaking my heart, too." But he was turning away,
young shoulders sagging, young lips stubborn. "Tell her good-
bye for me. I — couldn't bear — I'll have .\unty leave before
another morning — oh, Flotsam — "

Moments, hours passed, and the old man in the Light tower
stood motionless, then he lifted his face to the great blind blue
that showed thru the glass dome overhead. "Help me t'
lie. God!" Captain Barton praved. "help me t' have my little
gal."

Flotsam gave a cry at the sight of the face he turned toward
her, but he stilled her terrified questioning with a gesture. "I
got to tell you something that breaks my heart, baby," he said,
thru stiff lips that smiled dreadfully, "but it's the on'y way.
I'm not — not yore pappy, not by blood — "

Hours later. Captain Barton climbed the stairs that led to

(Fifty-three)

And he loved Flotsam
Barton. There was a
burning in his eyes
when he looked at her,
a thickness on his
tongue when he spoke
to her

the Light, holding desper-
ately to the iron rail. H i s
knees shook beneath him,
his head felt oddly dizzy
and confused, incapable of
thinking of anything but his
duty — the Light that he
must send out into the swift
autumn darkness, the Light
that must not fail whether hearts broke or no.

"First o' all that." nuuiibled he, as he dragged himself up
stair by stair, "and after — I'll think o' Flotsam — an' the rest — "

Out somewhere in the dusk he had left her, palmer's arm
about her. with her face, half frightened, half sorry, yet some-
how wholly glad, turned to him as he waved her good-bye and
dropped over the rail. The ethics of what he had done did
not occur to him. He had denied his fatherhood to save her
happiness, that was all of it, no more, no less. He had told his
lie so well that it had pa.-ised as truth, and he thanked God.
Somewhere out there — he looked down upon the dark heaving
water.s — the yacht was lifting anchor to take his little girl away
from him. out into the world where even his thoughts would
get lost in trying to follow —

"Th' Light— it's pitchy dark a'ready." He was working
feverishly now. "Supposin' it shouldn't be lighted and the boat
should go on the rocks! Where'cl I leave them matches— (/"orf"'

For his hand, groping in the thick darkness had touched
another hand. Joey Clarke's voice leaped upon his ears like
some sava?e animal. "No you dont! The Liijht aint going to
be lighted to-night. Get me? It ain't (joing to be lighted"

For a moment Barton did not understand. He even tried
to laugh in a forlorn, helpless way. "V'hat do you rnean. Joey?
You're jokin'! I got to hurry becaubc the yacht
and it's dark — "

leavin' —

the

i^

•it"s not leavin !" Dreadful mirth shook tlie great body be-
side him. "at least— not far. Send Flotsam away, would you?
She was mme. 1 lell you-.iim.-.' .\nd she aint goin' to be any-
body else's I"

There was niadne>s in the wild words, in the gleam of the eye-
balls in the darkncsv. madness in the clutch of the great, hairy
hand>. "(iit out o' here, Marton ! I'll tend the Light to-nighl !
Git out o' here afore I serve you as 1 served your rai)|>y
fifteen year ago —

It was not until the door crashed behind him that Ca|ilniii
Uarton realized the meaning of the last words. He heat the
paiiel> with imi>otciit hands, hut the stout ash mocked his
efforts. He >houted. begged, prayed, and listened to the walls
Kiss hi- own crie> back u|Min him. From w ithin the Light tower
was awful silence. He slid to his knees and
peered thni the keyhole— darkness, utter, merci-
les>. and— out there, helpless in the night
yacht driving on the rocks — Flotsam —

.Somehow he had staggered down the stairs
and into the kitchen, found matches, a can of oil.
"Ju>t a minute, dearie, I-'ardie's comin'!" the
oid man groaned. He lifted a wooden chair,
brought it down upon the stove with ter-
rific force that nearly tore his arms from
their sm-kets. I'everishly he poured oil on
the splinters .Vnother chair — another —
cla-ping the bundle of faggots in his
arm. he -taggered out into the windy
dark, and felt hi> way down the
rocks. F.ven by daylight it was a
hard path lo negotiate, steep, with
unexpcctc<l pit-
falls and ti--ures,
but he panted on.
falling, crawling
on his hands and
knee- Below
him, and strange-
ly near, sounded
the hiss of t h e
water on the
pointed rocks.
He strained h i s
eyes and thought
he saw lights
moving thru
the darkness —
"Just a min-
ute, d e a r i e,"
moaned F 1 o t-
.sam's father, and
touched a match
to the oil-soaked

w-ood. The flames streamed on the wind like wild locks of a
Valkyrie's hair. Above him from the darkened tower came a
«hout of fury. then, sickeningly the sound of a body hurled
from a great height upon the rocks— afterward silence.

The torch flared higher, casting wild shadows. In the red
light of it the old man's face was hallowed with prayer. "Keep
her safe— please Cxi ! My baby-keep her safe, please God !"
"Fardie!" Light footsteps ran across the rocks, and Flotsam
w^s beside him. straining him to her with strong voung arms
Fardie! What are you doing' Dont look so. Fardie; it's me
Flotsam! I've come back, and I'm never
again !"

He conTmued to wave the torch, staring down at her stupidly
Bu.-youcant! You're going to be a lady-" His knees weak-

MOTION PICTURE CLASSIC

ened. She pushed him gently down and took the torch from
him, holding it steadily.

"I'd rather be just Flotsam. To-night — when I saw them
dancing — the fine ladies, in their fine dresses — I knew that
you'd lied, and that I was truly your girl, and didn't want to be
anything else — " her voice broke, denying her brave words,
but she went on. "He told me. Edward — everything. And so
1 came back to tell you it dichi't make any difference and I
loveil you. 1 rowed away while they were dancing. They'll
never miss me, Fardie — 1 didn't belong there; I belonged here
on tile (ireat Keef — Out Yonder; I belong to the Light, Fardie,
and to you '."

".\iid tome. I'lotsam!'' .said a new voice in from the shadow.
Tall and handsome in his evening clothes. Edward I'.lmer
stepped into the golden ring of light, hands outlield. "You
didn't suppose you could run away from jiie, did you. dear!'
They had both forgotten the silent figure of the old
man, crouched among his rocks, and, looking from
young face to young face shining with a light that
was not from the dying torch, Captain Barton rose
softly and stole away. Later there would be things to
be told, later he might free his name from the
taint that Joey Clarke, lying somewhere stark-
'y on the rocks had fastened upon it fif-
teen years ago. Later he miglit
reclaim the fathership he had
denied. He sprang

Out somewhere
in the dusk he
had left her, El-
mer's arms about
her, with her face
half frightened,
half sorry, yet
somehow wholly
glad, turned to
him as he waved
her good-bye and
dropped over the
rail

up the steep ledge, into the tower and up the stairs to where
the door swung open at the top. A scratch of the match, a
flicker of a wick — and the Light shone out, splendid, .serene,
over the dark fields of the sea.

He held out his hands to the rays of it, ecstatic. "The
Light — is stronger than tlie darkness — " cried Captain Barton,
triumphantly, "what's there for us to be afraid of. God?"

going to leave vou

THE EXCEF'TiON
By ll'altcr Puliht-r
There's chani;o in evcrvthinc, alas' except a fcliow'.s pocket!
This world is full uf chances; there's nothing liere aliiding ;
All ihinRS are evanescent, flectiiijj. transitory, glifiinp.
Tlic rartli, the sea. the .sky, the stars — where'er the fancy ranges.
The tooth of Time forever mars — all life is full of ehan^jes.
Like 'anrls upon the ocean's shore that are forever drifting.
So all the fading sreiics ,if earth incrssaiitl\' arc shifting.
Change rules the nii^?,hty uni\crse — there is no power to block it.

< Fifliifimrj

Double Exposures

Conducted by F. J. S.

TiiF. waif and her pitiful little pet ge-
ranium are always with us. Witness
the opening scenes of De Mille's
"Male and Female" and of Toumeur's
"The Life Line."

A company has been formed out
in Los Angeles to film the Bible
in 204 reels. Some directors we
know
can
ha r dly

g e t a n '~

ordinary
s t,o r y
into that
length.

Recently we presented our com-
posite feminine star of the films.
This month we offer our ideal screen
male star with :

Lloyd Hamilton's hair.

Ben Turpin's eyes.

Bull Montana's ears.

Chester Conklin's mouth.

Ford Sterling's chin.

"Fatty" Arbuckle's torso.

Charlie Chaplin's legs.

One of the New York newspapers has
been listing the most popular lines of the
spoken drama. We submit the following
three subtitles to represent the photo-
drama :

"A lily growing in the mire."

"Poor but honest."

"The dawn of a new day."

upon the cold-blooded and
brainless way producers
twist titles about. Incident-
ally, Mr. Stroheim notes thaf
Carl
Laemmle,
president
3f U., de-
ends his
c h a n gr
by saying
that "there are
more blind
husbands in the world
than pinnacles" and
that, therefore, more people would go to
see the re-titled picture. Which, we sub-
mit, is considerable reasoning!

V

Our all feminine football team for the
season of 1919-1920:

Gloria Swanson Left End

Dorothy Gish Left Tackle

Wanda Hawley Left Guard

Louise Fazepda Center

Corinne Griffith .' , Right Guard

Kebe Daniels. .....: Right Tackle

May Allison Right End

Theda Bara Quarterback

Lillian Gish Left Halfback

Katherine MacDonald. .Right Halfback
Elsie Ferguson Fullback

"Syd Chaplin Finds Europe Is Un-
settled" is the heading of The Motion
Picture News story of the come-
dian's attempt to produce on the
other side. Something of a dis-
covery, we'll say.

Big Screen Moment of the Month
Bebe Daniels in the allegory of "Male
and Female."

Courtesy Mack Sennett Comedies

The British are protesting about
American bathing girl comedies.
Why ? The bathing girl is the screen
prototype of the stage chorus girl.
There is no other way to logically
introduce the flapper except as an
aquatic charmer, hence the bathing
girl farce. Why permit the real
thing behind the footlights and pro-
test at an animated photograph of it i

Erich Stroheim has been pur-
chasing pages in the trade papers to
complain about the way Universal
shifted the title of "The Pinnacle."
which he wrote and directed, to
"Blind Husbands." It's about time
some one took a determined stand

(Fifty-fne)

LILLIAN GISH
By Chaplotte Becker

A fairy's gifts were on her cradle shed —
This Pierrette of the screen, whose happy wit
And dainty store of fancy exquisite.

Seems fragrant of old gardens, quaintly spread

With tangled blooms of roses, white and red:
As with swift gleams of joy or sadness lit
Her winsome, little, wistful gestures flit

Thru pictures hy lier grace dream-garlanded

Sparkling with youth, her charm, shy, whim-
sical,
Enchanled-wise sets memory astir
Unto the tunc of some forgotten dance.
And leads, altho the leaves of autumn fall.
Thru paths of rosemary and lavender,
Back to that far-olT country of romance.

"Aye, there's the rub," com-
ments some one on noting that Chris
Rub has been signed as comedian by
Universal.

How impressive are statistics!
Mary Pickford's tabulator states
that Little Mary will make 15 miles
of drama in 1920 and that 100,000,-
000 people will crowd theaters in
every land to see her. The subtitles
of her plays will be translated into
seven languages, including Chinese
and Japanese. We'd like to see
"Pollyanna" in Swedish.

".•\merican films are stimulating a

desire among Brazilians to learn the

English language," says The London

Kinematoyraph. "Perhaps the pres-

{Continued on page 83)

Above. Sylvia Breamer, in
"Dawn"; right. Geraldine Farrar
and Lou-Tellegen in "Flame of
the Desert"; below. Douglas Mac-
Lean and Doris May in "23V:
Hours Leave"

The Celluloid Critic

The Month's Photoplays in Review

Two absolutely unheralded photoplays stand out of our month in the screen
theater. One takes its place as a veritable celluloid cameo — and easily one
(if the best pictures of the year.

riiis silverscrccn gem is "The Gay Old Dog," (Pathe), based upon an Edna
Ferber story. It was adapted — and admirably adapted — to the films by Mrs.
.Sidney Drew and produced by Hobart Henley. Since we have long recognized
Mrs. Drew's ability to sound the human note and Mr. Henley has heretofore
been a director of no particular distinction, we give the major share of the credit
to the former. Possibly we are wrong. Anyway, there is honor enough
for both.

Now "The Gay (M Dog." isn't dramatic, hasn't the so-called "punch'' ; indeed,
it violates most all of what producers have deemed to be photoplay essentials.
It is just a slice of life. It moves lei.surely, without forcing, to its logical con-
clusion. Its story? The bitter fate of one Jimmy Dodd, who, weighted down
by his dvinf mother's request that he "look out" for his three sisters, sacrifices
his own love and hopes for his family. Then, as the years pass, he finds himself
alone and loveless and he tries to be a "gay old dog." But he just cant — and so
the picture ends wit!; the "gay old dog"' just a "tired, lonely old man in a ridicu-
lous rose- room gone suddenly drab."

This brief summary does not begin to reveal the direct humanness with which
Mr. Henley and Mrs. Drew have unfolded Miss Ferber's tale. If "The Gay
Old Dog" doesn't reach your heart — well, something is the matter with your
heart. The tear is there, the tear of a vital heart-throb. We beg of you to see
it, if only to observe the way thought can be put across on the screen.

John Cumberland, "the gay old dog," has been playing so
long before the footlights in risque boudoir farces
that we had come to think him just an average
comedian. But his playing in "The Gay Old
Dog" is superb in its sublety. The remainder
of the cast is well chosen. Indeed, "The
Gay Old Dog" is well nigh faultless. The
subtitles, for instance, are gems of fine
screen expression, so rare these days.
The other pleasant surprise of the month
was "23p2 Hours Leave," (Para-
mount), an adapted Mary Roberts
Rinehart story, which introduces a new
juvenile team, Douglas MacLean and
Doris May, to the films. This is a de-
lightful comedy revolving around a
nervy young rookie's love for the daugh-
ter of the commanding officer of his
camp. There is a delightful
freshness to the handling and
scores of unforced laughs.
Young MacLean proves to be
a very pleasant young come-
dian of whom we expect a
great deal. .\nd let us not for-
get the director in giving credit
where credit is due.

.Since David Griffith gave us
his epic, "Broken Blossoms."
we again look forward to new
productions emanating from his
studios with something of the
expectation we once awaited
his old-time Biographs. Mr.
Griffith'.s latest, "Scarlet Days,"
(Paramount), is a tale of the
mining camps of '49, built
around a young outlaw, Alva-
rez, said to have been a real
character of California hi.story.
There is nothing particular
about Mr. Griffith's melodra-
matic opus, altho Mr. Griffith,
by a multitude of tiny touches,
gets a little closer to what the

(Fifty-six)

By FREDERICK JAMES SMITH

real pioneers and dance-hall favorites must have hccn. lUit ".Scar-
let Days" is distinctive in at least one item: Kichard Harthelnicss'
portrayal of Alvarez, a sensitive, finely attuned romantic perform-
ance. Little Clarine Seymour makes a Mexican spitfire stand out
and Kugenic P.esserer j^ives a \erv rommendahlc presentation of a
grey-haired mining camp hellc.

That high-spirited little comedienne, Dorothy (iish, is mil happy
in "Turning the Tahles," (Paramount), a farce constructed ahout
the effort of an unscru])ul(ius aunt to put a young woman in a sani-
tarium in order to get control of her money. Miss (iish has licr
moments, but the comedy itself is lame stuff. So is the direction.

More of Norma Talmadge is revealed in "The Isle of Con<|uest."
(Select), than in any vehicle ue have yet glimpsed. For in it Miss
Talmadge plays an unhappily married young wife cast ashore in
abbreviated masquerade costume U|)ou a desert island with a dash-
ing stevedore. Of course, she comes to lo\e him. belicvin.g luiliby
dead, and they are about to
peiform a marriage cere-
mony of their own, that
they may become man and
wife, when a steamer a]i-
pears on the horizon.
Friend husband is on
board, but he prom])tly dies
of heart trouble and things
end happily for the .sailor
and the widow. Miss Tal-
madge is ade(|uate enough,
aside from being optically
interesting, but "The Isle
of Cont|uest'' is just con-
ventional screen drama.

"His Majesty, the .\mer-
ican," (United Artists), is
another routine Douglas
Fairbanks celluline cyclone.
Doug gymnastics as a
young Xew Yorker who
gets involved in a middle
Europe revolution and
turns out to be the heir
apparent to the throne.

The star dashes from mantel to balcony and from housetop to
window-ledge with his customary dramatic power. In other
w-ords, "His Majesty, the American" is just another Fairbanks
comedy of the usual sort.

Geraldine Farrar's newest. "Flame of the Desert." ((ioldwyn),
does not impress us. Miss Farrar has the role of a British girl
in Cairo during a threatened revolution of natives. She loses her
heart to an .Arab leader who turns out to be a British officer on
secret service. Lou-Tellegen is the Arab-Iinglishman. "Flame
of the Desert" is a machine-made vehicle and nothing more. It
has all the careful photography aftd direction of (loldwyn produc-
tions—and all their lack of heart and imagination.

Dolores Cas.sinelli's "The Right to Lie," (Pathe), is hectic,
unreal stuff. Miss Cassinelli is seen as the daughter of an Ameri-
can who has innocently been guilty of bigamy. He cannot reveal
h.is first marriage, but'does his best to right matters, making the
child his ward. Every one suspects a sordid relationship and
there are reels of tears and emotionalism.

Constance Talmadge's "A Virtuous Vamp," (First National),
is, despite the cheapness of its title, a bit more amusing than Miss
Talmadge's recent vehicles. An artless young British society
belle, under an assumed nanie. invades the .\merican business
world and just cant help vamping every man in sight, thereby
upsetting business organization with every flash of her smiling
eyes. It is adapted from Ch'de Fitch's "The Bachelor," the
whole comedy being ruthlessly shifted from masculine to feminine
(Continued on pai/c ^9)

(F..iftyseven)

John Cumber-
land, above, in
"The Gay Old
Dog"; left, Clar-
ine Seymour and
Richard Barthel-
mess in "Scarlet
Days"; below,
Dorothy Gish in
"Turning the Ta-
bles"

Filming
"Treasure
Island

(Fifty-eight)

The Riddle Man

By PEARL MALVERN

WHEN I went to "get" William Russell I went to the Victor
Studios somewhere on llth Avenue and I French-heeled
shakily over cobblestones and slunk into weird arched door-
ways and around somehow sinister corners. There was the rankly
humid smell of docks and of salt water against the docks, and I
felt that I might be in "Limehouse" rather than on an interview.
There was something distinctly "dififerent" about it all.

However, I thought, w^hen I get into the star's dressing-room I
shall be in atmosphere again. He will run true to form, some
form or other. Perhaps he will be tailored, and correct and, to
the eyes, an "objet d'art," and we will discuss his fans and his
hobbies and I will kiioiv that I am on an interview.

Which only goes to prove one dare not think in tracks on any
man.

I found Bill' Russell to be quite in atmosphere. Oh, quite —
in Limehouse and the cobblestones. He was tiotliinq if not in
atmosphere. Besides being Gargantuan in build, which is not
his fault but quite to his attraction-credit, he was attired in a
flannel shirt open at the throat, nondescript and very utilitarian
There was a tie bound round about his brow and
he talked with great difficulty, having to hold in
two recently displaced teeth besides the little
matter of enunciating.

The two teeth, one of which fell out upon the
floor with quite a thud during the course of the
subsequent conversation — I tell you this to kill
suspense — I wish mine might have been as briefly
killed — the two teeth, I say, had been removed
from their moorings during a "scene" taken some
fifteen minutes or more, or less, before my tooth-
some arrival. Which is a rather conclusive proof
that when Bill Russell is before the camera he
is not merely posturing. He fights his fights as
literally as he would fight them were he in the
Klondike or the Northwest, or Limehouse or an>
section where gentlemen with giant builds make
pleasant havocs of their fellowmcn.

There is none of the obvious about Rill Russell.
He gets you guessing. You dont know whether
you're going to like him, or whether you're not.
You dont know whether he's .going to let you
like him. He doesn't gush. He doesn't pose
He doesn't attitudiiiizc. There is none of the

mummer. He has the air of reflecting quite

outside of your being there at all. He talks ^"^^^^^^^^^^^^^^^^^^
quietly and it takes hnn some time to warm up
to his subject. He weighs things. He does not

speak lightly or glibly. Just in the beginning you begin to despair of him as
"copy." You dont (|uite know whnt to make of it, of him. You fidget and
begin to believe that you had better go. Then yon find that he is saying things
here and there that are immensely worth while. He is saying them in a manner
of spe:iking as tho he were alone and musing aloud. You realize with some-
thing of a shock that he had no formula ready to spring on you. He is just
talking — is just himself. He may and may not have said these same things
before. If he has. he doesn't know it. It is the thing ]ie is thinking of at
the moment. Yon have tho impression of something deep and primitive
of .some miglity force leashed up. of something barely stark and ele-
mental. It conies to you that the confines of llie drc>siiig-room are far
too small. There is a need of space and then more space.

He talks with a few wide gestures, with every so often a piercing
look from his eyes which are decp-.set and grey. He talks sparsely,
but one g-pts big canvases of thought . . . impressions . . .

He is tired of stage life, he says. He wants to travel the great
world over. Roam the seas and blaze strange trails and climb
peaks that ravage the skies. Tie wants a gootl comr.-ide by his
side— a woman "That would be more than half the joy of it."
he said. (Coiithutcd nn pat/c 74)

( Fiftif-iutte)

"Men want good women,"
says William Russell, in
discussing marriage,
"wholesome women —
strong, sanely balanced
women. Women who are,
primarily, good comrades'*

An Earle and His Domain

At the left is a glimpse of
Mr. and Mrs. Earle
Williams with the Wil-
liams bungalow
background

(Sixty)

THE RIGHT WAY TO
KEEP YOUR NAILS

ALWAYS PERFECTLY
MANICURED

Just a little regular care makes
your' hands beautiful

NAILS like rosy pearl inlaid in a del-
icate setting — a setting of smooth
unbroken cuticle, a perfect curve
which repeats the curve of the nail tips.

It is easy for anyone nowadays to have
this alluring grace of perfect, nails and
cuticle — so easy that people no longer
excuse the lack of it.

The sensitive nail root is only
one-twelfth inch below the cn-
ticte. When yon look through
a magnifying glass yon sec the
unpleasant results of cuticle cut-
ting.

Today ill kept nails are as unpardonable
as ill kept teeth. For it takes but a few
minutes of regular care each week to
keep your finger nails always perfect,
your cuticle smooth, thin, unbroken.

Make some day of the week your regu-
lar day for manicuring. Then regularly
on this day give your nails the care they
need.

Do not forget that the most important
item in the appearance of one's nails is
the care of the -cuticle. Broken cuticle
is like a broken setting to a jewel. Coarse
overgrown cuticle is equally unsuitable.

Yet many people ruin the cuticle through
ignorance of the proper method of car-
ing for it. Nn'er cut it. This is ruinous.
The nail root is only 1/12 of an inch
below the cuticle. When the cuticle is
cut, it is next to impossible to avoid ex-
posing the nail root at the corners or in
some other little place. The root of the
nail is so sensitive that Nature will not
permit it to remain uncovered. The
moment a tiny bit is exposed, new skin
grows very quickly in that place to cover
it. It grows much more rapidly than the
rest of the cuticle. This spoils the sym-
metry of the curve at the base of the
nails. It causes uneven cuticle and hang
nails. It gives a coarse ragged appear
ance to the border of your nails.

Realizing this, an expert set himself to
the task of discovering a safe, effective
way to remove overgrown cuticle. After
years of study he worked out the for-
mula of a liquid, which gently, harmlessly
softens and removes the surplus cuticle.
This he called Cutex.

Wrap a little cotton around the end of
an orange stick (both come in the Cutex
package), dip it into the bottle of Cutex
and work it around the base of the nails,
gently pushing back the cuticle. Instant-
ly the dry cuticle is softened. Wash the
hands, pushing back the cuticle with a
towel. The surplus cuticle will disap-
pear, leaving a firm, even, slender nail
base.

If you like snowy white nail tips apply
a little Cutex Nail White underneath the
nails directly from its convenient tube.
Finish your manicure with Cutex Nail
Polish. For an especially brilliant last-

ing polish, use Cutex Paste Polish first,
then the Cutex Cake or Powder Polish.

If your cuticle has a tendency to dry and
grow coarse, apply a bit of Cutex Cold
Cream each night. This cream was es-
pecially prepared to keep the hands and
cuticle soft and fine.

It takes only about fifteen minutes a
week to give your nails this complete
manicure. Do this regularly and your
hands will always have that peculiar at-
tractiveness which adds a subtle appeal
to one's whole appearance.

To keep yot.r cuticle a perfect jrame for your
nails, you must use the right softening method.

A complete manicure set
for only 20 cents

Mail this coupon (below) with 20 cents and
we will send you a complete Midget Manicure
Set, which contains enough of each of the
Cutex products to give you at least six mani-
cures. Send for it today. Address Northam
Warren. Dept. 901, 114 West 17th St., New
York City.

// yo'i live in Canniia, address Northam U'ar-
rrn, Def'l. got, 3<vi Mountain Street, Montreal.

M.\IL THIS COUPON WITH TWO DIMES
TQD.'VY.

NORTHAM WARREN
Dept. 901, 114 West 17th St.,
New York City.

Name

Street

Ci(y

Stale

(Sixty-one)

^aiaBBBS£Wgi'<sag^!S3S^r'aife ■

A

Sennett
Salome

(Sixty-two)

What Does Your
Mirror Reflect?

Are ijou proud and satiS"
fled because it reflects a
skin that ishealthi), glov-
ing and altogether charm-
ing?

Or are qou discouraged
because (jou haue tried so roani]
recommended treatments and still
tjour skin loolcs muddq. oilq and
colorless ?

Qiue Resiaol Soap a trial

Its soothinq. refreshing lather,
searches euerij pore, and helps to
cleanse them from the impurities
ujhich haue lodged there, qiuinq
the skin a chance to breathe.

SOLD BY ALL DRUGGISTS AND
DEALERS IN TOILET GOODS

Resinol Shaving Stidt delighlJuUy
ioolhing to men with tender /aces.

Alia in India

St

Mme. Neizimjova in
her forthcoming
Anglo-India drama,
" Strong er Than
Death," released by
Metro. "Stronger
Than Death" has its
basis in I. A. R.
Wylie's novel, "The
Hermit Doctor of
Gaya"

PnoiosTiphi courtcijr Metro Coiporation.

(li'util four)

Myrtle Stedman
In "The

Silver Horde '

As star in the screen presentation
of Rex Beach's world-famous
story of the great north, "The
Silver Horde". Miss Stedman has
enhanced her popularity. Note
the "twelve pound look" Myrtle's
beautiful back is receiving.

Goldwyn Picture

May I speak a good word in behalf
of Ingram's Milkweed Cream? It
"plays opposite me" daily— on my
dressing table, and I'm sure I do
not know what I would do with-
out its aid.

Ingrtim's

Milkweed

Cfearil

You may have noticed how we emphasize the therapeutic
property of Ingram's Milkweed Cream. As we have said
before, it is exclusive to Ingram's Milkweed Cream.

We lay stress upon this therapeutic quality because it does actually
"tone up" the skin tissues and keep them in healthful condition.
Ingram's Milkweed Cream is a wonderfully softening and cleansing
emollient with this specific therapeutic quality that is so wonder-
fully helpful to the skin.

Buy it in either 50c or $1.00 Size

Ingratn*s

^veola
^Souveratne

FACE POWDER

Acomplexion powder especially distinguish-
ed by the fact that it stays on. Furthermore
Q powder of unexcelled delicacy of texture
and refinement of perfume. Four tints-
White. Pink. Flesh and Brunette-50c.

ItigfawLS
fRouge

"Just to show a proper glow" use a touch
of Ingram's Rouge on the cheeks. A safe
preparation for delicately heightening the
natural color. The coloring matter is not
absorbed by the skin. Delicately perfumed.
Solid cake. Three shades— Light. Medium
and Dark-50c

Wimlsnr, (Int..
Canada

FREDERICK F. INGRAM CO.

Estjhli^he.l 1.SS5

S,l Tcntli Si..
DKiKOlT. L'. S. A.

Foreign Distributor*

Africa, South, C. A. Boiua

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Philippines: F. A, Thompson

CommiTcinlCo . Inc. Sleytlcrs Bld^ . Johanne^burs

La Campana BldK . Manilm
Australia: T W, Cotton, Fty. Ltd Africa. Brilish East: A. Ambrose Smith

Melbourne Stnn.lar.l Bldns.. Nairobi

Canary Island*: Men.Jez Bros . Veira y Clav.jo '.^S Las ('almas, Santa Crui di- la Palma

Trmidad: L.C. Wharton
San Fernando

China: Mustard & Co.
ShnnKhai

Coupon *^*2*

(Look for proper address at left!

I enclose 6 two cent stamps in return for
which send me your Guest Room Package
containing Ingram's Milkweed Cream,
Rouge, Face Powder. Zodenta Tooth Pow-
der and Ingram's Perfume in Guest Room

(Sixty-five)

Fishing
Tackle

and

Lip
Sticks

Herewith the Al Christie
comedy girls-r-unfortunately
nameless — demonstrate the
relative value of a fishing
pole and that first aid to
femininity, the lip stick.
Personally, we pin our faith
to the last named article

fV >'i<^A- -â– â– â–  >*

(Sixty six)

"The Proudest Moment of

Our Lives Had Come!"

"We sat before the fire place, Mary and I, with Betty perched on the arm of the big chair. It
was our first evening in our own home! There were two glistening tears in Mary's eyes, yet a
smile was on her lips. I knew what she was thinking.

"Five years before we had started bravely out together! The first month had taught us the old,
old lesson that two cannot live as cheaply as one. I had left school in the grades to go to work
and my all too thin pay envelope was a weekly reminder of my lack of training. In a year Betty
came — three mouths to feed now. Meanwhile living costs were soaring. Only my salary and I
were standing still.

"Then one night Mary came to me. 'Jim', she said, 'why don't you go to school again — right here at home?
You can put in an hour or two after supper each night while. I sew, Learn to do some one thing. You'll make
good — I know you will.'

"Well, we talked it over and that very night I wrote to Scranton. A few days later I had taken up a course in
the work I was in. It was surprising how rapidly the mysteries of our business became clear to me — took on a

new fascination. In a little while an openmy came. I was ready for
it and was promoted — with an increase. Then I was advanced again.
There was money enough to even lay a little aside. So it went.

*'And now the fondest dream of all has come true. We have a real home of
our own with the little comforts and luxuries Mary had always longed for, a
little place, as she says, that 'Betty can be proud to grow up in.'

"I look back now in pity at those first blind stumbling years. Each evening
after supper the doors of opportunity had swung wide and I had passed them
by. How grateful 1 am that Mary helped me to see that night the golden
hours that lay within."

In city, town and country all over America there are men with happy fami-
lies and prosperous homes because they let the International Correspondence
Schools come to them in the hours after supper and prepare them for bigger work
at better pay. More than two million men and women in the last 28 years have
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are starting every day.

You, too, can have the position you want in the work you like best. You
Can have a salary that will give your family the kind of a home, the comforts,
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All we ask is the chance to prove it. That's fair, isn't it? Then mark and mail
this coupon. Thare't no obligation and not a penny of cost. But it may be the
most important step you ever took in your life. Cutout and mail the coupon motv.

n

INTERNATIONAL CoVrESPONDENCE SCHOOLS

BOX 6769, SCRANTON. PA.

. lout obhgatlns me, how I can â– 

tlon, or In the subject, b^ore which Imark i
~ KI,E<lTKICiL E>GINBKR ~

Electric Llahilng Kod Rillwaya

Electric wTrinK

rclegraph EnKlnecr

TelBphoQC Work

I1F.(:|IA.MC1I, VNSINESB

Mechanical Draftcmin

Machine Shop Prictlc*

Toolmaker

Gaa Engtnr Operating

(MVII, KNfllNEKK

Surveylnit and Mapping

UINK KOIlKHiN OU ENeiMIRR

SriTIOKtllT ENeiNSBR

Marine Eniilnacr

Ship Draftaroan

ARCHHECT
_ Coniracior and Builder
^^ Archlieciural Dratumta

Concrete Builder
nStructural Engineer
'^PLl'HIItNG ANII IIBlTmO

Sheet Meial Worker
_ Texille Overeetr or SupC
n CHEMIST

Navlffatloo

â–¡ SALESMANSHIP

^ADVERTISING
1 Window Trlmmtf
_ Show Card Wriisr
^ Sign Palnier

Railroad Tralnmao

ILLUSTRATING

Cartooning

BrNI-NEfiS HiKiGKMIIT

Private Secrelary

BOOKKEEPER

Stenographer and Typlat

Cert, Public Accounlanc

TRAFFIC MANAGER

Railway Accoununt

Commercial Law

GOOD ENGLISH

Teacher
_ Common School Sublacto
. Mathemallca

"civil service

Railway Mall Clark
UiTOHOItll.R Oi-rRlTINO

alDt« Rapatrlnt I
ifllllLCML'K
Pealtrr iUUIa

'11 Eir^ iif r.ni i in**

ttrlnR I^Spaal*
TL'KK in Vr»n*t
«UlDg |~ lullaa

Preient

Occupation-

(Sixty-seven)

/Mi

Get
Drop on
that

Cou^

TXnNTER— draft —

'cold. Take care

— prepare! To ward off

th« alTicI of wcl fiet and ex-
posure, use Dean's Mentho-
lated Cough Drops — indoors
or oot. Oet thsm uiTwbere.

D«an Medidne Compuijr
MOwaokM, WIac«asiB

Mentholated

h, bnllta lilUr. Okiliic*

la, ■ii<<ili, C«Ml, Taaar Isijt « laajs

'Mb. H...a. 0M». OnM. TB. BMTrWilinS^

u«untemi(rnne,iai. Ssi.n enciM,

Bowlegged Men

Your legs will appear straight
when you wear

Straightleg Garters

RanvkAbl* tnTmUoD— CombintUon haa»-
■ipporur tnd p • D t-1 • f Bt/alfhUDti^
QHUly i4JuB(*e to lit rtrltui i*%nm â– <
a**l«l»: u fuy to put on uid ccmfoct-
ebl* to wp»r u u\y ordjnuy f*n*r— ■♦
hv«M4 er »Etf4*d r»n««; Juit tn InimJout
vvdti ft/l«r fop bowltertd mrti— ImprwT,*
\XK>»*tUit» wond'rfullj. Bowlmtx) mm

MOTION PIC'IURK

If I Were King (Conlinued from page 33)

••li>

la ilila

tattle aa-

S-L GARTER CO.
7H Tnaet C«. BUs.. DAYTON, OHIO

hood, and where there had been a hundred
coxcombs, stood now a hundred soldiers
eager to tight for lionor and country and
king. Kathcrinc Vaucellcs came swiftly
up the steps of the dais and flung herself
on her knees before Villon, taking a rib-
band from her hair, still warm.

"You will wear my colors, my lord
Constable?" she asked with a wonder-
ful blush, "and until you come back I
shall pray for you !"

Louis looked down at her, smiling evilly,
then turned to Villon, ".\fter such a con-
quest methinks Burgundy should be easy
for you, my lord Constable !" he sneered.
"It is easier to win a woman under a
borrowed name tlian wearing one's own !
I wonder how the lady would answer the
love-making of one Master Francois Vil-
lon?"

The Grand Constable stood motionless,
staring blankly down at the mocking
smile of the King, then suddenly he
groaned as tho the words had been
daggers piercing his heart. "I have been
living in a fool's paradise !" quoth Fran-
cois Villon, "but I'll not die with a lie on
my lips. Katherine !" he turned to the girl,
standing wonderingly at his side; "Kate!
Listen to me, and loathe me! You have
known me one week as the Grand Consta-
ble of France, a very gallant nobleman,
who loves you — better than aught else un-
der the sky." His voice shook, but he
forced it on. "Yet the name is not mine,
this fine suit — borrowed, my position here
at court a whim of the King. Only my
love is no sham, but purest gold. Lady —
Lady! Aside from that — " he drew his
great figure proudly up, facing the court,
"I am a pitiful impostor, a pasteboard
nobleman, known better as one Francois
Villon, wine-bibber, wastrel — and worse
a sottish fellow unworthy of any woman's
love, least of all of yours, Sweetest of
Women !"

Katherine Vaucelles did not cry out,
nor shrink away. But in her eyes he read
the horror of him, and turned away, try-
ing to smile. "At least I shall hope to
crown a shameful life with a good death,
Sire," Villon said quietly, "if Heaven is
kind I shall never see tomorrow's sun !"
In the great court of the palace on the
morrow workmen were raising a stark
structure, a tree of evil fruit, the gibbet
that loomed, a thing of dread in the
sweet yellow morning air. From the ter-
race the King looked down at it smiling
ironically at his secret thoughts. Present-
ly he turned to Katherine Vaucelles, who
with the other women of the court stood
beside him, and his tone mocked her
white silence.

"It is a pity — is it not, Kate, that our
patchwork Constable did not get his wish
for an honorable death? But no doubt
you will be glad to see him dangling from
yonder gibbet who dared make a mock
of winning a great lady's love!"

The girl did not answer. She stood mo-
tionless as the court gradually filled with
a rabble, eager to welcome the liberators

of Paris back again. Even when the fan-
fare of trumpets heralded the victorious
troops and with Villon riding at their
head as they entered the square, she did
not lift the heavy lashes that hid her eyes.
Very tall, very straight, Francois Villon
mounted the steps of the terrace and knelt
to lay the torn battle flags of Burgundy
at the feet of the King; then rising he
lifted his hand for silence.

".And now the Grand Constable of
France has one more duty to perform,"
said Francois, in a ringing voice, "and
that is to decree that Master Villon shall
be hanged from yonder gallows until he
is dead, for the many sins that he has
sinned."

A great cry rose from the crowd, which
surged forward threateningly, but Louis,
the King merely smiled his twisted smile.
"Which of you will die in Master Villon's
stead?" he asked them, "and thus save
the life you seem to prize?"

The murmur (lied. Men shrank back,
looking whitely into one another's faces.
Then, clear and high came a woman's
voice across the sullen silence, and Kath-
erine Vaucelles moved down the steps un-
til she stood at Francois Villon's side.
"I will die for him. Sire," she said glad-
ly, "for that I could not live without
him—"

Francois Villon caught the slim white
hands with a great cry. ".\nd is that so,
oh my dear Love?" he asked her, "you
would do that for me?" He lifted his
face to the sky. "Now I thank thee, God
in Heaven, that this thing has come to
me !" He touched his lips to the slender
fingers reverently. "And now. Brave
Heart," he told her, "leave me, for a little
while, I think that we shall meet again,
Kate — beyond the stars."

"If you go. I go also," said Katherine,
lifting the crimson flower of her lips to
his, "but first, give me my betrothal kiss,
Francois — ''

Again the multitude moved forward,
again the voice of Louis, nasal, faintly
amused halted them.

"I have made a great discovery,
friends — I have found one man whose
heart is pure gold, one woman whose
soul is all angel. I give the man his life,
the woman her lover. True man and true
woman — to each other's arms !"

And who would venture to disobey a
king?

The Answer Man

Pearl White Fan.— Study hard. You'll
get there some day. Knowledge comes, but
wisdom lingers. Fay Tinclier is with World.
Marion Davies is with r elect. What do you
mean when you say that that player is
"tough" ?

Oriental Thfada.— Why not? Poetic tal-
ent is given as well to the peasant as to the
knight. Florence Turner isn't located perma-
nently. All in care of Fox.

Bobby Links.— I'm pretty sure it was James
Bryce who said "America should be particu-
larly thankful for its remoteness from Euro-
pean quarrels and menaces," but that was
several years ago and he could not say that
now. Very few players have time to write
personal letters.

fSxxty-eight)

CLASSIC

Erich Von Stroheim and the
Miracle

(Continued from payc 35)
him there, hut tliat I did know, for I had
worn such a rihbon myself. 'All right,'
he said, 'go ahead and get me the real
thing.'

"ijorrowing three dollars from my
landlady, Lord knows how much I al-
ready owed her, I bought the ribbon and
iho in the meantime Mr. luuerson
had given up the part, Henry Walthall
wore it. Later, Mr. Emerson asked me
if I had ever read 'Old Heidelberg.' I
told him I had seen its first performance
ill Vienna and knew much of it by heart.
I nearly fell over when he told me he was
going to film it and that I was to be his
assistant director as he wished the details
to be correct. I had been starving and
the $18 per week seemed a fortune.

"Then, one day he asked me how long
it would take for me to get ready to go
to New York with him. Thinking of my
limited wardrobe of a couple pair extra
hose, a shirt or two and a few stray col-
lars, I replied that about seven minutes
would do. Then, like a flash I remem-
bered the many debts I owed — who would
pay them? I told Mr. Emerson about
them and jumping into a car he drove
around with me and paid them all. Great,
wasn't it?

"Now, someone had borrowed my only
satchel, so wrapping my few clothes in
a newspaper I started for New York!
I stayed three years, returning for
'Hearts of the World.'

"My opportunity really came becaijse
of my understanding of detail — and I
am a crank about this. Detail is the un- j
mistakable atmosphere that places the
story and there are always many specta-
tors who know what is correct, we must
not forget this.','

Returning to the big stage where Mr.
von Stroheim is directing another pic-
ture, we forget all about the Past and
spent several hours in a very vital Pres-
ent.

After calling the company together and
discussing a few points, the work began.
"His Great Success'' is a big story con-
taining an after-the-war problem and laid
in Paris at the present time. With the
orchestra playing the dreamy "Je
T'Aime Waltz," over and over, while an
intense scene between Clyde Fillmore and
Una Trevelyn was being directed, I grew
deeply interested in watching Mr. Von,
(as he is afl^ectionately addressed by his
company), for he acted out the entire
scene in detail for each one, rehearsing
several times until it was .satisfactory.
He knew exactly what he wanted por-
trayed— subtle touches, mere suggestions
— which carry such weight in the psy-
chology of a picture.

"Here is a play," said Mr. Von Stro-
heim, when the scene was over, "with all
the allure, the vivacity and the lightness
of Parisian life, with a tragedy, and it
must be handled very carefully to express
the meaning desired. I try to have the
scenes taken con.secutively, w-henever pos-
( Continued on page 98)

(Sixty-nine)

Prettier Teeth

Safer Teeth— Without a Film

All Statements Approved by High Dental Authorities

It Is Film That Mars
and Ruins

It is known today that the
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That film is what discolors —
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It holds the acid in contact with
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Millions of germs breed in it.
They, with tartar, are the chief
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The film is clinging. It enters
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Dental science, after years of
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A Free Test to Every
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But pepsin must be activated,
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orr. ,1 c "

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MOTION PICTURE CLASSIC

The Cinema Comes to Carleton— (Continued fro

Ho .elected me because I feel so look seventy-one all right, bi.t how about

the twenty,' I answered.

"You know the advertisement, 'Is she
twenty or eighty?' Why didn't you con-
sult them ?" we asked.

â– â– Dont be tlippant. It is a serious sub-
ject. .\ man who was the original 'Shade
of the Sheltering I'alm' man in 'Flora-
dora' doesn't look twenty. You know
that. But I got busy and worked with
spirit gum and juvenile powder until I
had done mv darndest and when I went
down they all agreed that angels could
do no more. So I went back and tried
the old man and for my pattern I used a
picture of mv revered grandfather. He
was a kindly' soul and his make-up was
not difficult to copy. I found it far easier
than the other. My efforts met with equal
success, too, and Mr. Maigne said 'The
part is yours,' just as tho I had been
begging for it.'"

"An incident that occurred in the stu-
dio made me think that perhaps I pos-
sessed latent powers of make-up which I
never suspected. On my way to the dress-
ing room I asked one of the men in the
studio if Mr. Barrymore had come in yet.
He hadn't so I went upstairs to experi-
ment with my juvenile make-up. When I
came down I asked again and he said
'Xo, he isn't in. Your father was looking
for him awhile ago.' Later, after I had
]>ut on the old man's make-up, I stood
talking to Lionel Barrymore and the man
saw me and said, 'They have got the
whole family in this picture, haven't
they?' "

"How many pictures have you made?"
we asked.

"Only a half dozen — no, not that, only
five."

"How does it happen that you have
waited so long to get into pictures? You
have been such a success and it might
have happened long ago."

"I wasn't ready," answered Mr. Carle-
ton. "I wanted to sing."

"But, look at Caruso and Mary Gar-
den and — and Geraldine Farrar !" we add-
ed, hastily, as being, perhaps, a happier
illustration.

"Yes, I know, but I had inherited the
Carleton voice, they said, and I was sort
of expected to sing. Had been doing it
ever since I was a choir boy at the age
of ten. And then, you know, I was in
Boston most of the time and in Europe
part of the time and to tell the truth I
never had any particularly brilliant offer
made me."

"But you certainly are a good actor on
the screen and you have that peculiar
something which has nothing to do with
beauty and which is, to us, at least, far
more essential, ^^iss Ferguson has it, too.
That is why you arc so delightful oppos-
ite her. That 'peculiar something' is what
some people call 'class,' which would be
a very good word if it were not such an
overworked one."

"Thank you for them kind words. Par-
ticularly for 'class.' The word does not

"No

strongly on the subject."

Here Rubv de Kcnier stopped at the ta-
ble and we presented Mr. Carleton. "Meet
Miss de Kemer." we murmured, just like
a movie title. One of our friends said
that nobody ever introduced anyone that
way in real' life and we are going to prove
to him that he is wrong. We do. That's
how devoted we are to the cause. I f the
movies do not talk like real people, let
real people talk like the movies. The ef-
fect will be the same.

Miss de Kemer joined a party at an-
other table and the waiter brought some
hot com muffins but it seemed as tho
evervone we knew was at the Knicker-
bocker that day. As they say in the mov-
ies "came Robert Warwick" and "came
Edward Earle" and "came Percy >rar-
niont" and to each we said boldly. "Meet
Mr. Carleton."

"You know them all, donl yuu," he
said, when we had returned to our muf-
fins.

"Oh, yes I" we assured, "and it is fas-
cinating to go around with them and have
people stare at you. One day when we
stopped to talk to .Mice Joyce in front of
Claridge's the crowd got so thick we had
to call a traffic policeman to get us
thru."

"You don't see any such demonstra-
tion over me, do you? I haven't made
enough pictures yet to become interna-
tionally famous."

"Dont worry; anyone who saw you in
•The Society Exile' with Elsie Ferguson,
isn't likely to forget you. But the trou-
ble with you is no one would recognize
you. We were all prepared for a dark
man with a moustache, wearing a uni-
form, and here you are — "

"Dressed in tweeds with a smooth
face and also red-headed. But, you know,
red hair takes black on the screen."

"YoUjand Petrova," we said musingly.
"But you do look, oh, so different in real
life."

"So it seems. I went over to the stu-
dio on Fifty-sixth Street the other day
and the boy at the door held me up. 'What
do you want?' he said. 'I want to go to
work.' 1 answered. 'We ain't doing any
casting today. Come in Monday.' But
wait until you see me in 'The Copper-
head !' I have to portray a boy of twenty
and an old man of seventy-one. When
they were casting the i)lay they told me
of their quandary and asked me to look
around for a good actor who could look
twenty and make up to look seventy-
one."
".\ good actor?" we said.
"Yes," answered William, Jr., "and, of
course, that let me out. But 1 scoured the
country and couldn't find anyone who
wished to undertake the job. When I re-
ported this to Charlie Maigne. he placed
both hands on my shoulders, looked me
straight in the eye and said, 'William,
you and I have been friends for a good
many years ; you must play it I' 'I can

m paije 37)

offend my aesthetic soul in the least, and
if one must earn his living (and one
must) there is no more congenial way of
doing it than by working in front of the
camera. I love the work."

"If it weren't for the cinema field
days," said we, "and the community act-
ing," said he.

THE SCREEN MOxVTH IN REVIEW

Juniiita Hansen is being starred in tlie Pnthc
serial, '"The Red Snows." Kathleen Clifford is
pla\'in(; opposite Douglas Fairbanks in his
latest picture.

Macklyn Arbuckle has returned to the
screen, with the San .\ntonio Picture Corpora-
tion. Alan Forrest, long Mary Miles Minter's
lead, is plavint; opposite May Allison in "The
Walk Offs."

l.ieut. I'rank C. Badgley has brought suit for
divorce, in the New York Supreme Court,
against June Elvidge.

Bessie Love's Vitagraph contract has ex-
pired.

Lew Cody is now making his own pictures
at the Astra studios in Glendale, Cal. Noah
Beery and Mabel Julienne Scott have the leads
in the forthcoming Paramount revival of
"The Sea Wolf," being directed by George
Mel ford.

King Vidor has severed his connection with
Brentwood and will produce for himself, fea-
turing his wife, Florence Vidor. The Vidors
were recent visitors in New York.

Bernard Burning, in private Ufe Mr. Shirley
Mason, made his screen debut in "When Bear-
cat Went Dry." Now he's under a long term
contract with the C. R. Macauley Photoplays,
Inc. Miss Mason is the featured player in
Maurice Tourneur's forthcoming visualization
of "Treasure Island."

Edgar Lewis productions are to be released
thru Pathe. The first will be Andrew Soutar's
"Other Men's Shoes."

Pauline Frederick has been visiting in New
York. Also another Goldwynner, Tom Moore.
F.arle \Mlliams is producing for Vitagraph
in the East. He will make "The Fortune
Hunter'' and two others at the Flatbush
studios.

Harold Lloyd is rapidly recovering from in-
juries sustained, on Aug. 24, in an accidental
bomb explosion. Jay Dwiggins, long a
Famous Players-Lasky character actor, died
on Sept. 8 in Hollywood.

Kay Laurel heads her own film company,
with J. M. Shear as executive head of the
organization. Jack O'Brien will direct.
Syd Chaplin has returned from Europe.
Marshall Nielan has purchased Booth Tark-
ington's Penrod stories and will present
Wesley Barry as the boy hero of the tales.

David Griffith is now producing in the East.
He arrived with his staff early in October and
has recently been in Florida.

E-ugene O'Brien has recovered from a severe
illness and is busily engaged on "The Broken
Melody." The Carter de Havens have been
signed by the Famous Players-Lasky, going
over to that organization, in November.

DEATH OF BILLY PARSONS.

"Smiling Billy" Parsons died at his home, in
Los Angeles, on September 28. Mr. Parsons
was founder and president of the National
Film Corporation, the maker and star of his
own comedies and long an active figure in
the film world.

Before invading the- screen, Mr. Parsons
was highly successful in the life insurance
business. It was after fourteen years of suc-
cess in that field that Mr. Parsons turned to
pictures. His first picture, "Tarzan of the
Apes," was a big money maker, definitely
deciding him to take up the screen in earnest.

Mr. Parsons was 41 years old. He was
recently married to Billie Rhodes.

(Seventy)

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Marie: The Mystic

(Continued from page 49)
and ordinary expenses and the salaries
arc so small. I had hardly known
when I went into pictures that there
was so much salary in the whole world.
It made me dizzy and I hoped and
prayed it would continue. They signed
me up when the two weeks were over
and I gladly turned my back on
musical comedy, one-night stands and
general discomforts.

"I finished the last five episodes of
'Patria' with Irene Castle. I wasn't
in any of the swimming or diving pic-
tures. That was out of the question
then, because I hadn't learned to swim.
My real advertising came with Mrs.
Castle because the film was so much
discussed before it was suppressed. I
consider that my real chance. I did
'Liberty' also."

"When did you take' up swimming?"
"We went to Hawaii to shoot some
scenes and there I met the Duke Ka-
hanamoku — the famous swimmer of
Honolulu, who personally instructecj
me. When I left, he gave me a beauti-
ful ukulele which he had made himself
— one of my treasured mementoes of
a ha]ipy holiday."

"Miss Walcamp, did you ever call
the Duke by his WHOLE name?" I
had been watching her spell it to me—
spellbound, as it were.

"Why, of course I did. Just like this

" What I heard sounded

like a muffled alarm clock trying to
tell the hour. Marie has a deep con-
tralto voice, gaified by much shouting
over the hills of the U's big "Back
Ranch." She had a shrill soprano at
one time, but while the contralto some-
times breaks "on her," Marie consid-
ers that it is generally reliable for
classification in the "female baritone"
class. She seldom sings now — the seri-
ous business of acting has taken up all
her powers of concentration.

"Isn't it queer how many players arc
doing serials just now and making
good?'' said Miss Walcamp, suddenly
taking charge of the interview. "I
believe the serial is the savior of the
motion picture business. An exhibitor
as well as the producer has something
to fall back on — it's a sure bet. The
serials are making money everywhere.
Anne Luther and Herb Rawlinson are
doing splendid stories and there are
many others who are beginning to see
the advantage of holding public atten-
tion. Of course, it's always the same
old thing, I get chased, abused, nearly
killed, rescued in the nick of time,
loved, hated — and finally there's a
happy forever after! The stories are
much alike in that respect, but the
pleasure to the actress is in the many
new locations — just think, next I'm
going to Japan to work on a serial — the
ingenious devices used and the unex-
pected situations which are quite as
entertaining to her as to any audience.
I can hardly imagine myself out of
{Continued on page 85)

(Seventy-two )

CLASSIC

The Hidden Egyptian

(Continued from ftagc 47)

in the service of lier country, too. She
drove an amhulance in New Ycjrk,
meeting the ships as they came in and
carrying woumled to various debarkation
hospitals. And, slie will tell you, there
was nothing in the least depressing about
it. The most tragic things someliow be-
â–  came beautiful.

"That wa.s when we were all excited,
of course. When there was no call for
the ambulance, I used to go to the hos-
pitals and talk with the boys there. I
dont think that they realized what it
would mean to be crippled for life. There
was one little Irishman, for instance, who
had lost both his legs. He never grum-
bled about that, but he used to make a
fuss about the most ridiculously little
things — things you would wonder he
would even think of in the face of his
big tragedy. Yes, he was a giant in big
things, this Irishman, but he was a baby
in small ones. He used to hate the hoy
in the cot next to him. This boy had
twenty-seven wounds all from shrapnel
and had won the Croix de Guerre and
he always insisted on havii.g his coat
hanging on the back of a chair near his
bed so that everyone could see the Croix.
He was kiddish, too, this boy and I sup-
pose that that is what got on the nerves
of the Irishman — " she smiled remin-
iscently, a smile that grew into a laugh
and then she explained. It seemed that
the Irishman had a habit of talking about
battles he had never been in at all, tho
he never said a word about the one in
which he had lost his legs.

"And now it is all over and we must
all begin living in prose again. I hope
I get some really big and cheerful stories,
You dont know how ditificult it is ! Near-
ly every scenario we get has the same
old 'wronged woman' in it somewhere."

The first thing you notice about Edith
Storey is Iier deep humanity. She has
a gift for fitting into any scene, or be-
coming one of any group of people in
any walk of life, that is far beyond or-
dinary adaptability. It is as tho she
had, herself, belonged to every nation-
ahty and lived thru every possible ex-
perience in the world.

Edith Storey, a New Yorker by birth,
went on the stage when she was eight
years old. She appeared in "Audrey"
with Eleanor Robson, in "The Little
Princess" and in "Mrs. Wiggs of the
Cabbage Patch." She joined the Vita-
graph Film Company when she was about
thirteen.

"That was at the time when J. Stuart
Blackfon u.sed to direct and Albert Smith,
the present head of the company, cranked
the camera. When the men finished act-
ing they used to don overalls and build
the set they were to work in next day.
I remember that Maurice Costello was
the first actor we had who refused to
wield a hammer. He insisted that he was
an actor, not a carpenter, and soon the

'Seventy-three)

others followed suit and the profession
gained new dignity."

In addition to doing child roles and
"pages" she was the official "stunt" ac-
tress. She could swim, ride, fall or climb
to any director's satisfaction and so she
was frecjuently called on to do all of
them — ("Once, when I was about four-
teen years old," she said, "they needed
an old lady to fall off a bridge. With
the aid of a grey wig, I was the old
lady!")

She is quite as athletic now as she was
when a little girl and, incidentally, she
hates to cook, cant cook, and wont cook.

She likes to live rather on the edge
of things. Her Long Island home is some
miles from anywhere, and when I saw
her recently in Los Angeles she had just
rented a bungalow within a block or two
of the city limits — some miles from any-
where, too. It is a pretty place, how-
ever, with big high ceilinged rooms,
plenty of windows and a low, broad ce-
ment porch. I found her cutting dead
leaves from a fern.

Sooner, her favorite dog, was there
too ; a cuddly white ball curled up on
the porch sound asleep. Sooner had
just given her quite a fright, she told me.
It seems that she had left the hotel and
rented a hou.se especially for Sooner
and then, on the first day they moved
in — (her mother and brother are both
with hfcr now) — Sooner disappeared.

"I was afraid he had gotten lost and
would never find his way back," she said.
"I went all over the neighborliood calling
him." Instead of a whistle, her call for
Sooner is a short, shrill rolling note blown
thru her puffed lips— ("Hl-bl-bl Bl-
bl-bl") —

"I walked blocks bl-bl-bl-ing at every
step, but still, no Sooner. I suppose the
neighbors think that I'm crazy — "

He showed up all right but not until
evening and he had another dog with
him. It seetns that the first thing Sooner
does in a new neighborhood is to make
friends.

You see, then, that Edith Storey's
home atmosphere is simple and whole-
some ; no "dust of Egypt" about it any-
where but just a little touch of the exotic
in her own personality to lend additional
charm and mystery.

The Answer Man

I^uviE. — Of course th.Tt's my picture at tile
top. Yoii ask if I liavc the five wits —
common wit, imafiination, fantasy, estimation
and memory. I have the latter, for I remem-
ber yon. Clara Young is out West.

Bn.i.iE n. — The more, the merrier! Yes,
write to him. That's right, art is long, why
not hair? Thomas Chatlerton is on the stage
in San Francisco.

Bi.viEY UY Herself. — Dont think it was Betty
Ulvthe; pel haps Ruby de Remer.

F, I.. H.— No. Richard Barthelmess did not
play in "Experience" nor "The Man Who
Came Back. '

Berenice. — An interview with "' "lllam Des-
mond? Yes, in J.anuary, 1919.

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talked about women — or he
We also talked about mar-
riage. He said he believed in, longed for
it. He thinks there is one love, one love
only and many counterfeits. He thinks
we believe in the counterfeits because we
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men want good ^voineii. Wholesome
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He told me of his home in California
and the sweep of land and sea and sky it
had and the free, out-of-door life he led
there. He told me, too, in relevance to
our talk of women and men, that no
woman was permitted to smoke in his
home nor to touch wine. "They may do
it where they will," he said, "I dont
doubt but what some of them did, but I
dont want- to have to see it, and I have
a right to preserve my ideals in my own
home, haven't I ?"

I asked him if he thought many people
had ideals, consciously. He said he
thought they did. He has never, he says,
lost his simple first faith in human na-
ture. Never swerved in his empedestal-
ling of women. Never relinquished the
belief that the great and good life, the
secret of lasting happiness, the alchemy
of deep content is the simple life, the
quiet life in the country with little of the
fever of ambition, with books and a few
friends and the woman one loves.
"Love is the greatest thing in life, of
course," he said.

"I couldn't stand New York," he went
on — "the elevated over my head ; the sub-
ways underneath ine ; the look on the
faces of most of the people I see; the
strain and push and sweat and grind. I'm
going back to California where, if any-
where, people really live

"I was born and brought up in New
York City, but that doesn't make me love
it. I was born and brought up in a
theatrical family. That doesn't make me
love the theatrical, either.

"I have come thru to a lot of beliefs
I didn't have, of course, say ten years
ago. I have not always had this phil-
osophy or this way of looking at things.
I'm a Christian Scientist and that has
solved a lot for me, given me light. And
then, too, I have gone down and lived in
the very depth of things, not because I
was ever so unfortunate as to have to,
but because I wanted to, for the experi-
ence. I wanted to test out the theory
that environment will make or break a

MOTION PICTURE CLASSIC

The Riddle Man

{Continued from page 59)

man. 7/ will not. It is the man every
time. A man can keep intact his im-
mortal soul as well in a dive as in a man-
sion. No person or no place or no cir-
cumstance has power over him. His is
the power. His alone. Man cannot blame
his state on circumstance, since he moulds
circumstance — or could."

We talked a while of books. Bill Rus-
sell likes to read biographies and auto-
biographies— because they're real

We talked of hobbies and the pursuit
of pleasure — and he has his pipe — not
cigarets ; and he likes to take his car and
ride about the Westchester hills — when
he is in the East — and feel the freedom of
the winds he loves sweep past him as he
goes.

He likes to dream as men dreamed
long ago when the world was new — and
he has built about him a shield of idealism
that these dreams be not destroyed.

A Man-Person. A flash-back to Adam,
the first man, when he walked in the
cool of the first morning.

Barthelmess: The Boy

{Continued from page 17)

It is his mother love. Now mother love,
I am afraid, is a thing that may become
destructive, foolish, a figurative ball-and-
chain. Not with Barthelmess and his
mother. Between them there is compan-
ionship, pal-dom, love.

Before our interview his mother had
been ill, confined in a Long Island sani-
tarium for weeks. Barthelmess spent
every week-end with her.

"Mother does not want it," he told
me when I heard him turn down an in-
vitation to a house party, "but I know
her heart — and I am not going to disap-
point her."

Her recovery was slow but finally she
has been able to join her son in New
York. Once again Barthelmess has the
companionship he longs for, and when
time permits — (the Griffith players fre-
quently work far into the night) — he
does the theaters with his mother

"The two pals," they call them. And
well they may.

Py

ANNETTE
La Touche Hancock

Your eyes were blue.
When first we met;

I thought you true,
Annette! Annette!

But with your eyes
A snare you set ;

They were hut lies —
You were a — net I

For candy yet
I owe a debt;

Oh I how you 'et,
An"et, an"ct!

(Seventy-fourJ

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SINGING D STAMMERING D
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01 voice culture

Age-

Name

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(Seventy-five)

k..

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1 75 Dulfield Street. Brooklyn. New York

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MOTION PICTURE

On Vamps and Ingenues

{Continued from page 28)
"What men are worth vamping?" she
askecl, with the seriousness one should
give to sucli a weighty question. "The
men whose brains have raised them above
tlie mass of their fellows. Now when the
generally accepted type of vamp knocks
at the door of these same brains, the man
is ]mt on his guard at once. He looks at
the curve of the lips, the slant of the
eyes, the cut of the black gown artd knows
liiat the lady has but one purpose in view,
to vamp him. If he is wise — or even if
he but thinks he is wise — he turns from
her at once. Then comes the sweet, child-
like, wonder-eyed girl, the girl vi^ho looks
as if she were born to pick daisies, to
chase butterflies, to coo sweet lullabies at
twilight, and, lo, you find him hanging a
diamond — or a limousine — on each curly
eyelash. That vamp is the real actress.
Behind the baby stare may be a mind
plotting to overthrow a throne: the girl-
ish giggle may be more deadly than a si-
ren's song, but the man never guesses it
and therein lies the great secret of suc-
cess.

"And the .screen vamp has set the ex-
ample for the vamp in real life. Have you
ever noticed young girls who are blessed
— or is it cursed? — with the innate desire
to lure fashioning their dress, their ac-
tions on the model of some famous screen
vamp? The latter's method of luring
must be the correct one or why has it
succeeded with so many men thru so
many reels of so many features?* They
dont seem to realize that vamping tal-
ents come from within, that a girl cant
don the generally accepted gown and ac-
cessories of a vamp and be lYiiraculously
endowed with the capacity to vamp. She
must first have the feeling^-and, I may
add, the brains — for it, and then the prop-
er setting will come as a matter of course.

"And the ingenue ! As soon as one star,
by her personality, won the heart of the
screen public, her type became the accept-
ed one for the ingenue. If a girl in any
way resembling her crossed the path of a
picture director she was at once hailed
as a "find." while hundreds of others
just as truly typical of the young Ameri-
can girl knocked vainly at the screen door.
I like ingenuesi I enjoy playing them
much more than I do vamps, but the one
that appeals to me is the girl who requires
characterization, not the one who is sim-
ply "sweet," and is content to let it go
at that."

Dorothy Green is sure that to be per-
fectly normal one must be a "nut" on
some subject and she is a nut on sanita-
tion. She took me thru her doll-house
apartment, just a stone's throw from the
theatrical district, but far enough away to
forget if need be the noise, the bustle, the
White Lights, and exhibited its spotless-
ness ; that, too, upon the eve of forsaking
it for a new home further uptown.

^lost of the star's friends are girls in
other professions.

"I am just as interested in their lines of

fSi;vcntii-six>

CLASSIC

work as lliey are in mine," she said. "It
keeps me from Ijccoming narrow, from
viewing life from the sole point of view
of a moving picture actress,"

At that very instant the V'lo'ie rang.
It was one of Dorothy's business chums
with her own particular problem to solve,
and Dorothy gave her advice just as wise-
ly as if she had been sitting behind an
ofifice desk for years.

"Dont ever bob your hair," she warned
me as she stopped for a moment with the
comb suspended above the fluffy mass,
"If you have two inches, nurse them care-
fully and pray fervently that at each har-
vest time, another tjuartcr of an inch will
be added."

"How did you ever have the courage
to do it?" I inquired, recalling the heavy
dark braids coiled at each side of the head
that were part of the Dorothy drcen I
had known.

"Why, it's just like falling in love," she
answered thoughtfidly. "One doesn't need
courage; just an idle moment. One does
it and then spends hours wondering why."

"And regretting?"

"Sotnetimes."

Dorolliy admits two hobbies beside
sanitation : jazz music and sheer hosiery.
To her mind the success of the Pied Piper
is easily explained. He was a jazz artist
and she is sure that, had the Garden of
Eden been hung with sheer hosiery in-
stead of prosaic ajiples. Eve, not Adam,
would have had the tag line of the play.

Of course, the' liioon for which the
baby Dorothy cried was a stage career.
Her childish dreams were woven about
great actresses whose glories would some
day descend upon her young shoulders.
Then came tliat operation on her throat
that marked on tlie stage door, "No Ad-
mittance." But fortunately for Dorothy
and the public, pictures were beginning
to come into tlieir own.

It was in Mr. Lasky's "The Country
Boy" — playing the chorus girl — that she
laid the foundation of her career as a
vamp. She continued to "vamp" for Will-
iam Fo.x, the World Film, and then she
decided to turn over a new leaf and be an
ingenue, not any kind of ingenue, but one
permitting characterization.

.\iu\ what if there had been no silent
ilrama? Then Dorothy would have in-
vented some method of giving expression
to her dramatic talent. For she has origi-
nality— the originality that laughingly dis-
cards the ladder with the broken rungs
and makes for itself a new one.

The Answer Man

Bi-tiKiiiKii. — So glad to hear from you.
Haven't lier age. You think Douglas Mc-
Lean resenililes Marjorie Daw. Cant see it.
He's an actor. You want a list of all the
players' liirthdays? Now, cant you think of
something more I can do for you?

H. M. D. D.— But the present is never a
happy slate to any human befng. Leo Delaney
is 34 years old. Ves, I have a hard time man-
agiTig with the high cost of sodas.

IsAiiF.i. C. — Glad to hear from you. Remem-
ber, what is said for effect will soon have no
effect. Owen Moore is not dead. Marie Doro
is in,, Europe. Pearl White continues to act
in seVials. Come again, 1 implore you.

(Seventi^-ffvcn}

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TWENTY-FOUR LEADING PLAYERS =

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Mir|ucrite Clark
Douglaa Fairbanka
Charlie Chaplin
William S. Hart
Wallace Rcid
Pearl White
Anita Stewart

UST OF SUBJECTS

Theda Bara
Francis X. Buahman
Earle Williams
William Farnum
Charles Ray
Norma Talmadge
Constance Talmadge
Mary Miles Minter

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Alice Joyce
Vivian Martin
Pauline Frederick
Billie Burke
Madge Kennedy
Elsie Ferguson
Tom Moore

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MOTION PICTURE

The Youngest of the House
o' Hcimmerstein

{Conl'mucd from page 19)
back word, 'You're ruining my show!'

"I had to remain with 'High Jinks,' be-
cause that is the only way I knew I
could .satisfy dad — to get it over with."

That was all musical ciimedy had of
Miss Hammerstein. In the few years that
have followed, the cinema has fared far
luckier. And yet, managers are still
clamoring fur her in their stellar roles.
That is why she calls the Selznicks the
best friends she has in the world. "Myron
is my boss, you know, and he refuses to
let me play any theatrical engagements
while he's starring me on the screen."
She laughs over the titles of her produc-
tions. "The Argyle Case," "The Madcap
Lover," ".'\n Accidental Honeymoon." A
few months ago she was billed all over
the country as "Elaine Hammerstein —
'Wanted for Murder'," and this, her first
Selznick jncture — "I'^laine Hammerstein
ill 'The Country Cousin.' " Her second
stellar piece is called "Love," and her
mother, who had just entered the room,
said she hoped it wouldn't be advertised
as "l'",laiiie Hammerstein in Love."

A Fillum Fatality

liy Waltkr E. Ma IK

"C), why should the spirit of mortal be
])roud?"
.â– ^ub-titled the star as he mourned
'neath a willow.
Hut straightway on payday he bought
him a loud
And lu.xtirious necktie as large as a
pillow.

lie bought him five shirts of the cost-
liest weave,
He benight a blue diamond to add to
his splendor,
Then, nicely, iirecisely, from out of his
sleeve
He drew forth a roll for ye touring-
car vendor.

He bought him a jihoney Los .Angeles
farm.
And stocked it with high-balls and
white leghorn chickens;
The latter, I flatter him, did him no
harm.
Being not of the species that raiseth
the dickens.

He bought and he bought; did this
film Galahad sad,
â– Who so nobly declaimed, with such
sotilfulness utter, 'â– 

Till i)l;iy-<lay, not iiay-day, was all that
he had ;
His credit — his job— took a spin to
the gutter.

"O, why should the spirit of mortal be
proud?"
l^lc has married an extra-girl — Garlic-
tooth Rhoda.
'Tho he walks and he talks with his
bead in a cloud.
He is back at his old twenty-per,
jerking soda.

fUeveniyeight)

CLASSIC

The Owner of the "Uncas"

(Continued from page 21)

family of three and his brother and sister
— non-professional, both of them — have
never taken the shghtest interest in the
sport that interests him so greatly. He
has a broad and characteristic philoso-
phy; a behef that everything moves in
cycles and that individuals, like events,
return again and again, each time on a
higher plane, until they reach perfection.

He does not like detail. Perhaps the
most noticeably characteristic thing about
him is his love of dashing thru things ;
his impatience of any restraint. He looks
to be about twenty-seven years old.

His stage and screen career is so young
and so much has been said about it re-
cently, that it does not need recounting
here ; enough that it, too, has moved quick-
ly. He began in amateur theatricals in
Indiana. From that to professional work
was just a step, and two years after he
went on the stage he landed on Broad-
way, New York. He has been on the
screen for two years, his first moving pic-
ture work being with World.

Five o'clock came — "at last !" He
drove me back to Los Angeles. His mo-
tor car is painted green. On the way,
we talked of the Uncas, moving pictures,
real estate, money and the Uncas again.

"I wish I could be with the Wilson
boys when they make that trip," he said.
"Doc Wilson told me that they'll be sixty
days on the way, stopping, of course,
at all the interesting ports." He cut a cor-
ner sharply. "Do you know," he went
on, "I'd like to have money enough to be
absolutely free. Not rich, you understand,
there is no freedom in that — ^but, say,
an independent income of a hundred dol-
lars a day. If I had such an income, I
dont believe I'd work any more" — re-
member this was said at the close of a
busy .\ugust day — "or, if I did work, I'd
like to do something else. I think I'd like
to be a recognized writer. Those chaps
can go anywhere, any time they want to.
I knew one, a writer of advertisements,
who had his yacht next to mine in the
Hudson. He was always going off .some-
where because that was his whim and
there was nothing to stop him."

By which you may see that the owner
of the Uncas was homesick for a long
cruise and, anyhow, it is characteristic of
August that no matter where one is he
sits down and wi.shes himself elsewhere.

THE SILENT DRAMA
By Clarence E. Flynn
Out of the silence often comes
» A voice that breaks the stillness deep,
And with an eloquence unheard

Calls hidden mem'ries from their sleep.
It carries power unknown to speech ;

It speaks directly to the heart,
Grown thoughtful in the silences.

Such is the screen's appealing art.

It calls the strong to lost resolve.

It thrills the weak to better things.
It touches sleeping hopes to life

And in the songless heart it sings.
It opens scenes of loveliness

For eyes long used to barren spot.
This sacred silence that is heard

Where thought is all and voice is not.

(Seventy-nine)

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Tennyson.

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How can I get into thp MMlon Picture businessT

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Can I tJaln myself for any branch n# UiB bualiieesT

If I havp Mio talent and ability to bocomo a picture mar,
how con I RCt a siartT
These are questions that have long remained un-
answered. But they can be answered. There have
been schools that pretend to teach Motion Picture
acting, but they are generally frowned upon by the
profession. Personality, charm, winsomeness and
beauty are God-given gifts. They can be cultivated
and improved, but not created. Acting is a natural
talent, Some have it, others acquire jt, but most
people who haven't it never will learn "it. Grace is
natural to some, but most people can acquire it.
There is no rule abo'-t beauty, grace, charm, etc..
and some may win without any one of the sup-
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If you want to try to win a place in the great
Motion Picture Industry, send five cents in stamps
for this booklet,

"Who Can and Who Cannot Get Into the
Pictures and Why?"

Address it to

The National Motion Picture Institute

173-175-177 Duffield St., Brooklyn, N. Y.

ns in the Motion Picture hulustry.
Here are h few very successful stars:
Chaplin Pickford Fairbanks

Hart
Arbuckle

Nazimova
Keenan

Drew

How different they are! Not one of them it
noted for grace or form, and hardly one for beauty,
and dozens of others might be added to this list.

And in the various other branches of the Motion
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The Motion Picture Institute was organized to
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to show how and why some people can get in and
why others cannot.

A competent and experienced staff of experts have
been secured to carry on this much needed work.

THE NATIONAL MOTION PICTURE INSTITUTE
I73-I75-177 Duffleld StrMt. Brooklyn. N. Y.

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In stamps for nniUtng.

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Encloecd la 3 oeotj

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I^ter, I returned to the attack. His
very reluctance was my goad. His reti-
cence hid revelation.

"Well," he saitl, cleverly, with a twin-
kle in his eye : "well— let us have/xrfiV'irc,
then. That is, surely, the indispensable
requisite."

.\nd he was not to be tempted farther.

When it came to his early days he was
more fluent, tho, always, the "1" was
toned down, passed over, dismissed. He
was born in Belgium, but is ".\merican
now," he says, and he has the lingering
of his native land in his speech. He was
to be a musician, his father being one
before him and when, later, he gave up
music for the stage, Jost- pere almost dis-
owned him, considering the step, no
doubt, a distinct drop in caste.

He told, too, with reminiscent amuse-
ment tinged with the young tragedy it
must have been to him, of playing with
Sarali Bernhardt on an opening night in
Paris — or. more accurately, in Sarah
Bernhardt's company. He had a small
part, he said, only si.x or eight lines, but
the character, that of a young king, is
very much discussed by the other players
before his entrance. His arrival is her-
alded with pomp and fanfare. "I stepped
upon the stage." he narrated, "in full
panoply of sword and satin, tripped upon
the sword and measured my length upon
the floor of the stage. .\ moment and
the house burst into ruinous gales of
laughter. The opening was a farce. It was
horrible at the time. You can imagine the
distraught state of my mind as I went to
Bernhardt's dressing-room and tendered
my most abjectapologies.promisingtoiact
better the next time. '.\ct !' said Bern-
hardt, justly enraged, 'young man, you
will never act !' It was terrible — terrible"
— sighed Jose, shuddering again over
the span of years.

He toured the provinces, then, he said,
for some years, with his wife, playing in
.\frica, the Far East, etc., and finally, be-
lieving that there was little chance of big
money for the general actor, went into
the managerial end of it. He came to
.America for si.x weeks' stay, I think he
said, and things went so successfully that
— why, that he is still here and has been
for more years than the number of weeks
he planned.

He fought his way upward, starting
with vaudeville. Always he clung to his
artistic ideals — thru thick and thin.

Pictures, he said, always appealed to
him. Chiefly from the directing end. .\t
first, however, he played in pictures for
Pathe, also with Theda Bara in her first
picture, ".\ Fool There Was," and he, in-
cidentally, introduced her to the screen,
engaging her for the part from the rank
and file of many applicants. He said,
with another canny wink in my direction,
that it was a very good thing for a di-
rector to have been an actor first —
thru the mill, in other words — tho
not necessarily essential, he added.

MOTION PICTURE

The Director Diplomatic

{Continued from pacje 36)

It canie out bit by bit, waived by him at
my slightest appreciative sign, but em-
phasized by his wife, that he not only
reads every book that comes out, writes
his own scripts, casts them, directs them
but follows the raw stock of the film
straight thru to completion, "I wish
you 'n'ould emphasize that," said Mrs.
Jose, who is ideally the comrade-wife ;
"I bcheve that it is quite exceptional."

We touched upon the controversial
que.stion of the Screen as Art or Com-
merciali.sm.

Mr. Jose seemed to be momentarily
amazed that there could be any contro-
versy on the subject.

"An Art, absolutely," he said; "those
people who take the other side of the
question do not take into consideration
the tremendous work, the detail, the time
and the often colossal expenditure in
even the least picture. Only Art achieves
such results, however short that Art may
fall of its ultimate possibilities. All Art
has some room for progression, for furth-
er perfecting. High spots are not the
everyday run. 'The Miracle Man' — and
'Broken Blossoms' — pinnacles V

Back of Director Jose (this is s. p. —
Strictly Personal) there is another direc-
or. The director behind the director !
A feminine person, aged three and an-
swering to the name of Helene Jose. His
little girl. "She is the one soft spot with
Ted," said Mrs. Jose, smiling at him over
the tea-cups — the director had left his
desk and was drinking his four o'clock tea
and having his four o'clock cigaret, a
ceremony he never omits, even at the stu-
dio, where Mrs. Jose is with him and
serves it for him, as at home.

"Well, but how can I help it?" asked
the wee Helene's Assistant Director, with
a smile ; "her little talk— and all, it is so
wonderful — " He got out of his big
chair and took a large photograph from
the book shelves to show to me. "I saw
her as I came in," I said; "she is ador-
able." Mr. Jose nodded. "Yes, now, isn't
she?" he asked, "can you blame me? And
do you know, she has no respect for her
father at all. She calls me 'Ted' and
when I try, at times, to be very stern
and very paternal, .she laughs at me. She
takes me for a humorist. Maybe I am —
with her."

Mr. Jose is not, strictly, a humorist,
unless in a very super-sense of the word.
He is the rare bein^ who\can make an
adaptation of life; who can live it and
at the same time, play it. He can direct
because he is, himself, by himself, direct-
ed. He accepts traditions and does not
bruise the vigor of his years battling, in-
adequately, against them. He comes from
the Old World and he brings .some of the
old world's riper philosophy with him. He
can run a gamut, which is good. He can
be the great director (he would modestly
eschew this) and he can be the playmate
a tiny child calls "Ted."

i

(Eighty)

CLASSIC

Victory

{Continued front pac/e 43)
too, lie told her what to read, directed
her reading, discussed the books with her
afterward. At once, the characters
sprang to life, lived, breathed, had vital
sorts of beings. Everything was ani-
mate. Her viewpoint, too, it was de-
liciously strong and tender ... he had
thought himself so wise, who was not
wise at all — at best, he was wise enough
to learn . . .

Several weeks of this slipped by and
then, with the same unexpectedness
Schomberg had felt, the plain Mr. Jones
arrived on Samburan. He had with him
Ricardo and Pedro.

Heyst made them comfortable in one
of the abandoned bungalows. He had no
reason not to. Their discomfort at his
hospitality fired the abstract alarm the
plain Mr. Jones gave hini. There was
something quite horrible about Mr.
Jones; he was so unnecessarily pallid.
Even the spice of the trade winds gave
him, Heyst noticed, only the unpleasant
greenness of decay. Heyst felt him to
be very unhealthy. Of course, appear-
ances . . .

He was afraid for Alma, too, as he
had come to call the white girl. These
men . . . their attitudes ... a woman
alone, as Alma was . . . Suddenly Heyst
felt himself to be very much a man and
Alma very potently a woman, needing
his protection, needing him . . . The blood
so long quiescent in his veins awoke and
pounded. How wrong his father had
been I What a false premise his nega-
tion had been ! Or else, how long and
how bitterly he must have starved and
thirsted ! That was it, perhaps, someone
had long denied him and decried him ;
someone very dear to him, as Alma might
be dear . . . Heyst felt, suddenly^ none of
his former pride in his father, cold trib-
ute, but burningly sorry for him, bit-
terly compassionate, yearning . . .

It became apparent almost at once,
certainly to Alma, that these men were
here for a purpose. Ricardo, she soon
learned, included her in his purpose. She
had one desperate encounter with him
and sent him spinning across the room,
after which his attitude was more, rather
than less devotional. Still later, he be-
came consuming. He would be dan-
gerous. Alma knew, dangerous to Heyst.
With the cunning of a woman who loves
Alma knew that the safe way for Heyst
was for her to dally with Ricardo, to
worm their motives from him, to lead
him on. For herself . . . she was acci-
dental, anyhow, a fragment conjured out
of some detached nothingness ; it had
been easy to come; so would it be easy
to go back. But Heyst . . . Heyst was dif-
ferent. Heyst must go on living, a god,
apart. "The love that loves for love"
came to the girl's mind . . . without
thought of any other thing than that
love's sake . . . and it came to her, too,
that it might not be unpleasant to sleep
on this fruitful island lullabyed by the
seas . . dust, some day, beneath his pass-

(Eighlyone)

Millions ojT People Can Write

Stories and Photoplays and

Dorit Know It/

THIS is tlie startling assertion recently made
by E. B. Davison of New York, one of tlie
highest paid writers in the world. Is his
astonishing statement true? Can it be pos>ible
there arc countless thousands of people veani-
ing to write, who really ciin and simplv ha^'Cii't
found it outf Well, come to think of "it, 'most
anybody can tdi a story. \\'\\v can't 'most any-
body urite a story? Why is writing supposed
to be a rare gift that few possess? Isn't thi>
only another of the Mistaken Ideas the past iias
handed down to us? Yesterday nobodv dreamed
man could fly. To-day he dives like "a swallow
ten thousand feet above tlie earth and launhs
down at the tiny mortal atoms of Iiis fellow-
men below ! So Yesterdav's "impossibilitv" is a
reality to-day.

'The time will come," writes the same au-
thority, "when millions of people will be
writers— there will be countless thousands of
playwrights, novelists, scenario, magazine and
newspaper writers— they are coming, coming
—a whole new world of them!" And d<> you
know what these writcrs-to-be an- doing now?
Why. they are the men — armies of tlu-n^ —
ycung and old, now doing mere clerical work,
in oflices, keeping books, selling mcrcliandisi-.
or even driving trucks, running elevators,
street cars, waiting on tables, working at l)ar-
ber chairs, following the plow, or teaching
schools in the rural districts; and women,
young and old. by scores, now poun(!ing typi--
writcrs. or standing behind counters, or i-mi-
ning spindles in factories, bending over sewing
machines, or doing housework. ^■es — voit
may laugh— but these are the Writers of To-
morrow.

For writing isn't only fur geniuses as must people think.

Don't yoH believe the ercalur mivc you a storyuritivij

faculty just as he did the gycatcst ivritcr' Only mavl/c

; you are simply "Muffed" Ijy the thought that you "haven't

j the gift." Many people arc simply afraid to try. Or if

I they do try, and their first efforts don't satisfy, they simply

five up in despair, and that ends it. They're througli.
hey never try again. Yet if, Ly some lucky chance, tliey
\ had first learned the simple rules of writing, and then
given the Imagination free rein they might have astonished
the world!

But two things are essential in order to become a writer.
First, to learn the ordinary principles of writing. Second,
to learn to exercise your faculty of Thinkingf, By exer
cising a thing you develop it. Your Imagination is some-
thing like your right arm. The more you use it the
stronger it gets. The principles of writing are no more
com pie X than the principles of spelling, arithmetic or
any other simple tiling that any hod y knows. Writers
learn to piece together a story as easily as a child sets
up .1 miniature house with his toy Mocks, It is amaiingly
easy after the mind grasps ttie simple "know how." A
littic study, a little i)atience, a little confidence, and the
tiling that looks hard
turns out to he iust as
easy as il seemed aifficult.
Thousands of people
imagine ihey need a fine
eilucatinii in order to
wiite. NothiiiK is farther
f r o m the truth. The
greatest writers were the
poorest scholars. People
rarely learn to write at
scliools. They may get
the principles there, but
they r,ally learn to 7Vritf
from the great, wide,
open, boundless Book
ol Humanity! Yes,
seething all around you,
Cjvery day. every hour,
every minute, in the
whirling vortex — the
flotsam and jetsam of
Life — even in your own
home, at work or play,
are endless incidents for
stories and plays — a
wealth of material, a
world of things happen-
ing. Every one of these
has the seed of a story
or play in it. Think! If
you went to a fire, or
saw an accident, you
could come home and
tell the folks a 1 t about
it. Unconsciously you
would describe it all
very realistically. And
if somebody stood by
and wrote down exactly
what you said, you'd be
amazed to find your
story would sound juat

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.IS iineresting as many you've rea<l in magazines or seen
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At Night

Puffed Wheat — thin, toasted
whole-wheat bubbles — in a- bowl of
milk.

Mornings

Puffed Rice or Corn Puffs with
cream and sugar or mixed with any
fruit.

Toasted Bubble Grains

Here are whole grains — Puffed Wheat and Puffed Rice. Corn Puffs
are corn hearts puffed.

Puffed Wheat in milk forms practically a complete food. All the
needed elements, including minerals and vitamines, are there.

All are steam e.\ploded — puffed to 8 times normal size. In fact, a
hundred million steam explosions occur in every kernel. Every atom is
fitted to digest.

There are scores of ways to serve them. One is to crisp and butter for
children to eat dry. Use like nut meats in home candy making — scatter in
your soups.

As breakfast dainties they hold premier place. And nothing makes
the milk dish so attractive.

Don't make them occasional foods. The three kinds offer variety.

The more children eat the better. The less they eat the more they
want of something not so good.

Puffed Puffed Corn

Wheat Rice Puffs

Also Puffed Rice Pancake Flour

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Made with Puffed Rice Pancake Flour Mixture

Now we offer another delight in pancake flour
containing ground Puffed Rice. It makes such pan-
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self-raising, so you simply add milk or water. Our
experts worked for two years to -secure this ideal
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Sole Makers

MOTION PICTURE

ing feet . . . beneath his scattered flowers
... of course he would not forget her,
would not be oblivious of her ... he was
not so made.

The climax came before a clearing of
the situation presented itself. It was!
all very strange. Of an evening Mr.
Jones and Heyst would sit together and
play backgammon, each watching the
other with a cold intensity. Heyst felt,
always, that some presence from a long-
filled grave had come to dally with him
for some weirdly pleasant hour. Mr.
Jones did not betray what he felt, unless
it was the faintness of a disbelief, an
unwilling sort of a liking, chilling in the
extreme.

.â– \nd always Ricardo followed Alma,
begging her favors, making love to her,
threatening her, lavishing extravagances
of praise upon her, hinting that their pres-
ence on Samburan had to do with treas-
ures Heyst had stolen from dead men
and buried there, on the wane of the
moon.

On one of these nights, as Ricardo was
making his most violent assertions Alma
looked up to see Heyst and Mr. Jones
standing in the doorway. Mr. Jones con-
vulsed her with sick shudders. He looked
as a corpse might look who has been I
rudely disturbed from his slumbers.

"What did I tell you about women?"
he muttered, levelling his pistol, suddenly
drawn, at Ricardo, all his dispelled ani-
mosity suddenly concentrated toward the
Venezuelan ; "what did I tell you about
women . . . about women . . . what,
answer, rat, what?"

Alma made the next, sudden move —
a knife flashed thru the air — Ricardo
toppled over at a thrust of her strong
arm — Mr. Jones fired and when the din
and the powder cleared away Heyst had
Alma in his arms, over both of them her
blood flowing, bright red and somehow
victorious.

"I did this to save you," she whispered
to him. holding her throat in which the
pulse leapt, frighteningly ; "I did this to
save you ... I led him on ... I let him
think . . . They would have killed us
. . . for gold . . . they think we have
gold . . . but now he is gone and you
. . . oh, yon are . . . safe ..."

The pulse in Alma's throat seemed to
Heyst to be his own heart pumping her
blood away . . . Negation .... how thin
. . . how thin 1 HimselF, a shade among
shades . .' .

Outside the surf was pounding and
tomorrow the hot sun would draw all
the strong scents of the earth into its
passionate heart and there would be a
shimmer of hot gold over all the land,
squandered flowers . . . natives dancing
. . . this white woman . . . where? Where
would she be? ... In his arms . . . close
to his heart . . . because he knew ... he
knew . . . the riddle of heaven and earth
. . . the sea . . . the sky ... all living
things and all things dead ... He loved
her . . .

."Xnd pressing his mouth on hers . he
told her so . . .

(Eighty-two)

CLASSIC

Double Exposures

{Continued from page 55)
ence of British made films in the States
will arouse the same feelings of pardon-
able curiosity among the Americans."

Speaking of subtitles, why doesn't
some company sign Daisy Ashford to
write captions?

Anne Luther wore 103 gowns during
six days of the making of the serial,
"The Lurking Peril," and wrecked them
all doing stunts. After seeing a serial,
we know just how a gown feels after
participating in one.

The British may poke fun at our
screen methods, but their sense of humor
stops short of reading their own film
press material. We had to send to the
nearest drug store for a restorative after
our office-boy had glanced over a batch
of recent screen press stories. Note
these choice bits, bearing the plea "for
the favor of insertion" :

"Whilst riding on the Downs for a
scene in her new production, 'The Gen-
tleman Rider,' Miss Violet Hopson was
thrown from her horse, and altho not
seriously hurt, this popular star sustained
a severe shaking. It will be remembered
that whilst acting in the Broadwest film,
'A Fortune at Stake,' last year. Miss
Hopson had a bad accident in Rotten
Row and was for some time unable to
work owing to a severely sprained
ankle."
. And this:

"If you had been privileged to look in
at the Broadwest studio one day last
week you would have found a very
merry party at dinner. Somewhere be-
hind the scenes, rag-time tunes were
being played to 'get the atmosphere,'
altho no piano appeared in this particu-
lar scene. It was eflfective, however, for
when a call of 'speed up that rag'
spurred the musician on to syncopate the
already raggy tune, the artistes 'got
going' and the scene proved a huge suc-
cess."

German kinemas, according to film
men just returned from BerKn, are
against providing remarkable musical
programs. The popular film demand
is for detective and society dramas.
The reported wave of immoraiity in the
German kinemas seems to be without
foundation. The moral level of films
there is pronounced excellent.

The manufacturing of German lenses
and projectors is being taken up rapidly.
This wUl shortly have an effect on the
American market.

At present -American activities on
the other side are interesting to note.
The Italian Kinema Union, the biggest
film organization in Italy, has signed
Herbert Brenon to produce a series of
pictures starring Marie Doro. The
first will be "The Mysterious Prin-
cess."

(Eighty-three)

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Photoplay fashions change, indeed !

Consider the screen idol of some two
years ago, the vampire, the be-curled
ingenue.

All of them are in the discard, altho
the curly-headed flapper has fought
hard for screen life.

It is distinctly a man's year in the
films. Producers declare that the
world war has centered interest in
masculinity. Anyway, nearly all the
new stars on the horizon are men —
Eugene O'Brien, Owen Moore, Lew
Cody, David Powell and others.

But the days of the Bushmans, the
Wiltiamses and the other typical film
idols have waned.

Note what Crane Wilbur says on
another page of this Classic.

Photoplay followers have sickened
of the clothing store manikin who
personified every virtue. It's thumbs
down for the film idol wearing an
arrow collar and a halo.

, Today the popular man on the screen
must be different — and human. The
debut of Douglas Fairbanks marked
the dawn of this era. He did some-
thing besides pose.

Observe how players like Wallie
Reid are turning to comedy, how Bert
Lytell has switched to character stud-
ies in "Lombardi, Ltd."

Recently we had 'Gene O'Brien, in
"The Perfect Lover," as a painter who
decides to put his affairs of the heart
behind him and settle down to domes-
ticity.

And now we have Lew Cody bring-
ing another male character to the
screen — the typical boulevardier, the
man about town who, according to Mr.
Cody's own announcement, is "always
charming in manner, with a distitigite
air and a way with women — in brief,
a man of personality who is not dis-
liked by men, tho they envy him his
savoir faire and his knowledge of the
secret of living."

Thus the screen male who is a ming-
ling of good and bad. Some miles
from ,the virtuous but unsoiled black-
smith of the pioneer film days!

lu

For women the steps must neces-
sarily come slower. Yet the lady of
dead black morals — the vamp — has
passed.

The guileless ingenue — of dead
white morals — is also in oblivion.

This year we have had our not en-
tirely spotless but more or less human-
ly good women of "The Woman Thou
Gavest Me," "Kathcrine Bush," and
other popular photodramas.

Not to mention the sophisticated
ladies of the Dc Mille dramas who can
look a divorce in the face without quiv-
ering a single beaded eyelash.

The whole style in women folk has
changed. We have our Nazimovas,
our stately Kathcrine l^IacDonalds,
our lureful Gloria Swansons and our
beauteous Corinne Griffiths where once
gamboled the be-curled ingenue of
other days. We consider the very
human frailties of our film heroines as
calmly as once the flapper star watched
her pet canary.

The photoplay can be safely said to
be advancing when it no longer de-
mands that its characters be good or
bad as in the old-fashioned melo-
drama.s — white or black of heart in the
most obvious style.

We have discovered that there is
something of good and something of
bad in everyone! Which means that
our stories are passing the kinder-
garten stage. Does not Maugham say,
in his "The Moon and Sixpence," "I
did not realize how motley are the
qualities that go to make up a human
being? Now I am well aware that pet-
tiness and grandeur, malice and char-
ity, hatred and love, can find place side
by side in the same human heart."

The coming few months will see a
definite stand taken against the cut-
ting of feature plays to fit de luxe the-
ater programs.

Recall what David Griffith said re-
cently in The Classic?

Mary Pickford has just announced
that she will not permit her future pro-
ductions' to be cut in any way by ex-
hibitors, either to shorten their pro-
grams or because they do not like cer-
tain scenes.

This winter is going to see an inter-
esting experiment. While American
companies are talking of invading Eng-
land and the Continent to produce pic-
tures, a British film company is com-
ing, bag and baggage, to produce in
California.

The organization, G. B. Samuelson's
all-British Company, will probably pro-
duce at Universal City. Mr. Samuel-
son is bringing his entire companv, in-
cluding Madge Titheradge, the well-
known stage star, and his whole tech-
nical staff, from directors to camera-
men. The company arrives via Mon-
treal, heading direct for the coast.

Mr. Samuelson is planning to make
at least two productions: Gertrude
Page's "Love in the Wilderness" and
Ridgewell Elkin's "Night Riders."

Reports from Germany indicate that
the late "central power" is returning
with vigor to the making of motion pic-
tures. An official embargo exists on all
foreign films, but, it is said, American
and French films are being smuggled into
the country in large quantities and are
being openly exhibited. The officials in
fact are winking at the embargo.

(Eigbti/four)

CLASSIC

i^ Marie: The Mystic

"^ (Continued from page 72)

serials; especially now that Mr. Jac-
card has returned from France to di-
rect me."

"Yes, you and he have worked to-
gether so long, it must be regular
team-pulling now, isn't it?"

"I've loved and respected all my di-
rectors— few girls have had so many
charming experiences as I have had
under Mr. Turner, Mr. Pollard, Bob
Leonard and Tom MacGowan. But I
feel that the greatest laurels belong to
Jacques Jaccard. We thoroly under-
stand each other. You might call me
temperamental — I dont call it that.
But there are times when I feel cross
or blue ; at other times, I feel exuber-
antly happy. He knows how to handle
me, tho no word is spoken. I get his
moods in the same way. I have abso-
lute confidence in him, so that when he
says a certain dangerous trick must be
done in this or that way, I never hesi-
tate to do it. I know he understands
me and understands the situation per-
fectly and I always feel sure that I'll
come thru all right.

"Every night we write together. Mr.
Jaccard has only used three stories in
five years that were written by out-
siders. He devises plots and thrills
and we go over them carefully. That's
why I dont have time for pleasure. I
have only been to the movies twice in
the last four months !

"It is usually very late when I get
home from the studio. We use all the
daylight possible and then comes the
long drive back, dinner, and after that
we're ready for the serious business of
concocting a story that may run thru
fifteen to seventeen weeks. Sometimes
I jump up for a few moments and play
the piano to relieve the tension of an
entire day spent in work and then we
get a fresh start, but I retire about
ten because you see I have to be up
very early in the morning in order to
get made up at Universal City in time."

"But what do you really do for
amusement — when you do work in a
little spare time?"

Miss Walcamp hesitated, began,
hesitated ag^in and said slowly. "I hale
to tell you — it will seem silly . to an
outsider, I'm afraid. But if I ever have
a few days off between pictures, I
take everything out of my bureau,
chiffonier and closet and put the whole
place in apple-pie order. The fact is.
that it just rests me and is a regular
treat to be able to clear up boxes,
â– drawers and clo.sets. Honestly, I cant
think of anything I'd rather do than
that, save acting. Of course, when it
is all finished, I take account of stock,
make a memorandum of what I need
and go down town in my Stutz and
shop. I'm like the rest of the girls — I
do love clothes."

I should say Marie does love clothes.
Hanging in the dressing-room closet
was a eautiful black evening gown,
made of real Irish lace brought to her

(Eightn-five)

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by — well, I promised not to tell who
brought it, so mum's the word. It will
be worn in "The Red Glove" which is
being adapted from "The Fifth Ace"
by Douglas Grant. Hope Loring is
churning out episodes in continuity as
fast as her nimble fingers can dash
over the typewriter and the two girls
hobnob in odd moments on the lot,
discussing innovations.

During the shooting of "The Red
Ace" Marie Walcamp proved herself
an uncomplaining martyr, for a sudden
fall broke her wrist. Having learnt
many different ways of swimming from
the Hawaiian teacher. Miss Walcamp
decided not to postpone work on this
serial ; had her arm put in splints and,
on the fourth day after the accident,
was doing high dives and endurance
swims in Great Bear Lake, a cold na-
tural tank up in the mountains.

"Oh, I didn't mind the break, but I
was worried for a few hours lest it
would interfere with finishing the epi-
sode. However, I really think that
cold water did me a lot of good. You
see the" boards kept me from knocking
my arm against anything. It was not
really dangerous. After a few days,
I felt no inconvenience whatever," said
the intrepid lassie.

Marie Walcamp's attitude toward
animals is interesting. She has such
perfect self-control that the dumb
brutes seem to sense it. She is always
the judge of any horses brought in for
her to ride ; sizes up their points ; tries
them out and teaches them tricks.

"Baby lions are so interesting! Have
you ever seen a lioness put her little
ones to bed ?"

Having lived a safe and sane apart-
ment house existence, I hastily dis-
claimed such knowledge.

"Well," continued Mystic Marie,
"the mother gathers up one cub and
walks up and down the cage swinging
it by the neck the way a cat carries a
kitten. Then when it seems ready to
doze off she puts it down, sets her foot
on it- and, if it doesn't move, gets up
and takes the next one and swings that
to sleep."

But just then props arrived with a
boiled egg and a bit of bread, hustled
across the fields in a U-bus, so our
chat was interrupted for a very tiny
luncheon on Marie's part, so tiny in
fact that I ejaculated, "You're far
more spiritual than material. I believe
you live in the mental realm."

"A-b-s-o-l-u-t-e-I-y," answered Ma-
rie the Mystic slowly. "I dont care
anything about material things. I like
to spend my time thinking, trying to
fathom things. You cant do that if
you are wondering whether it will be
steak and onions for dinner or sausage
and waffles for breakfast. I want to
spend my time on the worth-while
things and they're absolutely mental,
aren't they?"

So I'm wondering if Marie is not
protected by "presence of mind" — a
quality she exercises constantly

(Eighty-aix)

CLASSIC

The Amazing Interview — (Continued from page 2i)

bath with a marble shower and a most
complete little kitchen equipped, elec-
trically, with every device known to
culinary use.

"I prepare my stewed fruit in there,"
said Norma, huddled at the time in one
of the wicker chairs, hair slicked non-
chalantly back, wearing the serge bloom-
ers, middy and socks in which I had come
upon her taking a scene. She told me, too,
of the time Madame Petrova had come
there to interview her and they had pre-
pared tea and sent out for cakes and all
sorts of things. Constance, she said, had
loudly observed that there was "real
food!"

The Talmadges are distinctly a family
group. -\ strong camaraderie and inter-
est exists between the sisters, which is
unusual and rather sweet. Norma and
Constance see each other's pictures run,
are critical or enthusiastic as they honest-
ly believe the occasion demands, but al-
ways constructive, and pleased at each
other's triumphs and successes. Natalie,
the third sister, was. at the time "up with
the cows trying to get fat," as explained
by Norma.

Later on in the afternoon we paid a
visit to Constance who occupies a large
dressing room and studio on the floor
above. We found her with golden baby
hair and a blue dressing-gown bemoan-
ing and bewailing over her new picture
with Conway Tearle she had seen rim that
morning. She appealed tragically to Nor-
ma. "It is something awful," she de-
clared, "aw-ful !"

"What's wrong?" asked Norma, with
sympathy and a wink.

"Everything . . . story . . . lighting
. . . me . . . most of all, ME ! Conway
saw it and he agrees with me. Simply
AWFUL!"

Norma informed me on the way back
to the cretonned sanctum that it is not
half so bad as Constance would have it.
I was thinking on other matters, having
been of the opinion that it probably was
not anywhere nearly so bad. "What," I
demanded, "is the reason for the several
dozen kewpie dolls I observed in Con-
stance's room?"

Norma laughed. "Everyone gives Con-
stance a doll," she said; "they probably
think she's a nut, or simple minded, or
something." The laugh, you know, was
an affectionate one and the explanation
lovingly without malice

"And the parrot?" I prompted; "I saw
(and heard) a huge parrot in there."

"Dick Barthelmess gave her that, out in
California. .She named it Richard Bar-
thelmess Talmadge . and travelled cross
continent with it, taking endless pains.
Lillian Gish has one, too. They brought
them together and arrived in New York
looking, according to themselves, like im-
migrants."

We found Mother Talmadge awaiting
us below and making a great fuss over
aforementioned Pom. "What have you
done to your hair. Norma?" she greeted

(Eighiy-Kven)

her illustrious daughter; "looks different."

"Combed it. probably," responded Nor-
ma, genially.

There is a nice air of being "regular
people" about Norma which augurs,
above all else, a sane perspective, a nice-
Iv balanced sense of things, equipoi.se.
There is none of the irrational about her,
no bizarre evidences of temperament. If
you didn't know her for a star . . . well,
you wouldn't know her for one, if you get
my meaning. She is with you and me
and all the rest of us. . No doubt but what
she gets a real enjoyment out of what she
has done and is doing and the way in
which it has all been received. She is es-
sentially and quite evidently human
enough for that. She is nothing of the
snob, nothing of the highbrow. She de-
tests the easily and prudishly shocked.
She is free and easy and talk to-able and
at-able.

"I've always had ideals," she told Miss
Livingstone and myself, who had doubt-
less just denied the same; "and I still
have 'em . . . more than ever . . . I've
never seen any reason not to !"

Those of us who have ideals give them
. . . beautifully when we can and always
and necessarily helpfully and inspiration-
ally to the great many, many "others."

Thus Norma Talmadge and the Art
which is herself.

TO A VAMPIRE

I want to be your victim, rare, robed wrecker
of the screen.

I want to cringe and crawl and do 'most any-
thing that's mean.

I want a mustache, steely grey, a wife and
children, too,

That y'(U may see and sneer and snarl a.nd
curse them, thru and thru !

I want to break a bank and kill the man who

gave me fame ;
1 want my folks to die because I've spoiled the

family name ;
I'd slink up to your slimy side and kneel to

kiss your shoe.
If I could be the victim of a vampire such as

you !

I want to kiss your false, famed face; I want

to curse and cry.
To beat, bruise, batter, then beseech of God

to let me die;
To tear your ' snakelike arms away and dash,

with bated breath.
Down to the old canal and die a most befitting

death!

I want you, pampered, poison pet! Believe

me when I say
I'd dare death-dealing deviltry, beneath your

vicious sway !
Seek what you will! Hound me with hale!

There's not a hair-breadth scene
That I wont do to humor you — but only on the

screen !

FAN FANCIES

Close-ups lend enchantment.

No thin vampire no sin has.

Go West, young fan, go West — they're all
in 'Frisco!

Hero — Never loo great to send — you his
autograph.

Heroine — A glint in the eyes is sufficient.

Comic — A squint in the eyes is sufficient.

No fan but would be the hero's valet.

It's the wronged dame that gives kids
learning !

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Hallam Cooley's Trail

By JANE L. STUART

man could enlist and, in these circumstances, Fortune
spread her golden net before him.

He found the Calexico army. It consisted chiefly of two

hundred and fifty hoboes from the American side and a

large number of Mexicans and Yaquis. There were only

thirty-two guns for the crowd and, naturally, Cooley didn't

get one. Instead, the generalissimo handed him a bucket

and told him to carry water. He cooked

his own tortillas, dished up frijoles and

^m , ^^^^^^^^^ performed various other culinary

^M ^^^^^^^^^^^^^ rites, but he never saw the promised

^P^^^^^^^^^^^^^^^ five dollars a day. He saw plenty

^^^^^^^^^^^B^^^^k o^ fighting, however, chiefly among

f j^^^^^^^^^W^^f^^^ the tatterdemalions themselves.

f ^^j^^^^^H^ ^^H They had an abundant supply of

jBn^^^^^^^ ^^H whisky and tobacco, and when-

f^\ "" 'â– â– "'-

(Continued on page 93)

^^ *^^- >

1

Hal Coole3r's picturesque
trail leads across nearly
the whole expanse of
America Not so long
ago Hal was a waiter in a
restaurant in Yuma, down
in the sun-baked South-
west Tired of that, he
crawled upon, the top of a
Pullman and — . But read
his story

HALLAM Cooley's trail begins
at Minneapolis and zigzags
down thru the Wisconsin
woods to Highland Park, Illi-
nois, where he put in laborious
days at the Northwestern Mili-
tary Academy. From Highland
Park the trail runs towards the
wild and woolly Southwest, the
home of the sagebrush and cacti.
Following this trail about nine
years ago, Hal struck a town
called Yuma — not a bad town in
itself, but one which did not
yearn to take him to its heart.
He balanced trays in one of its hot
and murky restaurants, and the
incongruity of the task must have
impressed any transcontinental
traveler who happened to see him
there. In those days, however,
Cooley followed his star regard-
less of consequences. He was out
for experience !

When he grew weary of Yuma,
he went down to the station and
hopped aboard the Sunset Limited.
Under cover of the darkness, he
crawled on top of a Pullman and
journeyed into Calexico. He had
heard that the gentlemen adven-
turers of Madero's forces were re-
ceiving five dollars a day. that
Calexico was the place where a

(Eightii-ciglitj

CLASSIC

The Celluloid Critic

{Continued from page 57)

interest. Director David Kirkland has
overemphasized his points thruout, yet
"The Virtuous Vamp" will entertain
you, for Miss Talmadge's singular com-
edy sense gets much play in it. Conway
Tearle is a good foil and Gilda Grey, the
famous "shimmie" artist of the New
York white light district, makes a trem-
bling screen debut.

Wilfred North has hit upon a singu-
larly timely theme in his "The Undercur-
rent," in which the pugnacious Cjuy F,m-
pey enters civil life — on the screen.
Empey depicts a returned soldier who,
upon discarding his uniform, gets in-
volved with the Bolsheviki. but recovers
himself in time to prevent rioters from
burning the local steel, roills. Working
under handicaps. Mr. North deserves a
large share of praise.

J. Stuart Blackton's newest produc-
tion. "Dawn," (Pathe), is a visualization
of Eleanor Porter's story of a young
man who goes blind and his subsequent
regeneration into a man of vigor, despite
his handicap. We fear Mr. Blackton has
selected too depressing a theme for wide
popularity. Again, we belie've Robert
Gordon miscast in leading roles. This.
of course, is our personal belief, but we
think Mr. Gordon is a character player
and that he is lost in his present type of
work.

A Request

By Walter E. M.mr

If there are visions in the solemn night
That wait for mc with eager,
trembling hands.
Plucking my sleeve, and bidding me to
write.
Ere drift away the swiftly-spilling
sands:

If there are unborn truths bevond the
veil
That yearn to find their being in my
pen.
If I may voice oppression-stifled wail,
.And champion the cause of shackled
men :

Say not of mc "He is a fool to cast
"Awav the glut and glitter of his
Art !"
Breathe only that I held unto the last
Love s single jewel of wonder to my
heart.

Tell them when I have finished. "Ay,
he wrote
"Becauscv he loved, nor found the
world too kind,
"Kxcei)t that this one splendor show ed
no mote
"Of tarnish, ere the Angel struck him
blind."

Say this, and all your little world of
tears
May roll its course, while I go on
anew.
Clasping my single jewel thruout the
years,
Yet knowing I have given it to you !

{lCif}htii'nive)

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An Old-Fashioned Girl

{Continued from page 25)
She has a bottle of Hungarian glass,
red and white, with one small wine-glass
to match, which was used by President
Buehanan in his own home. There are
scent bottles, tall cut-glass bottles for the
dresser, Chinese lacquer bottles, old
majolica bottles — in fact, the array of
liquid-holders is simply astounding.
Marj' is a connoisseur who delights the
owners of old curiosit)' shops.

Mary Maclvor is just past eighteen
and looks not a day over fourteen. One
cant believe it possible that she presides
over the lovely home at 2018 Cahtienga
Avenue, a terraced, flowered bungalow
in Hollywood. She wears simple frocks,
little one-piece dresses like those of a
small girl, and her sunshiny hair, which
waves and curls quite naturally, is held
back at the nape of the neck by an amber
pin. A huge, floppy straw hat with a
ribbon twisted around the crown and
pulled thru the brim at the back is as
unadorned and plain as if Mary Maclvor
were a schoolgirl instead of a leading
lady and the wife of a star.

Mr. Desmond, who had been entertain-
ing a business caller on the veranda,
blocked the door and shook his finger
threateningly. "Dont make this too con-
fidential. Baby. Remember, every word
you utter will go down in black and
white."

''I suppose Mr. Desmond will play
leads with you?" we said.

"Yes, when she gets a little older ; she
cant make up to look old enough just
now," he answered.

"How did you come to pictures, and
why ?"

"Necessity! Need of money. There
was no romance coimected with my first
appearance at all. I was at a fancy
dress ball in Culver City, had been taken
there by friends, and Thomas Ince saw
me. He offered me a job with fifteC^
dollars a week wages "

MOTION PICTURE CLASSIC

"Yes, once. A director swore at me.
Men may swear before me, but not at
me. A girl's defensive armor is her self-
respect and 1 shall always maintain
mine. Never did I work under that man
again, altho he made the apologj' I de-
manded." The pride of Scotch ancestrj-
and Southern environment sparkled in
Mary's wistful grey eyes.

SHORT CUTS TO FILMDOM

Things are not what thej' screen.

It's a wise atrthor that knows his own scripL

Rome can he huflt in a day — leave it to
props !

Dont hitch yonr wagon tc a star — be one!

Marry in haste, divorce at leisure.

Dont look before you leap — it's only a
papier-mache cliff!

Nine tailors may make a man, but one good
modiste can make a star.

Sclf-p-^ssessioii is nine-tenths of the lore.

Fortune favors film stars.

The pay's the thing!

A fan's a fan for a' that!

Custard-pie covers a multitude of things.

A, press agent at liand is worlli reams of
gusli.

A reel of Oiapliu makes us all akin.

Plots — All that aren't swiped are old.

Still drama brings sleep.

Too many crooks foil the fan.

A sweet ingenue is halt the plot.

The vamp is the mother of dissension.

Cast curls for all lines.

Fan-cied is as fancy does.

"Engagement, Sweetie, and one gets a
salary in the movies, not wages!"
groaned the Irishman from Dublin.

"Some day Beedee, (as she calls her
big husband), and I are going to build a
fine house, aren't we, Beedee? A house
with a six-foot fireplace and logs that
bum three days, enormous chairs every-
where, a landscape window ten feet
wide, a private den for Beedee and a
little room where I can write whenever
I feel like it. Yes, I write short stories
and poems, 'out I hate scenarios or con-
tinuity or anything with numbers in it.

"1 love the Bible because it contains
all I want — poetry, history, love stories
and battles, but I never really enjoyed
it until I was given one without num-
bered verses, written just like a novel.
It used to distract me to read about
Ruth and Naomi with those old figures
straggling down the page — reminded me
of a movie script: Scene I. Ruth says
'Entreat me not to leave you.' "

"Have you experienced anything un-
pleasant in pictures?"

THE SOUL OF THE SCREEN
By Frederic T. Cardoze
I am the voiceless soul of many a scene,
My realm the boundless regions of the screen ;
A million million vassals I command
With but an idle gesture of the hand.
I am the whole wide earth. I am the sea,
I wing the universe on pinions free;
I am the hill of smiles, the vale of tears,
1 am a day, I am a thousand years,
I am the jade Deceit, I am the truth,
I am maturity and I am golden youth.
And I am folly, frivolous and vain.
Yet I am wisdom, when I will, again.
To me there is no hidden road or path,
I hold the keys to gladness and to wrath;
I am the silent guide to every glade
Where glows the sun or falls the somber

shade.
Today I steal a garment from the light.
Tomorrow, from the wardrobe of the night;
1 am a ragged beggar, bowed and grey.
Yet I am Croesus, flinging gold away;
I am the cold and flaunting ifistress Pride,
And I am Modesty with Diffidence allied.
The deeds of ages, dead and quick, I trace ;
I barter not with time nor yet with space.
Tho from my tightened lips there falls no

word,
The messages I bear are clearly heard ;
The fair and foul things of life I glean —
I am the soul and spirit of the screen!

THE OUTCOME
By Claren-ce E. Flynn
Life's always at its best upon the screen.

It is not perfect. Life is never so.
There runs a struggle thru each shifting scene.
And shadows often come, their pall to throw
Across the landscape. Things go wrong a
while.
But always comes at last the shine's glow.
And gloom is followed by the song and smile.

In every drama wrong must have its reign.

In every tale the villain has his day:
Gladness we see. contrasting it with pain.

And truth is valued but by error's sway.
The right and wrong are alternate in power.

The scene is now in sun, now shadow cast.
But tho the wrong may triumph for an hour.

The right is seated on the throne at last.

PaOie'

Feature Photoplays

reveal the Progress in Motion Picture Art,
an Art which had its Origin with Pat he.

THE first motion picture feature, a
scant two hundred feet in length, but
truly picturi/jng a written story and en-
acted by experienced actors, was made by
Charles Pathe over twenty years ago. Never
before had a story been put into a motion
picture!

The first comedy, the first drama and the
first of the longer pictures \\ ere all made
by Pathe.

More than fifteen years ago Pathe was
reproducing in picture forin the works oj
famous novelists and • playwrights, the
very first company to see the necessity for
giving to the public for its entertainment
the best work of the best minds.

Thus each step in the evoUition of the wtll written, well
directed and well acted feature of today was first taken l)y
this great pioneer. And today, as yesterday. Pathe Photo-
plays present the l)est in auth()rslii|). direction, iicting and
prcMluction.

Among the producers are Frank Keenan. Hohart Henley.
Edgar Lewis, 1. Stnart Blackton. All)ert Capellani,
Leonce Ferret, Edwin Carewe and Jesse D. Hampton.
Man for man, measure<l hv achievement, these prothicers
have no .superiors in the husiness.

Ask the manager of your favorite theatre v;hen he will
show Hohart Henley's "The Gay Old Dog", adapted
â–  from Edna Ferherls story ; Blanche Sweet in "A Woman
of Pleasure", produced by Jesse D. Hampton and adapted
from James Willard's famous play; Albert Capellani's
"The Right to Lie", with Dolores Cassinelli ; and J.
Stuart Blackton's "Dawn". They are first presented this
month.

Pathe Exchange, Inc.,

25 West 45th Street, New York City.

0iarlesThihe'

For your entertainment's sake seek the theatre with the Pathe Rooster

on its screen!

(Nimety-one)

Comic Conkling

By MARY McAUBREY

pute our rancher, so let's go," bantered one.

"Get him to tell you about his flock of bees
he's fattening up for Christmas," called another,
as the group vanished into the dressing-rooms.

"Are you a rancher as well as a comedian?" I
asked.

"Sure," laughed Mr. Conklin. "I work at
comedy and play at ranching. That is a fine
balance, for you cant work at comedy all the
time — it wears you out, and ranching is the great-
est play there is."

Sitting on the steps of the big yellow street
car, marked "The Wait In Vain Transit Co.,"
which figured in the new picture, the little come-
dian whose antics have occasioned thousands of
laughs during his years on the screen told me all
about his ranch, a hundred miles north of the
city.

There are 320 acres, with 65 in citrus fruit;
there is a wonderful view across the desert, with
its fascinating lights and shadows, that lures one
into its very heart. You cant get away once you
succumb to its spell ! There are several thou-
sand turkeys, and then there arc the bees !

^t"!

Till-: forest fires
raging in the
mountains back
of Pasadena flung a
curtain of smoke over
tiie valley, making ex-
terior camera work a
difficult matter in the
naiiy studios in Hol-
lywood and Los An-
geles.

Out on the Fox stu-
dio lot a g r o u p of
jilayers were waiting
for the haze to lift
long enough to finish
their scene.

"I should say that
motion pictures make
the greatest little pa-
tience exerciser in the
w o r 1 d," remarked
Chester Conklin. "You
nuist learn not tccwor-
ry over delays in this
business or you would
go crazy. There's no
hope, boys." he con-
tinued, with his mild
blue eyes fastened on
the grayish sky,
"there'll be no more
sunshine today."

"No one will dis

1^

We forgot all about pic
tures and interviews and for-
est fires and overcast skies,
while he told me many inter-
esting things regarding the
habits of the little creatures,
lie finds them an absorbing
subject and is collecting a li-
brary on bee culture. Recently
he had to move his bee stands
nearer to the honey flow —
meaning the orchards, for in
sea.son these tireless workers
labor so hard that they wear
themselves out ; in fact, they
frequently die of exhaustion.

Suddenly, while talking, Mr.
Conklin took off the paint-
brush mustache which has
formed a veritable trade-
mark for this comedian, and
he was so completely changed
that I should never have rec-
ognized him.

"Why," I gasped, "you
look years younger !"

{Continued on page 97)

Chester Conklin works at com-
edy and plays at ranching. He
owns 320 acres and devotes the
space to citrus fruit, turkeys and
— ^bees. Honestly!

(Ninctytwo)

(Don't Belong 10 the Great Unlit

You aee them on every side — men
who don't count — men who are los-
InK every chance of happiness and
success in life, some because chronic
ailments are wastine away their
energy: others through loss of their
vitality through early excesses and
dissipations.

Has Constipation, Indigestion.
BllioiJBness, or any other chronic
aliment got a grip on YOU? Do
yuu reel that you are not as good a
man as you used to be; that your
foimer pep and punch and energy
is ehblng away? Are YOU slipping
gradually Into that great army of
hopeless, useless, broken-down hu-
manity? If so, take hold of ronr-
t»e-lf at once, act quick, and

Fight Your Way Out

You can do II, If vou will only
WILL to do It. You can free
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can turn the watery fluid In your
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STRONGFORTISM

Strcinff orl Ism Ij* the one wuy out for weak, anaemic, ail-
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iiiiiiiiiiiiiiiiiiii'"

Hallam Cooley's Trail

(Continued from page 88)

they smashed one another over the heads
with boxes of twenty-five cent cigars.
Cigaret tobacco was so plentiful in camp
that a whole sackful was rolled up in
each cigaret. Nine quart bottles of Ca-
nadian Club whisky were often traded
for a needle and thread.

This life, however, finally palled on
the young adventurer. So he decided to
"hit the trail" again, and this time he
made for the C. M. Ranch, where Uncle
.Sam gave him a job hauling supplies for
the U. S. Reclamation Service. He had
to rise at three o'clock in the morning,
light the fire, hitch up a team of mules,
load a wagon and set out before day-
break to visit camps on the farther -side
of the Colorado River. His favorite
plan wa9 to drive to the banks of the
stream, disrobe and wade across with the
mules. Thousands of buzzards pursued
him upon these excursions, waiting to
breakfast on the scraps that might fall
from his wagon-load.

When he had exhausted the thrills and
adventures of this way of living. Cooley
worked his way westward towards the
Pacific Ocean and finally landed in Los
Angeles. He did not make his advent in
hero style. He came into the City of
Angels on foot and the Salvation Army
befriended him.

By hook or crook he drifted into pic-
tures. It wasn't long before his natural
talent for acting asserted itself. His
good looks, his spontaneity and dash won
him good parts and he cashed in without
delay on the knowledge of life he had
gained "roughing it" on the trail. He
worked for Selig, Universal, American
and finally for Ince. He appeared in the
AI Woods picture "'The Guilty Man," as
the heavy with Charles Ray in "The Girl
Dodger" and with Enid Bennett in
"Happy Tho Married." Later he had a
season with another concern, playing im-
portant roles, and he is now with Famous
Players-Lasky.

"I was bom in Brooklyn," he went on,
"but I think I prefer the West to the
East, particularly â–  since I have found
happiness here. You know I was mar-
ried last Christmas to Miss Elizabeth
Bates, of Columbus, Georgia. We are
building a house on Lanewood Avenue,
Hollywood — just the sort of place I've
always dreamed of — a home of the
Pueblo sort, with a big patio and wide
verandas. Also. I'm going to have cacti
growing in the front yard — lots of it —
for, despite my wild experiences in the
>l;sert country. I learnt to love sand and
sagebrush and cacti. There is mvstery
and an enchantment about the desert
that only those who have lived in it can
know. It speaks with a voice that is
heard by the heart — its very silence is
full of music !

"Yes, I am happy ! I have found my-
self ! I have found peace and joy in my
work and I have discovered that home is
where the heart is. If heaven is a state
of mind, I am living there now !"

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U. &. GavwBoiaat Wasts— RaUway Hall Clwfca— PMt«a«*
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enlilles the .'U-nder to (1) free sample
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iHir iHwk "tJoreniment Positions and How lo
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(4) to con.-aderatlon for Free Coaching for the ex-
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(Ninety-three)

CO U P

faHMriwchtfiiCMaoi .

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■ Um ttb kafar* VM Im» M. Wrtt* PfalalyH

Blanche

0

Biograph

K

Remember Blanche Sweet as the 'Biograph
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ties of the silversheet. Miss Sweet b forth-
coming releases are appearing thru Path*.
They will be watched with unusual interest
by fans

(Nin>ty-t<ts)

MOTION PICTURE CLASSIC

Comic

{Continued f.

Grinning at my surprise, he replied,
"Guess this mustache keeps me from get-
ting mash notes. I receive lots of letters
from all over the country telling me they
like this or that in my pictures and even
asking for my jihotographs, but never a
love note. • •

"When I was a youngster back in Os-
kaloosa. Iowa. I knew a man with just
such a nnistache. It always amused me
and I used to hang around his shoj) waiting
for him to talk so I could watch it move
up and down. When I came to motion
pictures and was trying to think up a fun-
ny character to create for my comedies I
naturally remembered that mustache."

Armed with this make-up and adding
those ridiculously loose and baggy clothes
and enormous shoes (which he obtains
from the largest policeman on the Los
Angeles beat), Chester Conklin has suc-
ceeded in establishing an amusing screen
comedy character that has endeared him
to a host of fun-lovers.

Now, Chester's father was a contrac-
tor and builder and he hoped the son
would follow in his steps, but after speak-
ing a few pieces at church festivals and
winning an elocution prize at the age of
12, Chester upset these plans by announc-
ing that he intended to be an actor.

The comedian's eyes twinkled as he re-
called these early experiences. "Father
urged me to stay at home and let him
make a man of me," he began, cheerful-
ly, "and he kept saying that he had never
seen an actor who was worth a hill of
beans. I guess he didn't change his mind
about this for several years after I start-
ed out, for I called on him repeatedly for
money. Xow? Oh, iwa', he thinks I'm
great I

"I finally ran away from home and got
a job at the Grand Theater in Des Moines
and 1 was the happiest kid in the state.
Sonietimes I carried a sword, sometimes
a spear, and â–  sometimes I was lucky
enough to have a real bit. Then followed
a little of everything, .stock and road
shows, several vaudeville acts, ai'id I also
took a turn at being a circus clown.

"When you love your work you dont
care how hard it is. Unhappiness comes
when people struggle along some uncon-
genial rut to make a living while longing
for something different all the time.

"Xow, I'm sure I am in the greatest
business there is and I'll be satisfied if I
succeed in making people laugh. There are
enough sorrows and tears in the world
without making pictures about them. I
never did hanker after your heavy stuff!"

After watching a very red sun drop
thru a haze of smoke in the western
sky, Mr. Conklin went on. "To me the
greatest fascination of motion pictures is
the thought that these films we are mak-
ing will reach the people in all countries.
No matter who or where they are, they
all under.stand the same fun and a laugh
is the universal language. Often, when I
am doing some nonsense before the cam-
era I think of this and I'm glad, clear

dfinetihseven )

Conklin

roin page 92)

thru, that I can help jolly the old
world along."

It was Charlie Ray who started Ches-
ter Conklin on his screen career. They
liad played together in a vaudeville act
up and down the coast, and at the end of
their tour Mr. Ray had ventured into
pictures under the Thomas Ince banner,
while Chester went back on the road with
a circus. Drifting into Los .Angeles again
a little later, he decided to follow Char-
lie's suggestion that he, too, try pictures,
and so for six years Chester Conklin
has been one of the Sennett prize come-
dians. A few months ago he brought his
mustache, along with his merriment, over
to the Fox lot to become a star of the
Sunshine Comedies.

"Where do we get the ideas for our
pictures?" He repeated my question.
"Well, I should say from everywhere,
.lust ])luck them out of the air sometimes.
For instance, the comedy we are now
making was suggested by the recent street-
car strike. We are picking i^ some lu-
dicrous situations and makinga good two-
reeler out of it. There are funny sides to
every r|uestion, if we'll only see them.

"To play before the camera one must
keep, themselves in good physical and
mental trim ; you cant afford to go stale.
Your mind has to be open to all' the light
touches, real comedy can never be
forced."

Chester Conklin is a quiet, diffident
little fellow, reluctant to talk about him-
self. He has a sane, wholesome outlook
on life and declares that living in the at-
mosphere of comedy clears away the
clouds and depressions.

"Comedy," he remarked, as we walked
toward the gate thru the de.serted
stages, "is nothing more than what should
be happening all the time if we would
only forget to worry."

This cheerful attitude permeates his
work on the screen and he has succeeded
in bringing to his pictures a refreshing,
s|)ontaneity, for many of his best efforts
at fun-making are achieved on the spur
of the minute, many laugh-provokers I
living the result nf a sudden whim.

.S(p. Chester Conklin may well be sat-
isfied— for he is indeed "making people
laugh 1"

The Answer Man

KoXHOHotiiiH ; Fi.oUHNCK p.; Mary F. ; Fairf.
Bi.NNF.Y Fan: X.XX; Movik Fan; Connie J.;
Ebma M.; F.VKi.YN W.; Chums; Audra;
R. C. Z. ; Pkarl; M. M.; Acnes Mc; Uf.lla
K.; Ruth M. ; W. S. Hart Admirkr; Ulake
B.; L. S.— Most of your questions have been
answered elsewhere in this department, and
yon leave me nothing to say. S'long.

Moi Pour Mary.— Thanks, but I dont object
to the pniiishment. That's right. Mary; home
is the place where we are treated best but
grumble most.

Charlks Bryant Admirer. — So yon think
it's a novelty to write to a stranger, t^'mph !
Am I a stranger? Some of .vour letters are
novelties, too; worth framing. My dear,
women throw away three things— time, money
and health. In New York, girls wear spring
suits, pumps and straw hats in February. If
that isn't flirting with death, I'll lie hanged,

LEARN NUSK

PIAT BY NOTE
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Poems submitted are examined free.

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lOT-F FllwmM BMf ., BratJoir tl Hat. S<un. NEW YORK

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It supplies about 250 calories — the energy measure of food value.

That ISc would buy about 15 dishes of Quaker Oats. And they would
supply 2,500 calories of food.

Compare Food Values

Quaker Oats yields 1810 calories per pound. Round steak yields 890.
So oats are twice as nutritious as beef, measured on the calory basis.

The cost of some necessary foods at this writing will average about
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Coat Per 1000 Calorie*

Quakar OaU

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BKe

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MOTION PICTURE

Erich Von Stroheim and
The Miracle

(^Continued from page 69)

sible and the big, crashing final scene will
be made last of all, for by that time the
actors will fully grasp the undercurrent
and depths of the preceding situations.
Taken now, they would not feel the true
values.

"Yesterday, we had some highly emo-
tional scenes and — "

"You should have seen him," inter-
rupted Una Trevelyn. "While he was
making me cry as if my heart would
break, I looked up and he was crying, too
— he feels everything he is directing. He
knows all about period furniture and dec-
orations, and all the great paintings,"
went on Una, as we watched him arrange
the yellow satin drape on the table in the
foreground of the set.

".\nd music," said Sam de Grasse ; "he
has a thoro acquaintance with the
musical classics and knows what should
be played during each scene to bring out
the best efforts. He plays the violin him-
self."

"He knows all literature, too," chimed
in Clyde Fillmore. "I can't see how he
has managed to learn so much in his few
years, it must be the result of his conti-
nental education."

As I left the studio and stepped out
into the late afternoon sunshine, with the
haunting melody of the "Je T'Aime
Waltz" ringing in my ears, I was still
thinking of Erich von Stroheim's last
words and the smile, which included the
eyes this time, accompanying them.

"My ambition," he said, "is to write
and direct. To go on — on, worthy of
what my friends believe I can do — mak-
ing bigger and better pictures."

WIND-IN-THE-WILLOWS
By Lydia M. D. O'Neil

Wind-in-the- Willows, you stand so tall —

Slender and straight as a sapling pine ;

Youth's in your footstep, youth's in the

call

Of your lifted eyes when they meet

with mine.

Wind-in-the-Willows, the day is glad —
Sunny the mesa and gold the sky;

What is it fretting me, Indian lad?
Search you the heart of me, tell me
why!

Gold is the sky, but the gold will fade,
And youth will pass Tike the fading
light,

Fretting in vain at the fates that made
Your skin so tawny and mine so white.

I am one of the dominant race ;

I am bound by the dominant law ;
But Wind-in-tne-Willows, youth's in
your face,
And I wonder, I wonder — who'll be
your squaw?

(trinttyHght)

CLASSIC

The Movie Encyclopedia

(Continued from payc 95)

Inquisitive Ann. — Good grief, Frank Mayo
and Edna Mayo are no relation. Neither is
Woodrow Wilson and Marjoric Wilson, nor
the Answer Man and Louis Mann. Naomi
Childers is going to play opposite Bert Lytell
in "The Blind Man's Eyes."

Makion F. — Never been there, but it has
been estimated that the Roman Coliseum could
accommodate about 87,000 spectators. But
dont shout at mc. I cant staud it. Pleasant
and kind words, if they be sensible and well
meant, are cords that all men may be led by.
\Vomen. take the cue. No, Frederick Smith
is not past 50— he is about 29, and— period.

West Virginia Farnum Fan. — My dear,
give the woman credit— they'll always take it.
Mrs. William Farnum is non-professional.
Earic Williams is with the Western Vita-
graph.

Dixie Dee.— You can reach Marguerite
Clark, Paramount Company, 485 Fifth Ave-
nue, New York City. You say you like "Sil-
ver Spurs." So do I. Good for you ; stick to
it. Of course I'm happy, because I'm busy.

CoLLV. — Your letter was a corker. Have
.passed your idea along. Yes, it is true that
my hours of strenuous work are very long,
but I find time for play, to loosen the mental
tension and so obtain perfect harmony and
recreate power. More power to you also.

Inquisitive Harry.— Why, Wally Van will
direct the comedies for the Rothapfel films.
The Bankhead girl is Goldwyn. You might
write to Enid Bennett. Taylor Holmes, he's
S feet iVi inches high. You didn't care for
"Virtuous Wives" and you thought Anita over-
acted and appeared very amateurish in the
scene where she bids farewell to her husband
as he departs. Witness refuses to answer on
the ground that it might tend to incriminate
him.

Question Mark. — No, Theda Bara is not
married. Yes, I am glad spring is here. You
bet I have a new spring suit. Yep, a blue one
and I look like a bluebird in it. The sprir,i
brings a change of air in the studios, v ith
dianges in the casts. Change of diet is excel-
lent, but change of companionship and a new
heart interest are sometimes more rejuvenat-
ing than a tonic.

Eddie. — Madge Evans is about ten years
old. Yes, Sylvia Breamer has beautiful eyes.
I always try to rebuke with soft words and
hard arguments, and if this does not take. ?
try a club,

Leonard W. — Send a stamped, addressed en-
velope for a list of the film manufacturers and
then address the player in care of the com-
pany.

Sophie E.— Thanks for the thrift stamp.
Yes, I understand. Why, the oldest lunatic
on record is Time — out of mind. Indeed, I
am a musician. I dont like to speak about my
talents, but there are those who say that I
play the pianola and jcw's-harp without creat-
ing any hard feelings.

Lauren G. — Glad you subscribed. Hope
you'll always be a subscriber. Mary Pick-
ford's salary? She's part owner in a com-
pany now, and therefore draws dividends.
No, just separated.

Vernor J.— Never heard of Eva Campbell.
Your plan sounds logical, but instead of re-
viving the old plan of limiting the wealth of
the rich, why not pass a law limiting the pov-
ertv of the poor? Doris Kenyon in "Twi-

I'K'i*"

JiAN F.— Address Theda Bara care of Fox
and Carlyle Blackwell care of World, both m
New York City. You ask why docs a loaded
car run- more easily than an empty one? Be-
cause it's the load that makes the car go.
Wonderful !

B. V. D. — It's not what you wear so much,
for fine feathers are frenuently found on
coarse birds. Mme. Petrova has gray-green
eyes and a wonderful figure. Yes, Carol
Dempster. Handed your letter to the inter-
viewer. . .

Manila Girl.— No, Wellington Cross is m
vaudeville. Goldwyn released Rex Beach's
"The Brand." Viola Dana in "Satan Junior,"
Metro.

The old canoe; a redolent, moon-
flecked evening; and Us Two!

The swish of limpid waters; subdued voices; the sweet
intimacy of a moonlit, music-caressed solitude and the
seductive harmony of stringed instruments— lilting notes,
crashing chords and syncopations.

But listen ! It isn't the canoe — nor the moon — nor the water
—that thrills your heart. It is the MkjiV,- those lingering
melodies of happy hours.

'Tis the same in any setting! Summer's shady nooks;
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always and everywhere good old GIBSONS furnish that
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sweeter.

Yes, — anyone can play a Gibson — "easy to play, easy to pay
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weaves itself into your Hfe and brings pleasures and privi-
leges obtainable through no other medium.

Gibsons have played a part in hundreds of little romances —
confidential human histories— about which we shall be glad
to tell you. Also the Gibson book and free trial proposition
sent for the asking. These will help you to become better
acquainted with the Gibson family.

Teacher Salesmen wanted. Exceptional opportunities. Write
for details.

GIBSON MANDOLIN-GUITAR CO.

610 Parsons Street Kalamazoo, Mich.

^'%..

cIPSj

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Dapt. 92 Mwenie T' vpl«, Otieato

Remember:

|^^f%X IflTDQ How would you Ilk* to ret * 9 z 11
*Wi/AlVCI\ij «nlarBflm«nt of your beat necatlve*
free? Drop ui a card nowaaklnc about It. Fllma devel-
oped lOo per roll. Prlnti S, i. and 6c each.
FORD'S FOTO BTl/DIO. EU«osburr. WMhlnvton

c>4.U Advertising in emotion
Picture Classic is Guaranteed

$1.00

reitaaM

Sexual Knowledge

By WINRELD SCOTT HALL. M.D., Fk.D.
SEX FACTS MADE PLAIN

What every yeunt man and

Every yeuni wemin ehtuld knew
What every youni huiband and

Every yeuni wife theuld knew
What every ptreni iheuld knew
*lfU) bIndlnff'.aSO pkc««--manv IUua(f*tlon«

TkbU of e«nUnia, and caatmanoauona. on raqnait

AMERICAN nil. CO., Ill WlntM iBitdim, PhiMilpkli

AD the Dew
f aaey eograved
and ^ereed Dia-
mond Ringi ara
•bowa lo Catalos.

P.fAMONDS
I'WATCHES
on' GREDIT

Soleot Holiday Gifts from Our Oatelog

Fbr

•le ranee and
artletie beaoty,
ear Diamond Y
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m% Bat Gift tf AII-ADIuHd Riu

./Benatlful rings, any etylel4-KaoId
.y mountlnir. Speeial valaai at vBO*
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, ly Payn

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nttCDCt tf • rear BuaraiitMrf V
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aOFTIS BROS, t CO., The Nallenal Credit Jewelers

•l«rMliil»a4liiceiUM. 0«*«.H*lf, lO* H. aTATS aT. ONieAaO, ILUNOIJ^

OPPORTUNITY MARKET

AGENTS WANTED

BEAUTY SECRETS tncludliis l&.OO cloar Bkln recipe
«f famouf beauty doctor for 10c. Wilt© today. An-
Xelus Chemical Worki, Silt's Central Ave., Lob Artgelea,

Cftllf.

MKXICAN DIAMONDS Mash like ecnulnv, fool tixpertu,
■tand te»l8. yet »elt for l/50ih tho prico. Few live
&ffenta wanted to lell from handiome lample caae, Biff
pronti. pltiasant work. Write today. Mexican Dla-

mond Imptg. Co.. Box CA. Laa Cruc^i. N. Mex.

W]Dl::.AWAKl!: MAN TO TAKl:: CHAKUK of our local
trade. 14.00 to t&.OO a day iteady. No experience re-
autred : pay atarti at once. Write today. American

ProduUa Co., 1634 American BIdg.. Cincinnati. O.

"INSyDK TIRK8— Inner armor for automobile tlrea:
prevent punctures and blowouti: double tire mileage.
Liberal proRtH. Details free." American AQceiiorlei

Co.. Cincinnati, Ohio. Dept. U7.

TU£ POLICK KEY Is at lervlceable oa a whole bunch
of ordinary keya; opena almost everything; every houae
owner should have one. Sent postpaid on receipt of 20
cents: three for 60 cents. Safety Key Holder free with
every ke^-. Sharpe Mfg. Co., 48-64 Van Houten Street,
Paterson. N. J.

HELP WANTED

XbE~Y6V~»ATISF1ED with your position and pros-
poets? If not. whatever your occupation, Investigate
your chance In Govt. Service, Just ask for form
RLSOSfi. free. Eftrl Hopkins. Washington. D. C,
DETKCTIVKS EARN big money. Great demand
everywhere. Excellent opportunity. Travel. Experi-
ence unnecessary. We train you. Particulars free.
Write. American Detective System. 1968 Broadway.

New York^, _ ^

ARTISTS IN GREAT DEMAND. Big salaries paid
for full or part time. Learn Quickly at home In spare
time. Commercial Art, Cartooning. Illustrating. De-
signing. Outfit free to new students. Send for hand*
some Free Book, Write Now. Washington School of
Art, Inc.. 1462 H St.. N. W.. Washington. P. C.

ART

THE LONG ISLAND SCHOOL OP ART.— Individual
Instruction In painting and sketching from nature under
competent instructors. Studios In Brooklyn, New York
and RoBlyn. Long Island. Open to a limited number
of pupils for 1619 season. Address. L, I, School of Art.
171-176-177 Duffleld Street, Brooklyn. N. Y.

BEAUTY PREPARATIONS

HAIR ON I'ACE, BODY OR UNDER ARMS positively
removed with root; no electricity nor poisonous drugs;
absolutely harmless and painless; write for particu-
lars, or call to have free demonatrationT Mme. Berthe,
flpeoiallst, Dept. L.ia West 40th St.. N. Y.

BUSINESS OPPORTUNITIES

BRANCH MANAGER WANTED by old established
Chicago Concern. We furnish full stock of goods,
advertising matter, and equip store completely, in good
location, all at our expense. We allow you to draw out
|I76 a month and will also pay you liberal share of
the profits your store earns. Work may be started In
spare time. No Investment or previous experience
necessary. If you are a hustler and want an oppor-
tunity to make (6.000 or mo]*e a year, we want you,
and will pay you well from the start. Send your ap-
plication today. 8. Levy, Manager, Dept. 660. 389 S.
Franklin St.. Chicago. III.

OLD COINS WANTED

"OLI> MONEY WANTED." 12 to 1600 each paid for
hundreds of coins dated before 1696. Keep all old
money. Send 10c for new illustrated coin value book,
slse 4x6. You may have coins worth large premiums.
Gel posted. Clarke Coin Co., Box 166. Le Roy, N. Y.
OLD COINS. Large fall coin catalogue of coins for
sale free, Catalogue quoting prices paid for coins, ten
cents. William Hessleln, Dept. K., 101 Tremont St.,
Boston. Mass.

FARM LANDS

FREE BOOK OF FLORIDA FACTS. Own y&ur own
orange grove In beautiful Frultland Park. A few cents

a day you now waste will buy It for you. A few dollars
a month may provide you with a life income. Schnlti-
ler "sold his twenty -acre grove here for 140,000 — two
thousand an acre. He saw the same opportunity that's
offered j^ou and planted a grove. Result — he reaped a
small fortune. You have the same chance but you must
act now. Writft TODAY for Free Book of AcWial
Photo^rapht. Florida Facts and the Interesting story of
a Frultland Park Farm. Learn of crops that help you
buy It. Address today, Lake County Land Owners'
Association. 3H Sunset \\'ay. Frultland Park. Florlda.

FEMALE HELP WANTED

I.ADIKH — FnHclnatIn? home liuilneHS tintinff poBtcards,
pictures, photo., etc., spare lime Tor profit; 15 on 100;
no canvasBlnff; samples 10c fstamps). Particulars
frpe. Artlnt. 10-M. Station A. nrooklyn, N. Y.

WO.MEN WANTED to operate beauty parlor: make
t600-(1000 monthly. We Instruct all branches derma-
tology, hair removal, moles, etc, by electricity, Ptill
line toilet preparations. Security required — about IB76.
E. R. Berry Co.. 1623 Chemical, St. Louis. Mo^

•6-»IB A DOZ. nECORATINO PILLOW TOPS at home;
.xperlence unnecessary; particulars for stamp. Tapestry
Paint Co . 103 I. a Grange. Ind.

WOMEN TO BRW. Goods sent prepaid to your door;
plain lewlnv; steady work; no canvajsins. Bend
stamped envelope for prices paid. Universal Co., Dept.

22. Philadelphia. Pa.

WANTED— S brlDht. capable ladles for Itlt, to traval,
demonstrate and sell dealers. 130.00 to ISO. 00 per
week. Railroad fare paid. Write at once. Goodrich
Drug Co.. Dept. 16. Omaha. Neb.

GAMES AND ENTERTAINMENTS

PLAVH, VAIDEVILI.E ACTS. MONOLOO!!, DIAI.OaS,

tableaux, drills, pageants, musical readings, recita-
tions, special entertainments, make-up goods. Large
catalog free. T. S. Denlson A Co.. Dept. 63. Chicago.

HELP WANTED— MALE

RAILWAY TRAFFIC INSPECTORSisplendld pay and

expenses: travel If desired: unlimited advancement. No
â– ge limit. Three months home study. Situation ar-
ranged. Prepare for permanent position. Write for
booklet CM61. Standard Business Training Institute,
Buffalo, H.V.

HELP WANTED

V. S. GOVERNMENT now needs hundreds, men, women,
IB or over. Permanent positions. Pleasant work.
llOOO-tllOO flrst year. Quick raise. Short hours. Paid
vacation. Common education sufTlclent. Write Imme-
diately for free list positions now obtainable. Franklin
Xliatltute. Dept. L77, Rochester, N, Y.

JEWELRY, SILVERWARE BOUGHT

HIGHEST CASH PRICES PAID for Diamonds, Bonds,
Old Gold, Crowns, Platinum. Square deal. Cash at
once. Goods returnofl at our expense If our offer Is re-
fused. Send now. mall or express. I. M. Cohen, 1220
12th St., Washington, D, C. ______

LADIES WANTED

LADIES — Do photo coloring, tint postcards, etc. Spare
time for profit. Experience unnecessary. We furnish
Inslructlona, colors, brushes. Sample designs 10c. Art
Photo Coloring Co.. Dept. B, Newport, Ky.

MANUSCRIPTS

SCENARIOS, MANL'SCRIPTS, all confidential work.
professionally put In form and typed. We will orltlolsa
your work free of charge. Thomson Literary Bureau,
Station F, Box 120, New York, Murray Hill 8836.

MISCELLANEOUS

yOlJ >VBITE WORDS FOR A BONO— We write the
music, publish, and secure a copyright. Submit poems
on any subject. The Metropolitan Studios, 814 3,

Michigan Avenue, Dept, 141, Chloago, III.

WRITE THE WORDS FOB A 8ON0. We revise
poems, write music and guarantee to secure publica-
tion. Submit poems on any subject. Broadway
Studios. 107M. Fltlgerald BIdg.. New York.

MOVING PICTURE BUSINESS

iSB.OO PROFIT NIGHTLY. Small capital starts you.
Outfits sold on Installments. No experience needed.
Our machines are used and endorsed by Government
Institutions. Catalog free. Atlas Moving Picture Co.,
426 Morton BIdg., Chicago.

MUSIC

"LIFE'S ALL* LOVE" — our beautlfui new waits hit —
catchy and tuneful. Postpaid 30o. Harmony Music
Oompanv. 63 Thaver Hall, Cambridge. Mass.

NEWS CORRESPONDENTS

EARN »JS WEEKLY, spare time, writing for news-
papers, magaslnes. Experience unnecessary; details
free. Press Syndicate, 661 8t, Louis, Mo, _

" ~~ PATENTS

PATENTS. Write for Free Illustrated Guide Book.
Send model or sketch for free opinion of Its patentabla
nature. Highest References. Prompt Attention. Rea-
sonable Terms. Victor J. Evans A Co., 621 Ninth,
Washington, D, C,

PHOTOPLAYWRIGHTS

WHITE PHOTOPLAYS 1 »60 to IJOO each for belln-
ners. Our free plan tells you how: write for It today.
Los Angeles Photoplay Co., 123 N. Broadway, Los An-

gelcB, Cal.

FREE TO WRITERS — A wonderful little book of
money-making hints, suggestions. Ideas; the ABC
of successful story and movie play writing. Abiolutaly
Free. Just address Authors' Press, Dept, 14, Auburn. H.T.

~ SHORT STORIES

IS, poems for new magaijne.
"Typed or handwritten MSB.

WANTED— Stories, artlclei
We pay on acceptance,
acceptable. Send MSB. to Woman'
sine. Desk 1054. Washington. D. C,

National Maga-

STORIES. POEMS, PLAYS, ETC., are wanted fcjr
publication. Good Ideas bring big money. Submit
IBS, or write Literary Bureau, H4, Hannibal, Me.

WRrrERSJ Have you a son^;j>oem,_story^ photoplay

to sell?
Louis,

Submit MSB now. Music Sales Co.,

SONG POEMS WANTED

WRITE THE WORDS FOR A SONO, We rsvlM

poems, write music and guarantee to secure publloa*
tlon. Submit poems on any subject, Broadway StudlOi.
107H, FItsgerald BIdg., New York.

DO YOU WANT YOUR SONO POEMS ACCKPTBDt

Bend your poems today for best offer. Immediate publi-
cation and free examination. Song writing booklet on
request. Authors A Composers Service Co., Suite (tS,
1431 Broadway, New York.

WRITE THH WORUB FOB A WHO. We revlie roami,
compose music for them and guarantee to ssoura
publication on royalty basis by New York mutio pub-
lisher. Our Chief Composer Is a song-writer of na-
tional reputation and has written many big song-hits.
Submit poems on any subject. Broadway Studios,

1078 Fltlgerald BIdg.. New York.

YOU WRITE WORDS FOR A SONO. We writs the
music, publish and secure a copyright. Submit poemi
on any subject. The Metropolitan Studios, 814 Bo<
Michigan Ave., Room 104. Chicago, 111, ,

SONG WRITERS

WRITE A SONO— Love, mother, home, childhood,
patriotic or any subject. 1 compose muslo aad guar-
antee publloallon. Send words to-day. Thomas Kerlln,
3(8 Reaper Block, Chicago.

MOTION PICTURE;

CiiRYSTAL Court, — Sidney Drew and hij.j
wife arc in "Once a Mason," released thru:
Paramount. Zasii Pitts was not in the cast.
Jack Miilliall was born in New York. No, I
think once a star long absents herself or him-'
self from the screen, they are soon forgotten.
Yes, I have read tho.se letters.

Wild Kitty. — Sure thing, you're welcome.
Doubt whether that player can "come back."
However, yeast, the compressed, will rise
again. Better not ask me how to beconie a
movie star. Your letter was some wild, Kitty,
and it sure was rip-roaring comedy,

Josephine S. — Too bad! Misfortunes never
come singly ; they arc always married. I never
sit up late and I advise you to quit it. Late
suppers and late hours make men unhealthy,
unwealthy, unwise and otherwise.

Freckles. — Nothing doing! You must sigii
your full name or I dont play. See?

QuESTioNARE 14. — YouTS was quite a chatty
little letter. Dont be haughty. Haughtincsj
lives under the same roof with solitude, Dont
pay to be uppish. Yes, I saw that headline,
'Charles Bryant returns to support Mme,
Nazimova." We hope he has been supporting
her these last years. He's her hubby, you
know.

Matilda M.— Last I heard o£ Pearl White
she was on her way to France. Crane Wil-
bur has gone on the stage opposite Marjorie
â–  Rambeau in "Eyes of Youth. Pessimists are
moral squinters, who. being incapable of a
straightforward view, imagine that penetration
is evinced by universal mistrust. Get me?

M. V. Z. — Madge Kennedy in "Leave It to
Susan." Bessie Love with Western Vitagraph,
Irving Cummings playing with Ethel Clayton
in "Men, Women and Money." Evelyn Nes-
bitt in "My Little Sister" for Fox. Sure
thing; drop in to see me again.

Norma, Butte. — Beaut, or from Butte? Aim
Littla played opposite Bill Hart in "Square-
Deal Sanderson." Enoch Herbert Crowder,
the "Father of the Draft," was born in Mis-
souri, graduated from West Point', served in
the Philippines and with the Japanese army,
was Secretary of State in Cul«. appointed
Judge Advocate General, directed an enroll-
ment of 24,000,000 men between the ages of
18 and 45 years for military service, and di-
rected the registration of 14,000,000 men under
an amendment to the selective service law.
Some pedigree, eh, what? Yours was pretty
long, but I'll excuse you this time, -

Dreamer.— Which studio is the most beau-
tiful? Haven't been in all of them, so would
not venture an opinion. Sorry I cant' help
you. Yes, Woods, Shuberts and Selwyn are
affiliated with Goldwyn. Wheeler Oakman
will play in "The Third Eye" for Pathi. She
is West.

JuDiE, — You will find "I can tell where my
own shoe pinches me, and you must not think
to catch old birds with chaff," in Don Quixote.
Your letter wasn't as sweet as it might be.
You cant catch an old bird with chaff, either,
you know. Make the best of everything,
think the best of everything, and hope the
best for yourself. Harry \lorey was Chris-
topher, Maurice Costello was Henry, Betty
Blythe was Barbara and Robert Gailfard was
Dempsey in "The Man Who Won," released
in July. Story was by Cyrus Townsend
Brady,

Dream Girl. — Yes, Alice Brady is back in
pictures. She is married. Dont complain.
We did not make the world, but we may mend
it. and must live in it. We shall find that it
abounds with fools who are too dull to be
employed and knaves who are too sharp to
have to work.

Robin. — You think I am about the size of
William Hart, with Douglas Fairbanks' smile
and hair like William Farnum! Oh, I'm bet-
ter looking than that. You just ought to get
your peepers on me once and see how beautiful
I am. Madge Evans in "Home Wanted," pro-
duced by Tefft Johnston.

Beef. — Wallie Van is in Los Angeles now.
Richard Barthelmess played with Nazimova,
Florence Reed and Matige Kennedy before
going with Griffith. Lillian Walker is coming
to New York to play in a serial. Beware of
the little green snake — it may be just as dan-
gerous as a ripe one,

(One hundred)

CLASSIC

Bandanna. — Thanks for the thrift stamp.
No, I am neither. Of course I dance. Norma
Talmadge is 22; Dorothy Phillips, 27; Agnes
Ayres, 22, and Beverly Bayne, 24. Fatty
Arbuckle remains with Paramount for three
more years.

Thomas R. — First you knew how Charles
Chaplin looks human without his make-up on?
Yes, indeed, he's quite human. No, I dont
keep the addresses of my readers. Sorry.
Donald Hall is playing in The Carter Case,"
released by Oliver Corp.

Snookums. — Enjoyed reading your opinion.
Aunt Eliza's opinion of some men is quite
cruel. She says, "Men, fate and the pawn-
brokers are very much alike. They find out the
very least which you will accept, and then
offer you just a little less." Girls, to be
happy, put a high valuation on yourselves.
Mary Miles Minter and Alan Forrest in
"Social Bri.irs."

Nutty. — So you were crowded out of the
Magazine. Yes, I know my space has been
cut down a lot, hence so has yours. Why.
I. W. Johnston was Horace in "On the Quiet."
Frances Burnham in "On the Jump." Suff-ren
slippers, but you wont obey met

Esther K.— You want an interview with
little Mary Jane Irving. Perhaps later.

Miss Vivaudou.— Yes, it is a very amusmg
world if you do not refuse to be amused.
Montagu Love is playing on Broadway in
"The Net." . ,

Frank E. H.— Eternal vigilance is the price
of keeping track of the players. Will have to
call them shooting stars— they shoot from oni-
place to another so much. I was all wrong
about Doris Kenyon last month. She is with
the Dietrich-Beck combination— I had another
Doris in mind. Sessue Hayakawa in "The
Man Beneath." Neva Gerber and Ben Wil-
son are married, but not to each other.

Eaole Rock.— I'll have you understand I am
not an old man— only seventy-nine. Always
respect old age— except when you get stuck
on a pair of old spring chickens. Pauline
Frederick in "The Peace of Roaring River.
Tom Moore in "Lord and Lady Algy."

Troy O.— Yes, Jim Corbett played in that
Universal. Corinne Griffith was born in
Texas. Yes, Douglas Fairbanks is building a
home in Los Angeles, near the Beverly Hills
Hotel, costing about fl75,000, with bowling
alley, private projection room, swimming
pool, etc., etc., but I. wouldn't trade all that
for my ballroom. _ . , j. -j j

Stella —Welcome ! Friends are divided
into two great classes— those you need and
those who need vou. You want a picture of
Con.stance Talmadge on the cover oL the
Magazine, and a picture of Wallace Reid on
the cover of the Classic. .Editor, please
note. You've got the right idea.

Frances II-L- Home, James; home, James!
You want me to answer your questions in the
Boston Post. Now, if you will arrange with
that paper to help me add to my income tax.
I'll seriously entertain your proposition.
You're wrong, all wrong. No, Billie West
isn't playing now. If you dont see your an-
swers, Francis, let me know.

Emma May D.— The only way you can Fee
the picture is to have your theater manager
try to run it. Norma Talmadge's next is a
Russian story. And then vou will see Marc
MacDermott, Marguerite Clayton, Marguerite
Courtot and Betty Hutchinson.

Bob White.— Yes, but the men should work
and think' and the women love. Monroe Salis-
bury is with Universal. Marshall Farnum is
not a brother to the other Farnums.

Curiosity.— Cant tell the name of the
second oldest brother in "The Heart of
Humanity." Elliott Dexter is the husband of
Marie Doro. Billy Elmer was the burglar in
"The Dub." Light. Theda Bara's next is
"When Men Desire."

• Edayn M. j.— Carlyle says, "There are rem-
edies for everything but death," so get busy
and recover. If I were to give you the cast
for the three plays you mention, you would
take all the space allotted to me. Send a
stamped, addressed envelope.

Green-Eyed Flossie.— Cast your optics on
the paragraph at the beginning of this depart-
ment.

(One hundred and one)

"Motion Picture Writing Simplified"

By F. McGrev) IVillli

This amazing book on motion picture writing can
now be secured separate from the course in photoplay
instruction offered by The F, McGrew Willis Institute.
"The insistent demand from newsdealers, bookstores and
writers generally has grown so great that a limited edi-
tion of the book has been set aside solely for this pur-
pose. The book, aclcnowledged to be the best work on
motion picture writing yet published, and the only one
in the scenario departments of the studios, has becorne
known among members of the Institute as the "magic
book." It is the onlv one ever written by any author
who has himself ha<f y«ars of experience in the vari-
ous studios writing feature stories for more than a score
of the big stars. /( contaitis everything that can be
learned about the art of motion pietmc writing. Haste
is imperative if vou desire to secure your copy of this
work. THE PRICE IS THREE DOLLARS, postage
prepaid anywhere in the world. Orders zi'ill be filled only
m the order of their receipt.

F. McGrew Willis

PHOTOPLAY WRITING CORRECTLY TAUGHT

F. McGrew Willis is the only recog-
nized writer of feature photoplays in
America heading a concern teaching mo-
tion picture writing. He is the only
writer who has ever received endorse-
ments written in their own handwriting
by the leading directors of filmdom. He
is maintaining the only FREE SALES
BUREAU for photoplays in existence
where the writer is given every cent
realized on the sale of his story. No
co'mmis.sion or fee has ever been or ever
will be accepted by him on any sale what-
ever. If you expect to make good at
motion picture writing you must write
your stories as the directors want them.
THE DIRECT, DETAILED W.vY OF

WRITING— rH£ WILLIS WAY -IS
THE ONLY WAY THESE MEN
WANT STORIES WRITTEN. There
is a golden opportunity offered people
who can furnish real phptoplay plots. If
you are in earnest about writing send. for
the FREE BOOK, "The Inside Story of
Motion Picture Writing." It tells about
the Institute and the course it offers.
The book is absolutely free and places
you under no obligation whatever.
,\ddress

The F. McGrew Willis Institute

F. McGREW WILUS, Sole He.d

418 Wright-Callendcr Building

LOS ANGELES. CAUFORNIA

"Teaching Photoplay Writing Correctly"

Classified Department- Continued from pjipelOO
SONG WRITERS

SONO-WBITEKS' MANUAL AND OlIDE •ent free!
Contalne vBhiable Inntruftlom and advice Submll
song-poomi for examination. Wo will funnHh muilc,
copyright and facilitate publication or lale. Knicker-
bocker StudloB, 310 Gaiety Bldg., New Torlc

WRITE THE WORDS FOB A SONG. Wo write music
and ffuarantee publisher's acceptance on a royalty
basis. Mr. Leo frledman. THE COMPOSER TO »rHE
AMERICAN PEOPLE, la our leading composer. Among
his well-known hits are such songs us "Meet Me To-
night In Dreamland" and "When I Dream ot Old
Erin," Submit poems on patriotism, love or any sup-
teot. • Chester Music Company, Dept. S24. 920 South
Michigan Ave., Chicago. III.

WRITE THE WORDS FOB A SONG. We revise poems,
lompose music for them and guarantee to secure
publication on royalty basis by Now York music pub-
lisher. Our Chief Composer Is a aong-wrlter of na-
tional reputation and has written many big song-hits.
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MOTION PICTURE CLASSIC

Peccy, 20.— No, the two literary editors are
not related, except that one is a smith and the
other a nailer. Sounds like a blacksmith or
carpenter shop, doesn't it? So you thought
the two little stars on the covers stood tor
men in service. That's a good joke on you.
No, PegRV, tliey are private news company
marks. Ormi Hawley was there, all right.
Von U'low she has gotten much thinner. Ormi
has a pretty face, but she was on the road to
obesity for a while.

AimiK T.— So vou have been doing your bit.
Good ! Yes, indeed, young ladies should be
employed in the post-office, because then they
can manage the males. Boy, water please.
CTurn on the hose I)

HENRr E.,,Bf.rum, N. H.— Henry, and you
living in Berlin? You should change the
name to Lerbin Write Norma Talmadge at
Talmadge Studios, 318 R. 48th St. Try Moving
Picture World.

LocKWOOD Fannettf..— Some day you , may
be discovered. A motion picture director Is
not like an astronomer— unless it is when he
discovers a new star.

A Woman.— But where is the rest of you—
address, name, etc.? ^

loNA Ford.— Have you got it yet? Well, its
a rattling good car. Oh, Iget $10 a week now,
and I will be owning a Ford one of these days.
Got a raise on the first. Yep I Now I can
buy war saving stamps, and buttermilk, and
chocolates, and chewing-gum, and live com-
fortably. It is difficult for a woman to keep
a secret, but I know more than one man who
is a woman in that respect.

Mountain Lassie.— Whoop-la, and a couple
of tuts I And a hull lot of gnashing of teeth 1
Here's a reader who dont think I get all the
letters that are answered. .Zounds and gad-
zooks I Ask the housekeeper who empties my
basket. And such questions you ask! 'Do
Alice Brady and Pearl White smoke cigareti?
Norma Nichols was Chiquita in "The Neer-
Do-Well," by Selig.

RuEBiE B. — You have a great opinion of me.
Harry Morey in "Hoarded Assets." Both
Sessue Hayakawa and his wife, Tsuru Aoki,
had the flu.

Ella M. S.— You say, in putting a tax on
rouge. Uncle Sam makes it a war-paint. To
arms I Ella, your letter reminds that the mind
of the idler never knows what it wishes tor.
Pat O'Malley and Marie Walcamp are playing
in "The Fifth Ace," directed by J. P. Mac-
Gowan. Zoe Ray with Universal on the coast.
LuELLA B.— You want too much informa-
tion. See you later.

LoviE. — A servient means a napkin in
French. But it's not death, it is dying, rtiat
alarms most of us. Mary Boland m The
Prodigal Wife." Harry Hilliard and Edith
Roberts in "Set Free."

M. P.— You want a picture of Eugene
O'Brien on the cover. All right, we'll think
it over. And you want Richard Tucker in the
gallery. All right, we'll think that over, too.
And you want a biography of the Answer Man
in The Classic. Not at all, and we wont think
that over. Nothing doing! Pat OMalley
played Tom in "She Hired a Husband."

Mavme A.— Most of your questions have
been answered above, God bless 'em, we
couldn't get along without the fools. If they
could look wise and say nothing and not write
letters, nobody would ever take them for
fools, and they might even be mistaken for
philosophers. .,. ». 1

Semper Ftdelis.— Roy Stewart was with Tri-
angle. Dick Barthelmess is about 5 feet 7
inches tall. Thanks for your hopes. You are
studying to be a sculptor. Your letter is inter-
esting. Phidias was a celebrated sculptor of
Athens, whom Pericles appointed superinten-
dent of all the public works, both of architec-
ture and statuary, and I suggest that you re«d
his biography. ... . . « ..

Rosalind F.— Mary Pickford is about 5 feet
tall, or rather, short. Shirley Mason 5 feet
and Viola Dana 4 feet 11 inches. Bert Lytell
and Mary Anderson in "The Spender.
, Ma Chebie.— You bet I'm a jolly old cuss.
Usually he who talks much accomplishes
little, and that's why I am sometimes taken for
a clam. That was Emmy Wehlen in Sylvia
on a Spree." (ConlmHcd oh page Wi)

(Ont hundred and tvio)

T

Greatest of All Popularity Contests

Unique Competition in Which the Voters Share in the Prizes

WHO IS THE ONE GREAT STAR OF THE SCREEN?

Il it CHARLIE CHAPLIN or ELSIE FERGUSON?

It it RICHARD BARTHELMESS or WILLIAM S. HART?

Concerning this matter there is great difference of opinion. Every fan, in fact, has his own idol. The Wall
street broker swears by MARY PICKFORD ; his wife thinks TOM MIX is the best actor the cinema has
produced; the office boy has a "crush" on THEDA BARA and the stenographer collects photographs of
DOUGLAS FAIRBANKS.

What do you think? If you had a vote would you give it to NAZIMOVA or to LILLIAN GISH? Would
you vote for a man or a woman or for little BEN ALEXANDER?

Shadowland, Motion Picture Magazine, and Motion Picture Classic— the three great magazines of the
Motion Picture world — have decided to refer this question to their readers by taking a popular, world-
wide vote. In regard to matters concerning the stage and theater their audience is the most intelligent and
discerning; the most wide-awake and well-informed in the world today. If any picture patrons can pick
out the leading star, it will be those who read Shadowland, the Magazine and Classic.

The coupons will show you how to enter your own name and the name of your favorite player. But you
may vote on an ordinary sheet of paper in Class Number 2 provided you make the ballot the same size
and follow the wording of this coupon. We prefer the printed coupons for uniformity and convenience in
counting,

There will be prizes for voters and prizes for stars.

Votes registered in Class Number 1 will probably be cast by favor. Votes registered in Class Number 2
will call for a wide knowledge of the Motion Picture business, keen powers of perception and skill at de-
tecting the trend of popular favor. You cannot guess the winner offhand.

RULES OF THE CONTEST

The conteit began on Deccinl)

cr 1, 1919, a

30, 1920.

There will lie srvpp ballots as

follows;

December

1919 ballot

Tnnuary
February

1920 ballot

1930 ballot

March

1920 ballot

April
May

1920 ballot

1920 ballot

J'lne

1920 ballot

1919, and will close on Jnne

The result of each month's ballot will be published in each one of
our magazines the second month following such ballot.

Ko votes will be received prior to the opening date or after the
date of closing.

Each person entering the contest and observing the rUIcs thereof
shall have the privilege of voting once in each class, each month,
for each one of our magazines. You may send us one vote in
each class for Shadowland every month, and the same for
Motion Picture Magazine and yet again the same for Classic.
Thus, you will have three votes in Class No. I each month, and
three votes in Class No, 2 each month.

Class Number 1

Shadowland, Magagine and Claitic:

175 Diiffiold Street, Brooklyn, N. Y.

I consider

tlie most popular player in tlic entire field of Motion
Pictures.

Name

Street

City

State

Country

(Dated)

Class Number 2

Shadowland, Magazine and Classic:

17S Duffield Street, Brooklyn, N. Y.

I believe that

will win the Big Three Popularity Contest with
votes.

Name.

Street...

City

State

Country.
(Dated).

Remember! This is the greatest player contest in history.

(One hundred and three)

Elliott Dexter Has
Come Back

By MAUDE YORKE

IT was a red letter day at the Lasky studio in Holly-
wood— Elliott Dexter had come back !

For six months he had been ill, at times perilously
near the border-line, and great was the rejoicing among
friends and associates to have him among them once
more, well and strong.

After the camera man had celebrated the event by
taking several pictures of him with Cecil De Mille and
Tommy Meighan, we found a quiet little nook to talk
it all over.

Mr. Dexter is thinner, both in face and body, but
this merelv adds a new distinction to his ^ood looks
and he is handsomer than ever, while the quiet dig;nity,
ever one of his chief charms, is perhaps, intensified.
His dark eyes are clear, his cheeks bronzed, for he
has spent many of the recuperating days at the beach
and he declares that he possesses more vigor and
strength than ever be.fore.

"Queer thing." he remarked, reflectively, after ask-
ing permission to light his pipe. "But it seems as if
we must all have a good, hard bump of some kind
to wake us up. This is the first illness I have ever
had and I assure you I went thru every possible
mental state during
those long months.

"There was a time,
at the very first,
when I didn't care if
I recovered, and all
my old interests
seemed to drift away.
I didn't want to
think of pictures or
my career, in fact,
nothing seemed
worth while, but
now," and he squared
his broad shoulders
and laughed, "I can
hardly wait to begin
my new picture.

"Everything inter-
ests me, I feel thor-
oly fit, and I want
to plunge in and
make up for all this
lost time. I guess a
little introspection

and retrospection does one good. My whole viewpoint
seems changed, I have learnt much during the months
while I have been absent from the world and I am
sure I shall do better work than ever before."

"As a star, too !" I exclaimed.

"Yes." he laughed, boyishly, "as a star! My illness
came just as I had reached the goal for which I had
been working during these three and a half j^ears in
motion pictures. I was to have played m Cecil
De Mille's 'Male and Female,' then be starred, but—
I took to my bed instead. Seems years since I had to

give up. , . , • L ■ ^

"I am quite mad about my first picture which is to
be 'The Prince Chap.'

"Any part that is consistent and human, I enjoy
playing," replied Mr. Dexter to my questipn as to his
favorite role. "I found much satisfaction in the
{Continued on page 108)

Photograph above bjr Evani, L. A.

Two KlUnptes of Elli-
ott Dexter upon his
return to the Liiky
â– tudio after hit teriou*
Ulneii. The camerk
^owf Dexter being

Seeted by Thomat
eighan, CecU De
MiUe, Wallie Reid and
Wanda Hawlejr

Photograiih by W. R. Scolt

(One h^inired and four)

Keep On Dancing

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time.

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Love, Mother, home, childhood, patriotic
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THOMAS MERLIN, 269 Reaper Block, Chicafo

HOW TO
MOTION

TelU your
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100 MOVIE STAR
-^ PHOTOS -^

Reproduced in half-tones
gnltable for framing. All
your favbrltes, no two
alike, Pearl White, War-
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et«. Pine Den decorati«ns. Set
mailed for ISa with catalog.

â– aw iri Co.', lax *, Narwalk. Ct.
("One fcundred and five)

The Movie Encyclopedia

(Continued from pape 102)
Slim H.— Yes, I have noticed the tight
skirts. How could I help it? They are de-
creed to prevent the girls from running after
our returned soldiers. Skirts that they cant
run in, shoes that they cant walk in, corsets
they cant breathe in — such is woman ! Alice
Brady and Conrad Nagel will be seen in
"Redhead" (Select.)

George N. C.— Couldn't comply with your
request, son. Join one of the clubs.
M. A. — Donald Hall with Goldwyn last.
Wallace Reid Fan.— They all do it sooner
or later — Katherine Lee, age nine, and Jane,
age six, have started their own company.
Nothing like getting a little leeway in pictures.
Some one told you Pearl White had no ears —
cant you see for yourself? 'Deed she has
ears, and they are like Pearls.

Two Bugs. — What kind of bugs? Dont you
think that men in general are but children of
a larger growth? So you thought Eugene
O'Brien and Norma 'Talmadge were ideal, and
that when it came to kissing they were bears.
You say, "You are old enough to know better
than to tease your readers that way." Why,
do you know a better way?
Frenchy. — Dick Barthelmcss is not married.
Prince Dantan. — Sure I would be content
with little it nobody had any more. Thanks
for the picture. You're not a bad-looking
chap after all. Fairbanks twins are on the
stage in New York. We have no photographs
of Florence LaBadie for sale. Run in again.
Norma Talmadge Admirer. — So this is your
first to me. You say you had an appointment
at the Commodore Hotel to meet Lillian Gish,
and you pot "cold feet" and were afraid to
meet her. Try woolen socks.

Marc MacDermott Forever. — Last I heard
of him he was free-lancing. Jennie Lee, of
the old Biograph pictures, is playing in "Jim
of the Rangers."

Pinky Rose. — You want me to tell you how
Gladden James ever got into pictures. Is this
an inquiry or a stiletto thrust?

Doris N.— Robert Louis Stevenson was the
author of "To be honest, to be kind, to earn
a little and spend a little liss, to make the
world a little happier by our presence — here is
a worthy task." We had an interview with
Elsie Ferguson in June Classic.

Jo Jokey. — Why, the word Czar comes from
Caesar and became adopted thru Simeon,
Grand Khar of Constantinople, A. D. 900.
Caesar has become, in German, Kaiser, and
that individual lias become obsolete. "Shad-
ows of the Pasts" is Anita Stewart's next pic-
ture.

A. V. R.— Yes, I believe in prayer, but the
best way to get a prayer answered is to pray
hard, then get out and hustle. That's \\;hat I
do. Sorry I haven't his name.

House Pet^hs Fan. — Yes, everybody oirj^ht
to read "Don Quixote." Cervantes laid many
of the scenes in La Mancha, an old province
of Spain, in the southern part of New Castile.
Gail Kane is on the stage. Sure I can keep
a secret. Age is the only secret a woman can
keep.

Bill Farnum Lover.— Yes, and the old fel-
lows who used to whittle the chairs from un-
der them now go to a movie show. William
Farnum has been playing for about five years.
You're excused.

Constance M. — You say all you have to
have to get in the movies is luck. Then all
players must be lucky, which is not so. No,
no, little one, you're all wrong. Yes, Charles
Clary is married.

Red Head. — You have been reading Darwin.
I'll wager. Our ancestors, even tlio they were
monkeys, weren't so ignorant as some folks
fancy — tliey were generally educated .in the
higher branches. Fardonnes moi. You ask
what was my ambition when I was small — if
it will give you any pleasure, to be a police-
man. To be continued.

Anna L. F., Memphis. — Send a stamped,
addressed envelope for a list of film manufac-
turers. The stage has had all the character-
istics. In Greece, it was a form of religion.
The Greek theater had all the beauties. The
world progressed, and light always came from
the stage.

DON'T READ THIS

Uoiess You Want a Genuine Bftrgaln

BE A MOVING PICTURE STAR

Do you know that many Mov-
ing Picture actori and actrcBiet
get from $500 to $5,000 a
week? Many young ladies
and young men working iof
§maU wages could do jutt at
well if they knew how.
This book will teach you every-
thing from start to finish. Alto
tells how and where to apply
for a position. Gives the an*
dresses of all the ttudtos and
managers and tells everything
in detail. It it a pleasant and
profitable profession and the
demand exceeds the supply all
the time.

No other book needed — this ex*
plaint everything. Book mailed for 10c.

100 PHOTOS OF MOVIE STARS

reproduced in half-tones. Your
favorites are all here — Chaplin,
Bushman, Pickford. Bara. Pearl
White, Joyce, Clark, etc. All the
STARS in real classy poses. Suif
able for framing, Set mailed for IJc.
with catalog of other MOVIE articles.

2 MOVIE PENNANTS
FOR 12c

To introduce our catalog of Movie
- Books, etc., we are selling these pennants
I at bargain prices. Just the tning for
[ your Den. etc. Each pennant of a dif-
fcferent Star, Made of Felt and come in

Ei
^â– assorted colors. Will send two for 12c,
I^H 12 for 50c. or 25 for on^ dollar. Order
HPI before they are all gone.
You can order all of the above single at prices named
or will send the Movie Star Book. 100 photos and 2
pennants, all for 2Sc. Order before they are all gone.

YOUNGS PUB. CO., Boi 100, So. Norwslk, Coib.

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Make your next Gift solid Ivory Fiberloid Toilet Articles, a
token which always brings true appreciation — the ideal ma-
terial for the boudoir. Will not dent, break or tarnish. Sold
in sets or singly by high grade dealers.

Ask to see the Fairfax Pattern in Brushes, Combs, Mirrors,
Powder and Jewelry Boxes, Cosmetic Jars, Hair Receivers,
Perfume Bottles, Pin Cushions, Shoe Horns, Button Hooks,
and Manicure Outfits.

Ivory Fiberloid engraves beautifully. An artistic monogram
inlaid on each article adds to the charm and the intimacy
of position.

We will send you upon request a complimentary copy of Grace
Gardner's boolclet, "Beautiful Fairfax," illustrating the Fairfax
Pattern, and including "The Care of Hair and Hands."

THE FIBERLOID CORPORATION

Advertising Dcparhnent, INDIAN ORCHARD, MASSACHUSETTS
Sales Rooms: 55 Fifth Ave., New York. Dominion Ivory Co.. Ltd., Toronto, Canada

illl!!!!!!!!!il!!i9llWil||lilil|i|i|iWiii|1iPiiiiii|i||niWilPii!Hli|iiiiii|

i I ii I ! 1 1 PI lll| I

SHADOWLAND

illilllllllllllllllllllliiilllllllllililliiiilllllllliillili

A MAGAZINE OF BEAUTY

, . . "Thf bust in this kind are but
Shadows and the worst no worse,
if imagination but emend them."

SHAKESPEARt.

Among the hundreds of letters and
telegrams addressed to us by
friends of SHADOWLAND there
were many felicitous phrases. One
of these lingers in the mind like a
strain of music. "SHADOW-
LAND!" said a poet, "is the
BROKE>f Blossoms of the magazine
world!" This, in our opinion, is.
about the highest praise a magazine
can win.

We dreamed of creating a maga-
zine that would be useful, inspiring,
uplifting and appreciative of all the
arts. Beyond all this, we dreamed
of creating a magazine that would
be prized for sheer beauty alone —
a magazine that would give one a
thrill comparable to that which one
receives from a bouquet of wild
roses on a cottage window sill.

If we have come so near to our
ideal that SHADOWLAND sug-
gests the Griffith masterpiece; if it
is the BROKEN BLOSSOMS of
the magazine world, or nearly, it
has not been done in vain. Beauty,
like a fairy godmother, will watch
over it as it grows up and beauty
lovers everywhere will take it to
their hearts.

niiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii^

SHADOWLAND

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175 Dnffleld Street, BrooKlyn,NewYork

Ii

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1 i

i!

(One hymirei and titc)

Get the Bright Brigade'

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to do your
o

o

ra

than Soap

Lar^e Can
lO<t

Price
Unchanged

(On» hwidrtd and <«veii^

"Ferd,They are Playing Your Song!"

Imagine the thrill these words gave Mr. Ferdinand Hohenhorst, of Coving-
ton, Ky., as he stood on a crowded street, watching the great Peace Parade,
when Meyer's Military Band came swinging along playing his song, "Uncle
Sam, the Peaceful Fighting Man." But let him tell his story in his own
words :

Covington, Ky., 1941 Augustine St.

CHESTER MUSIC COMPANY, Chicago, III.

Gentlemen : — My song entitled "Uncle Sam, the Peaceful Fighting
Man," that your Mr. Friedman composed and arranged for nte, is mak-
ing a great hit. In the Peace Parade at Latonia, Ky., Meyer's Military
Band played my song three times. We now have had it arranged for
orchestra's and quartettes, and it is making a good impression every-
where. The Vocalstyle Music Company, Cincinnati, O., a concern which
manufactures music rolls for player pianos, has taken up my song, and
already has sold over a thousand of these tolls in Cincinnati alone, and
are placing them in their bulletin for April, which will go to all the dif-
ferent cities. Thanking you kindly for the services you have rendered
me, I remain,

Yours very truly,

(Signed) FERDINAND HOHENHORST.

Leo Friedm£ui, Our G>mpo8er

about whom Mr. Hohenhorst speaks so enthusiastically, is one of Am-
erica's most gifted composers and the author of many great song hits.
Among his great successes are "Meet Me To-night in Dreamland." the
sales of which reached the enormous total of more than a million copies.
Others that reached into the million class were "Let Me Call You
Sweetheart, and "When I Dream of Old Erin." Mr. Friedman writes
music to words that causes them to fairly throb with feeling and musi-
cal charm. He has been styled "America's Favorite Composer," and
properly so, for his melodies have reached the hearts of millions of the
American people, and made them sing.

Mr. Lm frIidMU

ff^/iy Dont YOU Write the Words for a Song

and Submit Your Poem to Us ?

Wo make U" charce for examination of poems, and vou incur no obligation of any sort.
when you send your poem in. If our Lyric Editor finds it contains a good idea for a
song, he will tell you so. His criticism will ,^.. ..........._.. ...........

'"^ ' j CMEBTtR MUSIC COMfANY

I 920 Sftuth MIohlian Av»., Suite 108, Chloti«, III.
I (Jftitlvnieii : Kiiclwvd nnd pot-ni «iitltlir(l

be fair and verV valuable to ambitious
song-poem writers. WHY NOT SEND

YOUR POEM TO-DAY, AND LET US
PASS ON IT. FREE OF ANY CHARGE
OR OBLIGATION? Yon can never tell
what you can do till you try. MAKE A
START TODAY.

CHESTER MUSIC COMPAxvY

Suite lOK. 920 So. Michigan Ave.,

CHICAGO. III.

I fur your Inspection.
â–  Nirae

m. AittlreM

n\s HtUi-. .

MOTION PICTURE CLASSIC

Elliott Dexter Has Come Back

(Cniiliinted from page 104)
'Squawman,' for he was a great char-
acter and held my interest from first
to last. So was my role in Mary Pick-
ford's 'Romance of the Redwoods.'
The man was redeemed thru a woman's
love and this situation is always a vital
one.

"t believe I took a keener pleasure
in making 'Dont Change Your Hus-
band,' than I have in any picture.
There 'was comedy and emotional act-
ing, with a splendid opportunity for
good character work which I always
gladly welcome. It is an inspiration to
be under De Mille's direction. He
works much as they do on the stage,
making the scenes as they come in the
story, whenever possible. This keeps us
in the spirit of the action, and when,
at last, we gather up all the currents
of the plot in the final scenes, we can
give a more convincing climax.

"Making motion pictures reminds me
of a dress rehearsal on the stage. Every-
thing is perfect, yet there is no respon-
sive audience to applaud or criticise, and
we all miss it. This is partly met
thru the fan letters, and I assure you
I read every one that comes to me, ap-
preciating the words of encouragement
and deriving some of the same thrills
that applause would bring."

Elliott Dexter's voice is full and deep
and he speaks slowly, betraying his
Southern origin, for he was born in Gal-
veston, Texas. From his earliest child-
hood he dreamed of a stage career and
at the first opportunity he went to New
York, planning to- enter a dramatic
school, but instead joined a stock com-
pany.

"My first appearance was in .'The
Great Diamond Robbery,' and, tho I
was merely 'suping,' I was the happiest
boy in the world," said Mr. Dexter. "I
remember that on that very night, stand-
ing in the wings, I solenmly determined
to work on until I became a star.

"This was the beginning; there were
much hard work and many disappoint-
ments before me, but it is wonderful
what a tremendous force ambition is in
our lives — the moment we attain even
a little success, we no longer count our
struggles."

Mr. Dexter's stage experience in-
cluded playing in "The Tyranny of
Tears," with John Drew ; "The Heir of
the Hurrah," with Guy Bates Post ;
"Diplomacy," and with "The Lily."

After reaching stardom on the stage
he was wilting to experiment in pic-
tures and played with Marguerite Clark
in 'Helene of the North." Tho en-
joying the work and seeing the possibili-
ties he was not quite ready to forsake
the spoken drama and went back for a
season before making another picture.
This time it was with Hazel Dawn in
"The Masquerader." When this was
completed he had fully succumbed to
the lure of motion pictures, and casting
his lot witli them he has steadily ad-
(Coiiliiuicd on page 110) '^

(One hundred and eight)

SHADOWLAND

A Magazine for Dreamers

cKany a man has a secret dream

Of where his heart would be ;
^Ine Is a low oerandahed hut

In a tope beside the sea."

So sang Laurence Hope and few people knew more about
dreams and shadows than she did. Dreams were all about her
— the pink flowering almonds of Kandahar — the hiding places
of the blue poppy — the purple fields of peaks that stretch from
Northem India to the snows of Thibet — the shadow of clouds
upon fields of iris — the shadows of moonlight falling on
mosque and tower and minaret. To read her is to see the
Char Minar again, to feel once more the scent of the yellow
jessamine and the champac.

Every dreamer knows that the shadow is sometimes more than
the substance — it was Emerson himself who said that the
faintest reverie is divine.

Shadowland will call your dreams to mind. Something of all
men's dreams will come into it — the dream home and the
dream child; dream pictures; dream plays and the players that
haunt our dreams; poetry and those age-long dreams of the
human race — health and happiness.

If Laurence Hope could come back to the world she loved, we
venture to say that she would like "Shadowland.''

She would say that it fits into a world where dreams are king
— where men first dream of what they wish to do and then
find means to make their dreams come true.

If you are a dreamer, you belong to us.

SHADOWLAND, 175 Duffield Street, Brooklyn, New York

\\f^\y\rvO\ft<\\rA^^f»\Kf^^\r£i\uai\fi<\tr£<[\rAV^^

hif*irrirtit*ir/»^it^«iii/4\iirt(\ir/'«>irr«of/'«-\it/wit/»ii[^*iir/-«>i!

illi?^My>WM^MIiniiraiWtf!WfliiHt!;wwB^)<wMWjB^

(One hundred and nine)

'^ There's Oiily One^Vay
to secure a satin skiti '^

l4fi/il/ Satin, ^Idrh G^e(mi,tki2nSatinSkm,poWdey'

MOTION PICTURE CLASSIC

Elliott Dexter Has Come Back

(Coiitiimed from page 108)

vanced until now he takes his place in
the ranks of the foremost favorites.

Elliott Dexter has not depended on
his charming personality and his good
looks for popularity, but he has given us
splendid acting that makes his finely
drawn characters stand out as real hu-
man beings. His work is always the
essence of good taste and perfection of
detail, and no less an authority than
Cecil De Mille declares that his tech-
nique is the most fiijished of any actor
on the screen today.

"Do you study the script and thus
form the idea of your role?" I ques-
tioned, curious as to his mode of pro-
L-edure.

Relighting his pipe, Mr. Dexter re-
plied, "Usually De Mille tells us the
story, painting it so vividly that I see
my character, clear and distmct, as if
it were photographed before me. I have
always been able to do this, for even
on the stage I visualized my role with
the entire action, as soon as I read the
play."

"What a gift for directing!" I ex-
claimed. "Will you direct — some day?"

"I hope so," he smilingly confessed.
"I can think of no greater satisfaction
than to have directed a successful pic-
ture, and seeing it on the screen know
it will be shown all over the world,
swaving thousands with its message."

"It must give you a little thrill to
know so many friends and admirers are
welconiiiijr you back to health and the
screen with sincere affection," I re-
marked, after Gloria Swanson, William
De Mille, Wanda Hawley, Wallace
Reid, Major Robert Warwick, Raymond
Hatton, Alvin WyckofT, and Director
Wood had filed by joyfully extending
their hearty greeting.

Mr. Dexter's voice was a bit husky
as he replied, "I can never express all
that it means to me. Oh, I am so happy
to be back!" And stretching out his
arms, he took in the whole world.

Elliott Dexter possesses a simplicity
and a genuine modesty that are of a
very fine quality- He has sounded a
new depth, he has caught a new in-
sight into emotional intensities, which
promises an added stren^h and warmth
in the upbuilding of his future work
in motion pictures.

THE WRITING FAMILY
By La Touche Hancock
We arc a writing family.

We are ! We arc I We are !
My mother, brother, sister,

Myself, and even pal
Mother writes .short stories.

Which nobody will read;
Sister's writing play on play.

Which never will succeed!
I write so-called poetry,

Which nobody will print;
Uespite rejection notices

I never take the hint I
Brother writes facetious screeds,

Which are the greatest trash.
While pa writes checks upon his bank,

Which nobody will cash!
Oh I we are a writing family.

We are! We are! We are!

(One hunirti and tanjl

Fame and Fortune Contest

for 1920

THE first Faune and Fortune Contest having come to a happy and successful end. and sereral
pmspectiTe stars of the 'first magnitude having been selected and started on their careers, it
is with pleasure that we announce a similar contest for the year 1980, beginning with the
January number of

Motion Picture Magazine, Classic
and Shadoivland

Once more we shaB go thru America with a fine-tooth comb, as it were, in search for
budding beauties with Motitm Picture ambitioos. No longer can any young lady or giil say that
she has not bad a chance We shall give them all a chance — that is, every one diat appears to have
sufficient personality, charm, beauty and winsomeness. The first test is the photograph. If that
gives promise, we publish it and ask for more. If the others are equally promising, we secure a per-
sonal interview, and finally we make a "test" Moving Picture and send it broadcast thru the theaters.
Many of the girls whose pictures appeared in the Honor Rolls of our magazines, received many
flattering offers from producing companies, and this proves that we are doing a good tiiiiig for
ambitious American beauties, even tho we mif^t err in our final judgment in selecting the winners.
The Hcmor Ro}b will craitinue each month in aD of our publications, thus giving something like
two hmmdrtd girls lumorable mention, including a published photo. One or UMne of these we
promise wiO be made

Stars of International Fame

Just think of what a prise this is! The contest just closed attracted nation-wide attentiom.
The newspapers everywhere published illustrated accounts of our final test, and several of the
News Weeklies of Current Events showed scenes of the happy party at Boslyn, which were flashed
on nearly every screen thruout the United States.

What an opportunity! If it does not interest jro«, tell your nei^bor about it or your distant
friend — they may have a daughter just looking for a chance of this kind.

One thing we want to impress upon all aspirants — be careful in the dloice of the photo-
graph yon submit. Postcard photos will not do. Poorly printed photos, and small ones, can-
not be considered. We fed that many beautiful girls lost ont in the last contest just because
th^ did not go to the trouble of consulting a good photographer. Furthermore, dcmt submit
photo* tkmt lie! They may get you on the Honor SoU, but they will never sec yoo thru. We
recall in the last contest several yiHuig ladies who submitted wonderful pictures, and succeeded
in getting on the Honor Roll, but when they appeared on the scene, alas, we found that the
emwuTU had lied. We want pictures that do you full justice, even flattering mes, but not dishonest
ones. If yon are a giant or a midget, if yoo have an impossible profile, or an u^y nose, or some
other defect, dont let the photographer conceal these things — it will be to your loss and disadvan-
tage in the end. Yoor features may not be perfect, but you may win in spite of that — only, we want
to know aD. Hence, please do not try to deceive us. Make yourself appear to the best advantage,
but do not overdo it.

Rules and date of Contest opening to be announced in next issue.

Select Your Photographs Now!

(O—

He—»)

In lliat tense, still nwmmt at ttie cfimaz of tiie pkay — a oong^l Aoaaiyiog of
oooise, and onneoessary. Dean's MffnttantotBit Coogfa Drops prevent it

Or motoring akng some aanooUi liigfaway — evoytliiug serene — ^bot fior dost and
wind tfiat diy the tiiroat and mdnoe a oong^i — imless one has Dean's Mentho-
lated Coogfa Drops.

A preventive vd>enti»efiBstagefatsg"Mlion in the ttroat is fidt— **di^ core the
tidde." A ddkaoQs and pleasant soaroe of rdief for hai^ rasping, stubborn
cxmi^— Deanis llenthotatrd Coof^ Drops. Good fcr the wbcHe tsanOy.

Have a box on hand always — indoors or oat.

DEAN MEIWaNE CCniPANT, IChvaiifcee, IXnoaMia

X)BAiVs

iHow We Stopped the Leaks that Kept Us Poor

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How^
How^aLrd
LrindsaLy
^Lnd His
Wife

discovered <u\
EflLsy WolV to
SaLve ONE-
THIRD of
Their Income.
A Secret thoLt
Applies to
Any Income.

By HARRISON OTIS

WHO should walk into the room but
Howard Lindsay! Of all men per-
haps he was the last I had expected
to find as the president of this great new
company. They had toM me that Ur. Lind-
j say, of the Consolidated, was looking for a
fine conntry home and was interested in bay-
ing the DoUard Place in Englewood; so as
exccntor of the Dollard estate I had come to
I discnss the terms with him.

Bnt Lindsay! Surely some miracle had
happened. For it was the very man who
had come to me "dead broke" about four
years back and had asked me to help him
get a new job.

"Yon are surprised, Mr. Otis. I can see
Aat without your telUng me. Let that real
estate matter rest for a moment while I tdl
yon how the change happened. It won't take
five minutes. It all seems simple as A B C
as I look back on it now.

How It AD Bcean

"Our new life began when we discovered
how to tavt money. That happened soon
after I started in the new job you helped me
secure. And it all came about right in my
own home. Our sole source of supply was
my salary of $3,000. That first year we didn't
save a cent Besides that, we woke up on
New Year's day to find a big bunch of unpaid
bills to be taken care of somehow or other
out of future salary checks.

^'When I asked myself the reason for all
this I found that I did not know the reason,
and no more did my wife, because we hadn't
the faintest idea what our money had been
spent for.

"Then we looked around among our friends
and learned a great lesson.

"the Weeds, I knew, were getting more
than $5,000 a year. They lived in a modest
apartment, did not wear fine clothes, seldom
went to the theatre, did little entertaining,
yet we knew they barely had enough money
to pay current bills.

"In the case of the Wells, I found a very
different story and one that set me thinking
hard. Their income was $2,000 a year, yet,
to my amazement, they confided to us that
they had saved $600 a year ever since they
were married. They didn't have any grand
opera in their program — except on their little
Victrola— bnt they did go to the theatre
regularly, they wore good clothes, entertained
their friends at their home and were about
the happiest and most contented couple of all
our married friends.

"TTie difference between these two families
was that in one cas^ the expenditures were
made without any pUn — while in the other
the mcome was regulated on a weekly budget
system.

We sat down that evening and made up
a budget for alt our expenses for the next
Mty-two weeks. We discovered leaks galore.
We found a hundred wavs where little
•"nounu could be saved.

In one short month we liad a 'strangle

hold' on our expenses and knew just where
we were going. In one year my wife proudly
produced a bank book showing a tidy sav-
ings account of $800.

My New Giq> on Bnsiiieas

"In the meantime an extraordinary change
had come over me in business.

"I didn't fully realize this until the presi-
dent called me in one day and said, 'Lindsay,
you have been doing exceptionally welL I
have been studying your work for the last
year and yon have saved the company a lot
of money. We have decided to give you an
interest in the business.'

"So there you are. It is wonderful, isn't it?
I often wish I might tell my story to the
thousands of young married couples who are
having the hardest time of their lives just
when they ought to be having the best time."

So now I have the opportunity and you are
tacky, if only you will act on the wonderful
message this story contains.

HARRISON OTIS.

The Magic Bodgct Plan

The Ferrin Money Making Account System
is built on the experience of Howard Lindsay.
This system, which is simplicity itself, com-
prises:

The Ferr i Money Making Account Book.

The Fei-rin Kitchen Calendar (for the
household).

The Ferrin Pocket Account Book.

The Ferrin Investment and Insurance
Register.

The Ferrin Household Inventory and Fire
Insurance Record.

Compact information is given on Making
a Budget, Keeping Expense Accounts, Mak-
ing Safe Investments, Making an Inventory
of Household Goods.

There is no red tape or complicated book-
keeping in this system — it is so simple that
any one can keep it — so convenient that yon
will not notice the few moments of yom' time
required to make entries. The Pocket Ac-
count Book (price when sold separately 50
cents) contains frmtcd slips so that yon have
only to jot down the amounts of i your daily
expenditures. The Kitchen Calendar (price
50 cents) keeps track of householn expenses.
At the end of each week or month these
amonnts are transferred to the Money Mak-
-ing Account Book, which contains 112 pages,
size 6^x10^ inches, and is bound in half blue
Silk Cloth Back— Cadet Blue Cover, Paper
Sides — ^Turned Edges, semi-Bcxible, stamped
in gold on Front Cover. This book has been
prepared by an expert to fit any salary from
the smallest to the largest. Incorporated in
it is a recapitulation for every month of the
year, which shows at a glance the Budget and
the amounts paid out during the month for
the \arious classified items of expense. It is
the only book to our knowledge which has a
Budget column for every month. Special
columns are provided for items on which an
income tax does not have to be paid, so that

these amonnts may be deducted at the cad
of the year.

One Money Saving Feature

.A war tax is now levied on almost every
kind of aiticle you buy. Few people know
that the amounts so paid on daily purchases
may properly be deducted from their income
tax report. By keeping track of these war
taxes on the pages for daily expenditures, and
transferring the weekly or monthly totals to
the Money Making Account Book, you will
effect a saving on your income tax that will
surprise you and that will pay the small price
of the System many times over.

The Ferrin Investment Insurance Register
IS designed to keep an accurate record of
your investments, insurance policies, etc
Contains 32 pages, size 5x8 inches, price sep-
arately, 50c. The Ferrin Inventory and Fire
Insurance Record will enable you to make
and keep a complete inventory of every room
in the house; also provides for record of your
fire insurance policy. It is an absolute neces-
sity in case of a fire. It may save you many
thousand times the cost, which is 50c when
sold separately.

Two Mimitf» a Day

The Ferrin Money Making Account System
takes only two minutes a day. Any bright
grammar school boy or girl can keep the
accounts. This method is not a hard task.

Now you need not worry about the money
you spend for clothes, food, rent or the
tnotre. You will spend it freely be<ause you
^rMkaov how much you can afford to spend.

The Ferrin Money Making System is a
most practical gift to any newly married
couple. Many people use them for Christmas
gifts.

Send Mo Money

Sd how oucidOr the Ferrin Moorr UafcinK Ac-
count SjrstaB works, no
matter how moch or bow

Wc
II

mt In cMnc tlMn
vloe IB nxan] to Um
MaUns flvt of tlidr In-
c^ne taEX fctitm %» Wm^
bow few had ^v latdu-
|(Bt Mea tf tbctr liii^i

bttle yoor tncomc
kncfw what j o il a
think of it when jon
sec it. So we are will-
ing to aend joo the com-
plete CTStem w i t h o n t
your scndina: as any
mooey in advance. Jttst
mail the conpon. and
hack wm come the sys-
tem bj ictmu maiL If
Ton feel that jrcra can
afford not to have it.
simplT send it back and
yon win owe nothins-

Bnt when 70a have
seen what bix rctnms
the Ferrin System will
pay yoo, you will sonkj
want to kc«p this won-
derful aid to money-
making. especially as we
are now â– wlrâ„¢g a spec-
ial, short-time offer o f
only %i for the complete
system-
Yon win appreciate
what a remarkable otfer
this is when you con-
sider thai cytber expense
acconnt books are soM
for $3 and cover a per-
iod of only two years-
Tlie Ferrin Money Ifak-
in( Account Book cov-
ers foor years, and there-
fore has twice the value.
$6. And in additioa yon
get the Ferrin Kitchen CaloDdar. the Ferrin Pocket
-^count Book, the Pcrrin Investment and Insurance
Register, the Ferrin Hoosebold Inventory and Fire In-
surance Record, each worth 50c, or $2.00. Von have
*e oppui unity, theref^lre. o< securinc »S value lor only

But we can make this special combui.'\li<.ni offer
only lor a limited time. We expect to place this sys
tem in one hundred thousand bottkes this year. Wi
want your home to be one of them. Yon are there-
fore UTKcd to mail tfie coupon now — to do so oasts
nothing and does not obbcate you in anr way. ai»d it
may be a revelation 10 you of bow mnch more yon can
jet out of your income.

FREE EXAMINAllON COUPON

Independent Corporation

f>«fWUVn of TL^ ImOrprtUnt VTnktg
I>«P«- F-S7I2 II* W. 4«th St., M- T.

"r-'_r«' .-" .Uie. »"wri» Uenrr UsUaa Annu<t KT,«m
unc ratln nre l««lm) tar Vn^ Exmm^n^^o.^ L will msm]
t™ M^ "'' """"^ ""**" ' """^ «"" ""MX- or «mn

ILr.tlas^— l-St

IBIcnnU D. S. BUKTON.

II

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â– t

SJ20 Burlm^onsj:n
the U. S. Navy— ^

83^ Buffingtons bate been sold to die men aboard die U. S. battlesbips.

ft oicaltrcmj rmdinthe U.S. Hwy has many BMrimet"" watches aboard. Some have over lOO

A watdl has to be made of aurdr Muff in order to "mdoe Eoof oo a man-of-war. The ooiBlaat
vibntiaa, tke amine hot n> tbe boiler idoom, Ike cold ak air andtiie damcc of cEnate faon the Aictie to tke
TnniJealaretheiMMtietcwmmiaawtefc. HaMtckwRatHriapandptcaaacacniccabiaBdai

94 -Jewel $1
mJL Burlington

And Tct yon may ect a 21-jewd Buifinetoa for only f3.S0 a montk. Tnily it b die master
«n(cL 21 rally and B^kue jcwck, adjosted to dic«eGoiid> tenBuatmc, laociBmiim and pwirii— Fined at
Ae facixy in a cold (Uata caa^ waiiailnl for 25 ycanu Au the neixit cnc* are jrov* to ^aoae Iram. Ton

I cold
fny ealy fte rack- ~

-poodfcly Ae enct ince that tbe wboicafe deakr mold bnc to sqi.

^^ ^^^ ■ %• ^ A ZOQ dm K pay a cent to anybodf nntu you ace the wjIlIi* we

^^Pif mw M^iir^t ' <^P *'" *'X<=l> to yoa ea BpproTaL Yoa m the lole jwlgc. No
A^V V ^# A ^# w^ • flHj^fflrm to boy mcrclf became you get the watch on approval.

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andfRfaid. Toa wQI knoir a kunMncabootiraidi bay-

ing iHkb r" >od ■>• 7<">t y"* *^

tfatkaa in inll color of an the

eaboot wutchboy-
'oBdmncilln-

,„ , a from whic^

yoahaicloch^^ The booklet i» inc. McrelyKad
ya« name and addiaa oa the caopo^

Borlinston Watch Company,

Bvfinaitan WaSc& Ctx, Dept 1261

19th Stwat <k Marahall Bhrd, CMwiit VL
Ttcmt tad Be (iridtoe* aUptiaaa and ptc|iaad) Toav
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^0«« kmdred sad fottrteem}

ssfissf^s^s* if;.:-??;": â– ;;>;

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r -r:

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Li

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m.

!p^

1

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because its delightful fra-
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tinction in fine homes.

Send 15c to Vivaudou, Times Building, New
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us/iionaS/p

rancQ

I J II ijij. I .1 1> I i>mi n

FACE

POWDER

504

OO A Room Full of Furniture-

DOAVN

Send only $1.00 and we will ship you this handsonie 6-piece library
set. Only $1.00 down, then $2.70 a month, or only $29.90 in all. A positively
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The value is so wonderful and the demand so {jreat that there aren't enough to go around. So send today
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^Z l^-^ />^ltf^C This superb six-piece library set is made

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open an account with us. We trust honest people. Xo matter «liere you live.
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STRAUS & SCHRAM

Dept. 155! , W. 35th Street, CHICAGO

FEBRUARY

25C

ORIS KENYON

"'W0'*

M

iways
7rites

/ays

OVER scorching sands — along
with the throat-parched trav-
eler—the SHEAFFER Pen laughs
at the blistering sun — and always
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It serves in every climate — meets
every writing need — at home —
traveling — with your athletic rig-
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SHEAFFER a perfect writing instrument. Sold bv
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W A. SHEAFFER PEN COMPANY

aSTSheaffer Bide.. Fort Madison. la.

Service SUtions: New York, 440-4 Canal St.; Chieado.

504 CoriBumers Building: KansasCity. Gateway Sta,;

^^

*2.50»»^»p

With clip -cap
$2.75 and up.
The pen illuetrat-

ed IB No. 41C.
with band and clip
of rolled eold.
price S6.00. Same
pen with bandand
clip of solid sold.
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se,6o

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SHEAFFER
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out one cent for the free trial. If, on the other hand, you
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Canadian Price $72

THE OUVER TYPEWIUTKk COilTANY

14J2 Oliver Tjpc-wrlter Bltlg.. Clilcago, lU.

â–¡ Ship mt' a new Oliver Nino for Ave day* frt* Inspection. If
1 keep it, I will pay $57 at tht- ratt uf %'i per moulFi.
Tlu' lllii' to nuiain In you until fully jnud lur.

My sliliiplng point la ..,.,.

riiis docs not place ni<' under anj tililisution lo buy. IT I choose
lu return the Oliver. I will &hlp it bock at your expense at tbe
iiul of Ave days.

â–¡ Do not send a mnrhine unttt I order it. Mail mo your
Iwok— 'Tlie HlKli i;o3t of Typcwr I tors—The Reason and IIk-
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The Oliver Typewriter Company, 1452 Oliver Typewriter Bldg., Chicago, III.
Famous Users of the Oliver

Among the 700,000 I'urckasers of lite OHvrr 01 e such dislinguishcd concerns as:
Columbia Graphoohone Co. Boston Elevated Railways New York Edison Co,

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National City Bank ot N. Y. U. S. Sl"l Corporation

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American Bridge Co.
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(Three)

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T

i

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m

Wm

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i

In Ime ror
some/Amgr ^ooa

THE big thing that Paramount Pictures have done for you is to;
take the gamble out of choosing motion picture entertainment.
Time was when you took a chance every time you paid your
money — every fan remembers it. And even now it isn't everybody who
knows how to avoid taking chances.

Pleasure-time is not so plentiful that it can be wasted anyhow.
But note this: Wherever you see the name Paramount you can
bank on a good show.

It is not a question of taking anybody's word, it's simply a question
of reading the announcements of the better theatres everywhere, checkmg
up the brand names of the pictures, and choosing the Paramount Art-
craft features. Paramount Comedies and Paramount short subjects.
Go by the name and you're in line for something good.

Cparamount

^ g>ldtures

^•MJfe FAMOUS WAYERS^IJgCTCORPORALnON fflil

Latest Paramount Artcraft Pictures

Released to February Int

BiUie Burke in "Wanted a Husband''
Irene Castle i>i "The Invisible Bond'
Marguerite Clark in

"A Girl. Named Mary
Ethel Clayton in „

"The Thirteenth Commandment
"The Cinema Murder"

A Cosmopolitan Production
Cecil B. dcMille's Production

"Male and Female'
"Everywoman" With All Star Cast
Elsie Fereruson in "Counterfeit"

George Fitzmaurice Production

"On With the Dance"
Dorothy Gish in ^

"Marv Ellen Comes to Town"
D. W. Griffith Production

"Scarlet Days"
Wm. S. Hart m ^ "^''^K',

Houdini in "The Grim Game

"Huckleberry Finn" With a Star Cast
Vivian Martm in

"His Official Fiancee"
Wallace Reid in

"Hawthorne of the U. S. A.

"The Teeth of the Ticer"

With David Powell
Maurice Tourneur's Production

"Victory
George Loane Tucker's Production

"The Miracle Man
Robert Warwick in

"The Tree of Knowledge
Bryant Washburn in

"Too Much Johnson

Thomaa H. Ince Prodactionm

Enid Bennett in

"The Woman in the Suitcase
Dorothy Dalton in

"His Wife's Friend"
Ince Supervised Special

"Behind the Door
Ince Supervised Special

"Dangerous Hours
DouElas MacLean & Doris May in

"What's Your Husband Doing?
Charles Ray in "Red Hot Dollars"

Paramount Comeditt
Paramount-Arbuckle Comedies

One every other month
Paramount-Mack Sennett Comedies

Two each month
Paramount-Al. St. John Comedies

One each month

Paramount Short Subjecta

Paramount Magazine issued weekly

Paramount-Burton Holmes Travel

Pictures one each week

Vol. IX

FEBRUARY, 1920

No. 6

18

THE GIRL ON THE COVER

(Painted by Leo Sielke, Jr., from a photograph by Ned
Van Buren.)

Just now Doris Kenyon is dividing her time between the
foothghts and the film studios. She is playing on Broadway
in the highly successful farce, "The Girl in the Limousine."
A native of Bridgeport, Conn., Miss Kenyon has lived in
Brooklyn and Syracuse. She is a graduate of Packer
Institute, Brooklyn, and of Columbia Universit}'.

Miss Kenyon went on the stage in "Princess Pat" and was quickly
discovered by the cinema, doing her first important role with Alice Brady in
World's "The Rack." She has forged rapidly to the front and is now one
screenland's favorites.

Photogravure Gallery of Players. Full page studies of Pace

Corinne Griffith, Wanda Hawley, Helene Chr.dwick,

Gladys George and Helen Broneau 11-15

The Silken Gloria. A picturesque chat with the lu.xuri-

ous Miss Swanson Frederick James Smith lf>

Lewis Cody, H. V. The male vampire of the screen tells

his philosophy of life Elizabeth Peltret

Betty Blythe: The Peacock Princess. A picturesque in-
terview with a picturesque player Maude S. Cheatham

Moore o' County Meade. A humorous visit to Tom of

the illustrious Moore family Harriette Underbill

The Boy Who Capitalized His Freckles. Otherwise

Wesley Barry, youngest star of the films Mary Keene

The Orchid Blooms. Naomi Childers, goddess of the

photoplay, speaks of the old days Truman B. Handy

The Varied LioneL The Barrymore of "The Copper-
head" and "The Jest"

She Loves and Lies. Short story based upon Norma

Talmadge's latest photoplay Dorothy Doimell

Idealist and Artist. Maurice Tourneur talks of the photo-
play and its ideals Maude S. Cheatham

The Kodak Girl. Edith Johnston is now one of the

favorites of the screen serial Fritzi Remont ofi

Understudying Mary. How a young woman was dis-
covered who looked exactly like "Little Mary" Charles G. Rich Si

The Broken Melody. Eugene O'Brien's latest film

vehicle told in interesting fiction form Olive Carew

Theodore Roberts. The silversheet's vividest character

actor and his pets Einina-Liitdsay Squicr

Among the Footlight Favorites. Glimpses of the new

stage plays and pla\'ers 4^i

The Celluloid Critic. The newest photoplays in review. . Frederick James Smith 48

The Daring O'Dare 50

On With the Dance. Short story based upon Mae Mur-
ray's new photoplay Faith Service 51

Jack's Leading Woman 56

Look for the Last Minute Features in the Advertising Section.

Subscription. $2.50 a year, in advance, including postage in the U. S., Cuba, Mexico, and
Philippines: in Canada, $3.00 a year; in foreign countries, $3.50. Single copies, 25 cents, postage
prepaid. One- and two-cent stamps accepted. Subscribers must notify us at once of any change
of address, giving both old and new address.

Entered at the Brooklyn, N. Y., Post Office as Second-class Matter,
Copyright. 1919, by the M, P. Publishing Co.. in the United States and Great Britain, a New York
corporation, with its principal offices at Bayshore. N. Y. Eugene V. Brewster, President: J. Stuart
Blackton. Vice-President; Guy L. Harrington, Vice-President; E. M. Heinemann, Secretary ; Eleanor
V. V. Brewster, Treasurer.

.STAFF FOR THE CLASSIC:

Eugene V. Brewster. Editor

Frederick James Smith, Managing Bditor

Dorothy Donnell, Robert J. Shores, Fritzi Remont Associate Editors

Guy L. Harrington Business Manager

Duncan A. Dobie, Jr Director of Advertising

Ruf us French, Inc Eastern Manager

Archer A. King. Inc Western Manager

2»

29

34

39

44

A Wife Too Many

Into the hotel lobby walked a beautiful
woman and a distinguished man. Little in-
deed did the gay and gallant crowd know
that around these heads there flew stories of
terror — -of murder — -and treason — that on
their entrance half a dozen detectives sprang
up from different parts of the place.

Because of them the lights of the War De-
partment in Washington blazed far into the
night. About their fate was wound the
tragedy of a broken marriage, of a fortune
lost, of a nation betrayed.

It is a wonderful story with the kind of
mystery that you will sit up nights trying to
fathom. It is just one of the stories fash-
ioned by that master of mystery

CRAIG KENmPY

•meAmericanSherhckHolmes-

^ , ARTHURRREi

ai» American ConanDoyle m^

He is the detective genius of our age. He
has taken science — science that stands for
this age — and allied it to the mystery and
romance of detective fiction. Even
to the smallest detail, every bit
of the plot is worked out scien-
tifically.

Such plots — such suspense —
with real, vivid people moving
through the maelstrom of life!
Frenchmen have mastered the
art of terror stories. English
â– writers have thrilled whole na-
tions by their artful heroes. But
— all these seem old-fashioned —
out of date — beside the infinite
variety — the weird excitement of
Arthur B. Reeve's tales.

:zjm

FREE

POE
10 Volumes

To those who send the coupon prompt-
ly, we will give FREE a set of Edgar
Allan Poc's masterpieces in 10 volumes.

When the police of New York failed
I to solve one of the most fearful murder
mysteries of the time. Edsar Allan Poe —
far off there in Paris — found the solu-
tion. The story is in these volumes.

This is a wonderful combination. Here
are two of the greatest writers of mys-
tery and scientific detective stories. You
can get the Reeve at a remarkably low
price and the Poe FREE.

HAR.PER. & BROTHERS

Established 1817

This magazine, published monthly, comes out on the ISth. Its elder sister, the Motion Picture Magazine,
conies out on the first of every month. Shadowxand appears on the 23rd of each month.

(Five)

M.P.a-2-20

Harper & Brothers, 8 Franklin Square, New York City.

Send me. aJl charges prepaid, set of Arthur B. Beeve — In 12
Tolumw, Also send rat', at:eolutely true, tin- set of Edgar Allan
Poe — In 10 volumes. If both sets are not saliafactory I will return
them within 5 days at your eipense. Otherwise I will send you
SI wltbUi 5 days and S2 a month for 14 months.

Name

Addreea

OocJupaUon

txamiii^ jor /Tutliorsliip

~ HoWtoWrite.-WhflJto Write,

and Where to sell.

CulWole yoiir mini DeVelop
I yourli^erarygifVs. Master Ihc
ori of s*?lf-eSpression.Make
1 your spore time profitable.
Turn your ideas into dollars.
Courses in Short-Story Writ-
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Play Writing, Photoplay
— Writing, etc, taught person-

Df. EsenWein 'ally by Dr. J. Berg Esenwein,
for many years editor of Lippincotfs Magazme, and
a staff of literary experts. Constructive criticism.
Frank, honest, helpful Bdvice. Keal teac/i/ng.

On. poo/l ftoJ rtolvid oVer tS.OOOfor Mrleamd "',',''"
nrryil.n moslls In 5j>or. irm«-"i.Mj bJorfc />• 'O'""-
Another pmH rictlved oD.i- SI.OOO brfcrr compltling
h",/lr,l °o«r«. Anolher. o bcs. Wife oni njo.ft.r. Ii
aVratlnS over S7S a week from pftotoplas wrlllnt alone.

There Is no other institiition or agency doing so much for
writers young or old. The universities recognize this, foe over
one hundred members of the English faculties of higher institu-
tions ere studying in our Literary Department. The editors
recognire it, for they ore constantly recoramendmg our courses.^

Stage Plays That Are Worth While

(Readers in distatit towns will do well to preserve this list for referetice when these
spoken plays appear in their vicinity.)

kr»iy, 1) nSaam ; OmacrtpHy

.lfr«. W..l»p'

iSO'paigo Ulustraled catslogue free.

Tfie Bbitte Cofirespondcnce School ,

Dept. 112, Springfield, Mass.

■ ST.su5-to iB^r ' i,<coiiPOu«Ti;o 1904

OEE^

Write the Words
For a Song

Write the words for a song. We revise
song-poems, compose music for them, and
guarantee to secure publication on a
rovalty basis by a New York music pub-
lisher. Our Lyric Editor and Chief Com-
poser is a song-writer of national reputa-
tion and has written many big song-hits.
Mail your song-poem on love, peace, vic-
tory or any other subject to us today.
Poems submitted are examined free.
BROADWAY COMPOSING STUDIOS

lOT-E FilxgemlJ BIJs., Bro.Jway at Time. Equjrc, NEW YORK

*50 ^° n50 ^r^nSI^F^SI^

IT..1.M Arccnune. â– ''"' E.^-ollal-Stod Im Sp,:rl.l Free Oiler

NEW YORK LITERARY BUREAU

p , B 145 West 361h St., Haw York City

SELECT your own -
subject — love, patriotism \
— write what the heart dictates,
then submit your poem to us.
We write the music and guarantee publish-
er's acceptance. Our leading composer 19

Mr. Leo Friedman

one of America's well-known musicians, the author
of many song successes, such as Meet Mc Tonight
in Dreamland," "Let Me Call You Sweetheart.
"When I Dremn of Old Erm." and others the sales
of whirh ran info milliona of cnpiefl. Send na many poema
n,. v,.u wish. Don't OoMv. Cot Duay-Oufck.

CHESTER MUSIC C0."° 'Dri!^''3?o" "• ' Cliic.go. III.

istor.—FAy Bainter in "East Is West.
The story of a quaint little Chinese maid who
falls in love with a young American. Racial
barriers seem insurmountable, hut there is a
happy and surprising ending. Has all the in-
gredients of popular drama. Miss Baintcr is
picturesquely pleasing. „ , . , j

Casino —"The Little Whopper." Lively and
amusing musical comedy with tuneful score by
Rudolf Friml. Vivienne Segal pleasantly heads
the cast, which also numbers Harry C. Browne,
who docs excellent work, Mildred Richardson
and W. J. Ferguson , „ ,. , , , „„

Cor/.— "Abraham Lincoln." \ou should see
this if vou see nothing else on the New \ork
â– â– tage. John Drinkwater's play is a noteworthy
literary and dramatic achievement, for he
makes the Great American live again. Abra-
ham Lincoln" cannot fail to make you a better
\mcrican. Moreover, it is absorbing as a play.
Frank McGlyn, a discovery, is a brilliant

Lincoln. ^ . , „ ,,. , ,

Coim'rfv. — "My Lady Friends. Highly
amusing entertainment, adapted from a Conti-
nental farce. Much of the humor is due to
the able work of Clifton Crawford in the role
of a guileless young publisher of Bibles whose
efforts to spend money get him into all sorts
of difficulties. June Walker scores in Mr.
Crawford's support. „,,.,, , , ,
Ci'»/i(r.v— ".^phrodlte." Highly colored and
lavish presentation of a drama based upon
Pierre Louys' e.xotic novel of ancient Alexan-
dria. Superbly staged adaptation oi the play
that caused a sensation in Pans. Dorothy
Dalton the screen star, returns to the stage m
the principal role of the Galilean courtesan,
Chrysis, and scores. McKay Morris is ad-
mirable in the principal male role. The ballet
directed by Michel Fokine, is spirited and
colorful. , _, ^ , -. , ,„

Cohan and Harris.— "The Royal Vagabond.
A Cohanized opera comique in every sense ot
the words. A tuneful operetta plus Cohan
speed pep and brash American humor Also
tinkling music. And a corking cast, with Grace
Fisher, Tessa Kosta, John Goldsworthy and
Frederick Santley. „ ., „ .

Central.— "The Little Blue Devil. .\ mu-
sical entertainment built about the lale Clyde
Fitch's "The Blue Mouse." Tuneful music by
Harold Atteridge and Harry Carroll. Lilhan
Lorraine is the "blue devil" and Bernard Gran-
ville is co-featured. , , . ... a
Eltingc— "The Girl in the Limousine A
decidedly daring boudoir farce, by Wilson
Collison and Avery Hopuood, in which a pink
and white bed is invaded by every member ot
the cast during the progress of the evening.
John Cumberland is very funny and Uoris
Kenyon, fresh from the screen, is both pretty
and pleasing as the heroine. . „
Forly-fourth Street Theater.- Carnival.
A British-made romantic drama of Venice at
carnival time marking the first appearance of
the English favorite, Godfrey Tearle. iVlr.
Tearlc seems an actor of unusual attainments,
but the drama is dreary, out-of-date stuH.^

George M. Co/u7H'.r.-Elsie Jams and her
eang" Lively entertainment built about the
experiences of the A, E. F. on the other side.
Well put together by Miss Jams, who shines
with decided brightness. A pleasant entertain-

'"c/obi-.— "Apple Blossoms." The ambitious
and much heralded operetta of Fritz Kreisler
and Victor Jacobi plus colorful Joseph Urban
settings. An offering far above the miisical
average. John Charles Thomas sings admir-
ably Wilda Bennett is an attractive heroine
and 'Florence Shirley lends a piquant person-
ality to the proceedings. . . . . ^ ,„j

/ianu. -"Wedding Bells." A bnght and
highly amusing comedy by Salisbury hield.
Admirably written and charmingly played by
Margaret Lawrence and Wallace Eddinger.
One of the things you should see.

Hi/./'orfromc'.— "Happy Days. Big and spec-
tacular production typical of the Hippodrome.
The diving girls are again a feature, disporting
in the huge "Hip" tank. . t- , . . .,

//udioii.- "Clarence," Booth Tarkington f

delightful comedy, built about the way a re-
turned soldier rc-united a disturbed but typi-
cally American household. Superb perform-
ances by .Alfred Lunt. Glenn Hunter and Helen
Hayes give the comedy a fine verve.

LvriV.— "The Rose of China." A pleasant
musical comedy, in a way a sort of Chinese
"Madam Butterfly." Clever lyrics, striking Ur-
ban settings and a fairly adequate cast. Rather
tuneful.

Maxine Elliott's.— "The Unknown Woman.
.\ very emotional melodrama with Marjoric
Rambeau in Bendel gowns and tears. ^ Jean
Robertson contributes a vivid bit as a "dope."
il/orojco.— "Civilian Clothes." A delightful
comedy to please everybody. Brand new idea
and cfeverlv worked out. Thurston Hall in
the title rofe shares the honors with beautiful
Olive Tell. Support excellent.

/'/y?iuJM//i.— "The Jest." Arthur Hopkins
production of Sem Benelli's colorful and grip-
ping Florentine drama. John Barrymore is
again seen in his original role. An admirable
cast and Robert Edmund Jones' settings lend
splendid aid.

/V,ik-.-jj.— "Nightie Night." Described by
the program as a "wide awake farce," "Nightie
Night" lives up to its billing. It has plenty of
verve, ginger and some dancing. There are
scores of laughs. Heading the very adequate
cast are Francis Byrne, Suzanne WiUa, Mal-
colm Duncan and Dorothy Mortimer.

.Shubert.—"The Magic Melody." JK "roman-
tic musical play" with a tuneful score and a
picturesque Willy Pogany setting. Charles
Purcell Fay Marbe, Julia Deane, Earl Ben-
ham and Carmel Myers, the last two well
known to the screen, head the cast _^

Thirty-ninth Street Theater.— 'Scandal,
Cosmo 'Hamilton's daring drama which Con-
stance Talmadge played on the screen. Fran-
cine Larrimore and Charles Cherry have the
leading roles in the excellent foothght produc-
tion. „ . t-, c

IVititer Carden.^"The Passing Show of
1919." A typical girly garden show in which
the famous runway gets plenty of use. The
revue presents a number of travesties upon
current attractions, particularly colorful being
that of "The Jest," with George Winninger
doing a clever burlesque of Lionel Barrymore.

ON TOUR

Shubert. E. H. Sothern and Julia Marlowe
in Shakespearean repertoire. These artists
represent the best traditions of our theater and
their revivals of "Twelfth Night," "Hamlet,
and "The Taming of the Shrew" are distin-
guished in every sense of the word.

"Palinv Da\s." A picturesque drama by
Aneustus Thomas in which Wilton Lackaye
doc"s the finest work of his career since Jim
the Penman." .

"Sce-Saw" A pleasant musical entertain-
ment The delightful Elizabeth Hines stands
out and Dorothy Mackaye is pleasantly cast

"MoonVujht and Honeysuckle." Riith Chat-
terton in a charming comedy that might have
been a big hit had the playwright taken full
advantage of some splendid situations in the
last act. As it is it starts like a hare and ends
like a tortoise. . „ . , r-

"An Exchange of Wives." Another Cosmo
Hamilton comedy which, however never at-
tains the spontaneitv or piquancy of Scandal.
The chief blush producer is a scene on a sleep-

â„¢^'ShrWoiild and She Did." Grace George
in a light (very light) comedy founded on a
little hole in the golf links which Grace angrily
made, resulting in her suspension from /"«
club for two months. Society and golt tolK
will probably find this an entertaining little

'' "r/it- Better 'Ole." The Coburn production
of the musical comedy based upon Bruce
Bairnsfatlier's new imTiortal cartoon creation.
Old Bill. Mr. Coburn's characterization ot Bill
is still as remarkable as ever.

"A Loiielv Romeo." with Lew Fields. A
(Continued on page 8)

(Six)

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ISmrLastQiance

ToGet

Jack London Free

Finish

These Stories
For Yourself

Judge

When ,\iiu sent me up for
four year-", you called me a
rattleSQake. Maybe I am one
— anyhow you hear me rattling
now. One year after I got to
tbe pen, my daughter died
erf — well, they said it was
poferty and the disgrace to-
Cetlicr. You've got a daugh-
ter. Judge, and I am going to
make you know how it feels to
lose one. I'm free now, and
I guess I've turned to rattle-
snake all right. Look out
when I strike. Yours respect-
fully. RatllBSnake.

This ia the beginning of one
«f Uie storlea by O. HENRY.

"A Thief— She?"

AND YET— with a shiver she
told him oU the sordid story I
Tbe stage life — the nights of
drunkenness — the days of re-
morse for her sin — all was
poured out In the desperate
t«lo. Bui be loved her in spite
of all, and— then came the
astounding truth— tbe unex-
pected twist— that makes O.
Henry the most eagerly read
of American story-tellers.

He Dared More Than
All His Heroes

Two hundred miles out on
the Padfle with a boat leak-
ing at every seam, with every
memt>er aboard seasick from
tbe endless tosalng — wilh
bands blistered from the
ropvs — there and then. Jack
London learned naTigstlon.

Be buUt blmselt a cockle-
ahrtl. and In it, with his
wife, sailed nearly around the
world. Go with him to the
freeslng North. Follow him
to tbe South St'as. Fight
jour way with him around
th â–  Horn. He waa more real.
Dion primitive, than an; of
bU heroes. Along the Ice-
bound Yukon be had tri-kked
witb decs and alelgha and
bunf«r — on the coral Smith
Be* Inland* be bad battled
wltb typhoons and man-oatlng
cannibals.

READ THE STORY OF
THAT WONDEUFin, .lOITTt-
KEY. as bo lells U hkaaelf.

Illi

THE sets of Jack London which have been given
FREE with O. Henry are handsome sets of
books and we cannot afford to continue to give
such books away.

We have the choice of discontinuing the offer or
giving you flimsier books. We prefer to stop the
offer.

Before doing so we wish to make this one an-
nouncement. As long as the present edition lasts
you can get the O. Henry at its regular price and
the Jack London FREE. This, however, is your
last chance. Send the coupon without money at
once and get your O. Henry for examination and
lack London FREE.

O. Henry

O. Henry has made another record. More vol-
umes of his works have been sold than any other
short stories in the history of the world. Lip to the
day this page goes to press 3,784,000 volumes have
been sold — in England and Australia, France and
Germany — throughout the world — over two million
in the United States alone. So many editions have
been printed that the old plates were entirely worn
out and we had to make brand new plates for this
edition. So you will get the very best impression
from these new plates — the clearest, cleanest print
you have ever seen.

Your Last Chance

This is the last edition of Jack London's works
we can get at the special price which permits of our
giving them free with O. Henry. When this one
edition is gone (and there are only a few hundred
sets now left) you will be able to get Jack London's
wonderful stories only at their regular price of $1.00
or more a volume.

Now, while you can, get the O. Henry at the low ^*""""~"
price with the Jack London /ree. Dont be left * "j^io'
out of a thing as tremendous as this. Dont f* review
let this chance go and later pay a big price. * of reviews

^ 30 Irvlnff PI.,

Send the Coupon Now / sr^TmJ"'!, "^

* / proval, charges paid

— eet lack Liiiidon free — and join :he / by yMi, q. Henry's

Ml- â–  L u . J I I J # works In 12 Tolumefl,

millions who nave wepl and laughed ^ gold tops. Also the 5-
and felt better for the reading of / ,™S!„ S..h°'wi.'ir'g'SS
O. Henrys warm, landlj', joyous, # lopg. if i keep th^ booka.

tntrir Kite t\f hfe. 9 I ^^^ ''emit $1.50 In 5

tragic DltS 01 Ute. f j„s aod then S2 a month

Remember that the end of t for lo months for the o. Hemr

.1... ....U ;.. «* l...«.l A A^,. t "Wt only and retain the Lon-

the sale is at hand. A day t don act mtnoul charge, other-
lost will cost you money. / wise I win. within ten day., re-
.' ^ t turn both seta al your expense.

*

Send the coupon now / Name

— today-at once / ^<,^„„

Review of / Occupation

â– p â–  c # Thii beautiful hair-leather style binding or

reviews ^O., ^ o. Henry coets only a few cents more a

30 Irving PI ^ volume and has prove*! a favorite. For this

»T -v 1 ' * luxurious binding change above to $1.00 In

Wew X Orit. # five days and then $3.00 a month for 9 montha

MOTION PICTURE CLASSIC

Stage Plays That Are Worth While

(Continued from page 6)

light show running in the usual groove. Fran-
ces Cameron, who is developing remarkably,
is the bright figure of ".A. Lonely Romeo,"
while Mr. Fields is his humorous self. There's
a decidedly funny scene in a men's hat shop.
"Cliil Chin Chow." An opulent and beauti-
ful musical extravaganza based upon the
.\rabian Nights tale of Ali Baba and the Forty
Thieves. Dazzling series of sensuous stage
pictures. "Chu Chu Chow" is presented this
year with an entirely new edition and new cos-
tumes. Marjorie Wood makes a colorful
desert woman, Lionel Braham is very effective
as the robber sheik and Eugene Cowles makes
the role of steward stand out. George Rosely
plays the young lover admirably.

"La La Lucille." Musical comedy built
around the efforts of a loving couple to arrange
a divorce in order to live up to the terms of a
millionaire aunt's will. A co-respondent is en-
gaged and troubles begin. John E. Hazzard
and Janet Velie play the wx)uld-be divorcees,
while Marjorie Bentley and Helen Clark give
able assistance. Light summer entertainment.
The Shubert Gaieties of igig. A lively revue
with scores of statuesque girls and stunning
frocks. A decidedly attractive entertainment.
"John Ferguson." A straight drama that
compares favorably with anything of the kind
that New York has seen for years. Beautifully
staged and acted. Masterpieces of this kind
should be liberally patronized to encourage
others.

George White's "Scandals of 1919." All
sorts and variations of dancing make up for
a lack of story or humor. The real star is
piquant little Ann Pennington — as seductive a
little jazzer as ever shimmied on Broadway.
Then there's the lively dancing of Mr. White
himself.

"Friendly Enemies." This is the record-
breaking comedy drama of last season, with
Louis Mann in his original role.

"Three Wise Fools." Austin Strong's hu-
man little drama of three crusty old bachelors
who are bequeathed a young woman and who
are subsequently rejuvenated. Melodrama
with a heart throb. Helen Menken gives a
striking performance of the nerve-racked hero-
ine, while Claude Gillingwater is a delightfully
testy old Teddy Findley.

"She's a Good Fellow." A light but pleasant
musical comedy built about the efforts of old
folks to break up a marriage between a loving
young couple. Joseph Santley is a likeable
lover-husband, masquerading in skirts for a
whole act. Ivy Sawyer, the very pleasing Ann
Orr and Scott Welsh lend delightful assist-
ance.

"jp East." A charming comedy founded on
a boarding school romance in which many in-
teresting characters make love-making difficult
for a pair of j-oung lovers.

"Up in Mabel's Room." Piquant, daring but
decidedly amusing farce built about the pursuit
of a dainty pink undergarment which bears the
same name as a recent jazz dance. Admirable
cast, including the radiant Hazel Dawn.

"Three Faces East." .Another Secret Ser-
vice-German spy drama, this one by Anthony
Paul Kelly, one of our most successful photo-
playwrights. The principal* charm of this play
is in trying to guess who are the German spies
and who are the Allies, just as we were puzzled
in "Cheating Cheaters" to know who were
burglars and who were not.

LEADING PICTURE THEATERS.

Loeiv's N. V. and Loew's American Roof. —
Photoplays: first runs. Daily program,

Loeii/s Metropolitan, Brooklyn. — Feature
photoplays and vaudeville.

Capitol. — Photoplay features plus a de luxe
revue. Superb theater.

Rivoli. — De luxe photoplays with full sym-
phony orchestra. Weeklj^ program.

Rialto. — Photoplays supreme. Program
changes every week.

Strand. — Select first-run photoplays. Pro-
gram changes every week.

(Eight)

X^^-^gTviiiini

GOLDWYN PICTV]

CORPORATION

SAMVEL GOLDWYN President

(Nine)

AT NIGHT-

a thorough bath
for your Face-

If yoii want a skin that

is clear, brilliant with

color — let it breathe at night

TINYinvisibledustparticles
— always, always falling
on your unprotected face !

In crowds — in shops — in theatres
— all day long, while you are
going unconsciously about your
occupations — the delicate skin of
your face is exposed to millions of
unseen enemies.

That is why a thorough bath
for your skin at night is so
important.

During your eight hours of
sleep the skin of your face should
be allowed to rest — to breathe.
The delicate pores should be
freed from the dust and dirt that
have accumulated during the day.

For remember — authorities on the
skin now agree that most of the com-
moner skin troubles come, not from
the blood — but from bacteria and
parasites that are carried into the pores
from outside, through dust and small
particles in the air.

If, from neglect or the wrong meth-
od of cleansing, your skin has lost the
flawless clearness it should have — if
it is marred by blackheads — by dis-
figuring little blemishes — begin tonight
to change this condition. You can
make your skin just what it should
be. For every day it is changing —
old skin dies and new skin takes its
place. By giving the new ikin, as it
forms, the special treatment its need

demands, you can make it as soft,
as clear and smooth as you would
like to have it.

The famous treatment for
blackheads

Perhaps, in your case, failure to use
the right method of cleansing for your
type of skin has resulted in disfigur-
ing little blackheads. This condition
can be overcome — and your skin can
be smooth and clear in fiiture.

To keep your skin free from this
trouble, try using every night this fa-
mous treatment:

Apply hot cloths to the face until
the skin is reddened. Then with a
rough washcloth, work up a heavy
lather of Woodbury's Facial Soap and
rub it into the pores thoroughly, al-
ways with an upward and outward
motion. Rinse with clear, hot water,
then with cold — the colder the better.
If possible, rub your face for thirty
seconds with a piece of ice. Dry care-
fully. To remove the blackheads al-
ready formed, substitute a flesh brush
for the washcloth in the treatment
above. Then protect the fingers with
a handkerchief and press out the black-
heads.

Use this treatment regularly, and
you will begin in a few days to notice
the greater clearness and attractiveness
it gives to your skin.

The famous Woodbury treatments
for each different skin need — for an
oily skin, for blemishes, for conspicu-
ous nose pores, etc. — are contained
in the little booklet that is wrapped

around every cake of Woodbury's
Facial Soap.

Find the treatment that your par-
ticular type of skin demands — men
use it regularly each night before re-
tiring. You will be surprised to see
how quickly your skin will gain in
attractiveness — how smooth, clear and
colorfiJ you can keep it by this care.

Woodbury's Facial Soap is on sale
at any drug store or toilet goods
counter in the United States or
Canada. Get a cake today — begin
using it tonight. A 25 cent cake lasts
a month or six weeks.

We shall be glad to send you a
trial size cake

For 6 cents we will send you a trial
size cake of Woodbury's Facial Soap
(enough for a week or ten davs of any
Woodbury facial treatment), together
with the booklet of treatments, "A
Skin You Love To Touch." Or for
15 cents we will send you the treat-
ment booklet and samples of Wood-
bury's Facial Soap, Facial Powder,
Facial Cream and Cold Cream. Ad-
dress The Andrew Jergens Co., 902
Spring Grove Ave., Cincinnati, Ohio.

If you live in Canada, address The
Andrew Jergens Co., Limited, 902 Sher-
hrooke St., Verlh, Ontario.

(Ten)

»aiBS*> .-:^fe

rh.,Mgia|.h I'l Alfri-a Chein-y Johnsiun

CORINNE GRIFFITH

Action PicTUf^E Glajsig

WA^J'i- '\V-;--i%?^-P^'*'-"S'* • ' v'-'-^'^^'-tfi-'fiii^'

Pholofir.-ii-U by Hoover Art Co.. I., A

WANDA HAWLEY

Winda wti looked upon at one of the screen "finds"
of Uit year. Misi Hawley keept ateadily advancing since
her first hit in "Old Wives for New." She is now at the
very forefront of our younger actresses.

HELENE CHADWICK

Helene hails from a town be.ring her own cosnon^f"'
Chadwick N Y.. being the youngest of » famoui family,
the fi"s, achieved succe,« in Path* .eriat rrod„o.,nn, »nH
is now with Goldwyn

GLADYS GEORGE

Miss George is one of the most popular players with the
Universal forces and she has been doing some unusual
work in several recent productions.

\

I

HELEN BRONEAU
•^ • , Tiniuor-sal discovery. She seems to

.e?;^mi^rto"he\^on;:TpTran%e "U^" powers-that-be
expect great things of her.

The
Silken
Gloria

J

Photograph © hy Allrea Lneney Johnston

Gloria Swanson is twenty-
one and, off the screen,
looks like a younger sister
of her celluloid self. The
daughter of an army officer.
Miss Swanson received her
education everywhere — from
Chicago to Porto Rico

w

i: reached Gloria Swan-
son's hotel -exactly on
time for our interview
— 12 o'clock noon.

"Gracious," sighed a lan-
guid voice over the house
'phone, "I'm just getting up —
and I'm still half asleep.
Please come back at one."
.So we adjourned to the hotel lobby for rest— and medi-
tation. We had expected Miss Swanson to be a luxurious
young lady, but . . .

.\t one we called her on the 'phone again. "My, my!"
sighed Miss Swanson, "I'll be right down— in ten minutes."

Hut her voice sounded just as sleepy as an hour before.
Knowing something of the feminine conception of ten nn'niitcs.

we went for a walk
1 :30 we returned.

The hotel clerk was
quite sure Miss Swan-
son hadn't come down
yet. So we waited
whiling away the time
with observing the
clerk's technique in hand-
ling the tribulations o
the hotel guests.

At 2 o'clock we knew
the clerk's first name
was Al and why he'
never went to the >Ieth
odist church.

At 2:15 o'clock we
heard, for the nineteenth
time, that there wasn't a
room to be had in the
hotel at any price. In
fact, the waiting list

.A.nd then Miss Swan-
son appeared.

Except for her silken
sleekness, we would
hardly have recognized
her. The real Gloria
Swanson looks like the
younger sister of the
celluloid Gloria.

"So sorry," smiled
Miss Swanson, "so-o-o
sorry." Xot, of course,
meaning a word of it.

"\\ e're used to wait-
ing for beautiful stars,"
we reparteed. "The
more beautiful they are,
the longer they make us
wait. Just one player
ever kept us waiting
longer than this."

"I wont have that,"
said Miss Swanson.
"Try to interview me
again tomorrow, and I'll
break that record."
taxi to the Hotel Astor for lunch, ?iliss
femininity just emerging from slumber.

Then we took ;
Swanson, like all
being "famished."

On the way downtown we learnt these startling facts:

That Miss Swanson works every second of her time in
California and really doesn't luxuri.i'te at all.

That she doesn't want to keep on doing the semi-vampire
stuff of her past few pictures, but hopes to do character stuff
such as her "Why Change Your Wife?" She will even don
prim clothes and spectacles for art.

That she worships Cecil De Mille.

That she loves diamond and platinum bracelets. She wears
three on her left wrist alone.

That she never can button her gloves. (We know, because
we did our best to assist her en route Z'ia taxi.)

That she love* Xew \tirU hecniKe of itc thenters and gor-

By HkHDtklCK
JAMES SMITH

yc"ii> |)laccs to (lance.

'I'luii California be-
ciinics dreadfully tire-
siimc.

Thai tears came lo
her eyes — real tears —
when she talked of El-
liutt Dexter and tlie way
his sndden illness had
held hack his stellar ca-
reer in the *^lms.

Hut to interrupt our
findings to turn to
\\>eightier things :

"Tell me I look
\ijunger olif the screen,"
commanded Gloria.

We saw our duty and
(lid it. "Exactly how
old am I ?" she insisted.

We [)arried, realizing
\\c were on e.xceedingly
dangerous ground. Fi-
nally, jiushed to the wall,
we hazarded, "Twenty-
two."

"Twenty-one," said
Miss Swanson, in tri-
umph. "You just pro-
1' -ted when I said I

In't want to go on
. Miiping or semi-vamp-
iiiLjon the screen. W'hy ?"

â– ' Because," said we,
trying to take our edito-
rial mind from Miss
Swanson's eyes, "you're
^o vmcannily seductive.
Must vampires leave us
cold, but ..."

"Yes," aided Miss
.S\\ anson.

"You are exceedingly

er--effective."

.\t that psychological
iiiument we arrived in
front of the .\stor.

We sighed with relief

Once inside, Miss Suanson attacked a healthy-sized

luncheon with fervor. .\ waiter attempted to remove the

ctress' orange-juice before she had finished — and she well

igh withered him. Right then and there we decided that Miss

â– wanson might easily speak out her mind. In fact, she did.

Between orange-iuice and soup and chops. Miss Swanson
â– told us more of herself. The daughter of an anny officer, she
received her education everywhere. "It was a terrible handi-
cap." she said, "my education stretching from Chicago to
Porto Rico.

"I first tried pictures with Essanay in Chicago and then I

ent to the coast. There I was with Triangle and later joined

ack Sennelt's comedies. But I wasn't a bathing girl. I
ever — -never — was. Please get that into your interview, wont
lyou ?"

We promised.

(Seventeen)

Photograph © by .MtroJ Cheney Johnston

"I live for today," says
Gloria Swanson, "anti I try
to get every bit out of It.
I dont believe in waitini, for
tomorrow. Life is too short
for that." That sums up
her philosophy of life in
general

"We did a series of juve-
nile comedies in which I had
a leading r(ole. Then Mr. De
Mille gave nie my chance in
drama. That's all. As I
never cared for comedy and
my whole heart is in dramatic
work, you can guess how
hard I worked to make good
with Mr. De Mille."

We asked Miss Swanson to tell us her philosophy of things
in general.

"I live for today," she said, ''and I try to get every bit out
of it. I dont believe in waiting for tomorrow. Life is too
short for that."

Then our interview drifted until, like all interviews, it came
(Continued on page S3)

^

/> ^

Imagine the "male
vampire" of the screen
being a New Eng-
landerl A 1 1 h o of
French descent, (his
real name is Cote),
Cody's home town is
Waterville, Me., a few
miles from the home of
Dustin and William
Farnum. He soon for-
sook Maine for the
stage

YOL' may, perhaps, think it strange that the
original "He Vamp" star of the screen
should have come from New England.
And then, again, you may not. It all depends
on whether you have come from there your-
self, or on whether you still live there, or on
whether you have never been there at all. Un-
doubtedly, there are people who are "un-pro-
foundly" affected by their environments : for
instance. Lew Cody.

"Dustin Farnum used to live within a few

miles of Waterville. Me., which is my home,"

he remarked. (We were, by the way, at

iimcheon at the Alexandria and some moving picture notable could be seen

at almost every table). "We often get together," he went on, "and talk

over the scenes and people we used to know.
Of course, we didn't live there at the same
time and we didn't really know the same peo-
ple, but that is a mere detail. In that neigh-
borhood, the scenes and the people seem,
somehow, always the same ; the same yester-
day, today and forever!"

There, then, you have the material for a tragedy by Ibsen. Think
of it! Lew Cody, whose real name is Cote, a boy of French de-
scent, living in a place where, if one can believe some of our best
fiction, people take their sins and their virtues very seriously and
where marriages are made in Heaven for life and for popu-
lation!

He could read French, too ; gracefully written tales of grace-
ful love affairs, sincere while they lasted, lightly undertaken and
gracefully dropped. Why, he might have committed suicide —
or matrimony — before he was eighteen, with vine leaves in his hair
,ind all that sort of thing. But instead of that, he did something
that could never have occurred to a character of Ibsen ; lightly and
without any particular brain storm, he decided to go away.

"One afternoon, after a whole day spent reciting poetry at my-
.self, I went to my father and told him that I was going to go on
the stage. '.'\ll right!' my father .said. "When are you going?' Of
course, that was all wrong. He should have objected violently. But
he must have had too keen a sense of drama, himself, to do such
a commonplace thing. Instead, he staked me to a wardrobe and
I went to New York and got my start almost at once."

This was with Mary Mannering in "The Stubborness of
Oeraldine." Then came melodrama with .\. H. Woods: such plays
as "Fast 1 ifc in New York" and "The Power of Money," an

( Eighteen >

Lewis Cody, H. V.

By ELIZABETH PELTRET

WHl!:.

experience which, he says,
he would not take any-
thing for. And then, with
all of his energy, he
plunged into stock, becom-
ing actor-manager of his
own company, the Cody
Players, just out of New
York. He had four com-
panies before that began to
tire him and then he left
them to shift for themselves
while he came to the Pacific
coast with the
Winter Garden
production.

"I've been every-
thing in the pro-
fession except a
clown in a circus."
and but for its being
such a serious job, he
might have been that
too.

He fell instantly and
intensely in love with
Los ,-\ngeles and de-
cided to return
sometime and re-
lain indefinite-

. It was at

is psycho-

"Do I believe in marriage?" says
Lew Cody. "Yes, indeed — for
other people. I think it is a beauti-
ful institution. But the human
fgical moment that butterfly type— male or female—

thomas Ince sent an should be free They cant rub up

J â–  -.u tu / agamst the httle troubles of every-

imissary with the ot ^^y life ^„^ ^^gp ^^e gloss on their

ler of a screen con- wings"

fact.
Undoubtedly, Lew Cody's best work was done, not
ader contract, but as a free lance, in such pictures ms the
ois Weber productions "For Husbands Only," and
i?orrowed Clothes" with Mrs. Chaplin. Cecil B. de
lille'.s "Don't Change Your Husband " and "The Life
Line," and "The I'roken P.utterfly" with Maurice
fournier.

When 1 saw him at the .Alexandria, he had just
j^nished his first picture made with his own company and
had collaborated with his director. L. Gasnier. in the
priting of the story. His second picture, he said, is to
"The I'Utterfly Man" from the book by George Barr
McCutcheon.

Lew Cody is, himself, very much of a "butterfly man."
That is. he has the quick, volatile temperament of the ar-
tistic b'renchman who is also a natural dilettante.

"Until a year ago." he .said, "I never had any particular
imbilion. 1 was conscientious enough in my work and all

that, but " He made a gesture with the hand that held

liis cigaret. Very quietly, in fact without attracting his attention
|h the least, it left its holder and deposited itself on the tablecloth
vhere it went on burning merrily. "(~)h. look!" I c.Nclainied, point-
ng rudeh-. For a moment he was decidedly puzzled; "How did that
feet there :" and then, with a glance at the exquisite but empty holder,
(Cot'thntcd on f<(ifir HO)

^yiiiftceii}

-â– ' '*:

i

"Vv

%r -

VW-,

W^^

Fhotogtnph Hy Alfred Cbency Johniton'

Betty Blythe:

The Peacock

Princess

"f WAS born in Los Angeles," began Betty
i Blytbe, as she whisked a heap of pink
chiffons from one chair and a pile of let-
ters from another, drawing them nearer the
window where we could watch the glorions
view of the mountains which so entrances her.
"After being away for nearly four years,
it is such fun to be back. Mere in Hollywood
there are no elevated trains, no subways, no
crashing traffic, just peace and quiet, why, it's
heavenly. I was so thrilled the tirst night
after my arrival to hear a cat fight on the harl<
fence, it sounded so rural.

"These silver nights are wonderful, too.'
she continued. 'I wander all over the hills. I
walked thru the big gates into the lovely
grounds of the Japanese place on that liill last
night and suddenly, while enjoying the wonder I
of the scene, I heard the strangest noises. 1
stopped to listen and the next minute 1 saw
there were monkeys swinging from tree to
tree in the moonlight. 1 didn't run linnic,
flew!"

lietty Blythe is another of ihe bright lights i
that the Goldwyn studios have added to their'
splendid stock company. She has just com-
pleted "The Silver Horde," a Rex I'each story,
and will next appear in a Brentwood produc-
tion under the direction of Henrx Kolker.

"1 have played so manv vamps," said Betty, j
"that I am glad of the opportunity to plav this
role of a splendid woman who finds her happi-
ness in the development of her own soul, not j
in wealth or power. And clothexl Oh, I ami
to wear some gorgeous things,"

Going to her closet. Miss Blythe brought \
out an array of ravishing costumes and spread-
ing them on the bed we indulged in a feminine
orgie of tulles, chiffons, lustrous satins and rich
furs.

"Of course, like most women," said Betty, \
"I have always longed for beautiful clothes and
now that I can have them I love the planning
and designing. I sometimes wonder if my old
vision of realizing the poetic sense of literary i
effort is merging into a passion for clothes.
However, in motion pictures they play such an
important part that I feel justified."

"How did you discover your own particu-
lar style?" I asked, remembering the distinc-
tive manner in which thi,s stunning girl is al-
ways gowned.

"My dear," she replied solemnly, "it took
three years and an awful waste of money to
teach me that I must civilize my weird ideas —
I do so love queerish styles — if they are be-
coming.

"I adore brilliant
colors, they brighten
one's mood, while
laces .seem fl/we. Look
at this shimmery sym-
phony which also per-
sists in shimmying,"
laughed fietty. hold-
ing up a fascinating

(TKenUi)

Betty Blythe made
her first appearance
on the stage in
vaudeville billed as
"The Peacock Prin-
cess." The foot-
lights finally led to
the screen studios —
the Vitagraph, in
particular

By

MAUDE S.
CHEATHAM

frock of cloth of gold
with its bands of
heavy silk fringe
forming the "shim-
mying" skirt.

Winding herself in-
to a luscious Moorish
yellow crepe negli-
gee and sweeping
across the room, she
remarked, "I glory in
trains and tassels, too.
The last time I wore
this I killed a man —
it photographed beau-
tifully! I'm going to
have it made over.
I'm always saving
things, if I should
die suddenly I would
miss a lot of fun for
I have such stacks of
lovely materials wait-
ing to be made over."

Then, sitting on the
edge of the bed sur-
rounded by these lux-
urious clothes, .she
told me some of her
early experiences.

Betty Blythe made
her first appearance
on the stage billed as
"The Peacock Prin-
cess." In a sumptu-
ous gown, made en-
tirely of peacock
feathers, she put on
her own little musi-
cal act at Pantages
Theater, in Los An-
geles and scored a
success.

"It was a beautiful
gown," said Betty,
"and I felt so grand
and struttv and excit-
ed with all those bril- Photograph by .Mfred Cheney Johns,, -„

liant colors flashing about me. Everything was going beauti-
fully and 1 had dreams of being a real prima donna; you
know, I spent two years in Paris and London studying voice
culture. Then suddenly, my mother and a sister passed away
and I was gripped by the old Chinese superstition of peacock
feathers, and I wouldn't go on with the act."

After a season with Oliver Morosco's "So Long Letty," in
Chicago, and a summer in stock in Albany Miss Blythe had a
chance to play on Broadway with William Elliott in
"Experience." '

"With the closing of this engagement," she went on, "I
had a taste of the fighting struggle which girls usually have
when they buck up against New York. Out of a job, the city
frightened me. I believe the fear of going broke frightened me
most.

"Every day for months I made the rounds of the theatrical
agencies. It was heart-breaking. Only once did a ray of light
penetrate. A Shakespearian actor took an interest in me and

(Twenty-one)

"I want love to
come," says Miss<

Blythe. ''I've
reached the point
where I long for a
home and a more
unselfish life!"

promised I should play Ophelia in his
company. Now, all my Hfe I had
wanted to play Shakespeare. When I
was only 12 my sister started me read-
ing his works in the original and by the
time I was 16 I had read everything he
had written and had made up my mind
to be a tragedy queen, a second Mar-
lowe, so this seemed the coming true of my early dreams.

â– 'After spending weeks rehearsing Ophelia, and building my
hopes to the very sky, the venture fell thru, and I went, left
with debts and all my illusions shattered. Really, I contem-
plated suicide, but after all, youth and its reviving confidence
urged me on to win in spite of obstacles.

"One day a girl, whom I knew very slightly, asked me to
go to the Vitagraph studio with her. I believe God sent her,
and I went, really because she was friendly and I so needed
(Continued on page 82)

Photograph by Mishkin

A SCRAP of paper it was which decided the
destiny of Tom Moore, son of Sarah
and Joseph and, incidentally, brother of
Owen and Matt. It happened like this. Tom
was born in Ireland on a farm in County
Meade. Artistic vagueness rather than bold
accuracy places the date of the event as the late
'80's. Now, in those days a small Irish farmer
had about as much chance to make money as a
conductor on a pay-as-you-enter car, so the senior
Moore and his better half decided to seek the city and
open a shop of some sort. So they sold all the things on
the farm, collected the family and put them in a jaunting
car, and then Mrs. Moore turned to Mr. Moore and said,
"Whither thou goest, I will go, and where thou lodgest
I will lodge, but whither do we go and where do we
lodge ?"

"I never thought of that," said Moore the elder. "Now
what do you say ?"

"Dublin," said Mrs. Moore.

"America !" cried little Tom.

"We'll draw lots for it," said Moore, the elder. So
pieces of paper, marked "Dublin" and ".America," were
put into a hat. Little Tom put in his hand and drew out
"America," and America it was.

Now, we set down these facts triumphantly, and so
would you if you had worked as hard to unearth them
as we did.

Once upon a time there was celebrated in song a girl
named Annie Moore. History says little about her, save
that she was sweet and that we'll never see her any more.

Moore o' Count
Meade

To this branch of the family we are quite
sure Tom belonged. If you ever do see him
and have any idea that you ever will wish t(S
interview him, "do it now," for you never
will see him any more.

Both Tom and Owen are coy and elusive
as the first snowdrop, and all the time we do
not blame them in the least for not wanting
to be interviewed. We are quite sure that
we should never want to be interviewed
by us.

About a year ago we were asked to inter-'
view Owen Moore. He consented, but he
still owes it to us. And then our editor gave
us a standing order to interview Tom Moore.
So long as he was safe and sound out on the
Pacific Coast in the Goldwyn studio, we did
not worry. We decided that we could not be
expected to go as far as that, but then one
day we heard that he was here in the East
"on a vacation."

The words had a portentous sound. It
seemed such a perfectly legitimate excuse for
not being interviewed. However, we tried
out our luck by calling up the Gold-
wyn office and asking for Tom .
Moore's address. "He just
went out of the office on his
way to the Lambs', but i
we are not allowed to give i
any one his address. He |
is on a vacation." i

So we called up the i

When the Moore family
decided to migrate
from its tiny farm
in the County Meade,
Ireland, the problem
of destination arose.
So they drew lots.
Little Tom put in his
hand and drew out a
bit of paper marked
"America"

(Twenty-two)

By HARRIETTE UNDERHILL

Lambs, and tliey said, ''He has gone over to
the studio." There didn't seem to be any way
to get him excepting to call Central and ask
for Fifth Avenue between the Lambs and the
Goldwyn office, and this wasn't feasible owing
to the present strained relation between the
"hello" girls and the innocent bystander, so we
decided to let nature take its course.

The best way to do this is to walk up Fifth
Avenue from Forty-second Street and wish.
We hadn't been doing this more than two
blocks when we met Tom Moore face to face.
Now, altho we are a firm believer in this con-
centration thing, when we met our victim we
were so surprised that we said, right out loud,
"Aint nature wonderful !"

"She is," agreed Tom Moore, "but why?"

Of course, we didn't dare tell him, because he
would look upon us with cold disfavor and say,
"I'm on my vacation." So instead we said, "Why,
meeting you and everything like this, .^nd do you
remember the time we interviewed you, over in
Fort Lee, when you first became a (ioldwyn star, and
the funny little place where we had luncheon and the
woman who put the records on the graphophone,
records that were round, tube-like things, and the
phonograph had a horn ?"

"Yes, a horn like a director uses," and Tom laughed
just the way he does on the screen. He always laughs
that way. It is one of his charms. You see him
laughing, but you dont hear him.

Now, all this was according to Freud, or somebody
who has theories. We had reminded Tom Moore of
the fact that he had once been interviewed and had
recalled to his mind at the same time all of the pleasant
features of the encounter, so we struck while the iron
was hot.

."Have you got a half-hour to spare?" we said, timidly,
meaning to finish up with "Mayn't we walk over to the office
with you and interview you en route?"

"Indeed, I have," he answered, cheerfully. "Let's go in here
and have a cup of tea."

And as we were on the corner of Forty- fourth .Street, and
Sherry's is no more, we knew that "here" meant Delmonico's.
How thankful we were that we had on our imported hat with
the red polka dots on it. tho maybe if we hadn't we shouldn't
have received the invitation.

"See, no belts!" said Tom, with his silent laugh, as he took
off his overcoat. "Do you remember how you got after us
for wearing belted coats and said that Charlie Ray was the only
man who could wear one with impunity? I remember, altho I
felt hurt, how I trembled when I realized that I was wearing a
belt on my coat that day you came over to Fort Lee to see me."

"Aren't you glad you're on your vacation?" we asked, a little
less cautious now that the orange pekoe was between us and
our victim and there was no chance for him to escape.

"Yes. I suppose I needed a rest, only New York is such a
funny place to rest in. You dont do it."

"Have you been working hard?" we asked, trying to put a
lot of sympathy in our voice, so as not to make it sound like a
leading question."

"Working hard? Rather! I've made nine pictures this year
with Harry Beaumont. In a couple of weeks, when I go back,
I am going to have a new director, Tom Mills. Know him?"

We shook our head, and there the conversation switched to
California — California climate. California roads, California
hospitality. Why, one would think Tom Moore was a native.
They always talk like that.

"Were you born in California?" which was an innocent

After the Moores came
to America, little Tom
ran away to New York
and lived there a whole
year. Then he went
home — and to school.
His stage "debut" was
in l*^e mob scene of
"Parsifal"

enough question that any one might
have asked. It had marvelous re-
.sults, too, far beyond our fondest
hopes, for Tom Moore told us all about being born in Ireland
and just how he drew the scrap of paper out of the hat and
came to America. But when Tom got as far as New York he
stopped, at least he stopped in his narrative, but as a matter of
fact, he went on to Toledo, because he had some cousins living
there.

"Had you thought of going on the stage at that time '" we
asked, trying to give the question the proper amount of insou-
ciance as coming from a layman and not from an interviewer.
"No, indeed," he answered, laughing. "You should have
seen me then. I was such a funny-looking little shaver. They
sent me to school, but the wanderlust was in my veins, and I ran
away with just enough money to get me to Jer.sey City. I didn't
have a nickel to get over to Manhattan, but — well. I eventually
got there. My lack of money worried me not in the least, and
I hung around and enjoyed myself between the Battery and
Fourteenth Street for nearly a year. Then I had some prompt-
ings from my conscience and I returned home. They sent me
back to school, but I ran away again — "

"And went to dramatic school," we interrupted. Tom Moore
gave us a scornful glance and, if he had been that sort of per-
son, he would probably have said, "How do you get that way ' "
(Continued on page 79)

!:&iiiiiaaaa0&^-^

The Boy Who

You remember
Wes' Barry as the
remarkable freckled
youngster of "Daddy
Long Legs" and
"The Unpardonable
Sin." The lad is
now fast en route
to stardom with
Micky Neilan, play-
ing the boy hero of
Booth Tarkington's
"Penrod" «tories

By MARY S.

WHY, they're real!" 1 exclaimed.
"The freckles? Sure, they're real," and Wesley Barry
rubbed his brown hands vigorously across his cheeks to
convince ine the speckles would not come off.

"Lots of people seem to think they are part of my make-up
for the pictures," he went on. "If they could see my red hair
they would know the freckles belonged to me. I used to hate
them, but they've brought me a lot of luck and I dont know
what would happen if they went away now." And the funny
"ittle smile that has endeared this twelve-year-old lad to film
fans thruout the country spread over his small face.

"Then, you'll never be tempted by the promises of freckle
cream?" 1 asked.

"I should say not," came the emphatic reply in true mascu-
ine scorn for such methods. "Anyway," he added, "it would
take bushels and bushels to take them ofif. But — looky — my
warts are going away," and he held out his hands for my in-
spection.

"A lady in Boston read that I had warts
and she sent me a pin, telling me to bury it in
the garden and the warts would disappear.
.And, sure 'nufi, they're all gone except this
teeny one and it's going." And again the
"Wes" Barry smile lighted up the sensitive
face.

Tho Marshall Neilan discovered this lad
several years ago and has
given him bits in a number
of pictures, it was not until
"The Unpardonable Sin"
flashed on the screen that
his unusual qualities were
fully recognized.

This was shortly fol-
owed by his splendid work
with Mary Pickford in
"Daddy Long Legs," and
his clever^ acting thruout the or-
phanage scenes — especially in imbibing
the hard cider — will not soon be for-
gotten.

Now, fame and stardom have cap-
tured this little freckle-faced boy, for
he has recently been signed up by Mar-
shall Neilan to create the screen role
of "Penrod," in a series of pictures de-
picting this adorable character in his
boyhood adventures.
Wesley is refreshingly natural and absolutely un-
spoiled and he is taking his good fortune very mod-
e.stly. The best description one can give is that he
is every minute — just real boy!

Since he is under contract and working steadily
he has a private teacher, studying between scenes
at the studio, instead of attending school. He is in
the 8th grade and will be ready for high school
next year.

He told me all about his studies as we sat in an
old swing in the Neilan studio garden iii Holly-
wood. "I like arithmetic and geography, but English
is so hard it makes me mad. I like mechanical
drawing, too, but I am not good at free hand. I've
always wanted to be an electrical engineer, but, since
I'm doing so well in pictures, guess I'll stick to them.
"We had the best fun making 'Daddy Long
Legs'," went on Wesley. "It was mostly on location
and was just like a picnic, for we went out in trucks
and had our lunch out of doors. Those were real
chicken sandwiches we ate in that orphanage scene.
They were a part of Miss Pickford's own lunch and

(Twenty-four)

Capitalized His Freckles

KEENE

^lie s.iid, 'C'liildren, I never can eat all these sandwiches, so we'll
use them in this scene.' Gee, they were good. -She used to give
ine some of her hot cliocolate every afternoon, too, for we would
-ct sn liiiiii/ry.'

"Do you remcmljer the circus in 'Rebecca of Sunnybrook Farm?'
I was tlic ring master. I'll never forget, there was one kid who was so
scared when he had to slide down the chute that we laughed at him. The
most fun was at the barn dance, for there was real ice cream and cake
and we boys would slip around to that corner every chance. Good? Well,
rather: 1 cant say as much for the lemonade, it was positively on the
bunk, one trip was enough for that.

"I was the only funny one in 'The Unpardonable Sin' and whenever it
iLjnt too serious I would come in with some foolishness and jolly everyone
np. 1 did have a big crying scene, tho," he recalled.

"Was it hard to cry?" I asked.

"( )h, no. Mr. Xeilan told me all about it and it was so sad that I
couldn't help crying, that's all."

.\\\<\ just that easily did this little actor dispose of one of the most affect-
ing moments in that tragic picture.

"I like to go and see comedies — I laugh and laugh," and Wesley snick-
ered in true boy fashion, "but I dont like to play in them, for it is a
running and rough stuff. Mr, Neilan jokes with me wdiile we are working
and makes me laugh all the time. Do you know," and the small figure sat
up straight, "I can tell just exactly how he is feeling by his whistle. He
whistles such jolly tunes when he's hajipy, but when he is thinking out some
scene he whistles — oh, you know, that way
up, heavy music. You ought to hear him
play the piano, he can make me cry when
he plays those sad pieces. He can play any
thing'." It is quite certain that here is a
director who is the idol of his own star.

"Which baseball team do you want to win
the pennant?" Wesley asked, suddenly, after
talking of manv things.

"\'ernon," I replied promptly.

"Good, shake!" and he grabbed my hand
in his firm hold, and we fell into a discussion
of the relative strength of the Los Angeles
and \'ernon teams which are battling for the
Coast League pennant.

"You see," said this little enthusiast, "this
is the first season that Fatty Arbuckle has
owned the \'ernon team and I am afraid he
might be discouraged if he lost the pennant
when he is so near it. that's why I want it to
win. Oh, it's just potta to win," he added,
loyally.

"We're getting ready for a big western
picture," said Wesley, "and every morning I
go out to the Lasky ranch and practice
rough riding stunts on a big black horse. At
first he was awfully frisky and tried to buck
me ot¥, but I hung on. I have the swellest
cowboy suit. It cost $200! Want me to put it on so you (an see it?"

So, hand in hand, we raced over to his dressing room where we solved
the problem of straps and buckles as he arrayed himself in a regular
"Bill" Hart western costume. "Look at this belt, isn't it a peach?"
he cried, holding up a broad leather belt. "It is to wear when bucking
to keep from getting all jarred up."

"Let's have your picture taken in all this finery," I suggested, as he
turned about for my approval.

"Oh, I cant," he wailed, "my sombrero isn't here. It is a beauty,
big — you know — and makes me look fierce." Then noting my disap-
pointment, he added, "If you think nobody will notice that I haven't it
on, w-e'll take it."

"Cowboys dont usually live among palms," commented the camera-
man, a few moments later, as Wesley took his place before a huge palm.

"Oh, well," replied the boy, easily, "this isn't the real thing anyway,
for I haven't my sombrero."

VVesley's mother told me that he was a very welcome baby and was

(T)rn)tti-itvp)

♦^'

Photngrapha by Hartsook, L. A.

On these two pages
are glimpses of Wes-
ley Barry in his "swell"
cowboy suit, which cost
exactly $200. Which, af-
ter all, isn't expensive
for a high-priced star —
if he is only twelve
years old

bom with a smile on
his face and has al-
ways been happy and
contented. Two older
brothers, aged eigh-
teen and fourteen,
were given the privi-
lege of selecting h i s
name and they spent
several weeks search-
ing for a suitable one,
finally christening the
baby, Wesley.

Already this name
is becoming widely
known as Wesley Bar-
ry, aged twelve, takes
his place among the
stars of f\lm-land.

The Orchid

By TRUMAN B.

Photographs by Clarence Bui

"So Stands the stalne that enchants the

world,
So bending, veils the mingled beauties

of exulting Greece."

PRRiiAPS the poet would have written
his verse to Naomi Childers were he
here to have viewed her. Perhaps he
would have put into couplets her moon-like
radiance that is shed thruout Culver City,
California; her elan, which is that of a New
York dehutante, and her thoughts, which are
those of the futurists in art.

Which latter sentiment she brought to light by
insisting upon having art for luncheon, in the
form of a lavender room with light-grey furni-
ture and Erte drawings in frames upon the
walls, and vivid cretonne at the windows
It's so much nicer, she remarked, to dine
in a place where you needn't swat the
proverbial fly and partake of nourish
ment from inch-thick near-china.

Art, it has been said, is an aux-
iliary to happiness. Art, Miss
Childers, avowed, is a necessity
and, when you glimpse her in the
flesh, you're certain to agree with
her. But, in the flesh she is ex-
actly the same as she is on the
screen, a Broadway Lady Algy,
with her soft, semi - Southern
drawl, her gracile bearing, her ta-
pered fingers and her cameo-like
Grecian nose.

It just happened that, as
the statue said, .Mlah pro-
\-kjeJ this interview. Al-
I.lh always provides:
h« has come to

Miss Childers' aid at various moments when the
clouds have been tinged with grey. He put her
onto the stage, and she will emphatically tell you
that he will some day put her back there. She
was about to say more aMhut her Allah, but the
waiter appeared. Tea and cakes, two lumps in
the tea and a dash of lemon.

In anticipation of the gastronomic revel. Miss
Childers glanced about her. The little Bakst
lunchroom seemed the rendezvous of numerous
photofamous. John Bowers, after bowing him-
self in, sat in a corner and commenced to sing
something about Kentucky and the angels to his
own mandolin accompaniment. Madge Kennedy
read a letter. Enid Bennett and her husband.
Fred Niblo, chatted volubly with Geraldine Far-
rar, whose French maid, nearby, was watching
her with hawk-like intensity. Tom Moore pala-
.vered with Charles Ray and his wife,
and Mabel Normand was going
into ecstasies over a new con-
signment of photographs
received by Pauline
Frederick. Miss
Childers put her
chin in her
hands and
looked wist-
fully thru
a pair of
violet - grey
eyes.

Any stranger
who'd ever
seen her in the
Goldwyns o r
the old-time Vi-
tagraphs, would
have recognized
her, a 1 1 h o her
manner, semi-cold,
semi - disinterested,
would not have
spurred him on to ap-
proaching her without
due formality.

Pictures, the willowy
Naomi will tell you, have
not changed greatly — at
least from the actor's
standpoint — in the inter-
val of the present and
when she played with
Vitagraph, perhaps some
two or three years.

"Oh, we have hot and
cold running water in our
dressing rooms now, and
perhaps a bit of cretonne

Naomi Childers is a
Broadway Lady Algy,
with her soft Southern
drawl, her gracile bear-
ing, her tapered fingers
and her cameo-like Gre-
cian nose. Herewith are
three snaps of Miss Child-
ers in the Goldwyn stu-
dio yard at Culver City,
Cal.

^m

T '^^vSr^^

(Twenty-six)

Blooms

HANDY

and a picture or two," she drawled. "Otli-
crwise, it's the same. But the directors
(iiint seem to swear so much, and the
continuity we work from is more com-
plete."

I asked her how she felt the first time
she stepped before a camera. Was she
frightened; did she faint?

"No." she purred, "I wasn't frightened,
and 1 was too inexperienced to know how
to faint gracefully. We all felt rather fun-
ny, thn — Mdith Storey and Rose Tap-
ley and Harry Morey and the rest of us
at \'itagraph. They tell me they all ex-
perienced the same sensation that I felt, a
sort of daze like when you're awakened

I in the morning by the ringing of a bell
and you dont know whether it's the tele-

l phone or the alarm clock."

f The Childers reminiscences, witli their
colorful narrative, delivered with a smile
and with, the eyes half closed — provoke
the risibilities of even Tom Moore, who
has heard them told before by others.
."Vud the orchid-girl speaks feelingly of
Edith Storey, who she says is "the clev-
erest woman on the screen," in addition
to being one of the most heroic women of
the countrv.

Two views of Miss
Childers in Tom
Moore productions.
Most of all Naomi
craves: "Three pic-
tures a year, a
house at Newport
with a real collec-
tion of genuine
paintings, some
good-looking gowns
and large quantities
of French novels"

fTirfiittfsevenl

"She could always do
everything none of the rest
of us could do," she said.
"She could ride and swim
and look beautiful when she
was dead tired. .\nd act!
There was no chance for
anyone else when she was
on the lot."

And changing the topic to
contemporary pictures, my
subject impresses one with
having given considerable
* thought to the art. She

asked me if I'd ever read Vachel Ij'ndscy. I had? Then, per-
haps, I might in a measure understand what she thinks — main-
ly, that being a star isn't the greatest thing in the life of a cina-
mese.

Nor will pictures ever progress until one Mr. Griffith gets
a new idea and infuses it into the shadow-play.

"Why.-" she asked and explained. "Because he seems to be

the only man wliom people have consistently followed and to

whom people look for something hitherto undone to be done.

And one of the main reasons for his success hinges upon th''

(Continued on page 76)

Lionel Barrymore is dividing his
time between the {ootlights and the
films. His remarkable stage per-
formance in "The Jest" is in
marked contrast with his celluloid
creation in Famous Players-Art-
craft's "The Copperhead." At the
upper right is a glimpse _of Mr.
Barrymore in "The Jest." The
other two pictures are from "The
Copperhead"

(Ttntnty-eight)

She Loves and Lies

Fictlonized from the Norma Talmadge Photoplay
By DOROTHY DONNELL

MAKii; Calli;nder was waking up luxuriously. The process
was a very becoming one, involving many dainty yawns,
much stretching of round, dimpled arms and rubbing of
velvety brown eyes. For two weeks she had enjoyed this por-
tion of the day with a passionate delight such as can only be
experienced by those who have been accustomed to being
awakened by the raucous voice of a tin alarm clock to the
smell of frying boarding-house onions and a battle of wits
for the pos.session of the bathroom.

It was a wonderful sensation to be able to turn over on one's

pillows in defiance of the
sunlight pointing an ac-
cusing finger thru the
drawn dimity curtains, to
sleep and wake again, and
half sleep and drowse.
and at last to sit up among
one's tossed linen and silk
covers — so, and reach out
a pink finger-tip — so, to
the bell that will .summon
deferential maid and a

â– â– â– Si,'';

silver and fragrant breakfast tray. Marie's finger fell
abruptly. She shook the last traces of sleep from her with a
single jerk of her dark curls, drew her knees up to her chest
and encircled them with her arms.

"Oh, darn!" she sighed. "What a silly world this is any-
how !"

Surely an ungrateful remark from one who in the last fort-
night had taken the step from poverty to riches with a single
bound, but there was the crumpled newspaper on the floor,
where the eyes of her extremely active imagination could read
the words that provoked the remark. "Young Ship-Builder
Threatened with Bankruptcy. Ernest Lismore .Said to Be in
Xeed of Large Sums to Defeat the Conspiracy of the Stock-
holders ''

"I wonder,' mused Marie, "what 'large sums' means? I've
seen the time wlien a five-dollar bill looked like all the money
in the world. .\nd he has such ducky eyes, and such a per-
fectly sweet chin ! It's simply wicked that he should have to
fail when I've got a million or two that he could have just as
well as not, and all because of the perfectly stupid things
people would say !"

With Marie thought and action were practically synonymous.
She reached for the telephone, disguised as a Dresden shep-
herdess, on the stand by the bedside and called a number. After
a season of energetic waiting — Marie was always energetic — a
protesting voice answered, evidently around a cigaret. "If it's
the landlord, all I've got to say is that you'll have to wait —
and serve you right, too ! The roof leaked last night and
turned a perfectly good clay model of 'The Naked Truth' into
mud — positively mud! It's the worst attic in the Village, and,

believe me, if you think "

"Polly!" — Marie shook the telephone irritably — "for
heaven's sake quit it ! I'm in terrible trouble, and you've got
to help me !
Trouble ? You ! What trou-
ble can a girl with a million
i dollars have?'' Polly's

amazement evidently dis-
placed the cigaret.
"Lord, child, you
;.„ _ dont know what

''"'^''^i'.. the word

rfi ■:.,. means —

Marie shook the
last trace of sleep
from her with a
single jerk of her
dark curls, drew her
knees up to her
chest and encircled
them with her
arms

ItweMtiinxne)

MOTKIN PICTURE

Ernest tried to drink
his frosted tea cake and
to crumble his cup.
His handsome young
face was dully crim-
son

look it up in the dictionary."
"It isn't money," Marie wailed,
"but — well, the fact is — I'm in love !
What's that ? So long as I'm not
married, that's not a trouble? But
you dont understand. I dont even
know him, and now on account o£
this darned money, I never shall ! You see, he lived next door
to Mr. Goldsmith when auntie and I were there last June, and
when the fire happened, he rescued me, and so — well, of
course, I fell in love with him, but poor William was so jealous
he wouldn't introduce me. and now he's going to fail in busi-
ness and I cant do anything! How can I go to him and say
'Take my money ! I've fallen in love with your eyes !' Oh,
he'd despise me ; he'd think I was hold and brazen and un-
feminine — what's that ?"

For a long time the other end of the wire hummed, and
Marie's expressions ran the gamut of emotions from doubt,
disapproval, to final enthusiasm. "Polly, you bobbed-haired
Solomon ! Vou Socrates in smocks ! I believe to my soul
you've hit it ! A girl that can out-Eddie Foy ought to be able to
—I knew there was some reason why I kept my make-up box
and props ! Oh, boy ! Wait till you see !" and she kist the
telephone ardently. "Good-by, darling! You certainly have
got brains, even if you do live in Greenwich Village!"

Ernest Lismore was a man without discernment, which is
really tautological. No man is discerning, but he had even less
than the others of the bifurcated sex. Still, let us give him his
due. Marie Callender had not been Marie Max of the two-a-

day for ten years without result, and, moreover, the piece oi
work she did now was the best she had ever accomplished.
There was in the dainty, dignified little old lady of sixty-odd
who sat serenely pouring tea with little, delicately withered
hands, not the the faintest trace of the lovely little plotter of
the morning. From iron-grey, high- piled hair to the tips of
her cloth-gaitered boots, she was perfect, and her voice carried
out the illusion with its tiny suggestion of a quaver, its precise
enunciation.

"My dear boy, there is nothing in the least odd in what I'm
suggesting," she assured the perturbed and visibly embarrassed
young man before her; "it's simply that I'm interested in you,
as a grandmother lady is privileged to be interested in one who
might have been" — she sighed artistically — "should have been
lier own kith and kin if there had not been a miserable boy-
and-girl misunderstanding half a century ago!"

Ernest made a ghastly pretense of laughing lightly. To find
a might-have-been grandmother, and to have her propose to
one all in the course of fifteen minutes, w upsetting, and several
nights of insomniac wori-y had already weakened his consti-
tution. "It's awfully kind of you — awfully good and all that,"
he choked, "but really. I dont see "

"You dont have to see," this amazing old lady smiled, and
he noticed, with a sinking of the heart, that despite the network
of fine lines in her cheeks, her chin was really terrifyingly
determined. "Of course, marriage with me would be a mere
matter of form in order to enable me to get possession of my
money. I have already explained the terms of the will — the
princijial comes into my possession only when I marry 'from

(Thirty)

CLASSIC

choice.' Vou take tlie money, save your business, and return
it, and whenever you wish I will free you. Perfectly simple,
per-lecl-ly — a mere business proposition."

F.rnest tried to drink his frosted tea-cake and to crumble his
cup. His handsome young face was dully crimson, his young
hands shook, his young voice also. "I — of course, it's impos-
sible to take advantage of your kindness, but I'm no end grate-
ful! I'll make out to weather this storm somehow, and if I
dont — well" — he stretched out his big, lean hands — "I've got
these left."

"Nonsense!" said the little old lady, vigorously. When she
was aroused, her voice seemed to lose its quaver of age. "Be a
sensible boy. I'd adopt you if I could get around that idiotic
will, but as I cant, I'm going to marry you. Tltat's settled.
.\nd now have another cup of tea and let's talk about politics
or something!"

It was her matter-of-factness that won out in tlie end. She
actually made the incredible thing sound plausible, even sen-
sible. He went away from the grey-shadowed room, with its
.subdued lights and cosy tea-table, with the feeling of a sore-
hearted youngster who has been comforted. It seemed as if a
load had been taken bodily off his shoulders, and tho he called
himself "cad" and "contemptible cur" and other hard names,
he found himself actually whistling as he strode up the avenue.
The shipyards would be saved, tlien, and he would have a
wife — a dear little, grey little grandmother- wife who would pet
liim and bully him and iiour out tea from a squatty silver pot.

"Of cour.se," Ernest Lismore assured himself, "it isn't true
— any of it! And she least of all! Yet I couldn't have
dreamed her possibly. And of course, I'm not going to do it:"

But he knew quite well that he was going to do it. And he
did. He was very silent on the ride back from the church,
where the ceremony had been privately performed, so silent
that the small grey person beside him was secretly rather dis-
mayed. But once in her sitting-room, he spoke with stern lips.
"I am ashamed of myself for saving my business in this way.
I didn't realize what I was doing until the minister said those
words. .My ( ^od ! Why, I
ought to be horsewhi|)ped for
letting your divine kindness of
heart make me fall so low !
But I'll try to make the best
amends I can, and that means,
first of all, I'll save my shipyards
and pay you back, and after
that '-"

He did not finish, but alone
in her own room later, Marie
finished for him. "After-
wards, my dear," she
said to the little grey
person in the glass be-
fore her, "after-
wards he is going
to throw us over.
Oh, very nicely,
and very graceful-
ly, and all that,
but that's what he
means." Her lips
took on naughty

Of the ensuing
hours he had only
a vague recollection
... of one lady . . .
who finally insisted
in sitting upon his
knee

and most ungrandniotherly curves. "He's certain to fall in
love," she mused, "and I wonder — I wonder who's going to be
the girl? As his wife I surely have the right of picking out
my successor, at least. Yes ! I think Polly can be useful
again!'

For .some weeks the marital life of Ernest Lismore ran
smoothly, being confined chiefly to breakfasting across the
table from a dainty little lavender figine, all rufifles and rib-
bons and old-fashioned gilt-gold brooches, who saw to it that
his toast was soft and his egg hard and his coffee exactly the
right shade. Behind the disfiguring spectacles his wife's sur-
prisingly young eyes rested on the handsome head behind the
morning newspaper with anything but a maternal expression,
had he either seen it or been able to interpret it, but his atti-
tude toward her was one of distant respect. He was some-
times garrulous, sometimes pettish, sometimes sidky, some-
times gay, but he was never affectionate.

"It's high time," decided Marie's alert brain, under the grey-
waved wig, "that he had a love affair."

The next morning she looked across the table casually.
"Oh, Ernie-Boy," she said, briskly, "I see in die paper that
there is to be an exhibition of modernist paintings in the
Dawn galleries this afternoon. Now, heaven knows where
that is, but you could find out, couldn't you, and go down and
glance over the pictures for me ? I'm looking for a wedding-
present for a young couple I know."

The Dawn galleries appeared to be two rooms, so dark that
they had to be lighted by gas-jets
and painted a startling shade of
orange-yellow. Paper lanterns added
a festive
touch, and
wooden kitch-
en chairs of
purple, picked
out with pink
cabbage-roses.

(Thirtxjone)

A\0T10N PICTL'RK

lined the walls. Several people with prominent souls and re-
ceding chins were moving about the rooms, saying vagfue, wise
things about the exhibit. Ernest, after a single hasty glance
about the walls, began to sneak toward the doors. He did not
care for the exploded-egg school of painting ; he was not at-
tracted to young women who wore their hair short and their
finger-nails long. But before he could escape, a hand fell upon
his arm, pinioning him.

"Oh, Mis-ter Lismore !" gurgled a feminine voice. "Who-
ever would think we should have the pleasure of seeing you
down here! Dont tell me you have gone in for art? Is it
interior decorating? Or the one-act play? And do let me in-
troduce you to Miss Daye — June dear, this is Mis-ter Lis-
more!"

A glance at the speaker, who had fan teeth, wore a dirty
smock of a sickly green and carried a cigaret, opened Ernest's
lips for a denial of acquaintanceship. Wherever she had
picked up his name he had never, to his knowledge, met this
creature before. But with the words upon his lips, he paused.
Beside the weird lady of the pale green draperies stood an-
other, as different as the dawn is different from gas-light, as
the art of Pericles differs from the nrt of Greenwich Village.

June Daye was slim and small ; she w-as dark, with golden
gleams about her ; she was lovely. This much he saw with
the first glance, and seeing. Wisdom nudged him with horny
forefinger, prompting him to flee, while Desire whispered

seductively to him to stay.
He stayed.

Before Wisdom was
finally able to drag him
away, he had spent four
hours in the dim, aesthetic
light of the Dawn gal-
leries, discussing modern-
ist art with the passionate
zeal of a devotee, admir-
ing the picture of the nude
negress seated upon the

top of a cone-shaped mountain, clutching a basket of carrots
and pineapples and signifying the vvhichness of the whither, or
some such thing, as Polly suggested. He was reeling with
drunken sunsets, shrapnel moonrises and geometrical pictures
that resembled the view thru a kaleidoscope when he finally
turned his steps homeward, but it was not of the pictures he
was thinking, but rather of a vivid little face, glowing under
great masses of warm, dark, fragrant hair. Not until his feet
halted on the very threshold of his home did remembrance
flood icily over him — his wife! He was married! He, a mar-
ried man, had actually promised to return to the Village the
following afternoon to drink tea — dare-devil function ! — in
Polly's studio, where the charming June also dwelt !

When, over the coffee the next morning, Marie spoke of the
exhibit, he replied morosely that it had been "tommyrot" and
he had stayed only a moment. "However," he added, with an
effort at nonchalance, "I heard of an artist who does good
work, and I'm going to — hm — run up to her — to his .studio
this afternoon, if I get time."

He had the grace to blush outrageously at this, and departed
hastily, leaving the little lavender lady smiling demurely to
herself over nothing at all. "I shall soon have cause for jeal-
ousy, I fear," she murmured, "now I know how poor, dear old
William felt!"

Thus disrespectfully did she speak of (her elderly fiance,
William Goldsmith, whose opportune death on the very out-
skirts of matrimony had left her the enviable perquisite of
getting up at whatever shameless hour she chose.

Polly's studio proved even more impossible than Ernest had
feared. It was very dirty, very, very embarrassingly feminine,
with its intimate garments hanging from the corners of the
furniture, and hairpins, cigaret ashes and powder scattered
over everything. It contained broken chairs, tables with un-
washed dishes, a model throne, several sticky clay statues —
and June, June, looking more adorable than ever in a loose
smock of a flaring pink that lighted twin flames in her soft
cheeks as she smiled shyly up into his eyes.

Of the ensuing hours he had only a vague recollection after-
ward. He knew hazily that
there had been other people,
awful people who tittered
shrilly, and smoked like fur-

He saw Marie lean
forward and just
brush the hair of the
handsome y. f. with
a kiss

(TMrt^-tviOj

naces and struck posterish attitudes. He knew that there had
been one ktdy arrayed airily in a sheet, and bare as to feet,
who did a dance which slie entitled "Psyche, the Soul," with
much elbow mntinn. and who finally insi.sted, to his horror,
in sitting upon his knee and doing things to his hair while he
writhed in agony.

He knew that there was a blessed interval when he was
alone with June, -\fterwards, in the middle of the night, he
awoke in a cold sweat trying to determine what he had said to
her. and only after great mental strain being able to assure
himself that he had spoken merely of .Art with a capital "A."
"I wont go back to that
damned place !" he cried out
loud, blushing chastely in the
darkness at the memory of the
barefoot lady. "Hang it all,
I'm a married man "

But — "Married your grand-
mother!" jeered his baser self,
startlingly apt. "Think of
that girl, man ; think of her
hair, think of her eyes, and
the way her face crinkles up
when she smiles."

For several days Ernest
managed to withstand tempta-
tion, much to the unwifely
chagrin of Marie Max, nt-c

(Thirty-three)

SHE LOVES AND LIES

Fi-jtii'iiizcd from the Norma Talmadgc screen pro-
diictiaii. adapted by Grant Carpenter from Wilkie
Collins' story. Directed by Chester VVithey. Tlie
cast:

Marie Callender 1

Marie Max v Norma Talmadge

June Dayc )

Ernest l-ismore Conway Tearle

Polly Poplar Octavia Broske

Bob Bruniniel Phillips Tead

Carrie Cliishohn Ida Darling

I allender and. more lately, Lismore, J^^ ^'.^'' ^*"J

, , . u iU ' c Ernest Lismore and

who also went by the cognomen of j,j 5^;^ jf jjIj^ ^

June Daye. "He doesn't love me, prayer

after all, Polly!" she moped, poking

disconsolately about the studio. "I

dont know the first thing about vamping, evidently."

"He's afraid," the canny Polly opined. "Scared to death".

I've noticed it myself. Men always run away from me for

fear they'll fall in love with me."

But if Ernest did not come. Bob Brummel, an old flame

of the period of the two-a-day, did. A slapstick comedian,

Bob, who had originated
an act called "A Half-
Hour with an Umbrella,"
which, according to his tale,
had brought 'em down from
good ol' Peru, Maine, to the
well-known Los Angeles. It
was good to hear the almost
forgotten patter of the stage,
and Marie forgot, for the time
being, her marital, and love
tangle. But Bob soon brought it
to the fore by attempting a kiss.
"You mustn't!" Marie cried,
in a panic of propriety. "I'm
— I'm married now!"

(Continued n>i page 86)

Photograph l.y Hartsook

BKFORF. me sat the Idealist of
the screen, Maurice Tourneur!
Leaning back in my chair I
studied the man who has made
fairy-tales, visions, and poems
live and breathe before the
camera.

Mr. Tourneur is somewhat
larger than the average
Frenchman, and indeed, looks
more like a husky athlete than
an artist and poet, yet the mo-
ment he spoke I felt as if I
were in the audience chamber
of an Oracle, for every word
he utters is heavy with mean-
ing and significant of deep
thought.

"Life is so beautiful
we should not wish to
change it, yet that is
what we endeavor to
accomplish in motion
pictures," began Mr.
Tourneur, gazing
thoughtfully thru the open
windows of his study at the Goldwyn
studio in Culver City, where he is making
his pictures. '

"On the screen the lovers always
plight their troth in moonlit gardens
where birds are singing and roses bloom-
ing, while in reality, love comes quietly,
mvsteriouslv, anywhere, everywhere—

Idealist and Artist

in the noisy thorofare, in the shabby cottage, in
the \ illage street — it awaits not for the proper 'set.'
"We must learn to find romance and beauty in
eyeryday life, among everyday people. This is
the appeal of O. Henry, he found love, adventure,
romance, in every moment of life.

"Oh, for a new director, a young revolutionist I
One who will come into the field and, flinging open
the windows and doors, sweep aside the old con-
\entional methods. It is the obvious that holds us
manacled to the old systems.

'Think of the relief it would be to show the bad
man of the play doing a good turn for once; to
allow the hero to slip occasionalh- ; to permit the
vampire to forget her eternal cigaret and give alms
to a poor beggar!

"Think of the sensation it would cause if that
young director of the future — the one who is going
to make every one of us gasp — will not take his
scenes in the best of conditions, with a perfect
backlighting beautifully reflected by silver screens,
but instead, take them as they really are, in the
morning with long shadows, in the sadness of dull,
grey weather, perhaps even in the rain. With
the.se snatches of life, seen thru an artist's eyes,
he will have a magic garment which will prove
astonishingly beautiful and delightfully realistic —
life itself!"'

"And 'Treasure Island,' why did you select it for
a picture'" I questioned, breaking upon his reverie.
"Chiefly because everyone loves the story," came
Mr. Tourneur's prompt reply. "There was one
thing, however, that worried me — the lack of ro-
mance, I mean, the lack of se.x appeal romance.
I had the choice of changing it into
a conventional love story, and I
would rather have died than do
such a thing, or of putting a girl
into the cast in the role of Jim

Hawkins.
Mason
plays
this role.

I put the girl in. Shirley

"Oh, for a new direc-
tor, a young Revolu-
tionist!" says Maurice
â– Tourneur. "One who
will come into the field
and, flinging open the
windows and doors,
sweep aside the old
conventional methods.
It is the obvious that
holds us manacled to
the old systems"

(Thirtufour)

By MAUDE S. CHEATHAM

She is the size of an eighteen-year-old lad and is
an excellent actress. Oh, I have already been criti-
cised for doing this but it seemed the better plan
to me.

"There is plenty of romance of the sea in 'Treas-
ure Island.' You remember the pirates? I made
them prominent, and what a time I had with those
pirates. At first they acted like a Sunday school
class at a picnic or a lot of ma.squeraders strutting
around the plaza on a holiday parade. Toward the
end, iiowever, they became very clever. Mj' God,
how they learnt to swear ! I blushed while I took
the scenes. They were dirty, too, and enjoyed it
after true pirate fashion.

"We hear much about the American audience not
caring for fairy-tales, that they are too practical to
find enjoyment in such wild, imaginary stories, and
when presented as fairy-tales this is only too true, but
in the present-day motion pictures we must admit that
the characters are just the same as in the fairy-tales.

"To be sure the handsome hero wears a frock coat
or sport flannels rather than the feathered cap and
velvet mantle of the days of yore ; the lovely
princess is attired in mod-

ish frocks rather than m
the cloth of gold woven by
the Queen of the Fairies.
"The story is the same,
for the good fairies are
always more powerful
than the wicked, the
monstrous dragon, or vil-
lain, is always vanquished,
virtue triumphs over
evil, the lovers marry and
live happily ever after.

"Motion Pictures must
move onward to the
place where life seen
thru an artist's mind
will find expression on
the screen," says Mr.
Tourneur. "Suggestion
must take the place of
exact delineation, im-
pressionism in place of
the literal transcription,
alike in motive and
execution"

^^^iPT

"This only shows that audiences do not always
know what they want. The artist, the musician, do
not ask their patrons what they want, they give them
what they themselves mish to give them. The mo-
distes do not ask their customers what the styles shall
be. Oh, no, they get together and decide that next year
the women shall dress to look like mushrooms, and be-
hold, next year thev all look like mushrooms, and they
like it!"

Maurice Tourneur's life has been most eventful and
colorful. He was born in France in 1878, graduating
from Lycee Condorcet at the age of eighteen. His first
step in the artistic w-orld was as a designer and interior
decorator. He illustrated everything, designed fabrics,
lace curtains and stage settings. He became associated
with Rodin, and later assisted the great artist, Puvis de
Chavannes, in designing the decoration for the Boston
Public Library. Then came three years in the French
Army as an officer of artillery.

When his period of military service expired he turned

to the stage and his rise in this profession was rapid.

His first engagement was with a road show giving four one-act plays

on one-night stands, and Mr. Tourneur laughingly recalled in those

four plays he acted nine parts.

This was followed by a world tour with Mme. Rejane, which in-
cluded England, Portugal, Italy, Spain, Africa, and South America.
It was about this time that motion pictures began to take their
place in the amusement world and he became associated with Emile
Chautard, director general of the Compagnie Eclair, the leading
film company of Paris. After a short experience in acting and
directing, he was sent to .Africa to produce war pictures and with
the entire French Army at his command, he made a number of
notable productions.

{Conlinued on page 81)

(Thirty-flve)

• iMUtt

Photograph right © by Evans. L, A
Photograph below Dy Hartsook, L. -

A Rochester girl,
Edith Johnson, became
known the world over
as "the Kodak eirL"
Miss Johnson posed for
Eastman Kodak adver-
tising pictures from the
time she was fourteen.
She started her screen
career with Lubin

THE distinction
of being one of
the most-plioto-
graphed and adver-
tised girls in the
world belongs to
Edith Johnson. Not
that she achieved this

result thru her short career in motion pictures.
It was because the Eastman Kodak Company
selected her from a number of aspirants to pose
for their advertisements.

You have seen Edith Johnson in every sort of
kodak pose from the time she was fourteen years
old, even tho she "made up" to add a few years.
She was born in Rochester — perhaps that is why
the Eastman people thought home talent should
have first chance. Thru her earnings. Miss
Johnson was able to take a college course, and
because of her much-photographed beauty, a
small part was offered her with the Lubin Com-
pany, in Philadelphia.

However, William Duncan's leading lady states
emphatically that her r^^/ life only began when she
entered his company to do serials. While she had
studied make-up and action with other compa-
nies, her opportunities were decidedly limited.
Yet it was because Mr. Duncan chanced to enter
a theater where the feature showed Edith Johnson
playing leads, that she received a telephone invi-
tation to come to the Vitagraph lot and talk over

The Kodak Girl

"a little business proposition." The first days
talk covered Edith's screen experience and
sounded her on the question of playing serials.
No mention of salary had been made by Mr.
Duncan, and contracts were not even referred
to. The star and the girl who had played op-
posite Tyrone Power in several production.--
parted pleasantly, but without even a "see you
again soon" expression.

Within the second setting of the sun, the
telephone summoned Miss Johnson again to the
Vitagraph, and this time she was offered a
salary much in advance of her previous earn-
ings and asked to do one picture. She's doing
the third serial with the Scotch star now, the
first having been "The Fight for Millions.''
This was succeeded by "The Man of Might"
and now "Smashing Barriers" is nearing com-
pletion.

Edith Johnson has been described as a blonde.
That's because she wears a golden wig defying
detection. In repose, she is almost a twin to
Beverly Bayne — and the girls were born in the
same year, 1895. Miss Johnson is two inches
taller than Mrs. Bushman, but of the same
delicately rounded build. She has tenderly
feminine brown eyes — eyes not to be associated
with death-defying stunts.

Miss Johnson is blest with strong individu-
ality, makes intimacies slowly and yet is charm-
ingly entertaining on first acquaintance. She

(Thirty-six)

By FRITZI REMONT

dresses far more like an Easterner than a Cali-
fornia girl, always choosing grey, white or black
frocks. We of the West, so accustomed to
ruby lips and tinted cheeks on the streets, with
frocks outbidding the flowers in brilliancy, find
the quiet costuming and creamy pallor of Edith
Johnson a distinct oddity. But if her furbelows
are modest and almost colorless, the jewels of
Edith Johnson reveal regal splendor. They are
many and priceless.

"Did you ride before you went into pictures ?"
I asked, as we sat in her second-floor dressing-
room. The little chamber assigned to Miss
Johnson is made habitable by wall drapes of
blue and white silkoline, the dressing-table and
bo.xes being covered with the same material.
.-\t Vitagraph, the dressing-rooms were hur-
riedly put up, sans plaster and presenting a
very uninviting appearance, so Edith got busy
with tacks and hammer and has a sky-blue cage
with three windows and to which very few are
admitted ; in fact

"You see, I chose this end room because I
can hear any one come up the stairs and walk
along the dressing-room row — and they're not
admitted if I hear them coming first!" Miss
Johnson laughed merrily. "One has so little
time, and it is very disturbing to entertain vis-
itors. The colored maid asked me today why I

Photographs © by Evans, L. A

William Duncan, the
Vitagraph serial star,
saw Miss Johnson in
the films playing with
Tyrone Power. He im-
mediately engaged her.
Result — Miss Johnson
is one of the best
known of screen
players

(Thirty-seven)

didn't take the room
next to mine, for-
merly occupied by
Bessie Love. It's
much larger and has
a better lighting sys-
tem, but I know I
should not be nearly
so safe, and I would
miss the view of the
liills and sunsets possible to these end windows.
"Oh, yes, you were asking about my riding? I
never had been on a horse before I went into
serials. The first day I rode I was not even
given a chance to practice, but just sent off on
what seemed a fiery steed to me. We rushed
down a hillside until I hadn't a hairpin left, but
I clung on and made it safely. When I was to
alight my knees shook so and I was so fright-
ened they had to lift me off. But noiv! You
should see me. I'm not afraid to take anything
— broad jumps, streams, chasms or anything the
picture requires.

"There is only one stunt in which I use a
double — the swimming scene. I have a terrible
fear of the water. Yes, I can swim, but the
moment I find myself in water above the chest I
almost lose consciousness with fear, so I know
it would not be safe for me to attempt water
stunts."

"Did you ever have a real scare — something
that would put crimps into your hair for a week ?"
"^'es, 1 had a horrid experience with a linn in
(Continued on pane 7S)

Understudying Mary

By CHARLES G. RICH

0\'i;k all the surface of the world — wherever motion pictures are
shown — and that means everywhere except on the deserts, in
the mountain fastne.sses, the forests and the jungle — little girls
and big girls too, with curly blonde hair and girls with hair that is
neither blonde nor curly— have stood long and often before their
mirrors and have tried to find in the reflection something that re-
sembled the great Mary Pickford.

Curls have been pinned on — heads have been tilted and mouths
lave been pouted — and sometimes when the looking glass caught

Photograph above by
llarUook, L. A.

Upper right,
Mary herself;
while, above
and at the
right, is Louise
Du Pre, Miss
P i c k f o r d's
double

a fleeting expression that is peculiar to the big star, the
ioy of the poser has known no bounds.

And with what a dizzying thrill of pleasure, has the
small girl with the blonde curls heard someone say :
"She looks just like Mary Pickford." For days there-
after, the little girl thus complimented has lived in a sort
of fairyland and dreamed dreams that someday —
perhaps — ?

Dreams do come true — sometimes — and the little
girls with the curly blonde hair and the other girls with
neither the blonde hair nor the curls, are now to learn
that the joyous dream of looking, and actually acting,
"just like Mary Pickford," has come true for one little
lady, vi'hose name is Louise Du Pre.

Louise Du Pre is "just like Mary Pickford," or as
nearly so as nature ever cast two human beings. Miss
Pickford, herself, discovered this fact and when she
started the production of "Pollvanna" she engaged Miss
Du Pre as her understudy. The first understudy to a
screen star in the historv of mo-
tion pictures.

All of the big stars on the
speaking stage have understudies,
but Louise Du Pre is the first
legitimate understudy to a screen
star. How many other motion
picture stars will follow Miss
Pickford's lead will depend upon
the difficult task of finding talent,
plus perfect resemblance ; be-
cause the stage star needs only
dramatic ability in her under-
study while the screen star must
find one that duplicates her in
appearance.

"When Miss Pickford sent for
me and offered me the position
as her understudy," says Miss
Du I-^re, "I realized that the
honor was one that millions of
{Continued on pac/e 84)

rTlnrty-eirjht)

Stuart, lifting the can-
vas from the easel to
the light, tried to look
doubtful and critical,
instead of proud

The Broken Melody

Fictionized from the Eugene O'Biien-Sel/nick Plictoplay

By OLIVE CAREW

STUART (liiAXi' lived in a studio in Bohemia. Now Bo-
hemia has been said by some sage souls to be merely a
state of mind, and by other scoffers, who get their notions
iii the world out of their morning's newspaper, to be ab-
-(ilutely non-existent. It has even been unkindly called a
!"i,e.

i'.ut we know better, wc who have lived in Bohemia. ha\e
L.iien in its tiny, smoky cellars
— or not at all, have wrangled'
delicionsly long hours with i
'"ongenial spirits over a straw-
rnvered bottle of Joe's acid
FLil claret, have hoped, and
hungered, played and toiled
wiih youth that makes all
hardships jokes, with joy that
ilresses poverty in the motley
of light-heartedness. And, by
tlie bye, it is as well to say
lure that our Bohemia is not
related to that commercial,
^i! [-conscious, imitation thing
'•1 gift shops and smocks. Mad
Matter tea rooms, artists'

'Tliirtu nine)

THK BROKKX MKLOm'

Told in story foru^ iroui Ouida Bcrgere's storv
produced by Sclzuick Pictures. Starring f.ugciu-
O'Brien. Dirt-clod hy William P. S. l^arle. The cast:

Stuart Grant Eugene O'Brien

Hedda Dana Lucy Cotton

Mrs. Drexel Trask Coriiine Barker

Howard Tliornjjy.. ..Donald Hall

Le Roy Clciuon-; ,,. Ivan Dawson

Mu.sician •'■us Woiubcri;

balls, freak hair-dressing and sight-seers, which is some-
times called by that name.

We who love liohemia jealously guard its exact geographi-
cal location. Definiteness would let the world into our
secret. "Take the b'ifth Avenue bus. then turn West from
the Square — " that is enough for Philistines to know. They
wiiuld call nur old lottering brick houses "picturesque,"

and — ])rivate!y — ■'teneineiity,'
they would rave over our
"i work (and we know how bad

j il is, how far short it falls of
the (llory), they would mess
thru our brave, jM o t h e r
Mui)ljardy cupboanls, they
would trail in gaping groups
up and down our stairs, in
and .out of our courtyards,
into our attics, trample over
our hopes, and our beliefs
and our youngnes.ses.

So we will say simply that
Stuart (~iranl lived in Bo-
hemia, (b'ind the place if you
can!) .More definitely he lived

.9ntgjf»n-

^^^

MOTION PICTURE

magnificently witli the
proceeds of a painting
— his own or one of his
friends'. He took it for
granted that he should
fall in love frequently
with some beautiful
lady — perhaps in a
passing limousine, or it
may be the little black-
eyed waitress at Joe's,
and should be loved in
return, and should fall
out of love as harmless-
ly and gaily. He took
it also for granted that
he should rap on the
door across the hail
every morning at nine,
and be told to enter
upon a gay little attic
corner, all bright with
yellow tarlton and paint
and fragrant with the
smell of frying sausages,
with Hedda

We will come to
Hedda presenth-.

The power to take all
these things for granted
is only possessed by
[)htlosophers, and young
and artistic people un-
der thirty. So you know
now something of
Stuart's age. P.ut you
do not know that he
had an exceeding whole-
some, clean young body,
curly black hair, too
long — not because he
wanted to look artistic
but because it was less
expensive so, and gay.
clear blue eyes that met
the world trustfully,
.•ind branded him at
once as a .son of that
merry, simple, firey race
who still
fairies.

It was
had nick
'i'addie,"
strain in

b e 1 i e \' c

Hedda who
named him
for Ibis same
him. an<l as

At the third sitting she
told Stuart he was a
great artist and wast-
ing his time In prosaic
and stolid America

under the exceeding sloping roof
of a brick dwelling thai was old
when Washington stood on the
steps of the City Hall, two miles
away, and took command of his
army. The plumbing was not of
the most modern, to speak euphuistically, and in winter there
was no getting away from the fact that the attic let in as
much cold as in summer it let in the sun. But Stuart took
these things for granted. He took il for granted that he
shotdd often not have enough in hi" pocket to satisfy his
healthv \rniiii7 .ipprlile, and llial at times he should frnsi

I'addie the whole Quar-
ter knew hint, and loved
him for his sins and his
virtues and the light
that came into his Irish
eyes when the moon lay
over the .\rch. or the
sun was like copper
upon the old Italian
beggar woman's shawl
Hedda was the other occupant of the attic lloor. Site was
very small anfl incredibly slender and flower-dainly, and she
was going to be a great singer by and by. She was going
to wear Marguerite's grey robe, and sit spinning in a painted
orchard at the Metropolitan and the whole world «as to be
at her small feet, which —to tell the truth were very shabbily
shod at present, with a great palih over one >ilim instep, but
that is a mere detail.

She was singing the role now, perche<l on the rickety old
bureau Ml .'^tiiarl'-i --tudid. while old Iv.tu, ibe cello pl.Tvev

(!■■•; hi)

_l ASSIC

(In-u- ll>r i.liui(l> nf the Jewel ^I'li'' fruiii lii> l)uw, and
Stuart's brush fairly ilaneed over his e<mvas lo the gu>h of
silvery song. When the last of tlieni winged into silence he
flung down his brush, laughing.

"S'ou sing thai, lledda.'' he taxed her, "al)solutel\ shanie-
les'^ly ! You sing it tircciiily — as if you reall> did long for
iliamonds and rubies and |)earls!"

.She flushed. laughed lazily, not quite meeting his eyes.
"Moi, je suis artiste, Monsieur!" she defended herself, "an
artist must be able to pretend all the feelings in the world!"

"No. You are wrong," Ivan said suddenly from his cor
ner, >peaking crossly as he always did. " .\n .-irtist must have
/('// all the feelings in the world."

"W'cjuld you liave Hedda turn murderer, then, (jr go mail
in order lo sing Lucia?" asked Stuart, indignantly. "Must
the poor girl break her heart for love, be rent with the pangs
of jealousy, tattered with revenge, poisoned with hate ? \on-
sense. Ivan— look at the way Hedda just sung 'ni belle, ni
demoiselle'— she couldn't have put more heart-break into it
if she'd been head-over-heels in love!"

The old cello player looked ileliberately at the girl, perched
on the bureau. Stuart's broad, uncon.scious back was toward
them and he did not see the confessing crimson sweep the
delicate hollows of her beauty under the hard, searching old
eyes that seemed to say to her, "You da know " Wm could
not sing that way if you did not know love."

There was a piteous entreaty in the look she cast at him.
and he only said, dryly, "Humph!" and fell to scraping at
his instrument. .An old man, Ivan, with the juices of life
dried out of him fill he seemed to rustle like a dried mullen
stalk when he moved. He lived in a tin> room below the
attic floor, played in an orchestra of a motion picture house,
and what he thought, no one had ever been able to discover,
but he watclied over the two young people on the top floor
zealously, and they accepted him as one of the n,-ilural facts
of the world without cpiestion.

Hedda sprang down from her bureau and samnered .o\er ti
the easel, and then she gave a little cry. "Oh,
F'addie !" she gasped, "Oh, Paddie, it's beautiful!
I'm afraid you're going to get There first."

There was. of course. Success. Hut Sluari,
lifting the canvas from tlie easel to the light, tried
t(j look doubtfid and critical, instead of proud.
1 1 was a very crude little sketch— a corner of
;m old Dutch garden with splashy hollyhock.^ ant
larksi)ur. and a
girl rocking a
wooden cradle,
the sun across
her quaint white
head-gear and
her nuising face,
but it was done
ideally, with a
britsli dipped
into dreams.
" 1 ' r e 1 1 y poor

At the fourth sit-
ting she suggest-
ed, quite casually,
that he should go
• to Paris

>liil1." lie guidged U. shaking lli^ head, "the laic isn I b.n;
tlio. 1 ought to chuck trying to |)aint veal pictures and gn in
for portraits- pretty ladies with diamond tiaras on, or ma :;i
zine covers — "

"The very idea!" cried Hedda, shocked by such profanaliov.
"vou wait, you just wait ! Some day somebody will di.fcovci
von, I'addie. and they'll hang you in the Metropolitan and
they'll write books about you, and I shall be so ptoud U) re
memlier that I used to know you — "

"Vsed to:" Stuart iiujuired. "What's the big idea? .\rt
you going to cut my acquaintance as soon as I get success-
ful? I'ecanse if that's the way you feel about it, I'm jusi
not gtiing to be at home w hen Fame comes knocking !"

.'\nd at that moniein Fame came knocking. The man \\\v
stood on the threshold was very much out of place there
He was all shiny broadcloth, and patent leather shoes, and
silk hat, what of him was not pink flesh and pomaded
black hair and smallish, knowing eyes. He had the ettec
of making the whole attic look rather wretched and shabb\ .
Instead of romantic. Stuart Grant did n<jt like the w;'\ In
glanced from him to Hedda either. It made him feel i . â– 
all over, he did not know just why.

"Miss l.)ana?" the man asked- .Siuart fell .111 inqiuKe
knock him over for the way he
said Hedda's name. "Hm I I'm
Leroy Clemons. Maybe you've
heard of me, eh? .Manager of
the b'rivols! Somebody ti|)ped
nic off you ccjuld sing, eli ?"

(t'orlj) una)

MOTION I'ICTURE

■'.'» nmmmmttummitimf!'

Stuart gripped his brush fiercely and painted
with set jaw for many moments, quite ruining
the canvas, and trying not to hsten to Hedda's
silver voice parading itself in the little room
across the hall for Lcroy Clemon|. For he too
had heard of demons, knew that he was a
Power in the musical world, albeit it was in light
shows in which a slim ankle was as neces-
sary a qualification as a voice, knew that
if he decided to take up Hedda and ex-
ploit her she woidd not have to live in gar-
rets any longer —

"Danm! Oh damn!" he burst out suddenly,
and flung his brush in a splotch of ochre upon
the floor. "I thought — I wanted — "

Old Ivan, forgotten till now, crept out of his
corner, thrusting his dry old face close. "You
thought you Were in love with her?" he asked.
"You wanted to marry her perhaps?"

Stuart Grant stared at him w-onderingly.
"Why," he stammered, "I — believe — I believe to
my soul that's exactly what I did want, tho
I never realized it I"

l.ose Hedda? Xot hear her voice (that was
like a flute in the sunshine ) calling at his door,
not have a little yellow-shabby room with
sausages sizzling to turn to in the mornings —
Preposterous. Why she was a part of Life —
she was a iiart of liim.

B.ut old Ivan was jiersistent. "You haven't
told her?" there was an.xiety in his parchment
face. .Actually, thought .Stuart resentfully, he
was afraid he would marry Hedda ! It coiddn't
he jealousy — what could it be? He was soon to
learn. \~ov in the uninflectional voice of sixty
old Ivan proceeded to tell him what marriage
would mean to Hedda — for "I'm not denying,"
said he, "that she'd marry you. Women are all.
fools!" — he painted the future before her, the
wonderful opportunities, the success waiting for
her. He made Stuart .see her apjilauded, beau-
tiful surro\mded with the luxury that was her
due, a great singer with the world for her au-
dience— Italy, Paris, England — and as against
that brilliant picture he made him see the re-
verse side of the canvas, the dinginess of life
as the wife of a struggling painter, living al-
ways among the poor, tawdry makeshifts that
would not seem funny or romantic as they grew
older.

"Do you dare to tie a woman like that to
vour poverty — to wash your chipped crocker\
for you and cook your squalid meals? What
chance would Love have to live in such an at-
mosphere? You would see her look growing
hard, and turning to indifi^erence and then scorn,
and then — hate! I know. Oh, yes," and he
laughed cacklingly, "I know !"

Stuart Grant was stricken dumb. It was as
iho he saw himself and his garret and the
I'uture in new guise. His eyes were dark with
I he bitterness of looking on their stark naked-
ness. He spoke slowly, because he did not want
to cry. "I — see. I'm a failure, and failures
nuistn't marry. It's perfectly simple. Oh,
i|uite."

Old Ivan was pitiless; he finally extracted a
promise from Stuart that he would not tell
Hedda that he loved her — "if he could help it."
When she came in, trcnudous with the great news
ihat Leroy Clemens had actually offered her
a part in his new musical
show, she was puzzled and
a trifle hurt at Stuart's
silence. "Of course," she

(FortytwoJ

•It is I, Hedda,"
Stuart whispered

CLASSIC

said apologetically, "I know it
isn't much, but it's a beginning,
Padflie ! And everyone has to
begin."

"You'll be getting your dia-
monds and rubies and pearls af-
ter all," he laughed, but the sound
hurt her edgily ; "well, this re-
quires celebration I How about
:i party at Joe's tonight, with the
gang all there ? And perhaps we

can persuade Joe to forget about prohiliUion for once, beef-
steak, too !" He was reckless, tho she guessed that his
uatch would be missing the next day. His gaiety rang
hollow like a drum, but slie was a good sport, was Hedda.
She fastened a smile before her hurt, donned the Pierrette
guise of mockery and went to his party, star-eyed.

It was a very gay party indeed. Perhaps the contents of
the tea cups that Joe kept filled was partly responsible. All
of the guests were young, and shabby. Some of them
laughed because they were happy, some of them because
they were sad. The whitewash of the dingy rooms flared
with fantastic shadows, toasting a shadow ladv who sat upon
a dais at the head of the long bare tables. Stuart, seeing
them, was seized with an idea. He leaped from his seat to
the fireplace and found a char of wood. With this he began
to sketch roughly upon the wall where Hedda's pure profile
was cut in shadow like a cameo.

He was so engrossed that he didn't notice that their se-
clusion had been invaded by a squad of "trippers" doing the
Village, uptown women with crisp, carefully dressed hair
and fragile draperies, who stared at the feasters, and whispered
together and laughed stridently. Vroni the table on the bal-
cony where they sat one of these women could look down
upon Stuart, at his fantastic work Gracia Trask was one
of those women in the twilight zone of society. She had been,
a trifle too much married for entire — well, respectability, and
yet she had enough money, almost, to cover all her sins, and
she was undeniably lovely in a finished and calculated fashion.
The men of society liked Mrs. Trask, the women sniffed at
her, avoided her — and invited her to their big affairs.

She had been good for a long time, nearly eleven months
to be exact, and she was horribly bored. Women of her type
cannot live without the appcrtif of love-making. She saw

(FoTtythree)

Stuart Grant as .soon as she entered "H«dd», you shall

the room, and under her .shaven brows *"** j^"""" J.*,**''

her eyes watched him with a glint in *

them as a tiger watches his victim
before he springs.

Joe touched the artist on the shoulder, apologetically. "Ze
lady would spik to Monsieur — ze one with ze so-red hair — "

Gracia Trask smiled charmingly up into Stuart's politely
questioning face. "I suppose you think I am mad !" she said,
"but I am so much interested with the picture you have just
made! It is really wonderful — I wonder — " she leaned
forward, holding his eyes with hers, which w^ere green and
gold, like topaz — "I wonder whether you wouldn't paint my
portrait. I'm frightfully vain, you know — and I want an ar-
tist who can make me perfectly beautiful!"

Stuart opened his lips to refuse, as his Artist Soul bade
him. then hesitated. He thought of Hedda. He thought
of Ivan, and he laughed out, harshly. What did it matter
what he painted — who was there to care? "I shall be glad
to paint you, Madame," he bowed.

And so Hedda .sang her role, and Stuart, in the pale putty-
and-grey apartment, smothery with patchouli, sickly with
mauve draperies, painted Gracia Trask's beautiful bare bosom,
and insinuating smile, and old Ivan scraped at his cello in
the motion i)icturc house. And the world wagged unfeel-
ingly on.

.\t the first sitting Mrs. Trask was disarmingly girlish and
confiding. At the second she discovered, without a word from
Stuart, all about Hedda and was more alluring and charming
than was quite fair. .\t the third sitting she told Stuart that
he was a great artist, and wasting his time in prosaic and
stolid America. "You should be in belle Paris; ah, that is
(Coiiliuucd on page 70)

^;*i-.x'.-'-t â– â– .('

)B Theodore Roberts

By EMMA LINDSAY-SQUIER

I mentally tore up the outline and went out with
him into the back yard. How can one talk art to a
man who wont wear a collar and who looks like a
sea-captain on shore leave .''

"I'm just getting the yard fixed up," he told me,
pointing out the Japanese sunken garden, with trick
bridges and weepmg willows and things. "I'm
going to have .some kennels for my Airedales — I
raise them, you know, as a hobby — and over here
will be an aviary for my prize pigeons and tame sea-
gulls— birds are a hobby with me, too — and over
there will be a concrete swimming pool where Mrs.
Roberts and I can take a daily plunge."

"Is that a hobby, too?" I broke in, facetiously,
but he answered, in all seriousness, "Indeed, it is.
I need rigorous exercise to keep me in trim for my
work at the studio."

Since he had mentioned studio, I felt that it
wouldn't be inapropos to say something about pic-
tures, so I told him that he was reported to hold
the championship in the movie world for versatility
and for having more roles to his credit than any
other actor on the screen. He nodded, rather ab-
sent-mindedly, keeping an eye on the man who was
hauling dirt from the swimming pool excavation.

"Yes, I've played a great many roles, both in the
legitimate and the movies," he acknowledged. "My
stage, career commenced in 1880, and I played
everything from Shylock to Simon Legree, and ran
the gamut of dramatic characterizations from .Sven

Theodore Roberti be-

fan hli ttige career In
B80 md he pUy^d
everythina; from Sny-
' â–  Sir

lock to Simon Legree,

from Svengtli to Ring

Lear. Five yeari ago

he went into picture!

IHAO intended to
talk to Theodore
Roberts about pic-
tures exclusively.
They told me at the
Lasky studio that he
had more roles to his
credit than any other
actor on the screen,

besides a multitude of Thespiati interpretations
given in his forty years on the legitimate and
vaudeville stages. So, as I walked up the hill
that leads to his Hollywood castle, I planned a
perfectly splendid conversational outline, com-
mencing with how did he like motion pictures
and ending with what did he think of the future
of the cinema.

But — you know about the best laid plans of
mice and interviewers. As I waited in the cool
dimness of a Jacobean period library, I heard
his wife calling to him in the back yard. Then
I heard her say something about putting on a
collar, and there was a murmur of conversation
I couldn't catch. And when he came in to greet
me, he didn't have a collar on, and I could nave
hugged him. He didn't even apologize for it,
ju'l said that he was busy working in the yard,
and wouldn't I like to rnme nut and see his
animals and his trees.

rPnTt^-fmit)

Man of a Thousand Roles -
and Hobbies

({all and King l.ear tu lighter loles sikIi as
the County Chairman in the play of that iiaine
and FalstafF in "The Merry Wives of Wind-
sor." Then I toured the country in my own
vaudeville sketch and, five years ago, went into
pictures. Since then I've averaged one role a
month, sometimes more, so you can figure out
how many parts that is — -and that will he
enough shop talk, wont it?" He broke off
abruptly, turning his keen, humorous grey
eyes on me,

I said it would, because I did want to see
his Airedale dogs, which were woofing at the
top of their lungs to attract his attention, and
his lame sea-gulls, which were with the pigeons
in the flying pen, screaming to the high
heavens that they wanted food immediately if
not sooner. So we inspected the kennels, and
I was sniffed at by "Boy Seoul" and "Friar
Tuck," and had my face licked affectionately
by "Lady." Then we went over to the flying
pens, where his prize pigeons, enormous
Runts, were strutting and cooing, and the
tame sea-gulls, "Pete" and "Repeat," flew on
his shoulders and hands.

"I'm particularly fond of sea-gulls," Mr.
Roberts told me, as "Pete" snapped at his
meerschaum cigar-holder. "You know, it is
practically impossible to tame them, but I got
these fellows when they were just fledglings

Roberts ralie* Aire-
dalei ai â–  hobby. He
keepi an avUry of

prUe pigaoni and tame
iea-(uUi. He palnta,
drawa and "aculpa,"
collects paintings and
furniture — and acu, of
courst, in odd mo-
menti

It was on the Santa Cruz
Islands, where the Cecil
De Mille company was
making the shipwreck
scenes for 'Male and Fe-
male.' I took the part of
Lord Loam, and one of the
carpenters brought me
these birds, just hatched.
We all took a hand at
raising them, and when we left the islands, I brought
them back with me. When the aviary is finished
they'll have a miniature lake to swim around in — it's
a hobby of mine to provide natural surroundings as
nearly as possible (or all my pets."

"How aid you enjoy the strenuous scenes in 'Male
and Female' ? I asked. When we sat down — on a saw-
horse — to watch the pigeons.

"They were — well, interesting," affirmed the veteran
character actor. "The days on the island were strenu-
ous ones. I was dressed in pajamas and it never oc-
curred to me that I would suffer from sunburn, but
my ankles were exposed, and they were fairly baked
in two days. I had to hobble around on improvised
crutches except when I was working in the picture.

"The role I like best ?" he echoed, in response to my
question. "Oh, that's hard to say. I rather enjoyed
Wealth in Everywoman,' but for real artistic value, I
liked the part of the old rounder in 'Old Wives for
New' — you remember, the old fellow who is shot by
{Continued on page 74)

(Forty-five)

Among the
Footlight
Favorites

Photograph by Abbt

Above, ina Claire, who has just scored a
hit in David Belasco's production of the
comedy of chorus girl life, "The Gold
Diggers." Miss Claire will be seen all
season at the Lyceum Theater

Right. Donald Brian, Peggy Wood and

Roland Young in the pleasant comedy

with music, Buddies," at the Selwyn

Theater

(Fortytix)

John Charles Thomas and
Wilda Bennett have the lead-
ing roles in the Fritz Kreisler
operetta, "Apple Blossoms,"
now current at the Globe
Theater

Lenore Ulrich and Edmond
Lowe in the picturesque
Chinese drama, "The Son-
Daughter," which David Be-
lasco is presenting at the
Belasco Theater

Photograph by White

(Forty-seven)

Above, Lucy Cotton and
Wvndham Standlni in "The
Miracle of Love"; right, Tom
Moore in "Toby*! Bow", be-
low, Lon' Cheney and Seena.
Owen in "Victory"

The Celluloid Critic

The Newest Photoplays in Review ;

BY all odds the most significant photoplay of our screen month wj
David Wark Griffith's "The Clreat Question," (First National
Not because it is a good screen drama. It isn't. But it has
tremendous idea buried beneath its melodrama.

A wave of interest in spiritualism has been sweeping the world sini
the days of the great war. Does after life exist? Can dear on(
across the Great Beyond exert an influence over earthly destiniefj
What is the answer to the eternal problem of death ? Griffith had a
these questions in mind when he started to screen "The Grei'
Question." '

Then something happened. The exhibitor — that monster reared I
producers themselves — stood menacingly upon the horizon. Wou!
the exhibitor accept a stern and grim drama dealing with death and tl
spirit world? We can imagine Griffith meditating — and then givif
way to the exhibitor and his beloved melodrama.

So the vital theme of "The Great Questioi
was carefully buried beneath "action" at
"punch." It became the story of a little wa
in the hands of a murderously brutal farmi
couple, her love for a neighboring boy and tl
subsequent finding of oil — with its attendai
avalanche of wealth. The whole is gild(
with the philosophy that a simple faith mee
and overcomes all obstacles.

Griffith came nearer giving the world ai
other "Broken Blossoms" in "The Great Que
tion" than in anything he has done since thi
epic of Limehouse. "The Great Questior
might easily have been a notable contributic
to screen thought. There is one big seen
where the .spirit of a young sailor, lost from
submarine, comes home to his aged parents.
Lillian Gish and Bobbie Harron are tl
bucolic lovers, but the best work is done
Eugenie Besserer as the bereaved mother ar
Tom Wilson as a lazy negro servitor.

Technically, Erich Von Stroheim's phot(
drama, "Blind Husbands," (Universal), is
flashing thing — but it lacks soul and spir
Von Stroheim will
remembered as t'
Hun villain of
number of wartin
films. "Blind Hu
bands," his own sto
produced by himse
relates the triangle
three people in
snow-capped Alps ;
self-absorbed Amei
can doctor, his heai
lonely young w i :
and a young Au,strii
officer on sick leav
The dashing Austrii
tries all his Cont
nental wiles upon tl
American girl, but '
finally meets retrib
tion in a fall dow
the snowy precipic
of the Alps. Vc
Stroheim has told h
story with remarkab
directorial dexterity-
but, in the end, it
just an adroitly pr
sented silvershef
melodrama. V'

tl

(Forty-eight)

\

By
iEDERICK JAMES SMITH

JrawliiK by NORMAN JACOBSfiN

.•inylliiiiK Imt

ilicim's rlinraclers !M slinn
ju' bi'ealh of realism, despite

(rcniail<al)le superficial excel-
:e of his (lireotidti. He has,
B instance, attained his Alpine
'Cts in striUinj; fashion.
F.verywotnan," ( I\Traniount-
craft), turned out to be
en reels nf pa])ier-niachc
titiides. Huilt upon Walter
iwne's inffcnions and ingenu-
^iiorality drama depicting
adventures of iuerywoman
her search for Love, accom-
lied by Youth, Beauty and
idcsty, "ICverywoman" was a
y to a])|)eal to the guileless,
iwbeit, it possessed a certain
llflll turn of simple philo-
ihic dialog. 'I'hese merits are
gely lost on the screen and
verywoman" becomes cjbvious
ff; i.e. a conventional story
fering only in that the chaf-
ers bear such names as \'icc.
eallli, I'assion, and .so on. We
not look upon (icorge Mel-
•d's direction as particularly
pircd anywhere. \or do we rale the actm
'diocre. "l'",very woman" drags fearfully.
'Toby's I'ovv," ((ioldwyn), has a certain ]ileasant warmth
it, altho it is conventional plus as to story. John 'Tainlor
lote's successful novelist hero, Tom I'lake, goes incognito as
boarder to a jioor but proud Southern family, help.s the
stty daughter write a jiopular novel and — presto! — love and
ppiness come upon tliem. Toby is the old negro .servant
lose family bow is finally won by young Blake. We like
ini Moore belter in "Toby's Bow'' than in any vehicle he ha.s
t had, despite the trite direction. It is an ingratiating bit
work.

That rare cliaracter comedian. Will Rogers, is advancing
ith tiemendous strides. Rogers is going to be one of the
eat favorites of the screen, or we miss our guess. In
ubilo." ((ioldwyn), Rogers is a lazy, roving hobo who
counters a rancher's pretty daughter and reforms, slowly,
y n 1 u 1 1 y , but com-
etcly. Rogers is Jubijo

the life, no mere <»_r

feen idol niasiiuerad- TUfc

g ill torn breeches, hut

wanderer of homely liumanncss. .Moreover, the i)erform-
ice is rife with a splendid sincerity. Josie .Sedgwick lends
1st the right note to the girl.

Despite its episodic nature, "\ Day's I'leasure," ( I'irst
ntional), gave us i)lenty of Chaplinesciue amusement. This
3US from tlie comedian's studio depicts the experiences of
If. and Mrs, Charlie and Charlie, Jr., upon an excursion boat
id in a I'ord. The bufToonery upon seasickness rather de-
ressed us, but Charlie's combat with a folding steamer chair
id the encounter of the flivver with the load of tar are classic
ts. ".\ Day's Pleasure" is far better than ".Sunnyside," but
liles behind that comic masterpiece, "Shoulder Arms."
"Victory," (Paramount), Maurice Tourneur's silvershect
iaplation ni Josejih Conrad's vibrant story of the .South Seas.
a series of beautifully photographed scenes of unusual
tmospherc in themselves. But the fabric as a whole is
ot Conrad. The ]iower. the color and the lure arc all
lissiiig. Mr. Tourneur has shifted the story about,
I C'liitiiincil nil f'flijc 04)

Above. Marguerite
Clark and Charles Mer-
edith in "Luck in
Pawn"; and, left. Nor-
man Jacobsen's con-
ception of Mary Pick-
ford in "Heart o' the
Hills"

fiiM^

The Daring O'DareP

Peggy O'Dare is making the step from
screen farces to thrills in Universal's serial,
"The Thirteenth Hour," in which Eddie
Polo stars. Miss O'Dare is Danish, altho
born on Staten Island. She is a daring
diver and swimmer, an expert on snowshoes
and skis and an enthusiastic motorist-^ill
important histrionic requirements for serials

(Fifty)

By FAITH SERVICE

is a tale of passions and despairs, of hates and loves, of
ranquillities and distortions, of men . . . and women . . .
ind life . . . and death . . .

t might not have happened, that is, just as it did, if Dimitrl
rinofT had not had rebellious blood in his veins, adven-
ings in his bones and love and knowledge of books in his
in, so that, after his wife died and his life in the small
ssian village dwindled to scant proportions of interest, he
larted for Am-
:a to seek work
3ng the books
' loved. He left
|iind him his
iill daughter,
lia, very small
the time, with
nense eyes, un-
ipt hair and

stuflf of her
ler's blood and
le transmitted
lier own. The

e of books

ne was not
re. On the vil-

ffifty-one)

"ON WITH THE DANCE"
Fictionized by permission from the scenario of Ouida Bergere, based on the
play of Michael Morton. Produced by Paramount-Artcraft, starring Mae
Murray. Directed by George Fitzmaurice. The cast:

Sonia VarinofT Mae Murray

Peter Derw.ynt David Powell

Lady Joan Tremely n Alma Tell

Schuyler Van Vechtan John E. Miltern

Jimmie Sutherland Robert Schable

Countess of Raystone Ida Waterman

lage streets her small feet twinkled to more rapid melodies.

There were strains of music in her head, wanton and wild and

rather marvelous.
Her father's going meant nothing to her at the time of his

departure. At the time, the village and its adulation were

sufficient. Later she reached out for wider horizons and

she followed her father to America.

Schuyler Van Vechtan, to whose extensive and ex-
quisite library
Dmitri Varinof f
was reverential
apostle, was one of
the last of an old
order. He iiad
traditions in his
soul. He had be-
liefs. Lurkingly,
but very convinc-
ingly, he had ideals.
An ideal. That he
had gone for forty
years with lost
dreams seeking
harbors and eager
ideals laid away in

M01I0N HICl

reminiscent lavender did not, somelinw. rust away the belief
still straight and shining somewhere in the ungrown-up depths
of him. His aristocracy was in his long, sensitized hands,
too, and in his voice with certain modulations, time-mellowed.

The day Sonia Varinoff came into his study, tucked oddly
away on the tiptop of one of the many skyscrapers his business
ingenuity had placed in his possession, something happened to
him.

It was just at twilight. Dmitri was copying something or
other under one of the tall windows, hung in sullen red.
Schuyler was meditating as to where he should dine, and with
whom. It occurred to him that he was lonely. Often he had
thought so before, but this evening, in this particular twilight,
tinted mauve, it came to him with something of sick oppres-
sion. It seemed curious to him that al this time .Sonia should
make her vivid entrance into his study at the top of the world,
into his life . . .

Of course, he saw at once, while she stood talking to her
father, with many gestures and nnich play of very potent
hands, that she was not in keeping with the old Van N'ecluan
order of things, but he knew that old orders have nothing to
do with a man when a wcjman comes into the twilight of his
life, lighting it . . .

Here was a per.sonality. He knew that. It nnistn't get
mi.\ed up with the flotsam and jetsam, tict confused, the
brilliant edges rubbed away with contacts, unnecessary con-
tacts.

He had a long talk with Dmitri after she had gone into a

small guest chamber he kept reserved for the very occasional

and very favored passer-by, and loUl the old man to keep her

there, to encourage her to study her music, to give

her opportunities, at his expense.

Dmitri Varinoff was a canny old man ; books had
made him so. He had polished his wits to a pow-
dery fineness by much bibliophiling. He knew that

(

the satyr was nonexistent in Schuyler Van Vechtan. Me
a seeker of fine things, of rare things; he was an ejiicur
personalities. It was clear that he had seen something p
table in his little girl. .\nd old Dmitri fell very glad.

There was one disturbed (lerson when the new arranges
was made clear. That person was Peter Derwynt, secret
to Van Vechtan and chief high a<lviscr in all business tri
actions and the like of that. He was largely disturbed beci
Van Vechtan informed him that he was lo be Sonia's prac'l
guardian and general adviser and conductor.

"You know, Peter," Van Vechtan e.\]ilained, late into
following night, "the girl has some sort of a tremendou
Of that I am quite certain. .She has the touch seldom felt
want her to see the life of New York, the artistic life,
night life. 1 want her to see it safely and sanely. I havi
the time. You have, or you can make it. Logically, you.
Sonia's guardian."

Peter remained unenlhusiastic. What Van Vechtan
had a habit of being done, and he supposed the personal f
veillance of this Russian person would be done, too, but he'
utterly cool to it all. lie thought perhaps he had better
\'an Vechtan a few things. He didn't want the good old c
to think him a clam, but continued escorting of a young S
sian person, not to .say i)ersonality, doubtless entailed s(
outlay of something or other not precisely compatible \
lo\e. deep and rather difficult, for another person.

"I think you ought to know," he found himself saying, w
the smoke of their two cigars made grey fantasies around
somber red hangings. "I'm in love, you know; have been
a great while, with Lady Joan Tremelyn. We met in Lon
two years ago. It's been going on ever since. It — it will
tinue to go on. It's — it's like that with both of us.
mother, of course — her mother has plans. You know the k
There mu,st be money. They have the title — it needs si

backing. They've

come over, she and

mother, and the Coi

ess is angling

Jimmie Sutherla

You know Sutl

land. Youd

know L(

Joan. If

He got Sonia a music
master and, every twi-
light, with her father,
listened to her play,
was critical, helpful,
advisory, as he felt and
thought

I

(Fifty-two)\

SSIC

Van Vechtan" — the young man's voice rough-
1 — "if you did," he said, "you"d see — the hell

I"

an Vechtan saw the dream of it and the truth

he dream. He liked to help that sort of thing

ig. There had been love in young Derwynt's

e and a pain his own heart made quick answer
He had known heartbreak like that once,

[ ago. It made him sensitive for Peter.

Help me with .Sonia, like a good fellow," he

A-ered, "and I'll fi.x it uj) .so that you draw up

plans for the new terminal. If you do and
go thru, you ought to be able to run a

:ty fair competition even with the lobster-
James .Sutherland "

'eter was quite human and very much

ised and hurt over his enforced aloofness

n Joan, whom he loved, where

! springs, deepest, sweetest. He
human enough to be rather

ligle when, introduced to Sonia
next day, she grasped his

d in two very warm and pal

.ting palms and cried out

i-h-h, what a very pretty

i!"

t was a fool remark, of

rse. Peter blushed un-

ifortably and thought that.

t like a foreigner, a Rus-

1 . . . Joan would abhor

hing like that . . . still
. the warm pressure of

se eager |)alnis and the rich

•m note in that young voice . . .
was awfully lonely . . .

n so far remote . . . and it was
fng \ an Vechtan a favor. Peter
lUld have gone to almost any
llfths for Van Vechtan. He felt,

him, an almost desperate a
lance. There was something in
n Vechtan one could fasten onto,
e firm hold of, know.
Ae got Sonia a music master and,
ry twilight, with her father, lis-
â– ed to her play, was critical, help-
, advisory, as he felt and thought,
lia, he grew to know, was still con-
erably the child who, in bright
Ms and outlandish hair, had
iced on the streets of her native
age. There were in her the mixed
Tedients of the gamin and the
gedienne, the sated woman and
: grasping child.

rie didn't love Sonia. All the love
it it was possible for him to know
i gone, irrevocably, to Joan, but
i was a vivid interest. She
rmed him and quickened him,
1, later on, she loved him.
Van Vechtan told him this. "You
DW, I suppose," he said, one tvvi-
!it~ -Van Vechtan always
Me to speak of intimate
•t of things in the twi-
ht — "you know, I sup-
le, Peter, that Sonia has
He to love you."
Pete
Sn af

Ih nic there's nobody but Joan.
"I'm sorry for Sonia," was all that Van Vechtan said. Peter
ted that, in the twilight, in this i)articular twilight, Van

( Fiflii-tlirer)

er was essentially straightforward and simple. "I
if raid so," he said. He added, "Of course, as you 1

have

know,

Vechtan looked weary and drawn.
Behind the careful screening of
his asceticism stared for an in-
stant, odd, desperate, bafiled sort
of dreams . . .

Quite .soon after all this old

Peter created a acene,
juatiliably enough, and
only Sonia'i really des-
perate pleading laved
the studio from being
the scene of God knows
what a horror

MOTION PICTUR^ c

The maid helped him
and he made her com-
fortable. He eased her
tired body and her tired
soul and quelled the
sorry fluttering of her
heart

Dmitri was killed crossing a street
before the traffic was halted. He
had come unexpectedly across a
rare edition and, in his eagerness to
bear it back to tht tower rooms,
met his death. He looked quite
peaceful when they brought him
in, the rare edition still fast in his
stiffened arm. It was, Van Vechtan told the sobbing, dis-
traught Sonia, a wonderful moment for him to meet his death,
exultant as he must have been, momentarily fulfilled. "All his
blood," said Van Vechtan, with a wonderful tenderness in his
manner, "had gone into his care and seeking of books. He is
quite happy and at rest, I know. Dont be sorry, my child."

Joan was sorry, too. Prior to Dmitri's dfeath Sonia had
been something of a thorn in her flesh, on the infrequent
occasions of her having tea in the tower with the little group.
It had seemed to her almost like waving a red flag — this Sonia
so near to Peter. Sonia's love of litm, too, quite naturally
tormented her. It was frank and unconcealed, and it was
violently appealing. Joan knew that Peter loved her. She
knew, too, however, that he was wearing him.self out with
wanting her, with waiting, and there are so many infusions in
the blood, so many complexities, so many shif tings . . . she
had been afraid . . .

After Dmitri's death her fear changed to a warmer feeling.
sympathy. She couldn't feel otherwise. Sonia was a de-;-

V

.â– V

perate little figure, seductive even in her darkened draperie
with the shadows under her wonderful eyes and the disarraj
of her entangling hair.

It wasn't very long after Dmitri's death that — well, it was^ t
this way. Joan came to the tower quite unexpectedly one late^
afternoon. Somehow she had managed, at a last moment, to
escape the machinations of her maternal parent and the in-
sistencies of the pork-packing Jimmie Sutherland, .^he had'
wanted, especially, to see Peter. It wasn't, she well knew,
quite the thing. Still, what did "the thing" matter when an
urge, beyond good and evil, got a grip?

She went, almost blindly, to the tower rooms.

It was immediately after Sonia's practice hour. She had
been playing very wonderfully and getting up, in between bits,
to execute or to better interpret with snatches of erotic
dancing. She had felt very much in love with Peter. She felt,
too, rather badly treated. She couldn't quite see Peter's point
of view, or rather, lack of it. Of course, Joan was dear,
lovely and goddess-like, but Peter — Peter and she were vital
and living and near to each other. Sonia believed in proximity
and the thoro reasonableness of the immediate hour.

When Joan came in, quietly, to charmingly surprise a lonely
Peter, she saw .Sonia on the arm of his chair, her bare arm
about his non-resistant shoulders, her thick, arresting voice
saying, "Dont you love me, Peter . . . just a little . . . just
a little ..."

J(>an waited, a shade, in the dim shadows.

f Fiftif-foitr )

CLASSIC

Peter said, "Ves, but " and Joan

did not see that Sonia saw her there
and swiftly stifled Peter's "but" with
her hand. She saw, only, Sonia bend
to him, touch his mouth with hers,
lightly, then more closely, and seeing
nothing more, blanclied, like a sorry
ghost who has walked, forgotten,
among the loved living, crept away.

It was a long while after the Lady
Joan's brilliant, immediate marriage
to James Sutherland before Peter
Derwynt saw her. and still longer be-
fore he in any sense understood the
hurt she had. with seeming ground-
lessness, dealt him.

In that interim, bereft and with the
feeling of one left naked, exposed to
biting winds, he turned to Sonia, tried
in lose himself in her warm witch-
eries, married her.

It was like, he often thought, hav-
ing been acolyte to some passionless
lily, having worshiped the lily,
having spilled the last chalice of
his soul into the chaste cup and then,
.nt length, turned utterly away, to seek
and find — he admitted the finding — a
riotous fragrance of consolation in
some scarlet, delirious rose.

.Sonia was like that to him . . .
scarlet and delirious . . . but never,
never in their most ultimate moments,
was she Joan ... He knew that,
and she knew it, too.

Her knowing, her knowledge of it.
had something to do with her mounting
zest for dancing, for gowns and jewels
and furs, the bedeckings of the town.

Peter was unable to do these things
for her. Schuyler Van \'echtan was,
she thought, uninterested aside from
the income he gave her, methodically
and silent, from month to month. He
seemed to her, more than ever of late,
just a part of the twilight detached,
cjuietly observant.

Still, it was to Van Vechtan she
fiwed her meeting with Jimmie .Suth-
erland.

Van Vechtan had dined one evening
v\ith the Sutherlands. He had been touched by
the stilled suffering on Joan's face. All at once
the error of the whole thing assailed him. Peter,
tormented, even tho deliriously, by .Sonia, not
understanding her, not able to get the thread of
her being, the thread of gold Van Vechtan knew
to be there, ready for unraveling . . . and Joan,
writhing under Sutherland's well-meant tender-
nesses . . . bondages. Van Vechtan thought
. . . only contacts, deliberate contacts could
effect liberations. Van Vechtan believed in
liberations.

He gave a dinner party and bade the Sutherlands and the
Derwynts to attend. There would be makings or breakings.
Van Vechtan believed either one or the other to be preferable
to this galling, this fettering, this outraging of sensibilities.

Jimmie liked Sonia. He understood the part of her that was
still the dancing village child, the part of her that wanted, now,
the trappings of the city where the lights shone, gold and rose.
Sonia liked Jimmie, too. He was another child to take hands
with her and play . . .

They took to meeting and dancing a great deal together.
Sonia became confidential. She admitted to Jimmie that she
and Peter had words over bills. She wished, she said, she

(Fifty-five)

could obviate all that. She ought to be Sonia in her boudoir

able to. Something in her, sne felt,
was going to waste . . .

Jimmie suggested a plan, a humdinger, as he termed it.
Sonia should dance. He could get her "in." She should
appear en masque, create a mystery, as 'twere. Broadway, he
said, ate mysteries alive and then hollered for more. Sonia,
with her strange grace, her abandon, her paradoxical reserve,
her mystic feet, could be a super-mystery.

The suggestion suited Sonia. And Jimmie, time heavy on
his hands, his wife cold to him, his lady love, Fay Desmond,
(Continued on page 90)

Jack's

Leading

Woman

Clara Marie Horton ia Jack Pick-
ford'i neweat leading woman. Sh*
la playing with him in "The Little
Shepherd of Kingdom Come."
This is really Miaa Horton'a fourth
rdle oppoiite the youngeat of the
Pickford family. She wai with
Jack in "Tom Sawyer," "The Fur-
ther Adventurea of Tom Sawyer"
and "In Wrong." Clara, bv the
way, ia a Brooklyn girl

(Fifty-*H:)

**-

w

Jne appeal a^ Leauiy

HAT person lives who is not attracted
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voice, beauty of complexion ?

Not all can have beautiful features, nor can all have beautiful voices,

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Don't neglect those ugly little blemishes, that excessive oiliness, those
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=ia^| ....h. Ji|...,im. |i .

''â– II" fc' 'â– '

( Fiftyteven)

Taking Paynes

Here are two piquant glimpsei of Mar-
jorie Payne, one of the features of the
Christie screen comedy forces, at home
and — er — abroad. Miss Payne's optically
pleasing fireside friend in the above pic-
ture is Lillian Bison. At the right is a
view of Miss Payne after what her press
agent terms "a strenuous day in the
open." Note the ducks after you con-
chide looking at Miss Payne

(Fifty-eight)

Ca fuv simple rules that bring Xbveliness

Occasionally you meet girls who are beautiful without effort; but
most lovely people are lovely because they know the rules. Here
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The only means of keeping the skin clear
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(Fifty-nine)

,i^?^^^.<

rWi;

\., ...

Photograph by Hartsook, L. A.

Clifford of the
Cinema

Kathleen Clifford is well known to the
photoplay, but her latest appearance — as
leadine woman for Doug Fairbanks— gives
her unusual Interest at the present time.
Here is a recent view of Miss Clifford,
alonit with brand new snaps of her in her
library and near the sad sea waves

k/K'

(Bixtv)

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The

Celluloid

Captures

Carroll

Above, Thomas Meighan
is showing Miss Mc-
Comas about the Fa-
mous "lot" and, right, she
is investigating the stu-
dio switchboard

Carroll McComas is the
newest Famous Players-
Lasky leading womah,
playing opposite Major
Robert Warwick in "Jack
Straw." MisB McComas
but recently returned
from overseas, where, for
eight months, she enter-
tained our soldiers. War-
wick himself was with the
headquarters staff. So
they should make an ex-
cellent fighting team

(Sixti/ Iwn)

PARIS viVAUDOU

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(Sixty-three)

Mary at the
Beach

(Siety-fo^y

Philipsborns BGOutiM Book
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(Sixty-five)

Stage Child
to Screen
Favorite

i

k

Starting as a child be-
hind the footlights, Ethel
Grey Terry has been on
the stage all her life, save
for seven years at Notre
Dame Convent in Rox-
bury, Mass. Her first im-
portant stage role was in
David Belasco's produc-
tion of "The Lily." Miss
Terry's most recent film
appearance was in Gold-
wyn's "Going Some"

(Sixty-six)

WurUtter Saxophane Outfit

WmHUtr VtoHn Outfit

ANEW plan. Wurlitzer, the largest general music house in the
world, is offering the finest musical instruments with complete
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some carrying case, all attachments and extra parts, music rack, In-
s°™ctionboJk and book of mutical selections. This new plan gives
you at a tremendous saving all the things that [otherwise you would
have to buy separately at regular prices.

Complete
Musical Outfits

Sent On Trial

Any Wurlitzer Complete Musical Outfit will be sent for a full week's
free trial in your own home. Play the instrument as if it were your
own. At the end of the week return the instrument and outfit at our
expense if you wish.

Convenient Monthly Payments

If you decide to keep the instrument, you may pay the direct-from-
manufacturer price in small monthly sums. A few cents a day will
make one of these beautiful instruments and outfits your own.
These Complete Outfits are ready. Send for one on free trial.
Violin Mellophone Flute Mandolin Banjo-Ukelele Hawaiian

Cornet Trap Drum bugle Tenor Banjo Banjo Guitar

Saxophone Clarionet Fife Banjo- Banjo-Guitar Viola

Trombone Piccolo Guitar Mandolin Ukelele Cello

Send for Catalog

The instrument of your choice and everything in the
complete outfit fully illustrated and described, with
full details of the free trial and easy payment plan.
We are manufacturers of all musical instruments. This
wonderful catalog is a veritable musical encyclopedia.
We will send it to you free and without obligation.
Mention the musical instrument in which you are
interested. Mail the coupon now.

The Rudolph Wurlitzer Co., Dept. 1552, ,

117 E. 4ch St., Cincinnati, 0.-J29 S. Wabash Ave., Chjcauo, 111.

The Rudolph Wurlitzer Co., Dept. 1552,

117 E. 4th St.. Cincinnati, O.— 329 S. Wabash Ave., Chicago. 111.
Send me your new catalog with illustrations in color
and full description of the Wurlitzer ComrleteOutfits
and details of the free trial and easy payment offer.

felH**

Name . ..
Address .

(.Uksicj/ imliumenl in which /am apiciully interested}

(Sixty-scrn' )

Cinema Chivalry

Lucy Cotton and Wyndham Standing
may be glimpsed below in the "when-
knlghthood-was-in-flower" pose, caught
in a forthcoming International produc-
tion. In the upper left is the Lucy
Cotton of 1920

(Sixty-tight)

What

Sousa

Sai^s

7 fakt- this occasion to tell yott of the flc'tuinc pleasure and perfect
.tutisfaction vovr New lyonder Model lustruments, used by the iiiembcis
of jny Band, hazr ffiven me.

In our extended eugageiucnt at the New Vork Hippodrotiic your
iustrtiments ha:e had a splviidtd opportutiily to display thetr luerils. Tliry ltd: e
fully demonstrated their worthinrss of the Crand Price aud Gold Medal of tlantt
gil'en tkem hv the Jury of Amatds at the Panama-Pacific International fixpositiou.

Durinu our pleasant enpaoements at the llxpostlton I had occasion to note the
various ba'ids and oniiestrai there enqaiied and the Conn lustruments seamed
to he in et-idence everywhere. Particularly was this the case nhere High Grade
Musicians were engaged.

I still mtiiiifain thc.f the new model Conn Instruments enhances the niustcal
'.alue of any organisation to a marked degree and the nietvbers of wy organisation
fullyaccora u\th me. , , ,, ,

The Conn. Ltd.. has created a high standard of e.xcetlence Jo
Instruments, a standard worihv of emulation, if possible, by other waker.
I'crv sincerely,

JOHN PHILIP SOUSA

Boiiif

^ yv

i?^:

'%

The Famous Jackie Band, U. S. Naval Training Station, Great Lakes, III.

Lt. John Philip Sousa. Conductor

one nf tilt! moHt rcmark;iblc of Lieut, Sousa's
many of them wholly unfamiliar with music and

JOHN PHILIP SOUSA

From â–  recent photo

The organisation and sufccBgfuI training of tlie "Jackie Band

achievements. Its mcmhcrs were recruited from all walks of life— .. _. .. ...._... _

inusicul instruments.— and yet in a few short months. Lieut. Soiisa *v;is able to develop them into a world-renowned
organization. The Jackie Band of over 120(1 merabera was equipped throughout with Conn Instruments— a moit
Hignificant fact when one remembers the succeaa achieved. Aiul yet. good music ii> no niytc - * â– -
IprcBsion nf skill in both the aitial and the make

It is the ex-

ilic instiiiment.

MUSIC IN OTHER ORGANIZATIONS

The power ut music to inspire and hind together waa well

^ illustrated in the Jackie Band. Hundreds of orQaniiationo

A' and institutions are recogniiing the same (act and are using

it to the mutual advantage and the profit of their memberh.

Large manufacturing induBtries, rire and Police Deoan

mcnts. Boy Scout Organizations, Schools, Colleges, l^odgeii.

Churches, etc.. are all beneficiaries of the bond of music.

Many remarkable Bands and Orchestras have been devel

oped among the members of such organizations with the

aid of Conn Instruments.

Unusual benefits of no small proportions await other simi
lar organisations who are interested in the creation i>iid
development of a spirit of harmony in thought and action
within their orgaiiizatiun,

ESSENTIAL TONAL QUALITIES

A Ch»r*ct*rutle of CONN lMtniin«nts

The test of an instrument is its tonal quah
ties- its perfect intonation -its symmetry of
proportion — its proper balance — its embwli-
ment of Art and Science as expressed in ap-
pearance and performance.

Conn Instruments are the product of a pat-
ented method impossible of attainment else-
where. An intimate, scientific knowledge of
requirements, plus a mechanical tikill in pro-
duction that approaches the Artistic and Ideal,
gives a guarantee of quality and uniformity in
tonal elements that is unsurpassed. The uni-
versal recognition of this superiority af Conn
Instruments by all great Band Leaners of In-
ternational Fame is the best possible guide
and assurance for the beginner or the veteran
purthaser of band instru^nents.

l^et lis send in-
formation aboat
forming a band
in your organi-
zation. If you
are a player or
beginner. ask
for information
concerning the
instrument i n
which you a'r
interested.

YOVR. BEST GUARANTEE

of • good Band or Orchestra Inttrutnent ia to see that it bears this mark-

Ralph Dunbar'* White Hussars have become so enthusiastic
i>ver thcii Conn Instruments that they both play and sing their
praise. Those who have lieard the \vhite Hussars in Lyceum.
Chautaiiqiia and Vaudeville work know the quality of their work
and also appreciate the .significance of their enthusiasm for
Inst; I'menls

THE SCHUSTER
FAMILY

.M.Miv brothers and sis*
ler- might well emulate
he murtica] activities of
the S c li u a t e r
Family Saxophone
I >uintette which
nas earned an en-
viable reputation
« s entertainers.
The degree of
harmony

Teased

^ittle familv is
Jtruly wonaerful.
— but then, they
use Conn Instru-

322 CONN BUILDING
ELKHART, IND.

LftrfCit And most thoroughly equipped Band Instrument Factory In the World.

this

THE DARLING

SAXOPHONE

FOUR

i& all that the
name implies.
Four charming
ind capable young
ladies who are
meeting unit ual succesi
as musical entertainers
in high cl.iss vaudeville.
They, too. place their de-
pendence in Conn In
struraents. The result?
Kxactly what you would
expect, — the best ever.

(Siatynine)

MOTION PIClURh CLASSIC

The Broken Melody — (Continued from page 43)

where (hey woukl appreciate you I" she
lold him. "It is wicked lor you to hide
your genius in a wretched garret in the
slums among all sorts of common,
coarse creatures who dont under-
stand "

She used that word a great deal, and
the inference was that out of everyone
he knew, Gracia Trask alone really un-
derstood him. Stuart hegan to feel
abu.ied, and to look ahout his studio
with dissatisfied eyes that saw for the
first time the bare boards, the poor
pinched, bravery of furnishing.

At the fourth sitting she suggested,
(|uite casually, that he should go to Paris.
She watered the seed thus planted at the
fifth sitting by telling him that she would
lake him with her as her secretary,
courier — or "what he pleased." But it
was not luitil the seventh and last sitting
that he consented to go. He told Ivan
that evening, and was rewarded by the
pale flicker of relief in the watery old
eyes. It was the cello player who took
Hedda the news.

"It is well," Ivan .said, not appearing
to notice the quiver of the red lips, the
agony of the hurt brown e_\es before
him; "he is a great artist, and like all
true artists he tieeds the right environ-
ment. Here — " his gestiu'e took in the
gay tarlton curtains, the painted pine
furniture and made them ridiculous,
"here he would stifle ! His Art would
either die or become prostitute to con-
venience. It is very well that he goes.
and all his friends should rejoice that
this chance has come, eh, Hedda ?"

The girl sat quite still for a long mo-
ment. When she spoke her voice was
composed, "Vou have known — I think
almost before I knew, how I felt toward
Stuart," she said quietly ; "rather than
stand in the way of his good I would
go away myself and never see him again.
That is what will hajipen now. He will
go, and I shall never .see him again."
The pure girlish face quivered whitely
into a selfless smile. "Do not be afraid.
my kind friend, that I shall try to keep
him — or thai I would let him stay even
if he wished."

They were very gay at the ])arting.
Stuart, with his shabby portmanteau and
his painting outfit, came to her door to
say gnod-bye, and they both made
prodigious efforts to pass the dangerous
nionient over lightly. They joked lame-
ly about the I'ame that was soon to come
to each of them, the.\ s])oke casually of
nuiUial friends of Joe's, they talked des-
perately of the voyage, and his chances
of cscajjing seasickness. Then came a
panicky moment when they could
neither of them think of anything safe
to say, because of the multitude of im-
safe things that struggled to be out,

"Oh, Hedda !" Stuart said suddenly,
with a great, thick sob, "Hedda — dear —
tell me to stay ! 1 cant go — and leave
you — I cont ■

Then 1 ledda lold her glorious lie, and
her (iuardian Angel hesitated o\er His

ledger, not knowing which page to place
it on, "I cant tell you to stay, Stuart,"
she smiled — "because I dont expect lo
l)e here long myself, demons tells me
that if I make good he will give me a
hundred a week, at first, then much
more. .\nd I've got to succeed, Stuart!
I wani success so — more than — than
anytliing in the world. I want money,
and beautiful clothes and praise — " She
forced herself to go on, tho the
words choked her. "Do you remember
the time you reproached me with want-
ing Marguerite's jewels? Well, you
were right, Stuart — I do want them, and
I'm going to have them!"

"Then that is how I shall remember
you," he said, smiling with stiff lips,
"covered with jewels "

"He despises me," she whispered,
when long after he had gone, striding
erectly away down the crooked stairs,
she lifted her swollen face from the sod-
den pillows of her couch bed. "I've cut
the last strand that might hold him back
— oh, God, take care of him!"

Gracia Trask was grievously disap-
pointed with her new toy. It is difficult
to feed neurotic fancy upon either grati-
tude or remote respect, which were the
only two emotions Stuart Grant dis-
played to her. He was very silent on
the trip over, tho he attended faithfully
to her Pekingese, her rugs, her books
and cushions, her steamer chair and
wraps. Once in Paris he stubbornly re-
fused to allow her to establish him in
an expensive and charmingly decorated
studio as she had fondly planned. More-
over, he would not dress in velveteen
jackets and slouch hats, he would not
drink absinth?, he would not — he simply
TCDiild not make love to her.

How he managed to live she could
not discover, for he was decidedly un-
comnnmicative about his doings when
he was away from her. Three nights a
week he presented himself at the door
of her pink-silk upholstered apartment
on the Hlois, impeccably shaven, amaz-
ingly clean and very much a man in spite
of his out-of-date and shabby old even-
ing suit. They would go out and dine,
then perhaps to the theater or opera, or
now and again to a reception, for the
fair Gracia was almost as well known
in Paris as in her native New York;
afterward a grave good-night at the
foolish ivory door with its bird-of-para-
dise knocker. No wonder the clever
and accomplished Mrs. Trask was
baffled.

She tried strategy. In some way she
managed to learn the address of his
rooms and appeared there late one after-
noon, unannounced, having put the pro-
testing concierge in his place. She found
Stuart at his easel, so absorbed that even
when she stood beside him, looking over
his shoulder, he was unaware of her.
She saw the canvas. She recognized the
face. It was that which he had been
limning months ago on the whitewashed

wall of the restaurant in Bohemja —
Hedila's face, painted as only Love can
liainl,

I'lUl she tried again. She was not
one to give up anything she had set her
heart upon lightly. And she was not
choice of her methods. She look Stuart
(irant to a reception at the house of a
friend of hers and arranged that in his
hearing her name should be slightingly
mentioned with hers. She was waiting
in an anteroom when he came, very
pale, with thunderous brows, to find her.

"'V'ou must let me take you home," he
told her briefly, "there has been — un-
pleasantness. I was obliged to knock a
man down."

And he told her what he had over-
heard. She looked at him softly, even
tenderly, for he was a man born to be
loved of women, and, as much as she
was capable, she loved him. "Well ?" she
asked. "Well? And what shall we do ?,"

If she had expected that he would
perforce ask her then and there to marry
him she was mistaken. He stared
straight before him somberly. "I have
been a cad," he said, loathing himself ;
"I have accepted your favors, and I
have placed you in a position where peo-
ple dare say wretched things, and worst
of all I have profaned myself. I would
be still more of a cad if I did not ask
you to marry me, but before I do so I
must tell you that there is a girl, back
there in New York whom 1 love as a
man loves only one woman in his life.
I have tried to do without her, but it is
like doing without part of myself. I
cannot paint, I cannot even want to paint
without her "

Gracia Trask put out her hand and
took his. In that moment she stepped
out of herself. "Then go back to her,"
she said wearily, "if you feel that way
— go back to her, and tell her to try to
forgixe me for taking you away . . ."

It was a fortnight later that Stuart
I Grant pushed ojien the door of his attic
in P>ohemia with a warm rush of hap-
piness in his heart, as he looked about at
the blessed familiar shabbiness that
spelled home. Then he saw that it was
freshly swept and dusted, that his easel
stood ready, with a canvas on it — that
there were even asters in that old blue
jug on the dresser

I'oot.steps on the stairs brought him
about with a cry, but it was only Ivan
who stood before him, gaping, rustling
with every movement, as he reached
out and touched his sleeve with bony
fingers. Then — "Thank the good God !"
Ivan said hoarsely, "you've come back
in time to save her from breaking her
heart."

"Her!" Stuart cried, not daring to be-
lieve, "not — Hedda?"

"Hedda." Ivan nodded, and groaned

very bitterly. "I was wrong, I tried

to separate you, thinking Art was

enough, but it is not so. She stopped

(Continued on page 80)

(Seventy)

Ilpllli

iiiiiiiiiiiiiiiiiiniiiiiBiiniiiiiPP

Shadowland
for February

Shadowland for February!
As three words, more or less
unarresting, this announce-
ment might not seem to mean
so very much, but it is, as a
matter of fact, an illustration
par excellence of the exceeding
potency of mere words, the un-
derlying current of all words,
the shades of meaning behind
the obvious meaning.

Shadowland for February
means that your intelligence is
going to receive direct appeals.
You are going to think, which
is, to state it mildly, never un-
desirable.

Shadow I. \\n for Fubkuary
means that your imagination is
going to be touched, possibly
fired. l)y delicately beautiful
pictures, by colors, by words
with rliythm, by the depart-
ments— eacji one bearing a
message, ^'ou are going io be
impelled to dreaming . . .

Shadowland for Febkuarv
means that your news sense is
going to be amplified. The
plays and the players you are
curious ;d)ciut, interested in,
fond of, desirous of knowing
better — you are going to know
better, by the power of bru.sh
and bv the power of the pen.

Sil\do\vland for February
means that your sense of
beauty is going to be — well, at
least, we think, stimulated.

Shadowland for February
is going to spell laughter . . .
and dreams . . . reasoning and
thought . . . profundity and
witticism . . . color and gravity.
It is going to try to be a mes-
sage vari-hued and vari-toned.
It is going to try to be still
more ... a promise ... an
omen.

(l^cventtjQine)

The Man Who Wouldnt
Stay Down

" TiAII OUT MIBf-

INTERNATIONAL CORRESPONDENCE SCHOOLS

BOX 67 70, SCRANTON. PA.

Explain, wilhoul oblleatlne me, how I can quality for Ibe P(Ml-
tlon, or in the subject, he/art which I mark X.

He wai) putting in long hours at monotonous unskilled work. His small pay
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and he couldn't save a cent.

He was down — but be icouldn't stay there.' He saw other men promoted, and he made
up his mind that what they could do he could do. Then he found the reason they were
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So he made up his mind that he would get that kind of training.

He marked and mailed to Scranton a coupon like the one below. That was his first step
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The first reward was not long in coming —
an increase in salary. Then came another.
Then he was made Foreman. Now he is Su-
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It just shows what a man with ambition
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ternational Correspondence Schools.

What about you ?

Are you satisfied merely to hang on where
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Surt-ly when you tK;ve an opportunity tliat means eo
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Learn How to Write
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â– lIu-LASItmrniNI' CM.

^'t \^% Viola Dcma Star m Mctio Pictures

?> ^ 'tj

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*>.■»

Yt-j

I

(Seveiity-t'io',

I lOTION PIC 1 UKt (.i-ft.isiv-

' The Movie Kiss

Ily Tom Masso.n

As far BS we can judge by history, the kiss
1 19 been practlcert in all ages. It varies in its
iiecci and hur-e-power, according to age. race
I id previous condition of domestic servitude.
! ,'hilc it is a purely local affair, it has a con-
I derablc ran»;c of activity. As a rule, it is
/Uclusivcly confined to two, but it is occasion-
' Ily conveyed by hand from one person to a
roup of o'thcrs. A kiss thus blown niay reach
•vcral parties for whom it is not intended.
. i'hile apparently nc"cral in its nature, It may
e intended for only one.
There are several kinds of kisses. There is
8' It common or domesticated matrimonial kiss,
' i lat works automatically and frequently be-
rimes rustv and stalls upon critical occa.iions.
I 'here is tiic short-lived, or honeymoon kiss,
ihose age varies from six months to two
I ears, accordlntr to climate and financial condi-
ion. There is the lover's kiss, that, frequently
ttains a cloud hcipht of 22,(10(1 feet and is ac-
nnipanied by explosions. .\nd there Is the
;i»s of seasoned ladies, with an aurora borc-
Jis exterior, which often drops internally to
00 below rcro. KissiuR is also practiced by
'renchincn when confcrrinp decorations upon

Sine another or upon tlie suflfcrcrs holouRini; to
â– thor nations.
But the movie or screen kiss is compara-
iveiv new to the world. It Is usually some-
Jiat dilatorv in its habits, and takes place "the
lifflit after'' or "the next niorninR." It may,
lowever. occur anywhere alonR the line of
narch— between recently wedded Inisbaiias
iiul wives, partinc lovers, ir when bendinp
)ver cribs, hospital beds or sofas. Thomas
itlison (lid not imciil it, but he is more or
es< responsible for it.

There is one peculiarity about the screen
iiss that m.-ikes it not only dirierent from any
jthcr, but which shows that the kiss in Reneral
i a tliins in itself and not dependent upon
ime or materials. For wlun we see it on ihc
irreen, altho we know that it has actually
;akcn place in the past and is now well over
.vith. we think 'if it only as a present alTair.
A'e actually delude ourselves into thlnkinu it is
low going on. We roll up rnir sleeves, smack
)lir lips and take p:n't in it ourselves when.
It a matter of fact, it was probably created
fame months before in l.os Ant-'clcs or Jrrsej
City. Thus a kiss which in its execution
(akes only a fraction of a miiuite, becomes a
permanent affair, ll travels all over the world.
I'he movie, therefore, oiTers domestic possi-
liilities of Rreat interest. A newly married
man may kiss his bride in the most complete
and satisfactory manner. Ha\ iuR arrived at
the liiRhcst point of skill and workmanship,
lie ran have a film taken, which his wife can
thereafter turn on for her own benefit every
mornint: and eveniiiR, while the husband, re-
lieved of this manual labor, can devote him-
self more ccmiplctely to the business of keep-
I ipK together his bodv and what soul he may
c have left over.

' But this is not all, for the screen kiss con-
, tains a value still more hiterestinR and impor-
tant. Heretofore, people have bad to get alonpc
; and learn how to kiss by themselves, without
i any accredited model. They have had, so to
I speak, to grope in the dark, and assiste<l only
I by each other, have learned by severe prac-
' tice. The only object lessons they have had
h?ve been furnished by amatetirs like tliem-
Ives. or by more or less offensive relatives
railroad stations. Now, however, they can
1 out almost any night and see skilled work-
en and women do it as it ought to be done,
'th .1 minimum loss of energy. Thus the art
oscMlation is getting on its feet and becoin-
T standardized. If any young woman views
-r lover with suspicion because there is no
st motion in the way he grabs her and
esses his lips to hers, and if she declares that
must have learned it somewhere else, he
simply refrr her to the osrulatory ediica-
ional film that has bfcn running in the loral
lp.ll ce for the past ibme nights, a'^ ronvinrini;
'eM lence of his per^on;il iimorencr

yaleniine
upreme

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air Was

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C. PARK HUMPHREYS
4865 H«zel A>., Philadalphia

Theodore Roberts

(Coitliiiiicil /r.7i,; ['a;/c 4?)

the girl he snubbed. And on the legiti-
mate stage," he went on, reminiscently,
"I enjoyed doing Shylock better than any
other character. Yon see so few con-
vincing portrayals of that character. He
is depicted mostly as a scurrilous Jew
with an enormous lust for gold and a
vicious spirit thai is .satisfied only with
blood, while as a matter of fact, .Shake-
.speare has given him no speeches that
are not full of dignity and forcefulness,
while his whole personality is that of a'
leader, not a mongrel money-lending
foreigner. I tried to make him the rep-
resentative of a race — and a human
being."

I found myself tliinking that it zvas
possible to talk art without a collar, but
.\lr. Roberts was thru for the time being.

"Come see my trees," he invited.
"Trees are a hobby of mine and I have
a few rare ones in the yard."

The one he pointed out looked like a
live oak, but it was a cork tree, he told
me. My idea of corks has always been
vague ; I rather thought they grew in
bottles, but it seems not. Mr. Roberts cut
a slice of the bark for me, and it was
cork, just the same as you'd see in a
bottle of — er — catsup, and he told me
that he could have made a fortune off his
tree in pre-prohibition days, but that he
had bought it too late. Then there was a
"butterfly" tree, witli flowers of flaming
orange and leaves that looked like butter-
fly wings and that fold together at night.
They, too, are very rare, and will not
grow where there is frost ; and. Mr. Rob-
erts told me, impressively, his house was
just two blocks beyond the frost belt in
Hollywood — otherwise he couldn't have
a butterfly-tree.

When he had shown me his shrubbery,
I asked iioint-hlank how many other hob-
bies he had, and he laughed, showing
wlu'te teeth and crinkly wrinkles around
his eyes.

"Quite a few," he confessed. "In the
first place, there's art — you see, I come
from a family of artists. My father
painted very well indeed, and so does my
sister. ' I was told, when young, by a fa-
mous artist that I ought to follow that
career, but I inclined towards the stage.
However, I paint, draw and 'sculp,' col-
lect ])aintings and furniture and — oh,
yes," he interrupted himself again in his
abrupt fashion, "I mustn't forget my
hobby of correct make-up — that is a very
important one." He led the way to the
Jajianese gardens and we sat beside the
tiny lily pond while he talked about this
most "im]iortant" hobby of his.

"I have always given tlic most careful
study to making up for a character," he
said. "You might say that I stop at
nothing to get the result I want. I'm
wearing a mustache just now, hut I will
shave it off for my next character bit
with Mary Miles Minter in 'Judy of
Rogue's Harbor.' I've let my hair get
long and unkempt, I've allowed my beard
to grow — I even shaved my eyebrows
(Conliuncd oh page 76)

their MUP<'rb KlorJ-

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I. truly
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«^

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153S Goldman Bldg., Mt. Pkul, Minn.

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Freckle

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Dapt. 3 Aurora, ^^

(Seventy four)

Frances Mann

in "The Isle

of Jewels"

What would you do in Frankie'3
place? It looks as though any
move she makes will be disastrous
to that handsome hero. Let's hope
that her well-known resourceful-
ness will save the day and the
jewels.

New York City, N. Y.

Sept. 9, 1919
F. F. INGRAM CO.

I am glad to commend Ingram's
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II

yvo'UyccJ n/a-w-<.^

Ittgt&tn's ^w
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' /clveola,
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A complexion powder especially distinguish-
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(Look for proper address at left)

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(Seventu-Uve)

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K-

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The Orchid Blooms

(Continued from page 27)

fact that he takes both time and footage
to make a production and doesn't iUu-
mine Broadway with the name of any
particular twinkler."

Rushing to the defense of some of my
friends in the industry, I demanded to
know just why Miss Childers is "down
on" the star system. And thus did she
elucidate.

"Why not feature the story? There is
no story, except, perhaps, that of Adam,
that was ever written for one individual.
A lot of people like Norma Talmadge or
Elsie Fergtison or Clara Kimball Young,
but they can see that very personality in
a play where the story's the thing — where
they wont have to sit thru some un-
told million close-ups of Miss A's gowns
or Mr. B's waxed mustache."

Tho thruout the luncheon Miss Child-
ers was garbed as a Russian princess
and wore a black-net evening gown, I
had seen her before at the studio in the
rags of a screen charwoman — her fea-
tures distorted with make-up.

"Just so long as the clothes aren't dir-
ty, it's all right," she explained.

Once, Miss Childers avers, she had
hopes of being a fortune-teller or a clair-
voyant, but, having a penchant for the
luxuries of this transitory life she elected
the stage as a profession.

And again, she would have been a stu-
dent in an art school had not Fate put in
an oar. As it is, her Hollywood apart-
ment is replete with sketches and pastels
bearing her signature in the lower right-
hand corner, and the orchidaceous lady
will confess to designing all of her own — -
and sometimes, other people's — gowns.

It was just before she was to register
at a certain academy of fine arts in St.
Louis that a stage manager, who met
Miss Childers socially, offered to cast her
as Beauty in "Everywoman." She didn't
take the part, however, because she was
afraid of its bigness, but rather, became
a French maid in another production,
and retired serenely into the background.

One day (and this is the manner in
which she reminisces) — she found herself
becoming ambitious, and burning with the
fever of supposed genius, she approached
Henry Kolker, whose French maid she
was in "The Great Name," and asked
him to allow her to make a spectacular
entrance.

At the suggestion of such an entrance
Mr, Kolker was observed to succumb to
gales of laughter, and finally to bid the
sixteen-year-old Naomi to remain content
with her the - carriage - waits - without
speech.

During the last week of "The Great
Name's" run, however, the actorine who
played the fat German cook of the pro-
duction, disappeared, and the heroine of
"The Spirit in the Clay" and "Lord and
Lady Alg)'," hurriedly became a corpu-
lent frau from Hamburg. She with her
imperturbable calm and her tapering fin-
gers!

.^nd, even tho I knew that the
price of print paper is ever soaring high-
er, I feel called upon to enumerate the
remainder of the Childers' career. Thusly.
In productions of Henry W. Savage and
H. H. Frazee, followed by terms with
Vitagraph in "The Writing on the Wall,"
"The Turn of the Road," "The Spirit in
the Clay," "The Devil's Prize," et al.;
Metro in "The Yellow Dove" and "The
Blindness of Love," in which she was
playing with Harold Lockwood when he
was stricken with the influenza which
caused his death ; and at Goldwyn, where
she created on the screen the famous Lady
Algy opposite Tom Moore, and appeared
as a lady passionately loved by Lou-Tel-
legen in "The \\'orld and Its Woman."

"And after all this," I ventured, "what
do you crave?"

"Oh, three pictures a year," she an-
swered, nonchalantly, "a house at New-
port with a neat collection of genuine
paintings, some good-looking gowns, and
large quantities of French novels."

Exactly what I thought. Lots of mag-
nificence. Orchids — Riverside Drive on
Sunday afternoon — the front box at the
Metropolitan — Tiffany's window in col-
lision with the Empire State Express.

Theodore Roberts

{Continued from page 74)

once. Not only that, but I give close
attention to grease-paint and putty. I
have some materials on my dressing-
table at the studio that you will not find
elsewhere, because I have them made up
especially for me. When I am assigned
a part, I immediately begin to study it.
What would this man look like ? Is he a
grouch? Very well, then, hard lines
about the mouth and nostrils. Is he a
miser? Close, furtive eyes, then, and
thin lips ; an open-hearted, careless old
fellow, he must have ruddy cheeks and
well-groomed features.

"The other day I was made up as an
old miner, with long white beard and
weather-beaten countenance. I was com-
ing back from lunch and saw a group of
my friends outside the studio. I hailed
them, not thinking of my make-up, and
they stared at me blankly for an instant.
Then they burst into laughter as they told
me how one of them had just remarked,
as I approached. 'Look at that old fel-
low— he's a wonderful type — he ought to
register for a job !' "

All of which is interesting comment
upon the vividness of Roberts' make-up.

A voice from the house told "Theo-
dore" that lunch was ready, and I rose to
go, tho hospitably urged to remain. But
I was obdurate.

"Your hobbies are wonderful !" I told
him, as he accompanied me to the steps.

"Yes, I collect almost everything," he
laughed.

"Except collars," I reminded him,
wickedly.

"Yes, except collars !" he admitted,
without a trace of shame.

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Yours can be made perfect

— ^The Feuchtinger Method
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THINK what your voice means to
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Any Voice Can Be Developed

The Feuchtinger Method of Voice Culture will de-
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This method is an absolute science of voice culture.
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Age-

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(Seventy-seven)

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MOTION PICTURE

The Kodak Girl

{Continued from page 37)

the second serial. I was supposed to be
in a cave with this beast and, while there
were two trainers, and outside some men
with iron bars, and lights were placed in
front of the camera to confuse the ani-
mal, an unexpected danger arose. I was
waiting for them to get it all ready for
action — was sitting with a bit of em-
broidery in the back of the cave. They
had wire fencing between the camera-
men and the lion, and the trainer was ,
endeavoring to make him go thru cer- j
tain tricks, for this was not one of the j
old Selig lions usually hired by producing
companies, but a wild one which proved
to be very stubborn and excited to boot.
"Suddenly there was a roar— and I
just looked up in time to see the lion
leaping. Whatever made me act so
quickly, I could not tell you, but I ducked
and put my head between my knees, and
as the lion took the entire cave-length in
one leap, I narrowly escaped having my
head or shoulders badly clawed. Every-
body was so frightened. The wire sup-
ports were torn down. Mr. Duncan had a
piece of crooked pipe which he was trying
to manipulate to keep the lion back, and
finally the forest king made one big jump
over a high obstruction and got out, fol-
â–  lowed by the trainers, who finally sub-
dued him.

"But that was only the beginning of a
bad day. I was supposed to face a snake
as soon as I got to another end of the
cave. For some reason, as I was led to
turn around, and v/hile the men were
busy, I saw this snake right in front of
me. He had his fangs, for the man who
owned him said he was the only one of
his snakes who could feed himself and
he refused to take out the poison sacs.

"I hardly know what did happen, but
Mr. Duncan was shouting orders to me,
and I simply obeyed what he told me to
do — and somehow he managed to grasp
that hissing serpent by the neck, as he
had been told to do by its owner, and I
escaped snake-bite from a mad rattler.
I cant see anything pleasant in acting
with animals, but I dont mind being sus-
pended over cliffs or rescued from al-
most impossible positions ; in fact, I think
serials are lots of fun," finished Miss
Johnson, very vivaciously.

Miss Johnson's mother and her brother,
Donaldj aged seventeen, live with her in
California. She is determined to put
Donald thru college and is giving him
every educational advantage even now.
At present the little family is merely
"existing" in an apartment, while house-
hunting goes on merrily. There is a
shortage in dwellings here, and Edith
Johnson thinks she will be forced to buy,
as "For Rent" signs are scarcer than
oranges in the .Arctic zone.

But meantime, she just "loves" house-
work, and when the housekeeper goes
out. Edith swirls a broom happily and
says it the best sort of exercise. Her
greatest sorrow is that being a motion
picture actress prevents her from cook-
ing and cleaning. She loves to do the

(Seventy-eight)

CLASSIC

tilings many other women despise, thinks
dishwashing is a rare treat after cavort-
ing about on a horse all day and just
wishes she could be a housewife.

But before such dreams come true, if
ever they do, Edith Johnson is to do
some straight dramas with William Dun-
can, for the Yitagraph Company has
promised to give the star and his lovely
lady an opportunity to show their talents
in an entirely different line of work when
they are thru "Smashing Barriers," in
stories probably written by James Oliver
Curwood.

Moore o' County Meade

{Continued from page 23)

As it was, he said, "No, I went in a
mob scene in 'Parsifal.' However, my
hfe-long (not so long) ambition was
realized — I was on the stage. Owen
was with me this time. Yes, he ran
away, too, the same time that I did. We
earned $5 a week. But even this enor-
mous sum failed to appease my ambition
and I got a chance to play the lead with
a number five road company of 'Lena
Rivers,' I think it was. The people
wouldn't come to see us. They had more
sense than I had. But anyway, I was
stranded in a small Canadian town.
Were you ever stranded in a small Cana-
dian town ?"

"No, but we have been stranded in
Troy, with a number five company of
'Bluebird.' It isn't any fun, is it?"

"Say, do 3'ou know, I stranded so
many companies that season, that they
wouldn't take me in any more, so I joined
a stock company, and one day a man
from the Kalem Company offered me a
job to work in moving pictures. I
scorned it — all 'legitimate' actors did
then ; but the magnificent salary of $40.50
finally tempted me and I fell. I was only
earning $25 in stock. I never did know
what the 50 cents was for."

"It's like our own salary," we an-
swered. "For five years there has been
a 3 tacked on the end of it and every time
we get a ten-dollar raise the $3 remains
just the same. The next time we shall
ijeg for a $7 raise to make it come out
even."

"Well, my first raise was $9.50. At
last, my ambition was realized. I was
making $50 a week,"

"And did you stay in pictures then?"
we asked, reckless, now that we had our
story.

"Did any actor from the stage ever go
in pictures and stay in them at first ? No,
I made frequent trips into stock, but
every time I went back to the stage my
salary was cut and every time I returned
to the screen it was boosted, so finally
I stayed."

"And now you're a star!"

"Yes, and that is the only thing about
the whole affair that surprises me up to
date. How did I get to be a star ?" And
paraphrasing, we answered, "The fault,
dear Brutus, is in ourselves if we are
not stars. You earned it, that's how.
Or if you dont understand it, ask Sam
Goldwyn. He knows!"

(Seventy-nine)

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MOTION PICTURE

Lewis Cody, H. V.

(Continued from page 19)

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Violet Ray

"Oh, yes," he said, and laughing put the
cigaret in its place again.

"I'm a great believer in leaving things
to chance ; that is. little things," he re-
marked. "I never have a good time
when I plan on it very far ahead. I've
generally found that the best way for
me to enjoy myself is to start out alone
feeling grumpy and dull. Pretty soon I
am likely to meet some friend who feels
very much the same way. 'Where are
you going?' he asks 'Nowhere,' I an-
swer. 'Suppose we go together?' he
suggests, and the result is one glad
time !"

"And the big things in life?"
"Oh, chance usually takes care of
them, anyhow. How many people in
this room knew where they were going
when they started out, do you think?
Look at all the biggest names on the
screen ; did Chaplin think that he would
be great for his comedy when all of his
plans w-ere serious ones? And Doug
Fairbanks, too ; wasn't it chance that
showed him the thing he could do best?
I believe it always happens like that:
You start out to do one thing and end
up by doing something entirely dif-
ferent."

Lew Cody, by the way, had to be
argued into playing just about every
good part he ever had. He did not
want to get a reputation as a "heavy,"
which goes to show how very much
there is in a name : a "heavy" could
hardly hope to be a star, while a "he
vamp" is a different proposition. He
got the "he vamp" reputation because
of his part in "For Husbands Only."

"Do I believe in marriage?" he re-
peated my question. "Yes, indeed I do
— for other people. I think that it is a
beautiful institution. But the vamp, the
human butterfly type, either in man or
woman, should be free, as free as pos-
sible. They simply cant rub up against
the little troubles of everyday life and
keep the gloss on their wings. They
make perfect lovers, but impossible hus-
bands and wives.

"For instance," he went on, "take
the character I played in 'Dont Change
Your Husband.' He wasn't insincere.
On the contrary, he was really in love
and he didn't make love to the woman
in her husband's house, either. In fact,
there was nothing really bad about him.
He was just weak and couldn't stand
up against everyday things. The very
sense of irresponsibility that made him
fall in love made him fall out of love
again. And if, by some miracle, it were
possible to make such a person sober and
practical, he would probably lose all of
his charm for the world."

"You think that people admire a lit-
tle wickedness in their heroes?"

"I do, indeed! And in their heroines,
too, so long as it isn't ugly. You know
the admonition of a French mother to
her child is never 'Be good,' but always
'Be pretty.' Wickedness, in the strict
meaning of the word, is never pretty, so

perhaps it would be more correct to
say that what people want is humanity
with a little dash of fun, so that they
can laugh at their own faults and at the
faults of others.

"That is what I hope to do with my
'vamp' stuff : I never want to lose the
light, graceful tone. And that is not
easy."

"Then you are working harder than
you ever did?"

"N-n-o. All work and no play makes
Jack a dull boy; I hate dull people and
I'd hate to hate myself. Anyhow — (he
was more than half in earnest) — I
think that a player should to some ex-
tent, at least, live the character he is
playing, in order to keep in the spirit
of it. So I ne\er want to become too
serious."

The Broken Melody

(Contiimed from page 70)

singing, as tho the spring of melody

within her were broken " he pointed

at the door across the hall, "yonder she
grieves, lad. Go to her "

And Stuart waited no longer, but
obeyed. As he stood upon her threshold
the girl outflung on the couch sat up,
stared, and her hands crept to her low
girl breast. "It isn't you, of course," she
said in a small, shaken voice. "It
couldn't be you. You are in Paris, you
know."

"It is I, Hedda," Stuart whispered, for
he had come close to her now, and his
arms were around her hungrily. "I cant
paint pictures without you — I cant even
live without you. There's just one thing
that matters in the whole world, and
that is — will you let me stay, sweet-
heart ?"

"But your work " she was still

afraid to believe in her joy.

"We will work together, Hedda,"
Stuart told her, "you are my work —
you complete me. And perhaps — some
day — if I work well enough, Hedda, you
shall have your jewels after all !"

Her face was lighted with a solemn
light. She seemed to be looking ahead,
far ahead of them— "Yes, Paddie,"
Hedda nodded quietly, "I think — I shall
— have my jewels "

CAMEO
By Faith Service
In each breeze, low-murmuring.
Whispering, "Earth, rejoice!"
In each matin of the larl<.
Your voice.

In each April shower.
Crystal— clear and brief —
Spanned by arching rainbow,
Your grief.

In each glancing sun-ray
On a flower awhile.
Fleeting, transient, subtle,
Your smile.

In your heart, soft-beating,
Tender as a dove.
Fluttering, prisoned in my heart,
Your love.

(Mighty)

CLASSIC

Idealist and Artist

(Continued from page 35)

In 1914, Mr. Tourneur was sent to this
country as a producer for the Americnn
branch of the Eclair Company.

"Will you ever make another 'Blue
Bird' or 'Prunella'? I asked, recalling
those exquisite fabrics of dreams.

"I hope so — some day — I hope so ! You
know, dont )0U, that they were not what
we call successful ? Oh, I would be will-
ing to suffer poor financial returns if such
beautiful pictures would only reach the
people, but they dont, for they think they
do not like them.

"I left painting because it gave me
more pain 'than enjoyment. So much
beauty was lost between the brain, which
conceived the idea of the picture, and the
fingers which portrayed it. Just so in mo-
tion pictures, some day I will leave them
because they, too, are painful. So much
is lost in every picture. I find a story, 1
am enthusiastic. Then, there is a little
lost in making the script, a little more in
acting, a little in the photography, a little
in my directing, and when it is all com-
pleted it is not the beautiful thing 1 had
conceived. Human workmen can never
come up to the mental pictorial perfec-
tion."

Presently he continued, "Motion pic-
tures must move onward to the place
where life seen thru an artist's mind
will find expression on the screen. Sug-
gestion must take the place of exact de-
lineation, impressionism in place of the
literal transcription, alike in motive and
execution. An artist looking at a land-
scape does not give us an exact repro-
duction on his canvas, for instance, such
as photography affords, but he repre-
sents it as he felt and saw it."

Suddenly wheeling around in his chair,
Mr. Tourneur pointed to a picture above
his desk, "This Whistler canvas does
not look like nature nor is it the real
thing, but it gives the impression of low
tide, twilight depths, shadows cast by
the old bridge across the Thaines. It is
as it looked to Whistler. The reality
passed thru the artist's mind and he
gives us the picture as it impressed him "

Earnestly, he continued. "One might
look at this chair in many ways. Were I
weary it would suggest a haven of rest,
but were I searching for art, it would
be an object of conteiupt. So all of life
and its action can be looked at from
various angles, and the picture director
must be an idealist and an artist."

"The function of the film today?" I
prompted, speaking .softly, for the late
afternoon stillness had crept into the
room while we talked.

"Motion pictures must always have a
theme that will make the audience laugh
or cry ; it may be comedy or drama, but
it must never bore!"

Like all great idealists, Maurice Tour-
neur feels the magic waves of discontent
that spurs the artist on to greater tasks.
Following his own visions, he longs to
share them with the whole world — if it
will but see!

(Eighty-one)

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MOTION PICTURE

Betty Blythe: The Peacock
Princess

{Continued from page 21)

friends. Well, the minute tlie director
saw me, he asked what I could do.
Knowing- that my very meals depended
on my answer, I repHed, airily, 'Oh, any-
thing!' just as if I knew all about acting
before the camera, and because he needed
my t}pe he put me to work right away
with Harry Morey in 'His Own People.'
Isn't it funny how things work out ? Here
I had lived in Los Angeles, the very
heart of motion pictures, but had scorned
them as a career."

After playing with Harry Morey in a
number of pictures, and also with Earle
Williams, she did a couple of O. Henry
stories, then went with Guy Empey where
as Madame Arnot, in "Over the Top,"
she did such excellent work that she at-
tracted the attention of all lovers of the
screen.

"It was a great role," Miss Blythe de-
clared, enthusiastically, "I felt I had
created something really worth while.
To me, Madame Arnot was symbolical of
the women of France during the war, of
their nobility in suffering and sacrificing
everything for their beloved cause. I al-
so made 'The Undercurrent,' with Mr.
Empey.

"The greatest thrill of my life cameone
morning when the New York Telegraph
had a full page picture of me. There it
was staring up from every newsstand
and street corner. Can you imagine what
that meant to me after all my disappoint-
ments ?

"Now that they are over, I'm glad to
have had them. We gain very little
except thru struggle. All history
teaches that every step of advancement
is the result of turmoil. I often wonder
what upheaval accounted for Schubert's
glorious melodies."

Betty Blythe had some serious ambi-
tions for her future on the screen. Pos-
sessing a striking beauty and being able
10 wear her clothes to splendid advantage
lias caused her to be cast in many society
rules. Not caring for this type in real
life she finds it hard to visualize her on
the screen and hopes to have the oppoi'-
tunity of portraying the real woman, the
one who stands for the best in all
womanly qualities.

"Careers are all very well," I re-
marked, glancing at the various mascu-
line photographs adorning Betty's bou-
doir, "but suppose love should come."

"I want it to come !" came the quick
response. "I've reached the point where
I long for a home and a more unselfish
lite," and a new warmth crept into the
large, dark e)'es as they lingered on one
picture.

Betty laughed. "Let's go and have an
ice cream soda!" she said.

TnoRNi.Ess Rose. — What did you do with
the thorns? Thanks for your pood advice
about not marrying so the girl will get all my
money. I'll take good care of that. You're
rlRlit ahout Pearl White. If we cant make
money honestly, let's make it as honestly as
we can.

(Eighty-two)

CLASSIC

The Silken Gloria

(Co)itinued from page 17)

up against the subject of marriage and
divorce, tliose Gold Dust twins of dis-
cussion.

Miss Swanson believes thoroly in mar-
riage. Indeed, we strongly suspect she
is about to try the problem personally.

"One of the biggest fallacies of mar-
riage," philosophized Miss Swanson, "is
the idea that a couple should be of op-
posite temperaments. In reality, they
must have similar interests, desires and
hopes.

"Ea«h must give and take.

"There must be a basis of companion-
ship when the glamor begins to wear
thin.

"Each must allow the other plenty of
leeway.

"Those are my ideas today. Of course,
I revise my ideas daily. Indeed, I might
have entirely different ones if you inter-
viewed me tomorrow. You never can
tell about me," admitted Miss Swanson.

All of which goes to prove that she is
typically feminine above all else — femi-
nine from the tips of her dainty slippers
to the glistening hat setting at just the
proper angle of effectiveness. Woman is
woman — and Gloria is Gloria.

MINSTREL'S LAY
By Walter E. Mair

Sing mc a song of the high road.

And the best road to go.
From the town with its empty laughter

To the land that I used to know;
To the land full of sun, where the meadow-
lark's call
Like to silver-sweet rain on my heart used
to fall.

Sing me a song of the far road,

And the road fair to see,
From the place of unending striving
To the haunts of the droning bee;
To the vale where the autumn gold gleams in
the sun.
And the twilight brings peace when the
day's work is done.

Sing me a song of the old road.

And the one road I know,
Where every traveler's a comrade,

And the goal of his path is the glow
Of home-keeping hearts that are waiting to
give
Their love to his longing, to help him to
live!

Aye, sing me a song of the high road.
And the best road to go.

HIS HERO
By Minna Irving

Our Buddy-boy is ten years old.

His hero used to be
A private w-ith a big black flag

Who sailed the stormy sea,
And made his captives walk the plank.

And scuttled ships, I trow.
But Buddy's changed ideals — it

Is Charlie Chaplin now.

He thought a bold bad bandit's life

Was something very fine ;
I took him to a movie show —

This little chap of mine.
With smudges on his tiny lip,

A derby o'er his brow.
He imitates his hero — it

Is Charlie Chaplin now.

/T'.inlii.ii-ihri'p 1

Millions oP People C3an Write

Stories and Photoplays and

Dorit Know It/

THIS is the startling assertion recently made
by E. B. Davison of New York, one of the
highest paid writers in the world. Is hir;
astonishing statement true? Can it be possible
there are countless thousands of people yearn-
ing to write, who really can and simply haven't
found it out? Well, come to think of it, 'most
anybody can tell a story. Why can't 'most any-
body write a story? Why is writing supposed
lo be a rare gift that few possess? Isn't this
only another of the Mistaken Ideas the past has
handed down to us? Yesterday nobody dreamed
man could ^y. To-day he dives like a swallow
ten thousand feet above the earth and laughs
down at the tiny mortal atoms of his fellow-
men below ! So Yesterday's "impossibility" is a
reality to-day.

"The time will come," writes the same au-
thority, "when millions of people will be
writers — there will be countless thousands of
playwrights, novelists, scenario, magazine and
newspaper writers — they are coming, coming
— a whole new world of them!" And do you
know what these writcrs-to-be arc doing now?
Why, they are the men — armies of them —
ycung and old, now doing mere clerical work,
in ofilices, keeping books, selling merchandise,
or even driving trucks, running elevators,
street cars, waiting on tables, working at bar-
ber chairs, following the plow, or teaching
schools in the rural districts; and women,
young and old, by scores, now pounding type-
writers, or standing behind counters, or run-
ning spindles in factories, bending over sewing
machines, or doing housework. Yes — you
may laugh — but these are the Writers of To-
morrow.

For writing isn't only for geniuses as most people think.
Don't you believe the creator gave yoti a story -writing
faculty just as he did the greatest u*ritcrT Only maybe
you are simply "bluffed" by the thought that you "haven't
the gift," many people arc simply afraid to try. Or if
they do try, and their first efforts don't satisfy, they simply
give up in despair, and that ends it. They're through.
Thfy never try again. Yet if, by some lucky chance, they
had first learned the Bimple rules of writing, and then
given the Imagination free rein they might have astonished
the world!

But two things are essential in order to become a writer.
First, to learn the ordinary principles of writing. Second,
to learn to exercise your faculty of Thinking. By exer-
cising a thing you develop it. Your Imagination is some-
thing like your right arm. The more you use it the
stronger it gets. The principles of writing are no more
complex than the principles of spelling. arithmetiC( or
any other simple thing that anybody knows. Writers
learn to piece together a story as easily as a child sets
up a miniature house with his toy blocks. It is amazingly
easy after the mind grasps the simple "know how." A
little study, a little patience, a little confidence, and the
thing that looks hard
turns out to be just as
easy as it seemed difHcult.
Thousands of people
imagine they need a fine
education in order to
write. Nothing is farther
from the truth. The
greatest writers were the
poorest scholars. People
rarely learn to write at
schools. They may get
the principles there, but
they really learn to write
from the great, wide,
open, boundless Book
of Humanity! Yes,
seething all around you,
every day. every hour,
every minute, in the
whirling vortex — the
flotsam and jetsam of
Life — even in your own
home, at work or play,
are endless incidents for
stories and plays — a
wealth of material, a
world of things happen-
ing. Every one of these
has the seed of a story
or play in it. Think! If
you went to a fire, or
saw an accident, you
could come home and
tell the folks a 1 I about
it. Unconsciously you
would describe it all
very realistically. And
if somebody stood by
and wrote down exactly
what you said, you'd be
amazed to find your
story would sound jus;

LETTERS LIKE THIS
ARE POURING IN!
"With this volume before him,
Uio vtTiest novict) should bo alilo
to tnilJd Btoriee or pholoplaj'a that
will OdiI a ready market. Ttie best
treatise of its kind 1 have «u-
countered in 2A yean of news-
paper and literary work."^U.

FIKRCB W E L L B B, JlANAGIN^i

Eijitok.TueBinijhamton I'iiKsa,

"I sold my first play In less than

three weeks a/ter setting your

book." — T H E L M A A L M Bit,

Helena, Mont.

"Mr. Irving has so simplified
story and photoplay writing that
anyone with ordmajy intelligence
ouglit to master it Quickly I am
having no trouble In selling my
atoriea ajid plays now." — B, M.
James, Dallas. Texas.

"I have already sold a synopsis
—written according to Mr. Irv-
tng'fl InstrucUons— for f5nn oo,
and some short sketches for smal-
ler siuna" — David Clahk, Port-
land, Orb.

"Tour book opened* my eyes to
great possibiUtiL-s. I recoiviid my
first check t o - d a y— $175.00."
— H, Barlow, Lodisvillb, Ky,

"It Is the most complete and
practical book ever v^rilien on
the subject of writing." — HaRky
ScHTLTZ, Kitchen ED, Ont.

"Th© book Is all, and more,
than you claim It to be."— W. T
Watson. Whitehall, N. Y.

"1 am delighted vHlh the book
bpyond the power of words to
express." — Lade a Davis, Wkn-
atchkb. Wash.

Copyright, Lumlere

Miss ITelena Chadwlck, versatile screen star, now
leading lady for Tom Moora of Goldwyn Film

Compajiy, says:

Method of Hi
plays with ea

as interesting as many you've read in magazines or seen
on the screen. Now, you will naturally say, "WcM if
Writing is as simple as you say it is, why can't / learn to
write? Who says you can't?

Listen! A wonderful free book has recently been written
on this very subject— a book that tells all about a Startling
New Easy Method of Writing Stories and Photoplays.
This amazing hook, called "The Wonder Book for Writers."
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the Story Queens live and work. How bright men and
women, without any special experience, learn to their own
amazement that their simplest ideas may furnish brilliant
plots for Plays and Stories. How one's own Imagination
may provide an endless gold-mine of Ideas that bring Happy
Success and Handsome Cash Royalties. How new writers
get their names into print. How to tell if you arc a
writer. How to develop your "story fancy," weave clever
word-pictures and unique, thrilling, realistic plots. How
your friends may be your worst judges. How to avoid
discouragement and the pitfalls of Failure, How to winl

This surprising book is absolutely free. No charge. No
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So why waste any more time wondering, dreaming, wait-
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Get your letter in the mail before you sleep to-night.
Who knows — it may mean for you the Dawn of a New
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Auburn, New York.

The Authors' Press, Dept. 53, Auburn, N. Y.

Send me absolutely free "THE WONDER BOOK FOR
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Name

Address.

City and State.

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New Method Makes Music

Amazingly Easy to Learn

Learn to Play or Sing— Every Step Made
Simple as A B C

TRY IT ON APPROVAL

Entire Cost Only a Few Cents a Lesson —

and Nothing Unless Satisfied
How often have you wished that you knew how
to play the violin or piano — or whatever your
favorite instrument may be— or that you could
take part in singing?
\ j How many an evening's
;^^\'; pleasure has been utterly
C spoiled and ruined by the ad-
mission "I can't sing," or
"No, I am sorry,
but I can't play."
And no w — at
■N last — this pleasure
^ a n d satisfaction
. ,.^ that you have so

'^'" 'often wished for
can easily be added to your daily life.

Ko need to join a class. No need to
pay a dollar or more per lesson to a
private teacher. Neither the question of time nor
expense is any jongcr a bar^ — rvcry one of the ob-
stacles that have ocen confining your enjoyment
to mere listening have now been removed.

My method of teaching music by mail — in your
spare time at home, with no strangers around to
embarrass you — makes it amazingly easy to learn
to sing by note or to play any instrument.

You don*t need to know the first thing about
music to begin- — don't need to know one note
from another. My method takes out all the hard
part— overcomes all the difliculties — makes your
progress easy, rapid and sure.

Whether for an advanced pupil or a beginner,

ForB

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Celle

my method is a revolutionary improvement over
the old methods used by private teachers. The
lessons I send you explain every point and show
every step in simple Print-and-Picture form that
you can't go wrong on — every step is made as
clear as A B C.

My method is as thorough as it is easy. I teach
you the only right way — teach you to play or sing
by note. No "trick" music, no "numbers," no
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I call my method "new" — simply because it is so radi-
cally different from the old and hard-to-understand ways
of teaching music. But my method is thoroughly time
tried and proven. Over 225,000 successful pupils — from
boys and girls of 7 to 8 to men and women of 70 — are
the proof. Largely through the recommen-
dations of satisfied pupils. I have built up
Ahe largest school of music in the world.

To prove what I say, you can take any
course on trial — singing or any instrument
you prefer — and judge entirely by your own
I^rogress. If for any reason you are not
satisfied with the course or with what
you learn from it, then it won't cost
you a single penny. I guarantee satisfac-
tion. On the other hand, if you are pleased
with the course, the total cost amounts to
only a few cents a lesson, with your music
and everything also included. When learn-
inp to plfiy or sing Is so ea<g', why continuo to confine your en-
Joynit'iit of music to ineri? listfiilng? Wliy not at least let mo send
you my free book that tolls yoti all alKftit my methods? I know
you win find this lx>ok absorbingly interesting, simply because it
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this special otTer is withdrawn. No obligation — simply use iho
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card. Jiislninients ffljppll(«d when needed, cash or credit.

U. S. SCHOOL OF MUSIC, 882 Brunswick Bldg., New York

Mr. David F. Kemp. President U. S. School of Music,
882 Bruniwlcit Bidg., New Yerit City.
PiciLse flftid me your froo liwyk, "Muaic Ixtssons In Your Own
Homo" and partlculiLrs of your Special Offer.

Name. . . ,
Address. .
Cits

MOTION PICTURE

Understudying Mary

{Continued from page 38)

girls would 'go mad' over. I also recog-
nized the great opportunity it offered to
further my knowledge of the dramatic
art and it was with the happiest little
thrill, that I signed my name to the con-
tract.

"That little thrill of happiness," states
Miss Du Pre, "has constantly grown in
intensity because the work with Miss
Pickford has been glorious. I have
learnt more about the ways of children
from Miss Pickford, in watching her
portray them and in emulating her por-
trayals, than I ever could have learnt in
a lifetime from watching real children in
real life."

Speaking of her remarkable similarity
to Miss Pickford, Miss Du Pre said:
"Our resemblance is almost uncanny.
Not only in general outward appearance
but in most every detail of form and fig-
ure. One day Miss Pickford and I stood
before a mirror and made minute com-
parisons. We compared our height, the
length and shape of our arms, legs and
feet, and all of our measurements are
identical. There is a difference in cer-
tain small lines and in certain lights, but
they are of little moment and I guess that
I am, as I have been so often told. Miss
Pickford's 'double' in real life as well as
professionally."

Even without make-up and the char-
acteristic curls. Miss Du Pre's resem-
blance is remarkable and when made up
and dressed as Miss Pickford, the illusion
is astounding. So much so, in fact, that
on the first day that the cast was called
for a dress rehearsal of "Pollyanna" and
before Miss Du Pre had been officially in-
troduced to all of Miss Pickford's com-
pany, a lady appeared on the "set" and
placing her arms about Miss Du Pre's
shoulders, started to discuss a private
Pickford matter. When Miss Du Pre
halted the speaker and referred her to the
real Miss Pickford, the lady stepped back
confused and wild-eyed, and then stam-
mered in her amazement. "Why!" she
gasped, "Mar}' and I are cousins, I have
lived with her constantly' for the past ten
years — and I thought you were she."
Then the speaker. Miss Benson, rubbed
her eves and just stared — first at Miss Du
Pre and then at Miss Pickford, who sat a
few feet away laughing at her cousin's
confusion.

With "two" Mary Pickfords at the stu-
dio, things began to happen even before
the production of "Pollyanna" was actu-
ally started. The first incident occurred
on the very first day of her engagement
and it reminded Miss Du Pre of the story
of "The Prince and the Pauper."

She had been called to the pretty little
bungalow, that Miss Pickford uses as a
dressing-room, for the purpose of trying
on Miss Pickford's clothes and there with
the shades drawn, she arrayed herself in
the wardrobe of the star, as Miss Pick-
ford, disrobing in the bathroom, handed
eacli garment thru the partly opened
door.

When fully dressed, even to stockings

CLASSIC

and shoes, the shades were lifted and
star and understudy stood marveling at
the perfect fit.

At that moment, Paul Powell, Miss
Pickford's director, passed by the bunga-
low and seeing thru the open window
what he supposed to be the person of his
star, he stopped and called in — "Good
morning, Miss Pickford" — The startled
look of amazement that spread over the
director's face, as his greeting was
answered — from the depths of the bath-
room— and not from the person before
him, was a comical but eloquent compli-
ment to Miss Pickford's selection of an
understudy.

Then the thought came to Miss Du
Pre, that here in real life was the theme
of "The Prince and the Pauper," staged
in a bungalow instead of a palace, but
just as alluring in its fanciful possibili-
ties. Dressed in these "magic" clothes
and standing in the lucky shoes of the
great star, she seemed enchanted and in
imagination she conjured the adventure
that would befall them, if she retained
the wardrobe and assumed the identity
of the famous star, and Miss Pickford
went off into the world carrying the rai-
ment and the name of her newly acquired
understudy.

After this incidents of mistaken iden-
tity followed thick and fast. Each day
had its complement of humorous situa-
tions. Visitors to the studio approached
Miss Du Pre with expressions of pleasure
at the supposed honor of meeting "the
star" — and on "locations" in and about
Los Angeles, where the exterior scenes
were made, spectators bowed and spoke
to her, fully confident that they were ad-
dressing Miss Pickford.

Out in the little town of Norwalk, Cali-
fornia, where several scenes were made.
Miss Du Pre arrived in her car consider-
ably ahead of Miss Pickford — and as she
waited, a crowd of several hundred chil-
dren gathered and stood wide-eyed — as
they nudged each other and whispered —
"That's Mary Pickford." Then several
of them got together, held a whispered
conference and scampered off. Soon
they returned carrying an old and badly
soiled candy box containing some candy,
purchased by their contribution of sev-
eral cents, and this they presented to Miss
Du Pre with the statement : "Please take
this. Miss Pickford, because we like
you."

The incident was "so cute" and "so
pathetically sincere," said Miss Du Pre,
that she refrained from disillusioning the
children and was greatly relieved when
they went off to school before the arrival
of Miss Pickford.

Even the old station master at the
Santa Fe Depot at South Pasadena
came in for his share of wonderment.
This venerable railroader, who has stu-
died the faces of hosts of travelers, was
nonplussed. A scene was made on the
station platform and while waiting for
things to be made ready, Miss Pickford
and her understudy perched themselves
on a big shipping case and sat there in
animated conversation.

{Continued on page 93)
(Eighty-five)

You Can't Teach Piano by

Correspondence, Dr. Quinn

Many people told me this, when I first started
OVER TWENTY-FIVE YEARS AGO.

But now, after more than a quarter century of
steady growth, and with my successful graduates
scattered all over the world, this "old-fogy" prejudice
against learning by mail has nearly vanished.

I now have far more students than were ever before

taught by one man. There isn't a State in the Union that

doesn't contain a score or more skilled players of

piano or organ who obtained their i-iitirc training from

me. "They learned m quarter the usual time and at

quarter the usual cost. I will gladly refer you to any

number who will soon convince you

^^^==1=^ of the excellent resuUs they gained

^^^r^^JP i from my instruction. My free book-

W^^^KK ' 1^'. "How to Learn Piano or Organ,"

^^BHL jj will interest and inform you. But

'â– ^(â– Pl^i.ij don't send for it it you're afraid of

J'-.^^^^ -^ Icing convinced.

My way of teaching piano or organ
is entirely different from all others.
Out of every four hours of study,
one hour is spent entirely azvay from
llie keyboard — learning something
about tfarmony and The Laws of
Music. This is an awful shock to
most teachers of the "old school,"
who still think that learning piano is
solely a problem of finger gj'mnastics.
When you do go to the keyboard,
you accomplish twice as much, be-
cause you uyiderstand what you. are
doing. Within four lessons I enable
you to play an interesting piece not
only in the original key, but in all
other keys as well.

I make use of every possible scien-
tific help — many of which are entirely
unknown to the average teacher. My
patented invention, the COLORO-
TONE, sweeps away playing difficul-
ties that have troubled students for
generations. By its use, Transposi-
tion—usually a "night-mare" to stu-
dents— becomes easy and fascinating.
AVith my fifth lesson I introduce an-
other important and exclusive inven-
tion, QUINN-DEX. Quinn-Dex is a
simple hand-operated moving picture
device, which enables you to see.
right before your eyes, every move-
ment of my hands at the keyboard.
You actually see the fingers move.
Instead of having to reproduce your
teacher's finger movements from
MEMORY — which cannot be always
accurate — you have the correct mod-
els before you during every minute
of practice. The COLOROTONE
and QUINN-DEX save you months
and years of wasted effort. They can

Marcus Lucius Quinn Conservatory of Music

Studio KB, Social Union Bailding, BOSTON, MASS.

&

|..;:'"1 ~

ff^^i^

^^

^ ^_<J^

s^~

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â– ^J^

^Ss

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HP

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£.=-►

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^xw^sir

vl^ft^

Dr.QUINN A T H7A' I'tANO —From tlie famous sketch
by Schneider, exhibited at the St. Louis Ej^position.

be obtained only from me and there is noth-
ing else anywhere even remotely like them.

Men and women who have failed by all other
methods have quickly and easily attained suc-
cess when studying with me. In all cssetitiat
ways you are in closer touch with me than if
you were studying by the oral method — yet my
lessons cost you only 43 cents each — and they
include all the many recent developments in
scientific teaching. For the student of moderate
means, this method of studying is far sit{^erior
to all others, and even for the wealthiest student,
there is nothing bcttc: at any price. Vou may
be certain that your progress is at all times in
accord with the best musical thought of the
present day, and this makes all the difference in
the world.

My Course is endorsed by distinguished musi-
cians who would not recommend any Course but
the best. It is for beginners or experienced
players, old or young. You advance as rapidly
or as slowly as you wish. All necessary music
is supplied without extra charge. A diploma
is granted. Write today, without cost or obliga-
tion, for 64-page free booklet, "How to Leara
Piano or Organ."

■ ■■•■-FREE BOOK COCPON ,«._.«.

QUINN CONSERVATORY. Studio KB.

Social Unlan BIdg., Boston, Mass.

Please send me, witliouL cost or obUgalion, your

free booklet, "How to Learn Piano or Organ," and

full particulars of your Course and special reduced

Tuition offer.

Name

Address

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AWTION PICTURE CLASSIC

She Loves and Lies

{Continued from page 33)

"Married !" Bob was plainly hurt.
"My Gawd, Marie, how'd it happen?
You know I always sort of meant to
marry' you m3'self. Who's the lucky
stiff that came under the wire ahead ? Is
it Ted O'Keefe, that used to do the song-
and-dance with you, or Rufus?"

Marie saw that she had said consid-
erably more than enough. She changed
the subject to vaudeville again, and Bob,
knowing that matrimony is a dangerous
and sore subject with most of its vic-
tims, considerately did not follow it up.
But he did not forget. And when, the
very next afternoon, he pushed open the
door of Polly's studio and therein beheld
Marie and a handsome young fellow in
close juxtaposition before an easel upon
which stood a painting which in nowise
seemed to justify their interest, and
when, moreover, he saw Marie lean for-
ward and just brush the hair of the
handsome young fellow with a kiss, and
when, lastly and likewise, he had seen the
young fellow turn ardently and seize her
hand and draw her down to him, he
leaped to a naive conclusion.

"Give us a knockdown to your hubby,
Marie!" he demanded, jovially, and then,
to the purpling Ernest, "I'd ought to be
sore at you, Bo, but take it from me,
you've picked a peach ! When Marie
told me yesterday that she was married,
believe me, it give lil' ol' John W. Me a
jolt right where he lived, but I "

Then he paused, for the first time
realizing the chill and rarefied atmos-
phere of silence that surrounded him.
Marie's face was scarlet, Ernest's very
white. Bob was not subtle, but some-
thing seemed to whisper to him that he
had blundered.

He took his exit as gracefully as pos-
sible, leaving two who regarded one
another coldly. "And so," said Ernest,
rather tremendously, "and so you, a mar-
ried woman, have allowed another man
to make love to you I"

Marie blazed forth at this. "And you,"
she asked, "had you the right to inake
love to me? Why, for all that I know,
you may be married, too !"

He wilted like a punctured balloon, all
his rage oozing from him. He stam-
mered piteously, but she was merciless.
Writhing, he confessed. "I've been a
brute — a cad I Why did I ever come to
this accursed part of town, where people
wear loose clothes and loose morals ?
i\nd she's so sweet — so good "

Marie thrust her vivid young face
close, daring him. The fragrance of her
was warm in his nostrils, the golden
gleams dazzled his eyes. "Tell me," she
whispered, "is she young — and pretty?
Look at me, Ernest — and tell me."

He wrenched his gaze from her ef-
fortfully. "She is good — and I — I love
her !" he said doggedly, and got to his
feet, defying her, tho unconsciously his
arms went out hungrily to the youth of
her, the splendid, quick young loveli-
ness. "I'm going back to my wife — I
shall never see you again ! Good-by I"

But still she had no mercy. "Tell me
— before you go," she dared him, "tell
me that you never want to see me again."

He tried to say the words, but his dry
lips refused to shape them. In his gaze
was confession, but he was still man
enough to go, and the door closed behind
the tragic young figure. Marie laughed
shakily. The sound stumbled over a sob.
"He's splendid and I'm a wicked
woman." She sprang across to Polly's
clothes-press, disguised meagerly with
cubist cretonne, and rummaged. Among
the bedraggled smocks, the smeary batik,
the wool-embroidered, the stenciled, she
found one comparatively new white one,
dragged it down and began to tear at the
fastenings of her own.

"I've got to look pretty — enough to
make him forgive me," she sobbed, as she
worked. "Oh, I'm afraid — afraid !"

To Ernest Lismore, sitting dully in his
study, staring at broken pictures in the
mocking flames, came the sound of littie,
light feet that he had learnt to know. He
looked up guihily as his old little wife
came into the room and stood by his
chair, patting his rough, dark head gently.
"Boy," she said, "boy, I've been thinking,
wondering. Perhaps it's time for me to
free you, Ernie. I've thought that you
looked troubled lately. Tell me, boy, are
you in love ? Remember I'm your grand-
mother and tell me all about her."

"Oh, you're wonderful !" choked Er-
nest, and caught at the kind little hand.
"You know everything! I didn't mean
to, honest ! It just happened — she's
little, like you, and she has hair like a
dark spring night trimmed with stars !"

And he went on in breathless, stum-
bling words, in flaming young phrases,
foolish young similes, to tell of his love
for the paint-smeared little artist he had
met in the Dawn galleries. When, a long
time after he had begun speaking, he
stopped abruptly, there was a space of
silence. "I — suppose you can never —
forgive me," Ernest faltered.

"Forgive you !" a voice echoed in his
ear, throbbing, beating like a heart.

Amazed, he looked down at the little
white-clad figure that had slipped to the
floor at his feet, and suddenly he cried
out, unbelievingly, "You! Not — you?
Was it — you, all the time?" for she had
lifted the piled grey hair with a revealing
gesture and flung it from her own.

"It was I — all the time," Marie an-
swered, and suddenly her look quickened
to that of some prophetess. "Ernest, it
wasn't all acting. When a woman loves
a man, she loves him because he's her
hero, and because he's her protector, and
because he's her lover — and, most of all,
because he's really her little boy, Ernie.
Still" — her lips grew mischievous — "still,
sir, if you're dissatisfied with your wife,
of course I'll stick to my agreement "

"My wife!" said Ernest Lismore, and
he said it like a prayer. "My wife," and
this time it was like a poem. "My wife!"
and he stooped to sweep her up in his
strong, hungry arms.

(Sighty-sise)

AN APOLOGY AND
AN EXPLANATION

On October ist, 1919, practically all of the printers and type-
setters in and around New York went out on strike, including
those who print this magazine. Without going into the merits
of the controversy between the employers and the employees, we
will simply say that we had no voice in the matter one way or
the other. Several labor unions had differences among them-
selves, and these differences caused the Publishers' Association
to refuse to comply with the demands of certain labor unions.
We do not belong to the Publishers' Association. That body
conducted all the negotiations. When the printers and com-
positors walked out, it was not in our power to make them walk
back, even if we had been willing to give them everything they
asked. Had we terms with one union, another union would
have refused to handle our paper, and another union would
have refused to make the plates which are necessary for us to
have. In other words, our hands were tied. We were helpless.
Some publications were fortunate enough to have some of their
printing done for them in distant cities, some had it done by some
other process (such as typewriting photographed) and some
could not have their work done at all. The strike did not end
until the latter part of November, having lasted nearly two
months.

During this time we did everything possible to supply our
readers with this, their favorite magazine, on time and in good
condition, but such was not possible. We left no stone unturned
and were willing to go to any expense, but in spite of every effort,
we were unable to meet the schedule, hence we were late.
Furthermore, the magazine that you received was not the one
we intended to give you. When the strike came on, this magazine
was partly made up and partly printed, but we were unable to
move either the type or the parts that had been printed. We
managed to get out a MAGAZINE, but it was not the kind of
magazine we wanted, it was the best we could. We could not
even print an explanation and an apology, hence this one. We
hoped, and still believe, that all of our esteemed readers, even
those in distant parts, had heard of the great tie-up strike and
that they would patiently wait. Some of our contemporaries took
advantage of our extremities by issuing extra large editions on
an advanced date, hoping thereby to secure some of our readers,
instead of extending us the brotherly hand and saying, "Is there
anything we can do for you in your distress?" We hope that
they have largely profited by their business sagacity, but we be-
lieve that we have not lost a single reader. Once a reader always
a reader.

We are now fully recovered from the disaster and from now
on our readers may expect the finest magazine possible. We
have done this for ten years and we can do it now. WATCH US.

THE M. P. PUBLISHING CO.

STRONGFORT
The Perfect Man

Get THe JO^ Out
OP Llf^B

What's the good of liv-
ing at all, if Life is just
one miserable day after
another, full of discom-
fort and failure, often of
actual sufTering? You can't
enjoy life, or make a suc-
cess of anything, whih
you are undeveloped,
weak, ailing; a sickly
grouch whom nobody
wants to help along or
even have around. When
you wake up in the morn-
ing with a rotten taste in
your mouth and a weight
in your chest; with your
brain woozy and your
nerves all on edge, tired
out before you even begin
the day. YOU ARE IN A
BAD WAY.

Forty per cent of Americans,
it is estimated, die before their
time, of PREVENTABLE dis-
eases. Xoljody knows how many
men and women break down in
early and middle life and live out
years of miserable usclessness in
the scrap-heaps of wornout hu-
manity.

Put Your Human Machine in Order

Dyspepsia, indigestion, biliousness, constipation, nerv-
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that your internal machinery is not running right —
that REPAIRS ARE NEEDED— fresh blood, new
and vigorous body and brain tissues. It isn't the dis-
comforts you suffer from such chronic ailments that
is important: it's the serious internal condition that
they indicate. Heed those warnings of Nature. Make
the needed repairs before it is too late. You never
will be well and strong and capable until you do.
You will get worse — each day — until the final collapse
or breakdown comes. That is the Law of Nature.
There's no dodging or getting away from the penalty
she exacts when her warnings are not considered.

Make Yourself Fit

You can do it, if you will only make up your mind
to get out of the way of putting the matter off "until
tomorrow" and begin at once to Build I'p yourself.
Nature has implanted in every human organism a
wonderful revivifying, revitalizing force, which she
will exert to the utmost when you learn her methods
and observe her laws. Patent medicines won't put
you right. Druggist's dope won't do you any good.
Pills and powders may give you a little temporary
relief and stimulation, but they won't eradicate the
CAUSE of your troubles, and when the inevitable
reaction comes you will be even worse off than before.

Let Me Show You Nature's Way

I liare spent my life etudylnff Nature's methods of building
lip and reritalizing womout, broken-down humanity. Her
I.Tws are fixed, immutable, absolute, operuting for every Imli-
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ihrouBh my own experience and that of thousands of my pupils,
who came to me weak, ailing, discouraged, and are now
srrong, well, able, ambitious men and women. It makes no
difference what your present condition is: It makes no differ-
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tions or excesses. Let me show you the straight, sure path
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and there's no more doubt about the operations of Nature in
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Send for My Free Book

It will tell you all about Strongfortism, the Science of
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ivlth the book, on the subject you are most interested In.

LIONEL STRONGFORT

Fhnsic'it'and Health Specialist
1150 Stronefort Institute, Newark, N.J.

■)■««■ CUT OUT AND MAIL THIS COUPON. ..__

Jlr. Lionel StronRfnrt, Newark, N. J — Please
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subject in which I am interested, (1150J

..Cold!

. .Intomnia

â– Catarrh

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. .Asthma

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..Youthful Errors

. Obesity

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Name ....

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(Eighty-seven)

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IqcAq^Ic tecyclomcclicx.^

This department is for information of general interest only. Those who desire answers by mail, or
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Those desiring immediate replies or information requiring research, should enclose additional stamp or
other small fee; otherwise all inquiries must await their turn.

Oi'AL B.— A little Into, but better late than
never. Those striking printers certainly did
play havoc with our schedule. Never mind, we
expect to be out on time with the next issue.
Be patient. I haven't the boy's name in "The
Delicious Little Devil."

Talmadge Fan. — My thanks, you flatter me.
My wit might be more appealing but that
Shakespeare, Butler and Bacon have rendered
it extremely difficult for all who come after
ihem to be sublime, witty or profound. How-
ever, I'll do my best. Write to our Sales De-
partment, and not to me, please, about all
matters concerning back copies, subscriptions,
etc.

From Mt. Pleasant. — Oh, how do you do!
Yes. I have just had a birthday, but I hope to
advise you during 1920 — never too old to be
an Answer Man. I rarch' look back, but
always keep looking ahead. Some people
spend their lives in reasoning on the past, in
complaining of the present, and in trembling
for the future. Ruth Roland in "Hands Up,"
and Jean Sothern in "The Mysteries of Mira."

C. R.\Y. — Fiat lii.v means "Let there be
light." Mae Murray is playing in "The ABC
of Love," released thru Pathe. Corinne Griffith
is playing in "The Tower of Jewels." Why, I
very seldom get down to Vitagraph. Ah ha,
so you like little Marguerite de la Motte, and
think she is a "pippin." I think so too, but I
confess I dont know what a pippin is. So
you like the Magazine better than the Classic.

Dixie Dee. — Sure I have w-hiskers like a
Turkish pasha, but I never wear a muffler in
the winter time, nor do I carry a muff, nor do
I ice-skate to and from the office. Dorothy
Gish in "Betty of Greystone" opposite Owen
Moore. You say you know something about
the markets and the way of the dollar, but all
1 know about women is that they are good to
have. And you come along and say that Wal-
lace Reid is the handsomest man in the world.
Have you seen them all? Come in again and
see me.

Coming Author. — Well now, come right
along. There's room for one more. You say
A'ou have written a scenario and ask how much
it is worth. That's not the question. It is,
How much will it bring? Take what you can
pet and be thankful. Write for a list of the
manufacturers.

MiMi B. — Well, there is one thing that
people bring to the table, and cut, but do not
eat, and which should never be brought to the
table at all — a pack of cards. Card-playing is
a terrible waste of time and brings no benefits.
Jifarjorie Wilson plaved in "Mountain Dew"
and William Elliott' in "When We Were
Twentv-one." And now Lillian Walker will
play in "$1,000,000 Reward," a serial, produced
by Grossman Pictures, Inc., Ithaca.

Minnie F. L., Auburn. — Oh, you have
Auburn hair? I am always glad to hear froin
architects. I am one myself. I am the archi-
tect of my own fortune, but I confess that I
have made a bad job of it so far. But what
can one do on nine dollars a week? I went
into this business nine years ago without a
cent in my pocket and I've got it yet. Oh, how
could I forget you, Minnie I

G. E. W. — Why, turning a woman's head is
as easy as missing a train if you know how.
Is Conway Tearle married? Witness prefers
not to answer on the ground that he is not
sure about it this minute. Mississippi was the
first, Virginia second, Kentucky third. South
Carolina fourth to ratify the amendment for
prohibition. Even Kentucky,'!

Peggy Adair. — I thank you. fair lady, for
the cigars, but with all due respect and grati-
tude. I must inform you thai I knew they were
purchased by a woman. You say they had
Connecticut w^rappers? I believe you; they
tasted like some kind o£ rags. An artist tells
me that old wrappers make excellent rags.
No, Mrs. Adolph Zukor is not a player. She's
a producer's wife. Write to me again.

M. T. — Of course I eat fish. If I have
plenty of mackerel for breakfast, I can usually
make the other two meals out of cold water.
Virginia Brown, one of the winners in the
Fame and Fortune Contest, has changed her
name to Virginia Faire, and has signed a five
vears' contract with Universal, involving some
$85,000. Pretty good start, eh? Antonio
Moreno in his new serial, "Smashing Bar-
riers."

Lily B. — My dear, no human creature gives
his admiration for nothing; either the eye
must be charmed, or the understanding grati-
fied. And that is the way of the world. Yes,
Elmo Lincoln in "Tarzan." Why, haven't you
heard of a varnish tree? There is the black
varnish tree and the Japan varnish tree.

Miss Manda — You question my statement
that I am a self-made man, because if 1 had
made myself I would have put more hair on
my head. Well, I put it on my chin instead.
Be off with you. Alice Brady's latest picture
is "The Fear Market," which was produced a
couple of years ago on Broadway.

Helen. — Yes. Alice Joyce was in New
Orleans taking "The Sporting Duchess." Ben
Wilson and Neva Gerber are producing a sec-
ond serial, "The Screaming Shadow." Some-
body must like these serials. Of course I lie
down to sleep, do you think I am a horse?
Speaking of horses, they show their angsr by
retracting their ears. Did you notice mine
retract?

George L. — If j'ou want your letters an-
swered in the Classic, please be sure to put
"Classic" at the top of vour letter. Dolores
Cassinelli is playing in "The Web of Deceit."
Herbert Rawlinson is starring in 8 two-reel
detective features. J. Warren Kerrigan in
"The Lord Loves the Irish," and I guess He
does, or He wouldn't have made so many of
them. So you want to see Anna Little on the
cover and an interview with Clara Williams.

Marjorie M. — Chickens, no, no, the incu-
bator w^as known to China and Eg>-pt first—in
the very early period. The smallest British
possession is Gibraltar, and the largest _ is
Canada. You know there must be a begin-
ning. Dont know why you are afraid to write
to me. I wont hurt you. The more the mer-
rier. Yes, Frankie Lee is a bright child. Billie
Burke did not play in her stage play on Christ-
mas Day. She spent the day with Patricia.
(Continited on page 96)

(Eighty-eight)

This Coupon is NOT an Aladdin's Lamp

* Palmer Photoplay Corp.

J 742 I. W. Hellman Bide.,
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Also — Special Sup-
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I Department of Education

742 L W. HELLMAN BUILDING LOS ANGELES, CAL.

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Name. . .
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(Eighty-nine)

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MOTION PICTURE

On With the Dance

(Contitnted from page SS)

staling on him, opened a dancing palace
and sent the masked dancer off to a sen-
sational success.

Sonia loved it, especially at first. She
feasted upon the adulation, personal,
press and otherwise. She rioted in furs
and jewels and the things she had hun-
gered for since she had danced, half-
naked, on her native steppes. It was all
rich food to a part of her long lean with
deprivation.

Other things, of course, were more
involved. Van Vechtan, incidentally, ac-
quired two deep lines on his brow where
lines had not been before. Peter grew
more silent and more morose, retired
more than ever to himself. He was out
a great deal of the time with Joan, doing
settlement work and reading things
Sonia did not nor would not understand.
When he was at home he was utterly
abstracted, felt utterly stifled. Joan was
the air he needed to breathe in order to
live. Sonia and her heavy atmospheres
stifled him. He grew to know how bit-
terly a man sins against himself when
he does not play true with himself, with
the greatest urge within him.

Under a surface all roses and smiles
and discreetness and silences and abstrac-
tions, something ugly and sinister rankled
and grew apace. Peter became insistent
as to the source of Soma's plutocratic
apparel. He knew it did not come from
him, even tho his income from the ter-
minal plans had become a solid one. He
knew that Van Vechtan was simply
making her the simple allowance he had
given her when she first came to her
father and to him, adequate only for her
studies and simple attire. Because he
honestly did not very much care in any
essential sense he did not press the mat-
ter for a while. Van Vechtan did, and
Sonia, curled up on a couch, told him
all about it. "It's gorgeous fun," she
said, in conclusion.

Van Vechtan sighed. The sigh came
from his traditions and his dreams, never
quite the same, always a bit disturbed
since this girl had come over the waters,
bringing with her new flavors, a hint of
new desires.

"You are a mystery as you are, So-
nia," he told her. "Why try to exploit
it all — for the mob? Reserve is the last
of the arts, and the finest. Why not
live more for Peter, more for the things
you can take with you into the softer
years? The adulation of the mob — they
are a wolf-pack, snarling for fresh meat.
They will reject you and cast you out.
They will forget you."

"I will reject them and cast them out,
too," Sonia said ; "they are a toy to
me, also. I will forget them. Anyway,
what does' tomorrow matter? Or yes-
terday? It is the present that matters.
It is today. Death and forgetfulness
make mockeries of past and future."

"You are imbibing," sighed Van Vech-
tan, "the tin-pan philosophy of Jimmie

(Ninety)

LASSIC

Sutherland. I suppose you've got to
i ;arn. What a weary cycle it all is !"

Of course, sensationalism stepped in
nd smashed the whole rotting structure
3 the mud, from which, only with great
•ain and labor, anything whole and ade-
uate was made again.

Peter came home one night, straight

rom foan, to find .Sonia dancing an

.bandoned sort of a thing for Jimmie

Sutherland. All the satyr in Sutherland

vas on the surface. It was repellent.

'eter created a scene, justifiably enough,

jind only Sonia's really desperate plead-

ng saved the studio from being the scene

! )£ God knows what horror.

I After it was over, Sonia packed her

)ags and departed. "I dont know what

t's all about," she said, "but I know that

[ cant stand it, any of it. You've never

:oved me, Peter. I think some of the

:ause is in that."

A week later Peter followed her to the
dancing palace, and so did Jimmie Suth-
jrland's discarded Fay Desmond. The
oapers had the whole thing in detail the
next morning. Fay Desmond tore the
mask from the masked dancer, de-
nouncing her, Sutherland leaped to the
rescue and then, clean as a lance, past the
lot of them, a slender man, white and
murderous, cleaved thru the crowd — and
limmie Sutherland lay under a smoking
gun held by Peter Derwynt.

It was an equally sensational trial.
The component parts were splendid as
copy — the famous masked dancer;
Schuyler Van Vechtan, unapproachable
in the assault of all approaches ; Peter,
an odd murderer in his remote and white
asceticism ; the desperate-looking Fay
Desmond, with the odd air about her of
petrified vitality, almost as tho frozen ;
the name of the wealthy Jimmie Suther-
land, whom wealth had turned, it
seemed, from a ruddy, honest pork-
packer into a satyr, horridly stalking.

The trial reached its climax when
Sonia, slender and vastly different, all
in black and utterly composed, took the
stand. She told the jury, very simply,
without any sort of affectation or apol-
ogy or ostentation, that she had been
Jimmie Sutherland's mistress because she
craved the luxuries of life and her hus-
band could not give them to her. "He
found it out," she said, in conclusion, "so
he killed him."

Peter was acquitted. He had done, of
course, the justifiable thing. He had
merely killed the thing rotting the decent
foundation of his home. One could do
no more, it seemed ; no less.

He went to Sonia and thanked her —
for telling the truth.

"Naturally," Sonia said to him, her
small hand, a frozen thing, stiff in his
formal touch, "naturally. Peter, I would
— tell the truth. I've always done that —
at least."

"It was a hard truth to tell," Peter
said, "but it was big, Sonia. You might
have done much less."

(Ninety-one)

Surprises

You Can Serve With Bubble Grains

Some morning serve Puffed Rice or Com
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After crisping, douse with melted butter.
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It will taste like a dish of confections. And
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Add Puft'ed Rice to your fruit dish — any
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These fragile, nut-like bubbles add that crust.
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Children need whole wheat. They need the
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After school surprise
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MOTION PICTURi

"I agree with you there," she said
Peter felt, curiously, that she wa
flame grown ice. It was somehow tragic
It made of Sonia something he had no
suspected. Vaguely he felt uncomfort-
able. He knew that he was in the facq
of unshrouded pain.

Later he went away with Joan t<
await the time when the peace they ha<
all but lost could come to them, too wi;
now to let it evade them, however a:
whatever the price they might have
give.

Sonia left the courtroom alone. S
walked. She walked a long way, towan
the river. She remembered hearing thai
a lot of "crazy foreigners" went thai
way when the things of life became tOG
much for them. She laughed aloud, but
not bitterly. She was too tired for bit
terness, too tired for anything save reliel
that she was alone and that there re-
mained so simple a solution as slipping
her dreary body into enveloping waterSi
lapping ever so gently against the gree
docks. Of course, it was very cold, shi
supposed, and very dirty. But then si
was she cold, terribly cold and dirty, too]
she thought, all stained and scarred .

She had only wanted to live, toi
There had been no evil intent in hei
heart, not any more than there had beei
when she had wanted, so vividly, t(
dance, back in her native village. Am
she had danced. She had danced hen
too. She had danced her soul into flamei
and her body into the river. It was all
very odd. Very inexplicable. Thin
one could not understand invariably hu:
one. It was a blunting, blowing sensi
One groped, sly, too, who had so great!
loved the dear ozone, the winged ethe^
the altitudes where one could see fai
horizons with an untrararaeled vision.

All at once something took hold of her,
Something warm. A human hand. She
had never expected to feel warm again,
Some one drew her very close and, as ii
knowing her to be cold despite her own
furs, enveloped her in a great coat he was
wearing himself. It was Van Vechtan.
"My child," he was murmuring, ever
so tenderly, "my child . . . my child . . ."
Sonia found herself crying againsi
him, against the beating of his heart, his
true heart. He had, it seemed to her,
walked suddenly from out of the twilight
and was standing, fully, in the sun.
"Come home, my love," he said.
The maid helped him and he made her
comfortable. He eased her tired body
and her tired soul and quelled the sorry
fluttering of her heart. He bade her'
know that love might be a torch held
high against the heavens, unquenchable,]
eternal. He took her in his arms andf
rocked her to and fro. He taught her a
new lesson, a new faith. Once, half
wakeful, she whispered to him, "Of'
course, I lied ... to Peter . . . about
Jimmie ..."

"Of course," he whispered back.
Still later she crept closer to him. Her
lips, white petals now, moved, tonelessly.
He bent closer to catch what she said.

"I have come hom*^, my love," was
what he heard.

(Ninety-two)

CLASSIC

Understudying Mary

(Continued from page 85)

The old station master knew that Miss
Pickford and her company were cominp
there that morning and he was all expec-
tation. His expectations were more than
realized when he came ovit of his little
office and beheld "two" Mary Pickfords
instead of one.

He circled about the pair and surveyed
them in every detail — from curl-bedecked
heads to identical ''Pollyanna" homespun
short frock, plain cotton stockings and
tiny well-worn shoes. He took distance
views from the front, rear and sides.
Then he tightened the circle and looked
his fill at close range and punctuated his
glances from each angle, with a perplexed
scratch of his head.

Then he waited his opportunity and
when the "two" Pickfords separated for
a moment, he hurried over to Miss Du
Pre and plied her with a "million" ques-
tions. He asked where she had been
bom and where Miss Pickford hailed
from, and if there existed any relation-
ship between them. But the answers onlv
perplexed him the more and learning
that Miss Du Pre came from Atlanta,
Georgia, while Miss Pickford came from
Toronto, Canada, he gave up the effort
to solve the "mystery" and resumed his
work with the remark — typical of a rail-
road man — "cant understand how two
people can come from such widely separ-
ated points and look alike."

Then to the studio came such celebri-
ties as Mrs. Mc.\doo and Mrs. William
Randolph Hearst, where they met Miss
Du Pre and were amazed at the duplica-
tion of the little "Queens of the Screen."
And the furore she created in the studio
extended even to the wise ones of the
profession, to those men and women
long associated with the business of mak-
ing motion pictures and used to the sur-
prises of the motion picture stage.

There was Tom Gerrity, the scenario
writer and veteran motion picture man,
when he beheld star and understudy to-
gether, for the first time, he looked,
rubbed his eyes, and looked again and
then pleaded : "Tell me quick — which is
which — or send for a doctor."

And all thru the excitement, Miss
Du Pre has retained her usual poise,
with not the slightest sign of being spoiled
by the flattery and the official appoint-
ment of being "just like Mary." "Of
course, it is very wonderful to be asso-
ciated with Miss Pickford," she said, "but
I detest imitators and I have no desire to
imitate Miss Pickford in any way, other
than as her understudy. Miss Pickford
is a master of the art of silent expression
and in my present position I feel like a
student taking a post-graduate course."
Louise Du Pre has played on the stage
for several years, but has always played
dramatic-ingenue roles — parts far re-
moved from the "child" characters es-
sayed by Miss Pickford. She is a South-
ern girl with a convent education, and
altho only five feet in height, she likes
to dress her hair back and appear
"grown up."

(Nmety-three)

i\

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InOrderingRingsSe'ftVn'g^Jofl

strip of heavy paper so that the ends exactly
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pin or LaValliere shown and de- J* * „. r, . -~~ rk:^.»« lit

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/

0 Name .

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The Celluloid Critic

{Continued from paijc 49)

incidentally giving it a happy ending.
Conrad's tale of the exile, Axel Heyst,
and the girl from a wandering tropical
orchestra upon the lonely Paciiic isle is
touclied here and there by Mr. Tour-
netir's camera, but not by the scenario.
"\'ictory" singularly disappointed us, for
we suggested the tragic tale to Mr.
Tourneur some two years ago, and we
looked forward to its screening with
genuine interest. The dapper Jack Holt
is not the Axel of Conrad and Seena
Owen is too much the ingenue to ever
be the picturesque Alma. The only ap-
proach to Conrad is Lon Cheney, who
was the Frog of "The Miracle Man," as
tliat merciless vulture of the South Seas,
Riccardo.

"Soldiers of Fortune," (Realart),
Allan Dwan's celluloiding of the late
Richard Harding Davis' pleasant ro-
mance of South American revolutions in
tlie merry days before the poison gas and
modern mechanism took the gayety out
of warfare, is done in a big way. but it
never once makes a direct personal ap-
peal. Dwan is more fitted for s*"cries of
the inner soul than these pageants of
supers. Here his cast does not in any
way distinguish itself. There is one re-
markable long shot, a vista of the ani-
mated roj'al parade ground, which will
not soon be forgotten by fans who see
"Soldiers of Fortune."

JMary Pickford contributes a mellower
and more legitimate characterization in
"Heart o' the Hills," (First National),
adapted from a tale of the moonshine
mountain folk by the late John Fox, Jr.,
than in any of her vehicles for some
months. Here she has a role slightly
more mature than has been her wont re-
cently, the character of a fiery, untamed
girl of the Kentucky hills. And Miss
Pickford plays it with an infinite va-
riev}' of shadings and nuances, despite
the triteness of the romance. Harold
(joodwin does the mountain boy lover
admirably.

"For Old Kentucky," fFirst National),
is still another story of the moonshiners,
Kentucky colonels, and so on. For years
a barnstorming stage melodrama, it has
been adapted to Anita Stewart's film
needs. It is the most obvious sort of
cheap melodrama. Marshall Neilan has
(lone all in his power to camouflage the
; tory, but the screen is mercilessly reveal-
ing, we fear. Miss Stewart shows no
advance in this picture, we regret to
report.

Mary Miles Minter's "Anne of Green
Gables," ("Realart), belongs to the sugar-
coated Pollyanna school of realistic lit-
erature. Miss Minter portrays a young
orphan who, adopted by an aged couple,
softens their hearts and eventually wins
her own happiness. Miss Minter is a
pleasant little person, but of limited tech-
nical equipment. Hence "Anne of Green
Gables," centered wholly upon her, moves
along a monotonous level of conven-
tionalit}'.

Only a season or so ago Mrs. Fiske
played a stage version of Helen R. Mar-
(Continued on pane 96)

Ll \\.i

CELECT your own

'^ subject — love, patriotism '

— write what the heart dictates,
then submit your poem to us.
We write the music and guarantee publish-
er's acceptance. Our leadinR composer is

Mr. Leo Friedman

one of America's well-known musicians, the author
of many song successes, such as "Meet Me Tonight
in Dreamland," "Let Me Call You Sweetheart."
"When I Dream of Old Erm," and others the sales
of which ran into millions of copies. Send as many poems
as you wish. Don't Delay. Oet Busy— Quick.

iWrestling Book FREE

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Send You a Lachnite

if

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Suite 236 Garland BIdg. Chicago. 111.

(Ninety -four)

Ill

9 Pieces— Read the Descriptions

Soft. Silkolene Comforter

A good size comforter of rirli. soft thickness.
Scroll stitch. Filled with puri.-. sweet, sanitary
cotton, with u good wearing sillioleni-- cover,
in rich floral design, botti sides alilte. Jleas-
iires alioul 71 s 77 inches. Shipping weight,
uljout 4Vi Iba.

Double Plaid Blanket
Double Manket, unusually well made, of
ixtrii weight and size, with carefully Btitcnea
bindings and soft finish. Made of standard
New England cotton yuni. plaid pattern In
popular colorings, measures about 64 x 7b
inches. Weiglit. alinut 3 H'S.

Fringed Bedspread
Here is the l;lnd of bedspread that anyone
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soft, pure cotton, neatly scalloped. Conies
in an assortment of Ijeautiful geometrical
patterns. Natural white color. Launders
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2 Lace Curtain Sets
Newest colonial design. Combines the finest
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niece of fillet lace" with fine American woven
llgurcs. Designed to be used one curtain to
a window, the double effect answering the
inirpose of two curtaina Comes in wh-te
only. Size 83 inches long and 49 inches wiue
:; sets with each outfit.

2 Bed Sheets
These seamed sheets are extra lienvy.
l.leached to snowj- whiteness, nicely hem-
med and beautifully finished. Size about
*to X 72 incheg. Two sheets are furnished
with each outfit.

2 Pillow Case*
These are made of the same quality as the
Bhoets. blHsched to pure snowflalfe white.
nicely made and beautifully hemmed- Wl i
give unquestionably long .service and will
launder perfectly. Sizo
about 4:i.v3t; inches,
2 pillow caw>s
funilahed.

Wonderful bargain ! A complete outfit of bed equipment-^
0 ,,,pf,>l nieces— sent to you for only $1.00 down! Use them as

"SetUl pieces sent to y" J^ ,2.60 a monlh until you have paid

^fiQO ^i in Thnrof tKrvlue! If you were to buy these singly they would cost

=iSs;Lp|ip=£strf HirS;;s ; s

quality You ean use the <»■•«« ,30 iays^ Then if y°",^<l°„"°^Vd f^'' /„<;fp<'„^' S $1.00
v/e wi! return your money. All that yon nave to uu '^ '" ='; „„„.i, Prirp $26 90
now Order by No. C5969A ; $1.00 with coupon. $2.60 a month. Price $Zb.9U.
(Pieces not sold serarately.)

Open an
account
^ with us.

We trust honest people no matter where they live. Send
for this wonderful bargain shown above or choose from
our bargain catalog. One price to all, Cash or credit^
Do not ask for a special cash price. We cannot offer
any discount from these sensational prices. No I/. U. u.

Easy Payments S?^} 30 Days' Trial

V .^ .„. .1 — 11..^ G«n,i Our Pii:irantee nrotects YOU. It not

Guarantee protects you. If not

perfeclly satisfied, return the article at
our expense within 30 days and get your
money back, also ajiy freight you pay.
Could anything be fairer? ^

Have this wonderful 9 piece

Take advantage of this

along with $1.00 to us now.

lK-dri)om outrit sliippcd on 30 da. _

opportunity to make a big saving on bed room equipment by getting
this complete comblnalion outfit at a big reduction in price. Send
now, while the offer lasts.

Dci>tl552 V.SSlkSL ^^

Strau8&Schram,<'(!i:!;L'^l^„^'

Catalog Free w«.*iu..-nd onr hi„pTu^

^' Strnt

^^ A Scbram

„ Dtpt 15S2
W. 35tli Strttt,
Chictfo, Illinoif

*^ Gentlemen: Khipspecial

— • advertised bedroom outfit.

# Enclosed you mil flnii $1.00.

/ I am to have 30 days' trial.

_ If I keep the outfit I will pay

# talance at $2.60 per month. If not

^ satisfied I will return this outfit

within 30 davs and you are to return

niy money and any freight chargea I pay.

â–¡ 9-Plece Bed Room Outfit,
No. C5969A, $26.90.

caUloff tiBtinn tbooMDda o{
■mattrn' burUDI io furaltare, l«wetrr. boaMb«lil_rooal*

,^ R. F. D,

or Box No..
Shipping
Point ,

rwt Office s^^^

If you ONLY want catalog put X In proper box below
[] Fiirnlture. Stoves and Jewelry

[] Men's. Women's and Children's Clothing

(Ninety-fiv4)

Your Hair Needs Danderine

Save your hair and double its beauty. You can have lots of
long, thick, strong, lustrous hair. Don't let it stay lifeless,
thin, scraggly or fading. Bring back its color, vigor and vitality.
Get a 35-cent bottle of delightful "Danderine" at any drug or
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hair. Your hair needs stimulating, beautifying "Danderine"
to restore its life, color, brightness, abundance. Hurry, Girls!

â– I x\lLbu Write the
/ theMusic!

You, yesi you, write the words for a
song and submit to me. If I find the
subject or idea suitable for use in a song,
will agree to give your poem a musical setting
and have the complete tonE printed accord-
ing to tile plan of the

Metropolitan Studios

You Can Succeed --^^ICt

that! You maybe interested in knowing
that I received my musical education at the
Moscow Royal Conservatory of Music, Moscow,
Russia, and later became the royal court pianist.
I have appeared in concerts in all the leading
cities of Europe and this country. Among mjj
greatest song successes are:— "If I were a Rose,
of which a million copies have been sold, and
the national hymn, * America, My Country."
Do not let another day go by without •ubmit-
ting • poem to me. Who knowt— you may be
the long writer of tomorrow.

Address me as follows:

Edouard Hesselberg

METROPOUTAN STUDIOS

914 S. Michigan Ave.. Suite 1 38 Chicago. Hh

Learn to Dance!

Tou can lesm Fox-Trot, One-Step, Two-StcpJ
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Write (or Special Terms. Send todau
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WILUAM CHAHDIXn PEAK. M. B. ,„
■MM 4Slr e81CrM««BtrtoM-Cblca|o.tll>

I Publishes
* cash art as*

H)^^p\^Bi1 eignmcnts,

[TMAGAZlNfi lessoni and

articles on

Cartooning:, Designing, 111 us-

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Ctitldscs amateurs* work. Pull of In-

fonnatioQ for anists and art itudcnti.

aory or money refunded. 20c a copr, tl â–  year.

Send$f NOW. ThriftSiamps Taken

G. H. LOCKWOOD, Editor,Dept.597. KaUnuoo.Micb.

f\T\

LearnVaudevilleActin^

Staga Work and Cabarot Entartalnlng success-

^tullytaughtbymalL Your opportunity to enter fasclna-

tlng, money -making profession— to travel — eee the world

\ —aa vaudeville actoror actress. My Blmple. easy, complete

r- - Ct ProleBslonal Course — only one of Its kind— COVERS ALL

(rfe^L BRANCHES. Develops Personality. Conndenc*. Skill, and

J8 .. â–  tells you just how to eet on tbetitage. Bend Ccpostaeo for

ey ^Z^ blebooklet,"AII*b0UtVlDlIlllll«." Give age and occupation.

'^ ifi^ Frederic LaDelle.Sta. 286. Jaokson, Michigan

Be a "Movie"
Photographer

Eini$50to$Z00wuUr

Fascinating worlt tnkins you to all porta

E. BRUNEl" COLLEGE
of PHOTOGRAPHY

rHo connecOoo wltb\
V any other echool /

1269 Broadway, New York

PhOtOBraphyon^Motion'p^ctures oporadne BjlBlandardcamertta. Ewer
InfltuclorB InatDllmonU taken. Emlle Brunei operatca 20 atudloa 1q Nei
YoJkrChl^o,C3^n. Philadelphia. DclJoi^Pitt|.b^
ioi«. v-ii.tuB , ^^11 ^^ send today tor Booklet S.

FREE

1HIS BEAUTIFUl BOOK-FORM
CARD CASE. 10 IN-
TRODUCE OUR PROCESS EN-
CRAVING WE Will GIVE rOU THIS HANDY CARD CASE
EBEE WITH AN ORDER OF CARDS. 100 EN-
GRAVED CARDS WITH NAME AND ADDRESS
$1.00. I BOX OF STATIONERY, ANY COLOR. WITH

MONOERAH, $1.00. ADDIIIONAl 100 CARDS OR BOX STATIONERY, SO cu.
PROCESS ENGRAVING CO.,

CHICAGO, ILL.

msiESsmsi^si

CLARE BRIGGS, the man who draws "When a Fellow Needs a Friend,"
receives more than $100 a day. There are many other cartoonists
whose income would look good to a bank president.

IF you have ideas and like to draw, you may have in you the making of
riarn Brif «ra. .dr. w^ a s^eat cartoonist.

!,"P.'.it'°'-''"

V. vol . .

Developing naluraj ability iaJtSc surest road lo^Buccess.

Through the "Federal School o( Applied Cartooning, the 30 most
famouscartoonistsof America teach you. What
thiaschooiwilldoforyoubymailinyour spate
lime is told in the 32 page book. 'A Road to
Bigger Things." It contains studio picture; ot
Btiggs, McCutcheon.Sid Smith, Fontaine Fox
and the other stars on the Federal Slafi. Write
(otyout FREE COPY today. Juil tear out
this advertisement, put your name and address
in the margin and mail it now.

Write for ttiis eoolt Toijay

MOTION PICTURE CLASSIC

The Celluloid Critic

(Continued from page 94)
tin's stories of the DEitch folk of Penn-
sylvania called "Erstwhile Susan," build-
ing the play about the eccentric teacher
of elocution who weds into a stolid
fai'iiier family. In adapting "Erstwhile
Susan" to the films for Constance Bin-
ney's use, Realart has shifted the interest
from the wife to the brow-beaten young-
est daughter of the Dreary domicile.
"Erstwhile Susan" is loose and slow-
moving of continuity and direction.
John S. Robertson's direction is but fair,
but Miss Binney reveals certain distinct
possibilities as the drudge, Barnabetta.
She makes a genuine effort at characteri-
zation. The photoplay has been cut to
accent Barnabetta, with the result that
the odd character of the step-mother,
altho well played by Maiy Alden, will be
puzzling to the average celluloid audience.

Billie Burke's piquancy is very much
soft-pedaled in "Wanted — A Husband,"
(Paramount). Herein she plays a
dowdy young girl who, stung by the
comments of her friends, announces
a hastily selected photograph as that of
her lover. She puts herself thru a train-
ing with modistes and hairdressers just
as the imaginary lover turns out to be
the real thing. There are all sorts of
complications, of course. "Wanted — A
Husband" is very slow-moving. We do
not care personally particularly for
James L. Crane as the lover who comes
true.

Very frothy is "Luck in Pawn."
(Paramount), a Marvin Taylor stor\' in
which Marguerite Clai'k lends her petite
charms. Miss Clark plays a little coun-
try girl who tries to be a painter, meets
a bored young millionaire and, after
arousing him, finds ultimate happiness.
Walter Edwards has fearfully over-
drawn many of his incidents. No such
society folk ever existed on land or sea.
Miss Clark is pleasant, but the comedy
itself is pretty fragile stuff.

The Movie Encyclopsedia

(Continued from page 88)

Utah's Daughter. — Why, Juanita Hansen
isn't missing. ^ She was playing in "The Lost
City," presenting Selig's Wild Animals. Lois
Weber in "Forced to Wed." Think of such a
thing! I am told that brown eyes usually
photograph better than blue ones. Yes, Mar-
guerite Clark is married. Dont believe all you
hear, and only half of what you see.

P. C. M., Manila. — Last I heard of her she
was on her way to France. Can you think of
a more gruesome title than "The Cinema Mur-
der" with Marion Davies iu the lead! Think
of it, written by Frances Marion, and directed
by George D. Baker, two of the best in the
business, with a title like that. I wonder who
murdered the cinema. Let me hear from you
ag.iin.

J. F. M. — Well, I cant tell you offhand how
many distributing associations there are in the
U. S., but there are at least 10 organized ex-
changes with branches thruout the country,
altho there are only about five important film
exchange systems.

R. E. N. — Yes, I know they follow our style,
but you know that imitation is the sincerest
form of flattery. Why, the Pacific Ocean is
the deepest of the oceans of the world. Its
greatest known depth is 2L500 fathonis. I
understand they are going to have bars in the
ocean now. Y'es, Dorothy Green is playing —
she just finished "The Wild Fawn."

(Ninety^six)

Or is honor a

trait of man

only'?

Katherine MacDonald

The American Beauty

will tell you what one woman did when another's
good name depended on a silence that cast
suspicion on herself, in the powerful drama,

"The Turning Point

Watch for it at Tour Theatre!

j>

Third

Fourth Prize

Second Prize

Popularity Contest

'HE new Popu-
larity Contest,
unusual and en-
tertaining, is already
the object of great
interest — unfailing
and rife. If you
have entered it or
have read the announcements
which have appeared, and will ap-
pear, from time to time, containing
the rules and regulations, you
know it is actually a double con-
test— a contest in which both the
public and players are equally in-
terested.

The prizes depicted above and
below were selected after much
careful thought and attention and
each one is destined to make some
one happier, from the beautiful
Crescent phonograph which sug-
gests a twilight hour with the
gems musical genii have given to
the world, to the Marble nickel-
plated axe which brings to mind
a jolly time in some invitingly
green woodland.

Perhaps you have not yet de-
cided to enter the contest — if not
do so now. Dont lose an oppor-
tunity of enjoying the unique en-
tertainment it affords or of captur-
ing one of the lovely and useful
awards.

Awards

FIRST PRIZE

Crescent Phonograph, piano mahogany finish
(value $160). Plays all makes of disc records:
Victor, Columbia, Pathe, Edison, Emerson, etc.,
without the use of extra attachments or intricate
adjustments; a simple turn of the sound-box is
all that is necessary in changing from a lateral
cut record to playing a hill and dale cut record.
A Crescent owner can enjoy a repertoire of
the greatest opera singers, popular songs, dance
music or anything that is turned out of the
disc record. The tone of the Crescent is full,
round, deep and mellow. It has a large com-
partment for records.

-First

SECOND PRIZE

Movette Camera and
three packages of films

(value $65). Compact,
light, efficient, easily op-
erated. Think _ of the
possibilities during your
vacation trip — your
canoe trip — in pictures

— pictures of your family or friends — living pic-
tures that you can project at any time in your
home, A priceless record of your life.

THIRD PRIZE

Corona Typewriter with case (value $50) ; an
all-round portable typewriter, light enough and
small enough to be carried anywhere, and strong
enough to stand any possible condition of travel.
It is trim and symmetrical and does not give
one's study the atmosphere of a business office.
Fold it up and take it with you anywhere.

FOURTH PRIZE

Sheaffcr "Giftie" Combination Set, consisting
of a Sheaffer Fountain Pen and a Sheaffer
Sharp-Point Pencil, in a handsome plush-lined
box. Gold filled, warranted twenty years. Can- '
not blot or leak. A beautiful and perfect writ-
ing instrument.

FIFTH PRIZE

Bristol steel Casting Rod agate guide, cork
grip, strong and durable. Packed in linen case.
Can be easily put in traveling bag.

SIXTH PRIZE

Loughlin Safety Self -Filling Fountain Pen.
No extensions to remember, no locks to forget.

SEVENTH PRIZE

Star Vibrator, handsomely finished in r^Jckel
plate with three attachments. Alternating cur-
rent. Excellent for massage. Use it in your
own home.

EIGHTH PRIZE

Same as Seventh Prize.

NINTH PRIZE

Marble nickel-plated pocket axe of tool steel,
carefully tempered and sharpened. Indispens-
able in camp or woods.

(Ninety eight)

DON'T READ THIS

Unless You Want a Genuine Bargain
BE A MOVING PICTURE STAR

Dn you know that many Mov-
iiit,' Picture actors and actresses
K-et from $500 to $5,000 a
week? Many young ladies
;iiiil young men working lor
small wages could do just as
well if they knew how.
This book will teach you every-
thing from start to finish. Also
tells how and where to apply
for a position. Gives tlie ad-
dresses of all the studios and
managers and tells everything
in detail. It is a pleasant and
profitable profession and the
demand exceeds the supply all
the time.

No other book needed — this ex-
plains everything. Book mailed for 10c.

100 PHOTOS OF MOVIE STARS

reproduced in half-tones. Your
favorites are all here — Chaplin,
Bushman, Pickford, Bara, Pearl
White. Joyce, Clark, etc. All the
STARS in real classy poses. Suit-
able for framing. Set mailed for 12c.
with catalog of other MOVIE articles.

2 MOVIE PENNANTS
FOR 12c

To introduce our catalog of Movie
Books, etc., we are selling these pennants
at bargain prices. Just the tning for
your Den, etc. Each pennant of a dif-
ferent Star. Made of Felt and come in
assorted colors. Will send two for 12c,
12 fop 50c. or 25 for one dollar. Order
before they are all gone.
You can order all of the above single at prices named
or will send the Movie Star Book, 100 photos and 2
pennants, all for 25c. Order before they are all gone.

YOUNGS PUB. CO., Box 100, So. Norwallc, Conn.

Dye Old, Faded
Dress Material

"Diamond Dyes" Make Shabby Apparel
Stylish and New — So Easy Too.

Don't worry about perfect results. Use
"Diamond Dyes," guaranteed to give a
new, rich, fadeless color to any fabric,
whether wool, silk, linen, cotton or mixed
goods. — dresses, blouses, stockings, skirts,
children's coats, draperies, — everything!

A Direction Book is in package.

To match any material, have dealer
show you ''Diamond Dye" Color Card.
Wells and Richardson Co., Burlington, \ t.

LEARN

Movie Acting

A fascinating profesalon that pays big. Would
you like to know if you are adapted to this work?
Bend 10c for our Twelve-Hour Talent-Tester or
Key to Movie Acting: Aptitude, and find whether
or not you are suited to take up Movie Acting-.
A novel, instructive and valuable work. Send
dime or stamps today. A larpe, interesting. Illus-
trated Booklet on Movie Acting included FREE!
ILM INFORMATION BUREAU, Sta. N., Jackson. Mich.

Write the Words
For a Song

Write the words for a song. We revise
song-poems, compose music for them, and
guarantee to secure publication on a
royalty basis by a New York music pub-
lisher. _ Our Lyric Editor and Chief Com-
poser is a song-writer of national reputa-
tion and has written many big song-hits.
Mail your song-poem on love, peace, vic-
tory or any other subject to us today.
Poems submitted are examined free.

BROADWAY COMPOSING STUDIOS

107-F FHxg«ra]<l His.. Broadwar *truDei Sqaare, NEW YORK

When the Lights
Are Low

and all within is snug and cozy despite the howling wind
and drifting snow without — when sparkliiig eyes reflect the
firelight's glow, and the lilt of melody tingles through our
veins — then do we know the sweet thrill of real companion-
ship, when soul meets soul on ihat blessed plane of mutual
under.'itanding to which music opens the way.

And of all music, there is none so intimately, humanly
appealing as the silvery voices of

^iim

Instruments

Really, a GIBSON is more than a mere instrument.
1 1 is a pal ; an understanding friend ; comforting,
cheering; always ready to sing our heart thoughts;
exquisite in design, finish and tone — truly a GIBSON
is a "joy forever."

And, too, the GIBSON is easy to play — and easy to pay
r. A few short, interesting lessons, and the joys of
usic-caressed companionship are yours.

li'e tell more about GIBSONS in the GIBSON book.
and in some intimate bits of GIBSON romance, "which

a postal iv^ll bring you.

GIBSON MANDOLIN-GUITAR CO.

602 Parsons Street Kalamazoo, Mich.

Oldest and largeet exclusive manufacturers of hlgh-Rrade fretted

instrument 9. Developers of Mandolin Orchestras. Teaolier

Salesmen — men or women — wanted everywhere.

ui jMyiiii

mo^^^^t^^

M'AaXuyia

SUBMIT YOUR SONG POEMS ON ANY SUBJECT
FOR MY PERSONAL CRITICISM AND ADVICE.
ACCEPTABLE WORDS WILL BE REVISED. FURNISHED
WITH APPROPRIATE MUSICCOPYRIGHTED AND
tXPLOITED UNDER MY ORIGINAL METHODS FOR
FACILITATING THE PUBLICATION OR OUTRIGHT
SALE OP SONGS. VALUABLE BOOMET ON SONS
WRITING 3fNURE£J!ti RWUE5TVRITET0METIMW

I OOWN-'DOWT fOflOrr OLD CUl"lBl-*f«D" AND OTMEfla,*
laoAltTV TMtATne O LD. N EW TTOHn.

R^moh Gems

I Look and wear lik* diamonds. BrilHanc?
I Euaranteed forever. Stand file, acid and fire
I liite diamonds. Have no paste, foil or back-
\ ing. Set only in 14 liarat solid gold mount-
ings. About l-30th tiiepnceof diamonds. A
\ murvulDUH synthetic sem— wilJ cot ?laas. Guaran-
1 t«*d not an Imitation, and to contain no (■•••. Sent
' ".D, Bubject to examination. WriU: Um1»v for
itlustrated catalog. It'a free.
I Hemob Jowelnr Co.. 632 WitbioalaD Ave., St Unii. Mi.

MUSIC

TAUG HT

iN YOUR HOME

FREE

^}oo C4n Moml 7Uu«A« ItAttfu quuJl^'*
Plaao. OrffAD, Violin, Mandolin, Gnltar, Banjo, etc.

BeKinn«rH or odvunccd plnyera. One lesion weekly. IllaBtratlona makeoTery-
thlnKplnfn. Only oxncnsp about 2e per dny to cover cost of poBtOKe and muaic
uaed. Write f..r FREE bookli't whii^h explaina everythiae In full.
AMERICAN SCHOOL OFMUSIC. 70 Lakesido Buildinit:. CHICACO

-ehe POLICE KEY

is as serviceable as a whole bunch of ordinary
keys; opens almost everything; every house-
owner should have one. Sent postpaid
on leceipt of 20 cents ; three for 50 cents.
Safety Key Holder free with every key.

SHARPE MFG. CO., Paterson, N.J.

'/2 Price $2.50

SEND NO MONEY

IF You CanTcll itFromii

GENUINE DIANONDScnditbxk

To prove that onr blae-white MEXICAN DIAMOND closely
reeemblefl the finest geDoine Sonth African Diamond (cort-
ioB50 tiraefl aa ronch), with same DAZZLING RAINBOW-
FIRE, (Goaranteed 20 yTS.)wewinBeDd this Ladies Solitaire
Ring with one carat Rem, (Catalocroe price (4,98) for Hall
Price lo Inirodues, SZ.60, plaa War Tax 13c. Same thinv
hot Cents. Hea\'yToothBelcher Ring, (CataloKepnce $6.26)
for J3.10, ptoB WnrTa:cl5c. Moantinpa areoar fine8tl2 karat
Bold filled. Mexican Diamonda are GUARANTEED FOR 20
YEARS. SEND ON MONEV. Just mail postcard or this ad.,
Btate size and we w:iJ mail at once C. O, D. If Dot fallr
pleased, return in 2 dava for MONEY BACK, lesB handhng
chariteB. Act qaick; offer limited; only one to a customer.
Write Xor FREE Catalog. AGENTS WANTED.
MEXICAN DIAMOND IMPORTINQ CO.
Dcpt. CAS Lo9 Cmcea, N. Mei.

f^atefutffs eontrollera Mexican Diamondt)

Get Well— Grow Tall— Stay Young

This Univeraity discovery ia the leading health invention of the tst>.
I'lTfecta the human IxMly. Energizes entire syslem. Improves blood
and nervf.s. Corrects crooked spines and limba 33 p. book free,
THE PANDICULATOR CO.. 1516 Prospect Ave.. Clenland, 0.

Bring Out the Hidden Beauty

Roneath the soiled, discolored, faded or aged complexion la
one fair to Itvik upon. Mcrcollzcd Wax gradually, gently ab-
sorbs the de?ita!lzi>d surface akin, revenllnff ihi.' yoiiriR. Iri'sh,
beaulITul skin undomeath. Used by rcQju-d women who prefer
complexions of truo naLurolnL-aa. Have you trintd It?

M#»rrr»Iiy#»fl Wair ^" ^^^ ounce package, with dlrec-
iTaci v.vii^cM TT ajfc IJ0D3 Tor use, sold by aU drugglala.

You Have a Beautiful Face

I

BUT YOUR NOSE?

N this day and age attention to your appearance is an absolute necessity if you
expect to make tb " most out of life. Not only should you wish to appear as
attractive as possible for your own self-satisfaction, which is alone well worth
your efforts, but you will find the world in general judging you greatly, if not
wholly, by your "looks." therefore it pavs to "look vour best" at all times PER-
MIT NO ONE TO SEE YOU LOOKING OTHERWISE; it will injure vour wel-
fare! Upon the impression you constantly make rests the failure or success of
your life. Which is to be your ultimate destiny? My new nose-shaper "Trados"
(Model 24) corrects now ill-shaped noses without operation quickly, safely and per-
manently. Is pleasant and does not interfere with one's daily occupation, being
worn at night.

Write today for free booklet, which tells you how to correct Ill-Shaped
Noses without cost if not satisfactory,
M. TRILETY. Face Specialist. 1039 Ackerman Bldg., Blnghamton. N. Y.

(Niiiety-mne)

Fame and Fortune Contest

for 1920

t;

IHF first Fame and Fortune Contest having come to a happy and successful end and severa
"!spe ctheTar of the first magnitude having been selected and started on the. careers .
r^^ a r that we announce a similar contest for the year 1920, begnnung w.th the

January number of

Motion Picture Magazine, Classic
and Shadowland

»P <=hAll ffo thru America with a fine-tooth comb, as it were, in search for
.adl^rie^^-tflSL^c^re ambition. ^ long.^-^^ ^ ^ii^: -
she has not had a chance. We shall g>ve them all a ^^^^^JT'^^I'^^^^I' ^^^ photograph. If that
sufficient Pe-onality charm, beaut a^^^^^^ ^^ ^ur, , ,„.

gives prom.se, we ^;'''''\;' ^ite^Zlr Moving Picture and send it broadcast thru the theater.,
sonal interview, and finally we make a test ^"^ § magazines, received many

Many of the girls whose pictures appeared '"t^;^ . """"^f "J^ °' \,^ ^L^ ^' ood thing for

2o hSm girls konoraUe mention, including a published photo. One or more of these we
promise will be made

Stars of International Fame

Just think of what a prize this is! The contest i-f^/l^l/raft'srardttarof *;
V^-S::.'^^^rS^^^^ rhiVpa^^ SoIU w^ch were fiashed
on nearly every screen thruout the United States.

Whit an opportunity! If it does not interest ,o. tell yo- neighbor about .t or your d.stant
friend-they ma'y have a daughter just looking for a chance of this kmd.

One thing we want to impress upon :;U ^pi^ants be eareful in^t^ f^f^aU tes^tt
graph you submit. Postcard photos ^''^ "°^. .^^^ . i°°i„^t ^ ^t i„ the last contest just because
not be considered. We feel that many beautiful girls 1°^' °"* Furthermore, dont submit

they did not go to the trouble of -"^.^^'"g^^^fXirbut thty will never see you thru. We
pmos that lie! They may get you on he Honor RoU but Y^^^^^^ ^^^^^^^^ ^^^ ^^^^^^^^^
recall in the last contest several young ladies wno sunmii e r ^^^

ir getting on the Honor Roll, but -^^^'^^^/PPfi'^^^ii^e *e„ I^^^^^^^
camera had lied. We want P-'"-; *^ /° ^^^Jf .^il'p.sTbk profile, or an ugly nose, or some

[-kJrarHen^e-pltTd: n^f t-^^oTeSfu^ rUe^^ourself ap^pear to the best advantage,
but do not overdo it.

Rules and date of Contest opening to be announced in next issue.

Select Your Photographs Now!

(One hundred)

Lift Corns out
with Fingers

A few drops of Freezone loosen
corns so they peel off

Apply a few drops of Freezone upon
a tender, aching corn or a callus. The
soreness stops and shortly the entire
corn or callus loosens and can be lifted
off without a twinge of pain.

Freefone removes hard corns, soft
corns, also corns between the toes and
hardened calluses. Freezone does not
irritate the surrounding skin. You feel
no pain when applying it or afterward.

A small bottle of Freezone costs but
a few cents at drug stores anywhere.

The Edward Wesley Co.. Cincinnati, O.

i^.emember':

cAll advertisements in cTWotion
Picture Classic are guaranteed
by the Publisher.

I Motion

I Picture

I Magazine |

ASPIRIN

Name "Bayer" identifies gen-
uine Aspirin introduced in 1900

Insist on unbroken packages

BAYER-TABLETS
«f ASPIRIN

Boxes of 12 tablets

Bottles of 25 and 100

Also capsules

Alpitin i) the trade mark of Bayer Manufacture ol
Monoaceticacidesle' of Saiicylicacid

(One hundred and one)

m FEBR VARY NUMBER

I All in all it's a delightful

I solution for your winter eve-

I ning reading, beautifully il-

I lustrated and brimful of

I the latest news of filmdom.

I Ruth Stonehouse, the lit-

i tie wisp of a girl, who won

I success with the Essanay,

i has been interviewed in her

1 pretty mountain home in

i Hollywood • — Betsy Bruce

I has written all about her in

a an intimate chat.

S There are novelizations of

1 the most interesting feature

■ plays — plays boasting some
a of the most popular stars.

H Doris Delvigne has talked

I with Al St. John — and he's

J every bit as funny as he is

I on the screen.

S It is really unusually at-

3 tractive, presenting well-

â–  known stars in vivid inter-
s views and personality stories g
H and the latest productions in B
H absorbing novelizations. a

I DO NT MISS IT ! |

SOBMIT YOUR SONG-POEm ON AfJY SUBJECT FOR OUR ADVU-^^^M ;^P

We revise poems, cohpose ttisic or wr kescrip-^,^.^^ 'AP'^U
mn SECURE coPffiiGUT A«o Enptor mantL^f^r^ WP*^ co«tains

nnftODS FOR FACIUIATIN6 FREE ™'"">|l)l|L'1 H>*^»A1U»BIE IKSTRUC-
TION" OR OUIRICHt 5«-E OF SONGS^^mjit^^^,^ fg Bt&WNESS (W flW
UNDER TFIIS SUCCtSSFUL^^^^TlJ^flpil^^HE IHjni COHCIRNING IVEFT HWfit
tONCERlfe eUASAflTEE^^Yfil JU^^* "IS ESStKlUl MO fASCIIMirtt fHOFES
OF 5JTISFAC- ^.<rtT '1 \3^*^m Itif MEAT UOtt AECOnPUSnU) 6t M POf
""''■ ^<<Tr» lL**^U« sons M W»«]« PI! ua 15 0«T AN ll«« TO M tlOOl
^^<Jll . Li^^/KR SCIPE AIB GREATER OPPORIUHmfi AEFOHaO !t PlACE
ftjjJ' KNICKERBOOER STUDIOS. 2U3 Gaiety Buxi. NYCn»

iW^eoa

THE FAVORITE OF STAGE PEOPLE

" Evenbetterthan I get in Paris,"
Is what the beautiful actress Anna Held
wrote of Magda Cream. Stage foll(S
know the advantage of using Magda
before applying powder.and for rubbing
out incipient wrinkles in the nightly
BaBBSKe. MuBidans use It to lieep tlieir tian^fl
60(t and pliable.

Tnj JtRr the Nightly Massaqi

LcarM-

1 » l^^^^^iiT fie]d--on-M
^ limited poBsibilitiM— /P

_^ Incr«a8lD>r deoonnd fof ~~
_ ^wlth creative (dean. Our court
_ ^velopB ability and ongioaiity. Worlt la» I
^ ^tensely latoroi ting, 1

EARN 925. TO «7B. WEEKLVU

''Tooenn do It If amblHona. SnccoBsfuI irradaatasfl
-''•vcrywbpre, Oorcotirse thoronahlv covoraevMrphwe'^S
^^ of work. O.ir Kradaatps eoromand bfir nnlnHoB. Wrf
/eataloK, BaiiJi-lca, Buarantee onil l-^co Oullitoacr.
lomtPrT SCHOOi of LETTEimre.84aO-S.Lil<lq.Dtlroll.Mlct. -

Destroy Hair on Face

Body or Under Arm

UCtSIZHEi) U,& ME I

iMM irS OFF ^wryv^* 't« fltiT u^ii

The scientifically correct method of permanently
destroying undesirable growths by removing the
hair with the root. No electricity, caustics, nor
solvents. No disagreeable odors. Absolutely harm-
less. Correspondence confidential. Write for free
booklet. "A Talk on Superfluou* Hair,' or call
to have free demonstration.

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(One hundred and two)

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^

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COLGATE Qc CO.

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e new way
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with 20c today

NORTHAM WARREN,
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Name .
Street
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MARCH

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SAMVEL GOLDWYN President

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(hj'iij? „V

i^'

(Three)

"/y like to see it

right over again

f>

O MAKE you say that it's got
to be a pretty good picture. But
these pictures are not so rare
as they used to be. You've
noticed that.

More and more often you run
across them. Genuine portrayals of human
virtues and ventures and folhes and perils that
are all the more fascinating and thrilling be-
cause so clipped-from-life as it were.

The kind of motion picture that carries
you off like an aeroplane — and you've no de-

sire to get back to earth till the journey's end.

The kind — as you've probably noticed
also — that bears the brand name Paramount.

In every Paramount Artcraft Feature,
Famous Players-Lasky Corporation recognizes
no limits on the scenes but the earth. No
limits on the machinery but machinery. No
limits on the cost but money. No limits on
the cast but artists. No limits on the plot
but clean, new and thrilling.

And that's what brings the encores from you!

Cparamouivt ^Lcture^

Latest Paramount Artcraft Features — Released to March 1st

Bllllc Burke in "WaNTBp— a Hr.'fiiANn"

Irene Cattle i>i "Thr Amatki'i: Wikk"

Marguerite Clark hi "All ay a Srm<i:s CKMiY"
Ethfl Clayton m 'YofN.; Mi;s. Wimpiiioi-"

â– Thu CoDPerhead'- Willi Llmui ltiinyMi..ii-

Conmopolit^n Production "Tin-: CtNCMA Mi'uncit"
â– The Cost" WHIi Vlulet IleiiiliiK

Cecil 8. De Mine's Production

"M.*LB AND PBMALB"
Cecil B. Dc Mine's Production

"Wiiv (HAMJK Yom WickT"
"Evcrywcmar" Willi All Slar ('n*t

Elsie Forouson in "IIih llnrsH IN OitDKii"

Georgp FItimauHce's Production

"On With toe Danpr"
Dorottiy GIsh m "Maui Hi.len Cc»hK8 to Town"
D. W. Grimth'j Production "Scarlbt Hays"

Vim. S. Hart .n "Sand"

Houdlnl III "TEituoB Island"

WHIlam D. Taylor's Production

"llT-i-KLKBHRUT FINN"
Vivian Martin ui "11:3 OKt:ciAL Fianceb"

Wallace Reld in "Docr.LK Si-beu"

"The Teeth ol the Tiger" Willi Duvld Powell

Maurice Tourncur's Production "TruasCHK Island"
Maurice Tourncur's Production "Victokv"

George H. Molford's Production "The Ska Wolp"
Gi-argo Loatie Tucker's Production

â– TiiK MiUACLH Man"

f. R^OUS PLAYERS-LASKY CORPORATION l

Robert Warwick In ".Iatk Straw*'

Bryant Washburn in "TnH Six Bkst CELLAHa"

Thomas H. Ince Productions

Enid Bennett ir. ' Tm-: Wuman in Tin: Spitcase"
Dordhy Dalton m "Mlai-k i.s White"

Ince Supervised Special "I!i:hinii the Doob"

Douglas MacLean ami Doris May in

"Mahy's Ankle"
Charles Ray in "Alaicm Clock Andy"

Paramount Comedies

Paramount-Arbuckle Comedies
Paramount-Mack Scnnett Comedies
Paramount-AI St. John Comedies

Paramount Short Subjects
Paramount Magazine h^iir

Paramount-Burton Holmes Travel Pictures

;»«

Wectciv
}Vccklu

if^^^Mm^^?^^

(Four)

Vol. X

MARCH, 1920

No. 1

THE GIRL ON THE COVER

(Pdintcd by Leo Siclkc, Jr. Based upon a pliiilogra/'h by the
Hoover Art Company.)

Since vivacious; little Clarine Seymour stepped into
prominence in David Griffitli's "The Girl Who Staved at
Home," playing the cabaret girl, she has been strongly
in cinema interest. Little Miss Seymour has previously
had considerable experience in film farce.

Since her first hit. Miss Seymour has again scored in Mr. Griffith's

".Scarlet Days" and her forthcoming silvershcet ajjpearanccs are being

awaited with interest. It is clear that the screen has no prettier or more piquant

comedienne than little Miss Seymour.

Photogravure Gallery of Players. Full-page studies of P.ici:

Eugene O'Brien, Elaine Hammerstein, Alice Lake,

Antonio Moreno and Lew Cody ll-l.i

Mae, Mary and Matrimony. The new Mae Marsh talks

of her daughter and her dreams for the future Frederick James Suiith

"Dear Tommie." .\\\ interview "close-up" of the real

and \ery human — Thomas Meighan Faith Serviee

Marjorie Daw: A Real Girl. You will be interested in

meeting quaint little Miss Daw Maude .9. Cheatham

Scotch and Seltzer. A liquid sounding title for a lively

chat with Korman B. Kerry Truman B. Handy

A Doll's Apartment. At home "with piquant OIi\e

Thomas Pearl Malvern

An Aphrodite of the Screen

If . . . When the news came that David Griffith might

be lost at sea Frederick James Smith

Human Hobart Henley. .\u interesting talk with the

man who created "The tiay Old Dog" Olga Shaw

The Little Shepherd of Kingdom Come. Jack Pick-
ford's newest photoplay told in story form Dorothy Donnell

The Farce University. Why farce stars are stepping to

screen drama with such success Harrison Haskins

The Midnight Margarita. Some piquant glimpses of

Marg.irita Fisher in her boudoir .M

Pell of Pell Manor. In which you are introduced to

Poll Trenton, leading man extraordinary Emma-Lindsay Sqnier

Meet the Frog. The picturesque story of Lon Chaney,

who scored in "The Miracle Man" Maude S. Chealliam

Jack Straw. Short story based upon Robert Warwick's

latest screen vehicle Faith Service

Personalities in the Theater

Juanita Rising from the Sea

Zena's Zenith. Little Zena Keefe at last reaches stardom . .C Blythe Sherwood
The Celluloid Critic. The newest photoplays in r^Mitvi. Frederick James Smith
The Fortune Hunter. Earlc Williams' new photo-
comedy presented in fiction form Ale.rander Lozcell

The Ambitious Miss Eddy. Being the story of Helen

Jerome Eddy Elizabeth Peltret

THE FAME AND FORTUNE CONTEST OF 1920.
An Announcement of Tremendous Interest to
Our Readers

1,^

20

Snliscription. $2. .SO a year, in advance, including postage in tlie U. S., Cuba, Mexico, and
Pliilippines: in Canada, $3.00 a year; in foreign countries, $3.50. Single copies, 25 cents, postage
prepaid. One- and two-cent stamps accepted. Subscribers must notify us at once of any cliange
of address, giving botll old and new address.

Entered at the Brooklyn, N. Y.. Post Office as Second-class Matter,
Copyright. 1920, by the M. P. Publishing Co., in the United States and Great Britain, a New York
corporation, with its principal offices at Bayshore, N, Y. Eugene V. Brewster, President: J. Stuart
Blarkton, Vice-President: Guy L. Harrington, Vice-President; K. M. Heinemann, Secretary: Eleanor
\' V. Brewster. Treasurer.

STAFF FOR THE CLASSIC:

Eugrene V. Brewster, Editor

Frederick James Smitb, Manasing Editor

Dorothy Donnell, Robert J. Shores, Fritzi Remont Associate Editors

Guy L. Harrington Business Manager

Duncan A. Dobie, Jr Director of Advertising

Rufus French, Inc ^ Eastern Manager

New Easy Way
To Learn Drawing

How yoH can earn big money in Commercial Art,
llhistratinq, DesiQuing, or Cirtoon'.r.p.nnthout being
a "genius," and regardless of your present abiiity.

Never â– was there such a need for artists as today I
Business, revitalized, needs thousands. Illustrated cata-
logs, advertisements, posters, circulars, trade-marks de-
signs— countless pieces of art work are needed by the
busy business world. 48,868 periodicals are published in
America — every one of them needs the services of at least
two artists for each issue. Viju can't begin to rcahze the
gigantic amiiunt of art work that must be done — and the
demand is increasing daily. Big money is gladly paid —
and big money is waiting for anyone with foresight
enough to prepare for this pleasant profession. Thru our
new easy method of teaching. VOU can earn $40 to $100
a week as an artist, regardless of your present ability.

Learn in Spare Time

This new mellitxl is like a faseinuling game. No matter ho»
little you may kiimv ahoul (bawiiiE, no mattur whctiipr people ti-ll
you, "you have rii> taifiil." no maKtr what your present ability
may be — tf you can writ* we can teach you to draw. The ntw
method simpliHes i vt.'r>'lhing— all the n.-il-tape. ""art fur art's saJtt;"
teaching, and supiTfluous Ihenrj' is takem out and In its place is
put dfftiiite, prattn-aj instruction so that you will make money in
the art game. Tlitt course is tht* work cf an expert — Will II.
L'hai.dlce, an artist of over 35 years' prattical experience. And
ail j'inir iiistrui'tiun is under ihe personal supervisiun i\f Mr.
I'handlee.

Write for Interesting Free Book

An interestliie and handsomely illustrated booklet, "How to
Itei'onie an Artist," has hi en prepared and will ho sent to you
wtihout cost if you mail the coupon belmv. JIail coupon NoW
li.r tills attract jvi\ free hook and tuM details aliout our FKKE
ARTIST'S Ol'TFlT UI-'PEU. No olilicalion \vhatevt:r. Address,

WASHINGTON SCHOOL OF ART
1143 H St.. N. W., - - , . Washington, D. C.

WASHINGTON SCHOOL OF ART Inc.
1 143 H St., N. W., - - - Washington, D. C.

Pl'-i!s,' send nil' witliout ohligation. fn^e hiHjk "llo\v to Beenme
;in Artist" togetluT with full paniL-uiurs of Free Artist's Outfit
ijiftr.

This magazine, published monthly, comes out on the ISth. Its elder sister, the Motion Picture Magazine,
comes out on the first of every month. Shadowland appears on the 23rd of each month.

(Five)

llolln, Hawaiian Guilar, ltkurel^^

Guitar, Mandolin, Cornet, Tenor Banjo or Banjo

Wondcrrul now ayatcm of tca.hlnET nolo n,u«ic by mr.n. To firet
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Uknlelo. Gn>^r. Hnwaiip Goltar. Com<,t, Tenor Cmjo or Banjo absol
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HoW to Wrile, What to Write,
and Where to sell .

CulWale your mind. Dc\Vlop
I yorrhterary j)ifts. Master the
I crtof sclf-eSpriJSsion.Make
your spare Hmo profitable.
Turn your ideas into dolUirs.
Courses in Short-Story Writ-
ing, Versification, Journalism,
Play Writing, Photoplay
-. , Writing:, etc, taught person-"

Dr.ESGnwein ally by Dr. J. Berg Esenwein.
for many years editor of Lippincott's Magazine, and
a staff of literary experts. Constructive criticism.
Frank, honest, helpful 3.Av'\cq. /ieal teaching.

One papil has received oVer S5.000 for stories and articles
Written mostly In spare time — "play tSork," he calls It.
Another papil received ot'er SI.OOO before completing
her first coarse. Another, a hasp Wife and mother, is
averaging oVer $75 a bieek from photoplay Writing atone.

Thtre is no other institution or agency doing so much for
ttxitcrs, young or old. The universities recognize this, for over
one hundred members of the English faculties of higher institu-
tions are stud>'ing in our Literary Department. ' The editors
recognize it, for they arc constantly recommending our courses.

W.poblltft T»t»Vnf#r'.t.*if«Fy.llTo1omM; a— e[1pli"b<x41»t (r«. W> >1k publUh
nbKiipaoD tZ-Oli. BmJii onr IMihlnt timu. v> attti â–  mutucnpl cnlKxm Hivln.

|150>page Illustrated calalogue free.
Fltoir eddrtit — ,

I T&e Home Correspondence School i^T^

Dep't. H2. Sprin^cld,Mass.

:llc=Ul=U-McaiEH=!K:W=I«-«IIN

Write the Words
For a Song

Write the words for a song. We revise
song-poems, compose music for them, and
guarantee to secure publication on a
royalty basis by a New York music pub-
lisher. Our Lyric Editor and Chief Com-
poser is a song-writer of national reputa-
tion and has written many big song-hits.
Mail \'Our song-poem on love, peace, vic-
tory or any other subject to us today.
Poems submitted are examined free.

BROADWAY COMPOSING STUDIOS

107-E Fitzserald Bld^., Broadway at TmieB Square, NEW YORK

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CELECT your own

^ subject — love, patriotism^-j]

— write what the heart dictates,
then submit your poem to us.
We ^Tite the music and guarantee publish-
er's acceptance. Our leading coniposer is

Mi\ Leo FPi€cima»

one cf America's well-known musicians, the nuthr.r
of many song successes, Fuch as "Meet Me Touiglil
in Dreamlf'v.d," " [.ft Afe Call You Stvcrlheart. "
" Wiien J Drf/im of Old Erin." and others the sales
of which T»n inin millions of cfpi^s. Scnrt b3 many poems
osyouv^ish. Don't Delay, wet Outy— Quick.

CHESTEh MUSIC CO.

Dcpl. 330

•»•■■ Chicago, III.

Stage Plays That Are Worth While

(Readers in dt^litnt tozi'iis i^'ill do well to preserve this list for refcrenee zuhen these sl^tken
plays appear in their vicinity.)

Astor. — Fay Bainter in "East Is West."
The story of a quaint little Chinese maid who
falls in love with a young American. Racial
barriers seem insurmountable, but there is a
happy and surprising ending. Has all the in-
gredients of popular drama. Miss Bainter is
picturesquely pleasing.

Booth. — "The Purple Mask," with Leo Dit-
richstein. A stirring, romantic melodrama of
the days of the First Consulate in France;
tfuse, colorful and hiprhb' interesting. One of
the best evening's entertainment in New York.
Mr. Ditrichsteiii is delightful as the ro\'alist
brigand, the Purple Mask; Brandon Tynan is
admirable as the republican police agent, Bris-
quet ; Lily Cahill is a charming heroine, and
Boots Wooster makes her bit of a peasant girl
stand out.

Broadhnrst. — "Smilin' Through," with Jane
Cowl. An odd, but effective, drama which pur-
ports to show how those who have gone before
inlluence and watch over our lives. Miss Cowl
is exceedingly good as a piquant Irish girl and
aho as a spirit maid whose death occurred
fifty years before. "Smilin' Through" will
evoke your smiles and tears.

Casino. — "The Little Whopper." Lively and
amusing musical comedy with tuneful score by
Rudolf Friml. Vivienne Segal pleasantly heads
the cast, which also numbers Harry C. Browne,
who does excellent work. Mildred Richardson
and W. J. Ferguson.

Cort. — "Abraham Lincoln." You should see
this if you see nothing else on the New York
stage. John Drinkwater's play is a noteworthy
literary and dramatic achievement, for he
makes the Great American live again. "Abra-
ham Lincoln" cannot fail to make you a better
American. Moreover, it is absorbing as a play.
Frank McGlyn, a discovery, is a brilliant
Lincoln.

Comedy. — "My Lady Friends." Highly
amusing entertainment, adapted from a Conti-
nental farce. Much of the humor is due to
the able work of Clifton Crawford in the role
of a guileless young publisher of Bibles whose
efforts to spend money get him into all sorts
of difficulties. June Walker scores in Mr.
Crawford's support.

Century. — ".Aphrodite." Highly colored and
lavish presentation of a drama based upon
Pierre Louys' e.xotic novel of ancient Alexan-
dria. Superbly staged adaptation of the play
that caused a sensation in Paris. Dorothy
Dalton, the screen star, returns to the stage in
the principal role of the Galilean courtesan,
Chrysis, and scores. McKay Morris is ad-
mirable In the principal male role. The ballet,
directed by ilichel Fokine, is spirited and
colorful.

Forty-fourth Street Theater. — G. M.
(Broncho Billy) Anderson's girl revue, "'The
Frivolities of 1920." Lively, speedy musical
show with a large measure of vulgarity, but
many pretty girls. The cast includes the Kouns
Sisters, Doraldina, Henry Lewis and the beau-
tiful Doris Lloyd.

Eltinge. — "The Girl in the Limousine." A
decidedly daring boudoir farce, by Wilson
Collison and Avery Hopwood, in which a pink
and white bed is invaded by every member of
the cast during the progress of the evening.
John Cumberland is very funny and Doris
Kenyon, fresh from the screen, is both pretty
and pleasing as the heroine.

Globe. — "Apple Blossoms." The ambitious
and much heralded operetta of Fritz Kreisler
and Victor Jacobi plus colorful Joseph Urban
settings. An offering above the musical aver-
age. John Charles Thomas sings admirably.
Wilda Bennett is an attractive heroine and
Florence Shirley lends a piquant personality
to the proceedings.

//(irnY— "Wedding Bells." A tright and
highly amusing comedy by Salisbury Field.
Admirably written and charmingly played by
Margaret Lawrence and Wallace Eddinger.
One of the things you should see.

//i7'/>orfro))ic.— "Happy Days." Big and spec-
tacular production typical of the Hippodrome.
The diving girls are again a feature, disporting
in the huge "Hip" tank.

//«</.!0)t.— "Clarence," Booth Tarkington's

delightful comedy, built about the way a re-
turned soldier re-united a disturbed but typi-
cally American household. Superb perform-
ances by Alfred Lunt, Glenn Hunter and
Helen Ha>'es give the comedy a fine verve.

Lyrie. — "The Light of the World." A pic-
turesque stor_\' of the passion players, showing
the effect of a modern Christus upon life in
1920. Pedro de Cordoba is excellent as the
wood-carver who plays Christ in the passion
play, Clara Joel is effective as a village girl,
and the remainder of tHe cast is adequate.
"The Light of the World" is impressive.

Plymotah. — "The Jest." Arthur Hopkins'
production of Sem Bcnelli's colorful and grip-
ping Florentine drama. John Barrymore is
seen in his original role. An admirable cast
ard Robert Edmund Jones' settings lend splen-
did aid.

Prineess. — "Nightie Night." Described by
the program as a "wide awake farce," "Nightie
Night" lives up to its billing. It has plenty of
A'crve and ginger. There are scores of laughs.
Heading the very adequate cast are Francis
Byrne. Suzanne Willa, ilalcolm Duncan and
Dorothy Mortimer.

Sehvyn. — "Buddies." Amusing comedy-
drama with music of the after-armistice days
of our boys in France. Roland Y^oung, Peggy
Wood and Donald Brian head the cast. -

Shubert. — "The Magic Melody." A "roman-
tic musical play'' with a tuneful score and a
picturesque Willy Pogany setting. Charles
Furcell, Julia Deane, Earl Benham and Car-
mel Myers, the last two well known on the
screen, head the cast.

Thirty-ninth Street Theater. — "Scandal,"
Cosmo Hamilton's daring drama which Con-
stance Talmadge played on the screen. Fran-
cine Larrimore and Charles Cherry have the
leading roles in the excellent footlight produc-
tion.

Winter Garden. — "The Passing Show of
1919." A tj-pical girly garden show in which
the famous runway gets plenty of use. The
revue presents a number of travesties upon
current attractions, particularly colorful being
that of "The Jest," v\ith Charles Winninger
doing a clever burlesque of Lionel Barrymore-

ON TOUR

"T/(C Royal J^agabond." A Cohanized opera
comique in every sense of the words. A tune-
ful operetta plus Cohan speed, pep and brash
American humor. Also tinkling music. And
a corking cast, with Grace Fisher, Tessa Kosta,
John Goldsworthy and Frederick Santley.

"The Little Blue Devil." A musical enter-
tainment built about the late Clyde Fitch's
"The Blue Mouse." Tuneful music by Harold
Atteridge and Harry Carroll. Lillian Lorraine
is the "blue devil" and Bernard Granville is
co-featured.

"Civilian Clothes." A delightful comedy to
please everybody. Brand new idea and cleverly
worked out. Thurston Hall in the title role
shares the honors with beautiful Olive Tell.
Support excellent.

Elsie Janis and "her gang." Lively enter-
tainment built about the experiences of the
.\. E. F. on the other side. Well put together
by Miss Janis, who shines w'ith decided bright-
ness. A pleasant entertainment.

Shubert. E. H. Sothern and Julia Marlowe
in Shakespearean repertoire. These artists
represent the best traditions of our theater and
their revivals of "Twelfth Night." "Hamlel,"
and "The Taming ot the Shrew" are distin-
guished in every sense of the word.

"See-Sa7!.i" A pleasant musical entertain-
ment. The delightful Elizabeth Hines stands
out and Dorothy itackaye is pleasantly cast.

"Moonlight and Honeysuekle." Ruth Chat-
terton in a charming comedy that might have
been a big hit had the playwright taken full
advantage of some splendid situations in the
last act. As it is it starts like a hare and ends
like a tortoise.

"An E.\-change of Wives." Another Cosmo
Hamilton comedy which, however, never at-
tains the spontaneity or piquancy of "Scandal."
(Continued on page 8)

(Six)

OPPORTUNITY MARKET

AGENTS WANTED

MKXICAN DIAMONDS llasli like genuine, fool experts,
stand lesls, v.-t st-ll lor l/50th tlie prite. Few live
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mond Iniptg. Co., Box CA. Las Cruces. N. Mex.

•■INSYDE TIRKS— inner armor for automobile tires:
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S18 to $36 WKEKI.Y in your spare time doing special
advertising work among the families of your city.
No experience necessary. "Write today for full particu-
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Cincinnati, Ohio,

BUSINESS CHANCES

J3.00 MONTHLY BUYS DKED to land and interest in
oil wells that should earn $100 for each $2.00 invested.
"Write for particulars. Texas Gulf Company, 701 First
National Bank. Houston, Texas.

OLD COINS WANTED

"OLD MONEY WANTED." ?J to ?r.00 each paid for
hundreds of coins dated before 1S»5. Keep all old
money. Send 10c for new illustrated coin value book,
size 4x6. You may have coins worth large premiums.
Get posted. Clarke Coin Co., Box 165, Le Roy, N. Y.

FEMALE HELP WANTED

$6-$18 A DOZ. DECORATING PILLOW TOPS at home;
experience unnecessary; particulars for stamp. Tapes-
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WOMEN TO SEW. Goods sent prepaid to your door;

plain sewing; steady work; no canvassing. Send

stamped envelope for prices paid. Universal Co., Dept.
22, Philadelphia. Pa.

WANTED— 5 bright, capable ladies for 1919, to travel,
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GAMES AND ENTERTAINMENTS

PLAYS. VAl DEYILLE ACTS. MONOLOtiS. DIALOGS,

tableaux, drills, pageants, musical readings, recita-
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HELP WANTED— MALE

RAILWAY TB.\FFIC INSPECTORS: splendid pay and
expenses; tra\el if desired; unlimited advancement. No
age limit. Three months home study. Situation ar-
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HELP WANTED

DETE<'T1YES EARN big money. Great demand
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Write American Detective System, 1968 Broadway.
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DETECTIVES AND UJVESTJGATORS make big
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ARTISTS IN GREAT DEMAND. Big salaries paid
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EXAI\nNATIONS EVER\'WHERE COMING FOR

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"Write today, Franklin Institute, Dept, 077, Rochester
N. Y.

JEWELRY, SILVERWARE BOUGHT

HIGHEST CASH PRICES PAID for Diamonds, Bonds
Old Gold, Crowns, Platinum. Square Deal. Cash at
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MANUSCRIPTS TYPED

ATTENTION WRITERS! Get your manuscripts type-
written. Fifty cents per Ihuusaiui words- une eat ijun
copy. M. P. Harwood, 530 Baker St.. Flint. Mich.

MISCELLANEOUS

YOr WRITE WORDS FOR A SONG. We write the
music, publish and secure a copyright. Submit poems
on any subject. The Metropolitan Studios, 914 So
Michigan Ave.. Dept. 141, Chicago. III.

WRITE THE \YORDS FOR A SONG. We revise

poems, write music and guarantee to secure publica-
tion. Submit poems on any subject, Broadway
Studios, 107M. Fllzgerald Bldg,, New York.

(Seven)

MOVING PICTURE BUSINESS

$35.00 PROITT NIGHTLY. Small capital starts you.
Outfits sold on Installments. No exi"-rience needcl.
Our machines are used and endorsed by Government
Institutions. Catalog free. Atlas Moving Picture Co.,
A2& Morton Bldg., Chicago,

NEWS CORRESPONDENTS

EARN ?3."i WEEKLY, spnre time, writing for news-
papers, magazines. Experience unnecessary; details
free. Press Syndicate, 561, St. Louis, Mo.

PATENTS

PATENTS. Write for Free Illustrated Guido Book.
Send model or sketch for free opinion of its patentable
nature. Highest References. Prompt Attention, Rea-
sonable Terms. Victor J. Evans & Co., 621 Ninth,
Washington. D. C.

PHOTOPLAYS

WRITE MOTION PICTURE PLAYS. Our book con-
tains twelve chapters of about 5000 words, consisting
of Model Scenario with Synopsis and information nec-
essary for beginners. Price BOc. Sano Sales Company,
Box 140-1, Des Moines, Iowa.

LEARN TO WRITE PHOTOPLAYS. My bonk tells
how, what, where to send, encourages, gives model,
copyright and other pointers for .'iOc, L. "W. deFrates,
Dept. M. P. O. B- 1416, Boston. Mass.

PHOTOPLAYWRIGHTS

FREE rO WRITERS— .\ wonderful little book of
money-making hints, suggestions, ideas; the ABC
of successful story and movie play writitig. Absolutely
Free, Just address Authors' Press. L>epf. H, Auburn, N.Y.

SCENARIOS WANTED

EXCHANGE PLOTS FOR $ $. Photoplay ideas ac-
cepted any form ; revised, typed, published, copy-
righted, SOLD, Advice free, liniversal Scenario Cor-
poration, Western Mutual Life Bldg., Los Angeles.

SHORT STORIES

WANTI'iI> — Stories, Articles, Poems for new magazine.
"We pay on acceptance. Typed or handwritten MSS.
acceptable. Send MSS. to Woman's National Magazine.
Desk 12S, Washington. D. C.

STORIES. POEMS, PLAYS. ETC., are wanted for
publication. Good ideas bring big money. Submit
MSS. or write Literary Bureau, 134. Hannibal. Mo.

WRITERS! Have you a song-poem, story, photoplay
to sell? Submit MSS. now. Music Sales Co., 42. St.

Louis.

SONG POEMS

SONG-WRITERS' MANCAI> AND Gl'lDE sent free)
Contains valuable instructions and advice. Submit
song- poems for e.\ami nation. We will furnish music,
copvright and facilitate publication or sale. Knicker-
bocker Studios. 310 Gaiety Bldg.. New York.

WRITE THE WORDS FOR A SONG. We write music
and guarantee publisher's acceptance on a royalty
basis. Mr. Leo Friedman. THE COMPOSER TO THE
AMERICAN PEOPLE, is our leading composer. Among
his well-known hits are such songs a.s "Meet Me To-
night in Dreamland" and "When I Dream of Old
Erin." Submit poems on patriotism, love or any sub-
ject. Chester Music Company, Dept. 324, D20 South
Michigan Ave,, Chicago, HI.

WRITE THE WORDS FOR A SONG. We revise
poems, write music and guarantee to secure publica-
tion. Submit poems on any subject. Broadway Studios,
107H, Fitzgerald Bldg.. New York.

DO YOU WANT YOUR SONG POEMS ACCEPTED?

Send your poems today for best offer, immediate publi-
cation and free examination. Song writing booklet on
request. Authors & Composers Service Co., Suite 52.j,
J 4 31 Broadway. New York.

WRITE THE WORDS FOR A SONG. We revise poems,
compose music for them and guarantee to secure pub-
lication on royalty basis by New York music publisher.
Our Chief Composer is a song-writer of national repu-
tation and has written many big song-hits. Submit
Tioems on any subject. Broadway Studios, IOTA Fitz-
gerald Bldg.. New York,

YOU WRITE WORDS FOR A SONG- We write the
music, publish, and secure a copyright. Submit poems
on any subject. The Metropolitan Studios, . 914 S.
Michigan Avenue, Room 104. Chicago, 111.

SONG WRITERS

WRITE A SONG — Love, mother, home, childhood,
patriotic or any subject. I compose music and guar-
antee publication. Send words to-day. Thomas Merlin,
269 Reaper Block, Chicago.

YOU WRITE THE WORDS FOR A SONG. We will
write the music, publish and secure copyright, Ed-
ouard Hesselberg, our chief composer, has to his credit
the great hit "If I Were a Rose." and other famous
songs. Submit poems on any subject. Send for our
Song Writer's Guide and submit poems at once. Met-
ropolitan Studios. 914 South Michigan Ave.. Dept. 142,
Chicago, Illinois.

WRITE THE WORD.S FOR A SONG. We revise poems,
compose music for them and gTiarantee to secure pub-
lication on royalty basis by New York music publisher.
Our Chief Composer is a song-writer of national repu-
tation and has written many big song-hits. Submit
poems on any subject. Broadway Sludloa, 107S Fitz-
gerald Bldg., New York,

MEN-WOMEN W A NTpn!
AGE 18 OR OVER ff /Til I KjEJ •

$90.00 to $150.00 Month

U.S.Governinent Needs Thousands Immediately

K.isy. pleasant r.lTice positions; tiling, writing, list-
ing and similar work in the Army, Navy, State.
Ordnance. War Risk Insurance ami other dcuart-
ments of the Government at Washington, D. C.
Similar positions in Government offices in prac-
ticriiiy every city in the country.
Office Experience Unnecessary. Common
Sense Education Sufficient.

RAILWAY MAIL CLERKS

CITY MAIL CARRIERS

CITY POST OFFICE CLERKS

Fill out and mail the ^BaHnMMaaBHMiaHBa

attached coupon. ^ FRANKLIN INSTITUTE

iiii'ly ^ Dept. 0;8. Rochester. N. Y.

ilitinu ^ Gentlenien: Kindly s^nd mo, at

** once, and entirely willmut cJiarKo

[he work h.»Lir« van ^ "'' "•">' olibaation on riii" [larl. list

i-f 111,. I'M^ili

you. Hlth an Idea of

O uf tJ. S. (Jovonuncnt positions i

rtatL' iif the Siirlne â– ^
i\ ;i Ml i nation *

in your SL-utLm.

^ hours, work, v^cuti

O date of llie Spring txanunation in my
_ cn section, sending me free sample exam-

DOITTODAY. ^ inalion questlona.
TOMORROW -C^

MAYBE >, Name

TOO J?

LATE! * Address

Learn VaudevilleActin^

Stage Work and Cabaret Entertaining success-

^fuliy tauRlitby nmll. Your opportimlty to enter fascina-
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'V Jfi^ Frederic LaDelle, Sta. 286. Jackson, Michigan

FREE Diamond Ring Offer

Just to advprtige our famous Hawaiian im.
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KRAUTH & REED
Dept. 32 Masonic Temple, Chicago

fi U/?e POLICE KEY

is as serviceable as a whole bunch of ordinary
keys; opens almost everything; every house-
owner should have one. Sent postpaid
on receipt o( 20 cents ; three for 50 cents.
Safety Key Holder free with every key.

SHARPE MFG. CO., Paterson, N.J.

MUSIC

TAUGHT CDCC

N YOUR HOME Tlltt

TJoO C»n «.*-Owi tViAAAAA. Mt-i^ qui''-'^"
PInao. OrKaQ. Violin. Mandolin, <Saltnr, Banjo, etc.

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u9L'd. Write for FREE bouhlct whii^h (^XDlDinn ovr^ry thine i" full.
AMERICAN SCHOOL OF MUSIC. 70 Lakeside Buildin(;,CHICACO

WRITE A SONG

Love, Mother, home, childhinjd, i>atriutic
or any subject. I compose music and guar-
antee publication. Send Words Today.

THOMAS MERLIN, 269 Reaper Block, Chicago

STORIES WANTED

WANTKD — Stories, Artirles. Poems for new magazine.
Cash paid on acceptance. Typed or handwritten MSP.
acceptable. Send MSS. to NafI, Story Magazine. tiS
Vanderbilt Bldg.. N. Y.

STORIES AND PHOTOPLAY IDEAS WANTED by 48

companies; big- pay. Details Free to beginners. Pro-
ducers League. 441. St, Louis, Mo,

EARN $2.) WEEKLY, spare time, writing for news-
papers, magazines. Experience unnecessary; details
free. Press Syndicate, 5ti0 St. Louis, Mo.

THEATRICAL

ARE YOi; CONTEMPLATING A THEATRICAI. CA-
REER? Do not enter your chosen profession unin-
formed. Authentic, reliable information upon requesf
New York Theatrical Advisory Bureau, 350 Broadway
New York City.

NERVE
FORCE

r.

STRONG
NERVES

Is what you need to
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grief, strife, business
pressure and thou-
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Are you tired and depressed ? Can't you

Sleep or Digest your food? It's your

Nerves — they have become exhausted,

â– ^^bI^okT^ nerve force

This valuable 64-page hook explains every possible
phase ot nerve abuse and teaches how to calm,
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The Cost OC— (c
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If after reading this book you do not agree that it
will mark the turning point in vour life toward
GREATER POWER. Mentally as well as Physical-
ly, your money will be refunded without question,
plus your outlay for postage.

PAUL VON BOECKMANN

Studio 136: 110 West 40th Street, NEW YORK

com
tamps.

) Bound in Cloth 50c

AMERICAN PUB. CO.,

381 Winston Buildini. Philidelphia

[ PnBOIT SCHOOL OF IFmnwe. 6i» P.8.L BMn. Derroil. HIctt. ^l^-

TELEPHOME. f)4!)9 MAIN

Wm. G. Hewitt Press

'Printers and finders

SPECIAUZINC IN BOOK. CATALOG
AND COLOR WORK

Sixty-one to Sixty-seven Navy Street

BROOKLYN. N. Y.

I Publishes
' cash art as*
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Cartooninff, Designing, Illus-
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Criticises amateurs' work. Full of in-
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' Satisfactory or money refunded. 20c a copy. SI a year.

&nJ$l NOW. nnflSlamp, Takn
G.H. LOCKWOOD. Editor.Dept.S99.KaUmaioo.Micb.

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Sexual Knowledge

ILLUSTRATED

By WINFIELD SCOTT HALL. M.D.. Ph.D.

SEX FACTS MADE PLAIN

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Stage Plays That Are Worth While

(.Continued from page 6)

The chief blush producer is a scene on a sleep-
ing pnrcli.

"The Better 'Ole.'* The Coburn production
of the tuusical comedy based upon Bruce
Hairnsfatlicr's now immortal cartoon creation,
Old Bill. Mr. Coburn's characterization of Bill
is still as remarkable as ever.

"A Lonely Ronien," with Lew Fields. A i
light show running in the usual groove. Fran-
ces Cameron, who is developing remarkably,
is the bright figure of "A Lonely Romeo,"
while Mr. Fields is his humorous self. There's
a decidedly funny scene in a men's hat shop.

"Chu Chiiu Ctww." An opulent and beauti-
ful musical extravaganza based upon the
.Arabian Nights tale of .Mi Baba and the Forty
Thieves. Dazzling series of sensuous stage
pictures. "Chu Chu Chow" is presented this
year with an entirely new edititm and new cos-
tumes. Marjorie Wood makes a colorful
desert woman, Lionel Brahain is very effervi\*e
as the robber sheik and Eugene Cowles makes
the role of steward stand iDut. George Rosely
plays the young lover admirably.

"La La Lueille." Musical comedy built
around the efforts of a loving couple to arrange
a divorce in order to live up to the terms of a
millionaire aunt's will. A co-respondent is en-
gaged and troubles begin.

The Shubert Gaieties of igig. A lively revue
with scores of statuesque girls and stunning
frocks. A decidedly attractive entertainment.

"John Ferguson." A vigorous drama that
compares favorably with anything of the kind
that New York has seen for years. Beautifiilly
staged and acted. Masterpieces of this kind
should be liberally patronized to encourage
others.

George White's "Seandals of 1919. All
sorts and variations of dancing make up ior
a lack of story or humor. The real star is
piquant little Ann Pennington— as seductive a
little jazzer as ever shimmied on Broadiv.ay.
Then there's the lively dancing of Mr. White
himself.

"Friendiv Enemies." This is the record-
breaking comedy drama of last season, with
Louis Mann in his original role.

-Three ll'ise Fools." .Austin Strongs hu-
man little drama of three crusty old bachelors
who are bequeathed a joung woman and who
are subsequently rejuvenated. Melodrama
with a heart throb. Helen Menken gives a
striking performance of the nerve-racked hero-
ine, while Claude Gillingwater is a delightfully
testy old Teddv Findley.

"Site's a Good Fcllozi:" A light but pleasant
musical comedy built about the efforts of old
folks to break up a marriage between a loving
young couple. Joseph Santley is a likeable
iover-husband. masquerading in skirts for a
whole act. Ivy Sawver, the very pleasing Ann
Orr and Scott Welsh lend delightful assist-

"i9 East." A charrmng comedy founded on
a boarding school romance in which many in-
teresting characters make love-making difticult
for a pair of young lovers. .

"['/' ill Ii[ahel's Room." Piquant, daring biit
decidedly amusing farce built about the pursuit
of a daiiitv pink undergarment which bears the
same name as a recent jazz dance. Admirable
cast including the radiant Hazel Dawn.

"Three Faees East." Another Secret Ser-
vice-German spy drama, this one by Anthony
Paul Kelly, one' of our most successful photo-
playwrights. The principal charm of this play
is in trying to guess who are the German spies
and wlio are the Allies, just as we were puzzlctl
in "Cheating Cheaters" to know who were
burglars and who were not.

LEADING PICTURE THEATERS.

Loew's N. Y. and Loev/s American Roof.—
Photoplays ; first runs. Daily program.

Loezi^s' Metro/'olitan. Brooklyn.— Feature-
photoplays and vaudeville.

Ca/ti'fo/.— Photoplay features plus a de lu.xe
revue. Superb theater.

Rizvli.—De luxe photoplays with full sym-
phony orchestra. Weekly program.

7j;u/,o._Photoplays supreme. Program
changes every w'eek.

^(riiiii/.— Select first-run photoplays, fro-
trram changes every week.

Hear, Hear!

The world is so full of a number
of things, but — nothing more
important to the readers of The
Motion Picturi; Magazine
than the following announcement
— delivered in our best oratori-
cal manner, and with gestures:

Ladies and Geiitlettten:

Owing to the congested condi-
tion at the printers' — occasioned
by their recent strike — and in an
endeavor to catch up with our
customary schedule, we regret to
announce that there will be no
.ipril issue of that most welcome
of visitors, The Motion Pic-
ture Magazine.

But

We also wish to announce that
we will issue on the First Day of
Jpril, 1920 {mark the date
with red ink on your calendar) ,
a unique feature in the magazine
world — to be known as The
April-May Issue of The Mo-
tion Picture Magazine!

This will be a two-in-one maga-
zine, and the subscribers of The
Motion Picture Magazine
will have no reason to regret the
missing one, when this one will
be released.

we beg your indulgence
M. p. Publishing Co.

1 75 Duffield Street, Brooklyn, N. Y.

(Eight)

HELENt CHADWICK - CLARA WILLIAMS - LOUISE FAIENDA^ • RUTH ROLAND - RUTH STONEHOUSE • MAY ALLISON,-

/); "77(i- Wonder Hook for Writers." u'liirh ^vc i^'ill xciid U> you AliSOLUTEI.Y FREE, llicsc fainuus Moxic
Stars point out the easiest zieay to turn your iileas into stories and photoplays and become a successful writer.

Millions of People Can Write
Stories and Photoplays and

Don t Know It /

THIS is ihe startling assertion recciitly
made by E. H. Davison of New York,
one of the highest paid writers in the
world. Is his astonishing statement
true? Can it be possible there are countless
thousands of people yearning to write, who
really cnn and simply haven't found it out?
Well, come to think of it, most anybody can tcU
a story. Why can't most anybody ivrite a story?
W'hy is writing supposed to be a rare gift that
few possess? Isn't this only another of the
Mistaken Ideas the past has handed down to
lis? Yesterday nobody dreamed man could fly.
To-day he dives like a swallow ten thousand
feet above the e^irth and laughs down at the

LETTERS LIKE THIS
ARE POURING IN!

"I Mdiil.lrn 1 il-;-- ,1 iiiilli..n ilril-
lavs f.ir ll."— M.AUY WATSON.
Fairmont, W, V.\.

"It is wnrtli iln wpieht in
eolii."— G. MOCKWITZ, New
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"Every obstacle that menaces
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"I can nnlysay that I am amazed
that it is pos.sible In set furih
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concise m a n n e r."— OORDON
MATHEWS, MoNTRUAL, Can.

"I received your Irvinff System
some time ago. It is the most
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Fat.I,s, N. Y,

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(Ten)

IMiittuKiapli Ijy Alibc

EUGENE O'BRIEN
Selznick star.

r ''''^-'-''''^r'-:^''','f'Wn-WifVf''Vf(i!^^^ â– 

IMiiitograph by Alfred Cheney Johnston

ELAINE HAMMERSTEIN

Elaine started by being merely the granddaughter of the famous Oscar, and daughter

of the stage producer, Arthur Hammerstein. But she has established

herself as a star on her own merits in Selznick Pictures.

ALICE LAKE

Photograph by Evans, L. A.

Miss Lake is a Brooklyn girl and she made her dihwt at Vitagraph. Then came several

years in screen farce — with "Fatty" Arbuckle and the Christie

forces — after which she returned to film drama at Metro.

ANTONIO MORENO

Photograph by Ilartflook, L. A.

We hear that Tony is soon to be transferred by Vitagraph from serials to features.

For which we say, "Praise be I" For there is no mwe picturesque

or colorful young actor than Tony Moreno.

:Zi^Â¥':^j

LEW CODY

"The male vampire of the screen," they call Lew Cody, now a star in his own name.

Cody brings a new personality to the films, a boulevardier of the

Continental capitals — an Anatol of the cinema.

â– v'-f

I'liuuigraph by Jock Freulich

Mae, Mary and
Matrimony *

MARY had just been put to bed.
We sat at the dining-room table — I.Iae Marsh
Arms, her husband, little Mary's nurse and I.
Quaint candles illuminated the room with flickering,
home-like gleams.

Across the table we caught the glow in Mrs.
Marsh Arms' eyes. We had interviewed the Mae
Marsh of picturedom at least several times before,
but this was a new Mae Marsh.

Where once flashed a rollicking glow of mischief
now burned a new and steady light. And we
listened ; , ,

"Mary is wonderful !" exclaimed Mamma Marsh.

"Yes, indeed," echoed Papa Marsh.

"Did nurse tell you how splendid she was today?"
said mamma, turning to papa.

Papa shook his head enthusiastically. "You bet !"

"She just loves strangers " began mamma.

"Not a bit like most whiney kids," interrupted
papa.

Every one says she's awfully different," smiled
mamma, proudly.

"Yes, indeed," echoed papa.

We caught our breath. A year or so had certainly
transformed the hc^denish Mae. Plumper, more
rounded, there was a new dignity here. And that
wonderful light in her eyes !

We asked the once-so-wistful star of the screen
how she liked married life.

"Great!" she exclaimed. "I simply cant under-

Photograpli above by Mislikin Studio
Photograph right by C. Smith -Gardner

Two interestine home
glimpses of the new
Mae Marsh and little
Mary Marsh Arms,
aged six months. "I
love married life — and
Mary — more than all
the world put to-
gether," says Mamma
Marsh

(Sixteen)

By

FREDERICK

JAMES

SMITH

stand why every one isn't mar-
ried. I love it — and Mary —
more than all the world put
together."

"And you wouldn't change — "

"Not for millions," she an-
swered, fairly aghast. "Of
course, I am returning to the
screen, but I am taking Mary
along with me. All the photo-
plays in the world couldn't
separate us.

"I believe all this happiness
— and Mary — have made me a
better actress. They couldn't
fail to do that. Why, I didn't
begin to know the depths and
the heights of life before Mary
came. Now it is as if a curtain
had been drawn aside and all
life's possibilities lay before
me.

"I may never again be suc-
cessful on the screen from the
standpoints of appeal and per-
sonality, but I cannot fail to be
just a bit belter actress. For I
understand a little of life now."

"Ethel Barrymore once said
something like that," we re-
minded.

"And it is true. Life was a
thing of pleasures and whims —
to be tasted as "pleasant pr un-
pleasant, and passed on. But —
think of it — Mary is upstairs
asleei) — my own little Mary —
my husband is here and I am
infinitely happy.

"I am going to do my best
to he successful in the films
upon my return. I know I
shall, if I can only make a frac-
tion of my happiness shine out
of my work."

Little Mary is jflst six
months old. We asked her
mother if she wanted Mary to
be an actress. Papa Arms,
who is a newspaper man,
smiled.

"If she wants to be an ac-
tress, of course, I shall help
her," mamma answered.

"I think ahe is going to be a
writer," said papa, proudly.
"When I sit down at night
with her in my arms and open
a nevs's[)aper, Mary's joy is complete
I can tell you."

The Marsh-Arms have been spending the past summer at For-
ist Hills. There Mae Marsh has been resting. No pictures did
she see all thru the year, of course. "I'm having a perfect orgy
of picture-going now,- and I'm hunting everywhere to see
'Broken Blossoms,' 'The Miracle Man' and all the other big
things I have missed. I simply must see them all."

At this writing Mamma Marsh, plus papa and Mary, are

il

Photograph by C. bmitfa Gardner

She chuckles with glee.

about to start for the coast, where Mae
will again return to the Cooper-Hewitts.

"We haven't found exactly the right
story yet," said papa. Just then a sound
came from the upper regions of the
.\rms' mansion. Mamma and nurs.e
dashed Mary-ward.

"She's laughing in her sleep." ex-
iCouthmcd on patjc 60)

The very first
close-up of little
Mary Marsh
Arms. Note the
inginue tenden-
cies that already
reveal themselves
— the coy fingers
to the lips. Yet
Papa Arms thinks
Mary is going to
be a writer

ISTRODUCiNG THE REAL TOMMIE:

Thomas MeighaH is 0"'"9 lo •"<"■ shortly, the Tommic you
have come lo love in "The Miracle Man," "Mole and female"
and other photodramas. That alone isn't farlicularly startling.
But the fact thai Tominie has reached stardom — and retained
his human vietvpoini — is. Thus it is that we lake unusual
pleasure in saying:

"Mr., Mrs., and Miss Classic Reader, meet Mr. Tommie
Meighan."

THE quote marks are discreetly placed to the fore and aft
of the title lest the stigma of an undue familiarity be
ascribed to the wholly humble and well-meaning scrivener
thereof. At any rate and all rates, the quotes belong,
because . . .

I took tea with Thomas Meighan at the Claridge, late one
afternoon, lately. During the Course of the chicken sand-
wiches and the conversation we touched upon the oft-discussed
fact that simplicity is the outward and visible sign of all true
greatness. Thomas had with him a letter from a very well-
known editor of this city. It began "Dear Tommie," and I
thought, "How fitting." It contained, too, a pithy paragraph
anent our subject of greatness ; i.e., simplicity, and it went on
to say that in some few years "Dear Tommie" hadn't changed
a jot. It said it much more cleverly than that, you under-
stand. It was more to the point and it didn't use the word
"jot," but the gist of it was the abiding simplicity of Tommie
with the necessarily accompanying innuendo. It occurred
to me, still further, that, ten years or more from now, there
will perhaps be another letter, other letters, and that they will
say "Dear Tommie, you haven't changed a bit."

The boy, Tommie, is very illy concealed by the man,
Thoma^.

And, still rnore pertinent, Tommie has an abounding sense
of humor. It is a powei'fiiH lens, a sense of humor, and it
does hot permit the greatest of us to be set very high in our
own esteem.

Tommie has been married, he told me, for ten

"Dear Tommie"

did not ask me to censor the statement in my written word,
either. The ten years, happy years, I take it, from the twinkle
in his eye, have been dedicated to Frances Ring. "She's got
something up here," he told me, touching his forehead. I
asked him, awed by the ten years, what he thought the secret
of marital success really was— or is. I felt that the decade
entitled him to some ripe philosophizing. He answered me,
"A sense of humor." He went on to say that he considered it
the really vital thing. He said that it must exist if the matri-
monial ship is to escape the reefs and shoals. One doesn't
fight, he said, when one can laugh. It makes for true cama-
raderie. It removes all stings. It is the real solvent.

I asked him what he thought his own success was due to,
what intrinsic thing within himself.

He waved a pro-
testing hand when I
articulated the word
success, but I was well
fortified with chicken
sandwiches and con-
siderable orange pe-
koe, and I persisted. I
was there to push my

?uestions,and I believe
can say, modestly,
XhAtl pushed. I had to,
with "Dear
Tommie,"
He has a
habit of
running off
the track

Tommie Meighan haa been
married ten years; Francea Ring
being Mra. Meighan. Regard-
ing tile aecret of marital suc-
ceai, Tommie Answers: "A sense
of humor." Moreover, he calls
it the one vital thing to mar-
riage. It makes for true cama-
raderie, It removes all stings.
It is the real solvent. Adjoin-
ing are glimpses of Mr.
Meighan in recent De Mille
productions

and discoursing
upon sonjebody
else, volubly and
witli interest. As
. monologist on him-
self he is a good
Mi racle Man,
However, as I say,
I did persist , . .

After a tentative waiv-
ing of the word success,
he said, "Such as it is — to my
mother and father^'

I asked him why. What
particular thing or things they
had done for him. "Just be-
cause they were what they
were," he answered, "right-
thinking, clean-living, regular
people. Being with them was
enough."

We paid the small tribute

of a momentary silence to the

memory of his mother, who

had died six weeks before,

I wanted to know whether

(EighUen)

By FATTH SERVICE

he really loved the work he was doing, and what he hopes to do
in the future, along what line or lines and, particularly, whether
he has any aspirations along the directorial line.

He is, you know, a very pleasant sort of person, with a light-
some smile and an easy manner, or he might have gently evicted
me from the further consumption of food and time as a human
interrogation and therefore not accountable. Instead of which
he was smilingly informative.

He hadn't cared much about his
work, he admitted frankly, until
quite recently. Hadn't, at all
events, taken the same deep interest
in it he takes now, felt the same

^-Ji

Meighan says he owes all his suc-
cess to his mother and father.
"Just because they were what they
were," he says, "right-thinking,
dean-living, regular people. Being
with them was enough." As re-
gards success, Meighan remarks:
"a well-known person can never
go out and have a thoroly good
time, when and where and with
whom he pleases"

impelling charm. Then,
too, so many and such
limitless possibilities
have opened up to him
recently. "The Miracle
Man," he said, is the
type of work he wants
to do, his line ... He
has no desire to go back
to the stage, very much
contrariwise. He'd have
stage-fright, he declared.
Facing an audience —
whew ' After working in
the rather clubby fash-
ion of the studios. As
for being a director . . .
"To my mind," he said, "there are three absolutely essential
factors in the make-up of a really great director. The first is
imaginalion. The second is concentration. The third is appli-
cation. I haven't any one of the three. I guess that lets
me out."

"I dont believe you haven't any one of them," I said; "the
first, now ..."
"Oh, well," he said, with a smile, "I'm Irish ..."
The Little Pejple have flocked for too many idyllic centu-
ries over Ireland . . . too many banshees have wailed on too
many moon-white nights . . . legends with thrills and throbs
of a wild beauty have been too rife for one of Ireland's sons
to disclaim imagination now.
"Well, then," I prompted.
"Well, the other two — the majority, you know — applicatioti

(Nineteen)

and concentration, I haven't a vestige of either
one of them. Besides, I haven't, honestly, the

^^^ - desire. I'm content to leave the directing to

iS^^ others — Griffith and De Mille and George Loane

t^fr Tucker, and men like them."

.^fffr I asked him, while we were sky-rocketing with

^â–¼* the subject of success, whether he thought a high

price of some sort or other was necessarily

attached thereto.

"I do," he said; "for one thing, the loss of personal liberiy.
Imagine, for instance, coming here for tea with Charlie
Chaplin. You'd be mobbed in a great many places ; in almost
all places you'd be so whispered about and nudged about
and openly and overtly stared at that you'd have acute in-
digestion before you got hold of the tea-card. A person
with all that success can never go out and have a thoroly
good time, when and where and with whom he pleases.
There's a sort of barrier built and there's no getting past
it. It's distinctly a limited sphere while seeming to be with-
out limit."

Then, too, a certain loss, I think, of perspective.

Rose-colored glasses, in a sense, even tho we may be wholly
unaware that we are wearing them, or that they have been
placed upon the bridge of our, so to speak, nose.

We gaze, at times, from a figurative Woolworth and the
good substantial horses and drays and other matter-of-fact-
nesses seem lost in a sort of blur.

Tommie has not lost his. There is no blur, of rose or other-
wise, upon his figurative glasses.

"Dear Tommie" is going to star this coming year. He be-
lieves, he says, that starring will show a considerable change
in his work. "A great many of the best bits of the cast are
often and necessarily cut out for the fuller benefit of the star,"
he explained, "and, quite often, work I have done has seemed
stolid for that very reason. When I am doing my own starring
such will not be the case, so I'm hoping."

Tommie will be interesting to watch, but what is more and
better, I believe, with the well-known editor, that he will
always be just about the same to know . . . essentially,
come what may come, "Dear Tommie — You haven't changed
a bit!"

"I've always wanted to
work for Micky Nei-
lan," says M a r j o r i e
Daw. So her present
engagement means that
her dreams have come
true. "I nearly died
with joy when it all
really happened," she
admits

MARjORit; Daw isn't
her real name at
all! Cecil De
Mille gave it to her
several years ago when
she first came to the
Lasky studio. With
his prophetic eye, he
probably saw that it
would look better in

electric lights when she grew up and became a
star, than her own, which is much longer. Any-
way, this sweet little name just suits her, and
tho it has not vet flashed in electrics, it has ap-
l)eared in very black type on many programs, for
her career has progressed by leaps and bounds
and she has played with many of the best known
film stars of the day.

Great things are predicted for this young girl,
whose spontaneity makes her characters live and
breathe upon the screen, bringing youthful ro-
mance vividly before our e^es.

"Isn't it wonderful?" questioned Marjorie,
dancing about in girlish enthusiasm.

I agreed with fervor, even while I secretly won-
dered if she referred to the very .smart frock she
was wearing, an adoi'able navy tricotine, which was
one of her purchases during a recent trip to New
York, or the artistic dressing-room, newly deco-
rated especially for her at Marshall Neilan's quaint
little studio in Hollywood, or, indeed, her splendid

Marjorie Da'w:
A Real Girl

contract in which she is to appear in this young
producer's pictures.

"It is so cheerful," she continued, as her
eyes swept the large, sunny room, with its
wicker furniture and gay cretonnes, while thru
the open â–  windows could be seen rows of
flaming dahlias and lovely lawns. "I adore
colors. They spur me on, and these ducky
yellow lights are warm and cozy. Oh, but just
look here; this is the very best of all," and,
dashing to a door, she led me into the most
perfectly equipped little kitchen imaginable.
"I've never had time to learn to cook, but now
I am so enthused that I want to learn every-
thing all at once so I can invite my friends in
to a studio luncheon. Micky thinks this is a
huge joke, but I'll show him.

"Always," Marjorie went on, seriously,
after we had returned to the dressing-room,
"I have wanted to be in Micky Neilan's com-
pany. I remember, *vhen I was just a little
girl at the Lasky studio, how I would slip
around and watch him directing Mary Pick-
ford, just hoping and hoping that some day I,
too, could be under his direction. I nearly
died of joy when it all really happened.

Pbotosraph at left by Alfred Cheney Johniton
Photograph below by Evani, L. A.

(Tu>«)vtVJ

By MAUDE S. CHEATHAM

"We're making a greai picture
nov/, 'The River's End,' " she rattled
on, with her contagious enthusiasm,
"and my role is light comedy. I'm
an English girl, and everybody loves
me down to the Chinese cook. I
wear pretty clothes and have a beau-
tiful time. Why, I even ride horse-
back— in a stilfl" and she laughed
gaily.

"Our whole company is wonder-
ful, all working together like one big
family, and even the camera-man,
who is a dear, tells me when to put
more soul into my eyes.

"Micky is so boyish, with a reg^ular
Peter Pan sense of youth, and he is
always joking : id 'kidding.' He sees
life at its best, and one of his rules
is never to lose his temper while
working, and he lives up to this
faithfully."

"The trip to New York — was it all
you had anticipated?'" I asked.

"IVas it?" jumping to her feet to
give added emphasis. "It was won-
derfull I went and went, and saw
ana saiv, and everything was so ex-
citing," and Marjorie dropped back
into her chair, subsiding for a mo-
ment after this ecstatic explosion.

Then followed an animated ac-
count of the shops and the styles, the
new plays and the interesting people
she had met, all from a girlish view-
point so refreshing that it seemed to
sweep everything old and sordid
from the map.

She confessed that she found her-
self judging those splendid Gotham
hotels and cafes by the quality of
their ice-cream, this being her fad of
the moment.

"Down in Greenwich Village," she
told me, eagerly, "I found a new
kind, queerish and delicious, made
by a secret process or something,
and I couldn't describe it in a hun-
dred years, so it is just a memory to
dream about,"

and again came
the gay laugh.
"My first
and only char-
acter role was
Emmy Jane
Perkins in 'Re-
becca of Sun-
n y b r 0 0 k
Farm,'" said
Marjorie, set-
tling down to
the demands
for an interview
embarrassed to death with
{Continued on page 65)

Marjorie Daw's
reminiscences are
necessarily limit-
ed since she is
but 18. Colorado
Springs, CoL, is
her birthplace.
She journeyed to
California at the
age of eight and
she has been
there ever since

"I was

Photograph by Alfred Cheney Johnston

(Twenty-one)

Scotch and Seltzer

TEN o'clock in the morning, and the maid said he hadn't
as yet wakened. A half-hour's wait, and at length a
sleepy-eyed young gentleman clad for tennis, and be-
moaning the fact that three old-fashioned, very rare, hand-
blown glass bottles, sent him by express from the East,
were broken in transit.

"I'm all disheartened," quoth the insouciant Mr. Kerry.
"I cant replace 'em."

"Oh, yes, you can," I replied. "The Olde Curiositie
Shoppe on Sixth Street has a couple just like them. Four
dollars apiece, but I imagine you can 'Jew 'em down.' "
"Righto !"

And the insouciantly broken-hearted Mr. Kerry became
happy again. You see, I didn't have to go thru the formal-
ity of an introduction. Norman and I have been friends
for some time. In fact, I quite well remember the time that
he sang a sobby song to me at my table in a Los Angeles
cafe. That's how I met him. He thought I was some one
else, and when I told him I wasn't, he said he didn't give
a whoop; we were friends anyhow.

Being of the sex that wears sox and a mustache, I was
at once enjoined to languish in his chambre A coucher,
where he keeps his art treasures and which looks like a
cross between the peacock-room of the late Empress of
China and the studio of a Bolshevik
artist. Purple and grey hangings on the
four windows, funny little doo-dabs, that
Norm told me are i<cry valuable, on the
tabouret which stands at the head of his
bed. I thought that probably they'd
contain incense, or something like that,
but I found they held cigarets. And —
keep this quiet, mates — there's a table
which looks like an escritoire standing
along one of the walls which caches
what, in these Saharaesque days, is
mintly — a cut-glass carafe filled with
spirituous liquor.

"Have a drink?" His forethought
was really remarkable. Personally, I
am never known to refuse. Neither is
Norman. We both of us are Scotch, and
Scotch always finds itself in seltzer.

"And now, what do you know about
women ?"

I knew it would get him started. He
has every feminine heart in Hollywood
fluttering when he makes his appearance
at the hotel dances or dines publicly.
And the high school sub-debs blush and cast their eyes
to the ground with what authors are prone to call maid-
enly ingenuousness when he passes them on the street,
and I've heard 'em sigh over him. Gosh, girls, it's
awful!

"The dear things!"

"Well, what about 'em ?" quoth I, interviewally.
"I love them all. Except the vampires ; they're too
obvious. The girl to vamp me is the baby blonde. Then
I know I'm getting vamped, and I enjoy it."

What is a vamp? Kipling calls her the rag-bone-
hank. Gautier refers to her as a disappointed mis-
tress. Kerry to the fore, thusly:

Vampire — Thisbe minus the hole in the wall ;

Melisande without her Pelleas. In other

words, an unnecessary female, who

makes life more

unpleasant for

■■■,''•■' herself than for

those whom she'd

like to "wreck."

And with this

(Xwentn-tvio)

By TRUMAN B. HANDY

'â–  high-;nincled ideal, perhaps you may draw the conclusion
; I that Mr. Kerry is in the matrimonial market, or that his
I "Wanted — A wife" ad appears in the daily papers. Huh-uh I
Kerry is more or less "afraid of women. He says so him-
self; also, that he likes his liberty.

"For that simple reason I've never been married. I may,
and I may not be, but if I were, I'd bow to my superior.

"I hate that word 'superior,' and personally, I fail to
recognize any of this so-called 'superiority' in the oppo-
â–  site sex. In California, where women vote, they're quite
I an equal, but superior — huh !"
I "But are they superior?" I back-fired.
I "Certainly — if you love them. I mean, a man's wife is
I always his superior, for the reason that he wouldn't have
married her if he didn't recognize in her qualities which he
fails to possess and wishes to acquire. And then, too,
(jrandes passions are as rare as masterpieces, and very
few men are geniuses."
"And what about the cave-man? Like to be one?"
"Hot doggie! If I were married, there would be only
one pair of trousers in the house, and I'd be in 'em. A
man is born to be a soldier, as lie is to be the head of his
house. If he gives up his life for his
country, he's bound to do so for- his
marriage, and, according to I'.merson,
everything has its comjiensation — eVen,
in this case, if it's only paying the
checks. And that's why I'm single.
I've nevtr wanted to s|)oil a woman's
illusions."

As Kerry and I discussed pro and
con the woman question, Norm skimmed
thru a few dozen fan letters. At one
of them he laughed. Handing it to
me, I read that a shop girl in .St. Louis
would like to marry him. In fact, she
openly stated that she idolizes him.
Another heartachel'

"Doesn't it give you a thrill to be
idolized ?"

"Huh-uh. Lions are good for only one
season. ,\s soon as their manes are cut
they are the dulk'st creatures extant."
"Rut why keep the fair sex in sus-
pense?"

"That's just why I'm telling you all
this. I'm not. No man wants to make

a woman impatient. Women consider themselves a flower to
he plucked before the boll gets into the bud. Rut the projier
basis for marriage is a mutual understanding. Kind of hard
to get nowadays, isn't it, when in so many cases they've made
a deletion in the
marriage cere-
mony?"

Kerry is a strong
romanticist, as Os-
car VV i 1 d e
says, "very
punctual and
with a pas-
sion for col-
lecting curi-
o s i t i e s .
Cireat aver-
sion to cats
and bores."

His art collec-

lection ranges

from an age-old

(Continued on

^age 68)

(Twenty-three)

Photograph by Evons

"Women are superior — if you
love them," says Kerry. "A
man's wife is always his supe-
rior, for the reason that he
wouldn't have married her if he
didn't recoenize in her qualities
which he fails to possess and
wishes to acquire."

0

A Doll's-
Apartment

matters of profession and general at-
mosphere

Also, she is too happy and too hard-
worl<ing and too busy having fun.

Then, there is the matter of her
looks . . . tawny-colored hair massed
on her head, bright eyes, fresh color-
ing, a springy sort of a walk and
rounded lines. No, there is no sug-
gestion in Olive Thomas of "going
out into the night'" to find herself.
She appears to be quite completely
found, between the pictures and her
new and fascinating occupation of
decorating and buying for her new
apartment and being Mrs. Jack Pick-
ford, at which estate she is quite evi-
dently pleased, save for the long dis-
tance and the long times that elapse
betweei. their

Olive Thomas is
too happy, h6rd-
working and too
busy having fun to
ever be morbid.
Indeed, she is too
youthful and
healthy — too es-
sentially a product
of Pittsburgh in
nativity and New
York and Califor-
nia in profession
and general atmo-
sphere

meetings. Said
Olive, with
naivete, "I call
Jack my 'long-
distance
lover.' "

Considering'
the newness of
her apartment,
a charming
place overlook-
ing the Park in
the Fifties, we

TiricRK is to be
nothing Ibsen-
fsque about this
interview saving the
rather obvious play
on a famous Ibsen
title — not that the
scrivener thereof
wouldn't like to at-
tempt an emulation,
but that there is noth-
ing of the morbid
Scandinavian and his
equally morbid and
highly introspective
heroines to ^ he de-
duced from the May-
tiniish Olive Thomas'.
Olive could never
have posed for Ibsen.
She is quite youth-
fully and healthfully
an antithesis. Too
essentially a product
of — well, Pittsburgh
in the matter of nativ-
ity and New York
and California in the

(Tvienty-four)

By FAITH SERVICE

did much discussing of interior decorating.
Olive has opinions and tastes, discrininiating
ones and enthusiasms tempered with a reallv
good sense of color effects and general
schemes. She knows what slie wants and how
she wants it, and also how to go ahout ac-
quiring what she wants. There is a certain
directness ahout her despite her most pal-
pable youth, which gives the impression of a
small child in a mammoth toy shop, given,
suddenly, carte blanche.

Her long, .spacious living-room, with win-
dows across the entire front of it, overlooks
the park. It is carpeted in a soft French gray
and Olive told me, with asperity, that she was
at the studio when the carpet was laid and
the men had neglected to lay titling under-
neath it. "If," said the small matron, "I am
to pay for good stuff, I e.xpect to get it. and
good workmanship into the bargain. I am
going to have them take the whole thing up
again and lay it i.roi-erly. I believe in vahie
received." Which
shows, in a very
young person with
a not inconsidera-
ble salary, a cer-
tain sense of eco-
nomics.

The apartment,
she told me, was

Olive Thomas calls her
husband. Jack Pick-
ford, her "long dis-
tance lover." She wants
to return to the stage,
but for the next two
years, or so, she is go-
ing on with her screen
work

to be well on
its way to com-
pletion before
the arrival of
the "long-dis-
tance lover"
for Christmas.
It was going to
be, she said,
with anticipa-
tion, the best
Christmas they
have ever had.
Their first was
spent in Pitts-
burgh in the
hospital with
Olive's mother,
who was very
ill. Last Christ-
mas Olive was
here in the East
in the hospital
herself, with
influenza, and
quite alone,
and so this
third Christmas
(Continued on
paf)c 62)

(Twenty-five)

An
Aphrodite
From the
Screen

Dorothy Dalton has tempora-
rily deserted the silversheet to
play the leading rdle in the |or-
geouB Century Theater produc-
tion, "Aphrodite," the highly
colored drama of ancient Alex-
andria which has set Broad-
way gasping. Here are two
glimpses of Miss Dalton as the
Galilean courtesan, Chrysis, and
a single — but compelling — one of
McKay Morris as the sculptor-
lover

(Twenty-iix)

By FREDERICK
JAMES SMITH

shal of the film. So the world of the cinema
realized in a flash that December morning.

But, after drifting for four days, the Griffith
party made port. The photoplay sphere
settled back — but we trust not to forget fulness. It is natural
for those close ta greatness not to observe the light, but the
honor that alone is Griffith's must be accorded. No other one
man has done a fraction of service to the silent play performed
by Griffith.

May he long retain the leadership! May he go on
experimenting and trying, for few others have his cour-
age and resourcefulness! To be sure there are many
promising figures upon the horizon — none more notably
so, for instance, than the youthful King Vidor or Mrs.
Sidney Drew — but there is but one Griffith.

Let us recognize this Moses of the motion play, this
Columbus of the cinema! Let us remember that grim
December morning — and give all honor where honor is
due — now.

Richard Barthelmess had gone
on to the Bahamas ahead of
the Griffith party. When news,
reached him that the Griffith
steamer was missing he char-
tered the "Berry Islands" and
started out in search. Here
are views of Barthehness and
his mother on the searching
tiiti. Below is a recent study
of Griffith

THE world of motion pic-
tures drew a startled
breath and paused to
think one recent December
morning when the newspa-
pers of the land carried the
story that David Wark Griffith and his party
had been "lost at sea" off the Bahama Islands.

It is human to take a f)erson or thing for
granted — to accept unthinkingly. So Griffith,
standing at the very forefront of the photo-
play's march, had been accepted. But the news
that Griffith might be adrift in the lonely Span-
ish Main — dead or dying — startled the film
world and set it thinking.

Quickly it took stock of just what it owed
this genius of the silent drama — for Griffith, with all his faults, is
the one genius of the photoplay. From the flickering first days he
has proudly held the standard upright. From the moment when he
stepped from crude one-reel melodrama to such brief celluloid bits of
brilliancy as "The Blot in the 'Scutcheon," "Enoch, Arden," and
scores of others, down thru the avenue of progress marked by the
fade-out, the close-up, the dissolve, and a multitude of now accepted
technical devices, to the present of that lyric tragedy, "Broken Blos-
soms," Griffith had led the way — and led in every sense of the
word.

Other excellent and in many ways brilliant division commanders
have appeared — De Mille, Ince, Toumeur, Tucker and Dwan among
these potential leaders — but Griffith is still essentially the field-mar-

(Twenty-aeven)

II H— H H !

Human Hobart Henley

"1T-H-H" sounds '.ike tlie Crown Prince,
J~l but it is not, however topical at
the date of writing. It is about
Hobart Henley, who has the humanizing
touch. He has it in his pictures, "The Gay
Old Dog" to wit, and he has it in his per-
sonality, which is even more, because, sooner
or later, the personalit)' of the man is bound
to seep into the personality of his pictures,
his work whatever form it may take. A man
cannot give greater than he is.

I dont believe that Mr. Henley is conscious
of the human touch he has in any delib-
erate sort of way. He is so very much and
so very naturally a homey sort of person, with
a rich sort of speaking voice, Kentuckian and
rather slow, and a smile that gives you a com-
fortable glow in the cardiac regions and — he
would blue-pencil this, I know, if I gave him
half a chance, which I shant — romantic eyes
and hair and general aspect.

He adores his mother, viich means more
than the face value of the assertion. The
adoration is mutual. Originally a Kentuckian,
as I said, he brought his mother here to make
a home for him and in that home he abides.
He is a believer in the home. He gave me a
sketchy idea of his idea of happiness, and it
was to get up in the morning on your ovim
place in the country, the country of course, he
said, and jump on your horse and take a
good gallop before breakfast, tlien back to
steaming coflee and eggs and things, a la
anglaise, as it were, then dalliance in the sun-
shine, browsing among your books, thinking,
planning, dreaming . . .

"Of course," said Mr. Henley, "to be happy
and normal there must be work, interest of

By OLGA SHAW

some constructive nature. Ever>' individual craves self-expres-
sion in one form or another. It is as essential as any other
one thing, and more. But it should be work that can be done
when the spirit of it moves the actiz'ities. .\n artist, and fun-
damentally, a director should be an artist — an artist cannot
work by clock, on schedule, according to rote. Theoretically,
it would be very fine if it were possible and best. But it is not
possible. The creative impulse is bound to be more or less
sporadic Some training can, of course, be brought to bear,
but efficiency — horrible word! — will grind out inspiration if
one is not careful. And it is in inspiration that the great things

of living, in so far as the

arts are concerned, are

achieved."

Speaking of art, I un-
earthed the hoan,- ques-
tion of whether he
thought the film
business an art, etc.,
etc. — you knowem.
He said he
thought the art of
the screen certain-
ly was an art. The
business end of it
— no.

{C onfiuucd on
page 93)

Three glimpses of
Hobart Henley
adorn this page. In
the center he ap-
pears with John
Cumberland and, ber
low, with members
of his company

-,;p»jp*«PW^-

The Little Shepherd of Kingdom Come

Told in Story Form from the Jack Pickford-GoMwyn Photoplay

By DOROTHY DON NELL

" A IR they places bigger'n the Junction — bigger'n Lexing-
J-\ ton?" Melissa's eyes were round with awe. "Hit dont
seem likely, Chad! 'Pears like they couldn't be."

The boy laughed with masculine superiority, flinging his fine
head back in a gesture characteristic of him. "Pooh ! M'liss,
they're grander than anything we ever saw ! They've got
shining streets and white castles that reach up and up, and
towers where you can see the whole world from. They've
got many mansions. M'liss — grand mansions "

Caleb Hess, schoolmaster, smiled a very little at the boyish
rhapsody, with its odd mingling of the Arabian Nights and
the New Testament, but it was an infinitely tender smile.
Twelve patient years in the Cumberlands, dealing with soggy
minds, dulled with generations of pork and pone eating, with
the sullen, the dull, the vicious, had not quite extinguished the
flame that had burned, altar-like, in his soul when he came
up into the mountains to teach the mountain young of the
beauty and the wonder that is in the world.

"Ah, but you must build your castles, Chad boy," he said
gently; "you must work for your towers, earn your mansions.
There is no virtue in easy things. It is you and you alone who
make your life what it will be."

Trite words, old, frayed truths, but to the boy the sayings
of an oracle. His dark eyes, under the
ragged fringe of uncut hair, glowed like
smouldering coals in a fanning wind. "I
can do anything — I want to," cried Chad

(Twenty-nine)

own.
can

Buford. The last name was
problematical, a thingof tra-
dition, for the boy was
a waif of the wilds,
without parents or
kin, or even graves
that held
his
"I

do any-
thing I
choose to
do — any-
thing! I
can get
learning,
I can bf
a gent'
man-

MOTION PICTURE

The didactic voice of the schoolmaster sounded soothingly.
"A gentleman isn't the best thing to be, Chad boy. If you're
honest and brave and kind you'll be a man, and that's better.
A king who controls a million meii is no greater than a man
who controls himself."

"Chad could be a king," Melissa cried, jealously, with a look
that yearned toward the long, lank boy-figure huddled before
the fire ; "Chad could be a king easy. He aint like the res' of
us, somehow, 'pears like. He's like somebody — somebody in
that book you-all read t'other day at school, "bout toumyments
and round-tables."

If Chad had lifted his eyes to the girl's face as she turned it
tcvfiird him with the age-old mothering in it, he would have
known what few people guessed — ^that Melissa Turner, daugh-
ter of his employer, was beautiful. But Chad's gaze \<'as. in
the dancing flames, where his fancy pictured the strange, fluid,
changing shapes of the future, and his thoughts were leagues
away from the ding)', log-cabin room. Caleb saw, however,
and winced. It was a pity that there could be no beauty, no
grace in the world without bringing suffering with it, as the
sunshine brings shadows.

"But tlie boy must not be fettered. He must be free, and he
will go far," he thought. "Melissa is right. He is not like
these dull-souled mountain folk. There is blood in him some-
where, race. Look at the height of that forehead, the shape of
that chin! But he must go away quickly before harm can
come. He is young, and youth's wants are dangerous."

Aloud he spoke in his accustomed drawl. "How would you

like to go to Lexington, Chad ? Or, better still, how woidd you
like to go up North to school ?"

"Oh, sir !" Chad gasped, and could say no more. His sensi-
tive lips were quivering, his long, lean hands, which all the
rough work of shepherding could not make like the thick-set
paws of the mountain boys, clenched together on his knee with
a grip that turned the fingers white. Neither he nor Caleb,
absorbed in the plans of the moment, heard the strange little
cry the prl gave from her shadows, a hurt cry, like a little wild
animal wounded, nor saw the whitening of the long, pointed
face between the fans of wild tangled brown.

They were still talking eagerly, making plans for the journey
that was to set Chad's impatient feet on the pathway to the
world, when she slipped out into the cool Cumberland night,
lucent with the cold clearness of the stars. She lifted her face
toward them, marked with strange woman lines of pain in its
girlishness. Melissa was fifteen, but she was very old tonight,
old as the travail of her soul, old as .the brave, sweet heart of
her that now rose above its pain to pray for him.

"I've lost him, but hit's best. On'y, God, take keer o' him.
If they's any hurtin' to be done, hurt me instead," Melissa
begged. "That's what womenfolks was made for, I reckon,
to git hurt 'stead of they men."

The next week Chad Buford, with all his worldly posses-
sions, a f)oor calico shirt, two pairs of white socks and a
thumbed, dog-eared copy of "The Knights of the Table
Round" rolled into a bundle under his arm, started out afoot
down the mountains, with Caleb Hess beside him, and only the
half-jeering commentaries of the loafers outside the tiny gen-
eral store as farewell.

"Spect you'll be 'lected President one o' these days, Chad!"

"Dont I'am too much — 'taint healthy, I reckon. Knowed a
man onct went thru the 'rithmetic and took with a fever 'n'
died."

To each other, after the two
figures had disappeared down "How would you like to

go to Lexington, Chad?

or, better still, how would

you like to go up North

to school?"

(Thirty)

CLASSIC

the trail, they
spoke with coarse
freedom of the
boy's dubious pa-
rentage. "A
bound boy, wi^
no pappy and no
mom as anybody
knows on," they
sneered, "set tin'
hisself up to be
somebody — it's
'nough to make a
hawg laff. He'd
'a' done better to
have stayed and
minded Jeff Tur-
ner's sheep, and
kept his belly
full."

Only one per-
son watched
Chad set out, and
sent a gentle
thought with him,
a prayer that he
might find what
he went to seek
for — happiness
and success. Me-
lissa, hidden be-
hind the great
tree at the bend
of the trail, heard
their voices com-
ing closer, pass-
ing, then dared to look out from her
leafy covert for one last glimpse of
the dark head, held so high in its
rough fur cap, the straight shoulders
in their sheepskin covering, the very
way he walked — as if, she thought,
he already had his white castles, his
towers. She closed the memory of

this last glimpse of him away in her heart sacredly, to be taken
out when she was alone sometimes, looked at, dreamed over.
"I'll never see him again," said Melissa, but she did not know.

A week later Caleb Hess returned. It got about, after a
while, thru assiduous questioning, that he had not taken Chad
up North after all, but left him in Lexington with a Major
Rufus Buford, who had taken a fancy to the boy and promised
to care for him and give him an education. The name re-
awakened old rumors. What if Chad should have a right to
the half-jesting patronymic he had always borne? What if
this major should be kin of his?

"Always said the boy had something to him," the moun-
taineers told each other. "Reckon M'W be moughty proud, now
he's got fine friends, an' fergit aU we've done fer him !"

Life went on, thru the cold winter days, the .sheep, huddled
in their folds, bleating plaintively. The women shuffled about
the dark cabins from greasy skillet to the cradles of their ailing
babes. Caleb, in the frigid log schoolhouse, labored patiently,
but without inspiration, to plant a small seed of beauty in the
unfertile minds before him, and M'liss dreamed in the red
dusks of a tall, erect figure, panoplied like a knight, striding
down the shining street of a great city.

And then one night, as the Turners sat about their eternal
sow-bdly and beans, and the cabin swam in the sooty, greasy
light of oil lamps, the door opened and Chad stood on the
threshold, looking at them with a set, white face and eyes cold
and empty, hke dead>brands when the flame is gone.

The elder Turner brought his knife handle down on the table
with a hoarse cackle of delight. "Haw, haw I Come back, eh ?
Fine friends turn you out and you come crawlin' back to fill
your crop."

(Thirty-one)

"You've been
moughty good to
me, Mliss ; I reck-
on I wont for-
get it, ever," he
said

Dan and Jake, the boys, echoed their
father's hateful hilarity, Mrs. Turner gave
a spiritless glance at the silent figure,
then shuffled to the stove to pile another
plate with food, but Melissa sprang to
her feet and ran to Chad, clutching his
hands in her hard, calloused ones.

"Chad boy ! Oh, mebbe it's wicked to be glad, but I am — I
am !" Melissa sobbed. Then, vaguely terrified by the stillness
of him, she stood on tiptoe, thrusting her face close to his.
And the set despair she read there brought a cry to her lips.
"Chad! What's happened? Tell me. Oh, Chad, the fire —
the fire in your eyes is out ! What have they city folk done t'
you ?"

But the boy merely .shook her off, not unkindly, and went to
the table. "I've come back — if you'll keep nle," he said, with
set lips. "I kin take care of the sheep for my keep. I found"
— he drew a deep breath, and his face went white — "I found I
belonged up here "

And that was all he would say, tho he pushed the plate of
repulsive food away and sat silent, staring down at his lax
hands till all but Melissa had yawned themselves away to bed-
Like a little, grey shadow, Melissa slipped closer, laid her hand
tremblingly on his knee. "Now, Chad, tell me," she whispered.
"I reckon 'tisn't any tiling that cant be mended. What did they-
all do to you — down thar?"

Chad drew a sharp breath, laughed terribly. He was very
tragic, as is youth's way, for his pride had been hurt almost to
death and his heart was sick. "Kin you mend bad stock?
Kin you find me a mammy and a pappy — kin you give me the
right to be homed at all ?" Unconsciously, his tongue fell into

MOTION PICTURE CLASSIC

1

**What docs it say
in the Scriptures,"
Margaret m u r-
m n r e d, "what
does it s a y —
about 1 o V i u g —
your enemies?"

mountain rudenesses, which told her more
plainlj' than anytliing else of his utter
recklessness. "No, M'liss ! I was wrong
— I kaint ever — be — a — gentleman "

Then, in a tumbled flood of words, it
was all out. The major had been kind,
wonderful kind. He had treated him like
kinfolk and told him he should have his
chance for all the book learning he wanted. He had seemed
to — to like him, somehow. Oh, and it was a grand place
where he lived — fifteen rooms, each one bigger than the cabin,
and black servants, and horses — they were moughty nice, the
horses. Then there had been the folks next door — Dean, their
name was, a terrible fancy man and woman, and two boys his

age, and — and

Chad's face grew scarlet in the firelight, and she saw that
his u.inds were trembling.

"They was a girl, too — her name was Margaret," he
stumbled. "She had awful pretty hair, light and sort of soft
and the color of sunshine at high noon — a real lady she was,
but. she — she was pov/erful pleasant to me, and made me for-
get I wasn't anything but a mountain critter. We — went
riding in the park — once or twice. Then they found out" — his
voice brooded — "about me being a nobody, having no pappy
that I knowed on. They'd thought I was some blood kin of the
major — an' when they found I wasn't, they told me" — he
choked, fought wrathfully with unmanly tears — "they done told
me not to come to they house no more — not to speak to — to
^largaret "

Melissa had
dr?. wn away
from him. She
did not want
him to feel the
shaking of her
meager body.
Her voice was
dry and expres-
sionless. "So
your major
friend sent you
away?"

"No !" Chad said, violently. "No ! He didn't know I was
coming, but I couldn't stay an' be a burden — be looked down
on. It hurt me — in here!" He struck his chest cruelly, vio-
lently, like a bitter man; then, like a disappointed boy, he
began to sob, his forehead resting on Melissa's shoulder for
comforting. "Oh, M'liss! I'll never find the white towers —
and the many mansions. I wish I was dead ! I wish I'd never
been bom !"

Melissa patted the rough head pitifully. "Dont fret, boy,"
she whispered; "dont fret." But her brain was already busy
{Continued on page 72)

THE LITTLE SHEPHERD OF KINGDOM COME

Fictionized from the scenario based upon the late John Fox,
Jr.'s, novel. Produced by Goldwyn, starring Jack Pickford.
Directed by Wallace Worsley. The cast:

Chad Jack Pickford

Margaret. . Clara Horton

Melissa Pauline Starke

Dan Dean J. Park Jones

Harry Dean Clark Marshall

Mrs. Dean Edythe Chapman

Major Buford James NeiU

General R. D. McLean

Schoolmaster Dwight Crittenden

Cousin Lucy Aileen Manning

(Thirty-two)

Above, Betty Compson in
"The Miracle Man," and,
right, in an old Arbuckle
comedy. Below, the new dra-
matic Bebe Daniels and, lower
right, the Gloria Swanson of
Sennett days

The Farce University

By HARRISON HASKINS

THE celluloid farce comedy seems to be the training
school of the film star. "The farce university,"
the}' call it in picturedoni.
Consider Gloria Swanson, Clarine Seymour, Betty
Compson, Alice Lake, Bebe Daniels and Mar)- Thurman.
All graduated with honors from fast and furious farces.
\Vc asked one of the biggest directors in the country to
account for this seeming phenomena.

'Phenomena— nothing!" he exclaimed. "In farce
comedy you are taught to put over your points with a
baiig — to accentuate with speed — to retain your poise
while tons of water swee]) by and a brick house tumbles
about you. In a sentence, to have poise with pies."

Which, if we may further pun,
seems to hit it.

W'e jnit ttie same question to
Gloria Swanson herself. She said
almost the same thing.

"Acting in farce teaches you to
slightly over-exaggerate to drive
home things with a smash," re-
marked Miss Swanson. "When
the dramatic director gets you, he
merely has to tone you down.
-\nd it is much easier to tone
down than to tone up some one
who doesn't know how to make
his or her points. That is why
you can more or less suc-
cessfully step from film
farce to film
drama."

Which ex-

-Miss

only a

e ago

ayer in

nnett

(Thirty-three)

The
Midnight
Margarita

Margarita Fisher
may be glimpsed
at the left in
what our fashion
editor declares
to be a substance
of wash satin of
a p e a c h-b low
shade, inset and
edged with
cream-c o 1 o r e d
lace and boasting
a plentiful accom^
paniment of bows,
loops — and things

(Tkirty-fovr)

t

Miss Fisher is
observing h e r-
s e 1 f — (can you
blame her?) — in
a dreamy robe
de nuit of pink
and blue georg-
ette crepe with
addenda of laces,
ribbons £md satin
— er — budlets

The negligee just above
is of blue and orchid
georgette with a lacy
over-drape patterned
in creamy-tinted fleurs-
de-lis. The slippers
are of pink satin, em-
broidered in silver Ce-
cil Brunner roses and
forget-me-nots

If die bsfakm editor
hadn*t come to our
rescue, words would
have failed us in de-
scribing Miss Fisher
in a combination of
pink and blue chiffon,
daintily dotted, embroi-
dered, tucked and
frilled. And — ^but here
we pause

/T^i^4.. •£ t

Photograph by Evans, L. A.

Pell Trenton started
out to be a lawyer, but
changed his mind. He
made his debut doing a
"bit" with Julia Mcir-
lowe in "The Goddess
of Reason." At the
right is a glimpse of
him in the garden set
of "The Willow Tree"

Pell of
Pell Manor

TIM. first thing I asked Pell
Trenton was the whyfore
of his first name. l?y
rights, I should have quizzed
him concerning his stage and
screen career, but when a man
has a name that sounds as if it
might be an abbreviation for
"Pellingham" or '".Pellerford,"
or something e([ually romantic,
to say nothing of its being a
great deal like "']>al" and a hit
like "pill." he may e.xjiect to be
asked for an explanation, even
tho names are strictly personal
affairs and as such are su]iposed
to be exempt from cross-exami-
nation. And he wasn't the least
bit offended. Indeed, he seemed
pleased to talk about it.

"I've wondered why no iiiter-
vi'?wer ever asked me that-," he
beamed upon me. "Rvery one
else does as soon as the law al-
lows. I'm proud of it for va-
rious reasons, and it is my
'monicker' and not a stage name,
as every one seems to think.

"I am a descendant of the
first Lord Pell, who came over
from England in 1600 and was
given a grant of land in Xevv
York in what is now West-
chester County. The eldest son
has borne the name all down
along the line — hence the cogno-
men for me."

They had told me at the Metro
that I _>vould find Mr. Trenton
somewhere on the lot, wearing a
kimono and a classic hair-cut,
which was their more or less
subtle way of telling me that he
was playing in
"The Willow
Tree," an adapta-
tion of an old Jap-
anese legend, and
that he made a ro-
m antic-looking
hero.

When I first
glimpsed him, he
was wearing a gor-
geous black ki-
mono with gold
dots, and he was
standing n ear a
half-moon bridge
in a perfect Jap-
anese garden —
made for tlje occa-
sion out of the
prosaic Metro lot.
While waiting for
the camera-men to
adjust reflecting
screens and mir-
rors, he was en-

(Thirtysix)

By EMMA-LINDSAY SQUIER

gaged in the somewhat startling occupa-
tion of ])ovvdering his nose in public,

while Viola Dana, metamorphosed into a

daint)' Nipponese maid with tinseled black

wig and butterfly kimono, was doing like-
wise. They scenied quite oblivious of

each other's proximity until Director

Otto shouted, ".\ction!" when thej' hastilj'

put away their make-up boxes and stood

ver\' close to each other in the time-
honored position for those in love.

"Camera !" called the director. "Run

across the bridge, Vi — right after her.

Pell — call to her, 'I'll catch you!' Run

off after her — cut !"

Little Miss Dana hurried away to

change her costume, and it was a rather

wear)' bi't intensely romantic-looking

Pell who led me over to the steps of the

tea-house set for a chat between scenes.
"I didn't know whether I was going to

get a minute ofif or not," he .said, dabbing

his face carefully with a handkerchief. "I

am playing opposite Miss Dana in this

picture, and man)- of the scenes are taken

in this garden. There are only a few

hours a day when the sun is right for

shooting, .so we have to take advantage

of everj' minute when the light is good.''
He has a deep, rich voice — baritone, I

suppose you would call it, with that inflec-
tion which betokens at once a New

Yorker and an actor. He has grey eyes

that regard you alternately with twinkling

humor and flattering sincerity, and his

forehead is of that classic variety that in a

mid-Victorian novel would be teniied

"brow," possibly with the adjec-
tive of "lofty" or "noble" before

it. His hair is brown and has a

slight wave that becomes a posi-
tive crinkle over the ears, and

the I'm sure he wQnt own up to

this, the fact remains that he has

a romantic face. You could

visualize him as Launcelot or

Francois Villon, or as the first

Lord Pell of Pell Manor, in

powdered wig ard satin waist-
coat.

"I enjoy working in 'The Wil-
, low Tree' immensely," he told

ine, when we got around to talk-
ing pictures instead of Pells. "It

is an adaptation of the play that

made such a success in New

York, and I take the part of the English sculptor who falls in love witli

the little Japanese girl who pretends that she is the willow-tree image

come to life.

"Let me show you thru the garden," he invited. "It is a real achieve-
ment— perfect in every detail."

He helped me across a narrow little bridge that spanned an artificial
canal, and we stopped a moment to watch the white ducks sunning them-
selves on the banks.

".^t first the stream was full of gold-fish," he .said, "but ducks are no
respecters of movie props, and they ate them all the first day."'

The garden was indeed a miracle of realism, car[)eted with soft green
grass, filled with transplanted willow trees, cherry trees in full artificial
{Conlinued on faijc 78)

Photograph b.v Evans, L. A.

Trenton .enlisted when
America went into the
war. He was at an of-
ficers' training camp at
Palo Alto when the
war ended. Pell con-
sidered it rotten luck,
since he comes of a
military family. At the
left is a snap of Tren-
ton in the act of being
interviewed

Meet "The Frog" r

By MAUDE S. CHEATHAM

TiosK who saw Lon Chaney's remarkable character study
ot The Frog in (^orge Loane Tucker's great play, '"The
Miracle Man," will not soon forget it.

All thai the horror of the early scenes, where as an under-
world derelict preying upon the sympathies of the slum sight-
seekers with his faked paralysis, to his inspiring regeneration,
not one false note was struck, and it remains as a unique study
in sharp contrasts.

I was quite convinced that he must be a contortionist, and this'
was the first question that 1 asked him.

"l should .say not." laughed Mr. Chaney, amused at the
thought. "I am not even double-jointed. I figured it out that to
throw the body back into position after twisting it as a paralytic,
the first movements would be slow — and painful — with a quick
jerk at the last, and with practice I mastered the trick.

"I'll confess that, with all my knowledge of make-up — and I
have been character actor both in musical comedy and on the
screen during my entire professional career — I had some diffi-
culty in deciding just what to use for The Frog. In
the first place, I planned to be a cripple, have a with-
ered hand and a hump on my back, but when I dis-
covered that I had to unfold tTvice before the camera,
these three infirmities were, of course, impossible.

"Finalh, after several sleepless nights and a number
of experiments, I decided on — paralysis! I let my
beard grew, and altogether I worked out a con-
vincing make-up, horrible as it was.

"W'e spent twelve weeks making 'The Miracle
Man,' and it was a wonderful experience, for Mr.
Tucker was certainly inspired, and he inspired us
until we were all living our parts every minute of
the time. He works very quietly, directing every
scene himself, and he went thru those underworld
scenes relentlessly, with set jaw and cold
eyes, while in the emotional moments he
cried as hard as the rest of us.

"Character work is always interesting,"
continued Mr. Oianey. "In my last picture,
'Victory,' under Maurice Toumeu'-'s direc-
tion, my role called for pockmarks, and t
followed a Mexican, who was badly marked,
all about the Plaza in Old Town for hours
one hot afternoon. I wanted to see how they
appeared on his face. Then I hunted
up another Mexican to study the cut
of his mustache.

"Recently, I played two totally
different roles in Toumeur's produc-
tion of 'Treasure Island.' One was
a bloodthirsty pirate, the other Pew,
the blind man. In every picture I
learn a little more about human na-
ture, for preparing a character role
means studymg people. I am ever
on the watch for characteristics and
peculiarities that I can use in my
work."

Lon Chaney was bom in Colorado
Springs, Colorado. Both his parents
are deaf and dumb, his mother from
birth, his father since he was three.
This is without doubt the secret of
his remarkably expressive face, which
mirrors every fleeting thought, for,
of necessity, he early mastered the
art of pantomime.

His maternal grandmother's four
children being mutes, she founded
" (Continued oh page 81)

fThirty-eight)

Jack Straw

Told in Story Form from the Paramount-Robert Warwick
Photoplay

By FAITH SERVICE

IMMKDiATi:i.v upon their arrival in California the Jennings he-
came the Parker-Jennings. This was but the beginning, but a

very real beginning, of a series of satisfactions to Mrs. Jennings
— er — /'oryter- Jennings. It was the only sort of satisfaction
she had ever craved. The lack, heretofore, of the.se satisfac-
tions had put the fretted lines about her mouth and the petu-
lance in her eyes, which might, devoid of it, have been pretty.
Once, they had been.

Money and the lack of money had been the scales on which
Mrs. Jennings had weighed her hapi)iness and her unhappiness,
and, since up to the time of the oil findings, there had been
rather a bad lack of it, the scales had weighed decidedly for un-
happiness. .She hadn't been able to find it in any other way.
Her husband didn't give it to her. She felt that he had failed
her. It was the only sort of failing she would have considered
as such. His petty clerkship, his i)etty salary, the inevitable
scrimping and scraping and jiiecing and patching, all had been
irritants for which she had no counter and no inner resources
to tap for her consoling.

Nor had her daughter been of much avail to her. Ethel
was too different to be in any sense availing. She was too
happy in the srriall things. She had too deep and serene a
spirit of content. She loved too greatly and was too well
satisfied with the jietty clerkship and the correspondingly petty
.salary of her father. When things pinched too hard, as they
did during her junior year at college, she left college and all
the hopes it held forth to her and the friends she had made
and the atmosphere she had worn with a high pride as a sort
of garment and stayed at home and went to work in the town
bank. More, she avowed her happiness in so doing. She was
quite beyond her querulous mother and not at all comforting
in her aloofness, or what her mother felt hef aloofness. There
was no kinship of spirit between the two.

When the miracle happened, when the California oil wells
in which Mr. Jennings had once, long ago, foolishly, so they
told him, invested, and which had, ever since, lain
foolishly fallow, when they, all at once, gushed rivers
of oil and, simultaneously, rivers of dollars into the
stunned coffers of the impecunious Jenningses, the
reactions were dissimilar
and not without farce value.
Not, either, without an ele-
ment of pathos.

Mr. Jennings, worn
his petty clerkship, by
the fretting of his
petty salary, by the
small recriminations
and piled-up barbs
and stings of the
piled-up years, simply
relapsed and asked to
rest. 'What initiative
he may once have
sessed, which had
adequate, at least to the
retaining of the clerkship,
dropped from him. A

chair in the sun, skimming the morning papers, an
occasional light novel of the summer reading' variety,
the society and tender attentions of his daughter, who
bolstered him up bv frequent references to his fore-
sight in the purcha-.e of the oil wells, these were the
things his millions brought to him.

To Ethel it meant simply a sort of surcease for her
father. She took a deep and gratifying pleasure in

(Thirty-nine)

watching him lie back and relax. For the
rest, of course, it was a good deal to hear
Mrs. Jennings change the tone of her com-
plaints, but the complaints remained, only
that they took, now, the form of aspirations

MOTION PlCTURli

Things conspire. Mrs.
Parker-Jennings' snob-
bery. Ambrose Hol-
land's love of Mrs.
Wanley, the clean-cut
good looks of Jack
Straw, all these things
conspired together
with the result that
Ambrose Holland ap-
proached Jack Straw
with a proposition.

Iinibably impossible of achievement.
She wanted, virulently, to break
into society. I"or herself, Ethel
had taken a sort of enjoyment in
the stnigfjle. She liked construc-
tion and she felt, when she left col-
le),'e and went to work, that she had
done, in the way of character build-
ing, a constructive thing. Then,
the way she had been managing
things, the .small income and all.
It had been a game, jjlayed with
realities, by an earnest gamester. It had had its value and
also its fascination. The frills of life meant nothing to Kthel.
To -Mrs. Jennings, as has been said, it meant being Mrs.
Parker-]tnn\ng^.

It meant that as an outer symbol to cover multifarious other
details, such as the buying, for instance, of exorbitant dia-
monds, unsuitable gowns and furs. It meant the trip de luxe
to California, where the family had, perforce, to live in close
proximity to the gushing oil wells and the operating company.
It meant the leasing and furnishing and exceeding interior
decorating of the most ornate mansion to be had. It meant,
too, the oi)portunity to be a snob, altho, of course, Mrs.
Parker-Jennings would not so have termed it.

She was one, however. Successfully, to her mind; disas-
trously in the eventuality, as such codes of conduct generally
are. Mrs. Parker-Jennings had, herself, been snubbed. The
â–  -ting memories of the snubs had remained. Rerriained, too,

the reluctant admiration for the persons so fortunately placed
as to be able to indulge in snubbcry. One of her first ambi-
tions was to do to some other what had been done unto her.
The victim was more or less non-important.

The victim happened, however, to be important to other
minds if not to that of Mrs. Parker- Jennings. She was a
young widow, Mrs. Wanley by name, with an adopted daugh-
ter and enough attractiveness to warrant her male support
from some quarter or other. Probably rather arduous sup-
l)ort. It came, in this instance, from one Ambro.se Holland,
who had one ambit!>j,i in life, and that was to be the successor
to the late lamented Wanley. What was resentful to Mrs.

JACK STRAW.
Fictiuniie.l from the scenario of Olga Printzlau and Elmer
Harris based upon the stage comedy of W. S. Maugham.
Produced by Paramrjuut-Artcraft, starring Robert Warwick.
Directed by Williani C DeMille. The cast:

Parker Jennings Charles Ogle

Mrs. Jennings Sylvia A^hton

Jack Straw Robert Warwick

Ethel Jennings Carroll McComas

5^r]o Lucian Littlefield

Ambrose Holland J- M. Dumont

Mrs. Wanley Helene Sullivan

(Forty)

CLASSIC

Waiiley was restiitful, in triplicate essence, to Holland, and
he had the means and the ])o\ver of retaliation. When Mrs.
Parker- leiniings ^ave it forth that her dauj;litcr. I'.tliel, was
lint to associate with such penniless nobodies as the Wanleys,
HolJaiKl swore revenue. That luhel herself moaned o\er this
crudity in secret was not known to Mrs. W'anley. Which
brings us to Jack Straw. .\lso. back to New York, briefly.

Jack ."straw was an iceman, and this is a romance, despite
the seeniini,' disparity. He was an iceman, that is, at the time
he tir.st saw label Jennings singing while she kneaded dough.
There was no ostensible reason why Jack Straw, who had
roved the world in one ca]iacity or another and had been an<'
done many things, should fall, for the first time, in love with
a young girl kneading dough and singing a popular song. Yet
such is love. He did fall in love with her. Rather b;ully, even
painfully. /\nd he remained in love. H the oil wells bad not
j'ushed at an unpropitious moment, he would have revealed bis
identity and bis amour at one and the same time, but to the
heiress of the Parker-Jenningses such an avowal would have
seemed rather prejiosterous. Jack .Straw knew that the mil-
lions would make no fundamental ditifcrence in lubel. She
was too firmly grounded and too finely poised. But be loved
her, and be wanted her to have her chance. She hadn't really
seen the world, .save from her college dormitory and her
kitchen window, and such views were, of necessity, limited.
If she should see the world thru a mist of gold and still, some
day, be able to turn to Jack Straw, such a gifting would be
for time immeasurable.

So Jack Straw, with an aching heart, watched the Parker-
Jenningses depart, and, a month later, covered the same
ground himself. P.efore label's de|)arture, however, be per-
mitted himself the daring to leave a note on the kitchen table
asking her not to fall in love with any one in California until
he could meet her there. He signed it Jack Straw. He
counted on the essential romance singing in her heart. All nice
girls had romance in their hearts. They wouldn't be nice if
they didn't have. It was jiart of a nice girl's birthright, and
dreams, too . . .

Of course, label did dream, ."-ibe dreamed a great deal.
She liked the name. Jack Straw, and the handwriting and the
spirit he gave to it all. She decided that it would not be very
hard to wait. p)ull hours were lightened by the funny little,
appealing little thought of Jack .Straw. How would he come
to her? In what array' In shining jianoply, or tattered
rags? And would be bring love with him? .\nd who was
he, after all ?

.\fter all. and just at the time of label's wondering. Jack
Straw had become a waiter in a hotel nearby the Parker-
Jennings' mansion. The Parker-Jenningses dined there quite
frequently, being usually, owing to Mrs. Parker-Jennings,
without a cook. No doubt Jack Straw had bad wind of tliis
before he acce]ited and capably conducted bis profession as
waiter. It was something to be able to gaze u])on label,
dining. To be able, now and again, ecstatically to serve her.
It gave them, even tho she was serenely unaware, a bond. It
gave him, too, the thrilling assurance that his note bad struck
a res|)onse. label was waiting
and watching for Jack Straw.
Rut the time. Jack Straw be-
lieved, had not yet come. In
the meantime, the greatest part
of love IS service . . .

Things conspire. Mrs. Parker-
Jennings' snobbery, Ambrose
Holland's love of Mrs. Waidey,
the clean-cut good looks of Jack
Straw — all these things consjiired together
with the result that .\mbrose Holland ap-
proached Jack Straw with a projiosition.
It was to ini|iersonate some titled person
and allow himself to be introduced into the
Parker- Jennings family.
"The old bird,'' in-
formed Holland, "will
fall for it like a duck.

(fortn-fine)

She will literally hurl herself upon you. You can fall for the
daughter . . . you .sec?"

"1 see," said Jack Straw, and was speculative. He added,
"It's not a question of money, with me, of course."

"Of course not,'' said Holland, hastily, recognizing a sensi-
bility and, evidently, the spirit of the adventurer for adven-
ture's sake, since be could not know of Jack Straw's love for
ICtbel, nor yet that Jack Straw bad seen, too frequently, Serlo,
ilie free versifier, at the Parker-Jennings' table, reading bis fre
verse to label and expounding, no doubt with
dire intent, his theories of free love. It was to
circumvent Serlo that causeil Jack Straw to adopt
the pretentious title of the Archduke Sebastian
and be thus i>resented
to the Parker-Jen-
ningses, to the enrai)- .^'^
tured Parker-Jen- ' '
ningses as represent-
ed by Mrs. P.-J. and.

After that, for minutes
without end, the world
swirled by in flower
scents and moon radi-
ance and the star-
streyn sky and kisses
and low words. Love

The papers car-
ried gallant tales
of him — the way
he had hurled the
poet, Serlo, into
the lake ....

later

a littl
Kthel.

T!ie causes of
emotion were, as
usual with this
mother and daugh-
ter, largely variant.
To Mrs. Parker- Jennings the Archduke
was the thing. To Ethel Jennings the
man was the thing. Out of a world of
men he came, quite .suddenly, and there
was no other man save him. .Singularly
uninvolved where her emotions were con-
cerned, Kthel knew, without compromise, that she loved him.
Sensing, with the same delicate perceptiveness, his response,
she knew that he loved her. This, then, was the reason of
her being. It became, with the advent of this love, a paradise
of a world to live in, riotous, yet serene, with flowers and the
sound of music, with color and rhythm and unimagined
dreamings ... a wonder-place!

One little rift in the clear lute of all this happiness was
the recurrence of the note she had had before she left New
York, signed, even as th.ii first one. Jack Straw. She did not
want to make this unknown person unhappy. Out of her
own largesse she wanted to give, even as she was receiving.

On the night of the large reception Mrs. Parker-Jennings
gave the Archduke Sebastian, Ethel met the guest of honor

MOTION PICTURE

in the con-
servatory.
He gave
her, with
his whim-
sical smile,
a little note, a
rejilica of the
other three.
Ethel read it,
only half com-
prehending. Then she
sought the eyes, the sud-
dculy-groun-tcndcr eyes
of tile .\rchduke Sebas-
tian. She was silent.
Ko word had as yet
been spoken. .She w;is
delicate of the first one.
Then came his voice,
unlike, yet deeply like. "Have
you waited ?'' he asked.

Ethel felt the need of a

great simplicity. "You know

I have," she said.

After that, for minutes without end, tlie

world swirled by in flower scents and

moon radiance and the star-strewn sky

and kisses and low words. Love.

Ethel's joy shone about her, a halo,
when she returned to her mother and the
reception committee. She couldn't keep
her joy confined. Her tolerance embraced
even her mother, who would see, as cause
for joy, only the fact of the .\rchdukery.
Xexertheless, she told her, and, breathless
with this latest stroke of a kindly fate, -Mrs.
Parker-J. planned to announce the tremendous
news. This, she said, was pre-eminently the
time. It was striking while the iron was, so to speak,
hot. label, heedless of the world knowing or not know-
ing, gave her half-dazed assent. Nothing of all this
made very much difference. .She had come, with rev-
erence and joy, into the High Courts of Love. She
was remote.
Mrs. Wanley and .\mbrose Holland, arriving on the outer
edge and hearing of the proposed announcement, saw the
thing as a practical joke gone decidedly wrong. This, they
felt, would involve too much for the joyous fillip of humil-
iating the impossible Mrs. P. -J. This would involve too much
responsibility for the gratification of an, after all, unimpor-
tant vengeance. They decided to appeal to the pseudo Arch-
duke, and, appealing, found him adamant.

"The thing is precipitated now." he said ; "the kindest thing
to do is to let this affair go ofT, just for tonight. Afterward,
let her down. She will be able to bear it better after her
triumphal hour. Anyway, you are responsible for the hoa.x,
neither the Jenningses nor I. They will, therefore, be ab-
solved and you yourselves will harbor what blame there will
be. I thjnk you will both deserve it for not recognizing in
Mrs. Parker-Jennings a spoiled and fretted woman taking out
her, after all, childish, silly spites. I think it is all up to you,
both of you."

Panicky, Ambrose Holland confes.sed to the Parker-
Jenningses. Confessed the hoa.x which had made of the
waiter, Jack Straw, the Archduke, Sebastian. It was a con-
fession with horrible results. Mrs. Parker-Jennings dropped
from her, as one drops a flimsy cape, the aristocracy of her
millions. She ranted and raged and all but gnashed her teeth.
She had been on the very threshold of a supreme achievement,
and lo! it was snatched from her and she was given a cup of
the bitterest gall. .Society, all but her own, was once again
unattainable. She wept until her lashined eyes were red-
rimmed, even as they had been in the days when she bent
over her kitchen range to test her homely breads and pies.

(Forty-twn)

CLASSIC

1 1 was, after all, Jack Straw who saved her immediate skin.
ile persisted in his original idea of going thru with the
reception and announcement as had been planned. The glory
of it all, he maintained, would remain firmly in the thoughts
of assembled society. The divulging of the hoax would come
more easily afterward. In the meantime, something would
have been established. There would be a comprehensive pity
for Mrs. Parker-Jennings, not unnii.xed with awe at her splen-
did hostess-ship. Society was accustomed to being hoaxed.
She would not be. because of this, beyond the pale. Mrs.
Parker- Jennings, all but lost in her own esteem, seized, none
tlie less, at this granted reprieve.

The evening and Jack Straw were successful. .Society
seemed captivated, by the entertainment, by the Archduke and
also by his prospective bride. They went away imbued with
the charm, wit and gallantry of the man. The papers carried
gallant tales of him : how he had written anonymously to
Etliel Jennings for some months; the way he had hurled the
poet, Scrlo, into the lake because he had expressed sentiments
to F.thcl which the Archduke considered inexpressible; the
home he was going to give her; the almo.st- royalty of it all ; the
way the Archduke had disappeared some time ago from his
kingdom and had thus arid in this |)lace revealed himself. It
was a charming romance.

label Jennings read it and was able to %mile over it. Was
even glad that she had been, as .she was, tested. .She loved
him. She knew that now. That he was "just Jack .Straw"
made, miraculously even to her, no kind of conceivable dif-
ference. He was the man for whom she had been waiting,
the man who liad kist her into an acceptance of life and living,
there in the conservatory, the radiant being who had led her
into the High Court of Love. The mere matter of who he
was was no matter at all.

The matter of who he was seemed, however, to admit of
various doubts and comjilications. One of the features of
tlie reception, indeed, had been the arrival of the Ambassador
of Pokerania, native kingdom of the supposed Archduke.

Those in the secret supposed that it was the short-sightedness
of the Ambassador which caused him to, apparently, acknowl-
edge the Archduke Sebastian.

When, on the following morning, he called upon the Arch-
duke at the Jennings home, he found the luggage of that young
nrian being hurled upon the front lawns, to the complete demoli-
tion of the flower-beds, and the young man himself in the
extreme eventuality of following said luggage. He was in-
formed by an irate Mrs. P.-J. that this was no Archduke, but
a waiter in the hotel nearby, an impostor and the cause of her
immediate downfall, just when victory had been so near.

The Ambassador amazed them all. He pooh-poohed her
statement with some show of outraged dignity himself. The
young man, he claimed, was indeed the missing Archduke who,
some years before, had been very ill and had evidently wan-
dered away while suffering from some sort of amnesia. The
Ambassador had proofs of identification, many photographs and
other things, the surveying of which brought back to Jack
Straw that man he had been when, fifteen years before, he had
set surreptitiously forth upon his wanderings.

Mrs. Parker-Jennings knew, in that moment, what it was
to faint from joy. She took pleasure in the faint.

Ethel knew, still again, what it means to love. The outer
manifestations of the state in life of Jack Straw passed over
her, wholly non-essential. She told him that she had quite lost
track of which of the two he might be. Jack Straw or the Arch-
duke Sebastian. He said, loving her, that it didn't matter.
Xnd she agreed with him.

"There's only one identity worth while for me," he told her,
and she, within his arms, whispered, "And what is that?"

''The man you love," he said, "the man . . . you . . . love."

'There's only one
identity worth
while for me," he
told her, "the
man you love "

/rn^t„.ll.^^^ I

Personalities

A delightful and thrilling ro-
mantic melodrama is "The
Purple Mask," now at the
Booth Theater. Leo Ditrich-
stein is the picturesque star,
playing a ro-yalist brigand of
the Napoleonic days, while
Lily Cahill is a charming
heroine

Left. Doris Fer-
guson, one of
stageland's beau-
ties, now appear-
ing in "As You
Were"

Ralph Herz and
Ann Seymour are
principals in the
new Hammer-
stein musical
comedy. "Always
You"

(Forty four)

in the Theater

At the right is a charm-
ing moment of Jane
Cowl's quaint play,
"S mil in' Through."
Henry Stephenson ap-
pears opposite Miss
Cowl

Above are Otis Skinner and Ruth

Rose in Mr. Skinner's new play,

"Pietro," running at the Criterion

Theater

(Forty -five)

Juanita Hansen, Pathe serial
star, is one of screenland's
mermaids. Juanita doesn't
merely pose along the sands.
She swims with the best of
them

(Fortijsix)

Juanita

Rising from

the Sea

At the left Juanita is doing
her best to out Mack Sen-
nett, the famous Sennett
beauties of the California
coast. And Juanita is doing
very well, thank you

It's a sad, sad tale, mates.
Miss Hansen is showing just
how emotional and prayer-
ful she can be, upon occasion

(Forlii-i'ei-''">

Zena's Zenith

By C. BLYTHE SHERWOOD

"O Av ! How do ye get that way?"

j3 '• ^^'T^ <'" "rticer wlio growled tlie

antlioiii. As Anthony Paul iKelly was so

t'ond of describing his naiuical rank -and a])-

pearance last year — a C-O-F, who tlniswise

addressed Zcna and nie.

"Why, Mr. Policeman, " ]ioutc<l /ena. dcbn-
lanting. "u hat do yon mean :"

"What do I iiiraii.'" He dranialic.illy swept
his clnb along the landscajie of \cx\ lersey.
"Tlitre ! Wliat (l(i xnii mean;"

Zena and I peered thru the glass of tlie
coupe. .\ line of thirty or forty machines
purred imp.itiently and were honk-konking
their temperament. Thirty or forty ma-
chines— and Zena, who had arrived in the
little brand new Hudson hut a moment before,
headed the pageant!

"( )b. Mr. Policeman," continued Zena the

debutante, "I'm so tired. I've been working
at the studio all day. .\nd I do uant to
get home." Tears glistened. Ingenue
disconsolance prevailed.

@.

I'l.ul ,K-,|,|| 1,,

. J.l..

Zena Keefe comes
from San Fran-
cisco. She was a
vaudeville artist
to begin with.
Then Mamma
Keefe and little
Zena headed for
New York — and
fame

Konie has fallen. So has Sennetl. .\nd
I'.nright's bluccoats are not impervious to
charm. ".Ml right, then, ^'ou can light with
the others on tlie ferry."

Zena threw her in first. ,'-^hc crushed the
cl.'iNon and laughed into the tliirty or forty
claxons shrieking behind, and jirepared to lead
the file aboard. "Dear Mr, Pohceman. thank
you so nuich I" she hade him an rexoir.

"There aim much nourishment in ih.il," he
groaned, but Zena and I had already settled in front of the Fori I.cc.
"I absolutely could not have waited muil all those other cars got
aboard," Zena si.ghed. Relief and wafted suspense illuniin.ated her
eyes. "I'm .going to the theater tonight and I'll die if 1 miss that
show."

"W'litch show ?"

"I dont know e.sactly which, but I told mother to get tickets for
'The Crimson .\libi.' '.Vt 'l:4.s,' '.\ \'oice in the l')ark' or 'Tho.se
Who Walk in Darkness.' I'll enjoy ;my of them, sn it doesn't make
much difference. I'm crazy about mystely plays."

"\'ou dont get much lime for the theater, the, do you?"
"I shfiuld say 1 dont. W eve had lo work late so often on 'Picca-
dilly Jim' that by the time I did gel home I was afraid to t.ake a
tubbing for fear i'd fall aslee]i therein. Put one thing nice .about
being with the people of 'Piccadilly' is that we are all as young and as
strong for boliday^j as for work! t)wen Mooi'e made it a rule that
we would never have to keep sho|) on ."Saturday night, and Wesley
\ugt;tes. a peach, tho a director, was only happy, too, lo pass.''

.Manhattan slowly shifted its skyline as we sailed nearer. Man-
hattan is mar\elous at all limes, but es))eci;illy eN(|uisiic under ihe
( Coiiliinird dii piUjc dO)

(Forty-eight)

The Celluloid Critic

The Newest Photoplays in Review

By FREDERICK JAMES SMITH

Pe.i Impressions by NORMAN JACOBSEN

OUT of a (lull month in the cinema stands Irvin Willat's visualization
of the Gouvenieur Morris .Uory, ''Behind the Door." We say this not
from approval of the thesis of Mr. Morris' tale, but from appreciation
of a well-knit scenario, skillfully directed and played with a fine vigor.

"Behind the Door," (Paramount), is an opus in brutality — an inter-
mezzo in gory revenge. Mr. Morris asks: What would you do if you saw
your wife taken prisoner by a bestial captain of a German submarine who
left you adrift in the open sea' Mr. Morris' hero, being a taxidermist,
pleasantly decides to skin the Hun officer alive and, when chance later
throws the U-boat in the path of his scout ship, he carries out his revenge,
at least in part. But not quite, for the ex-taxidermist sighs, "I swore 1
would skin him alive, but he died on me — damn him!"

It isn't an appealing tale, this filming of brutal vengeance. There is too
much of the material side of life in every photoplay, too little of the sweet-
nesses, the sacrifices, the really heroic things of the every day. "Behind
the Door" is a ghastly ejiic in war hysteria, but it is admirably done.

Mr. WiUat has sujierbly handled a number of difficult moments, notably
the shelling and sinking of the submarine. He has evolved a.iother re-
markably powerful scene, wherein the American wrings the
sordid story from the Cierman officer. Hobart Bosworth
is decid^'dlv stiong in this role, over-playing but occasion-
ally a role that would be maudlin in most any othe/
hands. Jane Novak is excellent as the wife sacrificed to
war. Let us pause to note the uniformly human playing

of Miss Novak in all her roles, but par-
ticularly in this. Wallace Beery, too, is
striking as the U-boat commander.

Again is Alia Nazimova's vivid art
submerged in "Stronger Than Death,"
(Metro), an adaptation of I. A. R.
VVylie's novel of India, "The Hermit
Doctor of Gaya." . We do not know the
merit of the original, but "Stronger
Than Death" is draggy, labored and con-
ventional. Nazimova plays an English
dancer in the East, a young woman told
by her physicians that another dance will
mean death. But she meets the hermit
doctor, who, single-handed, is fighting
cholera, and, imbued with his sacrifice
and in order to gain time that a
native uprising may be forestalled,
poses as a reincarnated vestal —
and dances. The doctors are
wrong, of course, for th^ dancer
lives to gain happiness with her
lover.

We do not know just who is to
blame, but both the continuity and
the direction shift the interest
from Nazimova to Charles Bry-
ant, who plays the self-sacrificing
hermit physician. "Stronger Than
Death" is but fair in the matter
of Herbert Blache's direction and
is too long and wandering -in its
telling. Mme. Nazimova's oppor-
tunities are slight.

Norma Talmadge appeared in'

(Forty-nine)

Above is Constance
Talmadge in her new-
est vehicle, "Two
Weeks," at the right is
Mr. Jacobsen's idea o(
Charlie Ray in "Red
Hot Dollars," and, be-
low, are Norma Tal-
ma d g e and Conway
Tearle in "She Loves
and Lies"

MOTION PICTURE CLASSIC

luo contrasting photoplays : one a delightful but slight comedy,
tlu- other a vague and badly built melodrama.

"She Loves and Lies," (Select), isa light little tale — of a
vivacious girl who poses as an elderly woman of wealth in
order that she may marry the man of her choice. Then, as her
veal self, she actually wins his heart. When divorce seems to
face the worried husband, she throws disguises aside —and he
linds that he has fallen in love with his wife. The comedy is
<lone with nice spontaneity by Director Chet VVithey. Miss
Talmadge is charming as the much-di.sguised heroine and
Conway Tearle is a delightful foil.

On the other hand. Miss Talmadge's "A Daughter of Two
Worlds," (First National), is far-fetched and impossible stuff,
badly told in continuity and direction and but indifferently
acted. This deals with the efforts of a girl of the underworld
to find happiness in a higher strata of society. James Young,
the director, has failed to clearly place his characters, has been
inexpert in many of his scenes and, on the whole, has turned
out an inferior and slow-moving melodrama. True, we doubt
i f any director could have done much with it.

Doug Fairbanks' latest, "When the Clouds Roll By," (United
.\rti.sts), is at least n little different. Doug plays a supersti-
tious chap who falls
under the persuasions
of a mysterious
stranger — a man who
turns out to be an es-
caped lunatic. Doug
overcomes all ob.stacles,
including a real flood.
The climax finds Doug
in a tree in the midst
of the inundation. A
house, with the heroine
clinging to the roof,
floats by. Splash ! —
and Doug is beside her.
Then a church, with a
parson astride the
steeple, comes drifting
by. The young couple
succeed in maneuvering
their house alongside
the church — and the
{Continued on page 103)

tt —

m

^^^ f UfSk -f

•\

1 ^ #

(Fifty)

ly

^

Told in Story Form from the Vitagraph-Earle Williams Photoplay

By ALEXANDER LOWELL

Hi;.\KY Ki:i.i,oi;i; was flushed by the wine of the grape anil
the headier wine of success. He could afford to he ex-
pansive, and he was. He eyed his friend and the sharer
of his Park .\vcnue bed and board with a speculative as well
as a kindly eye. I'inally he said. ''Dont be desixmdent, old man.
You'\e always been successful in one line, at least."

Xalhaniel Duncan didn't raise his head nor cease his nerv-
ous tiddlin(; with a macerated cigaret. Hut he said, color-
les.sly, "What line?"

"Women," said Kellog;,' and shot him a glance.

"Oh, that ..."

"It could be remunerative, v'know. I've a (ilan."

"Shoot."

"Dont be so lifeless. One thing you've got to have is pep
. . . your old-time pep. It's your asset. Your stock in trade.
All you've got to do is be yourself."

"I cant cash in on that. You know tliat."

"No, I dont. The point is, that you have never been your-
self. S'ou've tried to b.e everybody but yourself, every kind
of type. That's why you haven't succeeded. You need the
chance of self-development. You can get that by . . ."

"By . . . ?"

"Hy marriage. '

"I'm damned if I do! I cant support myself. What th' hell
d'you mean coming in here with a line of jibber like this?
Cant you see I'm on my ui)pers for fair? Down and out? I'm
in no mood for your l)ibulous mirth. You've had a big suc-
cess. I can see that. I can even be glad. But dont stand on
the pinnacle of it and throw your fool cabbage-roses down at
me. They . . . tonight they hurt."

Henry Kellogg shook his head. "You've got me as wrong
as I've got you light, old man," he said; "actually, I'm in ear-
nest. Here you are, college-bred, the son of a millionaire who,
kindly enough, he thought, robbed you of incentive and con-
se(|uently of initiative. Result, failure and discouragement.
What he didn't lob you of, however, is your appearance, your
charm foi' women — oh, a decent enough charm, I know that ;
in short, your personality. My plan is for you to go to some
.small town a safe distance from any city. The sort of town
vhere a man like you would be Prince Charming come to flesh

(Fiftil-one)

and blood, set all the hearts a-flutter, a thing of fairyland, you
know ... all that . . . I'll slake you to all exjienses and a
wardrobe fit to knock the eyes out of lifty local belles, .ind all
you have to do is . . . to marry tlie town heiress. There's
always a town heiress. . /// you need to do, say, is . . . to be
your father's son."

Nathaniel Duncan had one faculty. He realized a limit
when a limit liad been reached. Today he knew
that he had reached one. He had had dreams,
perhaps oddly. He had had ideals. He had
even mused on love and the |)a t it would play
in his life; on marriage and the, building u[) of
a home. Oi course, it would take love to do
that. The ]ilan Kellogg suggested jilaced the
limit on that. He could marry the town heiress
and lie could bid farewell to his
dreams of conlcur dc rose.

Well . . .

and choos-
ers ... he
knew that
old adage.
And he
knew that
he was beg-
gared. In
all things
save acqui-
e s c e n c e
which took,
tonight, the
form of
obedience
to the man
in evening

It was an unforgettable
supper. Bread and
cheese, and the thought
at least of kisses, old
Sam Graham talking
inventive possibilities
and speaking with
gentle whimsy of the
drug-shop

clothes, redolent of the success
stocks and bonds and certified
checks can bring. He gave Kel-
logg his word, which, at least, he
had maintained and made good,
and they shook on it.

Two weeks later beheld him

alighting at the rather impoverished

appearing station of Radville, O.

Radville, O., station or otherwise, seldom if ever had seen

anvtiiing resembling Xathaniel Duncan alight. He was, so

to speak, an innovation. A breath-taking one. To a man, it

sat up and tocjk notice.

Xathaniel had a charming way. He had the priceless knack
of making friends. He could talk. He went to Radville de-
termined to like Radville, and ecpially determined to make
Radville like him. ?Ie began with Hetty Carpenter, the vil-
lage gossip, to whose domicile he was directed for bed and
board. Rather different, he reflected, ruefully, as its spare
clapboards, thinly jiainted. dawned upon him, from Park
Avenue and the opulent Kellogg. Still . . .

He unpacked his "props" quite ostentatiously before the
trained eyes of Hetty Carpenter. Hetty had little enough on
which to feed her one acute sense, the gossip sense, in Rad-
ville, and she made the most of her lean opportunities. This
one, she felt, howevt r, to be other than lean. The young man,
besides a magazine cover appearance, had the gossip material
of a Rible, apparently fervently thumbed, dog-eared student
books and a goodly roll of the green bills of the realm. Here,
indeed, was material and to spare. By nightfall every person
in Radville knew of the arrival of the miraculous young man
and each minutest particular thereof. Also, by the same
token. Xathaniel knew each minutest particular of each in-
habitant of Radville. He knew, pertinently, that Josie Lock-
wood was the town heiress, considerably an heiress, what was
more, and that her father was an old skinflint and that he
owned the bank wherein worked one Roland Rarnett, who
had long had the same Josie as the object of his clerkship.

MOTION PICTURE

He knew, too, that the
town paupers were Sam
(iraham and his daugh-
ter, Betty. That Sam
was a pauper because
his pockets had always
leaked and his heart had
overgrown, and that
Betty was the cuddliest
lamb this side of the
paved streets and loved
nearly to the death in
.si)ite of her jioverty
by Radville. Contrari-
wise, Xathaniel felt a
glow when he heard of
the impecunious Betty
and her dad, and a cold,
frigid little feeling when
he heard the descri])tion
of the gilded Josie. But
that, he thought, was
just him, his mulish na-
ture.

He thought rather dif-
ferently, tho, after he
had met the heiress and
likewise the grey-eyed,
starry- faced pauper. He
felt that his instincts had
been right. He met
them both in church,
whence he was conduct-
ed, as a matter of course,
by Hetty Carpenter, not
without, on her jiart, an
air of triumph. Kellogg
had warned him that church would be ]iart of the game in a
small town, and he had rehearsed sanctimonious expressions
which, he felt, he successfully executed, .\fter all, there was
a sort of glow to it. These simple folk, each one a part and
parcel of the other's life, participant in their births, jiartici-
pant, too, in their deaths, offering their sini]ile joint worshi|)
to an indisputable God. Things felt clearer, somehow.

After worship Hetty Carpenter, with the air of a convoy,
]iresented him to Josie Lockwood. His heart sank, even while
he knew it had no obvious reason for so doing. Josie was
tall and slenderly made and golden-haired and with a certain
sort of manner. She quite evidently knew her position and
]irestige in Radville, and just as evidently was deliberately nol
making use of it. There was a beyond-Radville cleverness to
Josie. And yet .... and yet . . . the chill, the frigidity,
grew . . . X^athaniel could not seem to picture the stately
Josie rearing up the edifices of his trample'd little dreams . . .
Betty Graham, the town pauper, had a difference. He
didn't know what it was, but he knew that it was. She wasn't
so much of a "looker" ; she didn't have airs and graces, her
hair was blowing about under her wide straw hat, an old hat,
but her mouth was frank, like a child's, and her eyes were
frank, too, like early dew, and eager and expectant, and her
little hand was warm and even eager. .She invited Xathaniel
home for sujiper, adding that there wouldn't be "much," and
so did Josie Lockwood, adding no such thing, and Xathaniel
went home with Betty Graham. Inwardly he groaned while
something in his cardiac region sang, and was vindicated. It
was, he knew, his lack of business acumen again attacking
and conquering him.

It was an unforgettable supper. Bread and cheese, and the
thought, at least, of kisses. Old Sam Graham talking inven-
tive possibilities and speaking with gentle whimsy of the
drug-shop. Betty hovering over them both, making the insuffi-
cient food manna to one of them at least.

"Rot!" said Nathaniel to himself, and gave himself a shake,
but sotnething within him denied the allegation and persisted in
singing fantastic little tunes, all glad, all free, all promise-fidl.

(Fiftiftwa)

CLASSIC

Lots of things came from that first little svipjier. Nathaniel
took a fancy, not only to Betty, but to Sam as well, with his
dreaming iin|)iacticability, the broken hopes he had strewn all
along his way, the thing he might liave been and the thing he
was. There was a bond.

Also, the drug-store promised things Nathaniel felt that
with these gentle, im[)overished visionaries and his five hun-
dred dollars something could be made of the store. Then,
too, girls jiatronize soda fountains, particularly and especially
when a tall young man with a pleasing i^ersonality dispenses
the frappes, the vanilla and the nut sundaes. The drug-store
might be made to jiay in moie ways than one.

It did. Nathaniel bought syrups, bought fi.xlures, paid off
old credits and stood, himself, behind the polished and n>-uly
ornamented fountain.

In the evenings, he and Sam worked over Sam's automatic
.soda fountain. He found a great deal that was good in it;
found, as was the case with most of Sam's dreams and jilans,
that it had not been marketed properly and at once had found
obscurity. He wrote to Kellogg about it, wlio was ever on
the lookout for the new and the jiossible. He wrote, too, that
he had an interest in the invention, that he believed in it and
that he wished that Kellogg* would "let him off." He insinu-
ated that he didn't care an awful lot for the town heiress, who
was "a good sort, biU "

Kellogg wired back, "Nothing doing."

That same night Nathaniel escorted Josie home from the
prayer meeting he made a habit of attending. On Josie's other
side walked the all but dis])laced Roland, who Iiad, before the
advent of Nathaniel, been considered, and considered himself,
the flashiest boy in town. To Roland, who really nurtured a
passion for the stately Josie aside entirely from his mutilated
pride, the presence of Nathaniel was insup|iortable. Before
they reached the Lockwood mansion the thin skin of Roland
Barnett was insufficient protection for the primitive passions
always so near to the surface. He fell upon the surprised
Nathaniel and they "had" it. Nathaniel conquered. He never
knew w'hy, unless it was because he had had such bully training
at college and was, at the assault, red mad. Anyway, Josie
sereamed and the sheriff intervened, and when it was all over
the conquering hero escorted Josie home and something — it
may have been his turbulent blood, of which she had been the
really unwitting cause,
or it may have been
hunger for some soft
touch, or the moon, or
sheer madness — anyway,
he kist her at her gate-
way, and [Hit the fatal
query and was affirma-
tively answered, and it
wasn't until he reached
home — home being, by
this time, the (irahams'
— that he knew that he
loved Betty.

He knew when she
met him at the gate, with
her face coming out of
the du.sk like a little,
bruised white flower,
and her starry eyes all
dimmed and her clear
voice all trembly because
she'd heard he "had got
hurt." He knew poign-
antly, sharply, painfully,
sweetly, unforgettably
and for all time. .\n(l
because it was so true
and so strong and came
upon h i m with such
breath-taking sweetness
and force he didn't have
time to collect all the

fFifliithrer)

emotions that rushed in upon him, and he had her against his
heart and was kissing her. .\nd then it occurred to him that
lie had just kist Josie Lockwood, and was pledged to her, and
he dropped down on his knees with a groan and' kist, not (jnce,
hut many times, the frayed hem of her little cotton gown. He
said that he was not worthy of her and many things along the
same line, but love had made wise the heart of little Betty
( irahani, and she knew that men say such things in such an
hour, and she smiled while the tears of her love glistened on
his hair and caught the vagrant star gleams and held them . . .

It was very sweet . . .

The next day Nathaniel told Betty of his enforced engage-
ment to Josie. He told her all about Kellogg, and how he.
Nathaniel, bad tried to beg off, and how Kellogg had refuseil
him his i)lea and so he had had to go thru with it. Betty said
her heart was broken and her tears came again, from the
broken depths of her tenderness, and Nathaniel said his was,
too, and tliey stared with the uncompromising eyes of' youth
into what they deemed to be uncomjiromising tragedy.

Dispensing sodas, sundaes and other frivolities that after-
noon, Nathaniel felt as tho he nnist be giving wormwood and
gall in the glass receptacles. His soda fountain popularity cost
him dearly that day. His smiles, he felt, were so many self-
\ ictories achieved f lom the very spirit of bitterness.

The following day dropped the Damoclean sword, .so to
speak. Henry Kellogg arrived in town, having received from
Nathaniel a sketch of .Sam Graham's invention. He was. he
said, interested. Nathaniel presented Betty, .\fter a bit, when
they were alone, Kellogg gave Nathaniel a quick look. "Betty
is the reason, yes?" he asked.

"Reason for what?" asked Nathaniel, dourly.

"For your — let I'.s call it begging off."

"^'es. Yes, j-ou may as well know it, 1 love her."

"Really?"

"Really and truly."

"What makes you so certain?"

"You are certain when love conies,
^'ou just know-. I cant explain."

"You dont need to. Nat. I do release In the evenings

y(ju. 1 think I understand." he and Sam

"You '" worked over

,,., V.' â– , . , , â–  ,, Sam's automatic

1 ve seen Betty. She s real, .\wlully soda fountain

A\(ril()N PICTl Rli CLASSIC

THE FOKTUXE HUNTER

I'"ii'li(»ni/c(I from tlic scctijirin of (iraluun Unkcr. based upon
\\ inchcll Stnitli's cunicJy drama. T'ruduced In- \'ita}irapli, star-
riiiL- Kaile Williams, liiriitid liy Tom Tcrriss. The cast:

.\.-itliaiiiel Dmiraii Earle Williams

Belly (iraliam Jcaii Paige

jo>ie Lorkwood â–  Nancy Lee

Sam (traliam \'an I)\kc lirookc

Hanker l.ockwoiid William Holden

Harr> Kelloj:;^ Charles Trowbridge

SlierifT fete \\ illinu Krank Ncn-cri>ss

U'jland lianietl Earle Metcalfe

Traeey Hilly Hoover

Anuie i.onise Lee

real. 1 can iniajfine. She would Ineak youv Iieart. Also,
she'll make yuii. more, even, than the heiress. And yoii do
love her. P.ettv is real. Go lo it."

Occasionally the law int-ervenes in a sense of liberation. It
did. as it ha])|ioned, for Nathaniel Duncan. He had been wan-
derin;; about Kadville, the day after his talk with KellojjR, too
dispirited to go to the store, too dispirited to seek out Josie
and put it u]i to her, not daring to face the soft, the terrible
temptation of I'.etty. Some one, he feared, was going to get
hint in this mLx-u)), and he didn't want anyone to. Xot Josie.
will) was, after all, a good enough
sort according to her lights, and
not, oh. not Hetty ...
In stepped the law.
Back, it seemed, in the place in
Xew York last graced by Nathan-
iel's presence in the capacity of a
clerk, money had been missing.

Dispensing sodas, sun-
daes and other frivoli-
ties that afternoon
Nathaniel felt as tho he
must be giving worm-
wood and gall in the
glass receptacles

The thief had escaped, not « itliout, however, being seen and
a description given. The man described had boarded a
train going in the direction of Radville. The police had
picked up the clues and the thievery was traced to the amazed
Nathaniel.

An hour iir two or three before he was aware of the fact,
all of Radville knew that .\athaniel Duncan was a plain, ordi-
nary thief, who had stolen from his employer and had fled
to hide his crime and himself in poor, innocent Radville.

Nathaniel himself, however, confronted suddenly, by Josie
Lockwood, her father, the winking sheriff, who, loathing the
bonds of matrimony, thouglit this an opportunity to release
Nathaniel, did not deny the allegation. He admitted, quite
solemnly, to being a thief. He (lidn't say of what. He ex-
pressed no surprise. He had understood the sheriff, h'or-
mally, then and there, Josie released him. or rather, dismissed
him with hauteur and scorn. She was last seen by Nathaniel
sobbing away her outrage in the consolatory arms of Roland.

In the (jrahanis' back yard that night, or that twilight,
.Xathaniel sought out lietty and told her the whole truth.
"It was a ruse, dear heart," he said, "and of cour.se, Josie will
know that it was when she learns that the real thief has been
caught; but it did give her a chance to prove whether. or no
her heart was involved, and you see it wasn't. H it had been
. . . well, she would have stuck anyway, wouldn't she, I'letty?"

"Yes," said r>etty.

"Love is like that, isn't it!'" went on Nathaniel. "d\eal lo\e,
you know : it persists, anyway, all the time, doesn't it ?"

"Oh, yes." whispered Betty.

"Then everything's all right," said Nathaniel, coming clo.ser;
"the invention is going to go . . . Kellogg, God love him, will
make it, and there will be money and the store will thrive and
you and I . . . and I and you ... I love to say it, darling,
you and I . . . "

But lietty was in his arms and he could not speak for the
kis.ses on his mouth.

(Fi fill- four)

The Ambitious
Miss Eddy

By ELIZABETH PELTRET

"iVi: plavcd dozens of love scenes," said Helen
i Eddy, whose work with George Beban, with
Sessue Hayakawa and more recently in the
King Vidor production, "The Turn of the Road,''
has given her a place in screen circles peculiarly
her own, "but." she went on. "I've never had a
real love affair in my life." Probably it is this
that makes Helen F.ddy so different from other
young girls of her age.

The game of hearts that interests them more
than an>-thing else has no interest for her at all.
She doesn't talk about it with the keen relish
most girls do. She regards love as an important
ingredient in the making of a play, .she said. We
had been discussing the necessity, or lack of
necessity, of an actress having some basis of
actual experience as a foundation for her char-
acterizations. "But I dont think it is at all im-
portant for any player to experience any emo-
tion of a part in reality. Of course, you have to
realize these emotions in your imagination, and
that would argue some basis of experience — at
some time."
"Then vou believe in reincarnation ?"
"Yes; it seems to me the best explanation of

Shortly after Helen
Jerome Eddy left a
dramatic school in Los
Angeles she met a Lu-
bin director. At that
time, she wanted to be
a scenario writer. The
director didn't buy her
script — but he did en-
gage her as an actress

everything. After all,
isn't it not only pos-
sible but probable
that I have taken up
the broken thread of
an interrupted work,
that I have had much
of the experience nec-
essary for this work
and that it alone will
be sufficient for me now ''

We were sitting in the front room of Iier home
on \ an X'ess -Vvenue in Hollywood, where she
lives with her father and mother. (Other mem-
bers of the family are three very lively and very
affectionate jnippies.)

One's first impression of Helen Eddy is of
surprise — that she should be so much taller than
she appears on the screen. Her brown eyes are
rather round in sliape and have in them sgnie-
tliing of the fatalism of the Oriental. .She is an
indefatigable worker. When she is not at the
studio she is usually studying or rehearsing a
part in some production of the Hollywood Com-
munity Players. Her voice is deep, well culti-
vated and of splendid scope and power. Her
hair is a glossy black. She was. you will re-
member, a remarkable Italian in her work with
George Beban. It is interesting to note that in a
recent jiicture with .Sessue- Ha\'akawa she
appears just as characteristically Chinese.

Helen Eddy is a fatalist, i^he feels that in
training herself to become an actress she is
(Coiitiitiied I'll paijc S6)

(Fiftufiie)

The Fame and Fortune Contest for 1920

Wi were. Ici ^a\ the least, ileliglited witli the results of the
I'llO l-aiiie and Kortune Contest. Thereby we veritied
our theory that the world in general, and .\nierica in
l)articular, are still well su|i|)lied with cinema possibilities, both
optically and dramatically. ()nr two-reel feature, "A Dream
of I'air Women," which is now being shown thriiout the
country, presenting the winners and honor roll beauties, is
))roof of our success. The flattering offers received by win-
ners and honor roll girls alike show how highlv producers
regard the opinion of our judges. Hence we take great pleas-
>ire in presenting our bigger and better I'ame and Fortune
Contest for 1920.

In comiection with the contest now in progress we shall pro-
duce a /â– nT-Rfi'l l-cutiirc drama for the honor roll beauties,
w ork upon « hich" is already under way. The story has been
.selected, and it is strong, picturesque, unique and original, pre-
senting unusual opportunities for many ]>layers of various
types. To the members of its cast who measure up to possi-
bilities, this production will give unusual publicity and proini-
nence, since the drama, aside from being a product of the
greatest campaign of its
kind, would stand well-nigh
alone upon its own histrionic
merits.

Those contestants whose pic-
tures appear promising will be
communicated with at once,
and they may — depending upon
ability — be offered a part in
this tive-part play immediately.
While we are now starting
production, the play will not
be completed till the late fall,
since as a special feature it is
to contain the test scenes taken
of the honor roll girls at
Roslyn, N. V.

This opportunity is not lim-
ited to youth and beauty alone,
for there are several character
types needed, both male and
female, some of whom are to
play big parts. We suggest
that any contestant wishing to
apply for one of these parts

so state on the entrance

coupon, as well as by letter
accompanying photos.

There are several points to be considered in the choice of
photographs. First, do not submit photos that lie. Choose
an artistic portrait that shows you up to the best advantage,
hut never one that conceals really visible defects. A false
photo may win a place on the honor roll, but a feat so accom-
plished will only make keener your disappointment at rejec-
tion when you in i)erson apjiear before the judges. So be per-
fectly honest with your picture ; it will pay in the long run.
Furthermore, we must have at least one straight photograph.
There is no objection to an e.xtra tinted photo, but our main
concern is how you will show up on the screen, whose sole
colors are black and white. Then, too, if you .should win a
place on the honor roll a tinted picture could not be repro-
duced. There is no limit to the number of pictures that may
be .sent in ; in fact, if you fail to .succeed at the first attempt,
it might be well to recall that anything worth while is worth
repeated efforts.

It will be well to here review the salient features of the rules
and regulations governing the contest. In the first place, we
Hii»,t/ have regular photographs, not sna])shots or post-cards ;
and be certain that the necessary entrance coupon is pasted
upon the back of each picture. Bear in mind when entering
the contest that under no conditions will any photo be returned.
.\nother important |x>int, while a little previous stage or screen

FIVE-REEL FEATURE

Havine successfully produced the two-reel feature,
"A Dream of Fair Women," which is now being
shown thruout the country, presenting the honor roll
beauties and winners of die 1919 Fame and Fortune
Contest, we now take pleasure in announcing our
plans for the 1920 contest. We shall produce a
FIVE-REEL FEATURE drama for the honor roll
contestants, and we shall start on this immediately.
The story has already been selected, and it is a strong,
unique, original and picturesque one, affording fine
opportunities for many players of different types.

Those contestants whose pictures appear to us to
be very promising will be communicated with at once,
and they may be offered parts in this unusual play im-
mediately. While we are now starting production,
the play will not be completed until late in the fall,
and it will include the test scenes of the honor roll
beauties which will be taken at Roslyn. In this pic-
ture we can use a few persons other than young and
pretty girls, for we shall need several character
types both male and female. All contestants who
wish to apply for one of these parts will kindly so
state on their entrance coupon, or in a letter accom-
panying photo.

experience is allowable, no one may enter who has already
played prominent parts; this contest is for amateurs only,
lioth se.xes and all nationalities are eligible and there is no age
limit ; in short, any one other than well-known actors and
actresses may comjiete.

.\ll four winners in the 1019 contest were girls, simply
because the latent Romeos of the screen were so utterly indif-
ferent. There is just as great demand in jiictures for men as
there is for women, and this demand ranges from the "hand-
some and dashing" juvenile to the character parts. ^o, men
of .\merica, rouse yourselves, and show to the "femal of the
species" that you are as deadly as she when it comes to silver-
sheet possibilities.

.\nd, finally, we eannot answer any letters in regard to this
contest. C'bviously, it would be utterly impossible to answer
oil of the hundreds that pour in daily ; hence we will answer
none. The announcements in the Motion Pictvrk Mac.a-
zim:, Classic and Siiadowland will cover every phase of
the rules and regulations governing the contest. We sh-" also
|iublish special articles on the subject from time to time.

Remember, this is the op-
portunity of a lifetime; I'or to
the winner or winners, as the
case may be, we give invalu-
able aid in winning a place
among the bright lights of the
.shadow stage. We guarantee
an engagerfient and will give
to each of the winners two
years' publicity. This will
consist of cover portraits, pic-
tures in the gallery, spe ial
articles and interviews y
prominent writers — publicity
that cannot be bought at aj.y i
price! Hence we can promise !
that at the end of two years I
the winners will — to a degree ■
dejiending upon the artistry ,
of their work — be known thru-
out the civilized world. In
other words, we can, thru the
power of publicity, place an
amateur possessing unusual
screen possibilities in a posi-
tion of prominence such as
could not be attained thru
single-handed efforts except
after a long and arduous struggle. This we guarantee.

This feature of the contest is invaluable to the winners.
True, we have artists of the screen who began at the bottom
and worked up step by step — and we admire them all the more
for it — but it took yeafs of struggling against fearful odds.
On the other hand, think of what we are offering you. Thru
our three magazines we bridge this great gap of obscurity
and insignificance and immediately place you in the position
which your abilities demand. Why linger at the foot of the
ladder indefinitely if you have within your power the means
of covering many unessential rtmgs at a single bound?

So here's to Fame and Fortune! We shall put over the
contest and its resulting feature production with characteristic
energy and e;;thusiasm. Your success is now up to you.
Meet us half-way in the beginning, and if you possess suffi-
cient screen |>ossibilities we can give you the opportunity to
make a place among the great artists of the silversheet.

In connection with the showing of "A Dream of Fair
Women," local theaters will conduct contests under the patron-
age of our magazines, the winners in which will be placed on
our honor roll. If your manager has not heard about this, tell
him to write to Murra)' W. Garsson, Foundation Film Corpo-
ration, 1600 Broadway, New York City, for details and litera-
ture. .\nnouncements also in current issues of our publications.

(Fifty-tis)

' â– <-rt-'i^%^BM>i;

Have they the beauty they so easily can gain?

"t lOVV beautifully turned out, how
j I correct," you thought — until you

caught a glimpse of her nails.

Then,
yourself.

"Shocking!" you said to

And that one glimpse of her care-
lessly groomed hands left an impres-
sion that you never forgot.

This method is Ike
xecrt't of the per-
fect, even ciit'cle
of many fashion-
able women.

Do \ou realize how easy it is to
keep your nails lovely — so lovely that
they lend you that assurance which
comes from the knowledge that even
the most critical eye can find nothing
but immaculate perfection?

The secret of beautiful nails
lies in the care of the cuticle.
This is the most important
part of a manicure. The more
you cut the cuticle the faster
it grows. It becomes tough,
thick, and hangnails appear.

You can keep your nails
lovely without injuring the
cuticle.

Cutex is a harmk?;s cuticle re-
mover. .Applied to the cuticle, it
keeps the base of the nail smooth,
firm, crescent-like.

Wrap a little cotton around the
end of an orange stick (both come in
the Cutex package), dip it into the
bottle of Cutex and work it around
the base of the nails, gently pushing
back <+ie cuticle. Instantly the dry
cuticle is softened. Wash the hands,
pushing back the cuticle with a towel.
The surplus cuticle will disappear,
leaving a firm, even, slender nail base.

If >ou like snowy white nail tips
apply a little Cutex Xail White under-
neath the nails directly from the tube.
Finish your manicure with Cutex Xail
Polish. For an especially brilliant, last-
ing polish, use Cutex Paste Polish
first, then the Cutex Cake or Powder
polish.

If your cuticle has a tendency to
dry and grow coarse, apply a bit of
Cutex Cold Cream each night. This
cream was especially prepared to keep
the hands and cuticle soft and fine.

Give yourself this manicure regu-

larly. Make it as much of a habit as
keeping your shoes shined. It is true
that one Cutex manicure makes your
nails look lovely ; but you cannot keep
them well groomed by irregular care.
Ciive your nails a Cutex manicure
rrgiilarty.

Cutex Cuticle Remover, Nail White,
Xail Polish and Cold Cream are 35
cents. The Cuticle Remover comes
also in 65 cent bottles. You can get
Cutex in any drug or department
store in the United States, Canada
and in any chemist shop in England.

. / iiiaiiiciirc jet for 20 cents

I'or twenty cents we will send you
the Midget Manicure Set containing
enough of the Cutex preparations for
at least six manicures. Use the cou-
pon below, .'\ddress Northam War-
ren, 114 West 17th St., New York
City.

If \ou live in Canada, address
Xorth'am IVarren, Dcpl. 903. 200
Mountain Street, Montreal, Canada.

Mail tills coupon with

two dimes

toda\ J

XORTHAM WARREN-

\

Dtpt. 903. n4 West 17th Street.

New

York

City

i

Name

}

Street and Number

City and State

•^

Conducted by F. J. S.

TIM' goal of all screen
producers — having
a '"two-page spread"
advertisement in The
Saturday Eveniny Post.

Now that Metro is
doing Ibanez's "The
Four Horsemen of the
Apocalypse," some one
suggests that the title
roles ought to be plaved
by Rill Hart, Tom Alix,
Harrj- Carey and Texas
Guinan.

Olr Maki rs' Dozr.x
Picking the twelve
directorial leaders is
no easy task. Rut
here is Double Ex-
posure's list:

David Griffith

Cecil De .Mille

Thomas I nee

Mack Sennett

King \'idor

George Loane Tucker

ouble.
porxire

Marshall Neilan
George Fitzmaurice
Maurice Tourneur
Allan Dwan
Mrs. Sidney Drew

Cotirtcsj- Vilagraph i'oiitfilii-s

When "Yankee Doodle in Berlin" crossed to England it
became "Tommy .\tkins in Berlin. ' .\nd the British advts.
comment upon "the bonny battling belles" and that the police
have "plenty to do controlling the queues."

-and Hobart Henley if he makes another "Gay Old Dog.'

CoNSl'RVATlON OF SuPERLATIVli NoTi:

Sel/.nick announces the acquisition of that Pollyanna phil
o.<opher, Herbert Kaufman, as "the greatest mind on earth.'

Publicity suggestions — Why doesn't Thomas Ince pose for a
photograiili while shaking hands with some notable studio visitor r

Isn't man e\er satisfied ? Here is Mary Thurman being sued
for divorce? (Coiitimicd on faije 89)

Th« Classic conserves. — Everybody is saving something these days, and The Classic feels
that it is necessary to cut down on — ^bathing girls

(Fifty-eight)

Down Brings This

Ladies' 3 -Piece Outfit

»

L>ce TruBBed
Voile Waist

FImkcJ Pcttkatl

Sourt
Serge Sldrt

This useful, fashionable ladies' outfit

s^nt to you on approval for only $1.U0
down. If you decide to keep it, pa.y in
small monthly sums. If, for any reason
H-hatever, you decide to send the outfit
back your money will be returned
immediately. To fret this bargain you
must act at unce. The offer is limited.

CI.2— f Fin« qaalit; wool mixed Serve, both attrae.

vKin tlve and aerviceable. The novel ihsped belt

as well ai the anique pocketa are trimmed with braid

and button! Entire lower half o( shirt ia enlivened

with rowa of pin tacka. while the baclt ia fortbermora

finiahed with a full length tailored fold and battona.

Colora— Navy Blae or Black. Belt 2Zto3Q. leoiftb

34 to 40.

waiat-front enlivened witli iaaertiaaa
of laee aud dainty embroidery. Pull lenfth
aleevec and pretty, dainty coff effect. Color—
yVhite only Buat aisea 34 to 44.

P^ftf;^*!,** Black SaUett,
rettlCOat enlivened wit

When ordering: be sure to five «»!•

or of tkirt wanted, also bust. t>elt,

hip and length meaiurementa.

OrrfM-brMa.S-aa. TarwMSI.eo
writb coHpM, S2.00 iMwtMr,
t*tirf S12.M.

Write for our
Free Catalog
of Men's,
Women's and
Children's
clothing on
small month-
ly payments.

Months
to Pay

Open a charge account. Order now on our liberal credit terms. We
eive you tlie iate^it styles, splen^lid quatitiet and amazing valuet in anything you want
to wear. We trust lionest people no matter where they live. Not a penny char^
for the credit. No discount for cash. All business men use their credit. Use your*.
Order this bargain today.

Order Now

Send thiscoiipon. All clothinK material ii very scarce. We have only a limited quantity
of these outHts. Don't be too hite. Mail the coupon today with a <l.00 P.O. order or a
dollar bill. Kemerat>er, you take no riak. Send coupon now

Elmer Richards Co.

Dept. 1553 — W. 35th Street, CHICAGO I

Elmer Richards Co. JJtrMl'i.. Chicago

I enetose Si.OO. Pleaae send the Ladiea' 3 Piece Outfit No. S-33.

Color Skirt »ites Bast aise

of Skirt eelt Hip Lensth for Waiat

If for anv reason I wlali to return tr<e ootfit after exarainiition I may do so and every cent I have paid will be
returned instantly ■withoot qoeation. Otherwise, 1 will pay the advertised pnce,S12.95. on r«or tcms of n.M
with coupon, balance t2.00 monthly

Sent On Approval

(Fifty-nine)

INTTi

IINTw

GravHaip

^PURSELPN
Y AT HOME

A T forty or fifty a woman
â– * may still not feel more
than twenty-five years old. But
no mailer how well preserved
her skin may be, how clear the
sparkle of her eyes or how
painstaking she may be in other
details of her toilette — in the
end she will be judged by the
appearance of her hair.

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for permiltiig the hair to remain
gray, faded and streaked. In one s
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Hundreds of thousands of women
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BROWNATONE

I Sehdllcenfs /or

7J73/Soff/e

and valuable booklet
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"Cwo colors: "Light to
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' 'Dark Bmwn to Black.
Tno sizes: 35c and $1.15.
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.MOVIE MISFITS
By Ethei. M. Feulrlicht
Charlie Chaplin as Hamlet
Mary Pickford as Cleopatra
Theda Bara as Rebecca of Sunnybrook Farm
Fatty Arbucklc as Romeo
Fay Tincher as Juliet
Pauline Frederick as the Ugly Duckling
Jack Pickford as Othello
Charles Ray as lago

Douglas Fairbanks as the Little Lame Prince
Dorothy Gish as Alice Sit-by-thc-tire
William S. Hart as Prince Charming
Eugene O'Brien as Old Scrooge
Olga Petrova as Cinderella
Nazimova as the Quaker Girl
Mary Miles Minter as Kathcrine the Shrew
Kitty Gordon as the Brat
Marion Davies as Topsy
Lillian Gish as Thais
Marguerite Clark as Salome
And uv dare any one of Ihein lo try it!

EMPTINESS
By Barbara Mollis
My soul went out to the soul of the moon,
As she rode thru her studded sky ;
There was no one else in the earth or air —
There were- only the moon and I.

I traveled far in that mystic land.
Out oyer the Bridge of Years.
That crosses the River of Time and Space
With its, ripples of smiles and tears.

I passed the Gateway of Hopes Long Dead.
With the Arch that is built out of Dreams ;
And walked thru the Valley of Things undone
By the mortals who basked in her beams.

I. too. felt the spell of her magic rays,
But the joy from my heart had fled;
.\nd I turned away with a bitter sigh —
For the soul of the moon was dead.

MR. BROWN QUALIFIES

By W.M.TER E. M\1R

James De Lancey Sterling Brown
(Classic mug but hopeless bean!)

Dreamed that Fate had writ him down
For a future on the screen.

So he journeyed to the Coast.

(Rather logical at that!)
But he dwindled to a ghost.

Looking 'round for "something fat."

Desperate at length he grew —
(.Ah. Los .'\ngeles was cruel!)

For our J. D. L. S. knew
Fate was smiling as the mule

Smiles upon its incubus :

( Pause we now to drop a tear ! )
Phmged he 'neath a jitney-bus.

Broke a nose, tore off an ear.

Later on. that visage rare

(Ah. the murderous extra-line!)

He displayed ; someone yelled "There
"Is the type we're after: fine!"

Steady work from that day on !

(Viva, J. D. L. S. Brown!)
Crooked-nosed, with beauty gone,

.As a bum he scooped the town.

.Miinil. friend.' H'eH. Ii'ni. lei's .u-e—
(Moral market's mighty slack!)

lyity. iili, yes. — it seems lo he:
".ilzivys keefi on coming bock!"

A HOPELESS CASE
By Vara Macpf.th Jones
Brown wished to be very emphatic
When he spoke of a friend quite erratic,
Wlio spent all his days
;\t the movie-plays;
So he called him a hopeless FANatic!

MOTION PICTURE CLASSIC

Zena's Zenith

(Continued from pai/e 48)

iridescence of sunset. The west was
aglow, and the windows we approached
gleamed Hke orange lanterns behind a
veil of rose chiffon. I looked at Miss
Keefe, in her black velvet toque, and her
squirrel-tn'mmed suit. Orchids lent an
extra tint to the picture that I sensed she
so completely harmonized.

Manhattsn spells expectation. .And
Manhattan at twilight spells fulfillment.
Zena Keefe, sitting beside me, vibrant,
alive to influence, keen to interest, spelled
expectation . . . and fulfillment . . .
and expectation all over again.

Zena comes from ,San Francisco,
where at an early age she became a
vaudeville artist. Mrs. Keefe recognized
that the only way to.gain development is
to go after it. So Mother Keefe and
Baby Keefe rolled up their tent-flaps and
went on circuit tour.

Zena laughs now. "At every diflFerent
town we visited, I was enrolled in a new
school. I'm not the least bit sorry that I
didn't get the academic training in one
particular school, because, now that I
look back'' — which isn't so awfully,
awfully far — "I think the course laid out
for me did much more good. The rules
were few. Tersely, I believe I was drilled
to work and play, as much at one as at
the other and — enjoy both."

The primer of "Never to Be Bored" is
as innate in Zena Keefe as A-B-C. She
claims that working as .she did when a
child has not taken away her youth but,
if anything, has shot it out ahead, pre-
ceding her. All the work that she did
then has been balanced by all the play
she can aflord today. She says this, but
Zena makes me feel sure that when she
slept, even, she giggled, and when she
wept, if ever — she is not the weeping-
willow sort — she'd jazz her sobs into
oblivion. Zena may some day catch ufi
to her kidhood, but she will, never en-
tirely grasp it so that it can absorb.

Zena may be of the footlights, but. like
all compensations that run true to Emer-
son, Zena is essentially an outdoor girl.
When she told me that skiing and riding
and skating were her middle names, and
I found it a happy surprise, Zena smiled,
"Yes, indeedy I I may look fragile, but
if I bend over I wont break my back."
The one expectation of her heart not yet
fulfilled is to— fly !

Zena let 'er out again, and this time
whizzed past the freshmen. "I wish some
kind fan would give me an aeroplane
for Christmas," she whispered to the
wind.

Mae, Mary and Matrimony

(Continued from page 17)

plained papa, with super-fatherly calm.
"Never- cries — never. It's all the way
you bring them up. Start them right
and they go right."

Which we jotted down in our note-
book for possible future reference.

(Sixty)

JhmQusltMeftars
MeeptheirHair^a

NORMA TALMADGE
"You majr use my testimonial I
to the value of Watkins MULSI-
FIED COCOAHIJT OH SHAMPOO.'

'i:

(Sixty. one)

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EVERY WOMAN should be the rightful owner of beautiful eyes, the essentials of
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MOTION PICTURE CLASSIC

A Doll's Apartment

(Coi'tintied from page 25)

must do a great deal of atoning. Also,
they have a kiddie with them. Six years
old. Of the masculine gender.

I inquired.

The kiddie is Olive's brother's boy. |l|'
I jst summer the mother died and Oliye ^i '
ado[)ted the small nephew. Just at pres-
ent he is going to school in Tarrytow.n.
.At the date of my talk with Olive she
was expecting him the following day to
come to \ew York, while she bought
for him a velvet 5uit and a fur overcoat.

"He wants an aeroplane for Christmas,"
she informed me, witli seriousness at the
behest; "the only thing that bothers him
is how it is going to manage to get thru
these windows. I explained to him that
Santa will manage it somehow, that he
is quite marvelous as a rianager. I dont
know just what I can get by way of an
aeroplane, but of course I shall get some
sort of a thing that flie^."

All told, the \oung Jack Pickfords
were going to make a high and festive
occasion of Yuletide. That very morn-
ing Olive had been buying Jack's gift,
consisting of a set of black pearls for
evening wear, at Tiflfany's, and there was
also a resplendent lounging robe of
sumptuous silk. ;md then it was only the
first part of December. I should think
the aeroplane not the only unlikely thing
to wedge into one apartment. Olive
laughingly remarked that her mother
says she and Jack spend all their salaries
giving one another presents.

"He's always sending me something
and then I .send him something back,"
Olive said. "You see, we have to bridge
the distance in some way. At first I just
couldn't get used to the idea of living
this way, but I suppose one gets used to
anything, given time. W hen we were to-
gether we used to use up the time fight-
ing over things. I'd say, 'You were out
with this person or that person,' and he'd
come back at me in the same way, and
we'd have a lively time of it, but we're
over that now. \\'e know that we cant
sit home by the fireside all the time just
because we cannot be together.'!

She went on to observe that there was
not. in screen work, however, much of
any time to sit by tlie fireside or else-
where. She worked, she said, with a
pretty little air of distraction, night and
day, and when she was supposed to have
a week off to attend to such necessaries
as shopping for household and for
Christmas, there were all sorts of retakes
and other summoning things.

She would /orr, she said, to go on the
stage, but for the next two years or more
she will do as she is doing now . . . for
the pre.sent . . . Thus is it gorgeous to
be gorgeoush' young and be able thus to
dicker with the passing of the young
years . . .

.\s I was leaving she showed me thru
the whole of the apartment and told me.
with the pretty pride of possession, of
what she was doing, intended to do, with
every nook and corner. One feature of
(Continued on pa<ie 101)

(Sixty-two)

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The Newest Fifth Avenue Styles!
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Actual Photographs From Life!

Andeverycoat.every dress, every blouse is shown as it actually
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300 of these photographs are reproduced by Roto-
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Little More Than Wholesale Prices!

With prices still going up, a saving of $5 to $10 on every
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Our More Than Liberal Guarantee!

You cannot lose by buying from us. If a garment is unsatis-
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A trial costs nothing — Postage is prepaid !

(Sixtytkree)

(Hixty-four)

MOTION PICTURE CLASSIC

Marjorie Daw: A Real Girl

{Continued from paijc 21)

my make-up, for every one teased me
about my fat legs. You see, I wore
woolen stockings and flat-heeled sandals,
and 1 guess they did look big.

"I played with Sessue Hayakavva m
'The Jaguar's Claws,' and it was while
making this picture up in Montana that
I learnt to ride horseback. I had the
wildest time on that trip, for it was my
first experience going away on location,
and there were cowboys and Indians, and
I was thrilled every minute.

"Then 1 was Betty Warren in 'The
Warrens of Virginia,' and fell madly in
love w ith Blanche Sweet, w ith her charm
and lovely poise.

".\t the time Geraldine Farrar made
'Joan the Woman' I was studying geog-
raphy and history, and was so thrilled to
be a part of that fascinating period of
French history that I read book after
book on the subject and became a walk-
ing encyclopedia on Jeanne d'Arc.

"My first grown-up part was in 'The
Chorus Lady,' with Wallace Reid. I
wore my hair up, and I know I aged
years trying to be emotional at the right
time, for I didn't know what it was all
about. After this I was glad enough to
be a little girl again with Charlotte
Walker in 'Out of Darkness.' I remem-
ber what a blow it was, tho, when she
told me that I must wait until I had lived
before I could hope to play tragedy, for
I was just beginning to feel the urge
toward heavy stuff.' Then, when Theda
Bara came along, I decided I must be a
vamp, the greatest of them all, and now
I want to be a good comedienne. I abso-
lutely refuse to be called an ingenue. I'm
not one!" And Marjorie's big eyes
flashed a bit of defiance at this much
overworked term.

"Perhaps it was during my two years
with Douglas Fairbanks as his leading
woman that I learnt the real power of
comedy. He has a tremendous vitality
and so much pep, thoroly enjoying his
work. One important thing I learnt
from him was never to go on a set in a
listless mood, no matter how one may
feel. He puts his whole heart into every
scene, and it makes me a little homesick
to think there is another girl in my place,
for I loved to work with Douglas."

Marjorie's reminiscences are neces-
sarily rather limited, for it was only
eighteen years ago that she was born in
Colorado Springs, Colorado.

When she was eight she came to Cali-
fornia with her mother and brother.
Chandler, who is three years her junior.
Marjorie and Chandler are all alone
in the world now, for the little mother
passed away two years ago, and the ab-
solute devotion and remarkable "chum-
miness" existing between brother and
sister is a favorite topic among their
friends. With an older girl friend they
play at housekeeping in a pretty little
bungalow in Hollywood.

Tho Chandler had gained some promi-
nence in the picture world, they have
{Continued on page 101)

(8ixt]f-iive)

"$1,000 Saved!"

"Last night I came liume \\ith yreat iu:\\s! Our saviiiys IkkI passed the $1,(HM) mark!

"I remember reading one time that your first thousand saved is the most important money
you will ever have, for in saving it you have laid a true foimdation for success in life. And
I remember how remote and impossil'ile it seemed then to have sudi a sum of money.

"I was making $15 a week and every piiun of it was ueeded just to keep us going. It went
on that way for several vears. Then one day I woke up' 1 found I was not gettnii; ahead
.impiv he--ansc I had never learned to do anything in particidar. As a result whenever an
important promotion was to be made. 1 was passed by. I made up my mind right then to ni-
vc^t an hour after supper each night in my own future, so I wrote to Scranton and arranged
for a course that would gi\e me special training for our business.

•I can't uiitUr^
was tlif lliiiiK to <â– '
vlsii

wliy I liHil i»\rr n-alia-'l l>if(in> Unit Uiis

Why. ill a fi-w moiiUis I liml a «ln.lt lu'w

'lie jti-mral maiiaKir m»s al«'iit Iln- t\\M I"

lole till- rliaiig^ -Vii i>|u-iiiiig lailK aii.l lir (£'»<• ""■ mv t\r*\ n*!

.|(iiiu'i— hIMi ail iiiiT.as,-. A liltlt lal<-r aiii.n.ir ]>r<iui<i1 aiiu-

LVitli tiiminh iiiiuiw m ■•avi- ?-''. a iiioiuli. Thi-ii ninitlii'i imi-.-a-r
— I <-.ml<l imt asi.lf %'>n mi-li pay .lay. So it w.-m.

— — -^ ^ ^■™ ^^ TIAB OUT N(ne— —^ ^ — — ^_

INTERNATIONAL CORRESPONDENCE SCHOOLS

BOX 6771, SCRANTON. PA.

Explain, without obUKBtlns me, how I can qualify for tb* pOii
tlon, or tn the subjoet, btfon which I mark X.

I R

"T.Hlay 1 am iiiaiiiimr i>f my .lfi)artiiK'iil
tills y.-iir. Wi- Imie a ili.HiJ.ainl .liillnr* stiv.-
tlir Ix'KhiiiliiK. Wo atr |))aiiiiliiR ii<i»y fur ;
Tliiiv Mill W wvi cniiiriiris ftn- Knsf. IttOi-
liuil til (Iriiy ouischvs uji tn imw. Am
Hliiaa Willi iiiori' iiioiiiy tliaii I usiil !â– 
t..ul.l iiiakf. What Hoii.l.-rrul litmrs tin
nuiuht!"

Fill' -JS ycHis Mic Inli-niatiimal <'"rri'
JHcn lirliUiiit iHOi ami "iniivii i-^tT
(am iii'Hi- nuMU-y. lo liavf happy,
(lif Joy of EPttliig ahead

tiUi tit

â–  Ian- to â– Inam tlial I
iirt' IliiiM- limiiN afttT

(irri"s|KHiil«-iu'i-

IVIKTC to Mill

] in I H J If roil s In

Mort- tliaii tHo niiMtoii liaM
liclli. OviT lOft.onn art- HOW
lluiiihiiU ;Uf HianitiR fwry
to riml out what the I. ('. S.

taken tlir up roail tvltl
jniiiiK tlifir span- nmi-
Isn't It about liiii
ilo for you?

lay

You. Ion, fan haw tin- i«witit>ii you want in Ihc
i>ur i-lii)li-f. you •an Jiarc i)ii- kiinl of a -talary tiini
HHMlljit- nioni-y In ilio hank, a lioim' of yimr i»ui. ihi'
mil hiNunvs ymi wnuM iikt^ your family to have No
vhal your ajte, joiir iHcupatloii or your lutaiiM you rai

All we nsk is a i-liaiire to prove It — witlinul otiligallon
liin or a pfimy of cost. Thut'-i fair, isiri Itf Then in
nail ilii^ iiiiiiHiti.

illl makt.-
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Fourth Prize

Ninth Prize

Popularity Contest

Sixth Prize

'HE new Popu-
larity Contest,
unusual and en-
tertaining, is already
the object of great
interest • — unfailing
and rife. If you
have entered it or
have read the announcements
which have appeared, and will ap-
pear, from time to time, containing
the rules and regulations, you
know it is actually a double con-
test— a contest in which both the
public and players are equally in-
terested.

The prizes depicted above and
below were selected after much
careful thought and attention and
each one is destined to make some
one happier, from the beautiful
Crescent phonograph which sug-
gests a twilight hour with the
gems musical genii have given to
the world, to the Marble nickel-
plated axe which brings to mind
a jolly time in some invitingly
green woodland.

Perhaps you have not yet de-
cided to enter the contest — if not
do so now. Dont lose an oppor-
tunity of enjoying the unique en-
tertainment it affords or of captur-
ing one of the lovely and useful
awards.

Awards

FIRST PRIZE

Crescent Phonograph, piano mahogany finish
(value $160). Plays all makes of disc records:
Victor, Columbia, Pathe, Edison, Emerson, etc.,
without the use of extra attachments or intricate
adjustments; a simple turn of the sound-box is
all that is ni-cessary in changing from a lateral
cut record to playing a hill and dale cut record.

A Crescent owner can enjoy a repertoire of
the greatest opera singers, popular songs, dance
music or anything that is turned out of the
disc record. The tone of the Crescent is full,
round, deep and mellow. It has a large com-
partment for records.

SECOND PRIZE

Movette Camera and
three packages of films
(value $65). Compact,
light, efficient, easily op-
erated. Think of the
possibilities during your
vacation trip — your
canoe trip — in pictures
— pictures of your family or friends — liv
tures that you can project at any time
home. A priceless record of ynur life.

ing pic-
in your

First

THIRD PRIZE

Corona Typewriter with case (value $50) ; an
all-round portable typewriter. light enough and
small enough to be carried anywhere, and strong
enough to stand any possible condition of travel.
It is trim and symmetrical and does not g've
one's study the atmosphere of a business office.
Fold it up and take it with you anywhere.

FOURTH PRIZE

Sheaffer "Giftie" Combination Set, consisting
of a Sheaffer Fountain Pen and a Sheaffer
Sharp-Point Pencil, in a handsome plush-lined
box. Gold filled, warranted twenty years. Can-
not blot or leak. A beautiful and perfect writ-
ing instrument.

FIFTH PRIZE

Bristol steel Casting Rod agate guide, cork
grip, strong and durable. Packed in linen case.
Can be easily put in traveling bag

SIXTH PRIZE

Loughlin Safety Self-Filling Fountain Pen.
No extensions to remember, no locks to forget.

SEVENTH PRIZE

Star Vibrator, handsomely finished in nickel
plate with three attachments. Alternating cur-
rent. Excellent for massage. Use it in your
own home.

EIGHTH PRIZE

Same as Seventh Prize.

NINTH PRIZE

Marble nickel-plated pocket axe of tool steel,
carefully tempered and sharpened. Indispens-
able in camp or woods.

;^d»>.

^ :

mdnt

Fifth

Seventh

Prize

and

Eighth

Prize

(Sixty-seven)

T^T

\RMAND

OM FLEXION POWDER.

• RMAND is all a woman could
■'*■ desire in a face powder — soft,
clinging and invisible !

All the better shops carry Armand
in several delightful fragrances,
Armand Bouquet, a fairly dense
powder, is 50c and Armand Cold
Cream Powder, a wonderful new
idea originated by Armand, is $1.

If you prefer, send us 15c and
your dealer's name for three sam-
ples. Address

ARMAND, Des Moines
In Canada— Armand, St, Thomas, Ont

Dye That Skirt,
Coat or Blouse

"Diamond Dyes" Make Old, Shabby,
Faded Apparel Ju&t Like New.

Don't wony about perfect results. Use
'TDiamond Dyes,** guaranteed t© give a
new, rich, fadeless color to any fabric,
â– whether wool, silk, linen, cotton or mixed
goods, — dresses, blouses, stockings, skirts,
children's coats, draperies, — everything!

A Direction Book is in package.

To match any material, have dealer
show you "Diamond Dye" Color Card.
Wells and Richardson Co., Burlington, Vt.

fashion says
the use of

ifci.«}il

is necessary so lon^ as

sleeveless feowns and slieer fflbrics for
sleeves are worn. It assists freedom of move-
ment, unhampered grace, modest ele^nce and
correct style. That is why

"they all use Delatone"

Delatone is ait old aitd well known scien-
tific preparation for the
quick, safe ond certain
removal of hairy
growths, no matter how
thick or stubborn. After
application the skin is
clear, firm and hairless,
with no pain or diicol-
I lAt oration.
Rr, .tinlii'l Vj Beautyspecialistsrecom-
/oSbFUjOLLS ffl mend Delatone for
VljlX^- ..n 1 ^1? removal of objectionable
T\ H^ 1 \v\ ^^''" ^'■°"* ^°'^*^' "^*^^ ^*"

Dninlat. Mil DalatM.)
or .n .riKln.l 1 OS. Jar
will b. m.llW to uiv
.ddr... on rM.lpt of
SI b,

The Sheffield pharmacal Co^

Dept.LX, 339 S.Wabish Ave. Chicajo. 111. <3a

THE \EAR-PICKFORD
By Walter E. M,ur

When a studio was built next door to Blom-
stcin's.

And Rcba was born soon after.
With hair that curled so naturally,

And soulful eyes that rolled,

And everything. . . .
They said Art had been, so-to-speak,

The predominating, prenatal
Predestining influence. . . .

Reba grew up.

So did the hair that curled so naturally.
And the soulful eyes, which waxed more
lustrous ...

She became more screenish ever_\' day . . .
And everything . . .

But somehow, alackaday,

Reba is only a cold-cream demonstrator.
And the Blomsteins do not live luxuriously

In a milHon-pIunk bungalow-dream
Down among the sheltering palms.

So we think that the good Lord must have put
Almost all the elements into little Reba

Of a wondrous second Mary Pickford,

Excepting only — the necessary soul o' the
ould sod.

Which, of course, is Heaven's fault . . .
><ot Reba's.

SCREEN MAGIC
By Ethel Hope

Out from the cold and the whirling snow,

He came at close of day;
Lured by the warmth and the ruddy glow.
Lured by the tones of the music low.

Where picturedom held sway.

Fair were the scenes that before him went;

He watched as one entranced ;
Feeling his heart growing more content.
Feeling himself far less worn and spent.

And his heart's joy enhancetj.

Into the cold and the whirling snow

He trailed the crowds at last ;
Deep in his soul was the summer's glow.
Deep in his eyes a glad light shone low.
As on his way he passed.

IMPRISONED
By Betty Earle

Like a leaf I would turn and turn in the

sunlight.
Enlarging my shadow in my own way.
Baring the flaunting green of my soul to all

who would understand ;
And to all who would understand, baring the

wan underneath of my soul.

But they have bound me tight, tight :

All the tendrils, the minions, the moods.

They have pressed me between white walls
that breathe no escape.

And when the stars lean over the night, I can-
not answer ;

And when the wind pulses low, I cannot re-
spond.

THE TRAGEDY OF HUMOR
By La Touche Hancock

Everybody's still,

Everybody's solemn,
Papa's got to fill

The daily comic column !
Mother doesn't dare

To ask him for money ;
Silence everywhere.

Papa's being funny!
Sister cannot sing

To amuse the folks ;
Peace o'er everything,

Papa's making jokes!
Anxious, quiet, sad.

All around we sit;
Isn't it too bad

Papa is a wit?

MOTION PICTURE CLASSIC i

Scotch and Seltzer

(Continued from page 23)

hand-carved rum-chest given him by his
uncle, an old Nantucket whaler, to a set
of ebony opium pipes regaled him by a
Chinese smuggler. He has every variety
of vase, pitcher, bottle, platter; a dozen
dififerent varieties of period furniture
from Jacobin to Stickley ; several origi-
nal canvases — one of Rembrandt's.

And then, he has a sister, who is his
secretary, and a charming mother, who
speaks with a semi-Southern accent and
whom Norm worships.

And he, who is the typical sophisti-
cated man of today, the romancer who
is a romancer without being a vampire,
is, about his sister, unquestionably the
most solicitous being I've ever seen.

Miss Kerry is eighteen and beautiful,
tho one of those rare flowers whose
petals have as yet to be singed by the
bright lights. Norm says that he's glad
she's not what is generally known as
"sophisticated."

"I'm afraid it's a very great drawback
these da)fS," he remarked, "altho I
wouldn't have sis any other way for
worlds. A fellow, when he only has one
little sister, places his every hope in her.
He wants her to be like his mother.
What he himself does, affects him alone;
it must never reflect upon others."

In 1910 Kerry had an appointment to
Annapolis. Somehow or other, he
changed his mind about being a naval
officer and enrolled in St. John's College,
the arts and science branch of the Uni-
versity of Maryland, to learn about the
world.

But college got on his nerves. He,
like many other young progressives have
found, discovered that one today lives
in a commercial era that has swept away
the dust of ancient Rome and Greece ;
that has put the practical note into af-
fairs of education. In fact, Kerry says
that to him a worldly education was
worth twice that gleaned from fifty-
seven varieties of 'ologies and 'onomies.

He became associated with his father
in the cattle business and journeyed to
Latin America to purchase hides and
beef. Later he returned to this country
and rode the range in the West. It was
there that he met Art Acord, with whom
he eventually journeyed to Los Angeles,
where he became a salesman of anything
from real estate to cuff-links.

One day, two years ago, he journeyed to
the Brunton studio to sell Paul Eng-
strum, one of the proprietors, some paint.
As he walked across the lot he was ac-
costed by a casting director. Bessie
Barriscale's leading man, it seemed,
had suddenly become temperamental and
"walked off the set" while the company
was "shooting" a nearby park. Blonde
Bessie, stranded, had sent in an S. O. S.
for a leading man. The casting director
liked Norm's looks, dragged him into the
office, and fifteen minutes later Kerry
was in a company car, speeding to Grif-
fith Park and wondering what all that
writing in a contract meant.

{Continued on page 70)

(Sixty-eight)

Mabel Normand

in "Pinto"

A rag and a bone and a pair of
leather "chaps" seem to have all
those old chaps hypnotized. Mabel
is surely an old man's darling; but
then, we don't notice that any
younk men are indifferent to her
charms, either.

I do not hesitate to recommend
Ingram's Milkweed Cream and
Velveola Souveraine to all my
friends. They should have a per-
manent place on every woman's
dressing table.

tt}dJ(lf^-^

InaiUm's

Milkweed

Cfeatit

Youth, the springtime of a woman's life, should be made beautiful,
and its beauty carried forward into middle age. Every woman
owes this to herself, and to her family; and every woman knows that
beauty does not walk hand in hand with a rough or blotchy skin.

Ingram's Milkweed Cream is the only therapeutic face cream. It
works easily into the tiny skin cells, healing, cleansing and soften-
ing the tissues. Used regularly, night and morning, it develops a
healthy, attractive skin.

Start using it at once — today.

In 50c or $1.00 Size

Ingram's

/clveola,
'Souveraine

FACE POWDER

A complexion powder especially distinguish-
ed by the fact that it stays on. Furthermore
a powder of unexcelled delicacy of texture
and refinement of perfume. Four tints-
White, Pink. Flesh and Brunette— 50c.

Itigr'awLS
fHouge

'*Just to show a proper glow" use a touch
of Ingram's Rouge on the cheeks. A safe
preparation for deUcately heightening the
natural color. The coloring matter is not
absorbed by the skin. Delicately perfumed.
SoHd cake. Three shades— Light, Medium
and Dark— 50c.

FREDERICK F. INGRAM CO.

Established 1885

Foreign Diatributort
Africa, South: C. A. Bolus

Steytlers Bide-. JobaDuesbtirs

Trinidad: L. C. Wharton
San Fernando

Philippinea: F. A. Thompson

Cammercial Co.. Inc.
La Campana Bldg. , Maaila

Australia: T. W. Cotton, Pt?.. Ltd. Africa, British Eaat: A. Ambros* Smith Cbina: Mastard £ Co.

Melbourne Standard Bldg3. , Nairobi Shanghai

Canary Islands: Mendez Bros., VeirayClavijo 26 Lob Palmas, Santa Crozde la Palms

Coupon <^>

(Look for proper address at left)

I enclose 6 two cent stamps in return for
which send me your Guest Room Package
containing Ingrain's Milkweed Cream,
Rouge, Face Powder, Zodenta Tooth Pow-
der and Ingram's Perfume in Guest Room
sizes.

(Sixty-nine)

„ Jhe Glovy -^''
of\Beauty and
Health 1hr>u -^

Ircat yourself at home and obtain the
benefits of the I'lolcl Ray — now made
perfectly safe for self-treatment by this
Rcnulife Violet Ray High Frequency Gen-
rator. Proved in thousands of cases, a
practical health-promoting, beauty-bring-
ing, revitalizing agent — powerful in effects
—yet gentle, soothing and entirely safe
Learn just â– what you can do
for yourself with this mar-
\elous instrument. Liberal
Trial Plan enables you to
learn the benefits by actual
use. Write for full par-
ticulars.

TREATS
Successfully

Rheamatiam
Neuriti*
Lumbago
Chest PoinM
Catarrh
Headache
EarDiteoaes
Hardening of

Arteries
Wrinkles

Sbin Diseases
Falling Hair
Etc.. Etc.

rroatniviit Tor gcitera]
(J<;liillLy, iioiTousness.

1^

Inliitlns OTone. Fni
rotanli. (Ijriiot aiKl
Iiiiifs. Blorvelnua Id-
eal TMllItS Willi Rni
n»\ loiilc effeci

How Renulife
Benefits

Science has demonstrated a
strange relation between elec-
tricity and life cells. This in-
strument harnesses a tremendous
current and applies it in the
form of Violet Rays so that the
body welcomes and responds to
it in a remarkable manner — no
pain — shock or the slightest
harmful efTects. A few seconds
of Renulife Violet Ray gives
more benefit than hnurs of the
old time battery methods — bC'
cause a thousand times as much
voltage is made use of.
The Irresistible, revit&lizlng powers
of Itcnullfe Violet Kay reach ever?
nervo cell, fibre and part of body
Hlood Is enriched and purified by a
flood of oxygen giving added TilalUy
and Blrength. jXssliiillation and diges-
tion Improved — funcliona restored to
normal — extra supply of fresh blood
quickly brought to area treated, re-
moTliiK ronge<»Hon and supplyinu
nourishment. While relieving pains
and aches, the manifest results of
disorders, It removes the deep seated
eause; combines the beneflls of elec-
tricity, vibration, exercise, stimula-
tion and oxidation.

GET FREE BOOK

"Health Tia Violet Ray"

Ci?t the whole story of the Violet Bay
—tills method that works wlih nature
to restore and build up. Learn how
you, at home, can novv use the great
curative forces of Violet Itay — here-
rofore only available at big expense
from phy.'ildans or beauty doctors
Send postal card now and receive free
Ijonti describing uses, quoting low
prices (within the reach of all) and
explaining llheral Trial Plan.

RENULIFE ELECTRIC CO.. Idc.

1515 Mirqacltc BIdg., Del roil. Micfa.

Chicago Officr, Room (/O. ItS W. Madi»on St

Caoadian Rennlife Electric Co., Ltd.

1515 Netting BMg.. Wiodior, OdI.

Toronto fJffxit eis C P li. Dlda

Loweit Priced
Moat Effective

Violet Ray

For Home Uae

Llv» RBpretentatlves
write for lalet
proooaltlon

Scotch and Seltzer

(Continued from page 68)

Shortly afterward he joined the Brit-
ish forces, but was rejected because of
an injury received in training. Return-
ing to this country, lie recuperated and,
incidentally, made a few more pictures.
He then signed up for service with
Uncle Sam, and was on his way to Buf-
falo, N. Y., to report, when he met Con-
stance Talmadge on the train. The tank
corjjs, however, was mgre important than
the camera. He proceeded to his train-
ing camp and later was commissioned.
And then the war finished itself!

But, nevertheless, he was destined to
play opposite Connie Talmadge and,
when his contract expired, to be signed
by Alan Dwan as the star of May-
flower Corporation to play the handsome,
manly young engineer-hero of Richard
Harding Davis' "Soldiers of Fortune."

And, as an actor, Kerry is sadly lack-
ing in one attribute — conceit. Every-
body calls him Norm, and he refuses to
take himself seriously. For if you do,
he says, everybody else will take you
seriously ; if you dont, your mistakes are
going to be overlooked and )'Ou're going
to get bv. All of which makes the
movies for him more a pleasure than a
business.

"And you're cjuite sure that you wont
get married as soon as I get out of the
house ?" I queried, in parting, for I
know so man)' married actors and I've
personally viewed three contracts signed
by the weaker half of the family.

"Nope," he echoed. "Have another
drink? Good Scotch, this, eh?"

Absolutely ! And. as I have said be-
fore, the better the Scotch, the more apt
it is to find itself in seltzer.

BLEEDING HEARTS
By Faith Service

He sent no gift of roses . . . lover's greetings,
No lacy-patterned, verse-encircled token ;

Jnst this ... a tiny sheaf o' bleeding hearts
Because our hearts were broken.

He sent no flowering thing, nor joyous song,
He swore not that his love was true and blue ;

Tust bleeding hearts because his heart had bled,
Ah me, mine bleeds anew!

He sent no sweet confections, gaily ribboned,
No tender missive, things all lovers say;

But this ... a fpdcd sheaf o' bleeding hearts
On All -Hearts Dav.

THE MOVIE VILLAIN
By Ted Olson

Not of the chap with the rakish air

And the manner coaxing and debonair;

Nor yet of the ruffian of darkest dye

With the unshaved jaw and the lowering eye;

Nor still of him whose receding chin

Bears subtle witness to secret sin ;

Tho each is steeped to his eyes in crime,

For none of them do I weave this rime.

The villain of whom I tell is seen
Not in tlie light of the silver screen;
He's the one who stumbles in front of you,
Stamps on your feet and ruins your view,
Pours himself in the nearest chair, ^
Poisons with garlic the suffering air,
.^nd favors you and the rest of the crowd
By reading the titles half aloud.

MOTION PICTURE CLASSIC

ROMANCE
By Charlotte Becker

" 'Twas once upon a time'' and "Far awa>" —
What charm the worn, familiar phrases

hold
Of mystery and magic, and of old,

Enchanting places; courtiers brave and gay,

.\nd lovel\' ladies, sweet as budded Ma\',
Whose beauty and quaint graces manifold
May lift us one brief moment from the gold

And clamor of the world's drab workaday.

Again we tread romance's fair domains.

Thru pathways sweet with rose and lavender.

Led by the fragrance faded memories stir.
Back to the glamour of the leafy lanes

And gardens hedged with patterned box and
lime

Of "Far away," and "Once upon a time."

WHENE'ER YOU SING
By Walter Pulitzer

A thousand fancies come and go,
Rare orchids 'mid the daisies grow.
Sweet voices ring across the snow.
Or seas sob in their ebb and flow —
W'hene'er you sing !

Blue mountains rear their crests on high.
Kings sit alone 'midst revelry,
Palms pierce the forest to the sky.
Processions, torch-lit, pass me by —
Whene'er you sing!

Life's sordid cares of cv'ry day
Are overpowered and shut away.
All unrestrained the fancies play
From glad to sad, from sad to gay —
Whene'er you sing 1

But I mu.st add, O maiden, fair ! —
My views your father does not share.
The room he'll leave, the door he'll slam

And right out loud he'll swear, "Oh, d

W'hene'er you sing !

DIRGE
By Faith Service

Out of my broken heart I'll make a song.
Aureate with psalmistry — blood-stained with

wrong —
Binding love's shattered limbs— cradling kvc's

head —
Closing love's muted mouth, stricken and red.

There where a sickly moon rides o'er her

dead.
There must I lay it low — love's crimsoned

head —
But on the Silversheet, memoried and dear —
Rises love flowering, homing, and near . . .

A REEL ROMANCE
By Minna Irving

I cannot sit at eventide

Beside the girl I love.
Or spoon with her while softly shines

The siher moon above.
I cannot take her for a spin,

Altho I own a car.
Or out to supper, or to hear

The latest opera star.

I see her almost every night,

Yet cannot press her lips,
Or tell her that her sparkling eyes

The brightest arcs eclipse.
I cannot ask her to be mine,

For lo ! -he little queen
Is a celebrated heroine

L'pon the movie screen.

But I'm in luck and would not change

My sweetheart of romance
For all the girls that ever led

A hapless chap a dance.
She's never not at home to me,

Tho every night I go,
And all I have to spend on her

Is a ticket to the show.

(Seventy)

I

A Room Full of Furniture

Send only $2.00 and we will ship you this handsome

6-piece library set. Only S2.00 down, then $2.90 a month,
or only $33^0 in all. A positively staggering value and ODC of the biggest
bargains we have ever offered. Look at the massive set, clip the coupon betow and have it
shipped on approval. Then see for yourself what a beautiful eet it is. If you do not like it.
return it in 80 days and we will return your money. All you have to do is to send the CODPOO
with$2 00. This magrniflcent library set is not shown in our regular catalog. Thevalueisso
wonderful and the demand BO great that there aren't enough to go around, so send today —
sure. Either have set sent for you to see.ortellustomai) catalog.

This eaperb six-piece library Bet is made of selected Bolid oak throaghoat, finished in rich dall waxed, bronn
famed oak. Large arm rocker and arm chair are S6 inches higb, seats 19x19 inches. Sewing rocker and reception
chair are 36 inches higb, seats 17 x 17 inches. All four pieces are padded, seats upholstered in brown imitation
Spanish leather. Library table has 24 x 34 inch top, with roomy magazine shelf below, and beautifully designed

ends. Jardiniere stand measures 17 inches high, with 12 inch toD. Clip the coupon below, and send ii to ua with t'JJ)0, and we will ship the entire

six pieces, subject to your approval. No C> 0> O* Shipped knocked down so >s to eave yoo as mnch as one-half of the freight charges.

Easy to set op Shipping weight about 176 Doondf. Ord«r byNo. BItTlA. S«nd $2^ cash with erdars $3.90 monthly* Pric* 932.90*

No discount for cash. ■« *•

Act Now— While This Special Offer Lasts

6 Pieces

^1 ■■«■■■ ■■■■■■«■■■■■•

Don't wait a day longer. Sit down today and send in the coupon for this 6-piece fumed Solid Oak Library

Set. For a limited time only we are able to offer you this Btupendoosbargrain. Prices, as you know, on everything are A

goin^ up, up, up. It is impossible to tell just what day it will be necessary forus to increase the priceof this wonderful 4^ _ T * I ^

fumed Solid Oak Library Set. So act, but act quick. Fill out the coiioon andj;end it to us veith theflrst smallpayment ^ rrGG IflSl vOUDOII

Straus & Scfiram

and we will ship you this wonderful O-piece fumed Solid Oak Library Set. Pieces not eold separately.

Easy Payments! SendThisCoUDOn /

Onpn on ar-mnnf nrifh iio 'W^ friicf hnnpcf n^nnl^ nn * ^ ..'.i.

/

Dept.

Open an account with us. We trust honest people, no
matter where you live. Send for this wonderful bargain shown
above or choose from our bijr catalog. One price to all cash or
credit. No discount for cash. Not one penn^ extra for credit.
Do not ask for a special cash price. We cannot offer any discount
from these sensational prices. No C. O. D.

30 Days Trial

Our guarantee protects
you. If not perfectly satis-
fied, return the article at
our expense within 30 days
and get your money back
— also any freiftht you paid.
Could any offer be fairer?

Free Bargain Catalog

Send for it. Shows thousands
of bargains in furniture, jewelry,
carpets, rugs, curlains, silver-
ware. stoveSf porch and lawn
furniture, women's, men's and
children'^ wearing apparel. Send
the coupon today.

Aloncr with $2.00 to
us now. Have this fine
library set shipped on 30
days' trial. We will also
send our big Bargain
Catalog listing thousands of
amazing bargains. Only a
small flrst payment and balance
in monthly payments for ^
anything you want. Send
the coupon today.

/

tlsad 6-piace Pnmed Ook Libru-v Solte.
_ m to.taSTQ SO days' free trial. If I keep Om
-_ joite. I will pay yoa t2.90 moDthlr. If no

Mf •atlaQed, I ud to return the suit« within 80 davg

r •nd FoD «r« to rafund my mooey aod any frelsa
efaarKSB I paid.

D 6-Pi«e LilirarT Se^ No. B597IA.

t32.90.

,y

SI.
R.F.D.
or Box ilo..

STRAUS & SCHRAM

Dept. 1 'J.'
W. 3Sth Street

CHICAGO, ILL.

Ofie» Staf

It you ONLY want cataloc put X >n proper box balaw
—, D Furniture, stoves and Jawelry

O Man'*. Wamtn't ind Chlldran'a clot.llnx

(Seventii-one)

That Would Buy
100 Dishes

Of Supreme Food — Quaker Oats

Consider that — the steak for an average family meal would serve 100
dishes of the food of foods.

Quaker Oats costs one cent per large dish. One egg would buy five
dishes. One chop would buy twelve dishes, based on prices at this writing.

You can serve ten breakfasts of Quaker Oats for about the cost of
serving one with meat or eggs or fish.

Saves 90 ^/c on Your Breakfast

But the true way to measure foods is by nutrition. The calory — the energy unit —
is used for this comparison.

Quaker Oats yield 1810 calories per pound, while round steak yields 890 and
eggs 635.

This is the cost per 1000 calories in some necessary foods at this writing:

So Quaker Oats, compared with
average meat foods, saves some 90 per
cent on a breakfast.

And the oat is the supreme food.
It is almost the ideal food in balance
and completeness.

It is rich in elements which growing
children need. As a vim-food it has
age-old fame.

Make Quaker Oats your basic breakfast. Start the day well-fed. Use this
saving to bnng your average food cost down.

Cost Per 1000 Calories

Quaker Oats

SVic

Average Meats

45c

Average Fish

50c

Hen's Eggs

70c

Vegetables

lie to 75c

Flaked from Queen Grains Only

Serve Quaker Oats for its delightful flavor. It is flaked from queen grains only —
just the rich, plump, flavory oats. We get but ten pounds from a bushel. Yet it
costs no extra price.

15c and 35c per Package

Except in the Far We»t and South

Packed in Sealed Round Packages with Removable Cover

MOTION PICTURE

The Little Shepherd of Kingdom
Come

{Continued from page 32)

with wild schemes. If it meant the over-
turning of the world, the reaching up to
pluck stars down from the sky, she
would gladly do her best for the sake of
bringing the light back to his eyes.

Of course. Major Buford discovered
the runaway after a search, tho the seek-
ing took several weeks, and, of course,
he insisted that he should come back to
Lexington with him. ''Hold up your
head, my boy ! Show 'em you dont care
a damn what anybody thinks !" he roared.
"By gad, I thought you had more spirit !"
But secretly he rejoiced in his proud old
heart at the boy's stubborn pride.

It took argument to overcome it. It
took Caleb's reinforcements, Melissa's
pleading. But perhaps more potent than
any of these things was the unseen urging
of a sunny-haired vision in a black velvet
riding-habit, who seemed to whisper ear-
nestly, "Chad, come back ! We'll go
riding again together. Wait and see !"

So Chad once again turned his face
from the mountains to the Valley of
Disillusion, but before he went he kist
Melissa good-by — kist her as he might
have kist his mother, with frank, boyisli
lips, careless and passionless. "You've
been moughty good to me, M'liss. I
reckon I wont forget it, ever," he said.
She held his head a moment between her
small, hard hands and looked in his eyes.
Hope had rekindled the fires of his
youth, and they flared high and splendid
— torches of a conqueror.

"Good-by, Chad," said Melissa, and
smiled so that he would not know her
agony. "Good-by, boy."

Again she thought, watching him go
into the morning distance, "I shall never
see him again."

Yet you were wrong, M'liss — once
more^once more

In the valley time passed on winged
feet, the time it takes to make a boy into
a man, to make a gold-haired girl into a
woman. The major adopted Chad
legally. He was as proud of him as he
was of his own name, and that is saying
much. For, to the major, birth was the
only necessary virtue, not to be a gentle-
man the only unforgivable sin. Some-
times he would stand long beside Chad's
bed and look down into the lean, cleanly
cut face, with its hollowed temples and
proud lips, with faded, questing old eyes.

"The Buford chin," he would mutter
irritably, "and the Davidson nose.
There's blood in you, boy — blood, and
I'm damned if I dont believe it's Buford
blood, too ! Chadwick Buford was a
rover and a waster, but he was a gentle-
man, and 3'ou're a gentleman's son."

But he never spoke of this to Chad.
Indeed, he did everything possible to
make the boy proud of his ancestorless
state. "Every line has a beginning," he
told him, tartly. "You shall found a line,
my boy — a line of Bu fords and gentle-
men."

The kindly forgetfulness of time had
dimmed Chad's ofifense of birth in the

(Seventy-two)

I CLASSIC

eves of the Deans. When he returned
liome from college, tall, slimly built and
handsome in a dark, grave, eager fashion,
Mr. Dean himself unbent far enough to
call upon him and publicly invite him to
his home. The Dean boys, noisy young
blades of his years, greeted him with the
careless democracy of youth, and Mar-
garet, grown straight and slim as a
candle with a flame of gold above her
vivid, flashing face, danced and rode
with him as she danced and rode with
the young Olivers and Carters and
Blackburns, and the dandified youths
from Richmond who came to visit at her
father's house.

"She's good to me because she just
cant help being good to everybody,"
Chad said, quietly, to the major. "I
hope I'm not quite such a cad as to take
any hopes from that, sir."

"Pooh !" snorted the major, grandly,
bristling, as he always did, like an old
turkey cock when anything concerning
Chad's desirability came in question.
"Pooh ! Dont be so damn humble ! I
hate humble men. Believe in yourself!
If you do that you're fit to marry a prin-
cess of the blood ! Pooh ! The girl's no
fool ! Dont treat her like one."

But Chad shook his dark head gravely
and turned the subject. He was put to
it these days to keep Margaret Dean's
dazzling face, the light, crisp rustle of
her garments, the scent of her, diffused
by every movement, the need of her out
of his thoughts, as a man of honor
should, who had nothing to offer her but
a borrowed name. Youth was hot in
him, aching, tormenting, giving him no
peace. He grew a bit thin, more than a
bit white and worn with the struggle
those days, and the old major was
anxious.

"By gad ! There's spirit for you !
Eating his damfool heart out for that
girl and she'd fall into his arms if he
asked her! But he wont ask, confound
his devilish pride — he'll die before he
asks her ! Still something must be done
— cant have the boy wasting to a shadder
before my face and eyes."

So the major, muttering, puffing with
the pride that was in him. What it was
that must be done he did not say, and, in
fact, could not guess. Certainly nothing
was further from his thoughts than what
did happen. One day in early autumn,
Chad Buford strode into the house, with
thunderous face, and flung his riding-
crop upon the table. His voice when he
spoke to his guardian was high and
shaking like that of a man at the break-
ing point of nerves.

"I'm going away, sir — to China — Egypt
— Bombay — anywhere so long as it's far
enough !" he cried, and rested his fore-
head on his arms, folded upon the
mantel. "I've got to go — if it isn't

already too late "

"And by that, Chad?" asked the major,

very softly. "By that you mean "

"I mean," said Chad, in a stifled voice,
"if I haven't already made her love me —
mc — a beggar from Nowhere ! But it all
happened so quickly." He groaned and
shook from head to foot. "Her horse

(Seventy-three)

A Woman's Smile

Should Reveal Glossy Teeth

All Statements JipproVed by High Denial Auihoriiies

/..

It is Film That
Clouds Them

That slimy film which you feel
on your teeth is the cause of most
tooth troubles.

It clings to the teeth, enters
crevices and stays. The tooth
brush does not end it. The
ordinary tooth paste does not dis-
solve it. So it continues to mar
the beauty and to wreck the teeth.

That film is what discolors — not
the teeth. 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.

That film is the teeth's great
enemy. So dental science has for
years sought a way to end it.
Now an efficient film combatant
has been found. It has been
proved by careful tests. And now
leading dentists all over America
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Supplied to All
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For home use this method is em-
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Pepsodent is based on pepsin,
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then to day by day combat it.

This method long seemed im-
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Able authorities have made
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Pepsodent does.

Compare the results with the
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change in ten days. Then decide
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The New-Day Dentifrice

Now advised by leading dentists everywhere

See What It Does

Send this coupon for the 10-
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THE PEPSODENT COMPANY,

Dept. 98, U04 S. Wabash Ave., Chicago, 111.
Mail 10-Day Tube of Pepsodent to

Name. . .
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e^^'^

Your Skin

-TT^th^r-

\-^ May Become Several ^-V

'X Shades Darker in a Day ^

— can grow sallow, faded and
dingy before you realize it.

Correct this condition in
time. Use the cream that has
been especially prepared for
the sallow skin.

Whitening Cream — one of the
"Seven Marinello Creams" — pene-
trates to the deeper layers of the skin,
where the coloring matter is located,
and effectively removes sallowness.
restoring the rosy glow of youth to
the complexion.

85S=

— there is real satisfaction in knowing that your
hosiery is of the dependable kind — a lot of pleasure
in wearing it.

"Best Knit" Hosiery meets the requirements of the
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"Best Knit" always fits as if made to measure. It
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Made in a full
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in popular
weights and
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cashmere, lisle,
silk plaited,
silk lisle, silk
and wool.
Your store can
supply you. If
not. write us.
Milwaukee
Hosiery Com-
pany, Milwau-
kee, Wis.

&=

MOTION PICTURE CLASSIC

shied and bolted. I followed and stopped
him. It had been a close shave, and 1
suppose I was a bit off my head — before
I knew what was happening I — I had her

in my arms, sir ! Oh, cad — cad "

"And then," said the major, with deep
satisfaction. "I hope you asked her to
marry you,"

Chad laughed uglily. "I ? Ask that
paragon among women to marry mc? A
shepherd of the hills born under the bar
sinister? No, sir, I begged her pardon
on my knees. I told her that I loved her,
but could not ask her to marry me and
throw her life away — I told her — a gond

many things •"

Silence while the fire snapped rosily.
Then spoke the major, dully, "So you'd
go away and leave the old man alone?
Chad boy, there's a better way. Wait a
l)it — the papers are uneasy. There may
be a war, and then the South will need
)0U. Wait, Chad. Things have a way
of working out. Give them a chance."

"It -would take more than a chance to
work my life out as I would have it,"
said the lover, wearily ; "it would take a
miracle. But — I will wait a little." 4
It was the miracle that happened. As
they spoke the bell rang, and presently
the negro butler ushered in a vision, all
blue velvet hood and swansdown cloak
and golden, fluttering curls, a vision that
stood trembling and bhishing on the
threshold, looking from one amazed man
to the other, a vision that presently
rustled forward and into a seat by the
tire, which immediately became a throne.
"You are not — very cordial to vis-
itors !" murmured the newcomer, plain-
tively, with an upward glance that made
Chad clutch at the mantel. "But per-
haps when you hear what I have to say
you will ask me to take off my things
and pour the tea. Chad, a very strange
thing has happened, so strange thatit
seems almost a dream. Today, just after
I got home, a girl — or perhaps she was a
woman, at least she was dreadfully thin
and sick-looking, and so strangely dressed
— came to the house and asked for me.
'Air )'OU-all Margaret?' she asked me,
looking at me with such big, mournful
eyes, 'Chad Buford's Margaret?' And
then she began to laugh and cry at the
same time, and all the time looking at me
with those great eyes. 'Yes, I'd know
you anywhar,' she said, 'even if I hadn't
seen you riding with him.' And then she
told me why she had come, Chad — it was
to bring me these."

The boy, for he was hardly more, took
the worn, soiled papers she handed him,
dazedly, held them to the firelight, and
the room rang to his cry. "A marriage
certificate — my mother's and my fath-
er's I" He seemed to grow taller there
before them all. "Mary Miles and
Chadwick Buford, Gentleman I That is
my name, then — I have a right to thai
name I"

The vision pouted, sighed. "And what
about me?" it asked, in a small, meek
tone. "Haven't I got a right to it, too,
Chad? Oh, before I'd be so stingy with
my old name !"

{Continued on page 80)

(Seventy-four)

BEWARE OF THE LITTLE FLAWS
THAT MAKE ONE HOMELY

It is so easy to let your s\in acquire had traits

A LITTLE roughness, a little sliine, a
little cloudiness of skin, and one's
looks are gone! It is so easy, too, to let
your skin acquire these bad little traits
unless you know just how to avoid them.
Wind and cold whip the moisture out
of your skin — leave it dry and tense.
Then follow roughening and chapping.
Skin specialists say that one can protect

Before you powder, take a hit of Pond's
Vanishing Cream and rub it lightly into
the skin. At once it disappears, leaving
your skin softened. Now powder as usual
and don't think of it again. The powder
will stay on two or three times as long as
ever before. There is not a bit of oil m
Pond's Vanishing Cream, so it cannot
reappear in a miserable glisten.

WHEN your face is tense from a
long, hard day, yet you want to
"look beautiful," remember that th.e cool,
fragrant touch of Pond's Vanishing Cream
smoothed over the face and neck, will
instantly bring it new freshness. Do this
before you go to a dance.

BEWARE of allowing your skin to
cloud up and lose its clearness. When
this happens, it is because minute parti-
cles of dust have worked their way too
deep into the pores to be removed by
ordinary bathing. It takes a cold cream
with a good oil base to remove this
deeply lodged dust.

Before you go to bed and whenever
you have been especially exposed to dust,
rub Pond's Cold Cream into the pores of

.-^ rotich of Pond's
I'ttntshiiig Cream be-
fore going to a dance
gines your skin new
transparency

the skin by applying a softening and
soothing cream always before venturing
out. Never omit this.

Of course, you can't apply a <-o/</ cream
before going out. It makes your face too
oily. Lightly touch your face and hands
with Pond's Vanishing Cream, which is
made precisely for this daytime and eve-
ning use. This leaves your face smooth
and protects it from the weather. Do
this every time you go out.

DOES the powder keep coming off
your face, leaving you all shiny and
embarrassed?

MAIL THIS COUPON TODAY

POND'S EXTRACT CO..I3;-MHudson Si., New York
Please send me. /ree, the heme checked :

I I A free eample of Pond's Vsnishing Cream

I 1 A free sample of Pond's Cold Cream

Instead o( the (ree samples, I desire the larger samples

checked below, for which 1 enclose the required amount:

I I A 5c sample of Pond's Vanishing Cream

[_] A Sc sample of Pond's Cold Cream

Name

Street

City State

One little bedtime
ditty that no wise
woman forgets is
the cleansing with
Pond's Cold
Cream

PON DS

Coid Cream fer*
^antshtno Cream

unt)

One tvith an oil base and one without any oil

Even though you are tii
you can make your complex-
ion especially lovely at ^
moment's notice

the skin. Then wipe it off with a soft
cloth. You will say: "How co;(/<ysomuch
dust have gotten into my pores!" Do
this regularly and you will be rewarded
by a clear, fresh skin.

Why your skin needs two kinds of cream

Every skin needs two creams. Do
not forget that the cream which you
use for daytime and evening is es-
pecially made without oil so that it
cannot reappear in a shine. This is
Pond's f'anishing Cream. It can-
not make your face shiny even for
a moment. It is based on an in-
gredient prescribed by physicians
for its softening effect. Use it for
protection from cold, for a powder
foundation, for freshening the skin
at a moment's notice.

But for cleansing the skin and for
massage it is the cream with an oil
base which you need — Pond's Cold
Cream. Use it nightly before re-
tiring, and whenever you have been
exposed to dust and dirt.

Neither cream will encourage the
growth of hair on the face.

Stop at the drug store or at any
department store and buy a jar or
a tube of each cream. See how much
it improves your skin.

Supreme in Tone!

EXAMINE the
Sonora criti-
cally. Study the
long-running motor,
the tone control at
the sound source,
the convenient en-
velope filing system,
the universal tube
for playing all makes
of disc records per-
fectly without extra
attachments, the im-
proved sound box,
the matchless curved
design lines of the
cabinet, etc., and
you'll see why
Sonora isunequalled.

Above all, Sonora's tone
quality is what has made
it famous, and for this it
received the highest score
at the Panama -Pacific
Exposition.

A superb line of standard
upright models and period
styles is available.

$60 to $1000

Sonora Phonograph
Sales Company, Inc.

GEORGE E. BltlGIITSOX, PrL«.

NEW YORK

DemonstratioH Salons

Fifth Avenue at 53rd Street

279 Broadway

Canadian Distributors:

I. MONTAGUES & CO.

Toronto

DEALERS EVERYWHERE

Sonora 13 licensed and
operates under BASIC
PATENTS of the
phonograph industry,

'J/teTfig/test Glass Jalkinq
^ac/rinein t/iejforld-

LOVE AND LUCRE
By L.\ TouCHE Hancock

(.\n advertisement has appeared in a d

paper, in which a poet says he will w

love verses for One Dollar.)
The maiden gazed with pensive eyes

To where the stars were blinking;
She did not notice that the moon

Was positively winking !
For she was lost in Lethe's stream —

In plain prose, she was thinking
Of all th' into.xicating draughts

Of love her soul was drinking!
The paper clasped within her hand

Had verses written on it.
Full of her raptured lover's vows,

And, as the moonbeams shone, it
Seemed just as if the rays were sent

To let the maiden con it ;
And so again, and yet again

She read his precious sonnet !
"Ah I how my sweetheart's passion burns !

She cri.'d. "Yes. now I know it.
Here every sentence speaks his love.

Just as his actions show it!"
But Venus sighed, and Cupid grinned,

.^nd Eros cried, "Oh, blow it!
'Twas written for a dollar by

That advertising poet."

BALLADE OF PROFITEERS
By Charlotte Becker

Mike gets two dollars every hour

For helping with the cows and hay ;
And, grinning as worn housewives cower,

.Amanda's asking five a day.
Pat's coining untold wealth, they say,

At jobbing with a wrench and screw;
The garbage men for ta-xis pay —

But what is left for me and you?

The peas and beans and eggs and flour

Whose prices cause our souls dismay,
Bestow upon the grocer dower

For limousines and gems' array.
And, if objections we betray

Anent the butcher's bill for stew,
Tlien his "Not givin' it away" —

But what is left for me and you?

Warm frocks of wool or velvet tower

Above our possible survey,
And furs! 'Twould make old Croesus sour

Had he such mandates to obey.
Bricklayers' wives may still be gay

And in their garb of latest hue
Adorn the restaurant or play —

But what is left for me and you?

To drive a moving-van or dray,

And earn a goodly revenue
So we our daily needs allay —

Is all that's left for me and youl

HUMORS OF AMERICAN TRAVEL
By Walter Pulitzer

The agent of a well-known insurance corn-
pany in New York was on his way to Chi-
cago, and the train stopping at one of the
wayside stations, he got out for refreshments.
Walking up to a porter he asked:

"Will my bag be safe here?"

"Sure, if you'll put a card on it," replied
the darkey.

The traveller himted thru his pockets for
a card with his name on it, but without
.success. But he found an old pack of play-
ing cards, and scribbling his name across one
of them, he laid it on the bag. . . . Coming
back from the refreshment room he found
his bag missing. _

"Porter, some one has taken my bag! he
cried.

The porter chuckled. "Say, mister, that
was cert'nly a foolish thing you did."

"Why, what did I do?"

"You laid a King of Hearts on that bag
and a chap just come uphere and put an ace
on it and took it away!"

Moral: Always carry a card-case with you.

Be!)niracfe

"t^ Ewrij

'Momtins
'Depilatory

£\€moves Hair

Immediately — safely

ONLY a chemist should mix a
depilatory, then it is sure to
be safe. Unlike pastes and powders
which must be mixed by the user,
DeMiracleisa Hquid just the right strength
for instant use. It never deteriorates.
DeMiracle is more economical because
there is no waste. It is the quickest, most
cleanly and simple to apply.

To devitalize hair you must use
DeMiracle. Being a liquid it permits ab-
sorption. Therefore it is totally different.
It attacks hair under the skin as well as on
the skin which is the only common-sense
way to remove it from face, neck, arms,
underarms or limbs.

Only the original sanitary liquid
DeMiracle has a money-back guarantee
in each package.

Three sizes: 60c, $1.00. $2.00

At all toilet counter*, or direct from iia
in plain tcrapper, on receipt of 6Sc,
$1.04 or $2.0B, tchiclt incluJca wartax.

Dc^irae^

Depl. C-28, Park Atc. and 129lh Si., N. Y. C.

REDUCE YOUR FLESH

Bolt Redacer, Price $6.00
Cldii Reducer. Price $2.50

Exactly where desired by
wearing

DR. WALTER'S

Famous Medicated
Reducing

Rubber Garments

For Men and Womtn

Cover the entire body or
any part. Endorsed by leading
physicians. Send for illus-
trated Booklet.
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353 Fifth Avenue New York

Bllliiiga BuUding, 4th Floor

Em. on 341U St., 3d Door Kaai

Pacific V*»i»l Jicprenenialive: Attelo

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STRAIGHTEN YOUR TOES
BANISH THAT BUN ION

y^nk^ ACFIFLD'S

n Perfection Toe Spring j

iTllfary nppliftnea

I Rennoves the Actual Cause |^^^

of the cnlnrKei) joint nnd bunion. Sent on
noproval. Money bncli If not ns repre»Bnled.
'(rnd nolKneof foot. Uno my Improicd Instep |
I Support for weak orcho*.

Fiilt parliculart and advic4 frat

I C. R. ACFIELD, fool Specialliw. (f5t I90O I
t Out SZO, 1328 Bnadwiv (it3SUi StriBl) Nn Yofk â– 

(Seventy-six)

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Only long fibre specially selected yarns are

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The fitted waistline is offset with a contrastingcolor, run through
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lOOl Other Styles

Prices Like Memories in

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This sweater is just a sample of my other values in coats,

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Everything a Woman Wears

Sent Prepaid On Approval

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Style— Price and Credit— Take Many Months to Pay

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I do away with all extravagances, I never have left-over
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Baby Needs
Children's
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Ladies'

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MOTION PICTURE CLASSIC

Pell of Pell Manor

{Continued from page 37)

bloom. Oriental pergolas, quaint pagoda-
shaped bird-houses, stone storks and
fantastically cut shrubbery. At one end
of the garden a hill rose steeply, and
this, Mr. Trenton pointed out, was built
by the studio carpenters, in tiers like the
seats of a circus, and covered with green
shavings to simulate grass. To the
camera's eye the illusion was perfect.
There was not an inch of the magic gar-
den that did not look as if it had been
born and educated in Japan.

We sat down in the bamboo pergola,
and Mr. Trenton talked about his work
on stage and screen.

"I really started in to be a lawyer," he
said, "but just as I was ready to take
my examinations I took a notion that I
would rather be an actor. Perhaps if I
had had a great deal of trouble getting
started my ardor would have been damp-
ened, but as it was, I got a bit with Julia
Marlowe the first thing in 'The Goddess
of Reason.' I stayed with her company
until she married JNIr. Sothern, and after
that — well, I've had a checkered career.
I'xe played everything from the stern
father who shoves his erring daughter
out into the paper snowstorm to the
jealous husband in 'Parlor, Bedroom and
Bath,' which was, by the way, my last
stage appearance in New York. From
1910 to 1918 I played one hundred and
fifty leads in stock companies in Salt
Lake City, Bridgeport, New Haven and
New York, and I was a juvenile in Her-
bert Blache's compan)' — he is with Metro
now, v'ou know, and directed 'The Up-
lifters,' in which I played opposite Miss
Allison.''

Somehow we got around to talking
about the war.

"Oh, yes, I enlisted," he said, "but I
didn't get across — worse luck ! I was in
the officers' training camp at Palo Alto
when the war flix'vered. I think I would
have made a good soldier, too," he con-
tinued, a trifle wistfully. "It's in the
blood. All the Pells and Trentons have
been military men, and I am what mother
calls a 'double son' of the Revolution,
because two of my ancestors fought in
that war, one as a Tory and one as a
Colonial."

After being mustered out, Mr. Tren-
ton took up picture work once more, hav-
ing before his enlistment played witli
Mrs. \^ernon Castle in "Stranded in
Arcady" and with Clara Kimball Young I
in "The House of Glass."' Since the war
he has been with Metro, and has pla)'ed
opposite May Allison in "The Uplifters,"
"Fair and Wanner" and is now Viola
Dana's leading man for "The Willow
Tree."

Somewhere from the interior set an
authoritative voice was calling for
"Pell," and Pell responded in a tone
that was a little regretful — at least I
imagined that it was, and I hope I was
right.

"I wont detain you a minute longer." I
said, as we walked down the gravel path
{Continued on page 102)

(Sevenitj-eight)

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MOTION PICTURE

The Little Shepherd of Kingdom
Come

(Continued from page 74)
It wa.<; long after when they remem-
bered Melissa. ''She hunted for those
papers — all this time," Chad said, won-
deringly. "Poor M'liss! Dear M'lisst
Oh, we must find her."

But when they did find Melissa she
needed no thank's of theirs. Very still
and white and peaceful she lay on the
narrow bed in the hospital where she had
gone from Margaret's door, and once
again with the little shadowy, mysterious
smile on the lips, no longer hungry, Me-
lissa was beautiful. They gave her a
simple burial in the valley, for somehow
Margaret knew, being a woman, that
Melissa would have liked to be near
Chad.

It would have been followed by a wed-
ding, but on the very eve the smoulder-
ing fires of the quarrel between North
and South burst out in all their devas-
tating brightness, and Chadwick Buford
told his sweetheart, with white lips, that
he could not fight for the South and keep
his honor clean. "And now," he said,
wistfully, when she was done with futile
weeping and pleading, "now I suppose
you hate me, Margaret, and never wish
to see me again?"

"Never!" she flamed, small foot set
violently down; "never!" And then, as,
bowing, he turned to go, she whispered,
in a small voice, after him, "Oh, Chad !
Be careful — dont let them shoot }'ou !"

The major took the news as a man
takes a sentence of death. He seemed
to shrivel up before the young eyes that
pitied and yearned over him, to grovy, of
a sudden, very old and frail and tired.
"Go, then," the major said, in a panting
whisper. "Go. damn you ! I've raised a
traitor to my country!^ I hope I never
may see your face again."

He never did see it again. The war
was hardly a year old when the major
died. Just before, he sent for Margaret.
"Dont "be — too hard on the lad," he whis-
pered, difficultly. "Always— did what
he thought right — damn fool, of course"
— his voice grew weaker — "but — I'd
never have forgiven him — if he hadn't
fought as he thought. A thorobred— by

sjad, my dear — a gentleman "

And' so when a"t last the great wound
had begvin to heal and men were brothers
again "instead of enemies, Chadwick
Buford came home to the great empty
house which the major had willed to him,
in stiff, unforgiving phrases, and after a
week of self-flagellation he crossed the
vard, with its roses and laurel, and set
the brass knocker on the Deans' door
thundering. ;

In the drawing-room, a trifle shabby
now, as all the South was and would be
hereafter, he faced Margaret Dean, her
brightness hardly a little touched by the
four years of pain, tho her dress was of
an older style and mended cleverly.

"I have come back, Margaret," he said
slowly, searching the face that bafiled
him, "I have come back. Can you for-
(Continued on page 102)

(Eighty)

CLASSIC

Meet "The Frog"

(Continued from page 38)

the State Institution for the Deaf and
Dumb, in Colorado Springs. His mother
had always been interested in dramatics,
and even after her marriage she con-
tinued to direct and be stage manager of
all the entertainments given at the insti-
tution, and Lon was barely three when he
began appearing in charades and panto-
mime sketches.

At the age of twelve, he was property
boy at a local theater for twenty-five
cents a night. At eighteen he started
into the theatrical business in earnest and
with his brother, who was twenty-three,
he opened a stock musical comedy com-
pany, producing all the Gilbert and Sulli-
van operas. Lon played the comedy
roles and arranged the dancing acts, for
he had become a skillful dancer, tho
never having had a lesson.

They played the entire season at the
3rand Opera House, then toured the
State, after which they sold the company
to the leading tenor, and Mr. Chaney
continued with them as master of trans-
portation, wardrobe mistress and come-
dian, all for the enormous sum of twelve
dollars per week.

"Lots of high-sounding titles, but little
â–  money," he laughed. "But will you be-
lieve me when I tell you that I saved four
dollars every week?

"Tho I played in musical comedy for
years, I knew nothing of music and
couldn't sing a note, but a comedian has
much liberty in this line and can always
get by with reciting his songs and adding
a little dancing to the number. The only
dramatic role I ever played was Gaspard
in 'Chimes of Normandy.' "

About 1909, Mr. Chaney came to Los
Angeles and appeared in tabloid musical
comedy, later joining Ferris Hartman's
stock company, playing in a number of
such operas as "A Knight for a Day"
and "The Time, the Place and the Girl"
at the Lyceum Theater in Los Angeles.
Lon Chaney's next step was to become
the producer of Kolb and Dill, those
popular funmakers of the stage. He also
acted and danced in the plays. It was
while on tour that he met Lee Moran,
who, having identified himself with the
motion pictures a year or so before, was
enthusiastic over their possibilities, and
on his return to Los Angeles he called on
IMr. Moran at the studio.

"You can guess the remainder of the
story," IMr. Chaney went on. "I soon
succumbed, and my first work was with
Allen Curtis, at Universal, in a regular
slapstick comedy. Then I played a
strong character role, a hunchback fish-
erman, one of those rough exteriors but
witii a heart of gold, in a story written
by Jeanie MacPherson. Tho only a
two-reeler, it went big, while I made the
discovery that the screen was more in-
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back for worlds. This work affords a
broader scope, a chance for splendid
character acting, and I like the idea of
a different role with every picture.

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A WEEK

WRITING STORIES

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MOTION PICTURE

Mr, Chaney is a quiet, home-loving
man, ciioosiiig to spend his leisure in his
beautiful little bungalow in Hollywood
with his wife, a charming, vivacious
Italian woman, and his twelve-)'ear-old
son. His father and mother, and also a
brother, lately returned from overseas,
live nearby, and family reunions are
frequent.

Recalling that he had directed Jack
Kerrigan at one time, I asked Mr.
Chaney if he would like to give up acting
and take up the megaphone.

"Oh, no," was his quick response ; "I
like acting too well for that. An arrange-
ment that would suit me perfectl)' would
be co-directing and acting. My ambi-
tion is to become the greatest character
man and heavy on the screen.

"Every moment of human life is
drama, usually melodrama, gripping and
stirring. It is the story of struggle — the
fall and the regeneration, the quarrel and ,
the making up, light and shade, some- )
times a deeper shadow and a httle '
brighter light, but always interesting,
always vital.

"One must study to distinguish just
the .shadings between the rogue, or vil-
lain, and the hero, for after all, it is the i
mental viewpoint that counts, and itsl
subtle influence permeates the entire]
action."

As I listened to his words I realized]
that simplicity and sincerity, intensity)
and force were the qualities that have
made his characters true human beings,
and again I recalled his expressive face,
bravely smiling thru the tears, as he said
"Keep the big smile working overtime,"
in the climax of "The Miracle Man."

SONG OF THE TOILER

By Ethel Hope

Day after da}- I sit up in my dreary tenement^ ^

And hour by hour my nimble needle ply,

To earn the money only that it may again be I

spent —
There's rent to, pay and food and clothes to

buy.

'TIs oft that I grow weary of the dingy streets

and walls
And long for wind-swept fields and skies of

blue ;
While all my starved and yearning soul for

joy and beauty calls —
For once far fairer scenes than this I knew.

But yester-night I chanced to go to watch the

pictures play
In fleeting, fairy fashion on the screen.
I saw — I scarce believe it yet — the ocean foam

and spray
And stately ships that plowed their way be-

tween.

1 saw old-fashioned gardens quaint, where'
lilies tall and fair.

.And gorgeous poppies nodded in the sun;

I saw the guelder-roses bending in the sum-
mer air

Which blew away their petals, one by one.

The huge machines whir noisily; the room is
filled with din ;

Without, there is the ceaseless noise and
strife ;

But thru my happy memory a host of pic-
tures spin,

Where sea and ships and summer-time are
rife.

(Eighty-imo)

CLASSIC

STAGE EFFECTS
By Walter E. Mair

The little things that Mary says to me,
When we are sitting looking at the screen,

Somehow just make me wish that I might he
In charge of all the lights — and the machine.

I'd flash "Good Night," and let the fans de-
part.

And then a single lamp of rosy glow
I'd burn before a close-up of my heart

To show her, so she couldn't fail to know,

How. as the shadow-people went their way,
One vision only lingered to the end.

All bound 'round with my thoughts from day
to day,
A vision much too dear to just pretend!

And then I'd put — ah, yes, a question-mark
In softest tints I'd screen, while, tenderly.

As lights died down till all was still and dark,
I'd h.ive the organ breathe "Oh, Promise
Mel"

ANTICIPATION
By Barbara Hollis

In life's wide fields and wooded hills,
In deep ravine or plain.
They who have passed each other once
May some time meet again.

Thru life's long paths of mystery.
Of happiness and pain.
This is my prayer : Our lips have met —
God grant they meet again !

JOURNEY'S END
By Morrie Ryskind

"Love." said I. "I'm thru with j-ou forever:

You have mocked me with your promises long
enough 1

I liave followed strange roads when you com-
manded,

Strange roads . . .

Roads that beckoned, ever beckoned . . .

And at the trail's end, there rose the Mirage
of Happiness —

But it was only a mirage.

For the trail led to Nowhere."

And Love spake :

"It is true you have not found what you

sought,
But was the seeking the less joyous therefore?
Ah ! the clean, sweet dreams
That I alone can give . . .
Only dreams, it is true, but has Life
Anything better to offer?"

But I steeled my heart to his pleading.

And I said :

"Love is only a dream, and I would awaken

to Life!" . . .
And so I started on the Great Adventure
Alone.

And Life was worth the finding:
And I slew many dragons on the way.
And fought my battles with a stalwart

heart . . .
Sometimes I missed the phantasies of Love.
But mainly I was thrilled with the realities of

Life . . .
Often the Road I had chosen
Appeared to lose itself in many windings.
But ever it unwound itself.
Leading to Somewhere . . .
And I laughed, and was merry.
For the other roads
Had led to Nowhere . . .

So came I to the Ending of the Road,

And there— behold I —

Far more alluring than before

Was Love !

"So this." I laughed, "is the end of all I"
But Love smiled whimsically . . .
And so I knew
That it was only the beginning.

osmoN

iiJie^l

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is hereby made of the appointment of

Jlnnouncement

as official photographer of the

CHARLES R. ALBIN

1931 Broadway. New York City

MOTION PICTURE MAGAZINE
MOTION PICTURE CLASSIC
and SHADOWLAND

You Have a Beautiful Face

BUT YOUR NOSE?

IN this day and age attention to your appearance is an absolute necessity if you J^K^W
expect to make the most out of life. Not only should you wish to appear as m^M^^
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We are frequently able to place our Students
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The training we give enables students to secure
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COLUMBIA SCHOOL OF DRAFTING
Dipt. 1088. 14th ud T Sli., WubiivliiD, D. C.

Deformities
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IqcAo^ic vScvclopsCdicxm

This department is for information of general interest only. Those who desire answers by mail, or
a list of the film manufacturers, with addresses, must enclose a stamped, addressed envelope. Address
all inquiries to The Ansu'er Man, using separate sheets for matters intended for other departments of
this magazine. Each inquiry must contain the correct name and address of the inquirer at the end
of the letter, which will not be printed. At the top of the letter write the name you wish to appear.
Those desiring immediate replies or information requiring research, should enclose additional stamp or
other small fee; otherwise all inquiries must await their turn.

Ethf.l Clayton Forf,ver. — Greetings, friends,
and I hope we can get back on schedule time
from now on. I hope you will be patient with
me, and I'll do my best to make up for lost
time. There is no Triangle Film Co. —
at least they are not producing. Mildred Har-
ris Chaplin can be reached at Los Angeles,
Cal. No.

Ethel M. P.— Your first letter, is it? Well,
come often. Ralph Graves married? Nay,
nay! Yes, Dorothy Dalton is playing at the
Ccnturv Theater, New York City. Of course
Emily Stevens is still in the ring — she is play-
ing in "The Sacred Flame." Somehow or
other that girl likes fire.

Little Miss Zealandia. — Yes, and some of
the American people waste their lives as tho
they were going to have plenty of others to
utilize. Why, Tom Forman has signed a
contract with Lasky for four years. He's do-
ing some directing, too. No, child, I dont con-
ceal my age because I might receive mash
notes from admirers. I'm honest to goodness
79. Do write me again, enjoyed yours im-
mensely.

Warwick Admirer. — Right you are. Alice
Joyce is playing in "Slaves of Pride." Jack
Dempsey, the pugilist, is playing in the Pathe
serial, "Dead or Alive," produced in Los An-
geles. Of course, I live alone. You think I
ought to have a butler? They're not being
made any more. Butlers are like poets, thev
haA^e to be born that way, but when a child
is born nowadays, he is expected, to become
president — never a butler.

Alma Mata, — I'll do anything to help you.
Why dont you send a stamped addressed en-
velope for a list of the correspondence clubs?
Yes, Roscoe Arbuckle is with Lasky playing in
"The Round-Up." Edward Earle will play
leading part in "The Law of the Yukon," re-
leased thru Mayflower. Oh. I dont mind when
they complain. More people make complaints
than ever make a living. Sure, run in again.

Jennie. — You ask me why I raised a beard.
Well, it was this way, Jennie. The women
insisted upon sending me so many ties, in self-
defense I raised a beard. Now you have my
secret. No, you need cry no more, Eugene'
O'Brien is not married. Dorothy Davenport,
Mrs. Wallace Reid, is playing in "The Fight-
ing Chance" wnth Conrad Nagel and Anna
Nilsson. Los Angeles, of course.

Alma S. — So you have a new ermine scarf.
Fit for the queen, I'll say. Did you know
tliat ermine was nothing but the winter skin
of the common stoat. The animal turns white
in snow time, all but the very tip of its tail,
which remains black. Mabel Julienne Scott,
Tom Forman, Irving Cummings and Roscoe
Arbuckle all playing in "The Round-Up,"
directed by George Melford. I should say
that was some round-up — all-star cast, too.
So long. Alma.

DoMACO. — No. I never get angry. When I
feel it coming on, I count ten. That's a won-
derful joke of yours — you say a blotter is not
the real thing, it's just a take off. True, a
blotter does not blot — simply absorbs the
superfluous ink. Why, Jack Dempsey is living
in Fannie Ward's former home in Los An-

geles. Jack Sherrill will return to the stage
soon.

L. G.— Well Mary Pickford is 26, and Elsie
Ferguson — well, she sang in the chorus of
"Belle of New York'' twenty years back, so
which is older? Yes, Lionel Barrymore is
playing in "The Copperhead." a famous stage
play, for Paramount. Blanche Sweet in Bret
Harte's "Fighting Cressy."

Kewpie D. — You bet I like kewpies. I like
the "splash me kewpies." Sorry I haven't her
name. You probably read it in one of the
newspapers, there's only about 60,000 news-
papers in the world. Dolores Cassinelli is
playing in "The Web of Deceit." Leah Baird
in "The Capitol."

Frederick W. K. — You win. you win, my
error. You say I was all wrong when I said
"Neither Constance Talmadge nor Harrison
Ford are married." The verb should be singu-
lar. Thanks for the correction.

Eitance. — If you refer to the King and
Queen, they have returned to Belgium.

Norma Talmadge Lover. — Thank you for
your invitation to spend my vacation with yon
at Sparta, but since it is on the Erie R. R. I
cannot accept. The last time I rode on that
road I asked the man back of me a question.
He could not answer, but he said he had been
riding on that road all his life. I then sug-
gested he must have got on just before I did.
I dont see why they put cow-catchers on the
Erie engines. They ought to put them on the
rear car. There is not the slightest danger
of an Erie train ever overtaking a cow, but
what is to prevent a cow from walking in the
rear car and chewing somebody up? No,
thanks, anywhere but on the Erie for mine.
You want more about Norma Talmadge in
our magazines.

PoLLYANNA. — The explanation of the
phrase "mother tongue" is that, )at home,
father has nothing to say. 318 W. 48th St. is
Norma Talmadge's address. No, I have no
jokes about the telephone service. It's no joke,
believe me. Telephone service was furnished
to residences in the fall of 1879 and during that
year there were sixteen telephones in New
York City residences and five in Brooklyn resi-
dences. No, I didn't live in Brooklyn then,
I lived in hopes, and I had plenty of neigh-
bors.

Harry A. J. — No, Kathlyn Williams is play-
ing just the same. Bebe Daniels is in Los
Angeles, Cal.

VVallace L. — It isn't the way you look at
other girls that spoils you with your sweetheart,
but the way they dont look at her. Elsie
Ferguson born in New York, 1883. So you
have been floating around the Fort Lee
studios for eighteen months and cant get in.

Henry H. D.— It's on now. No, Gen.
Leonard Wood did not get across, but his
friends are now trying to put him over.

Helen P. G. — You refer to "The Canter-
bury Tales," written by the first great English
poet. Geoffrey Chaucer. You say the Stadium
High School is in Tacoma and not in Seattle,
and that Mildred Davis is from Tacoma. Nous
vcrrons.

{Continued on page 95)

{Eighty-four)

\

Shadows
Cast Before

Some seer with a far vision has said
that coming events cast their shadows
before. A Modern, especially an edi-
torial Modern, might well say that snch
is the case with coming Magazines —
they cast their shadows before. Shad-
OWLAND is just this— a COMING Maga-
zine. Shatowland docs just this. It
lives in the Today and it promises rich-
ly, artistically, colorfully, literarily for
Tomorrow. This is the Age of Prog-
ress and Shadowland is the many-
toned note striking, striving to strike,
the harmony of the Age, the ultra-per-
fect Chord.

Shadowland wishes to be in many
lives just that — a perfect chord. A per-
fect chord means a perfect blending o£
many things and that, again, is what
Shadowland aspires to. To something,
may we say, just a little bit finer, a
littie bit higher, a little bit more fraught
with dreams and dreaming than we, the
great Most of Us, get in our Little
Everyday. Like a Shadow it wills to
move in the trend of our daily lives yet
leaving a Substance behind.

There is no one of us who, conscious-
ly, subconsciously or unconsciously, does
not love and reach out for the color
nf things, the pulse of things, the
rh>thm of things. There is no one of
us who would not, if we could, 'broider
the drab cloth of the mundane with a
shimmering Thread of Gold. Perhaps,
being blest, with more than one shim-
mering thread. Shadowland would
like to be at least one of those shim-
mering threads.

It would like to be a simile to the
rainbow seen at the end of a grey day.

It would like to be as a song heard
faintly, clearly, by a weary heart.

It would like to induce a smile where
a tear had been before.

It would like to give an hour of for-
getfulness with the turning of its pages
where such forgetfulness might be
grateful balm.

It would like to be a friend, felt as a
friendly haiid.

It would like to be a light, a guide,
under no obscuring bushel of ad-
versity.

It would like to be and it aims to
be a bit of real beauty, intrinsic, like a
small glimpse of depthless blue seen
thru rifted clouds.

To this end it has striven and still
more mightily will strive.

It Avill strive for Color and for
Counsel.

It will strive for Wisdom and for
Wit.

And it has been writ in many a book
of the Ancients that to those among us
who mightily strive will be awarded the
green sprays of the young Laurel.

We of Shadowland ask for the
laurels of many friendships and the be-
liefs thereof!

Your Hair Needs Danderine

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hair. Your hair needs stimulating, beautifying "Danderine"
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Portraits of Your
Favorites

TWENTY-FOUR LEADING PLAYERS

\Vhat is home without pictures, especially of those one likes or admires? How
they brighten up bare walls and lend a touch of human sympathy, alike to the homes
of the rich and poor!

And what could better serve the purpose of decoration for the homes of motion
picture enthusiasts than portraits of the great film stars, who have become world-
wide famous?

The publishers of the two leading motion picture monthlies, the Motion Picture
Magazine and Motion Picture Classic, have accordingly prepared at great expense,
especially for their subscribers, an unusually fine set of portraits of twenty-four of
the leading players.

These portraits are 5^" x 8" in size, just right for framing, printed in rich brown
tones by rotogravure, a process especially adapted to portrait reproduction, and are
artistic, attractive and high-grade in every way.

You will like these portraits, and you will enjoy picking out your favorites. You will

delight in framing them to be hung where you and your friends may see them often.

These portraits are not for sale. They can be secured only by subscribing to the

Motion Picture Magazine or Motion Picture Classic for one year, and then they will

be sent free.

LIST OF SUBJECTS

Mary Pickford
Marguerite Clark
Douglas Fairbanks
Charlie Chaplin
William S. Hart
Wallace Reid
Pearl White
Anita Stewart

Theda Bara
Francis X. Bushman
Earle WilUams
William Farnum
Charles Ray
Norma Talmadge
Constance Talmadge
Mary Miles Minter

Clara Kimball Young
Ahce Joyce
Vivian Martin
Pauline Frederick
Billie Burke
Madge Kennedy
Elsie Ferguson
Tom Moore

You will want either the Magazine or Classic, or both, during the coming year.
Subscribe now and get a set of these portraits. It will cost you less for the magazine
than to buy them by the month at your dealer's. Send in your order today and we will
mail the portraits at once.

M. P. PUBLISHING CO.

175 Duffield St., Brooklyn, N. Y.

liiiiil

(Eiahtv-Uve)

pretty May Allison,
Metro star, is one of the
tiwst popular screen ac-
tresses to-day. Miss
Allison is a great Star
Electric Massage I'ibra-
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friends and followers.

says ^JSiCay Jlllison

WOU will find the Star Elec-
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sale in most drug, department

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case you are unable to get the

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The -woman of fastidious tastes,
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Electric massage is the active man's
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your choice to-day. Fitzgerald Mfg. Co., Dept. 216, Torrington, Conn.

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take a tittle cold cream,
rub it over your face — then
massage yourself with the
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MOTION PICTURE ^

The Ambitious iVliss Eddy

{Continued from pa-gc 55)

fulfilling her destiny, and not her destiny
alone, but the destiny of another Helen
Eddy, whose career in this incarnation
ended when hers began.

This Helen Eddy, at one time a fa-
mous teacher of elocution, was her
grandmother and constant companion
during the impressionable years of her
childhood. Helen's mother, (every one
calls Miss Eddy Helen), was very ill,
when the grandmotlier took the little
girl and brought her to California, so
her grandmother's influence was the first
and the strongest Helen ever knew. It
is with her today to an even greater
extent than when her grandmother lived.
So, while it impressed me as being
unusual, it was quite natural that she
should have asked me to write this story
about her grandmother.

The grandmother's favorite color was
lavender, and the color alone is enough
to bring back to Helen Eddy vivid
memories of days spent at Mission Inn,
at Riverside, California, when she was a
little girl. "This was," she said, "before
they raised the rent there." Of course, it
was a fashionable place, but not the pala-
tial resort that it is today. The first
reprimand she ever got was from her
grandmother, for whistling in the dining-
room of the Mission Inn.

"She was so very beautiful," said
Helen Eddy. "Her hair was white, soft
and waA'y, and her face was very sweet
and gentle. She had lost her voice. I
never knew her when she could talk
above a whisper, but that whisper was '
beautiful in tone. She read and recited
to me constantly. I knew 'The RJiyme
of the Ancient Mariner' before I was
seven years old. Among her pupils
was Margaret lUington — and Margaret
lUington was the first actress 'that I ever
met in person."

This was not until some years after
her grandmother died. Helen Eddy had
been going to a dramatic school in Los
Angeles for some years and appearing in
Los Angeles theaters occasionally, when
such appearances did not interfere with
her grammar school work. The first of
these appearances was at the Burbank
when she was about fourteen and was in
support of Margaret Illington.

"Grandmother knew Clara Morris
very well, and she used to give me read-
ings showing Miss Morris' conception of
many a famous role. She used to talk
to me of the history of the stage, too,
long before I was old enough to under-
stand."

So you see all of Helen Eddy's train-
ing was for the speaking stage and, tho
her work for the screen is always sincere
and conscientious, she is still looking for-
ward to the career originally planned.
She went on the screen by accident, any-
how, or at least it seemed that way. It
all happened when she was a high school
student at ^lanual Arts, a school that'
saw the early training of many another
moving picture player.

High school days gave Helen the de-

(Eighty-dx)

CLASSIC

sire to write plays as well as act in them.
She became the official stage director of
many a production. From writing plays
she began writing scenarios and from
writing scenarios she began trying to sell
them. It was in this way she met Cap-
tain Melville, head of the Lubin studios.
Captain Melville did not buy a scenario,
but her long training, first under her
grandmother and thep at a dramatic
school, had given her a bearing that he
recognized. She was a remarkable type,
he saw, a type that would either be a
great success or a flat failure. He of-
fered her a place with his company, not
as a scenario writer, but as an actress,
and she accepted. Her first picture was
"As the Twig Is Bent." This was in
San Diego. She remained there for si.x
months, playing a little bit of everything.
In Los Angeles again, she applied for
work with the Morosco Company. She
became George Beban's leading woman,
and in order to look more thoroly the
Italian, she bobbed her hair, to the very
great distress of her family. Her first
Beban picture was "Pasquale,'' followed
by "His Sweetheart," "The Marcellini
Millions," "The Cook of Canyon Camp"
and "One More American." Now she
is a free-lance, and so great is the call
for her services that she is frequently
compelled to make two pictures at once,
as when she did a heavy, tragic role
with Hayakawa mornings and broad
farce with Bryant Washburn afternoons.
She appeared in "The Man Beneath" and
"The Illustrious Prince" with Haya-
kawa. Her latest role is with Mary
Pickford in "Pollyanna."

The Farce University

{Continued from page 33)

Also why Miss Lake was only re-
cently playing opposite the rotund
"Fatty" Arbuckle.

Why Betty Compson was also aiding
the avoirdupois Arbuckle a few short
months ago.

Why Bebe Daniels stepped from Har-
old Lloyd to Cecil De Mille's studio.

And why Mary Thurinan deserted the
Sennett bathing squad for Art.

The Metro powers-that-be consider
Miss Lake the discovery of the screen
season. But before Miss Lake became a
foil for the heavy Mr. Arbuckle, she
had serious screen leanings. A Brooklyn
girl, she started at old Vitagraph. .After
that she was at Universal. Then came
her excursion into farce with Sennett,
Christie and Arbuckle, all of which ap-
parently brought her ability to a head.

Mary Thurman was just an unknown
bathing beauty on the Sennett beach
when a shrewd press agent "discovered"
that she was an all-round athlete. Then
Mary leaped into fame overnight. All
the time, however, she was obtaining
valuable training. Like every other mem-
ber of the Sennett seagoing squad, she
had dramatic leanings, and her farce ex-
perience seems to have started her well
on the road to success.

David Griffith took Clarine .Seymour
from Christie and Toto, (Pathe), come-
(Continued on page 102)

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Puffed Wheat and Puffed Rice arc not for breakfasts only. Serve
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These are bubble grains, airy, crisp and toasted, puffed to eight times
normal size. No other dainty in existence makes the milk dish so enticing.

Every Food Cell Blasted

Consider Puffed Wheat. Here is whole wheat made delightful, both
in texture and in taste.

LInder Prof. Anderson's process, every food cell is exploded.
Digestion is made easy and complete.

It supplies whole-wheat nutrition. It does not tax the stomach. It
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Serve as a breakfast dainty. Mix with your fruits. But don't forget
that Puffed Grains also form the ideal bedtime dish.

Puffed Grains are the greatest of grain
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Puffed Wheat Puffed Rice Corn Puffs

Also Puffed Rice Pancake Flour

A New Pancake Delight

Now we make a pancake flour mixed with ground
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Reel Realities

What is being done towards preserving
tlie motion picture records of our coun-
try's participation in the great war?

These priceless films should be placed
in some kind of national film repository,
probably in the Smithsonian Institute in
Washington, and measures made for the
preservation and renewal of these films
as long as may be possible. Steps have
already been taken along this line in
France and the idea has been taken up
in England. Indeed, the movement has
been given wide comment thruout British
film circles.

Preserving War Films

In each allied country much money
has been spent on commissioning painters
to record now historical battle scenes,
but little real effort seems to have been
made towards preserving the actual film
records of these events. Says the Lon-
don Kineinatograph anent the subject:

"Surely we do not want the American
film version of what occurred to be the
only record for posterity to see ! Even
if it were necessary to take fresh copies
of the films every few years, the expense
would be quite justified and more than
compensated by the money-earning value
of the films. There are many other films
which might be added to the National
Repository, notably the films of famous
people, living or dead, and the big his-
torical subjects, but for the moment we
are confining this inquiry to official war
films, the preservation of which it is nec-
essary to take prompt steps to insure.
On the general question, our view is that
the directors of the National Repository
would invite all producing companies to
present copies of worthy subjects for
presei-vation, and we are certain that all
producers would regard such an invita-
tion in the light of an honor. How much
time must elapse before we see the
National Film Repository founded?"

Public Questions on the Screen

Until the government recently asked
the film world to cooperate during the
war and again only recently in combat-
ing Bolshevik influences, the idea seemed
pretty thoroly rooted that the film should
not enter the field of public discussion.
The motion picture was an entertain-
ment, it was reasoned, and not a means
of public debate. Why?

As well rate the newspaper and maga-
zine as light reading and cast aside their
vast power to present and discuss cur-
rent questions.

The possibilities of the silversheet are
beyond our present horizon. But surely
the canvas will embrace things of vital
import to us today. The motion picture
can do more to explain, teach and de-
velop humanity than any other agent.
Consequently we disagree with the fa-
mous T. P. O'Connor when he says, at

a meeting of the British Kinema Com-
mission of Inquiry:

"We would not allow films showing a
dispute between capital and labor or se-
rious things like that. You see, a depart-
ment like ours, if we took these things
on, would have a very large and a very
delicate issue to decide, and we are not
anxious to add to our responsibilities.
We exist mainly, almost exclusively, for
the kinema theater alone, for the amuse-
ment of the public, and for the profit of
the proprietor or the owner of the film."
In other words, the kinema is a business,
not a debating circle.

Kinema Theaters in China

Albert Nachbaur states in the Chinese-
French Journal de Pekin that there are
only fifty-seven kinemas for the four
hundred million inhabitants of China.
And, he adds, it is not the patrons who
are lacking.

"The Chinaman, curious, artistic, and
a loiterer, adores the kinema ; but in
order to make it popular there must be
touring undertakings, a special wagon on
each of the principal railways." Weekly
shows could be held in the theaters and
halls. With regard to films, at present,
he states, Pathe and Gaumont are repre-
sented in China. "All the rest are
American."

Consider the vast possibilities in China
for Louis Selznick and his electric signs.

Foreign Film Activities

Pavlowa is now doing a film play in
Rome with Rimich, the Italian king of
the screen. Her entire ballet appears
with her. Reports from Spain, by the
way, indicate that Italian productions are
returning to favor there, supplanting
American photoplays. This is largely
because the Italian pictures are much
cheaper than our own.

Paris is about to see Griffith's "Broken
Blossoms" under the title of "Les Lys
Brises."

Restricting British Theater Building

The building of theaters in England
is about to be seriously restricted, at
least. The British Ministry of Health
will soon take steps to impose drastic
restrictions upon the building of kinema
theaters until the government housing
scheme has yielded more tangible results,
it is said. At the moment the cabinet is
considering whether it would not be ad-
visable to prohibit the erection of kinema
buildings altogether, for a definite period,
but the present indications are that the
less drastic course of imposing restric-
tions may be decided upon. It is impos-
sible to say more at the moment beyond
the fact that, if restrictions are decided
upon, these would operate under a sys-
tem of licenses. Such licenses would be
granted only in such districts where no
housing schemes are in progress.

(Eighty-eight)

i

MOTION PICTURE CLASSIC

Double Exposures

(Continued from page 58)
Big Dramatic Moments of Month_
Gloria Swanson's boudoir knee iri

"Male and Female."

Babe Daniels as Vice in "Every-

woman."

Mae Murray in "r)n with the Dance."

Louis Burston, prex of Burston Films,
Inc., announces that the motion picture
ranks next to the printing press in
moulding public opinion. Boy, page
Christopher Columbus !

Wanted
A successor to the term, "super-
feature." Wire any publicity depart-
ment, collect.

Our selection for screenland's beauty
brigade :

Bull Montana
Lon Chaney

One Pair Puttees, Prepaid
"What prize will you give to the first
director who omits a bathroom scene?"
asks a Classic reader.

While we are on the subject of popu-
lar trends in the celluloid plays, what
about the present striving for boudoir
daring after the fashion of the footlight
dramas? Listen to this announcement
of a Connie Talmadge production : "Just
naughty enough to be nice." In it Con-
nie wears, so the press agent declares, a
"filmy costume made of moonbeams and
midnight witcheries."

Just now the celluloid drama is under-
going an epidemic of desert island plays.
Note the recent Norma Talmadge effort,
"Victory," "Male and Female," et al.
And the great Griffith is coming along
with another. Which raises the question,
who would you rather be desert-islanded
with ? And Griffith seems to have satis-
factorily answered the question in his
production with Cutie Beautiful.

And while we're on the subject of
Griffith, the publicity prize of 1919 goes
to the director's recent "lost at sea" epi-
sode. We understand that one Cali-
fornia director is so peeved at Griffith
"making" the front pages with a dinky
little trading steamer that he contem-
plates wrecking an ocean liner.

I TeoLch PiQcno

A Funny Wa^y

The critic who remarked that Dorothy
Dalton is a revelation in "Aphrodite,"
said something.

News Notes to Be Published in 1920

Mary Pickford is again sued by Mrs.
Cora Wilkening.

Producers announce a revolutionary
method of releasing pictures.

I. C. Badly, the big screen magnate,
says that the surface of the industry has
barely been scratched.

William Hart announces his early re-
tirement.

Big amalgamation of directors startle?
screen world.

So people said when I first started in 1891. But
now, alter over twenty-five years of steady growth,
I have far more students than were ever before
taught by one man. I make them skilled players
of the piano or organ in quarter the usual time
at quarter the usual cost.

To persons who have not previously heard of my

method, this may seem a pretty bold statement.

But I will gladly convince you of its accuracy by

referring you to any number of my graduates m

any part of the world. There isn't a state in the

Union that doesn't contain a score

^B^s^^ss^ or more skilled players of the

^^Br^^jW . piano or organ who obtained their

^^^^K/jS entire training from me by mail.

.^^B^^L i Investigate by writing for my

a^i^^BH^J 64-page free booklet, "How to

„ ^^^▼■^S Learn Piano or Organ."

My way of teaching piano or organ
is ctitirciy different from all others.
Out of everj- four hours of study,
(jne hour is spent entirely a-way from
the i-in*oarrf — learning something
about Harmony and The Laws of
Music. This is an awful shock to
most teachers of the "old school,"
who still think that learning piano is
solely a problem of finger gymnastics.
When you do go to the keyboard,
you accomplish twiee as ntuch, be-
cause you understand what you are
doing. Within four lessons I enable
you to play an interesting piece not
only in the original key, but in all
otlier keys as well.

I make use of every possible scien-
tific help— many of which are entirely
nnhno'.vn to the average teacher. My
patented invention, the COLORO-
TONE, sweeps away playing diflicul-
tics that have troubled students for
generations. By its use, Transposi-
tinn— usually a "night-mare" to stu-
dents— becomes easy and fascinating.
With my fifth lesson I introduce an-
'itiier inipiiitant and exclusive inven-
tion, OLUXN-DEX, Quinn-Dex is a
simple" hand-operated moving picture
device, which enables you to see,
right before your eyes, every move-
ment of my hands at the keyboard.
]'oii actually sec the fingers inuz'e.
Instead of having to reproduce your
teacher's finger movements from
.MEMORY — which cannot be always
accurate — you have the correct mod-
els before you during every minute
,.! practice. The COI.OROTOME
.iiul QIUNN-DEX save you months
and years of wasted effort. They can

Marcus Lucius Quinn Conservatory of Music

Studio KC, Social UaionBuildine, BOSTON, MASS.

^^

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Dr.QUINN AT HTS PIANO— From the famous sketch
by Schneider, exhibited at the St. Louis Exposition.

be obtained o)ily from mc and there is noth-
ing; else anywhere even remotely like them.

Men and â– women who have failed by all other
methods have quickly and easily attained suc-
cess when studying with me. In all essentiat
ways you are in closer touch with me than if
you were studying by the oral method— yet my
lessons cost you only 43 cents each — and they
include all the many recent developments in
scientific teaching. For the student of moderate
means, this method of studying is far superior
to all others, and even for the wealthiest student,
there is nothing better at any price. You may
be certain that your progress is at all times m
accord with the best musical thought of the
present day, and this makes all the difference in
the world.

My Course is endorsed by distmguished musi-
cians who would not recommend any Course but
the best. It is for beginners or experienced
players, old or young. You advance as rapidly
or as slowly as you wish. All necessary music
is supplied without extra charge. A diploma
is granted. Write today, without cost or obliga-
tion, for 64-page free booklet, "How to Leara
piano or Organ.'*

QUINN CONSERVATORY. Studio KC.

Social Union Bldp., Boston, Mass.

Please send me. without cost or oblJRatioti, your

free booklet. "How to Learn Piano or Organ," and

full particulars of your Course and epecial reduced

Tuition Offer.

Nai

zA^

NNOUNCEMENTS will be made soon of a local Fame and Fortune Contest under the patronage of tins
-^^ magazine to be held by your motion picture theater, the winner of which will stand a good cliance ol
winning a place on the screen. If your theater man has not, as yet, made arrangement for this contest have him
communicate at once with this magazine or write direct to Murray W. Garsson, Foundation Film, Inc., 1600
Broadway, New York City, N. Y.

*J!r-V'Rti»Mi:^J

CLARE BRIGGS, the man who draws "When a Fellow Needs a Fnend,
receives more than $100 a day. There are many other cartoonists
whose income would look good to a bank president.

If you have ideas and like to draw, you may have in you the making of
a aieat cartoonist. Developma natural ability isthcsurest road *<"»;««».
Through the Federal School of Applied Cartooning, the 30 roort
famous cartoonists of Amenca teach you. What
this school will do for you by mail m your spare
time is told in the 32 page book, ** A Road to
Bis8« Things." It contains studio pictures of
Btiggi. McCulcheon, Sid Smith. Fontaine Fox
and the other stars on the Federal Staff. Write
for your FREE COPY today. Just tear out
this advertisement, put your name and address
in the margin and mail it now.

Write tor ttiis Book Today

Gladys
From
Paducah

Gladys Coburn, the leading
woman o£ William Fox pro-
ductions, hails from Paducah,
Ky., also the birthplace of
Irvin Cobb. None of her
people had ever been on the
stage. But Gladys decided
to be an actress and secured
a small part in "Too Many
Cooks." the stage comedy

r"*'.

After "Too Many Cooks,"
came an engagement with
Julian Eltinge in "The Crin-
oline Girl." Right thereafter
Miss Coburn startled Padu-
cah by joining the Ziegfeld
Follies. She made her cellu-
loid debut in "The Primitive
Call," and has been attract-
ing attention recently with
William Farnum

(Ninety)

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Fame and Fortune
Contest

Having successfully produced the two-
reel feature, "A Dream of Fair Women,"
which is now being- shown thruout the
country, presenting the honor roll beau-
ties and winners of the 1919 Fame and
Fortune Contest, we now take pleasure
in announcing our plans for the 1920 con-
test. We shall produce a Five-Reel fea-
ture drama for the honor poll contestants,
and we shall start on this immediately.
The story has already been selected, and
it is a strong, unique, original and pic-
turesque one, affording fine opportimitics
for many players of different types.

Those contestants whose pictures ap-
l)ear to us to be very promising will be
communicated with at once, and they
may be offered parts in this great play
immediately. While we are now starting
])roduction, the pla)^ will not be com-
Iileted until late in the fall, and it will in-
clude the test scenes of the honor roll
beauties, which will be taken at Roslyn.
In this picture we can use a few persons
other than young and pretty girls, for we
shall need several character types, both
male and female. All contestants who
wish to apply for one of these parts will
kindly so state on their entrance coupon,
or in a letter accompanying photo.

CAN I GET

INTO THE

MOVIES?

is a booklet with general information
about Who Can and Who Cannot Get
Into the Pictures and Why?

This is just what you have been wishing
for. Others are getting in — and if you
have the talent why stand on the outside
any longer? Send 5c in stamps with the
coupon below and we will mail a booklet
to you.

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K. W. S. Shlpman

Praaldani

TYPEWRITER

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SPEAK
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Priscilla
And Her Pets

Priscilla Dean, the popular
Universal star, is apparently
a lover of pets, judging from
all photographic indications.
Priscilla, by the viray, is
growing in popularity with
that critical bird, the photo-
play fan

(Ninety-two)

MOTION PICTURE CLASSIC

H— H— H!

Human Hobart Henley

{Continued from page 28)

"The business end of it is the trouble."
he said, "the retarding factor. Not men-
tioning any names, I know, from per-
sonal experience, that a director may he
working on a picture and conditions on a
certain day may not be entirely desirable.
There may be friction, which is unavoid-
able occasionally. As a consec]uence,
very few scenes will be shot. Perhaps,
late in the day, the power-that-be will
come in and incjuire how many scenes
have been taken. You tell him and he is
aghast. He tells you, in no very meas-
ured terms, how much he knows should
be produced per diem, per hour. Just as
tho taking films were so much grinding
out of sausage meat, so many pounds to
the hour, on an efficiency schedule. This
has been the condition a great many of
us have been up against. It has been a
money-making proposition and art has
had to stand by. These things consid-
ered, and their quite probable elimination
also considered, I should say that the
screen is a great art. It has every pos-
sible reason to be."

I mentioned, with an ear to argument,
the loss of the speaking voice, so rich an
asset on the stage.

Mr. Henley waived it as of no import,
even to be considered as an advantage.
He suggested that I, or anybody, sit
thru, in one evening, two or three stage
plays. Contrariwise, he suggested sitting
thru two, three, even four photoplays.
The former would be. he said, exhaust-
ing, even abnormal. The latter would be
quite in order, is even done, and with-
out any vast amount of fatigue. One
sense in pictures, the aural sense, is com-
pletely at rest. Witnessing a stage play
all the senses are called into play.

I asked him whether he had any par-
ticular mission in directing pictures, any
specific message he wished to give. He
disclaimed this with a smile and a shrug.
Just something human, he said, some-
thing that people, all the people every-
where might see and go away, feeling
kindlier, feeling happier and more tol-
erant, the one of the other, than they had
felt before. To present life, not as we
would like to have it, but as it is. Illu-
sions are all right as a pique now and
again, but dangerous as steady diet.

One of his ideas, which seems to me
interesting, is his selection of themes.
He takes only what appeals to him as
human, whether it rises or falls to the
general rule of a screen play. He takes,
only what appeals to him as that fine
thing akin to tears and likewise akin to
laughter, which makes the whole world
kin. He believes, with Kipling, that
Julia O'Grady and the Colonel's lady are
sisters under the skin and that, funda-
mentally, the deepest source of tears and
the most hidden founts of laughter are
one and the same.

Another idea is that of using, in his
pictures, non-professionals almost en-
tirely. If he believes that a person fits
the part, he engages him to play the

CNmetu-three)

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Fame and Fortune Contest

Having successfully produced the two-reel feature, "The Dream of Fair Women," which is now being shown i

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Those contestants whose pictures appear to us to be very promising will be communicated with at once, |
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Remember":

i o^ll advertising in (^Motion

Picture Classic is guaranteed
by the M. P. Pub. Co.

Do You Want to
Get in the Movies?

Thnus-'inds of new faces needed for this attractive ami
profitable profession. Beauty or experience not necessary.
All types required. \Vc co-operate direct with big movie
directors whose endorsements of our service are published
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Directors Service, Dcpt. B-1, Wilmington, Delaware.

part. It makes no difference whether
lie lias or has not ever played before.
It makes no difference where he comes
from nor what he does. He might
see a man walking along tlie street and
think to himself, "That is my John
Smith." He would approach that man
and put it up to him. .'\lmost always, he
says, they are splendid. Of course, he
uses discrimination. If a person looks
so utterl}' the type as the persons Mr.
Henley selects look, they are certain to
have at least some inside qualities to
tally with their outer seeming. Upon that
he relies and, almost always, rightly.

\Mien I talked with him he was near
to the end of directing "Skin Deep," the
main if not the only characters being two
old maids, sisters, to whom, after lean
years and many dreams foregone, a
legacy is left . . . their reactions . . -
And to watch him handle the two charac-
ters was a joy and a bit of artistry . . .
Just as tender . . . just as beguiling . . .
just as coaxy-and-come-ony-now as tho
he were, in reality, inducing emotions in
two old, quaint ladies dear to his heart.
He has that manner, anyway.

He loves the work he is doing because,
he says, he is at last expressing himself.
He is doing, is going to do, the sort of
thing he has always wanted to do. And
he believes that the highest form of re-
ward possible for any work is the satis-
faction of your own creative instinct, the
knowledge of your own fulfillment. He
has his finger on the human pulse and
counts the beat.

LOCHINVAR UP-TO-DATE
B\' Sophie E. Redford

Young Lochy, ballooning, came out of the fog

In his Q-23 — he was flying incog;

He had smiled all the way thru a forty-mile

gale,
.\s he thought out his plan and hereby hangs

the tale.
For a chap with a little 8-cyHnder car
Was to wed the fair Helen of Young Lochin-

var !
His blimp was maneuvering 90 an hour.
For his gondolas carried 800 horse-power,
But he slacked his propellers when coming in

view
Of the home of fair Helen on Fifth Avenue.
He circled the heavens above her and poof 1
Landed softly on top of her old daddy's roof.
He slipped down the fire escape, not to alarm
The guests at the wedding— he meant them no

harm —
But had he been found there without an ex-
cuse
They might have mistaken the .^ce for the

deuce !
He looked at the crowd as he sat on his perch,
.\nd just as they started to go to the church.
He jumped thru the window and picked up

the brid.'
.And carried her out with a strong manly

stride.
The bridegroom right after him hollcrini,'

"Stop" !
.\.s onward they scrambled till over the top.
When Lochinvar handed the bridegroom, alas 1
.\ few cubic inches of hydrogen gas!
Then buckling a belt on his lady's slim waist.
He gave her a coat and some goggles in haste.
For her relatives hitherto standing aloof
Were now on their way I'li faiiiillc to the roof
Anil the language was not a polite paiies vous
That was heard at that moment on Fifth

Avenue.

April-May
Magazine

The Motion Picture Mag.-\-
ZIXE has always stood for all
that is best upon the Silverscreen.

It is interested in new things, new
people, new plays, new ideas.

Better than ever, brighter, gayer,
more intimate is the April-May
number. The very prettiest, the
very smartest girls are there.
The handsomest of men grace its
pages.

If you would have an intelligent
Icnowledge of what is what and
who is who in the world of the
movies, read the April-May
Motion Picture Magazine.

Among other things it will con-
tain:

A bright, intimate story of Ethel
Clayton, illustrated with beauti-
ful home pictures.

Faith Service visited the new
Griffith studios recently and saw
Lillian Gish directing her sister
Dorothy — and in a vivid word-
picture tells you all about it.

There will be lictionized stories
of the best photoplays featuring
Viola Dana, Norma Talmadge
and Wallace Reid.

Motion Picture Magazine

175 Duffield Street, Brooklyn, N. Y.

(Ninety-four)

MOTION PICTURE CLASSIC

The Movie Encyclopedia

(Coiilinucd from (•age S4)
Adjiirfr.— Bo/i jour. Why doiit you go up
to Fort Lcc, N. J., to get the pictures? That s
iust a myth. Progress consists ni discarduig
one's delusions, just as a bird molts its worn-
out fcithcrs to make room for trcsh ones.
Betty Blythe and Mahlon Hamilton are m
"The Third Generation."

M. R. P. D.— All of the people you mention
will be interviewed sooner or later. Be pa-

Hf.len a. C— You failed to send the where-
withal. And, oh, boy, that's necessary.

JosRPH W.— No, I didn't mind the cold
weather this winter. Had all my furs out, and
I was comfortable in my hall room. Surely 1
drink buttermilk. Vola Vale is with Metro m
Bert l.ytell's company. Good company, too,
I haven't the name of "The Kid" in "The Girl
from Outside."

Lucir.N F.— Well, if a man contniually makes
a fool of himself it does not follow that every
clown is a self-made man. Yes, Babe Ruth's
pictures are being shown. Yes, about Pauline
I'rederick. First two on the coast, the others
in New 'Yoik. Run in again, Lucien.

Richard B.msthelmf.ss Admirer. — Thanks,
the nijinner of the giving makes the real value
of the gift. Well, you dont want much of
any. You know Socrates said "He who has
the fewest wants is nearest to the gods.'
Bryant Washburn is playing iii "Too Much
Johnson." Warren Kerrigan in "Live Sparks.

Marguehite McG.— Alice Brady is playing
in "Forever After" and also on the screen.

Doris W.— Sessue Hayakawa is about 31
years old. Douglas Fairbanks has been in
pictures for about five years. Your critic re-
minds me of the eagle who "has a contempt for
all other birds." The owl, however, is more
contemptuous still, for he hoots at everything.
Bessie Barriscalc is playing in "Beckoning
Roads."

DoKOTHY M., Brooklyn. — No, we never pub-
lished "The Spite Bride."

ViRc.iNix C. — You want interviews with the
players and their wives. Fm afraid a good
many of them would prefer not to have their
wives present. Your ilhistration reminds me
of Lord Bacon, who, when he went driving
in the rain, would remove his hat to let the
shower come upon his head, and say that he
seemed to feel the spirit of the universe upon
him. Dorothy Gish and Owen Moore in
"Betty of Greystone."

Edith H. — Have no list of addresses of
players.

Doris K. — Why didn't \ou sign j-our name
and address?

Henry H. D.— No, I dont know whether
Gloria Swanson can speak Polish. I have
never spoken to her in that language. 01i\e
Tell is with Jans Pictures, Inc., 729 7th Ave.,
N. Y. C.

June C— Yes, Viola Dana has bobbed hair.
Yes, we have to have them. Fools and obstinate
people make lawyers rich. And knowledge di-
rects practice, yet practice increases knowledge,
so there you are. Run in and we will debate
it some day.

Leona T. — My, all in one breath. You w^ant
Nazimova on the cover, more about Zazu Pitts,
and an interview with Lila Lee. You think
Dorothy Gish is great in comed\-. and Marie
Provost very cute. And you dont like Betty
Blythe. Yen say I remind you of a mirror,
because I reflect. Most gracious lady, I thank
you.

Texas Blue B.— Well. I'll try to be kind to
you. Jack Pickford is playing with Goldwyn.
He might send jon his picture if you write
him. Yes, I thank >'ou for the fee.

W. J. Wright. — Yes, Louise Lovely is still
playing opposite William Farnum. Fox Com-
pany, Los Angeles, Cal. 1 didn't care for
"V\'uigs of the Morning." Cant say that I liked
her in it.

Lois C— Do you really mean that? No, I
have never tried a fircless cooker, but I have
had lots of experience with a cooliless fire. I
prepare a good many of my meals. You want
to see Grace Cunard back again. Grace, the
silversheet is paging you.

iConlmued on page 96)

(Ninetv-Hv)

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"DON'T SHOUT"

! hear you. I can fiear now as well
as anybody. ' How? ' With
THE MORLEY PHONE.
I've a pair in my cars now. but
they are invisible. 1 would not know
I had them in. myself, only that I
hear all right.

' The Morley Phorve for ihi

DEAF

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is to the ears what glasses are
lo the eyes. Invisible, com-
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id. "Write for booklet and testimonials.

THE MORLEY CO., Dept. 792, 26 S. I5th Street. PhiU.

Suend your SoNG-PoEm on any subject for our advice. ^.-"-^^T^B

V/E REV15E POEMS. COMPOSE MUSIC Of AMY OCSCRIP- ^-<i^rJp-^^
TIOK SECURE COPYRIGHT ANO EMPLOY ORIG)NAL^.^.^f<| l^-^CONTAINS
METHODS rOR FADUTaTING FfiEE P^BLICA-^-j^J 3>i-^vaLUASl£ INSTRUC-
TION OR OUTRIGHT SALE Of S0NGS^Ol111^>^ 10 f^^^f^ i^ tEUS
UNDER JHIS SUCC£55FIJL^<7T'^^a!l^'^rH£ mm CONOffNlNG EVEJTT BWKD1
CONCERNS HWRANTEE^^Yti ^iiP-^Cf m ESSEFfTUL AND FASOWTING PROFESS
Of SATlSfAC-^rfffT'JII-^'^lON. Ttl[ GREAT WORK ACCOflPllSflED BY THE POP
'^'°'*' -^I'mC^IJ'*'^^^ ^'^^ "• ^"^^ M Utt 15 ONLY AH INDEX TO UlE nuOl
^^ Mi>^WmER SIOPE AND GREATER OPPORTLINITIES AFfOROED ffr PEACE.
^tlJ--*'^ KNICKERBOCKER STUDIOS. 203GAiErrBLDa. NYCm:

Poi^

fl^

^^Hi

OELECT your own

^ subject — love, patriotism i^«

— write what the heart dictates,

then submit your poem to us.

We write the music and guarantee publish-

er's accept^lnce. Our leading compostr is

Mr. Leo Fsicdmaii

one ct AIneric.^'3 v.-e 11- known jnusicians, the yuihor
of manvsong successes, such as "Ma^t Me Tonight
in Dreamlnnd," **Let !\Jc Call You Sicecl heart,"
.''When /Dream of Old Erin," and others the sales
of uhich ran into millions of opies. Send aa m:iny poems
as you wiEb. Don't Delay. Cot Busy—Quick.

CHESTER MUSIC C0.«o^6^^J.Vi'o"*'*" Chicago. HL

Doris B. — Surely I like to know what you
think of these magazines. We'll do all we can
to give you what you want Yes, it would be
a much different world if we were as dis-
couraged with ourselves as we are with other
people. Oh. of course, Harry T. Morey is
with Vitagraph. Very much so. His next
picture is "The Darkest Hour," but most of
Harry's hours are bright. You know he's a
star.

Walt..\ce Reid Fan. — You say in part, "If
you are really 79 years old, be quick about
answering." Yes, child, it's vice versa now,
the old must dance to the tune of the young.
Henry Walthall played in "Confession."
Louise Glaum played in "The Lone Wolf's
Daughter."

Emil G. — You want information about Ellen
Cassidy. Well, she's Irish, and she has a
Catholic name, and she probably likes the
color of green — particularly on payday.

Oo La La. — Wee, wee. Why. Famous
Players have bought "Aphrodite," now playing
in New York, and in which Dorothy Dalton
is making a hit. It will be produced in pic-
tures soon. Louise Lovely is with Fox. No.
I dont use a cane — only the infirm and aged
do that, not to mention dudes.

Mixnehaha. — Why, John Burroughs says
that animals experience grief over the loss of
their young, but not over the death of a mem-
ber of their flock or tribe. Death itself seems
to have no meaning to them. Francis Bush-
man and Beverly Bayne pla3'ed in "The Master
Thief" in Los Angeles. They do say that
Washington seldom smiled, but the same can-
not be said of Laugh-eyette.

Millicent. — Hobart Bosworth is the star in
"Behind the Door," directed by Thomas Ince.
Louise Glaum fell and sprained her ankle
when making the final scene of "Sex."

Aphrodite. — Of course I compose on the
typewriter and, like Kipling, use an Under-
wood. My greatest pleasure in life is to rise
early and oil it. I can do better on this ma-
chine without the trouble of thought. I just
start something at the first line, pull open the
throttle valve and go for a walk around the
park. Wlien I come back I find an answer of
any desired length completed and the machine
flushed and happy waiting modestly for my
applause. Believe that, and I'll tell you an-
other. Douglas Fairbanks in "When the
Clouds Roll By." Elaine Hammerstein in
"Greater Than Fame."

Mrs. James de B. — Glad to hear from the
mothers as well as the children. Shirley Ma-
son was born in Brooklyn, 1901, but she has
lived it down. She has brown hair, grey eyes,
and plays the piano beautifully. No, I never
boast of my ancestors. I have a tree around
here some place. But it's a rather sad fact that
the ancestors of a great many men who boast
of their coats-of-arms, had no coats to either
their arms or their backs. You mean Mitchell
Lewis in "The First of His People." Come in
some time, and I will be glad to chat wth you.

Thursa. — Dont cry. little girl, dont cry.
Washing your eyes with tears may be discom-
forting for the moment, but it clears the vi-
sion afterwards. Delaware, Alaska, Nevada
and Wyoming have the least picture theaters
of all States in the U. S. A.

C. K. Y. Fan. — Yours was more of a letter
to the editor, but I like to hear what j'ou have
to say about the magazines. Yes, I have
heard that armistice, like divorce, is the little
period a la mode, between two marriages. Get
thee behind mc, Satan.

Miriam H. — Your wish will be satisfied
soon. Richard Barthelmess has been inter-
viewed. McAlpin is Scotch. But if you dont
change your opinions you never will enlarge
30ur knowledge.

Jackie. — Betty Blythe was born in Los
Angeles, 1893. She has dark hair and com-
plexion, weighs 145, 5 ft. 8^ ins. No, I have
never met her. Glad to hear from you ; write
some more.

Two, TO, TOO Enthusiastic. — Address Elsie
Ferguson, in care of Paramount, New York
City. "Unpardonable Sin" has been released
for some time now. The maiden name of
Mrs. George Washington was Martha Dand-
ridge.

What Could Be Nicer ?

than a collection of your favorite and most beloved Movie
Stars. These are not cheap Imitations but genuine honest
to goodness photographs, size 8 x 10. Make your selection
Irom the following list:

Tht'da Bar a
Carlylo Blackwell
Beverly Bayne
Frojicis X. Bushman
Alice Joyce
.Tack Kerrigan
Mary Miles Minter
Mabel Normand
Olga Petrova
Mary Piekford

Blanche Sweet
Marguerite Snow
Anita Stewart
Norma TaJniadge
Pearl White
Ben. F- Wilson
Earle Williams
Crane Wilbur
IJUian Waliter
Clara K. Young

or any of the other popular stars ?
35c Each or 7 for $2.00

I Money cheerfully refunded If not satisfactory. MaU at i

I once with name and address plainly WTlilen to I

I S. BRAM, Dept. 70, 209 W. 48th Street, New York City I

ASPIRIN

Name "Bayer" identifies gen-
uine Aspirin introduced in 1900

Insist on unbroken packages

BAYERTABLE1S
•f ASPIRIN

Boxes of 12 tablets

Bottles of 25 and 100

Also capsules

Aspirin is the trade mark of Bayer Manufacture of
Monoaceiicacideslc- of Salicylicacid

Important as
umbrellas in March

Because Piso's warda off
ill effects of cold, rainy
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funded distressing coughs j
and eased inflamed, irritated throats,
hoarseness and throat tickling. Keep it
in the medicine cabinet ready for im-
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30c at your druggist'' s. Contains no
opiatt. Good Jor young and old

iii^Bitt^B^^B

(NineUj-six)

MOTION PICTURE CLASSIC

William Duncan Admirer— Write the
players you mention in care of their company,
LiK Angeles, Cal. Yes, there must be some-
ifiing fascinating in the scheme of getting
otliers to do our intellectual labor for us, to
attempt to fill up our minds as if they were
jars. Wouldn't that jar you? Clara Young
ill "The Forbidden Woman."

Monte Blue writes that on account of
cliange of address he wants his friends to
kiir.w that several hundred requests for photos
wire neglected. Address him Lasky Studio,
Hcilh'wood, Cal. Let's hear from you again,
M..nte.

HizziE Dot. — Yes, and a drop of ink wul
ni ikc millions think, if wisely directed. ^ Dor-
,.th\ Dalton and William Desmond in "A
(.aniblc in Souls." Speaking of suffrage, did
_\-oii kmw that more than 14.0011,000 women in
suffrage states will be privileged to vote for
President next year, even if the Federal suf-
frage amendment is not carried? I'm out of
politics. No. I dont think I will accept the
nomination for President. But, of course, if
they cant find anybody else, and the nomina-
tion were forced upon me, I might ask the
editor to give me a four years' vacation and
trv it.

C. E. C. — May MacAvoy in "The Woman
Under Oath." You write a clever letter. As
somebody has said, some men are always mak-
ing spiteful remarks about any man who suc-
ceeds. They seem to vhink the door of success
will open to them if they do enough knocking.
Madame Petrova is not playing in pictures, but
she is the most popular vaudeville artist in the
world.

Robin G.— Yes, Richard Barthelmess, Griffith
Studios, Mamaroneck, N. Y. You say he was
good in "Broken Blossoms," but wdioever saw a
Chinaman with a dimple in his chin? Shucks I
A Chinaman with a dimple is a better China-
man.

Jere G. — Florence Turner has been making
comedies at Universal and Maurice Costello
makes occasional appearances at Vitagraph.

Henrv K. S. — I doubt whether the actresses
you mention will carry on a correspondence
with you. \''ou know they work all day the
same as the rest of us.

Canada. — There is nothing being said about
Mary Pickford retiring from the screen. Come,
you must not think that of Eugene O'Brien.

MiTZi V. — That's one thing, dont believe in
rumors. Theda Bara is very much alive. So
you noticed a careless mistake in "Her King-
dom of Dreams." You say the envelope when
handed to Miss W^arren had no stamp on it,
and when she opened it, it was all stamped,
addressed and everything. And you wish
Nazimova W'ould give up smoking. When she
sees this and learns your desires she will no
doubt promptly desist.

Poppy. — No, Dorothy Gish does not w^ear a
wig when not playing. What do you think I
am, a human geography? Texas was much
larger before it was annexed to the U. S. in
1845. Please look up your own geography.
You advise me not to throw my old gaiters in
the back alley because then they would become
alli-gators. I deny the allegation and defy the
alligator.

Inquisitive. — Norma Talmadge was born in
1897 at Niagara Falls. She has brown eyes, is
S fe£t 2, and weighs 110. Mrs. Charlie Chaplin
in "The Inferior Sex." Ben Wilson, and Neva
Gerber was the girl in "Alystery Ship." Why,
I should say the reason for the lack of de-
velopment in the Alaskan forests is because of
the dampness. Sit down and write me again,
Inquis, and I'll do my best.

A. B. C. — Touching on a subject of which I
know little, but the name "whiskey" was prob-
ably derived from the Celtic "uisgebeatha"
(water of life), which was contracted to
"usquebaugh" and still later to whiskey. It's
selling for $8.00 a fifth, and try and get it,
even for that ! Zena Keefe in "The Woman
God Sent," a Selznick.

Tommy, St. Paul. — You say some of the
players have shaky reputations. Who said
so? In order to preserve an unspotted reputa-
tion, you have got to look out that nobody
spots you. Everybody is free to give his
opinion except lawyers — they sell theirs.

(Ninety-seven)

MARCH 9n

Last Day -*• V
JacKLondon

Finish These
Stories for
Yourself

Free-

liis kind,-
iv.iiting' down-
Stairs. He knew where cham-
priene and music could be had.
But thai ni£ht she didn't go-
That was Lord Kitchener's
doing:. But auOthcr night—

When the
Gopilla Sang!

Flutterlnar— poised an In-
stant—thea back and torth
with llsrht and easy steps she
sprane, while he leaped out
at hcf side mimicking the un-
couth, hideous bounds of a
eorllla — she In her wood-
nymph dress of leaves and he
In the clothes of Broadway.

There In (hat dingy night
court— in the pale flarc of tho
gas Jets— they did a dance
which held the destiny of two
lives— and yet, so strance it
was that only one ol all who
saw it dared guess —

mm

Two Against
, Two Hundred

' They were waiting for him
to collapse, before they killed
him. He was alone with two
hundred man-eatinj blacks.
He had tended them in theif
misery— but they had no grat-
itude.

And then she — this eirl—
had appeared, out of nowhere
—like some mysterious god*
dess out of the Pacific, And
alone, they two fouehl oS the
two hundred.

That bthebeglnnlneof the
Story— and in it is all the heat
—the weird terror — the dread-
(ul mystery of the South Sea
Islands. To you they have
been but a few dots oa the

JACK LONDON

ina,ie them bU2e LaUitcnible
fulicy.

THE sets of Jack London which
have been given FREE with O.
Henry are handsome sets of books and
I we cannot under present conditions give
such books away. We have the choice of
discontinuing the offer or giving you flim-
sier books. We prefer to stop the ofler.
Before doing so we wish to make this one
announcement. As long as the present edition
lasts you can get the O. Henry at its regular
price and the Jack London FREE. This, how-
ever, is your last chance. Send the coupon
without money at once and get yourO. Henry
for examination and Jack London FREE.

O. Henry

O. Henry has made another record. More
volumes of his works have been sold than any
other short stones in the history of the world.
Up to the day this page goes to press 3,784,000
volumes have been sold— in England and Aus-
tralia, France and Germany — throughout the
world — over two million in the United States
alone. So many editions have been primed that
the old plates were entirely worn out and we
had to make brand new plates for this edition.
So you will get the very best impression from
these new plates— clear, clean print.

Only a Few Days Left

Tomorrow may be too late — Today — Noiv
is your last chance to get a FREE SET of
JACK LONDON. Don't miss it. Delay
will cost you money. Don't be left out of
this last chance offer. There are comparatively
few sets left. There will be no next time.
Your chance is here now — while you've got
the coupon before you — send it — save money.
DO IT NOW !

Send the Coupon Now y

Get Jack London fra — and join the • M.P.C.
^ millionswho ha\eweptand laughed •'^ ^ *

and felt better for the reading of j^ . J*«T«*

OTT • I ■ ji ■ > 01 Re»ie*»«

.Henry s warm, kmdiy, joy- / 30 Irving PI.
ous, tragic bits cf life, ^Z New Yotk City

Remember that the end / ,^,triZ'f^y'^\
of thesale is athand. A • o. Hcnr>'s works in 12

volumes, gold lop. Also
: set of London

day lost will cost you y' them's'.,

nionev y bound in cloth. If I keep the

c J.L * > t'oo'^s I ^vill remit |1.50 in 5 days

OeDO (be coupon DOV'/ and then f2.00 a month fur lOmonihs

— today— at oEce / '--■•-'-' " • i ...,.,.. ,v,-

Review of Re- ^e;

vicwsCo., 30 > ,,

IrviDKPI, • ^ame....

N.Y. y Address

y Occupation ....„

* The special ?< Keratol blndine ol O. Henry costs only a tew
*' cents more a volume and hiS proved a favorite. For this
^ more luxurious bindins; change above to f 1.00 la five days and.
then ^,00 a rnontb ioc 9 moatlu. ,

for (he O. Henry set only and retain the
London set wiihout charge. Ollicrwise I
will, within ten days, return both sets at your
pense.

Are YOU Headed For
The Scrap Heap

Thousnnd'i of iiu'n nre siiidilenl.v
dumped inlo the st-riiplu'iip o!
\\<irn-out humanity "•><> liadn't
Ih.- -sliKlitest idrn. n wock or two
tM-r<.rt> they BOt their wnlkinR
[tuptTH. that they were shited to
hf llred.

A weak, sickly, constipated,
l.ilious. grouchy man never nppre-
1 iule;* that his usefulness is nearly
ui an end, until the day comes
wh.'n he's out of a job for KO«d.
\^ \KK ir if VtU' are dragRinK
M.nr-elf through your daily work.
ii:iiiilicnpped and hiimi>ered at
,-v.TV point l>y chronic ailments
that are draseinR you down into
tlif preat army of TIIK IN FIT.
\.iiir collapse will come some day
\\ illi a bang — prolmblj' when you
l.asi expect it. Look the facts in
I In- face — tak*-! stm^k of yourself —
AIT, before It is loo late, and

Make Yourself Fit

owe their
success It
Pupils of

You c.in do it, without any cjues-
!i'iii. when you once appreciate
the dangerous toboRgan you are
â– cw and make up your mind to get

__^^ oft it lor good and all. You can

â– ^TROVr.FORT eet rid of the constipation that is
â– niererfectMim soaking your system with virulent
ineieneci.-uan p^jgons; you can free yourself
from the digestive disorders that are making you
feet like a human wreck; you can turn your watery
blood into the rich, life-giving fluid that will build
up your body and vour brain, strengthen all your
\Hal organs and make a virile AIAN of you again —
you can do it, if you WILL to do it, and go about
it in Nature's way.

Don't take the wrong turning and waste your
time and money tn quick "remedies" and patent
medicine dope. Natnre never prepared a prescrip-
tion or put up a patented powder. Your violation,
perhaps unconsciously, of Nature's Laws, brought
you to your present condition, and she alone,
through her m;irvelous recuperative force, can
restore the manhood you have lost.

Let Me Show You Nature's Way

I don't deal in drugs and dope. My life has been
spent in studying out and experimenting with the
forces that Nature has implanted in every human
organism for the eternal betterment of the human
race. No more wonderful power exists In all the
world Every physician and surgeon depends upon
it; without the aid of Nature no treatment, no
operation, could possibly succeed.

I built myself up into the strongest man In the
world throush Slrongfortism — Nature's method of
Remaking Men. Thousands of strong, able, sue
cessful men, former pupils of mine,
present abounding vitality, and the
brought them, to that same method,
mine right now, in every part of the globe, are
regaining each day the vigor and vitality they
thought was lost forever.

Strongfortism

Strongfortism is simply a system of Living Life
as Nature meant it to be lived; of taking advantage
to thi^ utmost of the wonderful forces she constantly
e\erts toward the rebuilding of wasted brain and
body tissues and the restoration of lost vitality.
Your present unfortunate condition may have been
caused bv earlv Indiscretions or excesses of your
own It makes no difference; no matter how much
of vour energv has ebbed away. Strongfortism will
help vou. as it has helped other men. and set you
on the right road toward renewed health and
manlv vigor. I have never known it to fail. 1
GUARANTEE to Improve your condition 100 per
cent, If you wilt follow my directions for a few
months.

Send for My Free Book

"Promotion and Coaservatlon of Health, StreoEth
and Ulent il Energy" will give you all the facts
about Strongfortism. and prove to you indisputably
that Strongfortism will do for you what It already
has done for thousands of other sickly, miserable
men. You'll find it interesting from first to last,
because it treats of the most Important thing In
the world TO Y'OU. Send for It NOW. Don't
delay — every day. every hour counts. Remember.
THE BOOK IS FREE. Fill out the coupon and
mall to me with three 2-cent stamps to cover
packing and postage and I will stnd with the book
a special letter on the subject In which you are
moat interested.

LIONEL STRONGFORT

/â– ;i.;*.>.i; and I/raim SptciatUr

11B6 Strongfort Institute, Newark, N.J.

.... -CUTOUT AND MAIL THIS COUPONmm««h

Mr. Lionel Strongfort, Newark. N. J. — Please
5f=iid mp your book "PROMOriON AND CON8KR-
VATIoSr OF HEALTH, STRENGTH AND MEN-
TAL ENERGV." for poataRe of which I enclose
three 2c stamps. I have marked (Xj before "
subject in whlth I am inter

(llis<li

Colili
Catarrh
.Aithma
Obeiity
Headache
Thlnneit
Rupture
Neurltli
. Neuralgia
.Flat Chert
Dotormlty

.Intomnia

.Heart Weaknesi

.Short Wind

.Fiat Feet

.Conitlpatlon

.Blllouineii

.Torpid Liver
. , Indigettlon
. . Nervouineit
. . Poor Memory

Rhcumatlim
.Poor Circulation
.Youthful Error*

Impotenoy
.Vital Loiiei

Skin Dltordcri
. Despondency
, Round Shoulders

Lung Troubles
.IncroaMd Height

.Age <>rcupati<tn .

Street

Gossip of the Pacific Coast

By FRITZI REMONT

Los Angeles, (Special). — It's a well-
e.stablished fact that when any one wants
to raise funds for charitable purposes,
the motion picture field is combed for
cuties first of all. At Clune's Audito-
rium, just before the holidays, the Los
Angeles Examiner arranged a monster
benefit, at which nearly everybody tried
to insert a bit, with the effect of keeping
us out of bed until 2 a. m. one Sunday
morning.

Ren Alexander aroused a lot of amuse-
ment bv playing director behind a big
camera, with Charlie Murray as chief
actor. His instructions, coupled with
much delightful semaphoring and facial
maneuvering, made one of the hits of the
evening. The genial Mr. Murray had
been billed to tell funny stories, but in-
troduced himself by .saying that he knew
more "stag" stories than any other sort
and that, if the ladies would retire from
the audience, he would be pleased to
entertain the men folk.

One of Cecil De Mille's playlets was
produced with telling effect, Bebe Dan-
iels sang lovely ballads, Mary Miles Min-
ter told anecdotes and — oh, well, what's
the use ? Everybody was there and saw
and conquered.

Gloria Swanson, the adored of many
swains, has gone and done it. She is off
on her honeymoon with Herbert K. Som-
born, who is with Equity Films Corpora-
tion. This is Miss Swanson's second
venture, altho she is only starting to tick
off her twenties. She will continue her
screen career, having several years' con-
tract with Famous Players-Lasky Com-
pany to fulfil.

Conrad Nagel is starting as a star on
the same lot, doing "The Fighting
Chance," Robert W. Chambers' exciting
novel, under Charles Maigne, who has
but lately arrived also.

'j'he lot at Vine and Selma streets,
Hollywood, looks rather lively, with
eleven companies working hard. Uncle
George Melford is now a feature direc-
tor, and several new directors have been
added to the list, among those being
Thomas Heffron, who is megaphoning
Major Warwick and Lois Wilson, who
is making her first appearance opposite
the soldier-star. Miss Wilson looks
about sixteen now; she keeps getting
younger and prettier and is one of the
best-foved girls at the studio. It was
just about two days before Christmas, a
frightfully warm spell that we had, and
Lois was sauntering about, packageT
laden, awfully excited over the exchange
of gifts. She wore a sheer little frock
of some lace-trimmed buff material, and
was made up for the afternoon scenes
with the Major.

I saw Wanda Hawley in a blue suit
and ditto turban, looking exactly like one
of those blonde "Baby Vamps" the stores
are selling nowadays. She is playing
opposite Br)'ant Washburn this time, in
"Mrs. Temple's Telegram," which James
Cruze is directing.

Stop I

We cant. We haven't a minute
to spare. We are trying to catch
up. We have to make up for
that time we lost in taking off
that tire, punctured by the print-
ers' strike. The race is a hot one
— it looks as tho we might be
beaten, but â– 

Lool^l

We are not the only ones upset
by punctures, and blow-outs, and
strikes, and things — and the race
is even again — and

Listen!

We have an idea ! We are
going to win yet. We will leave
the punctured April issue of The
Motion Picture Classic by
the roadside, and will catch up
by putting out an April-May is-
sue!

BIGGER — BRIGHTER
—BETTER than ever.

Remember the date. April
15, 1920! Wait for this new
novelty number which will fully
compensate you in every way for
the unavoidable delay!

M. P. Publishing Co.

175 Duflield Street
Brooklyn. N. Y.

(Ninety-eight)

AlOTION PICTURE CLASSIC

Ethel Clayton was buying Oregon
holly wreaths, having carefully sorted
thru a lot of spruce and pine circlets,
which did not appeal to her fastidious
taste. She's done "Young Mrs. Win-
throp," under Walter I'Mmunds, for-
merly with Connie Talmadge, and will
start on "A Lady in Love" — and Ethel is
— ^but only with her work.

Mary Anderson planned to rememlier
everybody at the .Selig studio with gifts
— at least those who work w ith her — and
looked engulfed behind piles of small
boxes and strands of ribbons looped for
safe-keeping aljout her neck. Mary said
that she wished we had a theater like the
one Seattle boasts, which has a second-
floor ballroom where one may dance to
rest one's self while waiting for seats in
the motion picture auditorium. She hates
to stand in line, and with Los .\ngeles
crowded to the bursting point with tour-
ists, one cannot get a seat anywhere
without holding down a bit of paving on
Broadway for an hour or so first.

Mitchell Leison, the wonderful de-
signer for the Famous Players-Lasky
studio, whose entrancing gowns for
Gloria Swanson have been shown on
living models at our local theaters many
times, is back from New York, where he
had carte blanche for the buying of rare
laces and materials. Howard Higgin,
who designs the luxurious sets used by
the De Milles, has also returned recently.
He's an architect as well as connoisseur
of furniture and draperies, china and
bric-a-brac, so it's no wonder his sets are
"chemically pure" in every respect.

I met Irving Cummings sauntering up
Vine Street with Junior, who is surely the
image of his Par — with the same big
brown eyes and "sortacurly lox," only
Junior is hatless and his fond parent
wears a giant Stetson. They do say
that Mrs. Cummings is the most delight-
ful woman ! That this is one of the truly
happy marriages in Filmland. It's no
wonder Mr. Cummings had the top but-
ton of his sports shirt thrown wide to
the December zephyrs, for any man
should lie chesty over a handsome infant
like Junior.

Over on Wilshire Boulevard, I
bumped into "Mother" Sylvia Ashton,
who was dropping in on the Donald
MacDonalds for afternoon tea. The lat-
ter have just bought the lot next to their
handsome home, and Mrs. MacDonald,
artist that she is, has designed marvelous
improvements, for the garden will now
be double size, and one part will be de-
. voted to a sunken garden, adjoining
the cute Japanese tea-garden, where so
many lovely hours have been spent in
entertaining friends with the only amber
beverage now available in Hollywood.

William Stowell. whose tragic death
cast a lot of gloom over the photoplayers,
left seventeen thousand dollars, his only
surviving relative being an elderly aunt.
Lillian Leighton, who is always mother-
ing some one on the screen, is still taking
care of Mr. Stovvell's birds, books and
other pets, not to mention the treasures
he collected in the last few years. She

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Street Town...

Co Slat*

had received so many interesting letters
from Mr. Stovvell, who was a "great big
kid," they all tell me, very good-
hearted, frank and unspoiled — and it's
been almost impossible for Miss Leighton
to believe that he really wont return to
claim his trinkets and pets.

Colleen Moore has been suddenly ele-
vated to sjiecial honors, and is doing an
eight-reel feature, the biggest thing ever
handed out to that bright little gossoon.
I met her shopping for a chic wardrobe,
and judging by the wrinkle on her pretty
face, she's very much puzzled about her
"trousseau."

Miss Moore was out on location at the
celebrated San Juan Capisf ano Mission,
half-way between Los Angeles and .San
Diego, and sent lots of snapshots to her
studio friends from that interesting re-
sort. San Juan was pretty well destroyed
by an earthquake in 1812, and only part
of the mission has been restored, altho
the beautiful and quaint old cloister gar-
den still offers splendid "shots" for the
camera.

At San Francisco, I saw a preview of
the first Australian film offered in our
markets, and many were the Los An-
geles brokers and producers who had
run up to see it.

The story is a dialect poem by C. J.
Dennis, considered the greatest writer of
dialect poems in any language today.
The theme rif "The .Sentimental Bloke"
is simple, but it is .sympathetic, allows of
much legitimate comedy and gives charm-
ing glimpses of Australian scenery. A
flash-back of scenes from "Romeo and
Juliet," with subtitles in verse supposedly
recited by "The Bloke," is one of the
funniest things in this comedy.

I overheard a conversation between
two iTien later. The one with a wealthy
voice and a rotund personality was say-
ing, "I am afraid of it ; we're not strong
for dialect stuff in the LT. S. A., because
we're not apt to understand it."

The other replied, "I dont see that at
all, for in each case the action follows
the subtitle in dialect so closely that a
man must be an ignoramus not to catch
the drift of the verse."

The first answered, "You're talking
from the standpoint of critic and news-
paper man — Lm talking for Lizzie and
.Sallie, et al., who cant even read ordi-
nary English."

Then both laughed as the newspaper
inan recited dramatically, " 'Ow I ong-
kored for 'at coot, 'at barmy goat named
Romeo !' "

Wilfred Lucas directed the photoplay,
so it's with a good deal of interest that
we viewed it, at all events.

A party of Indian princesses and
princes visited the Lasky studio, and
while it's not unusual to have foreign
visitors, these excited attention because
the ladies were of such high caste that
they were distinguished by having dia-
monds inset in their noses, one on either
side. I'^vidently they dont have gumshoe
men in India to disturb the peace of mind
of the young ladies.

A queer sight presents itself at Sixth
and Hill streets, former home of the
First Methodist Church, and a good

Shadowland

"TTAe ^iiCagazine of ^M^agazines"

Vou have just come in from your clay's
work. Vou :ire mentally exhausted. Life is
deadly in its monotony, and you flop down
in a chair and gaze stupidly at the blank
wall of your existence before you.

Your hand gropes idly for the cigarcts
or pipe (or knitting). It touches a maga-
zine. Half-despairingly, you pick it up
with the faint hope that your mind will
be distracted for a moment. In the arch
of Hght coming from j-our reading lamp,
you stare at the name — Sh.xdowland. You
repeat it slowl}-, again and again, in a sort
of lialf-whispcr. Slowly vague thoughts
begin to form in your mind. Half-devel-
oped visions, pictures from the inside world
of tlie mind's eye, creep into your memory.
You set sail for the Land of Romance, that
misty Land of Long Ago.

Shadowland — Again you say it and
shadow pictures appear before you. You
remember the long evenings before the fire-
light when you were a child. Y^ou sat on
grandfather's knee and gazed fearfully over
his shoulder to where the long, grotesque
shadows towered from fluor to ceiling.

You remember when a boy, coming home
late at night from some fellow-playmate's
house, across the empty lots which looked
so threatening and full of mysterious
shadows. How frightened you were, yimr
only compaiiion being >-our shadov.' running
alongside of you and causing strange
thuughts and terror to trouble your mind.

You remember the great discovery that
two shadows could be one. That moon-
light night when, holding her in your arms,
you saw the single shadow on the grass.
You sigh with regret — for Shadowland is

Memory.

* * *

You turn the pages of the magazine and,
like the immortal Alice, j-ou begin at the
beginning, go on to the end, and then stop.
Regret leaves you. Y'our mind becomes stim-
ulated, for Romance is with you still, but
in another form. Your pulse quickens at
the sight of so much Beauty — ^>'Our sense
of humor is touched by the wit of the
writers, and your mind appreciates the
cleverness of the articles. You become
more and more absorbed. Fatigue van-
ishes; the world and its troubles are again
worth while, and you are content — for
Slfidoii'land is Life!

Fcbruarv Shadowland v:\\\ be a maga-
zine de luxe. It will treat vividly of the
best in art, the stage, screen, music, litera-
ture and kindred arts. It will have the
best stories, articles and interviews that
can be obtained. Its beauty and its charm
will gladden the heart of everj' member of
the family.

SHADOWLAND

175 DuFFiELD St., Brooklyn, N. Y.

J

(One hundred)

The Best Out Yet! ,^

Photos of Movie Stars i^

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THE PHOTOPLAYWRIGHT'S

PRIMER

By L. CASE RUSSELL

Author of^'Here Ltes'^

A clever, little book that will be appreciated
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THE M. P.
175 Duffield Street

PUBLISHING CO.

- - - - Brooklyn, N. Y.

48 Photos of Movie Stars

reproduced in half-tone. On card-
board, suitable for framing. Ar-
buckle, Bara, Chaplin, Pickfords,
Anita Stewart, Pearl White, etc.
Both male and female STARS are
all here in CLASSY POSES. By
mail postpaid IS cents. Stamps or
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ARDEE PUBUSHINC CO.
Dept. 150 Stamford, Conn.

many of the former church members are
expressing shocked surprise.

The building was bought by Syd Grau-
mann for a new theater, and the enter-
prising advertiser has boarded up the
stained glass windows partially, ditto the
big carved iiortals, and placed his adver-
tising sign across the edifice announcing
the forthcoming production of motion
pictures de luxe on the sacred site. But
that's not the worst of it, for fruit ven-
ders have leased the "concession" from
Graumann, enabling them to display
fruits and vegetables on the steps for-
merly trod by pious visitors, and so for
the first time we're seeing a twentieth
century version of "My house shall be
called a House of Prayer, but ye have
made it a den of thieves and money-
changers." Yet it's quite in line with
P. T. Barnum's advice, isn't it?

A Doll's Apartment

{Continued from paye 62)

her boudoir is to be an antique desk,
lined — she is havirig it rdined — with pur-
ple leather, and before which she will sit
to write, Turk-wise, upon a mammoth
cushion.

All about there were pictures, framed
in heavy silver, which "Jack gave me,"
of Jack himself, of Olive and of the kid-
die, besides various other screen lumi-
naries.

I came away with the impression of a
child playing, very successfully, at being
grown up. and having a thoroly good time
in the playing . . .

Marjorie Daw: A Real Girl

{Continued from page 65)

decided that he shall finish high school
and go thru college before choosing a
career.

"We think of a new one every few
days, so there is no telling what he will
really be when the time comes. My
brother is everything to me," and Mar-
jorie waxed eloquent in his praise. "His
fatherly advice guides every move I
make, for we talk over all my personal
and business affairs, and his judgment is
wise and dependable. He is growing an
inch a week and is getting so dignified.
He is struggling to learn to dance now,
and we have the greatest fun every night,
dancing all over the bungalow."

So, with memories of a happy child-
hood and the present filled with glorious
dreams of future triumphs, Marjorie
Daw is fast growing up.

After being with her an afternoon one
realizes that what we most love in her is
her wholesome joyousness, which sug-
gests rose-gardens, sunbeams and fairy
fancies.

FASCINATING PHYLLIS

By B.\RB.ARA HOLLIS

Phyllis is false— she is fickle and frivolous;
Phyllis is flighty— flirtatious, forsooth;
Phyllis is frank — ah, yes, frightfully, fear-
lessly;
Fair yet so faulty — I'm speaking the truth.

Phyllis is fathomless— fctchingly fathomless;
Phyllis is flippant and faithless I know ;
Phyllis is foolishly fond of philandering;
Isn't it funny I love Phyllis so!

She Played to Lose!

This woman — so soft — so lovely — so
exquisite in every detail — so out of place
in that wild gambling hell — this woman
played to lose. Across the gleaming tables
her long white hands pushed the crackling
bills. One after another the yellow backed
hundred dollar bills passed from her
golden bag to the dealer. And yet she
smiled serene.

How she got there — why she was there
— how she got away — it all makes a thrill-
ing story — a tale with not one mystery, but
three — and it has been told by to-day's
master of detective mystery —

CRAIG KENlSity

^^Ihe American SherlcSi Udlnws . ^I'v-t^f^

ARTHUR B.M

She AmeHcan Conan Voyle ^K^

He is the detective genius of our age. He has
t.iken science^science that stands for this age — and
allied it to the mystery and romance of detective fic-
tion. Even to the smallest detail, every
bit of the plot is worked out scientifically.
For nearly ten years, America has been
watching his Craig Kennedy — marveling
at the strange, new. startling things that
detective hero would unfold. Such plots —
such suspense — with real vivid people
moving tlirough the maelstrom of life!
Frenchmen have mastered the art of
terror stories. English writers have
thrilled whole nations by their artful
heroes. Russian ingenuity has fashioned
wild tales of mystery. But all these seem
old-fashioned — out of date beside the in-
finite variety — the weird excitement of
Arthur B. Reeve's tales.

ZMmt

ZUMI

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EM

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Pell of Pell Manor

(Coiiii)uicd from page 78)

from the pergola, "but I would like to
know about your hobbies — \\'hat you do
outside of pictures."

For some reason he seemed much em-
barrassed.

"I — er — oh, I ride horseback, and — do
you really want to know ?"

Of course, I did. He was so myste-
rious about it I thought it must be duel-
ling or moonshining.

"I play poker!"' he confided, in a stage
whisper.

"So do I !" I responded, in the same
tone, and we shook on it.

"I've always thought," he added, in
hurried confidence, "that my fondness
for that indoor sport was responsible for
my part as the Mystic Shrine husband
in 'Fair and Warmer.' You remember,
he was a poker devotee."

The casting director tells me positively
that such was not the case. But far be it
from me to contradict Pell of Pell
Manor.

The Little Shepherd of Kingdom
Come

{Continued from page 80)

get the last four years, and remember
the four days before them — or are we
still enemies, my dear — oh, my dear?"

She sank down upon the couch, and
one slim hand patted invitation on the
damask beside her. He came, hesitant,
not daring to hope, sat down, white with
her dear nearness, and then he saw that
she was smiling with wet eyes.

"What does it say in the Scriptures,"
Margaret murmured, "what does it say —
about loving — your enemies?"

Joi^ STILLMAN CREAM CO.
Dcpi. 3 Aurora, III.

The Farce University

(Continued from page 87)
dies for his company. Like IMiss Lake,
she is a Brooklyn girl.

Gloria Swanson started in filmized
George Ade fables with Essanay in
Chicago, drifted to the Keystone and
Sennett forces — and Cecil De Mille
found her.

Bebe Daniels was a stage kiddie and
literally grew up behind the footlights.
She started her film work with the Har-
old Lloyd farces and — presto ! — De Mille
seized her.

Betty Compson played in vaudeville
and .stock companies before she tried the
films with the Al Christie forces. Then
came the Arbuckle comedies and her
discovery by George Loane Tucker for
"The Miracle Man."

Yes, it's a big year for comediennes.

Movie Encyclopcedia

S.— Thanks for tlie lock and key. You say
it is the key to your heart. Entirely unnec-
essary— love laughs at a locksmith.

Eugenie S. — Yes. some of the players write
to their admirers, but it is asking a lot of them
to correspond regularly.

Olga 1 /.—Greetings, dear child! You say
it makes you beautifully sad and fills you with
longing to think back on the olden days when
you wrote to me so regularly. Do come and
see me soon.

The Ides of
March

Beware the Ides of March,
for it is generally considered un-
lucky. Beware them any other
year, but this year beware lest
you forget the Ides of March,
for at that time you will be able
to purchase at the newsstands —
in the book-stores — on the train
— and in the thousand and one
usual places, the March-April
number of Shadowl.'\ND, "The
Magazine of Magazines."

You see the reason for the
hyphen is, we will be unable to
issue a March Number of
Shadowland, because we are
tired of being behind with our
schedule, which is a result of the
recent printers' strike.

However, Know All Men by
These, Presents: That on or
about the twenty-third day of
March, in the year nineteen hun-
dred and twenty, there will be
placed for sale at all customary
places, a March-April issue of
Shadowland Magazine —
more beautiful, more artistic,
more interesting than any previ-
ous number, by which sale we
expect to repay the readers of
this magazine for the annoyance
caused by the necessary omission
of the March issue.

We thank you for your kind-
ness in the matter.

M. P. Publishing Co.

1 75 Duffield Street, Brooklyn, N. Y.

(One hundred and two)

Teemarjs

FACE POWDER

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â– who prize their beauty. Of lovely
fragrance and closely clinging.

All tints at all toilet counters 50c (double the
Onannry of old 25c sire) plus Ic war tax.
MmmiuTc box mailed for 4c plus Ic uiar tax.

The Freeman Perfume Co..

Dupt. 104 Cincinnati. O.

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The Celluloid Critic

(Coiilinucd from page 50)

knot is tied. The way a healthy young
chap falls beneath the spell of the
madman forms an unpleasant vein
running thru an otherwise high-
spirited comic romance. You will at
least sense this vaguely when you see
the comedy.

"Should a Woman Tell?," (Metro), is
claptrap melodrama of the most obvious
sort, dealing with one of those super-
innocent cuties who is wronged by a rich

TO MARY PICKFORD:

It would not be quite fair to
write a cold, calm criticism of
"Pollyanna." Because it would not
tell half that is in our heart.

'Way back in the minds of all of
us are dreams — the dreams we
started with, the dreams that came
to grief when we encountered life
as it is. You have the ability — in-
deed, we should say genius — to stir
those latent memories, to sweep
back the years, to give us faith
again.

How well you have succeeded in
"PoUyanrfa"' ! The calm, critical
side of our brain tells us that it is
a sugar-coated view of life as it
isn't and never was, but the dream
side of us stirs — and awakens.
What, then, of criticism? You
have given us a golden flash into
something intangible, never to be
attained perhaps, but sacred, far
inside our hearts. You have made
us forget the realities of today.

If we ever reach the point where
you fail to touch us, Mary Pick-
ford, we will know that our ideals
have gone, that our heart is empty,
that ashes have taken the place of
our memories. May that never be I

We know — our critical self keeps
repeating it^that you never did a
finer, better sustained or an infinitely
more subtle bit of playing of child-
hood than your Pollyanna. That
the tear was never so close to the
smile. But it is the soul beneath
this histrionic dexterity that we
feel. You are eternal youth, with
its dream cities of high hopes.

We need you. Mary Pickford —
and more "Pollyannas."

The Cf.lluloid Critic.

and unscrupulous youth and who goes
thru reels and reels of hectic emotions.
"Should a woman tell?" is supposed to
be the problem facing the cutie when she
weds a very upright young chap.
"Should a Woman Tell?" is exceedingly
mediocre. The direction is uninspired,
save for a rather well done shipwreck.
The one redeeming feature is the rather
promising work of the new Metro star,
Alice Lake, who seems a sort of ming-
ling of Alice Brady, Norma Talmadge
and half a dozen other celluloidic lumi-

^^^^^

SUBMIT YOUR SONG POEMS ON ANY SUBJECT
FOR MY PERSONAL CRITICISM AND ADVIC6.
ACCEPtABLE WORDS WILL BE REVISED, FURNISHED
WITH APPROPRIATE MUSICCOPYRIGHTBD AND
exPLOlTED UNDER MY ORIGINAL METHODS FOR
FACILITATING THE PUBLICATION OR OUTRIGHT
SALE OF SONGS. VALUABLE BOOKLET ON SONG
V/RITING 3FyLFRE_JJ2N REQUEST WRITETO ME TD-DAT,

AUTHOa O*' I

(UlwM-'ooKT rentiCT 0(.o Dinck.*
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TmET WOf'T CJ3h(

)• AND OTM€ft3,*

LD. NEW YOfCOw

WORTH A MILLION DOLLARS

But It Doesn't Cost a Cent

to enter

1920 Fame and Fortune Contest

Just as easy as sitting on the magic carpet and wishing yourself a place on the
screen. This is open to everybody — ladies and gentlemen. It doesn't matter
who \ou are, what your nationality is, how old or how young \ou are, married
or single, fat or thin, or where you live. All you must possess is charm of
maimer, grace of movement or some personal charm or beauty.

MOTION PICTURE MAGAZINE
CLASSIC and SHADOWLAND

will give two years' publicity to the winner. This means your portrait in colors
on our magazine covers that claim a circulation of nearly a million copies
monthly : interviews, special articles, pictures, — in other words, publicity that
cannot be bought at any price. The magazine claims that in two years the
winner will be standing on the ladder of success in the motion picture world.
Can you afford to pass this up?

RULES FOR THE CONTESTANTS

Contestants shall submit one or more portraits. On the back of each photo an
entrance coupon must be pasted. The coupon must be from either The Motion Piciurf,
M.\CAZiKK, Classic or Shaiiowland, or a similar coupon of your own making.

Postal-card pictures and snap-shots not accepted. Tinted photos cannot be repro-
duced in magazine.

Photos will not be returned to the owner.

Contestants should not write a letter accompanying photo requiring a reply. Thou-
sands of photos will be received and it will be impossible to answer each one. All rules
will be printed in all three magazines.

Photos should be mailed to CONTEST MANAGER, 175 Duffield Street, Brooklyn,
X. V. Send as many as you like.

The contest is open to everybodj', no age limit, except those who have already plajed
prominent screen or stage roles.

Contest closes Aug. 1, 1920-

CLASSIC ENTRANCE COUPON

Name

.\ddrc*s (street)

(city)

Previous stage or screen experience in detail, if an}'

When born Birthplace Eyes (color) .

Hair (color) Complexion

. (state)

MOTION PICTURE CLASSIC

"Red Hot Dollars," (Paramount),
isn't much as a story, but it is vivified
and humanized b)' Charlie Ray, as a
young machinist who saves the life of
liis employer and is rewarded by being
adopted into the family. ' Then, of
course, he settles a feud between his
foster father and the grandfather of his
sweetheart. Charles Mailes makes this
dour old Scotchman stand out and
Gladys George is effective as his daugh-
ter. Ray was never better than in "Red
Hot Dollars." What a vitally real per-
son he is !

"The Beauty Market," starring the
breathlessly beautiful Katherine Mac-
Donald, is another story wherein tlie so-
ciety girl of fine sensibilities is just about
to sell herself in matrimony when the
rugged chap happens along and teaches
her that the real thing is "to cook and
scrub and love." Every time this kind of
story ends we experience a period of
worry for the hero, knowing that the fair
butterfly heroine is going to become an
awful flivver as a cook. But one should
really look no further than the final fade-
out. Miss MacDonald is the heroine,
Roy Stewart is the strenuous hero, (and
we liked and disliked him in alternating
moments), while Kathleen Kirkham
gives an able — and finely subtle — per-
formance of a weak society hanger-on.

An unpleasant tinge overhangs "The
Woman in the Suitcase," (Paramount),
Enid Bennett's latest vehicle. This is
due to the story itself, revolving around
the efforts of a girl of refined home life
who tries to overcome her father's secret
weakness for a very blonde young
woman by meeting the v. b. y. w. in her
own sordid world. At the same time, the
story holds the interest.

Albert Ray and Elinor Fair have cer-
tain possibilities, but they are not strongly
manifest in "Tin Pan Alley," (Fox).
Briefly, it is a story of a young chap who
writes a song hit and then loses his head.
The photoplay has the ustial Fox sub-
titles; i.e., labored attempts at humor.
Still worse is Peggy Hyland's "The
Web of Chance," (Fox). This even
has the unforgivable fault of bad
photograjjliy.

"Haunting Shadows," (Robertson-!
Cole), is a passable visualization of Mere-
dith Nicholson's novel, "The House of
a Thousand Candles," of a lonely, de-
serted house, hidden treasure, ghosts and
kindred ingredients of callow romance.

Let us turn for the moment to come-
dies. Fatty Arbuci^ic, (Paramount),
shows a decided improvement. His "The
Garage" is the funniest farce of the
month. Not a little of this merit is due
to "Buster" Keaton.

Harold Lloyd has been slumping a bit.
His "From Hand to Mouth" and "Cap-
tain Kidd's . Kids" were rather weak.
The former has Bebe Daniels' successor,
Mildred Davis, who appears pleasantly
youthful and promising. Mack Sennett
has not turned out a brilliant burlesque
in quite some time. The Sunshine and
Universal comedies continue as fearful
as of yore.

(One hundred and four)

Pafhe^iGomedies^

^ey Teach the Hard-to-Make-Lau^h-How toLaii^h

HUM OR is raised to the nth degree inPathe
Comedies. Joyous, care-free laughter
bubbles out of audiences at the mere thought
of Pathe Comedy stars. No propaganda, no
social problem, but just clean fun and the
high spirits of youthi

HAROLD LLOYD, who for four years
has been teaching the hard-to-make-laugh how
to laugh, is presented in a hilarious two real
comedy every month, produced by that master
hand, Hal Roach.

MRS. SIDNEY DREW, who is known
wherever live people who have not forgotten
to smile, is presenting John Cumberland,
famous star of the stage, in two reel comedies,
one each month.

"BRINGING UP FATHER, "the famous
George McManus creation, has now been
brought to the screen in two reel comedies,
one every month, produced by the Christie
Film Company.

*'ROLlN COMEDIES," each of one reel
length, for four years favorites with the public,
featuring "Snub" Pollard and "Sunshine
Sammy," the cunning little darky, are shown
weekly by a theatre in your vicinity.

Ask your favorite theatre when I
PATHE EXCHANGE. Inc., 25 W. 45th St., New York

f.

^=-^^j

><*>

(One Itnndred and y^o^J

This superb 2I-Jewel. thin model Burlington is sold to you direct at 'he roclc-bottom price. Thrs
masterpiece of watch manufacture has twenty-one Jewels of Sapphires and Rubies, It 'S adjusted to
position, adjusted to cemperacure, and adjusted to isochronism. Send the coupon today for 'ice
book on watches.

You pay only this smalt amount each month for this masterpiece, sold lo you at the direct rock-
boitom price, the lowest price at which a Butlineton is sold.

Burlington Watch Co., Dept. 1273 ^^ Send thlS CoUDOn

19th St. and Marshall Blvd., Chicago, 111. \ ^ "wr 7 1 T> 1

338 Portage Avenue Winnipeg. Can. \ fOr Vv Q-tCll JJOOlC

Flease send mc (without obligation and prepaid) your free \.
book on watches with full explanation of your cash or $3.50
a month offer on the Burlington Watch.

\ You do not pay a cent until you see
v the watch. Send the coupon today
\. for this srcat book on watches,
V and full informaiionofthc $3.50
\ a month olfcr. Don't ri-lay.

\ BurliDgtoD Watch Co.

\ I9lh St. -Dil Marshall Blvd.

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THB WILLIAM 0. HEWIT'f PRESS, 61-67 NAVY ST., BROOKLYN, N. T.

(One hundred and six)

Greatest of All Popularity Contests

Unique Competition in Which the Voters Share in the Prizes

WHO IS THE ONE GREAT STAR OF THE SCREEN?

Is it CHARLIE CHAPLIN or ELSIE FERGUSON?

Is it RICHARD BARTHELMESS or WILLIAM S. HART?

Concerning this matter there' is great difference of opinion. Every fan, in fact, has his own idol. The Wall
street broker swears by MARY PICKFORD ; his wife thinks TOM MIX is the best actor the cinema has
produced; the office bo)' has a "crush" on THEDA B.\RA and the stenographer collects photographs of
DOUGLAS FAIRBANKS.

\Miat do you think? If you had a vote would you give it to NAZIMO\'A or to LILLIAN GISH? Would
you vote for a man or a woman or for little BEN ALEXANDER?

Shadowland, Motion Picture Magazine, and Motion Picture Classic — the three great magazines of the
Motion Picture world — have decided to refer this question to their readers by taking a popular, world-
wide vote. In regard to matters concerning the stage and theater their audience is the most intelligent and
discerning; the most wide-awake and well-informed in the world today. If any picture patrons can pick
out the leading star, it will be those who read Shadowland, the Magazine and Classic.

The coupons will show you how to enter your own name and the name of your favorite player. But you
may vote on an ordinary sheet of paper in Class Number 2 provided you make the ballot the same size
and follow the wording of this coupon. We prefer the printed coupons for uniformity and convenience in
counting.

There will be prizes for voters and prizes for stars.

Votes registered in Class Number 1 will probably be cast by favor. Votes registered in Class Number 2
will call for a wide knowledge of the Motion Picture business, keen powers of perception and skill at de-
tecting the trend of popular favor. You cannot guess the winner offhand.

i

RULES OF THE CONTEST

1. The contest began on December 1, 1919, and will close on June

30, 1920.

2. There will l»e seven ballots as follows:

December

1919 ballot

January

1920 ballot

February

1920 ballot

March

1920 ballot

April

1920 ballot

May

1920 ballot

June

1920 ballot

The result of each month's ballot will be published in each one of
our magazines the second month following such ballot.

No votes will be received prior to the opening date or after the
date of closing.

Each person entering the contest and observing the rules thereof
shall have the privilege of voting once in each class, each month.
for each one of our magazines. You may send us one vote in
each class for Shadowland every month, and the same for
Motion Picture Magazine and yet again the same for Classic.
Thus, you will have three votes in Class No. 1 each month, and
three votes in Class No. 2 each month.

Class Number 1

Shadowland, Magazine and Classic:

175 Duffield Street. Brooklyn, N. Y.

I consider

tlie most popular player in the entire field of Motion
Pictures.

Name

Street

City

State

Country

(Dated)

Class Number 2

Shadowland, Magazine and Classic:

175 Duffield Street, Brooklyn. N. Y.

I believe that

will win the Big Three Popularity Contest with
votes.

Name

Street. . .

City

State

Country.
(Dated).

Remember! This is the greatest player contest in history.

PALMOLIVE

e-Incarnation of Beauty

"yUST as the Egyptian Princess ul' 3.000 years .if,o
I bequeathed a heritage ot beauty to the modern jiirl.
<J so did she also hand down knowledf'je of the surest
way to keep it.

She knew that Palm and Olive Oils were inild.bene-
licial, natural cleansers, as soothing, in their action as n
lotion. A crude combination was all she could com-
mand — today she would use Palmolive.

For the mild, soothing, profuse lather of Palmolive
soap, so smooth and creamy, embodies this oldest
beauty secret.

Palmolive beautities while it cleanses because it contains th*»
same rare oils used as both cleanser and lotion in ancient E^ypt.

Palmolive may be had wherever soap is sold and sup-
plied by popular hotels in ^.uestroom size.

Send 25c in stamps for Palmoletce Case conttiiii-
m^ miniature packages of 7 Palmolive requisites

.4iitiress The Palmolive Company (AdveriiiinA Dep.irtmem 1
Milwaukee. Wis.. U. S. A.

The Palmolive Company of Cnmuld, LimileJ. Toronto, Out.

^ ~b

rWJii^rN MIV.I vi^fc

a <

DOLORES CA55INELL

WAS
$100

NOW

$57

A Stenographer's Advice
On T)q3ewriter Buying

How to Save $43

THE young lady who suggested this advertisement
convinced the writer that too few people realize that
the Ohver Typewriter has the usual keyboard. A
definite propaganda, she insisted, had been spread to lead
people to believe that the arrangement of letters on the
Oliver keyboard was different, and therefore difficult.

This advertisement is to set people aright. It should
be understood once and for all that the Oliver has the
same universal arrangement of letters as on all standard
typewriters. And it has improvements and simplifications
not found elsewhere. Several hundred thousand stenog-
raphers use the Oliver daily.

The young lady brought up another point. She said
many people might think that the new $57 Oliver is a
second-hand or rebuilt machine of an earlier model.

But note that this advertisement is signed by The Oliver
Typewriter Company itself. This is a guarantee that the
$57 Oliver is the exact model formerly priced at $100. Not
a change has been made. It is a new machine. The latest
product of our factory.

How We Both Save

The entire saving of $43 conies from our new sales
methods.

During the war we learned that it was unnecessary to
have great numbers of traveling salesmen and numerous,
expensive branch houses throughout the country. We
were also able to discontinue many other superfluous,
costly sales methods. You benefit by these savings.

Among the Large Users Are

Over 800,000 Olivers have been sold. It is used by the
big concerns, as hsted below.

This Oliver Nine is a 20-year development. If any type-
writer is worth $100, it is this, our latest and best model.

Free Trial

We ship an Oliver Nine to you for five days free trial.
If you decide to keep it, pay us at the rate of $3 per month.
If you return it, we even refund the transportation charges.
What could be fairer, simpler? You may order an Oliver
Nine for free trial direct from this advertisement. It does
not place you under the slightest obligation to keep it.

Used machines accepted in exchange at fair valuation.

Or, you may ask for our free book entitled, "The High
Cost of Typewriters — The Reason and the Remedy." This
amazing book exposes the old way of selling and tells
where the $43 used to go.

Read the two-way coupon — then mail it today. Note
how simple the whole plan is — how you deal direct with
the manufacturer.

Canadian Price, $yz

TKc OLIVCP Typcwritgr Gmpany

1454 Oliver Typewriter Bldg-., Chicago (92.021

United States Steel Corpora-
tion

Montgomery Ward & Company

PennKylvania Railroad

Lord & ThoniON

Columbia Graplioplinne Co.

Bethlehem Steel Company

National Cloalc & Suit Co.

New York Edison Company

National City Bank of New
York

Cluett. reahodv & Co,
Hart. SchalTner & Marx
Knryclopedia Britannira
American Bridge Compaoy
Otis Ele%'ator Company
Diamond Match Company
Fore Kiver Ship Buiiilinf Cor-
poration
Boy Sroiitf* of America
Com Products Rellnin|>; Co.
BoFiton Elevated Railway

Mail Today— Don't Delay

THE OLIVER TYPEWRITER COMPANY

1454 Oliver Typewriter Bldg:.. Chicago

â–¡ Ship me a new Oliver Nine for five days free Inspection. If
I keep it. I will pay $57 at the rate of $3 per month. The
title to remain in you until fully paid for.

My shipping point is

This does not place me under any obligation to buy. If I choose
to return the Oliver, I will ship It back at your expense at the
end of five days.

â–¡ Do not send a machine until I order it. Mail me your book
— -'The High Cost of Typewriters — The Reason and the
Remedy." your de luxe catalog and further Information,

Name

Street Address

CUy State

Orcopation or Businesf)

r^3>"-'t^^^-(V

\r

TO-DAY

Cparamount
\ jirtcraft '

1

w

«»i

- 7

I

\\-

i S

P^>

r'

_o®°

l\nOW DCK

ore you ms[

NOT all motion pictures are good. Neither
are all books, all music, all paintmgs.

You have to use judgment in selecting your
motion picture entertainment.

Sounds difficult. But it's not.

Just make sure before you buy your ticket
that it's a Paramount Picture.

If it is — go in! It's good.

That's the secret of buying your motion
picture entertainment right. A motion picture
can't be paramount unless it's — 'Paramount.

The name Paramount is the binding guaran-
tee personally to you from Famous Players-Lasky
Corporation that the picture is right.

No need to take chances when you can
know before you pay !

paramount ff^ictur&s

Latest Paramount Artcraft Features — Released to May Jst

'Enid Bennfttt in
Blllle Burke in
Irene Castio in
Marguorite Clartc in
Ethel Clayton in "V

"The Coppcrtioad"
CoEmopolJtan Production
Cosmopolitan Production
"Dorothy l-tttof. m
Cecil B. deMHIa's Production
"Every woman"
Elslo Ferguson in
George FIttmauricc'* Productli

Oofothy GIsh in "M\rt B
0. W. Gnfflth'a Production
Wm. S. Hart tn

A tl'illiam S. Hart

"The False Koad"

'WaNTBU— A llliaUANU'

"The Amitki'ii VVifk"
"Bast to uet"

OI'Nf! MKS. WiNTHROr"

Wltti Llnnel Barrymorc

â– TllH ClNKMA MdKDEII"

"April Polly"

"Black is Whitk"

"Malk and Fkmale"

WUh All Star Cast

IIIB UODSE IN OltDEIl"

on

"Tub Toll Gatb"
Production

"The Grim Game"

With All Star L'ast
RnniND TUB Door"
DANiiBitODs Hours"

Houdlnl ,n
"Huckleberry Finn"
*lnco Supervised Special
'Ince Supervised Special
'Douglas MacLean ujhJ Doris May

"Mart'9 Ankle"
Vivian Martin in "His Ovficial Fianobb"

'Charles Ray iii "Alarm Clqi'k Anuv"

Wallace Reld m "Kx.ihh My DrsT"

"Tho Cost" Willi Vii.U-t HenUnK

"The Teeth of the Tiger" With HiliIJ I'mvell

Maurice Tourncur's Production "TuicAyuiii'; Island"

Si- FAMOUS PLAYERS-LASKY CORPORATION [i

Georgo Loano Tucker's Production

"Thb MtRACLB Man"
Robert Warwick in "TnoD Art thb Man"

Bryant Washburn in "The Six Bb:sT Cellars"

•Supervised by Thuraas H. Ince

Paramount Comediea

Paramount-Arbuckio Comedies
Paramount-Mack Sennett Comedies
Paramount-Do Haven Comedies

Paramount Short Subjects

Paramount Magazine iKsued Wceklu

Paramount-Burton Holmes Travel Pictures

Jssued Weekly

(Four)

Are you tired ?

Has life begun to pall ?

Have you gotten everj'thing you set
out to get ?

Does the achievement weary?

Is the daily burden growing heavier?

Read Shadowland

Take a trip into the Land of Romance

Where you will find that tired feeling
leaving you.

Life will take on new interest.

The daily burden grows lighter, for
you have come to a new country ;
an old country which is ever new.

The country of Romance,

Of Art,

Of Beauty !

Read Shadowland

If you are tired of reading ten-foot
headlines that Congress is going to
cut down expenses —

If you have been kept awake o' nights
puzzling over the Whys and Where-
fores of Socialism,

If you have been over- fed with the
dullness of life,

Try

Shadowland

Now that we have been rapped across
the knuckles by

The Ruler of Prohibition,

It is the only stimulant left which is
worth while !

In this issue will be the first of some
unusual cartoons by MASSAGUER,
the famous artist and editor of Social,
the Cuban magazine.

JOHN DRINKWATER, author of
the great American play, "Abraham
Lincoln," speaks to the readers of
Sn ADowL AND — MAURICE TOUR-
NEUR tells us some of the faults of
the photoplay.

There will be beautifully colored
pages, splendid articles on art, the
stage, the silent drama, strikingly
illustrated.

There will be the latest and best
things from Paris and New York in-
terpreting the season's latest achieve-
ments.

'''.hese are only a few of the reasons
why you will like Shadowland.
where youth, beauty, adventure, wit
and mental recreation are enshrined.

SHADOWLAND

175 Duffield St.,

Brooklyn, N. Y.

Vol. X

APRIL-MAY. 1920

Nj. 2-3

THE GIRL ON THE COVER

(Painted by Leo Sielkc, Jr., from a copyright photograph
by Lumicre.)

An appropriate Easter cover girl is Dolores Cassinelli,
who comes from Italy, the land of sunshine and flowers.
Altho she was born in Italy, Miss Cassinelli was brought
to this country at an early age and she is really a typical
American girl.

A singer of no mean ability and an accomplished musician. Miss Cas-
sinelli is a screen star of unusual attainments. She has been popular in the
films since the days of Essanay.
Rotogravure Gallery of Players. Full page studies of Page

Florence Vidor, Dorothy Dalton, Bebe Daniels, •

Coleen Moore and Leatrice Joy 11-15

The Pulse of the Photoplay. Jesse L. Lasky discusses

the trend of public taste in motion pictures Frederick James Smith 16

A Joyful Miss Joy. Leatrice of the happy cognomen is

a pretty daughter of old Dixie Maude S. Cheatham 18

When "Micky" Walked. How Neilan worked his way

up from a Buffalo factory's night shift Elisabeth Peltrct 20

Miss Mason Manag:es. Shirley successfully reconciles

stardom with being a little housewife Truman B. Handy 22

Milady of the Fan. The interesting story of pretty

Francelia Billington, who has just reached stardom. . Emma-Lindsay Squier 24
Jack Jekyll and Barrymore Hyde. Glimpses of the new

screen adaptation of tlie famous Stevenson story 26

Gentle Jane. How Jane Novak divides her time between

the studios, her husband and her daughter Maude S. Cheatham 27

The Sporting Duchess. The new Alice Joyce photoplay

told in interesting story form Faith Service 29

Pretty Polly. Pauline Starke graduated from pigtails

to screen featuring in three years FritziRemont .34

Merry May. Miss Allison at home 36

Bonnie Mary. How beautiful Mary MacLaren made her

way from the Winter Garden chorus to stardom Elisabeth Peltrct 38

Two Cinema Players from Foreign Shores. The pictur-
esque careers of a Russian and a Danish star Lillian Montanyc 40

A New Cinema Find. Nancy Deaver is a piquant discovery 42

Judy of Rogue's Harbor. Short story based upon Mary

Miles Minter's newest screen vehicle Olga Shaw 43

That Irishman From Paris. Otherwise George Fitz-

maurice, director de lu.xe Frederick James Synith 47

Aladdin in the Studio. Demonstrating how difficult set-
tings are created indoors on short notice 48

The Celluloid Critic. The newest photoplays in rtvievi . .Frederick James Smith 50
A Bigger Fame and Fortune Contest. 'The latest honor

roll in the international contest 52

The Dancin' Fool. A colorful short story built upon

Wallie Reid's newest screen romance Esther Steel 54

Double Exposures Conducted by F. J. S. 58

The Movie Encyclopedia The Answer Man 96

Look for the last minute features among the advertising pages

Subscription, $2.50 a year, in advance, including postage in the U. S.. Cuba, Mexico, and
Philippines: in Canada. $3,00 a year; in foreign countries, $3.50. Single copies. 25 cents, postage
prepaid. One- and two-cent stamps accepted. Subscribers must notify us at once of any change
of address, giving both old and new address.

Entered at the Brooklyn, N. Y,. Post Office as Second-class Matter- â– 
Copyright, 1920, by the M. P. Publishing Co.. in the United Slates and Great Britain, a New York
corporation, with its principal offices at Bayshore, N. Y. _ Eugene V. Brewster, President: J, Stuart
Blackton, Vice-President; Guy L, Harrington, Vice-President; E. M. Heinemann, Secretary; Eleanor
V. V. Brewster. Treasurer.

STAFF FOR THE CLASSIC:

Engen© V, Brewster, Editor

Frederick .janies Smith, Maimgin^ Editor

Dorothy Donnell, Robert J. Shores. Fritzi Remont Associate Editors

Guy L, Harrington Business Manager

Duncan A. Dobie, Jr Director of Advertising

Rufus French, Inc Eastern Manager

Archer A. King, Inc Western Manager

Metz E. Hayes New England Manager

MOTION PICTURE CLASSIC - - . 1 75 Duff ield St., Brooklyn, N. Y.

This magazine, publislied monthly, comes out on the 15th. Its elder sister, the Motion Pitture Magazink,
comes out on the first of every month. Shadowland appears on the 23rd of each month.

(Fuf)

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Stage Plays That Are Worth While

(R''adi-rs in distant towns ivill do well to frcscrt'c this list for reference when these spoken
plays appear in their vicinity,)

Astor. — i'"ay Bainter in "East Is West."
The story of a quaint little Chinese maid who
falls in love with a yonng American. Racial
barriers seem insiirmoinitable, but there is a
happy and surprising ending. Has all the in-
gredients of popular drama.

Booth. — "The Purple Mask." with Leo Dit-
richstein. A stirring, romantic melodrama of
the days of the First Consulate in France ;
tense, colorful and highly interesting. One of
the best evening's entertainments in New York.
Mr. Ditrichstein is delightful as the royalist
brigand, the Purple Mask ; Brandon Tynan is
admirable as the republican police agent, Bris-
quet; Lily Cahill is a charming heroine, and
Boots Wooster makes her bit of a peasant girl
stand out.

Broadhnrst. — "Smilin' Through," with Jane
Cowl. An odd, but effective, drama •which pur-
ports to show how those who have gone before
influence and watch over our lives. Miss Cowl
is exceedingly good as a piquant Irish girl and
also as a spirit maid whose death occurred
fifty years before. "Smilin' Through" will
evoke your smiles and tears.

Casino. — "The Little Whopper." Lively
and amusing musical comedy with tuneful
score by Rudolf Friml. Vivienne Segal
pleasantly heads the cast, which also num-
bers Harry C. Browne, who does excellent
w^ork, Mildred Richardson and W. J. Fergu-
son.

Central. — "As You Were," with Irene Bor-
doni and Sam Bernard. A delightful musical
show in which Miss Bordoni dazzles as the
various sirens of history. Pleasant music and
a pleasant chorus lend effective aid.

Cort. — "Abraham Lincoln." You should see
this if 3'ou see nothing else on the New York
stage. John Drinkwater's play is a noteworthy
literary and dramatic achievement, for he
makes the Great American live again. "Abra-
ham Lincoln" cannot fail to make you a better
American. Moreover, it is absorbing as a play.
Frank McGlyn, a discovery, is a brilliant Lin-
coln.

Comedy. — "My Lady Friends." Highly
amusing entertainment adapted from a Conti-
nental farce. Much of the humor is due to the
able work of Clifton Crawford in the role of
the guileless young publisher of Bibles whose
efforts to spend money get him into all sorts
of difficulties. June Walker scores in Mr.
Crawford's support.

Century. — "Aphrodite." Highly colored and
lavish presentation of a drama based upon
Pierre Louys' exotic novel of ancient Alex-
andria. Superbly staged adaptation of the
play that caused a sensation in Paris. Dorothy
Daiton, the screen star, returns to the stage in
the principal role of the Galilean courtesan,
Chrysis, and scores. McKay Morris is admir-
able in the principal male role.

Eltinge. — "Breakfast in Bed," with Florence
Moore. A rather amusing farce satirizing the
movies with vaudeville's lady clown. Miss
Moore, working very hard to put it over.

Empire. — "Declassee," with Ethel Barry-
more. One of the big things of the dramatic
season is this clever play by Zoe Akins.
Whether or not it has the basis of truth, it is
brilliantly written and is well played by Miss
Barrymore.

Forty-fourth Street. — "Look Who's Here,"
with Cecil Lean, A passable musical enter-
tainment that entertains when Mr. Lean and
Cleo Ma>'field hold the center of the stage.

Globe. — "Apple Blossoms." The ambitious
and much heralded operetta of Fritz Kreisler
and Victor Jacobi plus colorful Joseph Urban
settings. An ofTering far above the musical
average. John Oiarles Thomas sings admir-
ably, Wilda Bennett is an attractive heroine
and Florence Shirley lends a piquant person-
ality to the proceedings.

Harris. — "Wedding Bells." A bright and
highly amusing comedy by Salisbury Field.
Admirably written and charmingly played by
Margaret Lawrence and Wallace Eddinger.
One of the things you should see.

Hippodrome. — "Happy Days." Big and

spectacular production typical of the Hippo-
drome. The diving girls are again a feature,
disporting in the huge "Hip" tank.

Hudson. — "Clarence," Booth Tarkington's
delightful comedy, built about the way a re-
turned soldier reunited a disturbed but typic-
ally American household. Superb perform-
ances by Alfred Lunt, Glenn Hunter and
Helen Hayes give the comedy a iine verve.

Knickerbocker. — "Shavings." A pleasant
bucolic entertainment based upon Joseph C.
Lincoln's familiar Cape Cod stories. Harry
Beiesford is featured in a gentle, whimsical
characterization.

Maxine Elliott's.— "The Cat Bird," with
John Drew. A leisurely little play by Rupert
Hughes, dealing with an elderly ecologist who
straightens out the romances of several people
according to the principles derived from his
studies among the flowers vnd insects. Mr.
Drew returns to the New York stage after
an absence of two years as the ecologist, A
suave evening's pmusement.

Morosco. — "Sacred and Profane Love," with
Elsie Ferguson. An absorbing — if loosely con-
ceived— drama by Arnold Bennett which marks
the return of Miss Ferguson to the speaking
stage. It is the story of the remarkable love of
a keenly mental authoress for a musical genius
who slips into the slough of drugs. Miss
Ferguson has many admirable moments and
Jose Ruben contributes some brilliant playing
as tha drug wreck.

Nora Bayes. — "My Golden Girl." A pass-
able musical entertainment with a score by
Victor Herbert. A chorus girl, Jeannette
Dietrich, scores the hit of the show.

Thirty-ninth Street Theater. — "Scandal,"
Cosmo Hamilton's daring drama which Con-
stance Talmadge played on the screen. Fran-
cine Larrimore and Charles Cherry have the
leading roles in the excellent footlight pro-
duction.

Winter Garden. — "The Passing Show of
1919." A typical girly garden show in which
the famous runway gets plenty of use. The
revue presents a number of travesties upon,
current attractions, particularly colorful being
that of "The Jest," with Charles Winninger
doing a clever burlesque of Lionel Barrymore.

ON TOUR

"The Frivolities of ig20." — G. M. (Broncho-
Billy) Anderson's girl revue. Lively, speedy
musical show with a large measure of vul-
garity, but (many pretty girls. The cast in-
cludes the Kouns Sisters, Henry Lewis and the
beautiful Doris Lloyd.

"Atianys You." — A typical Hammerslein
musical show with Irene Franklin, the bril-
liant mistress of the character song, and Ralph
Herz featured.

"One Kight in Rome.'' — With Laurette Tay-
lor. J. Hartley Manners has furnished his
wife with a colorful and picturesque char-
acter of a de hi.ce fortune teller in "One Night
in Rome." The play itself is but a pallid melo-
dramatic background for the big role. This,
however, is so vividly written and so vividly
played that it lifts "One Night in Rome" into
the ultra-interesting class.

''The Royal Vagabond." — A Cohanized opera
comique in every sense of the words. A tune-
ful operetta plus Cohan speed, pep and brash
American humor. Also tinkling music.

"The Girl in the Limousine." — A decidedly
daring boudoir farce by Wilson Collison and
Avery Hopwood, in which a pink and white
bed is invaded by every member of the cast
during the progress of the evening. ' John
Cumberland is very funny and Doris Kenyon.
fresh from the screen, is both pretty and
pleasant as the heroine.

"Civilian Clothes." — A delightful comedy to
please everj-body. Brand new idea and clev-
erly worked out. Thurston Hall in the title
role shares the honors with beautiful Olive
Tell. Support excellent.

(Continued on page 8)

(Siic)

Learn To Talk Convincingly

— and the Ubrld is at Your Feet

WHY can one man sell where an-
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All interesting and coiti/iiiciiig
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one man and have no confidence in an-
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Let Me Teach You

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_Lllll!fi-

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(Seven )

ili'ilii'iiniH 111

"T.Ui ' ' ^'

The ability to talk cuin-incifiyty will
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INDEPENDENT CORPORATION

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Mot. Plot. Claaaioi-20

A Wife Too Many

Into the hotel lobby walked a beautiful
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Orrupatinn

Stage Plays That Are Worth While

iContinucd from page 6)

"Nightie Night." — Described by the program
as a "wide awake * farce," "Nightie Night"
lives up to its billing. It has plenty of verve,
ginger and some daring. There are scores of
laughs. Heading the very adequate cast are
Francis liyrne, Suzanne Willa, Malcolm Dun-
can and Dorothy Mortimer.

"The Magic Melody." — A "romantic musi"''
play" with a tuneful score and a picturesque
Willy Pogany setting. Charles Pnrccll, Julia
Dean, Earl Benham and Carmel Myers, the
last two well known to the screen, head the
cast.

Ehie Janis and "her gang/'— lAvely enter-
tainment built about the experiences of the
A. E. F. on the other side. Well put together
by Miss Janis, who shines w^ith decided bright-
ness. A pleasant entertainment.

E. H. Soihcrn and Julia Marlowe in Shake-
spearean repertoire. — These artists represent
ihe best traditions of our theater and their
revivals of "Twelfth Night." "Hamlet," and
"The Taming of the Shrew" are distinguished
in every sense of the word.

"See-Sazv." — A pleasant musical entertain-
ment. Dorothy Mackaye is pleasantly cast.

"The Better 'Ole." — The Coburn production
of the musical comedy based upon Bruce
Bairnsfather's now immortal cartoon creation,
Old Bill. Mr. Coburn's characterization of
Bill is still as remarkable as ever.

"A Lonely Romeo." — With Lew Fields. A
light show running in the usual groove. Fran-
ces Cameron, who is developing remarkably,
is the bright figure of "A Lonely Romeo,"
while Mr. Fields is his humorous self. There's
a decidedly funny scene in a men's hat shop.
Chit Chin Chow." — An opulent and beauti-
ful musical extravaganza based upon the
Arabian Nights tale of AH Baba and the Forty
Thieves. Dazzling series of sensuous stage
pictures. "Chu Chin Chow" is presented this
year with an entirely new edition and new cos-
tumes. Marjorie Wood makes a colorful
desert woman, Lionel Braham is very effective
as the robber sheik and Eugene Cowles makes
the role of steward stand out. George Rosely
plays the young lover admirably.

"La La Lucille." — Musical comedy built
around the efforts of a loving couple to ar-
range a divorce in order to live up to the
terms of a millionaire aunt's will. A co-re-
spondent is engaged and troubles begin.

"The Shubcrl Gaieties of 1919." — A lively
revue with scores of statuesque girls and
stunning frocks. A decidedly attractive enter-
tainment.

"John Ferguson." — A vigorous drama that
compares favorably with anything of the kind
that New York has seen for years. Beautifully
staged and acted. Masterpieces of this kind
should be liberally patronized to encourage
others.

George If'hite's ".Scandals of igig." — All
sorts and variations of dancing make up for
a lack of story or humor. The real star is
piquant little Ann Pennington — as seductive a
little jazzer as ever shimmied on Broadway.
Then there's the lively dancing of Mr. White
himself.

"Friendly Enemies" — This is the record-
breaking comedy drama of last season, with
Louis Mann in his original role.

"Three Wise Fools." — Austin Strong's hu-
man little drama of three crusty old bachelors
who are bequeathed a young woman and who
are subsequently rejuvenated. Melodrama
with a heart throb. Helen Menken gives a
striking performance of the ner\'e-racked hero-
ine, while Claude Gillingwater is a delightfuHx
testy old Teddy Findley.

LEADING PICTURE THEATERS.

Loeii<'s N. Y. and Loen^s American Roof.—
Photoplays; first runs. Daily program.

Loezi''s Metropolitan. Brooklyn. — Feature
photoplays and vaudeville.

Capitol. — Photoplay features plus a .de luxe
programme. Superb theater.

Rivoli. — De luxe photoplays with full sym-
phony orchestra. Weekly program.

Rialto. — Photoplays supreme. Program
changes everv week.

Strand. — Select first-nin photoplays. Pro-
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HOPE
HAMPTON

PRODUCTIONS, Inc.

will give $3,000.00 in cash to the motion
picture audiences of America for their
opinions about Miss Hampton and her
initial stellar screen production

"A Modern Salome"

YOU can be one of the 37 Prize Winners
Your theater will show "A Modern
Salome," a colorful Twentieth Century
version of the romantic tale of King Herod,
Salome and St. John the Baptist, conceived
and directed by Leonce Ferret from the
famous play "Salome," by Oscar Wilde, dis-
tributed by METRO Pictures Corporation.
When you see the picture, or read the
synopsis of the story, write your essay about
it and hand it in to your local
exhibitor; he will forward it to
the judges. Here is your chance
to get in on the screen debut of a
new star — and to enrich your
bank account at
ttie same time.

5

tK.
PRIZES

TT P

3^:

2'

1

§£• PRIZE

$1,000.00 in cash

PRIZE
$500.00 in cash

PRIZES
5 Winners of $100.00 each

PRIZES

10 Winners of $50.00 each

20 Winners of $25.00 each

37 Prizes Totaling $3,000.00 in cash

EZ

lUL

Contest Rules

All essays must
be submitted by
August 15, 1920.
Essays must be less than
500 words long and must
be submitted thru your
local exhibitor.

Answer the FoUowins
Questions:
1 — Who was Salome in Biblical history and

what did she do?
2 — What is the strongest dramatic situation in

the plot of "A Modern Salome?"
3 — How would you describe Hope Hampton's

type of beauty?
4 — What is your ideal of what a motion picture

"' 1 star should be?

C — What is the lesson taught by the story of
"A Modern Salome?"

Tlie judges of the Hope Hampton Prize Contest are :

Mr. Eugene V. Brewster, editor and publisher of "Motion Picture
Magazine." "Motion Picture Classic" and "Shadowland."

Mr. Burns Mantle, dramatic critic of the New York "Evening Mail"
ami lOnlri' i;L' r to "Photoplay Magazine."

Mr. Penrhyn Stanlaws one of the foremost artists of America.

Anyone who sees or reads the story of this great picture ma^ participate in this contest. You can
get the stor^ from the exhibitor in your city Teho shows "A Modern Salome"

(Nine)

«cts the Style

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(Ten)

1]bno]2pi(3VDe Gs^c

â– J

^i^-X

rhotoBrapli l.y Kilward Thayer Monrot

FLORENCE VIDOR

Miss Vidor bids fair to achieve new honors
in the forthcoming production of her hus-
band, King Vidor, exponent of the human,
close-to-the-soil photodrama. Miss — or
rather Mrs. — Vidor is an actress of singular
attainments

DOROTHY DALTON

Altho Miss Dalton is the talk of New York in
the pagan spectacle, "Aphrodite," she is still de-
voting at least a portion of her interests to mo-
tion pictures, dividing her time between the
theater and the studio

(Ten)

I'notcjt^rapli i.y ^Vitzel. L, A

BEBE DANIELS

Miss Daniels stepped from screen farce to drama
so recently that the event is still being talked
about. Miss Daniels was Harold Lloyd's charm-
ing foil in dozens of Pathe film comedies

COLEEN MOORE

Bom in Michigan, Miss Moore was educated in a convent in Florida. D. W. Griffith gave Miss Moore her first opportunity in

a Bobbie Harron drama and she has advanced steadily ever since

l.v \\,.n,ll.i.iy. L A,

LEATRICE JOY

Miss Joy lives up to her name in being an optical joy. On another page you will find an interesting litUe chat with this pretty
j.^s>= J J 1- jj^^ Orleans maid

In the center is a snapshot of Mr. Lasky in
conference with Cecil de Mille and, below,
he is talking things over with Thomas Ince
and Mr. de Mille. Across the page is a
glimpse of Mr. Lasky in his New York
office and, in the lower corner, discussing
"The Round-Up" with Roscoe Arbuckle

The Pulse of the
Photoplay Public

No one should know the ]iiilse of the motion pic-
ture imlilic l)eltev ihnii Jesse Lasky. first vice-
president of the I'"amous I'layers-LasK-y Cor-
por.ition, and unc[U<.stionahly one of the cinema's
biggest powers.

'i'he iiliotopkiy, as deveU)i>cd hy the Lasky organi-
zation, may well he described as art harnessed to
business. The screen draiiia i> very nearly pro-
duced according to a mathematical formula. To
make picture plays in this tashion one must know
the public taste —and know it accurately

'lite l'"amous I'layers-Lasky Corp(jratii)n believes
it has solved this. It secures regular reports from
every exhibitor it supiilies with picture plays, and
these reports are supposed to enibod) the opinions
of the audience, as well as the box-office resuh.

"The real — the \ital— de\elopment of the photo-
play," .says Mr. Lasky, "is the steadily increasing
success of the film drama which, minus a star.

scores on its own merit. The public is showing
a confidence in the producer or director un-
heard of two years ago. For instance, consider
the presetit drawing power of Cecil de Mille.

"There are several distinct trends to the pho-
toplay of 1920. One is towards comedy. But,
to be successful, the comedy, however light,
must have a theme — an idea. This may be
almost anything — the high cost of living, the
extravagance of modern woman, the relation
of husband and wife — but the idea must be
beneath the laugh. 'Twenty-three and a Half
Hours' Leave' was an interesting example.
Again, the fast-developing popularity of Wal-
lace Reid in comedies of this type. Reid was
always more or less a favorite, but since he has
turned to comedy, he has developed by leaps
and bounds.

"Again, the public of 1920 will now accept
the drama with a moral, provided it is enter-
taining. Everywoman' was a preachment, but
it was pleasant, and it has been well received
across country.

(SixteenJ

An Interview With Jesse L. Lasi<y

By FREDERICK JAMES SMITH

"Another trend is the extraordinary success of a fihn
plav like 'Hucklelicrry Finn. Tlie jnilUic wants direct,
human, close-to-the-.so'il stuff. Tlierc is no question of
that. We arc so certain that «c liave delegated Wil-
liam de Mille tcj center u])iin this style of ])roduction."

Mr. Laskv turned to answer tlie telephone. In a
two-minute conversation he practically engaged a new
star. Then he returned to our interview.

â– 'The costume play of other days is still out of
vogue and will n(Jt l)c popular for tlie next few years,
if, indeed, it ever attains jiojudarity. This can be
easily explained psychologically. When we view a
silent plav wc unconsciously cast ourselves in the role
of the heio or llie henjine. We live in a vital age— an
age of the aeroplane, the automohile, the telegraph,
the wireless, a ]ieriod of tremendous business battles.
Wlieii wc see modern plays of our own lime ue tlirow
our>eKe- into the drama and draw inspiration from
it. This i.- unconscious, of course, but thi> exhilara-
tion. thi> in-'piration, is naturally lacking in stories of
dead and parsed times.''

Mr. l.a-ky paused. And, catching our breath,
we turned the subject towards the actor.

Mr. Lasky discusses the
popularity of the close-
to-the-earth play, the
comedy and the star-
less production, besides
the happy ending and
other things — as re-
flected by the theater
box-office

"The trend there," he an-
swered, "is clearly towards the
dramatic man or woman and
away from the becurled ingenue.
The old-fashioned ingenue has
passed. No one can ever make
another Mary Pickford. Miss
Pickford was the exception.
She has an ability amounting to

genius, along with tremendous technical resources. She
is, in fact, an emotional actress with the exterior of an
ingenue. There will never be another Mary Pickford, and
any one who attempts to produce another is doomed to
failure."

The conversation switched back to the photoplay story.
"The sex theme." went on Mr. Lasky, "is steadily receiving
(Continued on page 64)

(Seventeen)

A Joyful Miss Joy

"Motlicr had selected the name lieatrice for me; it
means — lilcssin;^, you know, but it seems there were
many Keatrices, >o taking the alphabet she went down
the lines seeking another hrst letter. Coming to L,
which stands for Love, she decided that was the
cine, so I became Leatrice, to her, a combination of
r.lessing and Love."

â– â– .\nd with Joy added, what a wonderfully happy
name \ on have," 1 said, watching her lovely, sensitive j
face with its delicate shadings of thought. I

"Uh, isn't it? I love it and find it a con.stant in-
si)iration," she responded, joyfully. "Anyway, I'm
so happy, and here I am playing the role of an un-
lappy wife in this new film, 'Just a Wife.' Imagine
being unhappy in all these lovely clothes, to say
nothing of the family heirlooms in jewels!" â– â– 

She was indeed an alluring picture in her dinner
gown of lovel> shades of apricot, the brocaded velvet
and tissue clinging to the straight, girlish form.
There is a poetic charm, an elusive delicacy, about
this young beauty which seems to enfold her in a
glamor of romance, ller hair is dark, as are her
eyes, which are far apart and very wide open,
and altogetlier, she combines the brilliant quali-
ties of which stars are made.

"This stately business, trains, and grown-up

Leatrice Joy is a
Dixie girl and a
daughter of pictur-
esque New Orleans.
The French blood of
old Bordeaux flows
i n h e r veins. Her
name, Leatrice,
translated into mat-
ter-of-fact English,
means Blessing and
Love ;

LE.VTRICE JOV was
born in New
Orleans, and
is the ideal type of
that most fascinat-
ing bit of femi-
ninity, a daughter
of the Old South.

All thru the fam-
ily, on both sides,
tlows t h e I'rench
blood of I lid LJor-

dc'aux, which was transplanted into this
country three generations ago and its
warmth and glow has been tenderly fos-
tered under the Louisiana blue skies.

llcr voice is .soft and very melodious and
she speaks slowly, lingering over her words,
and when she says "deah," there is a caress
in eacli slurred letter, while her "Yes, sah"
is deference itself.

"Dont lose it," I exclaimed, s[icaking
aloud my thought.

"Lose what?"
interested.

"That accent!" I rei)lied.
"( lb. deah, 1 cant, 1 liave tried, for every-
one laughs at me, but my tongue gets all
tangled up when I try to talk like you
Xorlherners." and her happy, girli.sh laugh
caused everyone on the set to turn toward
our corner with a smile.

"Yes. there is a real reason why it is
Leatrice instead of T'.eatrice." replied Miss
Joy, when I remarked on her unusual name.

and the wide eves looked

(Kightecn)

By MAUDE S. CHEATHAM

action is a little new," she confided, -and 1 have
a wild desire to sit on my foot or slide across
the Hoor. It is a great part, tho, and Koy
Stewart is a wonderful husband, she added
mischievously, as Mr. Stewart sauntered across
the set looking very impressive m his correct
evening clothes. . ,

-I am a Southern girl in this picture, Lea-
trice went on, gaily, "and the other day when I
was married I wore mothers real lace wedding
veil and felt so proud and romantic."

••.\nd some day, I suppose, you'll be wearing
this veil at vour own wedding," I said.

â– â– I hope .so, but it must be a far away day,
for I am too much intere.sted in my work to let
anvthing interfere. I had a hard, stiff climb
and would never be willing to give up until I
reach the heights. Somehow. I do not believe
that careers and love go hand in hand, both are
too absorbing, so I say, please let love stay away
from me for a while !

"Anyway, I am not thinking about such
things.' Mother spoils me and it would be very
hard for me to find a man who would be
as devoted. We are very happy together
in our little bungalow in Hollywood and
are great stav-at-homes.

•'I have just been selected to pla>' the lead

Leatrice Joy plays
her first real drama-
tic role in George
Loane Tucker's
"Ladies Must Live,"
and she has been se-
lected to play the
lead in the Selznick
production, "Blind
Youth"

in the next Selznick picture, 'Blind
Youth'; isn't that wonderful?" and
Leatrice sighed, rapturously. "So
many beautiful things are happen-
ing and every one is so lovely to me.
I believe the secret of it all is that
happiness depends on our own
thoughts. The first thing I say to
myself every morning is that the
day is beautiful and everything and
ever\bodv in it, and that I reflect only happiness and joy
and 'contentment ! We all have our own perfect place and
nothing can take it from us. Why, the orange blossom
doesn't fret and worrv, fearing that the— the— the water-
melon will usui-j) its p'lace!" And we both laughed at the
simile, even while grasping the tremendous import of her
sweet thought.

When Leatrice was a little girl down in the big house m
New Orleans, she used to array herself in her mother's hats
and pretty dresses and play "lady," before the mirror in the
reception hall, and so the first desire for dramatic work
began to unfold.

Une morning in 1916 she read in the paper that the Nola
Film Companv had been organized in New Orleans and they
wished to secure a native daughter for their leading roles.
Leatrice decided to answer the advertisement. The test
was a little scene in which she was to weep. That very
morning she had received a letter from her father, who was
in El Paso for his health, and with this in her mind, the
tears came readily enough and she put a touch of appealing
pathos into her a'cting that so impressed the manager that
she was instantly engaged.

Photograph by Evans, L. A.

THERE was a time when Marshall Neilan belonged to a sort
of club which was called by the others working in a cer-
tain machine shop in Buffalo, N. Y., "the beer squad."

"We," he said, referring to "the beer squad," "used to, work
eleven hours a day, or rather a night, for we began at eight
in the evening and worked until seven the next morning. You
can imagine us a.s we looked, tired and grimy; in a word, all
in, But just as sure as we quit work, we used to walk to our
rooms, fully two miles sway. And why do you think we did
it? To buy beer with the nickel ! I used to write a little note
for myself" — he was only fifteen years old at the time — "'Please
g^vc this boy five cents worth of beer,' and sign it 'Mrs.
.' " He looked thoroly amused at the recollection.

And now "Micky" is one of the most famous directors of
moving pictures in the world. Cause and effect? Perhaps.
In order to be really great one must be really human.

If a man has never known "ups and downs" ; if he has kept,
as we used to say in English class in school, the even tenor of
his way, then his work must necessarily prove as calm and
comparatively uninteresting as his life.

But frequently there is too much said about the early
struggles of the successful. One is likely to forget that as
soon as they are over with, these struggles are, as a rule, a
source of unlimited material and endless amusement.

Marshall Neilan worked his
way up from the bottom. At
fifteen he worked on a night
shift in a Buffalo machine
shop. At twenty he was in a
Los Angeles stock company.
A little later he was leading
man at old Olograph

of Clothesline Alley," "Stella
Maris," "Rebecca of Sunny-
brook Farm" and "Daddy Long
Legs," with Mary Pickford as
the star; "Mice and Men," in
which he also played the lead^
"Freckles"; "Hit-the-Trail
Holliday" ; and, more recently,
"In Old Kentucky,"
with Anita Stewart.
Weren't they all char-
acterized by little hu-
morous and human
touches undoubtedly
brain children of the

When
"Micky"
Walked

Of course, any one who
knows Marshall Neilan will
tell you that he can find some-
thing amusing about almost
anything that has happened,
is happening or that he can
imagine as happening in the
future !

He "kids" all the time, at
the studio and away from it,
and his people "kid" back at
him and call him "Micky" and
apparently all but worship
him.

Think over a few of the
pictures you have seen that
were made under his direc-
tion. There were "Amarilly

#

By

ELIZABETH
PELTRET

director? They were, and
there you have "Micky."

No wonder that he doesn't
have to walk any more ! Natu-
rally, lie has a handsome car
and, if he wants anything to
drink, like tea or orange-juice,
(you see, the times have
changed), he can drive to the
"Ship" at Venice and have it
more expensively than any in-
experienced person would
think possible.

I saw him in his office at
the temporary studio of the
Marshall Neilan Productions,
on the day after his return
to Los Angeles from Portland,
Oregon, where he had gone
with the purpose of shooting
scenes for "The River's End."

As a director, "Micky"
Neilan has tried his
hand at everything
from "Ham and Bud"
comedies up. He has a
remarkable sense of
humor and "kids" all
the time. The studio
folk "kid" back — and
every one worships
"Micky"

He had taken his
company up there
with the intention of
staying five weeks,
but had returned al-
most at once, without
shooting a single scene.
"What was the
trouble," I asked,
"the weather?"
"Yes; it started to rain the
day we got there. I knew
from previous experience that
it would probably continue
indefinitely, so I decided it would be
best for us to come back. The joke
was on me. We received a report
that the weather had cleared the day
after we left!"

Luck like that would have given
some producers an awful grouch.
Neilan laughed and lit a cigaret.
(Continued on paqe 701

(TvKnty-one)

r

Miss Mason
Manages

wistfully, "when you haven't your own home. I
feel so unsettled here in California, where mother
and sister and I are living in furnished apart-
ments. Notliing our own, no associations. Noth-
ing you'll regret leaving behind you when you
move And we move so often!'

W'hicli is the style in Hollywood. Everybody
is continually moving into everybody else's house.
The piotuit colonists, not being int'Mt'Sted in moss,
are more oi less lolhng stones.
Rut Miss Mason, when you
speak of such things to her,
shakes her head after the
manner of a fascinating sub-
deb, and sighs .

"I do so love a home. One's
husband, yf)U know, must be
considered, and mine is a be-
liever in solid comfort. Ber-
nev is such a good husband.
I never want another."

The horoscoper some time
ago told Shirley that she is

"Oil. little sister tniiii', let me look into your eyes
and read on inspiration there : let nie hold your zihite
hand and knon' the strength of a fhilasophy more
beautiful than human knozvlcdgc teaehrs. Let me
fold yon in my arms and have yon C7'er with me,
that in the f/lory of yonr f-ailh and loz'e I way 2calk
the paths of wisdom and peaec." — Enyenc Field.

Sui'.'s a jietite creature, hair bobbed a la Irene
Castle. Nineteen, a star, and the wife of a
great, big, black-haired boy whom she adores
and to whom she not infrequently talks baby talk,
and whose judgment in all matters is quite final —
as far as slie is concerned.

There's everything about her that makes one
think ."^hirlcy .\lason is a child — a child of the
l-.ugene I'ield type, who.se jihilosophy, happiness, is,
as Field has said, more beautiful than human
knowledge teaches. Her tlear, grey-blue eyes
search you wonderingly when she is jierple.xed, and
when she smiles her lips part like two petals of a
rosebud opening in the sunlight.

It happened that when I saw her at her home in a
fashionable Hollywood hostelry, into which she and her
family were just moving, Shirley was heartbroken be-
cause she, i)erforcc, had to take her dog and cat to the
hosjiital to board. The hostelry is typically Holly-
wood ; it allows no cats nor
dogs, altho the bars have
been let down and movie
actors are i)erniitted resi-
dence.

"That's just it," she said.

Shirley Mason is the
wife of a great, big
black-haired boy whom
she adores. They're
the happiest couple im-
aginable. "Berney is
such a good husband,"
conBdes Shirley. "I
never want another"

lai±.

(Tivcntii-Uco)

And Shirley, At That, Isn't Old
Enough to Vote

By TRUMAN B. HANDY

jjoiiif; to live to he eij,'lit_v-t\v() years old. Horrors ! Wliat's
she j;"i"K' '" Ao with herself after she's seventy-five?

Merely look after P.erney, and anticipate the eighty-
setoTid snnmier. She remarks, nahely. that she wont
he nsefid any niore, and, therefore

"And just what would you do it a vamp walked in and
tried to steal lierney?" I queried.

"Scratch her eyes out!" vociferously.

.Vnd then, perhajis, I suf;t,'ested, she is wont to "\amp"
him herself at times, to kind of exercise a variety of
exorcism — Just merely to picjue his interest.

"Certainly," she remarked, nonchalantly, smiling, blush-
ins,' a little — (we interviewers do got vuljjarly personal
at times, donf we') — "everybody does, h'very woman
has some time or other waiUed to do a little vamping. I
\anip lierney by trying to look my ]irettiest, to wear the
things he'll like to see, to do the things he'll enjoy,
and to think the thing> that he tliinks."

.\ii(l she's i|uile certain that if Lew Cody came around
he would tind her unreceptive to his chicken-hawkerie,
for, she swears, she wouldn't know how to act under
such circumstances and she'd be so fussed that she'd
say exactly the tiling that would spoil the aforesaid Mr.
Cody's train of thought.

"And," she interposed as a sort of ])ostlnde, "I'm ter-
ribly interested in I'.erney, and one man is quite enough."

.She's what the horoscf)per has termed a "twain" — a
dual s<iul — one interested in affairs of home, the other
engrossed in an avocation. Only in Shirley's case the
.•i\(ication has proved to be a vocatiim. .\nd the horo-
scope has proclaimed her hicky days the third, fifth,
sixth and eightli of each month, with Wednesday each
week predominating. Her best letters are R, C, H and
I), and as she held the cliart in front of me, telling me
its innumerable indescribable signs, of half of which she
herself doesn't know the meaning, she clapped her hands
as a sudden thought struck her.

"Lucky letters, B and D. Why, those are P.ernev's
initials: I?crney Durning! I never thought of lli.it
before. Isn't a horoscojie wonderful?"

"T'erhajis his middle initial is C or H ?" ven-
tured yours truly.

"( )h. no," she sighed: "it's J. Jose[)h,
(Continued on I'oj/c 7i)

Shirley Mason is a sister of Viola
Dana. "I've always been a tomboy,
while Viola hasn't," she says. "When
I was young I always played with the
boys"

t'^ ■'■•■ft'

(Tuentythyee)

Phjlogmiili © !■> Sh

Francelia Billington be-
gan her film career as
leading woman, largely
thru her friendship with
Mr. and Mrs. George
Melford. So Francelia
started playing oppo-
site Carlyle Blackwell
at old Kalem, follow-
ing Alice Joyce

Tiii:v told me out at Uni-
versal studio to interview
I'rancelia I'illinjfton about
her Japanese fans, so I did ;
that is, I asked her to let me
see her collection. Instead of
comjilyin;; with my request,
she hurst out lauf^hing.

"That's a studio joke," she
apologized, sobering.

"Then you haven't any collection ?" I asked, a trifle
tartly, mentally hoping that a certain publicity man would
choke on his demi-tasse.

"Oh, yes — yes, indeed," she hastily assured me,
"but they're all in Japan — they aren't that kind of
fans, you see," she hurried on, disregarding gram-
matical niceties. "They're people . . . you know,
picture fans."

I forgave the Universal P. M., and we sat down to chat.
Miss P.illington has a home in Glendale, near Los Angeles,
with a mother who looks young enough to be her sister, a sister,
Wanda, who is a trifle older than she, and a white Spitz dog
which answers to the name of "Mutts" and which is very much a par
the family. She was wearing a creation — it really tco.? that — of grey
ured chiffon, with loose, fluttery sleeves and a dee]> collar of cream 1:
Her hair is lighter than you would expect from her pictures, and her i
are either grey or hazel — it's hard to tell wliich— and she smiles with
unexpected quirk, showing lovely white teeth and wholesome little lau
ter lines at the corners of her mouth.

I suppose you know without my telling you that she was Eric Von St
heim's leading woman in his much talked about feature, "Blind Husband
and has been made since that time, a Universal star heading her own con

Milady of the Fan

pany. Rut to return to the fans — Japanese
variety !

"It's a funny thing," said Francelia, settling
herself into the corner of a couch piled high
with comfortable pillows, "but it seems that in
Japan I am very popular. I'm sure I dont
know why," she added, frankly. "I'm not a
raving beauty ... I think they must be par-
tial to blondes, not having any of them in that
country. Rut the fact remains that two-thirds
of my mail comes from Japan, with the most
extravagant praise for my work and flowery
compliments for my 'heaven-flower beauty,' as
they call it. Recently I won the popularity con-
test over there, and since then the whole studio
force has joked me about my collection of
Japanese 'fans.' "

.\t my request, Francelia's mother went up-
stairs to look for some of the letters and gifts
which her talented daughter receives from the
Flowery Kingdom. And, while waiting, we
talked shoj) — jiictures, directors, titles and am-
bitions.

"I .suppose you commenced as an extra girl?"
I asked, confidently, but the fair Francelia
shook her head and almost blushed.

"No, I didn't," she confessed, apologetically.
"I'd like to say I had, but the truth is that I
began my career in pictures as a leading woman.
I was fairly pushed into the
movies. If I had had to stand
around in the hot sun for just
one day, waiting for a casting

(Twentij-foiir)

By EMMA-LINDSAY SQUIER

director to 'cast' his eye on rne, I'd probably be selling
ribbons or teaching school, but believe me, I would
7iot be in pictures!" , - t

Did you ever hear a movie star talk like that r 1
never did. They always tell, and truthfully, too, I
suppose, of their heart-breaking struggles for "bits"
in pictures and for recognition of their talents. Natu-
rally, 1 asked for further details— any one would.

"It happened when I was seventeen years old — that
was hve years ago," she said, by which you will notice
she is one of screendom's beauties who can aflford to
tell her real age.

"George Melford, who was then a director at the
Kalem Companv, in Glendale, and Mrs. Melford lived
near us. Mrs.' Melford was always trying to get
me to go over to the studio for a test. But I consid-
eied being in movies a sort of disgrace and wouldn't
go. And then one day, when I was up at her house,
Mr. Melford came in with the announcement that Alice
Joyce was leaving Kalem. He said to m'e, 'I've got to

Recently Miss Bilhng-
ton scored in the lead-
ing role of the Von
Stroheim production,
â– â– Blind Husbands.
Now she is a Univer-
sal star

have a leading woman,
Francelia, and you look
a bit like .Mice Joyce;
come over to the studio
tomorrow for a test.'
Well, you might imagine
that I would have been delighted. ^but I wasn't I
went over because mother made me go, and when
tliev offered me thirtv-five dollars a \\eek to play-
leads op]K,site Carlyle P.lackwell, I simply couldn t
resist. Wasn't I a mercenary httle wretch .'^ -Not

one thought of art, mind you— just money!

But

one iinHii;m. 'J' till, â– ' " . ^ ' 1

those t^rst weeks that I worked were very unijleas-
ant one^ for me. I hoiK-d that my school friends
wouldn't find out that I was a 'movie actress, and
I fairlv sneaked to the studio for fear some one
I knew would recognize me. Naturally. 1 got
over that and began to like the work for its own

'^^"Tdid leads for Universal two years ago, then
was with American for a year, playing opposite
William Russell, and now I'm back at I- "iversal,
being featured. My latest picture is called Ihe
Dav She Paid'— doesn't that sound lurid.' She
continued, "It's a picturization of Fanny Hursts
storv, 'Oats for the Woman.

"f think it's a shame to spoil a logical situation
hv an artificial finale that takes the punch .jut of
the iiicture. 1 know the exhibitors say that the
iniblic demands them— but do they.' Look at
T.roken I'.lossoms'— could anything have been
more tragic than that ending:' -\nd now that
Crifiith has made the iilunge, 1 .suiM'ose well have
a regular orgv of sob fade-outs."

And then lilother Billington returned with a big
box full of letters. i>ieces of silk, hand-painted
(Continued on paiic 78)

Jack Jekyll

and

Barrymore Hyde

Jack Barrymore has just completed
a screen version of Robert Louis
Stevenson's classic, "Dr. Jekyll and
Mr. Hyde," for Paramount-Art-
craft. Here are contrasting studies
of Barrymore in the dual character.
Martha Mansfield is the Millicent

Gentle Jane

By MAUDE S. CHEATHAM

WVTCiuNG i.rettv lane Xovak in her appealms roles
as heroine in the romantic pictures of Wilhani
Hart llobart I'.osworth, Lewis Stone, Sessuc
llavakawa. Tom Mix, and a score or more of our
leadinu film stars, she appears to be a mere shp of a
X\ whh no more vitallv serious thought m her little
head than the adventures depicted on the screen.
This is one Jane Novak!

The other one is a happy, contented housewife, thU-
terin.-' about her lovely home in Hollvwood, for m real
life she is Mrs. Frank Xewhurs,', and there is an adorable
two-vcar-old <lauij;hter, \irf;inia.

Domesticitv and careers present no unusual com-
l,i, ati n in these .lavs of woman's freedom, yet, somehow, had
eve tbouKht of Jam- as sewin,-, cooking, or canng for a teby !
"How do vou do it-' 1 asked, as she rescued (nnny from a

'"'Ce lau'^ed'^The responsibility came so gradt.ally that I learnt
.s I went rdong. It all works out beautifully except when have to
he aw^v f om home on location. I have been out of the city five of
the ms ix nionths. A terrible thing happened when I came home
he Oder dav after spending seven weeks in Portland, (.inny
didn't know me and it broke my heart!" and Janes soft voice
ende<l in a wail as she hugged the bab\- close in her arms

• spoil her when I am home and the nurse is so distressed
hecause I <lo not insist on the regular hours she has been following.
Oh kar. 1 know 1 ought, but it is such fun to let her do as she
pleises " and while the lenient blue eyes beamed upon the two-
year-old I finite understood how impossible it would be for the

Back of the screen is
the real Jane Novak —
a happy, contented
housewife and Mrs.
Frank Newburg. More-
over, this real Jane is
the mother of a beau-
t i f u 1 two-year old
daughter, Virginia.
Above is Mamma New-
burg and below is
daughter Virginia

gentle Jane to become a disciplin-
arian.

Cciitic!

This is indeed the one word
which describes Jane Novak !

Tho she is very sweet, refresh-
ingly genuine, absolutely un-
sjjoiled, alluringly feminine, with
a serenitv that remains ever un-
ruffled, yet it is this gcnllcncss
that stands out above every other
(|ualilv when one thinks of her.

Jane was born in St. I-ouis,
her father being a newspaper man
in that city. She early made her
appearance in a stock company,
\\ hich was something of a family
ali'air. being composed of two
uncles, two aunts, and a half a
dozen cousins. This was fol-
lowed by a short experience in
vaudeville and musical comedy,
always in St. Louis, however,
for her mother would never
permit her to leave the home

Ann

It wa>i u ben shf was seventeen
tha' slit made her first train trip,
all alone, crossing the eounlr\ to
Los Angeles to join her aunt,
Schaefer, wlio had been playing with the
\'itagraph Company for several years.

dn the very morning of her arrival,
Jane was introduced to Mr. \ewburg,
and, after a romantic courtship e.xtend-
ing over two years, they were married
in a little vine-covered church in Santa
Monica, on May 25. 1915, the bride
being just nineteen.

Mr, Xewburg has given up his screen
work and is secretary and treasurer of the
Actors' Association, as well as his wife's
business manager, for jane confesses that
she knows nothing of business, letting
"Hubby" attend to all these worries.

"My first ]iiclure was a little comedy
with I'iutli Rfilnnd." said jane, ";uk1 from
the first 1 loved the work. I belie\e there
is a little angel following me around for
so man\ nice things are always ha])pen-
ing. Of course, I hope to be a star some
day, th.at is what I am working for, but I
ha\e been so fortunate in playing leading
roles with

many splendid
actors w h o
are fine men
as wi-11. 'I'his
i s a n educa-
tion a n d an
i n \' aluable
training.

"I have been
with William
Mart in a

Jane Novak was seven-
teen when she crossed
the continent to join
her aunt, Ann Schaef-
er, then a Vitagraph
actress. At nineteen
she was married in a
little v i n e-c o v e r e d
church in Santa Mon-
ica. Jane's first picture
was a comedy with
Ruth Roland

number of liis pictures
and he is such a true
artist himself that you
can not help gaining
much ( )h, he is a
dreadful tease and I
have an exciting time
when 1 am working
with him.

"Coming down from
Sacramento the other
da_\' our company was in
the diner and they were
all teasing me. P'inally,
1 took a rose I had been
wearing and threw it at
Mr. I lart. It landed on
his plate and he de-
clared I had started a
rough house, so, to get
even, he poured a whole
glass of If ^--water down
my back," and Jane
shivered as she laughed.

"Several years ago I
made four jiictures with
Hobart P.osworth and I
was very glad to be with
(Continued on foije 65)

The Sporting Duchess

FictionizeJ fidiii the Alice Joyce-Vihigiiiph Photopl.iy

By FAITH SERVICE

MrKii:; . Duchess of Desborouj,'!!, was sporting in more ways
than one. She was sporting in her instincts as well as
her tastes. She loved her luisband, her son, horses and
.fair play. Chiefly, fair play.
Her Hood ran thru her veins
according to the best form,
and bluely. Slie maintained
traditions. .She expected the
same of others, .She expected
hapjiiness, too. She \y:ir. one
of the serene souls who, giv-
ing serenity to the world, ex-
pect serenity to be given back
again. Her years were tran-
quil, well ordered, charming
. . . that is, until the Duke
of Desborough "ran across"
some old friends in London
and jilanned to have them for
a week-end at Desltorough.

"I knew them in India," he
explained to his Duchess ;
"Mostyn and Mrs. Delmaine
and most of the others. I
know them — rather well. One
does, y'know. in India." He
added, with what Muriel re-
considered apiiarent irrele-
vance later on. "the rainy
:,eason, dont you know'"

hrom the beginning she did
not like Most)n. He was dis-
sipated, and he liad unpleas-
ant eyes. They shifted like
oily waters. .She not only did
not like him, but felt a fear

fTtifiiiif-iiitie)

of him, which annoyed her. Groum Hess fears were hysteria,
and the Duchess had a fine contempt for hysteria.

.She did not like Mrs. Delmaine. eifner, but she felt, as one

woman to another, a kind of
|)ity for her. There were
ghosts in her eyes — sad
ghosts — and restless. Dead
things stirred and would not
let her be. It was evident
that Mrs. Delmaine had been
exceedingly unhappy.

The fact that her husband
had known her in India meant
very little to Muriel. No
doubt the Duke had known a
great many women in India
and elsewhere. Muriel was
not the t)-pe to (|uestion pasts,
which certainly belonged to
their owners. The present, so
that it had dignity and se-
curity, was all she asked.

It was the jiresent that
Mostyn and Mrs. Delmaine,
\\ ho. in the
Indian
days, had
been more
than
friends to
the Duke
of Des-
borough,
wished to
ferment.
Thev had

Her years
were tranquil
until the Duke
of Desbor-
ough "ran
across" some
old friends in
London and
planned to
have them for
a week-end at
Desborough

MOTION PICTUKK

reasons . . . Mostyii liad f,'()l, at cards, im the lace-track and
one way or anotlier, Dcsliorouj,'!! into debt. P.adly into debt.
The one way ont for Dcslioroii,i;h was liis horse. "Clijistonc,"
winning the Derby. If Mostyn slioidd foreclose before the
Derby, tliere would be few vesti.ges of di.gnity iiossible. then,
for tlie Duke and Ducliess. Mostyn liad anotlier reason. He
was the sort of a man who always would have another reason,
and the other reason, in some form or other, would be a
woman. He had looked upon Muriel, and from the introduc-
tion he had conceived for her an obsession. That .she was
cold, aloof, unattainable were but so many goads. Neither
did it make, to him, very much difference how he attained his
desire. His desire, in itself, was all tli.it mattered.

Mrs. Dclmaine was a willing cons]iirator. She had taken
her discard hard, when it came to the matter of Desborough.
It had been unforgettable, for some 'stnmgc reason she had
never been able to fathom. Perhaps- her mouth (|uirked bit-
terly at this thought — jierhaiis she had loved him. W ho could
tell? Love, or a lesser thing, it had hurt her past forgiveness.
It had bred, first an intolerable ii;iin, then bitterness, arid and
consuming, then the desire for a personal \engeance which
might measure back ii> him some meed of the pain she had
known. Mostyn seemed a sort of answer to a great many
blasphemous prayers.

Mrs. Delmaine was not as subtle ;is she might ha\e been.
She had got, it seemed, beyond that stage. Pain is a bad thing
for shades and nuances, especially when a woman lias ttn'ned
the shady thirties and has known emotional thumb-screws.
.She was not, at any event, subtle enougli for the Duchess, who
was very subtle indeed and far cleverer than she might have
been credited with being by a casual observer.

She fainted in Desborougli's arms, just in time for Muriel
to see him bending over her. She m.iintained the faint, com-
ing out of it badly and murmuring something anent times like
these in Indian days . . . she added ;i little, intimate Indian

"I am no end sorry, Mu-
riel. 1 wouldn't tarnish a
single hair of your head
. . . or ;he boy's. You
know that, dont you, my
dear?"

love name. Desbor<iugh.
caught unaware, held
her to him, whether
necessarily or unneces-
sarily he himself would
probably have found it
hard to say. He found,
when, unexpectedly, he
met ^I Uriel's eyes, that he
could say nothing at all.
Mrs. Delmaine did not
give him any help. Mu-
riel did.

"I am .sorry y(ju are
ill," she said, with a
gracious ease. "Shall I
send for your maid?
You must wish to rest ?"
If Desborough had
loved Muriel before, he
loved her even more af-
ter the tensity of th,it
little scene had been re-
1.i\ed by her deft touch.
More than all else, any-
way, he h ad a 1 w a y s
loved the sporting blood
in her. It bad had the
power a finely strung
whip has on a blooded
steed — the effect of
making him rear up.
hold liis iicad high, ste|i
proudly. He felt, in that hour, that he wanted, more than
anything else, to hold his head high, to step proudly. He tolil
her so. There was a silence between them, and he knew that
she could not ask him any question, but that her heart w;is
wondering. He felt that the ])art of pride called for words.
"A long while ago," he said, taking her hand, which met
his touch firmly, "a long time ago — in India — Mrs. Delmaine
meant — meant something to me, JMuriel, in the w.iy a woman
does mean something to a man — at times. U passed away,
with me. Completely. It was a closed incident. It was linal.
It has been, until her a])))earance here, absent from my most
subconscious thought. Of course, her coming w;is a breach
. . . horrible . . . Mostyn did not tell nie. when 1 nui them
all in town, that he was bringing her here to sta\- . . . just for
tea ... I am no end sorry, Muriel. I wciuldn'l t.-iniish a
single hair of your head . . . or the boy's. ^ ou know llial.
You do. dont you. my dear?"

"Yes," .said Muriel; "yes ... of cour.se. 'Sou know, it is
instinct or tradition, or just the sense of ])ossession, which is
r.ither a grillin.g thing . . . hut — well, there's a certain jiain
to a — a tiling like this, of c<iur.se. Not that I dont imderstand.
Not that ... I ... I lielieve I do."

"I dont want you to," whisjiered the Duke, holding her very
close; "I dont want you to, sweetheart, and yet 1 . . . oh. 1
adore you because you do."

It was u|)on this scene that Mostyn entered, unobtrusively,
and noted that theoriginal plan had failed. The Duchess was
being s]>ortiii,g.

The only thing to do was to change the target of attack.
.Since Muriel was so awf'ly sporting, the logical ((uarry war,
Desborough himself. Men and the jealousy of men were more
easilv inflamed. Mrs. Delmaine said that she thought she
could jiierce the armored pride. Leave it to her, she told
Mostyn.

It was an ea.sy role for Mrs. Delmaine, that of .sympathy

(ThirCyJ

CLASSIC

ini; intii llu' rcce-.ses
,il Muriel, for one .
liiiii of Mostyii . . â– 
dislike of the ur.m .
Mrs, Delmiiinc . . â– 
knew the syiu|iloins
themselves ... He

1 '-,r;!;1.:^:;;::;:-»«--"''-''=*^^^^

;r:"'r .,n .i;:!..,!-, >!« ..i.i .;a>, i.. i..;i.». «i>" '-

the indubitable if nniileasant altrac-
•dances he had -een . . . Mnnel s voiced
â– " Munethini;- akin t(. his own feohn.i; tor
ilrej;s of dead hours . . . ilre>;s . â–  â–  he
he knew the way they manifested
„.,.,VL- . .. I'rew cold, there in the stmli.yht, while tlie

wnian-^ insidi.ms propaganda dill its wo,d< . . . Muriel . . .
â– md Mostvn . . . and the stirre.l ashe^ ot hours out awav . .

"u'^hrev'n'-of other lives and circtmtstances. and. who
know the Tates had not, n,.,.arently, all conspired tosether
H t\t this time, Deshorous;!, miKht have recovered trom the
h^-^s ^ rs^ Uelnvtine had ,iven hint.. He m„ht. '-kIU very
el have K'"'wn ashame.l of himselt an.l open-eyed to the
oie tawcl^v situation ; mi.ht, even, have ^^^^^^^^^
b,>s,.italitv and asked the two to leave Deshoou.uh. .it es
circumstances and the I'ates did consi„ie, and bef.ne the )nke
could Ket a sane pers,.ective on the matter he was hurled into
a veritable maelstrom of questumm-s and shame.

rrobablv Muriel's very sporting blood, wh.cli occasional
manifested itself in an extreme reticence, had a K'eat de,d to
(In with il. She
had not. for in-
stance, thouj,'ht
it incumbent
u|ion her to in-
form the Duke
that Mary .\yl-
mcr, their small
son'.'? j;overnes~.
Iiad been i,'o

into s e 1 1 o u s

trciuble. This

w:is not. accord-

inj; to the view-

]MMiit of the

Duchess, the

sort of thins,' to

tell a man. e\eu

one's husb.and.

So that, on the

ni','ht of the bis,'

count r y ball.

HJien tlie Duch-
ess found that

Mary .\ylmer

had fled London-

ward, ])enniless

and olnionsly

desperate. Des-

horiiU'ih had no

clue as to Mu-
riel's apjiarently
inexplicable

crduct. .Mostvn had remained behind, awaitint; the Duchcs ,
h" hi -ai.l. \\hen the Duchess appeare.l she was .itti ed
,. the ball, but for a hurried trip to l.on.lon m seaich of

Marv She ha<l a horrible presentiment ot the river ca.se . . _
and Ma5 h-t'nade the l.'by years of her small son safe and

''"Moslv'irinsisted upon accmpanyiu),' her. He was ama.ed
.,t , ai c imer. Dhl, he won.lered. the Duchess <|u,te know
â– ^h -s . V s .loin, that she shouUl contemplate a n,,dU trip
;:' ilndon alonr.' It was unthinkable, and she was appa.ently

'""^rSpress „f this new situa.i<m Muriel lost si.ht of Mostyn
.,s an i^K ivi.lual at all. She supposed a Inp alone was rat le
' l" a re thim; P, .lo. -Iliere cnild be no harm, there could
i e nm in. at all, one vvav or the other, in -Mostyn escortm«
ifer np on die train. No" doubt it wouUl be eminently more
iirooer She siave an abstracted consent.

' 'I'lere seemed, to Desborough, when he ''etuvned home o
l^nd .Mostvn an.l the Duchess both missing, nothiuf; abstiac d
alHiut it. 'It ba.l, to him. a .leadly mtent and meanmt;. ^ -

elmaine's soft hand an.l beKuilin,- voice were ' "'"'e'lly n,

.' il upon his troublcl waters. He felt, m that su. den engulhng

resent ment. that the worl.l was all wron.g an.l that w.mten

Kule i so. He ha.l enough, he thought, pressing down up.m

ni aiul Muriel knew it. \eU in this .lark h,>ur, vvhen all 1 is

h.ip^s an.l energies shoul.l have been c.mcentrated upon e

f„rthc,.ming Derbv an.l the rehabilitation .;f his fortune she

e liim, left him', disgrace.l an.l alone, with a hmm.ler hke

M.'stvn wh.. . (-....id (lod! He shud.lered when he

ih.,ught'..f the coile.l an.l slimy trail M.jstyn li="' ^-'vem .

Still, there were appearances . . . He ^^""''l' f ,,V' ' ^:
.dve chase to .Muriel an.l. having touii.l her. would then let
her go make her go. He ui.uld take her son trom her. her
We 'her name. He woul.l e.xpose_ Iter to the slings and
Inrbs ..f the p..i^oiie.l gossijis, an.l, it she had one, her ..wn

It was upon this
scene that Mos-
tyn entere<i, un-
obtrusively
The Duchess was
being sporting

(Thirtii nne)

conscience. He would let her ^cc
wlmt .Mostyii could <lo for her.
Women — hah! There u;is Mrs
Delninine . . . and there was Ahiiiel.
Opposite poles, he would have said,
and vet here they were, niectinj; on
coiniuon sjrouiid. Would, one day,
the s.inie sad, restle<»s ijhosts h.nunt
Muriel's dark eyes because of ihinj;-
still poi,i;n;nit. still unforj^etlahle :

Deshoronj^h ne\er believed, tho, as
he .and I.ei^di, Mostyn's friend, trav-
eled up to town that he was .ij<iin,i,'
to discover anythini; more than a
well-covered trip for the purpose,
perh.-ips, of t.alkinj; and pl.amiinj,'.
He w;is essentially shocked and hor-
rilied when, hreakinij intii Muriel'.s
room ;it her hotel, he discovered her,
white and dishevelled, with Mostyn,
>carlet and, so it seemed to the
blurred vision of Desboroufih, .satir-
ically triumphant. Muriel's cry of
"Tony . . . you've come in time!"
reached him as thru the roarintj of
m.any turbulent .and outr.ifjed w.aters.
He felt that Muriel w.as usinij the-
;i tries . . . and on him. .^he should
have known better. Here, now. for
the first time in her life, she was
beini; crude, was beiuf; cliea]). The
sportiu!,' blood he h;id been so proud
of. and so .sure of, liad run out of
her veins. She had suffered pro-
fanatifin. She could ne\er be the
>ame. Desborous,'!) needed a pedestal
for the wom.an to whom be ,£;a\e his
.adoration. It was the toppled pedes-
tal that had sent Mrs. Delniaine
crashins; to the earth.

The house ]iarty at I)esb()iiiui,di
broke up that nifjht. Mrs. Delm.iine
returned to London and the r.ither
va^'ue obscurity in which she kept

h.erself enshrouded. Mostyn, dro|ipin}; ,-ill ])retense of friend-
ship for Desbor<jiif,di, foreclosed on Uc'sborousjh's stables, thus
losiufj "C'lipstone" and his attendant bope for the Duke.
Harold, their little soil', ill over the loss of his mother, w-hom
he h.ad worsliijied, was removed to a sanitarium in I.ondon
and the merry w;i.t;s who call themselves the I'ates li.ad full
tilt and sway.

Muriel, of them .all, outrafied and misjudged as she had
been, maintained a certain bal.ance. In the death of her hurt,
in the very heart of her ]iain, sbe felt a sympathy for the
Duke, for what he must in every w.ay be suffering;. .Sbe even
felt a sense of ]iity for Mostyn. ])oor man. harried by the
beasts within him. She felt, for lierself, that tbin.Ljs must come
str.aifjht aji^in. She believed, still, ih.at the world i)aid back in
like coin. She felt ih.al. entrenched, she could wait.

She could, but the Duke's fortunes could not, With the
loss of "C'lipstone," he had lost his chrmce of reh;ibilit.ati<m.
With his ])ride torn from him .as well as his wife. Muriel
Iremhled for him. He had not much of the constructive ipial-
ity, the lovable Desl>oroU!,'h. He needed fortilication of one
sort or another. Muriel jjrew desperate. .\t the same time
she learnt, or the suspicion was f,d\en her, that the Duke was
directly responsible for the llij;ht of Mary ,\ylmer. .\lso,
that he was seeing; and seekins,' consolation in Mrs, Delmaine.
There grew in >Iuriel the belief that, if she could save him
linancially, he mifjht still make of his life something of the thing
be wanted. .She loveil him enough to love herself a great deal
less. It was this hope th.at led her to consent to an engagement
with Lord .Sireatlield upon the day her divorce decree was
granted. Streatl'ield was a nice boy. He was clean and he had
adored her. She would be giving him h.a]ipiness, and he — well.

Young Leigh was
with Desboroujh
and back of them
was Streattield,
who had come
for her

he would give her his consolatory pres-
ence and he would buy "CIi|istone" for
her, so that sbe might return Iiim to the
Desborough st.ables and win the Derby
race for the Desbcjrough glorv. Streat-
field, for a young man, and one very
much in love, had few illusions . . '.

He h.ad learnt that the greatest illusion of all comes when
vou think, once and for all, that you have done with illusions.
The only illusion to cling to is the rather facing one of reality.
He had C(jme up against that one,' for the first time in In's Ufe,
when he knew that he lc]\ed Mu-iel. He had come up against
it rather hard. I'.ut he did lo\e her. In the light of bis love
for her he knew that he'd only wanted other women, for him-
self, never for them. He learnt that lo\e is s.acrifice and serv-
ice, there being no limits to either one of these.

If he could give to her, e\en in so small a measure as to give
her comfort after all the discomfort she had known, lie knew
that he would achieve what nnvsf be for him his jiinnacle of
hapjiiness. H he could t^ke the droop from her slender shoul-
ders, the shadows from her dark, dear eyes, the dejection from
her wistful mouth . . . just to lift these' ghosts from her .
would he enough . . . this, learnt Streatfield, was lin.'c
The first step was to buv "Clipstone" and allow her to feel
that thru the horse and a -on race the fortune so dear, so
mevitably dear, to her heart, was restored . .

"Clipstone" did win the Derby race. He won it in spite of
foul play on the part of the opposing jockey. He won it be-
cause the judges jilayed exceedinglv fair and reversed the
numbers, having disqualified the opp'osing "King of Trumps"
for the foul. The Desborough debt was cleared.

rTIiirlii-hro)

I.' I ^SSIL

/\fter tlie race ^Furicl went lo lier little sun at the s.inita-
viimi. where, once a week, she was permitted to see him.

After the race several other |>ersi)ns went there, too. They
all seemed to he impelled.

First it was Deslioronijh. Muriel's lieart contracted at the
sijjht of his tensed face, tense<l and drawn in spite of the vic-
tory. It contracted with a pain, a pain for him. when he or-
dered her from their son's room. She knew because she was
what slie was that his sufferinj;, reactin.t; on her, was torturin;;
him e\cn more terrilily. She h;i<l le.arnt a j,'rcat many thini^s
since Mostyn and Mis. l^elmaine had been their week-end
.i;iiests ... a ,^'rcal m.any tilings ahont men and women, and
passion and des)iair. .\nd also, about love.

.She had learnt how to teni))er justice with mercy and how
lo leaven despair u ith the di\ inc ingredient of hojie. .She iiad
come to believe th;(t. of all vital thiuiis. the most vital of these
is lo\e, .-md that it will, because it must, win thru. C)ther
things make no difterence, springint;. as they do, more or less
extraneously, frotn the fundamental fact.

It had been so with her, .She lo\ed the Duke, not because
she didn't know him ; not because she harbored an illusion
which the house parly and tlie incidents thereto had torn from
her, but because she did know him. and knowing all was for-
.giving all. She loved him as she loved their son, who. being
wise, mi.ght, too, at times be foolish, yet in both .guises be the
same essenti.al being. It was this love that had directed her
every move, th.'it h,-id en.abled her to stay away from him. to
retreat when he seemed to uish-it, knowing that if his love
for her were <if the same inherent <|uality as hers for him he
nuist inevitably come b;ick to her. and that if it were not, she
could not d(j with a lesser thing.

/rhirlii.llirrri

Young Leigh was with Desborough and back of them was
Sfreattield, who had come for her. In the midst of Des-
borough's denunciation, Leigh was speaking. He was admit-
ting that he had given false testimony at tlie trial of Muriel
and Desborough for divorce. He had been "bought" by
Mostyn and Mrs. Delmaine. He admitted, too, that he had
helped Mostyn foster Desborough's suspicions and, further,
that it was he who had suggested lo Muriel that Desborough
was responsible for Mary .\yhiier. The res])onsibility of that,
he added, belonged to Mostyn, He concluded, miserablv, that
it was "pretty slimy."

De.sborougli, more gravely than was his wont, acknowledged
that it was.

"You know what the need of money is." muttered Leigh.
"It is a regular grindstone on your very soul. I had one once,
and then ..." He looked over to where Muriel, very white
and straight, was .standing by her son, her patient hands
touching his hair, her eyes compassionate and Madonna-like.
"I couldn't go on," he said, indicating Muriel, "with her . . .
as she ... is ... "

There was a silence in which, between all of them, as.sent
breathed and a tacit acknowledgment of the sporting duchess.
Then the boy went on, as tho some coiling thing was untwist-
ing itself from his inner consciousness. "It's the other sort of
I'erson," he intoned, rather nasally, "the Mostyns and the Del-
maines, little, mean sort of people, violating, i>andering sort
of peo|)le. Petty jealousies, old grudges, and all that. Mo.styn
. . . .Mostyn was mucking about in the mud, reaching for a
star to drag down into it, and Mrs. Delmaine — well, we know
licr type. They seem to keep recurring . . . anyway, they
ke])t at me, the two of them kept and kept at me, suggesting,
offering, bribing, threatening . . . they knew a chap's weak
points, those two, and they attacked 'em . . . they made me
do it ... I can swear to that ... it was weak in me, but
ihey i)layed on that weakness . . . oh, they played right
enough ..."

The Duchess intervened, kindly. .She said it was quite all
right. .She said that so courageous an acknowledgment was a
thoro vindication. She said that they all forgave him, and
more, understood. It was, she added, quite all right, and
turned her head that she might not see the tears standing forth
in the lad's eyes . . .

It was .Streatlield who saved the day. He went over to
Muriel, white in the gathering gloaming, and took her soft
hand in his. ".Steer straight. Muriel." lie said, tenderly, "and
dont think of me. You love "Desborough and I know now that
you belong to him. He knows it, too. Be happy. Please be
liappy. You've maile me so . . . and that will hold. Good-by."

,V month later Muriel was again at Desborough. Tony sit-
ting very close to her; their small son, ro.ses beginning to show
in liis cheeks again, safe in his nursery with Mary, also safe.

"Do you remember," Desborough was saying, "that Streat-
lield s.'iiil that you belonged to me r Do you?"

"\'es, dear."

"Do you know — it's so? \'ou do. Deeper than all outer
things, a truth like tiiat e.\ists. We belong, you and I. We
iiave. we can have, no seiKirate entities."

.Muriel took his he.ad between her hands and held it close.

•|H1". SI'OUllXO DLCHKSS

'I'olil ill story form from llu- sci'iiario of Liicicii Hiililiar'l
based ii|)oii Ilio iilay of .-kii.ciistiis Harris. Cecil KaloiRli ;uul
iltiiry Hamilton. I'roilmccl liy \itacraiili. starrinp; .Mice
Joyce. DiriTtcil by (n-oisi- TcrwilliEcr. Tlic cast:

.\hiric-l, niiclicss of DcsIkiioiirIi Alice Joyce

DoiiKlas, Duke of DesliorouRli I'ercy .Manuoiil

.\hijor Kolaml .Most.Mi <■'•■ \'- Seyffertistz

.Mrs. Delmaine ...Kdith Campbell Walker

Caiitain fypriaii Slreatlield Lionel Tope

Kiipert l.ciKli Joliii Galsworthy

Harold, llu- Duke's son.. Dan Comfort

I SAW hei- first three years ajjo, a sail little \\is)i nt a tliiiif;,
with a I'iK'lail, (louii-ilroiiiiiiif; liji-ciirners and a shabby
frock, with sjicies ton Iar^;c for \hv tiny Cimlerella feet.
At tlie time. I'aiiliiie Starke was doiii}; school in coni]iany
with Mildre<l Harris Chaplin, Cieoryie .Stone, Violet kadcliffe
.-Mid other \erv small fry.

Polly Starke anil Mildred ll.arris uerc the oldest scholars,
and both were in the j,'aiiche, seliooli;irl at;e when attending
the Maiestic-Keliance school, uliere one teacher disseminated
knouledfje to all ^'rades.

It was necessity that drove Pauline to the movies, foi at
tlie time her mother was wardrobe mistress at the Reliance
Pauline's futm'e looked none too brifjht.

oftice, I met mother and

studio am
.\ few dav

.\ few days later, ni a ])liysician s omce, i met moinei anu
daufjhter, and pretty I'olly looked positively older than she
does now. ^'ou .see, at that time she luid to put on a<;e in
order to hold the (opportunity to make .good on the screen.
With her hair dressed hii,'h and a ridicidously lonj,' skirt, the
little !;irl sat on :\ stiff-backed settee and talked very seriously
to nie while her motlicr had .a treatment.

Necessity drove Paul-
ine Starke to the
movies. Her mother
was wardrobe mistress
at the Reliance studio
and Polly's future
looked none too bright.
Then directors began
to see in her another
Mae Murray and —
presto I — success was
hers

Icjok for the .sad little face with
the uncanny bij; eyes, the
straijjlit hair and so'b-sistery
roles. It was whispered that
directors refused to let her
play strai{;ht comedy
liecause she was a
second Mae Marsh.

Then the war be-
gan, and a policy of

Pretty
Polly

I thought her all too
.serious, too weighted
with res|ionsibilities, and
was glad to hear that she
had found an opening at
the old Triangle, in Cul-
ver City, wlien the fa-
mous Ciriffith plant
closed down.

The two years that
followed saw Pauline
Starke a featured jdayer
with her name in electric
lights. One began to

By

FRITZI

REMONT

taking the public's at-
tention away from lior-
ror and death by sub-
stituting comedy-drama
for tearful photoplays,
put PoMy on her mettle.
It was in "Until They
Get Me" that Pauline
did a daring jump, a
"Fairbanks' drop" into
space, landing on a
horse's back and gallop-
ing away in great style.
So it was with a good
deal of curiosity that I
rang the upstairs bell of
a two- family flat house,
conscious that a pretty

The real Pauline Starke is not
the sad-faced Injured Innocent
one expects to find. She has a
sweet face, is a bit whimsical,
droll and wistful, but, most of
all, she loves life with a healthy
enjoyment. She has just cele-
brated her nineteenth birthday

little face was peeping out
of the second front wipdow.
It wasn't a minute before
tripping steps came down the
stairway and Pauline wel-
comed me to the home she
and her mother have
occupied for the past
three months.

I couldn't believe my

eyes!

It would take

more than ordinary per-
suasion to make one

swallow the fact that Polly's mother
is her senior by nineteen years. And
Polly her.self ! P>!ess me, the child is younger now than wlien
she sat on the school-bench. Her hair is modishly arranged,
parted on one side, with ear-warmers which are mighty
becoming and make one think her hair is bobbed.

Pauline Starke doesn't photograph "true," either in private
sittings or on the screen. She's not the sad-faced wight one
expects to find. She's blest with the sweetest little face, a
bit whimsical, droll, wistful — but optimistic, full of tlie enjoy-
ment of a healthy, young life. Her nineteenth birthday was
celebrated in January, 1920. She's a slim girl, and her feet
haven't grown any bigger in the three years aforesaid, even
tho clothed in comfortable cosy-toes, put on because she'd
worked so hard all day in tight pumps that the e.x(|uisite luxury
of a pink satin boudoir sli])per appealed strongly.

Now that she doesn't ha't'C to look old. Polly is looking

childishly young. Her mother looks about six years older than

she; both liave the fine, fair skin, soft, dark hair worn off the

face, and thoughtful eyes. Mrs. Starke is keeping every

(Coiilimied an f'Oi/c 60)

(Thirtyfve)

May Allison comes
pretty near being the
screen's most beau-
tiful comedienne — if
she actually isn't.
She has the piquan-
cy of the Billie
Burke of ten years
ago plus the beauty

of but words

fail us

frh'r*_,fsiT}

Merry
May

Above is another
chic boudoir study
of May Allison and,
left, are May and
her valuable pet
wolfhound

/TUirttt seirn)

Mary MacLaren was
stage-struck, like many
girls. At fifteen she
went into the Winter
Garden chorus. Then
she came to California
with a letter of intro-
duction to Lois Weber.
That started her cellu-
loid career

I.\ki;l\i:i> ;il Mary ^r.icLjncn's
liiiivii' .'I fc'.'. .niimifes aliead nf
tlie tiiiK' staled for tlie aiipoint-
ineiit, only to 1k' tolH l>y tlie maid
llial Miss MacT.aren liad gone out,
lift no word for nie, and did not
say wlien slie uonld retiMMi. \\'liilc
T was waitinf; to speak w itli lier
niollicr. slie came drivin.e; np.
My first imprt'ssion nf this jiretty,
ycllow-liaircd. Miie-eyed j;irl, wlio sat waitinj,' for me tn "start
something;," was one of w liolesomeness. I conid see no trace
of paint or iiowdcr on lier clear, fresli skin, and wlien she
talked lier clear and pleasant voice seemed to niatcli the re.st
(>{ her. .'^lie had no affectations, no slrivini,' for effect. It
seemed inlp^)^sihle to re;iH/e that this younf; girl hecanic a
screen star in her early teens, was tlien the center nf a hitter
le.gal fijjlit o\cr her services. .'~^lic is so unspoiled, so utterly
unlike what T expected to find her.

It was evident tliat she hail li.id dilTicidlx- in interviews.

Bonnie
Mary

"I suppose you come
to .in iiitcr\ iew • with
soniclhing like the self-
conscinn sncss with
which most of us sit to a
pholo;:;i'ai)lier '" I said.

"I never know what
to say." was her simjile
confession.

And so we procce<leil,
not lo have an inter-
view, hut just an inti-
ni.Mle chat ahnnt work
.and life and hooks and
Cither thiiijjs. dtiriiij;
which I nienlioned, cas-
ually, "^'oll are Kath-
ecn .MacDon.ald's sis-
ter."

"\'es," slic replied, "I
.nn the yoniij,'est of three
of lis, hnl I was the lirst
on llic screen." This
witli jiisl ,1 touch of
pride.

"Did Mill try h;ii(l
for it ?"

"Xo." she answered,
"1 deserve no credit. I
was yivcn a letter of iii-
trodiiclio)! Id Lois
Weher .md >lie put me
lo work immediately."

We were interrnpted
liy her mother, "l.xcnse
me," she s.aid, and then,
'.Marw did yon Ijrinj;
ihe piece of lace inser-
tion thai I asked von to

set :-••

"Yes, iii;imma," was
the reply ; "I'll hrinij it
to yon." ,\nd she did
so. .She had reseated
herself when her mother
exclaimed, "Why this is
only half an inch wide !
Didn't \(iii look at the
note.' I wrote upon it
on come lo make such a

How di(

icn'l heeii feelini; \ery well lately, "
^'ou will lia\c lo i;o hack .and ijet

an inch and .1 h.alf wide
niislakt- r"

'N'ou know, m.unnia. I lia
was her excuse.

"I cant possilily use this,
me .•inoiher |iiece."

Which .ijnes to show that, altlio a star, Mary is still relinked
hy herinnther, as any other f;\y\ of nineteen \ears.

M.ary M.acl.aren paid a warm trihule to Lois W'eher's j,ne;il
directorial ahilily. She exjilained tli.ai she had signed a new
coiilr.-ic' with I'niversal after the courts inillilieil the first one.
in order to retain the right to continue the use of her screen
name.

The living-room of her pretty and typical California hunga-
low on Manhattan T'lace. convenient to Hollywood, is fur-
iiislu-d simply hut in good taste. It extends the entire width of
the hung.'ilow. hut is not so large that it could not be heated hy
;i little fire in the grate on the coolest California morning. I
sat on the lounge, and opposite me, on the wall, was a Maxfield
Parrish print. .\s I entered my eyes were fille<l with the heauty

(Thirtii right)

By ELIZABETH PELTRET

<il' several Ininelies of beautiful red roses.
The uhirr of an aeroplane was heard
overhead, and it Incjuyht out the fact that
Mary's sister, Miriam, was to be married in
a few <lays to H. Clyde lialsey, who was a
member of the famous Lafayette ICscadrille.
and a descri|ition of b.iltlc in the clouds of
Kaoul l.ufberry, the famt)us ace.

"I have no yearninj; for aviation; I prefer
to stick to terra firma," said Mary, "altho
I do know it isn't any .safer. I ha\e had
three cars smashed uj) for nie in as many
years." (<)ne of these accidents brought
hei' to the border-line of life. She was un-
conscious for sixteen hours and in bed sev-
eral weeks.) "One peculiar result of this
accident," she said, "is that since my recov-
ery I have abandoned, altogether, horseback
riding and surf bathing, two of my favorite
recreations, while it has not had the least
effect on my automobiling, and I think it
must also be responsible for my disinclina-
tion for air riding."

"What was there in your life before your
screen experience.'" I asked.

".Xothing extraordinary," she replied.
"Like niost girls in their early teens, I was

Once Miss MacLaren
lived with relatives in
the West Virginia hills.
When her present con-
tract expires she plans
to go to England and
Scotland to visit the
homes of her Scotch
ancestors

stage-struck, and a

glimpse behind the

scenes of a New

York theater inade

my home town seem

stuffy and intolerable.

I told my mother I

was determined to go

on the st.ige. T a])-

|ilied for an engagement, and was taken on with

Ihc cIkuus of the Winter flarden. I was not then

fifteen years old. It was not long before I

decided, not to go on with it, but I cannot. say that

the life lost all of its glamor for rae."

"Do you ho]ie to renew your stage experience'"

"N'cs, 1 am studying for it."

"Serious di'ama, of course."

"( )f course, serious drani;i." .She smiletl as

le re|ieatc'd the words. "Mother says it is my

near-morbid tastes in drama .and books and is

but a |iassing ]ih.ise of the late teens and early

tv\(.'nties. I'.dgar .Mian I'oe is my fav(nMte author.

lis grim stories fascinate me, .and it interested

me lremendnu>ly u hen I learnt that ue have tlie

s.ime birthday. January I'^th. I think, tho." she

contiiuied. "that the book that made the most

impression on me was 'The Mysterious .Stnmger,'

tiy .Mark Twain. It f;iscin;ited me with its

terrible pessimism."

.She also spoke of the pessimism of Oscar
W ilde and the gloom of P.alzac. Her interest in
these d.irk ]iicttires of life is the in(|uisitive
(CoiiliiincJ oil />«(/(• 62)

Two Cinema Player^

By LILLlf

r

J.

"TY7iii:n one lias lust .'ill that counts and is still youiii;. anil
\^ mnst live on, there is only one thin;; to do — make the

best of what is left. That I am trying to do."
It was eleven o'clock on a Sunday niorninj;. .\ big house
just off \ew York's famous avenue — a big room, dull green and
tan, hangings of old rose — Madame Halina I'ruzovna in a
richly ui)holstered chair, her feet resting upon a liokhara prayer
nig that sank heavily into grey pile.

Would it were possible to tell her tragic story as she told it to
me, slowly, hesitantly, carefully, in pretty, broken l''.nglish, and
to pictui'e her mobile, sensiti\e face, the appeal of her dark eyes,
the indescribable grace of gesture of her beautiful hands as she
turned to her watchful secretary when the right word would
not quite come.

Madame I'.ruzovna began her stage ca-
reer more than eight years ago. Her rep-
ertoire consists of comedies and dramas
of Russian, I'rench, luiglish and Polish
authors, Kinternnacker, \\ilde, lieriistein,
(lorky. 'I'olstoi, etc. .She is known not onlv
in I'<jland. her native country, but all over
luirope, in .\ustralia, even Africa, as the
stage and movie queen of l'olan<l.

"The Dancer," a popular 1 'roadway
production a year or two ago, is one
of the plays in which Madame I'.ru-
zovna scored a wonderful success.
It ran si.\ months at the State Theater
in Warsaw, following which Madame
formed a company of fiftei;n peo|)le
and went on tour.

When war broke out in luiro])e,
.she happened to be in Herlin and, before she
could .get out of the country, was taken pris-
oner. Finally, thru the intervention of friends,
she was allowed to go to Switzerland, leaving
her trunks, her jewels in I'.erlin. During her
.sojourn in Switzerland she could not buv e\en
,^^ a change of linen, as there was not enough

%^ V\ clothing for the old and the children.

\nxious to reach her native town, Warsaw,
she was compelled to journev all
oyer Europe, thiu l-'rance, I'.ngland,
Xorway and Russia, before she
reached Poland, where, until war
closed the theaters, she continued
her stage career.

In California there had lived for
twel\e years young Ostoya, Polish
by birth, .\merican by environment,
but loving l'ol;ind with the intense
lo\ e that all Polanders have for their
native land. When l-.urope was plunged into war. he, with
many other loyal countrymen, hastened to his country's need.

In Warsaw, young < >stoya met his talented young country-
woman, .Madame Hruzovna, and greatly admired her. The ad-
miration and esteem were mutual, and soon they were married.
When Major ( )stoya, later fine of the most famous of Poli.sh
commanders, was called to the battlefront, madame donned a
soldier's uniform, shouUlered a gun and went with him as a sol-
dier in the Polish army. Twice she fought in the front-line
trenches. With her husband she was stationed in Warsaw dur-
ing the crisis of the Polish struggle. .After she left the army
she became a Red Cross nurse, serving for eight months directly
behind the liring-line. ( 'ne of her choicest possessions is a
medal given her by the late Czar of Russia when he was at
Warsaw and was shown about Red Cross headijuarters by
Madame Hruzovna. who speaks Russian fluently. The medal is
an old one, struck liy the first Romanoff Czar centuries ago.
When Nicholas presented the medal to Madame he said: "This

\

Mme. Halina Bru-
zovna has come to
American Blms from
Russia, where she
served as a soldier in
the Polish army in
order to be near her
husband, a major

rom Foreign Shores

MTANYE

medal, cast by the tirst Romanoff, is presented to you for
your distinguished service by the last Romanoff." These
projihetic words were uttered just a month before he lost his
throne.

In connection with her stage work in Warsaw, the young
Polish artiste h.id played many leads for the Sphin.\-Warsaw
Film Company, so, besides active service as soldier and nurse,
madanie was called upon many times to play leading roles
in films that were shown all over Europe during the war,
many of them being taken at the front.

And then, the war over, Major Ostoya was killed at
Danzig by the Bolsheviki.

"It was so very hard," said Madame Bruzovna. "We had
gone thru the war together — never \ery far
apart — and so happy — even tho we were _

facing — yes, living, strange things, terrible ^B^
things, outrageous things, .\lways, when we ^w ^
had time, we jilanned our future — after
the war. My husband wanted to bring
mt to .America and [)ut me on the stage.
He tried to teach me P^nglish, but always
I liked best to talk to him in Polish.

".And now he is gone. I have the caji
he wore when last I saw him alive — his
pictures, a ft'w siiapshots of both of us
taken on the very few days we spent
'honeymooning' in Poland. That is all,
and I am here — because he wanted me
to come.

"1 have been here four months. I sm
trying hard to learn to s]ieak b'.nglish
perfectly, because Mr. .Shubert, Mr. He-
lasco, say they will put me nn the stage
when I have I'.nglish right. .Americans
— have been very kind. They told me
about pictures and, because I cannot
bear to be idle and because it takes much
niiiney to live in .\merica, and many
'marks' I brought from Poland to make
one .American dollar — I work in pic-
tures.

"At Selznick studio we made ' Tlie Faded Buttertly.' It is very
interesting and very different from making films in luirope. Over
there we made all pictures out of doors. Here, we make them in
a studio with big lights.

"I like the country — the |>eople — the work I do. Sometimes it
seems like a dream — my life. Sometimes, when I think — it seems I
must be sixty — so much I have lived. But — when one has lost all
that counts and is still young and must live on — there is only one
thing to do — make the best of what is left. That I am trying to do."

Helen Gammeltoft came to this country from
Copenhagen, where she was a favorite in
Danish film plays. In the center is a glimpse
of Miss Gammeltoft in a screen drama, '"The
Little Chauffeur," with Nicolay Johansen

"Do I look >o much like a vamp — a home-wrecker'" queried
Helen Gammeltoft, Scandinavian film star and songstress, gazing
earnestly up at us. "Please tell me. '

IShe did not, we decided, and said so emphatically. She is
strikingly beautiful, with a sensitive face, masses of hair that
I shone like burnished copper against the old-blue of the chair in
) which she was seated, and an appealing personality that is bound
\to set the male heart beating faster — but "vampish" — no, we
Wouldn't say that.

( Miss Gammeltoft was born in Copenhagen. She had an in-
. nerited passion for music, a consuming zeal for the study of it.
As she grew older music was always to her the voice that she best
loved and understood.

To sing in opera was her ambition, but the impatient urge of
youth and a tempting offer decided her to accept a shorter cut to
a career, and at the age of seventeen she made her stage debut in
musical comedy at the Gaiety Theater in London.

It was during her popularity as a music-hall favorite that her
(Continiii'd o» /'af/t'68)

(Fortii one)

auriife»<j

A New Cinema
Find

A new photoplay discovery, Nancy
Deaver, is just bursting upon the
silversheet horizon. She first ap-
pears in Mayflower's "The Law of
the Yukon." Note her taking ways
at the left

(Forty-two)

Told in Story Form from the Mary Miles Minter-Realart Photoplay
By OLGA SHAW

A SHORT time ago it came to my ears that a great many
people, tourists and such like, had written, and even sold,
stories about Judy of Rogue's Harbor. It made me
rather indignant and accomplished the even greater feat of
making me think . . . for I felt, justifiably, that not one per-
son among them knew as much of Judy as I did, being there,
as I was. during the summer when the drama of her young
years came to its predestined climax. Not any one of them
knew Teddy, or the Governor, or poor, tragic Ollie. or the
Lady of the Roses, with her white hair and her unforgetful
eyes. It made, all of it, a deep impression upon me at the
time, unfolding before me. as it did, and then I went away and
there came obliterating years, and not until I read a recently
published story obviously with Judy as a theme did memories
come back to me . . . fragmentary . . . here and there . .
vivid here and there . . . sweet and sad . . .

The first glimpse I had of Judy, for instance, was with
Denny. Just at that time it would have been impossible to see
her without Denny. The two

were continually together . . .

and it gave me a sort of pleas-
urable pain, compounded of
estheticism and sheer love of
form and beauty, to see the
lovely girl, approaching woman-
hood on sure, steady feet,
guided, as it were, by the
fragile little boy whose protec-
tress and confidante she was.

There was probably nothing
particularly arresting about
Judy to the casual observer,
save for the flowerlike beauty
and tinting of gold and sea-shell
pink and forget-me-not blue,

(Fortijthree)

JUDY OF ROGUE'S HARBOR

Told in story form from Clara Beranger's scenario
based upon Grace Miller White's novel. Produced by
Realart, starring Mary Miles Minter. Directed by
William Desmond Taylor. The cast:

Judy Mary Miles Minter

Lieutenant Teddy Kingsland. ...... Cliarles Meredith

Governor Kingsland Herbert Standing

Grandpap Ketchel Theodore Roberts

Lady of the Roses Clo King

Olive Ketchel Fritzi Ridgeway

Jim Shuckles Allan Sears

Benny Frankie Lee

Peter Kingsland George E. Periolat

which were her eyes. She was not brilliant. She was even
quaintly illiterate most of the time. But she had, if I may so
express it, the all-pervasive quality of love, and it seemed to
beam from her tender eyes, shine from her white brow, touch
her lips with just the difference that made her unforgettable.
At least, she has been unforgettable to me . . .

I have always been touched, in one sensibility or another, by
contrasts, and the contrast of Judy to her surroundings, to the
people about her, was what first diverted my attention from —
well, myself at the time — to her. The cottage, with its un-
kempt exterior, its rather obvious little "fixings" done, all too
plainly, by a woman's hands ; the old man with the sullen eyes
and the perpetual pipe, at the window ; the tragic-looking girl
about Judy's own age, but as different as two creatures of the
same sex and the same general lineaments could well be ; the
cowering child, Denny, and the coar.se farmer, Jim, who was,
it seemed to me, hovering, and always ominously, in the imme-
diate background.

There were. 1 thought,
strange elements mixing and
contending there. There was
storm brewing . . . and of all
things. I did not want to see
the little girl with the love po-
tentiality in her face in any
sense victimized.

I grew to know the Latly of
the Roses. I think I came to
want to know her at first be-
cause of Judy. After a while
I wanted to keep on knowing
her because of herself. She
had an exquisite gentleness
that, just at first, I had mis-
taken for a silkiness I am not

MOTION PICTIIRE

Jim, it seemed, was hover-
ing, always ominously, in
the background . . and,
Judy shuddered tu us,
wanted to "get married
**ith me"

partial to. But after a short
time I came to know that the
gentleness was a philosophy ac-
quired piece by piece and bit by
bit, often with fingers that bled,
and, always, with a heart that
ached. It was the martyred way
the shrine of faded dreams and

in which .she had diaped
locked away desires.

She told mc that Judy was unalloyed youth and love. "The
loveliest thing," she ac'ded. "that ever God thought of, after
roses. Once upon a tiine ..."

I had to prompt her, but she shook her head and made a
little gesture with her hands as tho she were closing the door
on a room she had \owed to leave unprofaned.

"We make a great mistake." she told me, "in talking of old
hurts. We think for ea.sement, but we get revivification. 1
never speak of dead things . . , not hopes . . . nor hurts . . ."

.And so, of cour.se. I did not touch upon the theme again,
but. often, seeing her with Judy, I ])ictured her as a woman
who had loved very greatly and whose dearest hope had been
to cradle a child in her arms, the child of the man she had so
loved. I came to think of her like that, wearing the immor-
telles of a great renunciation.

I didn't know, until Judy brought Denny to the Lady of
the Roses to keep, just how matters stood at the little. hut in
Rogue's Harbor. Judy was shocked, that night, out of her
usual timidity, never without its accompaniment of a fastidious
dignity.

( irand])ap. it evolved from Judy's tremulous lips and
fingers, was lovely as you can think when he was. sleeping
Then, it seemed, he had dreams, gentle-appearing dreams, and
his half-opened eyes were kind, his mouth lost its ugly twist
and became tolerant and all his ferocity fell fro.n him even as
an ill-fitting cloak might fall. He seemed, Judy '.hought, to be

his rea! .self. It was characteristic of Judy that she would
believe more really in the gentle self of drearns than the coarse
one of awakening. Judy was like that.

"He has been getting," Judy told us, "worse and worse of
late" . . . when he was awake. He had threatened her and
he had actually hit Ollie. .Mso, he had sided with Jim
Shuckles, who, Judy shuddered to us, wanted to "get married
with me." .\s a climax, he had about done for Denny, on
whom, most frequently and most disastrously, he vented his
unbridled brute rages. This night had been the end. Denny,
Judy had thought, was done for. He could stay no longer in
Rogue's Harbor if he were to stay on earth at all.

"1 thought." she ended, with her wide eyes on the calm eyes
of the Lady of the Roses, "that he could kinder stay with you
a bit till I . . . til! I c'n make plans. I'm going to do some-
thing for Denny. He aint going back to grandpap, not ever.
If you cant ..." .She ended on rather a wistful note and
waited.

The Lady of the Roses had taken Denny's bruised little body
into her arms and was soothing him with whispers and with
touch. The calm of her eyes was momentarily troubled. Her
lips moved and I heard her say. "Xot like . . . and yet . . , '"
Then she smiled up at Judy. "Of t'oiirsf 1 shall keep !iim."
she sail! ; "it will be charming for me. He shall liave kits of
bread and milk and sunshine and roses and love, and these are
the things, and all the things, a child requires. I shall give
them . . . oh, gladly! .\nd he shall watch me sew, by lamp-
light, and when you come. Judy, to try on the frock I am
making you we will have Denny -ts audience and ciitic-in-
general."

It seems to me now, on looking back, that two or three un-
evi-iitfu! u eeks went liy, with tlie e.\cc|itions of the daily brawls
;it the hut in Rogue's Harlior. They, 1 knew, were daily.
Thev were as much a part of the atmosphere as the smell of
the .salt, mud and sand, the clam-shells drying in the sun, the

(FoTty-fourl

CLASSIC

salt wiiKls hii-athint,' over llie marshes, tlie siiifll of the ships
ami the feel of Ihe sliiftui^' foys. It all, soinehou', lilended into
the place, .-iiul only Jmly stood forth, peiietralin;; the miasmas
like .'i pale shaft of purest fjokl . . .

It e.ame to me then that (ioveiiior Kiiit;slaiid, then ( iovernor
(.f ihc State, was spendinf; his simimer in the next town, as w;is
his wont, and lh;il he e.ame quite frei|uently to Koffue's Harhor
and ipiite fic(|uently talked with Judy. At the lime I did not
connect the (iovernor and his \isits with anythinj; in any sense
out of llie usual. He was a Imsy old man, I tlionf;ht. if I
llious,'lu at all, with fancies, with dreams ... to which, no
douht, llie child with her sunny h.iir and her sunny eyes and
her naivete, made whimsical, m.ide tenderish appeal.

.Still later it came to me, in divers ways, and linally thru the
l.ady of the Roses, that the (imernor's fjr.andson, Teddy, h;id
met Judy and that he seemed to share the family leaning;.

I came into closer touch with the wIkjIc when 'I'eddy l)e(,';ui
to meet Judy at the coltafje of the l.ady of the Roses.

"They've heen meeting in the woods," she told me, "and hy
the lakeside, ;iiul when and where Ihey could. I think it hettcr
if they come here. They musl he alone, of course; that is
their rit;ht. I'ut there are ;ilonenesses and alonenesses. I think
it is hetter if 1 am here, an ahidin^; presence."

I th(juj,du of u hat a mother she mij^ht have made if life had
not heen denyin;;, watchiuf,' her, as I did, motheriii);- Denny and
slandini,' apart from Judy, inhnitely wise.

It was more an idyll than a lo\e, all alonj;. Judy, uilh her
child's face and child's hnalties and wom.an aistincts ; Teddy,
with his chi\alry and his fresh- from-the-warness and his j,'rou-
iiifj, dcepeninj,', lirst unconscious and then \ery frankly con-
scious lo\e . . .

It w;is an idyll aj;;iinsl which the hriUalities ot Jim ;md poor
Ollie seemed heslially insultiiif;.

It was, perhaps, merely aj,'ain, the m.itter of conlrast. Juily
was an eidolon. ;i thiii}; of dreams and dream-desires, and
Teddy loved her, responded to her, in just that way.

( )IIie, poor creature, was just an exponent, and a very un-
tutored, very uncontrolled, very crass one, of .sex, of her sex.
There was a man, and there «as a woman, and there was a
child; there was a marriage, or there was not a marriage, ac-
cording to Ollie, and there were no shades, no complexities pro
or con. There ran thru her, ]iartly because of her sex, no
doubt, a certain dull and even dread persistency called loyalty.

and an eipially dull bewilderment and helplessness when she
discovered no such trait in the man from whom she had dully,
loo, expecte<l it — Jim. It was not Jim Shuckles. so much, who
looked after ( )llic now, with that li,^du in his eyes; it was the
father of Jim Shuckles' impending child . . . and Ollie's world
was awry, with no possibility within her hori/on of .adjust-
ment.

It has come to me fre(|uently since, and specifically in con-
nection with Judy, that love, the essence of love, must be a con-
structive element. Judy was a builder. Her whole impulse
was one to rear things, and, always, toward the clouds . . .
She had the quality of ]>atience, too.

She must have ha<l, because, as it evolved .iflcrward. after
ihe day of the ( jo\ernor's narnju ly averted death, and her (jwn
heroism, heroically displayed, she had been lighting all sorts
of almost insuperable elements, having to bring to bear upon
them the wisdom of a woman and the wit of an adventuress.

It is ;in ill wind, so saith an .mcient proverb, and the day
of the .ass.ault on the (itjvcriKjr's life and Ju<ly's .saving of the
same had the efTect of the heavy mists of Rogue's llarbqr
lifting and revealing ihe hulls and the masts of the many ships,
secret and otherwise. ;it rest in that same harbor, \erltably
Rogue's Harbor.

It resealed. |irim.irily, the fact that there w;is, uithout a
doubt, some sort of secret organization in the town operating
.inarchistically. It must have come to Judy on tli;it occasion
that Jim .Shuckles was a part of it. The ideas connected by
some sort of natural inference, called, easily, instinct. Jim
just 7i'(i.v that sort of person. .\nd, by natural inference, too,
it must have come to Judy that this very connection was to be
some sort of a means of .sa\ing ()llie, who.se poor tragedy was
growing daily in the lives of all of them. Judy h.-icl thai
instinct, exclusively a woman's.

It made Teddy know how much he loved her, too. When
he saw her swinging at the he;id of the maddened horses to
stop them on their mad career, he knew that life an<l death
were duelling .and that the life ;it
stake was the bre.ath of his own.
It didn't make any difference
who she was, or what her rela-
tionship to the (|ueer peojile at
the hut at Rogue's Harb(jr was.
She was Jndy. He was Teddy.

"They've been meeting in
the woods," she told me,
"and by the lakeside, and
when and where they
could. They must always
be alone . . ."

(Forty-five)

MOTION PICTURE CLASSIC

Teddy and Judy walked in And the answer was two-in-one.

the garden of roses just n ^^^^ the Governor reveal

as they came to their most .■ • u'jj » i r^

perfect bloom, and whis- things hidden too ong. It gave

pered, one to the other, back . . . but this is how it

the old-as-the-world vows happened . . .

Two nights after the attack
on the Governor's life another
attack was planned by Jim Shuckles and his fellows. The
Governor, already incapacitated, was to be spirited away. The
whole party was to be disrupted. Power, in short, was to be
shifted. The plans took place in the barn at Rogue's Harbor,
and poor Ollie, ever, these days, on the lone trail of Jim, over-
heard them. She told them all to Judy, because, primarily,
she told everything to Judy. Judy made her plans, and, her-
self maneuvered the Governor from his house, to a boat, and
thence to the cottage of the Lady of the Roses, to whom, some-
how or other, Judy felt all who were weary, or sick, in danger
or in doubt, should essentially go.

When the Governor recovered from his stupor and beheld

the Lady of the Roses, he
gave a sort of cry, a ter-
rible sort of cry that yet
Tield a strange, paradoxi-
cal relief. It was as tho
a soul long tormented
was facing an ultimate,
most exquisite torment
before some sort of a
Nirvana.

"I've felt that this
would come to me for a
long while," he said. "I
told my son only yester-
day that I could not give
him more money for his
senatorial campaign be-
cause the money — is not
mine to give. Has never
been mine to give. It . . ."
He looked up into the se-
rene face of the Lady of
the Roses and the slow
(tears gathered in his eyes.
"I hate to take from you
once more," he said, brok-
enly, "the serenity you
must have gained at such
a cost. But I am taking
h this time, I know, only
to give it, in some meas-
ure, back to you again.
My dear, when your hus-
band went away so many
years ago and did not re-
turn— when you returned
alone and I had to ac-
count to you for the
moneys that had been en-
trusted to me and the
child left in my house — I
lied."

The Lady of the Roses
started violently. Her
lips formed the word
"child." Involuntarily,
Judy moved closer to her.
Teddy, in the background,
was watching his grand-
father with ani absorption,
half fascinated, half ter-
rorized.

"I lied," the Governor
was saying, thru taut lips ;
"the temptation overcame
me, and I fell. It sounds
deliberate. It sounds — monstrous. I know. There is no
alleviating circumstance. There is no possible condoning. I
was young. Shallow. I did not know what we pay for joy
and what we mean by pain. I had not known grief nor
death, nor love, nor any of these things. The years bring
these. It took a great many to bring them to me. I told you
that the money was gone and the child was dead. I made it
seem real beyond all shadow of a doubt. You went away at
once. Later, when penitence came to me, I could not find
you. You seemed to have vanished from the general surface
of the earth ..."

"I had," murmured the Lady of the Roses, and all the
battle with pain made intolerable her face, so that the Gover-
nor turned from it with a groan.

"There is no expiation," he said ; "I know that. I cannot,

no matter how bitter my sorrow, give you back your lost years.

I cannot give you back your baby. I can give you back your

little girl. She is here. Judy. I gave her to her grandfather

{Continued on page 75)

/Forty-iix)

^

That Irishman From Paris

By FREDERICK

AN Irishman from Paris
— and with a French
accent ! Which seems

to describe George Fitz-

maurice, the director.
For Fitzmaurice was

bom in the Parisian

capital of true Irish

folk from the south of

the little green isle.

Wanderers, they had

made their home in

Paris. It was early

decided to train young

Fitzmaurice for the dip-
lomatic service — that

goal of the Continental

youth — but the future

director decided differ-
ently
Art beckoned and

Fitzmaurice decided to

be a painter. He studied

and was graduated from

the famous Julien School

in Paris. Oddly, two years

after Fitzmaurice left,

Lionel Barrymore came to the

same place to study art.

Fitzmaurice found it impos-
sible to pin himself down to
pigments and brushes, and the
next year found him in the Far
East. "It was far from an artis-
tic career that I fell into," laughs
Fitzmaurice in telling it. "I became
a salesman for cotton, jute, hemp and
other Eastern products, and for
nine years I lived in India, with
visits to China, Japan and Egypt
to break the monotony.

"Then I wandered back to
Occidental civilization and the
movies. Six years ago I in-
vaded pictures with Pathe,
and I have been directing
ever since. That's the
whole story."

Fitzmaurice doesn't tell
his own tale very well.
Beneath the bare out-
line are, we suspect,
scores of colorful ad-
ventures — but Fitz-
maurice simply will
not talk of himself.

Oddly, this varie-
gated carefer seems to
have been an admir-
able preparation for
the screen. For Fitz-
maurice owes his re-
markable ability to at-
tain beautiful pictures
— admirable in light,
shade and grouping —
to his early training
as a painter, just as

(Fortyteven)

George Fitzmaurice
was bom in Paris of
true Irish folk from
the south of Ireland.
It was early decided
to train young Fitz-
maurice for the dip-
lomatic service. But
the future director
decided differently

JAMES SMITH

Maurice Tourneur owes his
skill in the same field to the
same source. Fitzmaurici^'s
ability to create atmosphere
— as in Elsie Fergijson's
"Witness for the Defense"
— may well be traced to his
wanderings thru East-
ern lands. To this add
the director's natural
Irish imagination trained
in French channels.

Fitzmaurice himself
believes that diplomacy
is one of the chief re-
quirements of a director,
for, as he says, "stars and
players require delicate
handling." We ask if
there is a better diplo-
matic combination than
Irish and French?
Fitzmaurice is an inter-
esting observer of the
screen. He talked vividly
of David Griffith, particu-
larly of the beauty of scene
attained in "Broken Blos-
soms" ; of Maurice Tourneur
and his rare skill as
a painter of the
cinema; of
George
Lo an e
Tucker
and his
d i s re-
gard for
, every-
thing in favor of the story;
of Cecil de Mille and his the-
atrical viewpoint ; and of King
VidoT, that new figure on the
photoplay horizon. Of them
all, Fitzmaurice talked frankly
and with singular discernment.

"We have been making fine strides in artistic photography,"
he remarked. "Today bad camera work is unforgivable. The
next step is the story."

The director believes that a star is something of an essential
to a big drama. "A star — and, by a star, I mean a player made
competent by long training — is of infinite value as an organ to
iiiterpret. The star is an instrument upon which the intelligent
director plays. As a director attains prominence it becomes
necessary to subordinate the star, with the result that the fea-
tured director must use new and unstarred — indeed, frequently
untried — material. Naturally, this presents added difficulties.
If a player does particularly well, he or she immediately slips
away to stardom. This happened recently, for instance, with
Constance Binney and Violet Heming. The road of the fea-
tured director is not easy, despite the apparent ease of some
directors, as Griffith and Tucker, to project their ideas into
young players."

En passant, it is interesting to note the camaraderie of Fitz-
maurice and his wife, known to the scenario world as Ouida
Bergere. "We work together on every production," explains
the director. "I owe a lot to our team work."
(Continued on page 83)

Aladdin in

Demonstrating; how diificult —

and atmospheric — settings are

created nght in the studio

The street was correct down
to the finest detail. Even the
pavement blocks were built
o{ wood and painstakingly
nailed to the floor

(Forty-eight)

the Studio

These two settings were built
in Famous Players-Lasky
studios, "Dr. Jekyll and Mr.
Hyde" in the East, and "The
Round-Up" in the West

Out at the Lasky studio the
director said casually to his
studio aid: "I need a ranch
house in the morning — get
busy!" Herewith is the
adobe house in three stages

It wasn't easy, but a little
thing like reproducing a sec-
tion of the South-West
doesn't cause the modern
studio staff to pause

(Forty-nine)

My Dkak Mr. Smith :

Wher I read your wonderful
letter to mc in reference to
"PoUyanna," I was so deeply
moved that the tears came to my
eyes. It is the sweetest tribute
that has ever heen paid to me. and
one which I sincerely appreciate.
I am Koing to keep it always m
my trcasnre box.

1 had almost decided not to im-
personate^ any more children on
the screen hut. since your letter, 1
have reconsidered my decision.
Cordially yours,
Mary Pk kfokh.

The Celluloid Critic

SoniiSTiCATi'i) and searching is the i)liotoi>lay of 1920. ,
I'laiiker and franker does it become each month in
dealinj; with that eternal theme — sex. The picture '
])iuitan may lift his trembling hands in horror, but we sec
the photoplay as in its adolescent i)eriod. Tlie screen
drama has been growing and, with a mighty hurrah, it has
just discovered sex.

What a shock Cecil de Mille's latest silken orchidrama,
"Why Change Your Wife?," (Paramount), would have
caused hut two short years ago. Not that this latest ruth-
less c'liema invasion of the sacred domain of tliey-lived-
lappily-ever-after will not provoke comment. It will —
decidedly. Vor De Mille starts intimately in a bath, with
htfliby safety-razoring and wifey trying to button her dress >
unaided, and zi|is briskly thru matrimonial boredom, I
divorce, marriage to a ]iretty gown model, another case of j
domestic ennui, a second divorce and remarriage to wife
\emcmber De Mille's "Why Change Your Hus- |
l)and '," in which he i)ointed the moral that j
divorce is rather a waste of time, since all inen j
eat onions, forget to sliave and doze ofif to i
.sleep directly after dinner? Here he reverses i
the sex of his moral and shows that all

wives But we pause. Mr. de Mille

makes liis point with more adroit grace. He
says, in brief, wives should learn when to be
wives and when to be sweethearts.

We verily believe "Why Change Your
Wife?" to be Mr. de Mille's best film contri-
bution. It is done with all the director's luxii-
riousness of method. It has been very
smoothly constructed by William de Mille
yj~ 1 and gilded with subtitles of excellent ex]ires-

^ 'V sioii. Moreover, it is admirably jjlayed.

Thomas Meighan is mere man to the life as
the hu.sband of humanly .shifting afifections,
while Ciloria .'swanson sounds a deeper note
than heretofore as the first wife. I'ebe Daniels reveals a
subtlety new to her screen playing as the mannequin who
dazzles the bored spouse.

Turn from the De Mille opus in divorce and marriage to
George l'"itzmaurice's production of "On With the Dance,"
(Paramount), a de luxe excursion into the gilded sordidness
of Manhattan. This presents a new Mae Murray. Miss

Murray has long
been a film lumi-
nary of decided
piquancy, but
her dramatic
ability has hard-
ly extended
above the knees.
Here she is both
piquant and dra- '
matic, thanks to
Mr. Fitzniau-
rice.

"On With the
Dance" dashes
thru mismated
marriages, a
murder, an in-
ternational trial
and divorce.
Miss Murray
has the role of a
bizarre little
Russian ; a pa-
gan who lives
for the moment,
a butterfly of
shallow emo-

By FREDERICK JAMES SMITH
lllustrakd hv NORMAN JACOBSEN

lions, yel iiiideislaiulable, e\c-M lovahle, in lier frailties.
Uiithiiikiiiyly she l)riii},'s dciuii the crime upon lier head.
Then it is that the .ijirl, .'^onia,. rises for a second to
[jreatness of sonl, when she fjoes upon the witness stand
and. 10 save the husband wlio no lonyer cares, deliber-
ately lies away her name and every dream.

Ouida Berj;ere has transformed Michael Morton's
stajje play into a most eft'ective film drama. Mr. Fitz-
niaurice has {;i\en it a superb screeninj;. Aside from
the dramatic effectiveness, he achieved .1 remarkable
series of screen |iictures. Here is the best silverscreeii

I lij,'ht. shade and balance since "Broken IJlossoms." The
cabaret scenes, with Miss Murray as the chief charmer,
are finely done.

Besides developing .a most remarkable dramatic note
in Miss Murray. >lr. Fitzmaurice selecte<l a capital
cast, with Alma Tell shining as a human, well-bred
girl of society and David Powell furnishing excellent
l)laying as the distraught and unhappy husband of the
shallow .'sonia. This photoplay — sweeping from the
niidni,ght cabarets, where bored, jaded Xew York
amuses itself, to its ultimate tinale outside the Criminal
Courts Building, crowded with photographers of the
yellow journals — stamps Mr. Fitzmaurice as a director of the
very lirst rank.

Marshall Neilan's first independent production. James Oliver
Curwood's story of the Canadian mounted police, "The River's
End." is likely to be very popular, because it is an effectively
built melodrama. Basically, it plays havoc with the proba-
bilities and falls down in an even casual examination. Death
overtakes a jiolice officer after he has pursued and captured
his man in the Arctic Circle. The captive, who by one of
those remarkable coincidences, looks exactly like his captor,
assumes the uniform and jiersonality of the dead man and
returns to civilization. There he meets his "sister" and falls
in love with her. A very happy conclusion is ultimately
reached, of course. What? The hero wasn't really guilty of
the crime? Of course not. A death-bed confession of the
real murderer solves everything.

Lewis Stone does the two roles — of captor and captive —
with fine virility. A corking performance it is. Marjorie
Daw is cute — a typical screen heroine. Mr. Neilan had a
well-knit continuity to work with, but he deserves credit in

keeping a high

note of suspense

and mystery

thruout. "The

River's End,"

with all its weak-
nesses, holds you.

The early Arctic

Circle scenes do

not impress us,

but Mr. Neilan

has done some

brilliant double-
exposure work —

the best we can

recall — in his

scenes with Mr.

Stone.
Little Shirley

Mason came into

prominence in

two productions:

Maurice Tour-

neur's visualiza-
tion of Steven-
son's immortal

tale of adven-

{CoiiliitJied on
page 108)

(Fifty-one)

Top, Mae Murray in "On
with the Dance"; center,
an impression of Mabel
Normand in "Pinto"; and,
left, Zena Keefe and
Owen Moore in "Picca-
dilly Jim"

A

Bigger

Fame and

Fortune

Contest

Eleanor Winnie Row
S t a h 1 of ley of Brook
New York lyn

Above, Dolly Davis of
Chicago and, left,
Marie Zorka of Van-
couver, B. C.

Above, Irene Snow of

Erie, Pa., and, right,

lone White of San

Antonio, Texas

TIMS new F;une ;iii(l Fortune Contest of 1920
!ia'< started off witli a bang.

.Mready an avalandie of pliotnyraplis of
jeautiful women and handsome-men are swamp-
ing the office and a si>ecial .staff is kept busy
â– every da)- clieckiiit; them np.

'I'hey come from all parts of the world —
from Australia, New Zealand and other far
distant lands. The interest aroused by tlie suc-
cess of the last contest has brought gratifying
results.

It should be remembered that the wm-
ners of this contest get the same guarantee
that was promised the winners of the last
(Conlinued on pane 86)

(Fiftylico)

The

Dancin'

Fool

By
ESTHER STEEL

SYLVKSTER TiBBLI-. had
the spirit of the com-
mercial reformer.
How he came by it
neither God nor he could
tell. And where it came
from did not seriously
annoy him. The source
of things was of little
moment to Sylvester
Tibbie. There were so
many manifest things to
be immediately attended
to. Actions and reac-
tions, complexes and
analyses, as such, were
wholly unknown to the
energetic Tibbie.

He had been energetic
at the time of his birth ;
he continued to be ener-
getic thruout the preca-
rious span of his boy-
hood and he would con-
tinue energetic until the
day of his doubtless pro-
testing death.

He was perpetually
bursting out of things, in
one fashion or another.
When he was very small
indeed he burst forth
from his clothes because
of surplus fat and sur-
plus energy. When he
was twenty-one he burst
from the precincts of
the home farm and the
home town because his

ideas were surplus and, e'en as his infantile fat, energetic.
Also, analogous to the fat again, his ideas were concrete. They
centered upon making money and they super-centered upon
Uncle Enoch Jones, who operated, rather successfully than

THE DANCIN' FOOL

Fictionized by permission from the scenario of Clara Kennedy
based upon Henry Payson Dowd's story. Produced by Famous
Players-Artcraft. starring Wallace Reid. The cast :

Sylvester Tibbie Wallace Reid

Junie liudd Bebe Daniels

Enoch Jones Raymond Hatton

Meeks Willis Marks

McGammon George B. Williams

Ma Budd Sylvia Ashton

Elkus Carlos San Martin

Gaines W. H. Brown

Harkins Tully Marshall

Dorothy Harkins Ruth Ashby

Tom Reed Ernest Joy

otherwise, a jug factory in the gold-paved city of New York.
The mere fact that Uncle Enoch had had the commercial
wizardry to go to New York in the first place commended him
to 'Ves, who was surrounded, otherwise, by farm-abiding rela-
tives, rather horribly content.

It should be Uncle Enoch, a fortune and jugs!

There was little or no poesy to Sylvester Tibbie. Uncle
Enoch did not appear to him in any light other than the maker
of a salable and highly utilitarian article, upon which could
be hooked ahd fastened the brimming zeals, the enthusiastic
ideas of a hitherto unappreciated Tibbie. That is, he had no
poesy when he left the dear old farm . . . later . . . but that
is later . . .

Uncle Enoch, approached by the all but unknown nephew,
ruddy, exuberant, immensely cordial, did not, at first blush, nor
second, either, share the cordiality. He was making jugs in
his own way, selling them in his own way, saving his income in
his own way. That it was an antiquated way bothered him
not at all.' It was his way, and he was of the vast majority to
whom that is wholly and pleasingly sufficient.

To begin with, he did not believe in sweeping out an office
in which one only worked. Sanitation in a factory where jugs

MOTION PICTURE

were turned forth was "new-fangled."' There seemed, how-
ever, on the first day of young Tibbie's arrival, to be no help
for the sweeping, at least. Uncle Enoch, obscured by the
clouds of the dust of considerable antiquity, stood by and
watched, making grim and, as he feared within him, futile
resolutions to make quick work of this young upstart who had
had the ill grace to be his sister's child and then foist the unde-
sirable relationship upon an old man. This, then, was what
the cartoons meant by pokes at one's relatives . . . Enoch
understood . . .

After the sweeping, Sylvester straddled a desk, neatly dusted
and oiled by the hand recently self-released from the plough-
share, and faced Enoch, still inhaling heavily of dust. Sylvester
be?an to talk.

"This is only the beginning," he said, and got the old gentle-
man a chair in time to prevent the floor from receiving his com-
plete collapse. Sylvester persisted. "This isn't all, just the
beginning," he repeated. "You see. Uncle Enoch, I've ideas.
You've jugs and a force to turn 'em out. I've ideas, and the
ideas have to do with selling the jugs. You're not selling 'em.
I kn'ow that. Comparative statistics prove that. How can
You're not up to date. You're letting every other com-
petitor you've got, and you've got 'em by the fourscore, put
things over on you. You're the gimp horse in the race. You're
dead from the eyes up. You've got a crepe on your efficiency.
You're stale. You haven't even got a telephone — I've ordered
one installed. You haven't even got typewriters. I've rectified
that — ordered half a dozen. You haven't got adding machines,
nor stenographers, nor dictaphones, nor the proper operating
staff. I've taken care of that, too. When these details are
installed I'll go out on the road for you and see what's wrong
with the out-of-town trade. Something is — that's flat. You're
not getting the orders the Mills Jug Company is getting.
You're not getting half the orders the New "Time Jug people
are taking in, nor making one quarter of the profits out o£
what you do sell. You're on a freight and you're being done
in the bargain. You leave it all to little 'Ves."
Young Tibbie smiled, by way of encouragement.
Uncle Enoch was beyond the smile and quite 'beyond en-
couragement. He didn't know his Ibsen or he might have be-
wailed, very lustily, the fact of the "younger generation knock-
ing at my door." He did assimilate the heresies of telephones,
dictaphones, stenographers and such like twentieth century
contraptions. All the troubles known to men came from just
these ambiguous and wholly distrustful sources. His father
had not done business in such a fashion up in Jaytown, Pa.
Did this young radical suppose that just because Enoch Jones
had come to the city of New York he had forsworn the ways
of his forefathers, the honest. God-fearing ways? Did he?
Because, if he did, he would learn ... he would . . .

In a voice that quavered. Uncle Enoch bade the undesirable
relative to be gone, to be completely and, for Uncle Enoch,
profanely (]0»e. In a word, he consigned Sylvester Tibbie to
a most thoro annihilation.

Sylvester Tibbie had not swept for nothing. He had not
come to New York for nothing. He had not picked upon
Uncle Enoch Jones for nothing. He had come to stay.

He told Uncle Enoch so, without ire and even with a certain

patience. He bore with him ; that was manifest. He had come

that morning, unheralded and certainly unasked, and Uncle

Enoch had been there, among the dust and jugs,

for nigh onto half a century, but that was an

inconside»able part of the whole, which was the

renovation of the Jones Jug Factory and the

innovation of the fortunes of Sylvester Tibbie.

Promising, with unnecessary kindliness and

forethought, to report promptly for work in the

morning and observing that he would now go

forth, to seek a night's lodging,

the son of tKe sister of Enoch

Jones fared forth.

Not at once, however, to seek
a night's lodging. Reading effi-
ciency manuals and economics
and the Laws and By-Laws of

(Fifty-four)

The people who lounged
about McGaTnmon's
that night looked on at
the dawning of first
love, of young love, of
love when love is new

CLASSIC

Commercialism was not all the reading young Tibbie had
done in his clean-swept room at the home farm. He had read,
too, of the cabarets of New York, the dancing girls, the wine
and laughter and lure. He had read, approvingly. One of
the things he had come to New York for was to dance and to
laugh and to live. He had mapped it all out. He would seek
love as he would seek his fortune, applying principles of effi-
ciency and system.

Of course, it did not happen to him as he had planned it —
love. Almost always this is so, of others than Sylvester
Tibbie. It happened to him suddenly, with an almost violent
abruptness. It happened to him deliciously and accidentally,
and like this :

The first cabaret he saw he went into, and the first cabaret
happened to be rather a rough sort of place known familiarly
as McGammon's. The attraction at McGammon's happened,
that season and that fateful night, to be Junie Budd, a very
young thing with limbs like a flying dryad's and a face like the
name she bore. She was very young and very sweet and very
untouched, and the gods had surely kist her pink, arched feet
and put that abandon of grace into the curves of her body.
Sylvester, not being poetical until still later, did not note these
details as details. He did note, however, that the music — or
was it something more? — quickened the pulse of his heart
almost unbearably, that he felt oddly short of breath and that
there was a dizziness in his head and a coldness in his hands
heretofore unknown to him. He tried his efficiency formulas
and they fell flat. He tried to think of Uncle Enoch and the
jug outfit and tomorrow's regimen and found that all he could
see was a pair of limbs, flying and fleet and sweet ; all he could
hear was the hula-hula of the music. It was uncommonly
queer.

Then the thing itself happened. Junie Budd stopped
dancing. There was a commotion above which her voice rose,
clear as a bell, resentful, full of tears. Sylvester knew what
one did then. His head cleared and he made the platform upon
which they danced with a bound. Junie's partner, it seemed,
had kist her, full upon the mouth, and this was in no sense a
part of the program. Junie was "pertikeler," and "What

(Fiftij-five)

would Ma Budd say ?" was the Whatever the reason Juni

hue and cry. To emphasize her B'"^<|. .""<* '\" dance<

â–  ^ , â– ' vi_- 1 their way to tame

pomt she was rubbmg savagely

at the pink, assaulted mouth, and
Sylvester found himself consid-
ering, with the queer new undercurrent of thinking he ha<
developed in the past fifteen minutes, that that pink, hur
mouth was the loveliest thing he had ever seen ; lovelier, even
than the pink anemones in the woods at home with the first o
the spring.

The thing to be done was to dispose with two fists of thi
unspeakable villain who had done the more than unspeakabl
wrong and, this done, with dispatch, and being nothing ver
new to McGammon's, the music was resumed. Junie signified
'Ves didn't quite know how, that she wouldn't at all mind dancinj
with him. 'Ves had never done much dancing before, but al
that mattered to him was the face of Junie Budd, and he fel
in love with her then and there, and the people who loungec
about McGammon's that night looked on at the dawning o:
first love, of young love, of love when love is new, and knew
that their hearts beat in their breasts with a different rhythm
knew that their eyes filled with unconscious and uncalled foi
tears, knew that they wanted to see this over and over, agair
and again, so that they might walk forth into the greyness ol
the unlovely street and never see the greyness nor mind th(
unloveliness ; but they did not know why. They did tell Mc-
Gammon what they wanted, tho, in various ways and with
various reasons, and they told it so variously and so emphatic-
ally that McGammon made Junie and 'Viss a joint propositior
to take immediate effect and Junie and 'Ves accepted.

They did not quite know, themselves, what had happened
to them that night. It had come so strangely, so unexpectedly
so keenly and sweetly. They knew that they wanted to b<
together ; that they could not bear to part. They knew that
they were happy when they were dancing together and inex-
plicably sad when their arms fell asunder and the music ebbed
low. They knew that they did not see just as they had seer
before ; that there was a different meaning than there had been
the day before. They did not know quite yet that it was love.

MOTION PICTURE

He called Enoch Jones a
few hard but understand-
able names and produced
from every pocket his
wearing apparel boasted
contracts secured by him
on his trip

falling
Budd.

That night Junie took 'Ves
home with her and introduced
him, palpitantly, to Ma Budd.
Ma took roomers and was will-
ing, having a vacancy, to include
Sylvester Tibbie, "with refer-
ences." Sylvester was efficient
enough to have equipped himself
with these. He had foreseen
almost all contingencies save the entirely marvelous one of
in love — and, of all marvelous persons, with Junie
To tliink that he should have picked out Junie Budd!
It was, he knew, with a reverent and deep conviction, nothing
less than a dispensation from heaven.

Late that night poesy entered the soul of Sylvester Tibbie
and he inscribed his first perfervid sonnet to "Beautiful Junie
Budd."

In the morning he knew that he was in love.
So did she.

Before they danced, that same evening, at McGammon's he
told her of his love, and she admitted hers, and the mutual con-
fession ended in the first kiss and the promise of the finest
engagement ring in the town.

On the way home from McGammon's 'Ves told Junie all
about Uncle Enoch and the jug factory and the reforms he
was instituting and was going to institute in order, altru-
istically enough, to make Uncle Enoch and the jugs efficient
and, quite incidentally, to make the gold and glittering fortune
of one Sylvester Tibbie. Junie Budd listened and believed.
The jugs and the efficiency principles were all rather vague,
but, outstanding and startling, was the great fact of the great-
ness of Sylvester Tibbie. It was, to her, a manifest fact, and
she told him so. Further proof of his greatness consisted in
the fact that he put the idea of greatness modestly from him —
it was nothing much, he gtiessed, to come fresh from a farm
and place factories and factory owners and labor situations

and out-of-town trades upon a speedy efficiency basis
. . . nothing much as he could see — it was just him, that was
all . . . just Sylvester Tibbie. He happened, wonderfully or
otherwise, to be made like that.

Perhaps the world was hungry, after the war, for the lighter
flowers of lighter things. Perhaps it was just the inborn desire
everywhere to see young love and young life winged on
dancing feet. Whatever the reason, Junie Budd and 'Ves
danced their way to fame. Once again 'Ves burst bonds.
McGammon's could not hold them once the tales of their light-
some steps became noised abroad. Offers came in and they
danced, finally and triumphantly, in the Garden of Roses, the
most famous and the most exclusive of the popular cabarets.

Junie would have been content just to dance and love, but
there was a real sense of commercialism in Sylvester. "They
want us because we're so darned young," he told Junie, "and
so much in love. Both these things show, honey-girl. That's
what the people are coming to see. That's what they want,
even tho they haven't the sense to name it. That wont last —
— the youth part of it — and they wont want to see the love
part when the youth part isn't there. Then . . . where will
we be ? We wont save money at this rate. People living this
sort of life just dont, just cant. And, anyway ... I dont
want to have you keep on dancing for other folks to see ... I
want you to dance over green lawns and wild flowers ... in
the morning ... in the moonlight . . . for me . . . alone
. . . honey ..."

''Why . ; . why, 'Ves," whispered Junie Budd, resting her
young, pink face against his sleeve, "I ... I didn't know you
were a poet . . . too ..."

"I'm not," said 'Ves.

"But . . . just now .V. . "

"I'm a lover . . . that's why ..."

'Ves danced at night and by day he persisted in his ths^jikless
job of modernizing the down-sliding Jones Jug Factory. He

fFifty-»ite)

CLASSIC

tired the star salesman when he found that he had been looting
the firm via his much-inflated expense account, and he man-
aged, with much effort and a great deal of abuse, to smuggle
in the typewriters and the telephones. The stenographers were
still in abeyance, owing to a slight consideration for the apo-
plectic tendencies of Uncle Knoch.

Then, one night, after dancing at the Garden of Roses, he
met James Harkins, a jug manufacturer, and his extremely
up-to-date and talkative sister, Dorothy. Harkins was willing
to talk, and from the talk of both of them 'Ves gleaned his
great idea for merchandizing the Jones Jug. It meant a trip
on the road and, before the trip, it meant a great many talks
with the Harkinses, both brother and sister, to accumulate data
and gain information. It meant, analogously, seeing consider-
ably less of Junie Budd, who simply could not talk jugs nor
get the ins and outs of efficiency. Seeing less of Junie Budd
meant an aching loneliness to 'Ves, but it meant to Junie,
Dorotlw Harkins. She had always suspected that 'Ves was
far too wonderful a person to have loved her, and now this
commanding young woman, with the statistics of jugs at her
very fingertips, was going to prove the horrid fact to 'Ves
himself. Junie skidded completely away on the idea. She told
'Ves she was certain of it. She told him not to mind her ; her
heart could break, but her feet should go on dancing . . .
and dancing . . . and dancing . . . forever and ever and . . .
at which juncture her poignant grief conquered her and she
wept out her heartbreak and gave him back his ring and sent
him forth on his trip, puzzled, distraught, more, however, than
feverishly anxious to make good that he might dazzle Junie's
baby blue eyes with a more than magnificent diamond. She
was a child, God bless her, a baby, and as a child and a baby
bright things should be dangled before her to bring her back
to his heart . . . in the meantime . . . there were the jugs . . .

It took 'Ves two months to do what he wanted to do, and
when he returned to New York it was spring again and it was
night-time . . . such a time and such a night as the first one
upon which he had met Junie Budd and danced with . . . and
loved her . . . and made a host of people to dream while their
lips grew wistful and their eyes grew dim with
tears . . .

He had not heard from Junie since the night
she had sobbed out her farewell to him, but
she had said, then, that she would keep on
dancing and dancing . . . forever and ever
. . . and .so he sought her in the Garden of
Roses.

She was dancing there, but, he saw at once,
not as she had danced before . . . with him.
There was life in her young grace, but the love
had gone from the life and the pulse from the
flesh. And the people, too, they were sipping
their wine . . . smoking ...
only casually . . . only oc-
casionally did their eyes
rest on the girl and man
dancing on the stage . . .
'Ves heard one man
say, ''Curious . . .
she used to get you like
a heartache that you
wanted to keep on feel-
ing . . . Not now . . .
deader than a door-
nail. Management's
to can them, I hear."

This was too

"Will you marry a
dancin' fool, Junie?"
the young lover
asked, "and . . . the
present partner and
future outright
owner of the Jones
Jugs, Incorporated
. . . will you?"

(Fifty-uvtH)

much for 'Ves. It was loo much for him to look on at his
dancing dryad with all the fervors gone from her pretty limbs,
He made the stage as he had made it once before, months
ago, seized her in his arms and gave the assembled crowd
the lure and lilt they had missed, not knowing why . . . And
they hadn't forgotten him. They hadn't forgotten ner. Thej
hadn't forgotten the pair of them together. They didn't know
that the quick gasp of her breath, the exultant leap of ner younj
body, the ecstatic sway and song of them was because sh«
hadn't known . . . because her heart had been breaki.ig . . .
because young love had come to her again . . . made th«
world a dream new . . . they knew they were getting: whai
they wanted, and they told the young couple so with cheers am
cries and welcomes and bravos . . .
There was one table on the floor
silent in the midst of the general
hubbub. Grouped about that table
were the Har-
kinses. brother
{Continued on
page 79)

To our way of thinking,
the big cinema mo-
ment of the late win-
ter occurred when a cer-
tain movie magnate signed
up a certain internationally
famous author. When the
author had affixed his sig-
nature to the document,
the producer genially
slapped him on the back
and said encouragingly:

"I have faith in you —
I'm sure you'll make
good !"

We'd give a months sal-
ary for a close-up of the
famous one's face.

Double Exposures

Conducted by F. J. S.

Why We Are Going to Take a Vacation

IN California

(The managincj editor's telephone speaks)

"I've got a great scenario here — wheredya
think I can sell it?"

"Are Wesley Barry's freckles real or are they
only painted on ?"

"Do you know a chap named Jenks? He
works in a studio in Fort Lee."

"Is Pearl White really married?"

"Say — got a job for an interviewer — I wantta
meet some of the stars."

"Can you tell me the name of a picture I saw
last year? It had the cutest little dog in it."

"Can you use a picture of an awfully pretty
girr I know ? She's crazy to go in the movies —
and a picture'd help."

"Do you buy scenarios? I've just written one
for Nazimova."

"I sent in an article yesterday. How'd you
like it? What'll you pay me if you take it?"

"Can I have the picture of Mary Pickford
you ran in your April issue of last year?

"Where does Dick Barthelmess live? I'm a
great friend of a cousin of his."

"Thanks for that interview you ran with
Mary Jones. I want you to have lunch w-ith me some day"

"We've just put in a motion picture machine in our church.
Will you get us some free films for it? We'd like to have
'Broken Blossoms' for next Wednesday night.''

"You didn't use a bit of my press stuff in your last issues.
Do ya wantta get me canned?"

"VVhat do you do with all your pictures after you
get thru with them ?"

"Say, will you use a picture of Lew Cody? I think
he's the dearest thing."

"You cut my article all to blazes. You're a cold
hearted editor, you are."

Big Moments of the
Month

When Bebe Daniels ad-
justs the sofa victrola in
"Why Change Your
Wife?"

The moonlight swim of
Connie Talmadge in "Two
Weeks."

Mae Murray's cabaret
moments in "On With the
Dance."

Our idea of far-fetched com-
parisons occurs in a recent
Lewis J. Selznick advertise-
ment, which compares the qual-
ity of Selznick productions to
the quality which "impresses
you on every hand in the
stately mansion of George
Washington at Mount Ver-
non." Pretty soon some ambi-
tious press agent is going to
compare somebody else's
pictures to Grant's Tomb.

The "piquant photoplay"
is still striving for piquancy.
A recent Constance Tal-
madge comedy carries this
advertising line: "A tale
of wild men and wild
women in a wild city." A
picture of an elderly gentle-
man examining a cutie's
right shoulder-blade car-
ries this message: "Ye gods!
The old fossil thinks he's a sin-
ner !" And the advertising man
sums it all up in this choice
phrase: "What if it does make
'em blush — your theater is
dark I"

With the recluse "Blue Bird" philosopher,
Maeterlinck, "supervising productions" at the
Goldwyn coast studios; the "Pollyanna"
writer, Doc Crane, dashing off a super-
feature. Art (capital A, please), has
certainly entered the scenario end of the
business with a vengeance.

Did You Notice
The Motion Picture Classic's debut
as a principal player in Cecil de Mille's
"Why Change Your Wife?''

GROWTH
By Barbara Hollis

I've grown away from you I know,
I tried to take you too ;
But you cried out, "Come back to me !"
And that I cannot do.

I hoped it might not matter, dear,
Till in your grieving eyes
I saw that you were lost to me —
Could It be otherwise?

Life holds its compensations — true —
A crown for every cross;
Yet can the sad ^weet joy of growth
Make up for bitter loss?

Above,

A Run on the Bank,

Introducing Laura La

Plante of the Christie

comedies

LOST KISSES
By Eleanor Hammond

You kist me. and the sea wind blew away
The ki.ss and lost it in the whirling .spray.
A nautilus came drifting in from sea —
It was your kiss blown back to me.

Yoii kist me where the summer breezes pass ;
We lost the kiss amont; the wind-blown grass.
And as we jjighed, we saw it Huttcr by —
A little yellow butterfly.

And once beneath a sky of amethyst
Almost your lips touched mine, almost we kist.
The night wind stole the kiss and tossed it far —
It blossomed as a little st'.r.

(Fifty-eight)

L

At (Suen/yUove of

HancL-

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â– 

])lii)t()f;r;i|ili ever taken
hecnii-ie slie wants them all to gaze upon
and dream and croon over wlien Pauline
leaves for a home of lier own.

That did look as if Polly had expecta-
tions matrimonial. I asked her about it
first thing.

The girl laughed merrily. "I dont
want to marry until I am twenty-five, it's
such fun to live and work and travel
about. But a fortune-teller told me I
would marry next year — and I'm awfully
excited about that."

A cynical visitor happened to be there
and withered Polly's orange-blossom
hopes with the cold wind of mistrust and
disappointment.

"I hope you fare better than I do!"
quoth the mere male. "Tivo fortune-
tellers told me I would marry very
young, and at the end of twenty years
I'm still doing monologs!"

"She might not have understood her
business," answered pretty Polly, pep-
fully.

"There isn't anything I love quite so
much to do as to dance," went on
Pauline. "But I ruined my lovely new
ball-gowu' — just think, my very first ball-
gown "

"Pauline, I cant think how you man-
aged to do it," interrupted her mother.
Then, explanatorily, "Pauline went to
her first big ball this month — the direc-
tors' ball. She wore a debutante frock,
American Beauty velvet, very simply
made — not one of those matronly looking
dccollett's, but "

"Why, mother, you know it hasn't a
thing hut shoulder-straps. You're begin-
ning to describe it as if it had a high
neck," chimed in Polly.

"I dont know how it is that young
girls now think of nothing but clothes —
I get so sick of hearing clothes, clothes,
at the studio, and Pauline's vagaries
nearly drive her tailor crazy. He always
says, 'Pauline, you know what you want,
but you never know how hard it is to
make it your way^you drive me in-
sane !' " Mrs. Starke sighed in a
motherly sort of fashion.

"\'ou should see my trick frock — for
the street !'' Pauline didn't wait for a
second invitation when I begged her to
show it off.

Miss Starke is very original. She
designs everything she wears. More-
over, she wont study fashion bocjks, even
when the tailor flourishes them hopefully
under her straight little nose.

"1 think Pauline may be quite a de-
signer after a while," continued Mrs.
.^^tarke, while Polly dove headfirst into
her clothes closets. "Just now every-
thing she does seems freakish to me. I
dont see any particular reason for turn-
ing the world tojisy-turvy the way she
does, there are so many jiretty fashions
in the windows and books,"

"Here is my trick skirt — see, I wraji
myself into it this way." I dont wonder
the tailor gets excited. The skirt begins
as a .semi-circle, slopes oiT into a long

Pretty Polly

(Continued from pa(]c }iS)
)f her daughter, jioint, and wra|

twice around the slim
hips to form a double overskirt, with
dro]) underneath, and just one little tape
holds the lower part together with a
snap fastener. Skirt edges and coat are
finished with binding of black leather. A
bright little vest, fastening in the back,
adds color to the blue suit.

"You didn't finish telling me about the
ruined ball dress," I reminded,

"Oh, to be sure. Jack Pickford and
I were doing all .sorts of exhibition
dancing, and I think the knees of his
black trousers must have interfered with
my velvet skirt, for it shows long black
streaks, like dye.

"I had a perfectly thrilling experience
today. Jack had his new aeroplane on
the lot and, when I said some day I
wanted to go up in it, he proposed my
going right off with his pilot, I couldn't
do stunts, becau.se they wont let you do
that unless the owner goes along."

Pauline drives her mother out to Cul-
ver City daily in her Buick coupe. She's
doing .Melissa in "The Little Shepherd
of Kingdom Come" — not much of a part,
but a fill-in until her own feature is pro-
duced at the Goldwyn plant.

Before that, she played the younger
sister in "Eyes of Youth," but much of
the role was cut out owing to the enor-
mous amount of film con.sumed. In
"Soldiers of Fortune," under Alan
Dwan, Polly fared well. Then she is
showing in "Broken Butterfly," with
Maurice Tourneur's direction, and "The
Life Line," which forces her to be
mother to a four-year-old daughter, a
part opposite to the screen Lothario,
Lew Cody. Pauline has had to weep
thru so many of these abandoned girl
storie.s — always she is the Injured Inno-
cent.

"Will you keep on with that sort of
stuff?"

â– "I like best to play the part of the very
poor little girl who works hard, or meets
somebody, and who gets very wealthy
and is happy forever after," said Pauline
Starke, enthusiastically. That's natural,
of course, for Pauline's own life has
been a development of the chrysalis into
a beautiful butterfly — a shedding of limi-
tations and achievement of home, for-
tune and many friends.

Her home is really beautiful. There
are soft chairs, much mulberry-colored
velvet, lots of cushions, all showing up
well against the grey rug. Mahogany
catches high-lights from the various gas-
heating devices, one being an open grate
with gas-logs. There are very odd lamps
with subdued shades, not a glaring light
anywhere, and the canary cage has a
ruffled arrangement of dark green silk
like the window drapes. The canary is I
Polly's only pet, and he fights her :
viciously, to her immense gratification
and niirthfulness. However, he does
sing night and day, which is all a canary
is su|i]iosed to do.

Pauline herself is never quiet. She
(Coiiliiuu'd on paijc 62)

(8ixty)

HOW TO FIGHT THE LITTLE FOES WHICH
WORK TO MAR YOUR SKIN

YO U K complexion is sur-
roiindfd by enemies — There is
tlial inward enemy that sliines the
face. There is the tricksy breeze
that dries and dulls the unprotected
skin. There is dust that clogs the
pore*.

Be always on your guard against
their wiles.

PKPOSURE to wind, sunlight
and dust coarsens your .skin.
Skin specialists say that you can
protect your complexion from this
Injury by applying a protective
cream before every outing.

Of course you cannot apply a
cold cream before going out — cold,
cream leaves your face too oily.

Lightly touch your face and
hands with Pond's I'anishing
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daytime and evening use. It has
not a bit of oil in it, so it cannot
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In this way you can keep your
face appealingly soft and smooth
no matter how much time you
spend out of doors.

VOU never can tell when that
treacherous enemy, an ugly
glisten, will creep upon you un-
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worst.

This cannot happen if you pow-
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To fo\l wind, jun and dust, iijc a hit of Fond's yamshin
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On the other hand, for cleansing, for supplying a lack of oU.
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Pond's Cold Crevm

(Sixty -one)

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MOTION PICSTURE CLASSIC

Pretty Polly

{Continued from page 60)
has a way of standing, stork-like, on one
foot, or swaying on both feet — crossed!
Again, she'll rock in a perfectly straigiit
chair — and always it i.> the essence of
graceful movement.

"Dont tell anybody I swim — for I
dont !"• she burst in, suddenly. "They are
always talking about how the girls swim,
and I dont want anybody to think I'm
trying to put something over, for I cant
swim a single stroke and I dont want to!"
I crossed my heart — let these words
bear witness to the truth.

"What sort of man do you want to
marry?" Pauline's ideas are so original
one wants to draw her out further.

"I want " Polly reached over for

the figs stuffed with walnuts before she
felt fortified to answer the momentous
question. "I want a man with person-
ality now — strong personality. I used to
dream of a handsome man, but I've seen
too many good-looking men, and played
with too many, to care about their faces
any more. I'm after intelligence and
character — that's the only thing that
lasts."

"That looks as if you were turning
from leading men to directors," shot in
the cynical visitor again.

"Perhaps," closed pretty Polly, lacon-
ically.

(fains in 2S-year guarao^-
teed Watches on credits
lermt as
lo

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Bonnie Mary

{Continued from page 39)
interest that makes alrtiost all of us eager
to peep into a chamber of horrors.

"One of the great events of my life,"!
she remarked, "was when I made a long!
visit to an aunt, who lived in her old
Colonial home in a wild portion of West
Virginia, on the trail which the pioneers
traveled on their way westward to col-
onize Kentucky, Indiana and Illinois. I
was very fond of our history, especially
of the struggles with the Indians. My
aunt did not allow me to associate wi
the neighbors, who were mountainee
of the feudist type, so I used to wand
around, fancying myself in the scenes o;
these combats between the whites and th
redmen. She had a large library, and
would cuddle up in it when I was tin
of tramping and explore the bookshelve
It was there that I made the acquaintanf
of Becky Sharp and the people of Did
ens. The latter attracted me the mosi
I was especially fond of 'The Tale o
Two Cities' and 'Bleak House.' Nexi
February, when my contract with Uni-
versal is at an end, I intend to visit
Europe and see all the Dickens land-
marks and explore the abiding places of
my Scotch ancestors. I feel that the rest
will do me a lot of good, and when I re-
turn I will be able to go back to my
screen work with new zest." ^

Her most famous picture was "Shoes,
made under the direction of Lois Weber.
Some of her more recent pictures are
"Rouge and Riches," "Bonnie, Bonnie
Lassie" and "Petal on the Current." The
last, (her favorite), from a story by
Edna Ferber.

(Sixty-tvio)

HovSj^mousTno^eJUiiy
Keep their Hair Seautim

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I

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llcis.mt a*'<i safe to n<e.

â– â– v'annte Water" itsrli" is colorless ^nd will not
strtin the skin. It coml'inea v/itli the h;:ir an<l
c.i:;not come off in washing or even curling with
hot iron.

Sill I hv leacMng drnc and ilcpartment stores

on -T rn-iiive guarnntoeof nh^ol'ite satisfaction

or your r.ioney l^ack. Avoi.i sulistitutes.

Price- $t^ PerBotlU Booklet soil FREEon request

Also pent prepaid upon receipt of nrice.

CANUTE COMPANY

Dcpi. PCA. CiBBte ByildiM. 113 W. Illtb St.

New York City

Keeps Skin Smooth, Firm, Fresh
— Youthful Looking

To dispel the tell-tale line3 of

contour — there is ootbing quite &0
l^ood a9 plftin

Powdered SAXOLITE

EITcctivo for wrinklei, crowsfcct,
enlarged porcB, etc., because it
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ATTRACTIVE fumituie like the taste-
lully cushioned fibre rocker below,
mav be yours GIVEN YOU as a Factory
to Family saving just ihroujih buying your
home supplies irom the Larkin Factories.
Purchase your soaps, pure foods, loilel articles,
etc. ot us, and let us send you back, your
saving through Factory dealing in the form
of a splendid Larkin Premium to beautify
your home.

New Larkin Catalog FREE

The handjome new LarVtn Ctiaba. piclunns I 500
Larkin Prcmiumi and 700 Lartm ProducU. with
which Premium* are
GIVEN. IS iu.l off iKe
preti. \i you are in need
of new furniture, tusi.
â– ilvei. cutlami, china, cul-
glau. etc. let the Larkin
Calalog show >-ou how
the ume money which

Hoc ki the ^

pantry

will alto

( u r niih

the home.

J ZmT±6x Co,, Bufialo.N.Y.. Chicago. III.. PeoHa. III.
â–  Ple^K lertd me Calalog No. 40.

I N...

I Addf^u

; C P 423

The Pulse of the Photoplay Public

(Coiitiinicd from pacjc 17)

more iiltention as audiences develop.
That is natural, for sex, playinj; a bij;
])art in real life, must necessarily play a
h\^ part in our drama. Thus sex has
stood out in our hiKi,'est recent successes,
â– The Miracle Man,' 'Male and l'\-male.'
'ICverywoman' and our new film inoduc-
tion, 'On With the Dance.'

"Our public does not want a morbid
story. l'"very film play tending towards
the overdramatic, the brutal or the de-
pressing shows poor box-office returns.

We questioned Mr. Lasky ui)on the
happy ending. "It is necessary," he
answered. "The audience out in front
of the screen centers its interest in the
hero or heroine and unconsciously roots
all evening for its favorite. If the story
comes to an unsatisfactory ending, the
audience feels an intense itersonal injury.
Xo, the liappv ending is a requisite. The
charge is made that the spoken drama is
truer to life in this respect, but if you
go carefully over the footlight suc-
cesses, you will find them capped with
hapiiy endings, with but few exceptions.
"One thing I want to make clear: I
do not. bv any manner of means, believe
that the death-knell of the star has been
rung. But we can now have good pic-
tures without a star, for our audiences
have developed. Today the screen and
stage stand ui)on an equal footing in this
matter of the star."

Mr. Lasky briefly disposed of the so-
called menace of the foreign photoplay.

"The foreign-made drama can never
cope with our o\>n photoplays, because
its makers have not the pulse of our ]uib-
lic. Their work is temperamentally and
even racially unsuited to us.
I "We have been studying luigland care-
! fully. Indeed, our plans to produce in
Britain were intended entirely to bring
\ us closer to the l-".nglish ))ublic, for we
! could find far better jUaces to make pic-
j tures. On the whole, we have learnt
I that British and .\merican tastes are
: very much alike. The luiglish auflience
I likes societv plays \ery much. On the
other hand^ its taste in comedy runs to
the slajistick, while over here we have
been steadily tending towards a higher
type of comedy."

.\gain Mr. Lasky paused. "I want to
;idd one thing," he went on. "We he.ar a
great deal of change and unrest aniong
the personnel of jvicturedom. Stars and
directors are ever shifting and ever
starting their own companies. I have
watched them and they all come face to
face with one great fact — that there is
an element in' iihotoplay-making not
often considered. That is the studio or-
ganization hcliiiul the iiicture — the art
director, the scenario editor, the research
deiiarlment, the casting director, and all
the rest, liack of every good (licture
must be a fine organization. That is why
stars slum]) in iiojailarity and directors
fall off in workmanship when they try to
go it alone. .Vnd they continue to fall down
until they build uj) an adequate staff."
(Continued on page S3)

A

Indoors or out

X

Drop on
thatCou^b

OIGOROUS exerdse, In-
doors or out, is doubly
beneficial when the slightest
tendency to cough ia pre-
vented by Dean's Metho-
lated Cough Drops. Get
them anywhere.

Dean Medicine Company
MUwankee, Wi»

Mentholated

CoughBrovs

fashion says
the use or

i s necessary so lon^ a s

I sleeveless feowns and sheer fabrics for

sleeves are worn. It assists freedom of move-
ment, unhampered ^race, modest ele^nce and
correct style. That is why

**they all use Delatone"

Delatone is an old and well known scien-
ti6c preparation for the
quick, safe end certain
removal of hairy
ferowihs, no matter how
thick or stubborn. After
application the slcin is
clear, firm and hairless,
with no pain or discol-
oration.

Beauty specialists recom-
m e n d Delatone for
removal of objectionable
hair from face, neck or
aims.

DrvHlals ••11 DvUtMtat
or an original 1 oa. lar
■ 111 Im RialUd (• mnf

The Sheffield pharmacal Co^

Dept.LX, 339S.Wibnh Ave.. Chicago. 111. GO

ASiNOLE Drop
Lasts A Week

Flower Dropa— the nioBt con-
cpntriit<'d unrl exqul«Ue pvrfmii'*
t'vprmailp. Pro.tuL».l without iil-
cobol. AHlngledri^plaHtHn w< < k.

Bottle like picture, with Ions
Rlaas ot^nprr. R..se or Lilnc $1 50;
Lilv of the Valley or Violet Sl.l.'i;
FInwpr Drops Toilet Wnter.

Ib^.: Flower Drops TiiU
jars &0r. At drtiRgiFtM

\}cg^

fkfmtl

3PS

. _lSon Amour" and

"Oarai'n Qupeo" biRh-grtide por-
fume- $1 'jO ua oiinre. RiegcT's
"Alcaznr," a new Oriental pit-
fnme of myotic chnrin, $2 00 an
unco bottle. "Alciizuf" Toilet

•'Honolalo B-iuqael"
ner(umc— 51.00 au ouncw.

Send SlOO for anuven'T box of
fivA iSo bottlf". ditrprent odora.
PAULRIEGER. nsrrrdSL.SuFiuasce

vYoii liiSve itever ;seOTi5
ahytKiri^ like iMs^^«

(Sirln-four)

MOTION PICTl'RE CLASSIC

Gentle Jane

(Coiiliinied from paije 28)
liini again last summer when he came
hack to i)ictiires. We made some thrill-
ing submarine scenes in a rough sea
where I had to jump from a rowboat
on to the submarine, and be submerged
six times. One day Mr. liosworth was
reassuring me and said. 'Jane, dont you
ever be afraid. Remember I have two
big hands ready to battle for you at any
time or any i)lace.'

"Sessuc Ilayawaka is wonderful to
work with, too. He is very intense and
feels his emotional scenes so keenly that
he carries me along with him. He is
another merry tease and delights in tell-
ing long stories in Japanese and making
funny sketches of me while we are rest-
ing between scenes.

"1 have been doing a new picture,
'The River's Knd,' with .Marshall .Xeilan.
He is a genius at directing, always so
encouraging, keeping every one keyed
up to the spirit of the action. This is
the best role I have ever had and a de-
cided change, for I am the daughter of
a judge who has loads of money, so I
wear lovely clothes. Vou remember that I
usuallv wear the worst old, horrid ones!"
This home-loving Jane enjoys cooking
and in the midst of her busy life last
summer she filled a closet with jellies,
jams and wonderful looking preserves.
She likes to sew, and X'irginia's tiny
garments are hand-made with dainty
touches of embroidery done during the
long waits between scenes at the studio.
While we were chatting N'irginia bad
succeeded in upsetting a basket of pic-
tures, and selecting a still, brought it to
me. annoiuicing, "Dis is Jane, dis is Bee
Hart,' and planting a moist kiss on each
pictured face she darted away before her
mother could catch her,

"She always calls me Jane; every otie
does, you know. When we take her to
see my pictures, she recognizes me the
moment I come on the screen and she
calls out, 'Dere's Jane, dere's Jane,' " and
the fond mother smiled, indulgently.

So you see, there are, indeed, two
Jane Novaks. One, who with her charm
and beauty, as well as her thoro knowl-
edge of the dramatic technique and un-
usual ability as an actress, makes one of
the loveliest heroines before the camera.
The other one, with her sweetness and
gentleness, makes a real liome for her
loved ones, and fortunately for us, she
manages the dual roles most success-
fully.

THIEVES
By Barr.\ra Hollis
I am in sympathy with thieves,
Condemn them less and less.
I can forgive them anything —
Their weakness I can guess.

For in my life the stolen things
Seem far tlie sweetest yet;
As I look back upon the days
I never shall forget.

A stolen hour — a stolen word :
A stolen kiss from you ;
I am in sympathy with thieves —
Whatever they may do.

(Siaty-five)

Imagine the Thrill of

Seeing YOUR Song on Sale!

"It was the proudest moment of my

life, when I saw my song on sale at the local
music stores," said one of our writers.

Why Don't YOU Write the Words for a Song?

Our composer. I'"douard Hesselberg, will write the music, and we
will have the complete song printed according to our SPECI.^L PL.'\N.

Edouard Hesselberg, Our Composer

! received his musical education at the Mos-
cow Royal Conservatory of Music, Moscow,
Russia. After perfecting himself under
Rubinstein, he began a brilliant concert
career, appearing with such world famous
artists as .Sembrich, Nordica and de Reszke.
He has played before and received valuable dec-
orations from the former Czar of Russia, the
present King of Italy, and other Royal families.
He is an interpretative artist of rare and distin-
guished ability as pianist and composer. Among
his greatest song successes are "If I Were a
Rose," of which over a million copies have been

sold. His latest song, "America, My Country," the new national hymn, is
now in its fourth edition. Our writers are indeed fortunate in securing
the .services of this great nuisician.

You Can Succeed by
Metropolitan Studios Plan

and make no mistake about it. There is a golden opportunity
offered peo[)le who can furnish real "words for a song." Popular-
ity follows a successful song writer. If you are in earnest, read over a
few of the popular songs— study the words and the way they are written.

Every magazine and every newspaper is filled with ideas for a
song. Just use your imagination. Select any subject — love — patriotism —
home — mother — sweetheart. Tell the story in simple language in two
verses and chorus, and then send it to us. We will examine it without
charge. If our Lyric Editor finds your words contain an idea for a song, we
will offer you the benefit of our

EDOUARD HESSELBERG

service. REMEMBER, YOU
INCUR NO OBLIGATION IN
SENDING US A POEM FOR
INSPECTION. GET YOUR
LETTER INTO THE MAIL
BEFORE ANOTHER DAY
PASSES. WHO KNOWS—
YOU MAY BE THE "SONG
WRITER OF TOMORROW."

Metropolitan Studios T""'

916S. Micki|MAv..,Dept. 159, Clut4|0 \^'- '^'1''^"*

â–  METROPOLITAN STUDIOS

I Dcpt. 159, 916 S. Michigan Ave., Chicago, III.

I Gentlcmpn : Kncloscd find poem entitled:

â– 

â– 

I for your inspection.
I

City.

.Stale.

AT BARGAIN PRICES

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lur ..( ilie f^un.ly.

At low factory prices

St-iiil post card, Hit this liook, learn how wf

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Six Month's Guaranteed Shoes

Read the reniarkahle story
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Two RemarHable
Shoe Bar^aihs

Hen'i Black Drcit Shoe at
J3.M. SiM,. im, Ja.uli V.
lilliiiuii. MiKii-siKirl. I'ft., ^vloUâ– 
rcKuciini; tliU sli-ii'. "The »ho<8
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payinif IT. l"*. and JH for ft^re
tn Mehti»pvit."

Women-i VIcI Kid Glove FIttlns
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Learn how to cut your ihoe bllla
In half.

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UNITED STORES CO., Box 275, Lanoiter, Pa.

TreiiylM TlJhiieTfoses

ihx »Uy ll>«' w»y •« buubful beyond
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ANSEHL PHARMACAL CO.,
1 Pr«it«n ««e«. »t. l.»ut«. U. ». A.

Gossip of the Pacific Coast

By FRITZI REMONT

Los AngkLes, .{Special) — Springtime
and .sunshine, pretty girls and new
clothes, and Kathleen Kirkham in just
the right mood for a luncheon to cele-
brate the coming of new things and the
feminine reminiscing over the old.

At her home on Delaware Avenue,
Mis.s Kirkham entertained us beautifully,
the sjiecial honoree being her married
sister from the Middle West. The ma-
hogany table -was bare, .save for Cluny
lace doilies and a delightfully springy
centerpiece. A tiny pond holding some
Japanese toys, a real one-inch goldfish,
an infinitesimal turtle that never should
have left home and mother, and spanned
by a tiny bridge, proved highly attractive.
The place cards were hand-painted
Japanese figures, mounted on tiny boxes
holding .salted nuts, and each guest re-
ceived a favor of a tea-cannister of dark
wood, hand-painted, ribbon-tied, holding
orange pekoe tea. Two Japanese figures
stood near the pond, swinging lanterns
filled with incense. The rooms were
decorated with peach and plum-blooms,
a^d flowery vines and roses "butted in"
at the windows, as Kathleen put it.

I was delighted to meet an old-time
friend in Nell Craig, who has signed up
the he.'^t contract she ever had. She's
been reducing, so that her svelte and
graceful figure was simply lost in the
wonderful moleskin coat which she had
donned for driving.

Coleen Moore had begged a few hours
oflf from the Haworth .studio ; having
worked all day and night before the
luncheon she was able to get only a few
hours' sleep before the luncheon. She is
the cutest kiddie, drives a Hudson road-
.ster, but is planning to buy a larger car
for her "family,'' since her mother and
brother of school age have come to stay.
The Moores have been occupying an
apartment, but Coleen says she simply
must get a big house now. Her hat was
a very flower-basket of wild blossoms,
and her new tafifeta frock, with its bouf-
fant hips, one of the prettiest creations
this spring.

And, by the way, you never tasted
such lu.scious light biscuits as those Kath-
leen serves. She calls them "Mrs. Wash-
ington biscuit," and I am sorry that lack of
space forbids my giving you the recipe —
but you might ask her for it when bid-
ding for a photograph.

She was looking charming in one of
those square-cut necks which are so be-
coming to Kathleen. The frock was
black tafifeta, with fine lace about the
square and elbow-sleeves touched off by
little net undersleeves about four inches
wide. Miss Kirkham's sister is almost
like enough to be a twin, and their
mother, as u.sual, did the honors, for she
keeps house for busy Kathleen. A couple
of capable colored girls made perfect
table service possible.

Emma-Lindsay Squier, whose stories

we all enjoy so much, wore a cute blue

tafifeta, very ruffly, ofifset by dainty neck

and cuff adornments. Margaret Ettinger

(Continued on page 82)

WALLACE KEID

__ /'.iianiAunl £lur

Hermo "Hair-Lustr"

(Keepa the Hair Dresied)

FOR MEN AND WOMEN

Thehalr willtt»y dre»e«d after Hermo "HAIR-
LUSTR" has been applied. No more mussy. un-
tidy lookind hair. Adds a charminR sheen and
luster. insurinK the life of the hair, as well as it3
beauty. Dress it in any of the prevaiUng atyles,
and it will stay that way. Gives the hair that
soft, glossy, well Kroomed appearance so becom-
inR tothe stars of the stage and screen. Guar-
anteed harmless and greaeelee*.

Two Sizes-^Oc and $1

ll siie three liiiifstlie qiianllty of SOcsiie. SEND FOR
lAR TODAY. R«iiitl In coin, money order, or U. S. stamps,
nnd we will send Hermo 'HAIK-I-USTR.' and the Hemio
Booklet. '•Guide lo Bciuty." prepaid, under pUIn cover,
ni once. Use it five dayi and Jtijot entirety satlslactory,
?etiim wh>t is leh. nrd we will REFUND YOUR MONEY
IN FUI-U. Once you use Hermo "HAIRLUSTR" you
»ill nev.T be without it. ,TAA'/' VOl'/! O/iPZ-f: TODAY.

HERMO CO.. S42 E. Ord St., Dcpl. 24. CHICAGO

Be Financially
Independent

YdU can iiiako money every
(tav for the Iwiieflt of your-
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\<'U can devote a pan of
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that «in add to your pres-
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dtiole all your tlnte to it
and liave an Income that la
niorv Uian you could earn
m any nlher way.
Thoiisatias uf Women Arc Making Money—
IVhv Not Yoiif Be a Local Representative for

Hosieni amiK/am^iir
Underweor

II 1. easy to ,en World'. Sur coodj <« »»" ''''"''i *"^
oelchhriu You noed no oretloui cxperlenâ„¢. Msnj of our
.'t. ...... r.o ,.n„..„ii,ilvc!i. nllhout experience In sell-

mosr sureessful representallves, ^ .-. -„^

Ini:. h«vc bum up builnes«es Ihal pay Iheni 525 to IjO

['"iiTtoJoii. ll'e "â– 111 Sftoid Vol. the iron lo J/ol.' AlonfV
Yc.u will liHve the help of our extensive â– dvertlsloB In "ll
?he lei'llnB "omen's m.B.Jlnes. Your success Is .ssured.
Senil lor complete Inlormallon TOU.\Y.

v/^ffc X V C D C How would you like to get a 9 x 11
]\\JUJ\t^il*'S.J enl&reement of your beet negatlvei
frfle' Drop us a card nowasktnir about It. Fllmi devel-
oped lOo per roll. Print! S. t. and 6c each.
FORD'S rOTO STlimo. EUon»bur». WMhlnKton

Maies
stubborn
hair easy

to comb,
neat and
attractive

Mia. Betty Earlier — , -.

Ftalured in Jack Xorwortli's "(Idd* uittt iiida ^

Adopted by -Screen — Stage— Society

Becnus. Hnlr-Drei., trill make the most scul.liorn lialr itiiy Iho
"«.; you comb It and retain a ainootb, dressy appearance ibo
"wlrrevenhiB WItl. Halr-Dreaa you can ccnib your hair any
fosblnnoblo stele— slralclit bark-any «ay yon '"111 It. Halr-
nr s. I.III also »l„ to yon, bair ",'«, ""V'""' ,'""'« """iS
In votne with men and women of tUo ataue. the acreen ana
aoelelv. la harn.less and act. aa an excellent tolilc.
c J f - X^.l !•■• Send miy cent* 'odw for
Send for 1 nal Jar a trlal jar. , Cae II m^
days. It It Isn't lost what you have been looklnB for—aena
It book. Yoi.r money will he chrelfully "Itimed to you.
Send United .Slalea atampa, coin or nioney oit^cr. >our Jar or
delicately scented, qreasaless Halr-Dreas "111 be PromP'ly
ma led postpaid. Sen,! for this wonderful toilet neccsalty today.

p- ""g^ji^ ,1 ,5 ,„ j^„. Months' Suaply
HAIR-DRESS CO.. Da»t. »4. J20 Wlniliof Ave.. CHICAGO

(Sixty-six)

K

l'^^^

J Ethel Clayton's Wonderful Eyelashes—'

^long and curling— fonii a charming fringe for her eyes and give them that
wistful appeal which adds so greatly to her facial beauty and attractiveness.
Beautiful Eyelashes and well-formed Eyebrows— how wonderfully they bring
out the natural beauty of the eyes ! They are now within the reach of all
women who will just apply a little

for a short time. Hundreds of thousands of women, prominent in social
circles, as well as stage and screen stars, use and enthusiastically recommend
this harmless, delicately scented cream, which nourishes and promotes the
growth of Eyelashes and Eyebrows making them long, thick and luxuriant. Whu not jou P
TWO SIZES 50c and $1.00. AT YOUR DEALER'S or tent Direct
in plain cover, on receipt of price. SATISFACTION ASSURED.

/( uHu 10 fc expecfcJ /fcol » compfcuoui o .uccti, ^,"LASH.BROW-INE'_ u,ouW 4. toitofcrf. o. i( '«■

han. So, h k lurt of gtlflni Ihc le""!"- I<^ll /"' lf">l"'"">f THELASH-BROW-INE

GIRL"— same aa at left— on ntnt package, and thus avoid dttappotntmcntj.

"WElASH-BROM-INEGIRr

MAYBELL LABORATORIES

4305-73 Grand Blvd.
CHICAGO

MiUi^bli

wirTft

©PMOTOGIMPH BY iV*NS

(Sixty-teven)

LEARN
DRAFTING

at home in >,p:ire time as you would in
;irtunl practice. Men anil women in
great demand for permanent positions-
as meclia.iical draftsmen. Our compre-
hensive Home Study Course qualifies
v.iu to secure and hold one of these
desirable positions. No previous train-
iiiR ii necessary to become a practical,
mechanical draftsman by our successful
method of home instruction. We have
lumdreds of successful graduates now
holding good positions.

EARN $35.00 to $100 A WEEK

Many of our graduates have reached high
salaries rapidly owing to their practical train-
ing They secure excellent salaries at the start
—as high as $-'.61)0 the first year. Usual pay of
dr.iflsmcn is $35.00 10 $100 a week. Advance-
ment is rapid-

DRAWING OUTFIT FURfllSHED

We supply every student wilh a Drawing Out-
fit for use throughout the course. There is no
extra charge for this and it becomes your per-
sonal property when you have completed the
course.

HELP YOU SECURE POSITION

We arc frequently able to place our Students
in good positions, sometimes before they com-
plete the course. Many concerns write us offer-
ing positions to our graduates. The demand for
trained draftsmen Is greater than the supply.
The training we give enables students to secure
positions without trouble, on completing the
course. Write to-day for Free Book of par-
ticulars

COLUMBIA SCHOOL OF DRAFTING

D«>(. 1M>. Kill u^TSli., WukiulM, D.C.

■• UZII-H .U_li IM.II H Hi" ll-.H

Coining jbr /Itttliorslitp

HoWio Write, WhflHo Write,
and Where to sell.

^ GiHiVaVc your mirui. De^^slop
I your literary gtf^.Mos^tfT the
' arlof ««lf-ejyjresaion.Make
your spore hme profitable -
Turn your ideas into dcAXars.'
Courses in Short-Story Writ-
ing.Versiflcation, Journalism,
Play Writing, PhQtoplay
Writing, etc., taught person-
alty by Dr. J. Berg Esenwein,
for many years editor of Lippincott's Magazine, and
a staff of literary exports. Constructive criticism.
Frank, honest, helpful ^tiw'xct. Real teaching.

On* papll ha* ftcalVtd off r $S,OOQ for alorltt and artlelaa
Vriittn mottlif In jpafw tlm« — "Dlap bierk." A« catls It.
Another papll rtcwlVwd ofc- SI.OOO bt/ort comptmtfng
htr firjt coura*. Anolhtr. a basj/ Vlf* and mothtr, U
avraging oV»r $75 a Vtk from pholoplag Vrlllng a/on*.

There ii no other inititution or tgency doing to much for
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Dr.EsGaWein

Tfte Ifome Correspondence School

Dept. 112. Springfield, Mass.

MOTION PICTURE CLASSIC

THK DEN'OIL'.MENT
\^y Fra Gi'iw
When the noonday of our life, de.ir. finds fulfillment in our toil,

.And the evening sun is setting in the west.
When our padi starts winding downward, thru the autumn drowsy woods,

To the Valley where ahides the Final Rest.
Then we'll stop in at the playhouse wliere they weave young lovers' tales —

.Sure there'll he some little housing for an old-time guest —
And we'll see the old story that was ours in youthful glory,

The eternal, sweet old story of love's everlasting quest.

There we'll sit in our old places, missing many friends, departed.

Watch the Io\-ers. voicing fervent vow.
We'll re-live our s.icred moments, when in June-warm scented by-ways,

There was something,' in my car, you whispered low;
They will play a new Io\t story, hut they'll mirror our own glory.

When you kist me. strolling where the willows blow.
We'll re-live our own life-story, mellowed now by age's glory.

Our sweet story, ever cherished, since the tender, long ago.

cmnss

Greatest of Popularity Contests

The new popularity contest of Shad-
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is going merrily on. Hundreds of votes
are arriving daily. They come from the
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Australia, from almost every country in
the world. Many letters accompany the
votes and all concede this contest to be
the best, the mo.st impartial, the most
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The contest is a joy to all participators
because, not only are they boosting their
favorites and adding to the popularity of
the players, but they also have a chance
to win one of the splendid prizes depicted
on another page of this issue.

The contest is running another si.K
weeks, or until June 1st. You .still have
a chance of casting three votes in each
class for your choice of the most popular
player. We know that our readers are
intelligent and discerning critics and that
their opinion as to the player who com-
bines the greatest number of character-
istics that go to make popularity is of
supreme importance in the field of mo-
tion pictures. Therefore we are count-
ing on you. A special staff of workers
are kept busy counting and sorting the
classes of votes that are coming in by
thousands. Here are the results to the
time of going to press:

/Imong the women stars, Mary Pick-
ford leads zi'itli 9,4S7 votes, Norma Tal-
madqe tuitli 6,434 and Pearl JVhite with
1,243.

Among the male stars, Richard Bar-
thelmess is first with 2,210 votes, Wal-
lace Reid with 2.S92 and William S. Hart
wilh 1,453.

From the music-halls to Ibsen plays
seems like an impossible accomplishment,
but that's e-xactly what this versatile
young artist did, proving, also, that
sometimes a prophet (or artist) has
honor in his own country, for in her
native city she scored a big success in
these famous plays. Following this, she
further demonstrated her versatility by
achieving a brilliant record as a vaude-
ville artist, especially in Stockholm and
Gottenborg.

Back in Copenhagen again, she was
offered sjilendid opportunities with the
Nordisk Film Company. She played in-
genue roles, then boy impersonations,
which she liked very much. Then, the
managers decided that she was to con-
tinue her career as a screen vampire and
outlined a particularly sensational pro-
gram for her.

"I simply couldn't do it," she said; "I
decided to come to America, where they
have plenty of vampires and are not
looking for more. I dont want to be a
woman with a past, a raging, hissing,
impossible vampire creature condemned
to eternal sinning. I want to play
straight, dramatic parts — something re-
quiring brains, intelligence, a chanfce to
grow — roles that will make people love,
not hate, me — so I packed my grip — and
here I am.

"And — if I cant get what I want, I'll
go back to Copenhagen — to the stage —
but not to vamping!"

Two Cinema Players from Foreign
Shores,

(Continued from page 41)
striking beauty attracted the attention of
a well-known artist. She consented to
pose for him and later this poster,
"Pieauty and the Beast," won an interna-
tional prize.

It was in London, also, that the Danish
beauty made her film debut, appearing in
"The Seventh Commandment" with
f iladys.Cooper and the late James Welsh.
She had many flattering film offers, but
by this time she had become so liomesick
that she returned to her home in Copen-
hagen.

SONG AFTER GRIEF
By Charlotte Becker

Give me the summer days again.

When hope was warm and love was true.
When little griefs were all we knew

And sorrow sang no long refrain.

Give me the summer dreams again.

When all the lands spread broad and fair
With promises of joys to share.

And hawthorn bloomed in every lane..

Give me the summer songs again.
Their ^vord5 of dewy-hearted flowers,
Their music of light-falling showers.

And low winds rustling thru the grain.

Give me the summer joys again.
Ah, Life, just once, and let me go
The old way that I used to know

.'\nd lost — so dense the mist of pain.

I saw those summer days again !
I kiie\v your lips, denied so long,
'1 knew the dreams, the joy, the song;
Saw Time with his own hours enchain
L'|>ou the screen, those days again I

( Sixttjeight)

"The Proudest Moment of

Our Lives Had Come!"

"We sat before the fire place, Mary and I, with Betty perched on the arm of the big chair. It
was our first evening in our own home! There were two glistening tears in Mary's eyes, yet a
smile was on her lips. I knew what she was thinking.

*'Five years before we had started bravely out together! The first month had taught us the old,
old lesson that two cannot live as cheaply as one. I had left school in the grades to go to work
and my all too thin pay envelope was a weekly reminder of my lack of training. In a year Betty
came — three mouths to feed now. Meanwhile living costs were soaring. Only my salary and I
were standing still.

"Then one night Mary came to me. 'Jim', she said, 'why don't you go to school again — right here at home?
You can put in an hour or two after supper each night while I sew. Learn to do some one thing. You'll make
good — I /^fiow you will/

"Well, we talked it over and that very night I wrote to Scranton. A few days later 1 had taht-ii up a course m
the work I was in. It was surprising how rapidly the mysteries of our business became clear to me — took on a

new fascination. In a little while an opening came. I was ready for
it and was promoted — with an increase. Then 1 was advanced again.
There was money enough to even lay a little aside. So it went.

"And now the fondest dream of all has come true. We have a real home of
our own with the little comforts and luxuries Marv liad always longed for, a
little place, as she says, that *Betty can be proud to grow up in.'

**I look back now in pity at those first blind stumbling years, Each evening
after supper the doors of opportunity had swung wide and I had passed them
by. How grateful I am that Mary helped me to see that night the golden
hours that lay within."

In city, town and country all over America there are men with liappy fami-
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A\0T10N PICTURE CLASSIC

When "Micky" Walked

(Continued from page 21)

"I always said," he remarked, "that
one reason I wanted my own company
was so that I could hire an efficiency
man and then can him. Now I think
that I'll hire one and let him stick around
for a while. It would keep me amused."

"A sort of court jester?"

•■Yes."

"We had some fun on that trip, tho,"
he went on, characteristically.

It seems that when the company
reached Oakland he found that his grip
had been left in San Francisco and sent
his secretary back for it. By the time
the secretary discovered the grip, the
company had left Oakland. He took the
ne.xt train. They would have connected
all right except that Neilan decided to
stop at a little way-station for Thanks-
giving dinner. Then instead of remain-
ing in Portland, the company came back
immediately, with the result that, tho
"Micky" took both his secretary and his
grip along, he didn't see either of them
until he got back home again.

This wasn't all. A friend of Neilan's
who had gone along just for fun, came
down with a b^d cold. This gave "Micky"
an idea for livening up a dull moment of
the trip. He decided to invent an epi-
demic of the "flu." He made a number
of "flu" masks and ordered every one to
wear them, but there were (intention-
ally) not enough to go around. Those
who didn't get. masks were thoroly
scared, while, the others, onto the joke,
had a good laugh.

"Gracious !" you exclaim, "doesn't he
ever take anything seriously?"

Of course, no one ever asked him this
question, but if they did, his answer
would probably be, "Yes, I'm always
very serious when I am directing ants or
goldfish."

Why should he be serious? Success-
ful, twenty-eight years old and hand-
some— what more could any one want?

Marshall Neilan was born in Los An-
geles, California, in 1891. He was about
twenty years old when he joined a
stock company in San Francisco, helping
to form the mob in mob scenes. Within
a few months, however, he was made the
juvenile lead.

"All of that has been said so often,"
he remarked, plaintively.

Yes, he was with Griffith ; a leading
man with the "old" Biograph. He was
also with Kalem, Universal, Selig,
American and Famous Players. He has
been leading man for Mary Pick ford.
Marguerite Clark and Blanche Sweet.

As a directof, he has tried his hand at
everything from the W. K. Ham and
Bud comedies to the somber feature,
"The Unpardonable Sin."

And now, as producer and director at
the head of his own company, he is one
of the "Big Six" association of directors
just formed, which includes, besides
Marshall Neilan, George Loane Tucker,
producer of "The Miracle Man," Mau-
rice Tourneur, Mack Sennett, Thomas
H. Ince and .\lan Dwan, a formidable

combination which, it is rumored, will
later become affiliated with the "Big
Four," Mary Pickford, Douglas Fair-
banks, Charles Chaplin and D. W. Grif-
fith, tho in regard to this Marshall
Neilan would say nothing.

All during our conversation there
were innumerable things to be done . . .
he was casting for his next picture . . .
this association was just being formed
... he had about fifty appointments . . .
With all of his "kidding" and his innate
love of fun, you would never forget that
he is doing big things and has heavy
responsibilities. He isn't always laugh-
ing. Sometimes he looks quite serious.
His brown eyes are large and his long,
thick lashes, that turn up just a little at
the ends, would be the envy of almost
any young girl in the world. So, too, his
thick, wavy brown hair.

I mentioned the "dog stuff" in "Stella
Maris." If you saw the picture, you
cannot fail to remember how, after the
big dog had driven the little dog away,
he was shown haunted by his conscience,
having a little vision of his own.

"I've always liked to believe that ani-
mals, and especially dogs, think, and
that one might be troubled by his con-
science in quite the same way as a hu-
man being," said Neilan. "You know'
the expression of the cat that has eaten
the canary, and examples of the thought-
fulness of horses are unending. I hold
that that stuff was quite possible. Why,
even goldfish ..."

This brought to mind a story about
him which has been going the rounds
in Hollywood for some time. It seems
that there was a big goldfish in a bowl
at Lasky's that would "go crazy" every
time he heard "Micky's" voice. Whether
this was caused by fondness for "Micky"
or sensitiveness to sound vibration, no
one seems to know. But anyhow, the
fact remains, and it has caused him to
be very generally referred to as the
greatest director of fish in the world.

Seriously, 'his fondness for animals,
like his fondness for children, is one of
his outstanding characteristics.

"I've thought," he said, in conclusion,
"of a good stunt for Wes' next picture."
He was referring to little Wesley Barry,
the twelve-year-old boy who is his pro-
tege and who "Micky" thinks has un-
bounded promise. "Wes' father sends
him to 'rush the growler' with a pitcher,
and every time he goes, Wes breaks the
pitcher. Finally the old man, who isn't
particularly squeamish, tells him that
fiom then on he can get the beer in a
hot-water bag."

So you see Marshall Neilan has what
the novelists call a "usable past."

Anita's Anxious Adorer.— Tlianks. Look
up June 1916 issue for her chat. I know, but
if you squeeze the hand of a woinan who has
a history she will wonder just how much you
do know.

CoNCHiTA. — I'm not much of a Spaniard in
^eech, but oh, you castanets ! Yes, that's my
real self up above. You think I have "devilish
eyes," But love is a tyrant that spares no one.

(Seventij)

Down

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MOTION nCTUKtl

A Joyful Miss Joy

(Coiiliinu'J from pai/c \9)

Several pictures were made iimkr thi'
banner and then Miss Joy iourne>ed uj:
to New Y(M'k where slie made one picture
under Maurice Tourncur, later 1,'oinf; to
Jacksonville to appear in the I'araniount
one-reel comedies.

Comedies were all ris^lit for a lime
but slie longed for dram.itic work, so
l)ersuading Tner mother to accompany
Iier, she came to Los Angeles where
there were more opportunities.

"(^h, I was lucky," declared l.catricei
with her joyful enthusiasm, "for at oncej
1 was given the part of Toby, the .^outh-i
ern girl in 'The Dollar I'.id,' with Jack
Kerrigan ; then I played the ingenue iilj
William Farnum's 'The Man 1 lunler.

"I guess each experience mellows and]
prepares us for the next. My father!
passed away while 1 was m.iking 'The
Right of Way,' and it was terribly hard
to go thru those death scenes."

Since coming to pictures, Leatrice has!
been cast in a series of .Southern girl
roles in which she could portray her own
sweet, girlish self, and it was nol until
she played the lead in George 1 .oane
Tucker's new picture, 'Ladies 'Musi Live,'
that she had the chance to play a truly
dramatic role. Mr. Tucker predicts that
this young girl will win her laurels as a
dramatic actress and suggested that she
change her name, declaring ihat Joy was
not suitable for a future hanny Daven
port. .After much consideration. Lea-
trice decided she couldn't sacrifice Joy,
even for art, and will take the name with
her even to the very heights of a dra-.
matic and emotional success.

In her dressing-room there is a much-
used copy of lunerson's essays which
this little Southern girl reads daily, gain-
ing help from its high philosophy.
Turning the leaves of this b(),>k I found
a little poem dedicated to her mother
and then 1 discovered that it was as a
poetess that she first dreamed of finding
her place in the artist world.

Thru the sweet thought expressed in
rhyme, I glimpsed a (le|)th, tenderness
and power, which promises great mo-
ments in Leatrice Joy's screen por-
travals.

HEREAFTKK
By l!.\i(ii.M<.\ Hoi. LIS
W'licn filially I in dcatli shall lie.

My hope will he to ilrcam of thcc —
To find ill deep untroiihlcd sleep
Fond memories awaitip'.; me.

For naught I crave beyond the grave —
Nor greater lili.ss in Heaven than this

To dream of thee — thy smile to sec —
To keep the memory of thy kiss.

SCUKKX RIMES
By Vaka Macueth Jonks
There was a little Kirl,
And she had a litlle curl

Right ill the middle of her forehead;
,'\nd it must have hecn the curl
That lielped to star the girl —

For really her .acting was horrid!

There was a movie star

Who lived in a shoe;
Her press agent told me—

So it must he true.

(Scvcnty-two)

CLASSIC

Miss Mason Manages

( Coiitiinict/ from poijc 2.^)

it stands fur. I alu;iys fnr),'et llial. 1>c-
caiise I (lont like the name jnscpli. do
yin\ ':"

And when I nu'iilioncd tlic fact In licv.
Shirley renlarl^ed thai she hail I'nni-
pletely fi)r,i,'iitten that |(isc|ih i> a |ier-
fectlv revered saint, win mi .ill .â– ulnrcrs
I must respect. I he n.inie ha-' ;i suit nf
history, limit ynn know.

"Yes, and so has l.uke," slio coun-
tered. "That's no sifjii that ue uui->t
ict.iin a name we ilont like, is it :"

.\nd speakini,' of names reminds me.
Shirley's real name is l.eonie i-'lnyrath,
and, altho she'd like \ cry mnch to ha\e.
kept the l.eonie, she frankly says th.it
the letters comprisinj; l'"luj,'ratli woidd
never lof>k well in electrics!

Site's one of three sisters, one of
whom is N'iola Dana, the Metro star, and
the other, F.dna, at present a quite popu-
lar I'.nghsh comedienne in London.
I'.veryhody in Hollywood fully believes
that Viola sets the style for sister Shir-
ley. She does, in some res]iects, because.
as Miss .M.asiin remarks, "she knows so
much more about things than I do."

But there's a particular ;idvanta);e
about bein^,' younff. One can sit on the
lawn and ])lay with one's cat or one's
dog without setting; the town tongues to
wagging. .\nd one can dress in pina-
fores and Peter I'ans without creating
the impression that she's a female nut.
And one can sing if she uants to sing.
In fact, one doesn't have to be taken
seriously at all times.

"When I was young," Shirley goes on
:o say, "I used to buy the oldest-looking
lats and gowns, and wear all of Viola's
rlothes, because I wanted to look more
jrown up. \ow I'm all over that,
■•-very girl passes thru that stage when
ihe want.s to look more sophisticated
han her mother."

ishe and Viola look so much alike that
t's difiicult to tell them apart. The fatal
leauty was nearly disastrous two vears
ego, when she was m.Lrried to Bernev,
lecause, at the crucial moment, the min-
ster nearly wed Viola to .Shirley's Inis-
land-to-lie.

".\nd when ! first came to Hollywood,
t was just after \'iola's husbanil. John
.'ollins, liad died of inlluenza. Viola
vasn't seen in public nnich. and when 1
entured out I got all the sympathy, be-
ause people mistook me for mv sister.

"But I've alw.ays been ;i tomboy, while
/iola hasn't. When I was young I al-
ways played with the boys, (iirls were
lo catty. .\nd I had tin idea that I must
Iways wear kid gloves, altho it didn't
latter whether or not they had tingers.
Ust so they were gloves. Oh, when I
•as young, we had the best time ! Steal
:rawberrics ! Once I nearly got ar-
isted."

This when-I-was-young talk amused
le greatly. .Shirley, sitting opposite me
1 her little black velvet dress, with lace
)llar and elbow-length sleeves, ])or-
ayed the quintessence of youth, Impu-
:ntly I inquired her age. , Xineteen.

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MOTION PICTURE

Not oid enough to vote!

She doesn't care particularly, because,
she says, when she is twenty-one and
over it'll be just her luck to be very busy
at the studio when election time comes
around.

"Cant I let Berney mark my ballot for
me ?"' she asked.

I informed her it isn't being done.

"Well, then, I suppose I must find
some way to do it myself. I shall be
very happy when I'm twenty-one. Then
I .shall be considered discreet. One
nowadays cant be considered discreet
until one has reached one's majority, as
they say politically, can one?"

In the year 1900, among other impor-
tant events, occurred the birth of the
youngest Flugrath, now Mrs. Berney
Burning. Brooklyn, N. Y., is the lucky
city, and today Shirley Mason and
Gladys Brockwell are about the only
Californians I've met who condescend to
â– 'put in a good word" for the settlement
across the river from Manhattan.

Little Leonie made her debut on the
stage when she was two and a half in a
play with Peter B. Daley, in which she
rushed onto the boards, crying dramatic-
ally, "Daddy!" A few months later she
created the part of Little Hal in William
Faversham's production of "The Squaw
Man." Other child parts, her specialties,
were Meenie in "Rip Van Winkle" and
Jan in "The Piper."

She was never bothered much by the
"gerrymen," as the members of the the-
atrical profession term those gentlemen
whose duty it is to make a mental in-
spection of stage children under sixteen
in order to note that their education has
not been neglected, because both she and
Viola got their schooling in the summer
when the company was vacationing.

Once, when she was eleven, a "gerry-
man" called her into the office of the
manager and asked her such foolish
questions as "What letter comes after
W?" and, at length, what procedure she
would pursue were she to lay a carpet
in the room.

"I was up a stump," she confided
me, "but I thought that I'd better sa)i
something. At length I got very haughq
and looked at the 'gerryman' with mj
best 'heavy' stare.

" 'Sir,' I said, 'I dent think that I shal
ever be required to lay a carpet. There
fore I have never given the matter con
sideration.' The 'gerryman' was ver
obliging and did not further trouble me.'

Shirley's start in pictures was a case'
of hard work and long waiting until she
should get a "call" from the Edison
studio, which was near the Flugrath
home in the Bronx, New York. She was
understudying sister Viola in "The Poor
Little Rich Girl" and had a great deal
of time to herself. Her mother thought
of the flickers and registered her at the
studio, where Harry Beaumont and Mary
Fuller and Marc MacDermott were
starring. Finally, both she and Viola
were given "kid" parts, meanwhile con-
tinuing their legitimate work, when Shir-
(Continucd on page 76)

(Seventy- four)

letj
to

i

CLASSIC

Judy of Rogue's Harbor

(Continued from page 46)

after you had gone. It is all true."
There was a pause during- which the
silence throbbed among them like a
quivering heart. The Governor fainted
and no one knew the difference. The
thing that mattered was between Judy
and the Lady of the Roses. The lovely
bond that had been between them was
being explained to them. An awareness
that" had existed, almost miraculously,
from the first, came to fruition between
them. The Lady of the Roses had Judy
against her heart. The tears distilled
thru empty hours, how empty her lips
would never formulate, threaded Judy's
hair like priceless pearls. "I know now,"
the woman murmured, with an immeas-
urable tenderness, "why I sewed the
little frocks for you, why I wanted to
curl your hair, my darling, why I wanted
to make you cookies and other goodies.
It was all the little loving demands of
the separated years, crying out to me . . .
oh, baby . . . oh, baby ..."

Of course, I didn't hear it all in detail.
There are some things one does not feel
one wants to hear about. Sacred things.
Bared hearts. An hour like that after
years of barren hours. There are no
words for them.

I do know, tho, because Judy told me
so, that the Lady of the Roses forgave
Governor Kingsland for the terrible
wrong he had done her. The philosophy
of years had taught her, too, the mellow-
ing of that philosophy which knows all,
and knowing, forgives . . .

I know that she went to Rogue's Har-
bor and identified the old man there as
her father, brought back to him, perma-
nently, the evanescent kindliness he had
had, of late, only in dreams.

I know that Jim Shuckles and his
gang were apprehended, and that Teddy
and Judy gave him an alternative — Ollie
or jail — and that, completely terrorized
for the first time in his cowardly life, he
married Ollie and was even, it turned
out, moderately h"man toward her.

And I know that Teddy and Judy
walked in the garden of roses just as
they came to their most perfect bloom,
and whispered, one to the other, the old-
as-the-world vows, and billed and cooed,
and made promises more fragrant than
the drifting petals, more mysterious than
the sclt breaths of the sea ; more set and
eternal, more unalterable, than the stars,
in their fixed, immemorial courses.

And, because no one ever quite "lives
happily ever after," as the beloved lore of
the fairies would have us believe, I will
not say that they did, but they have lived
as happily as ever two young things
could, together, and, because they are so
young and have so much love between
them, both for their neighbors and them-
selves, the unhappiness that comes to
them is taken, heads high, transmuted
into philosophy, and so given back again.
And over it all, with shining needle poised
and serene eyes smiling, presides the
Lady of the Roses waiting for the baby
she k-nnws will rome to her now.

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MOTION PICTURE CLASSIC

Miss Mason Manages

(Continued from page 74)

ley played Peter in the Frohman pro-
duction of "Passersby."
^ At length she went with the Kleine-
Selig-Edison-Essanay combination as a
star in "The Telltale Step," "Lady of the
riiotograph," "The Apple-tree Girl,"
etc., and finally with McClure's serial,
"The Seven Deadly Sins," where she
starred in the "Passion" episode. She
was next won to the Famous Players
fold, as their youngest ingenue. Under
that contract she made perhaps six plays,
among them "The Winning Girl" and
"The Final Close-up." On the expira-
tion of the contract. Miss Mason rested
in Hollywood for several months and at
length signed with Maurice Tourneur
for the ingenue part in "Treasure
Island."

Now, however, she has the distinction
of being William Fox's newest star, who
is to gleam in a series of stories that deal
with the innermost life, thoughts and
actions of a sub-debutante.

"What is your philosophy?" I asked,
concluding.

"Simply to be happy," she rejoined.
"Be happy, make everybody else happy
and stay young. One is dead an awfully
long time, isn't he, and I believe in get-
ting the fullest enjoyment out of life,
which, for me, is bounded on the north
by mother, on the south by Viola, on the
east by Berney and on the west by my
cat and dog. And since both of the lat-
ter are languishing in boarding-school,
it looks as if I'm minus a place for the
setting sun of my hopes, which I'm cut
out to entertain till I'm 82 years old and
'cant eat nothin' but bananas !' "

And Shirley, who isn't old enough to
vote, mimicked an old lady of the tooth-
less stage and told me she wasn't going
to live long — only eighty-two !

THE STUFF TH\T PLOTS ARE
MADE OF
Director (during the disagreement) — Wh^
are j-ou, anyway?

Scenario Writer — Me? Why,^ I'm the gu^
that discovered the coin in coincidence !

SHE WASN'T FRIVOLOUS

"The 'leading lady' of this_ company didn't

want to work today because it is hot, wherej

upon the director got angry and told her nol

to be so frivolous."

"What did she do then? Go to work?"

"Yes. she went to work and dismissed him.'

HER EASTER SIN
By Walter Pulitzer
The wife before her husband stood.

As if for his inspection,
All newly gowned, and on her head

An Easterish confection.
She cried, " 'Twas such a bargain, dear—

The price you'd never guess ;
It cost but eighty dollars, and

It cant be bought for less."

"What, eighty for that thing," he cried.

And simply boiled within ;
"Extravagance like that is — well —

It's shameful — it's a sin!"
The lady, ready with retort

And nothing daunted, said,
"Oh, well, at least the sin will be

Upon my own fair head!"

f Seventy-six)

A new era in teeth
protection

These new discoveries mark a new
era in teeth cleaning. Tooth beauty
comes through removing the cloudy
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Dentists everywhere are urging
people to adopt this new protection.

Why Teeth Glisten

Millions of Them Now

Jill Statements Approved by High Dental Authorities

You see glistening teeth in every
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To end the film

The purpose is to end the film — the
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Film is that viscous coat which you
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enters crevices and stays.

It is that film-coat which discolors,
not the teeth. Film is the basis of
tartar. It holds food substance which
ferments and forms acid. It holds the
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Millions of germs breed in it. They,
"with tartar, are the chief cause of
pyorrhea.

The ordinary tooth paste does not
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brushed teeth, on this account, dis-

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Dental science, knowing these facts,
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Like Nut Bubbles

Yet It's Whole Wheat Puffed

There lies the fascination of Puffed Wheat.

The grains are light and airy — puffed to eight times normal size.
They almost melt away.

An hour of fearful heat has given them a taste like toasted nuts.

Yet they are whole wheat. Every food cell is exploded so
digestion is easy and complete.

They supply whole-wheat nutrition as no other food can do. In
lesser ways of cooking, the outer wheat coats pass largely undigested.

Dozens of Delights

The three Puffed Grains with their different flavors offer dozens
of delights.

They are not for breakfast only. Every home finds countless
uses for these nut-like, flimsy grains.

Remember These Three

Puffed Wheat in milk is the utmost in a food. With every food
cell broken it is easy to digest.

For luncheons, suppers and at bedtime there is nothing to compare
with this dishi

Puft'ed Rice or Corn Puffs mixed with fruit adds a delicious blend.
It adds what a light and dainty crust adds to shortcake or to pie.

Puffed Rice or Corn Puffs, crisped and lightly buttered, become a
food confection.

Have a dish ready when the children come from school. They
will eat them like peanuts or popcorn. And they take the place of
foods less healthful, less easy to digest.

Millions of children are now enjoying Puffed Grains, but not half
of them get enough.

Every home should keep all three Puffed Grains on hand.

Puffed Puffed Corn

Wheat Rice Puffs

Also Puffed Rice Pancake Flour

To Make Royal Pancakes

Our food experts have worked for years to
make an ideal pancake mixture. Now it is ready —
with Puffed Rice Flour mixed in it. The ground
Puffed Rice makes the pancakes fluffy and gives
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cakes ever tasted with Puffed Rice Pancake Flour.
Add just milk or water, for the flour is self-
raising. Order a package now.

32H

MOTION PICTURE

Milady of the Fan

{Continued from page 25)

posters and cleverly carved toys — all
from far-ofif Japan.

"Isn't it sweet of them to like me so
well?" Francelia said, gratefully. "But
the way they express their admiration — ^ j
you must read some of their letters !"

One Oriental epistle was on a long I
strip of thin rice paper, in verse form,
and with delicately painted flowers out-
lining the edge. Another was inscribed
on silk, and commenced, "Miss Billing-
ton, dear sir " Japanese fans, it

seems, do not believe in expressing their
admiration merely in words. Almost all
of them sent material tokens of their
esteem, ranging from expensive kimonos
to postal coupons which could be ex-
changed for stamps. Many of them sent
their pictures, and two girl admirers of
flapper age sent photographs in their
"swimming suits," tho how they would
be able to navigate in the water was a
problem which Francelia and I gave up.
We recommend it to the attention of the
Sennett bathing beauties.

It must not be supposed that Miss Bil-
lington's popularity is limited to Japan.
Her work with Kalem, American and
Universal is widely and favorably known,
and her emotional role in "Blind Hus-
bands" gave her even greater opportuni-
ties to display her talents. This role, in-
deed, again brought her strongly into the
screen limelight and attracted unusual
interest.

"Oh, just one more letter before you
go !" Francelia urged, with the unex-
pected little quirk of the mouth that
comes when she smiles. "It's the prize
of my 'fan' collection, and if you can tell
me what it's about, I'll give you one of
these posters."

I got the poster, but I didn't win it.
Francelia was generous enough to let me
have it anyway. Do you think you could
have won it? This is what the letter
said:

"Dear, F. Billington — I double to say that I
cant well versed in composing an English.
But these sort letter is taken your intresting.
I think so. I am writing for you that I am
very glad. Then I have taken your beautiful
photograph by your kindness. I am ven.-
found the autograph of the famous actoress.
But, generally person are giving me by pnnt.
You are very kindness man.

"I am thankful your truth heart, and I am
longing to preserves your envelope with the
pholo.

"Now Miss. Much to my regret then your
photo was not so clear. I am very regret what
a beautiful itself.

"If you have a good kind. Please beared
me to my request and send me another delight-
ful one. I think you shall be to send it for
me. Excuse me Miss. I am so unreasonable
to propose. But I am fond your truth. Then
I have to make application to you.

"Now I am out for you some of the nishikie
(picture print). These picture is famous in
our country. And my writing picture with it.

"And some of the bamboo's pen for you.
And a little lovely doll with it. Use to play.

"Dont wait to write me of your health and ;
present condition. Good grant that every sue- '
ceeding year may bring you continued pros-
perity."

"Believe me.

"HikOSHI Shiocawa." ,

:lassic

The Dancin' Fool

(Continued from page 57)

and sister, and Uncle Enoch Jones, con-
temptuous of what had gone before,
rociferously disgvisted at that "dancin'
fool," as he anathematized his nephew.

Harkins did not gainsay the anath-
ema. He had been trying, while 'Ves
was on the road, to beguile Enoch
Jones into selling the business. Enoch
had not been wholly unwilling. He had
felt, since the innovation of his nephew
and his methods, like an atom taken
in hand by a cyclone, and he wasn't
at all certain as to where he might be
cyclonically deposited. The thing was
going down-hill, he had to admit that,
and Sylvester, blame him ! was running
up expenses something fearful, and, so
far, he hadn't seen any of the efficient
results so glibly predicted. All he had
seen were a lot of new-fangled contrap-
tions and their bills to do work hereto-
fore done by honest and understanding
hands, and a "dancin' fool" smirkin' and
grinnin' down at a bunch of fool people
with some slip of a thing hangin' to his
arm . . . efficiency . . . bah ! . . . He
didn't very much care for the talkative
Harkinses, but they offered him a fair
price for the business he had built up,
painfully, by hand, only to have it ridi-
culed, bandied about, jostled and torn
asunder by the "dancin' fool" his sister
(Elmira had always been a fool herself)
had given birth to . . . and he was tired
. . . his head hummed with the worry
and the change ... he was old and
these other people . . . other methods
were new . . . cruelly new . . . Better
to take the price they were kind enough
to give him and go back to where this
young upstart had but recently come
from. Then, drat him, if he wanted to
make jugs^ let him make them . . . for
the enterprising Harkins.

He was thinking these things when
'Ves came up to him, grinning, and
begged him to go back to the office ; he
wanted to have a talk with him. He told
him to take the Harkinses along, too, if
he cared to. He would get Junie and
follow up. Uncle Enoch said, with in-
tent, that he did care to take the Har-
kinses along, and, when 'Ves arrived, half
an hour after the others, he found Uncle
Enoch almost in the act of transferring
the Jones Jug Factory to the Harkins
interests.

He called Uncle Enoch Jones a few
hard but understandable names and pro-
duced from every pocket his wearing
apparel boasted contracts secured by him
on his trip big enough and solid enough
and soaring enough to make the Jones
Jugs famous. The dust of antiquity was
not too thick in the eyes of Enoch Jones
to miss figures. He considered them,
while back of the enigmatic specs a gHnt
and a glimmer began to grow. Finally,
"Facts," he said, "is facts, and figgers is
figgers. Mr. Harkins, I have recon-
sidered."

After the all but unmarked retreat of
the Harkinses and the reluctantly, the
(Continued on page 83)

(Seventy-nine)

And then, through a beautiful actress,
I discovered home Electric Massage !

«npHIS stage beauty, a radi-
ant, youthful woman who
has been famous for years, con-
fided to me that electric mas-
sage is the one daily luxury that
she insists on having. As a
matter of fact she told me that
this is not a luxury but an ab-
solute necessity. So I bought
a 'Star' and I'm delighted!"

Likewise, to every woman
who is not satisfied, unless she
looks her very best, at all
times, home electric massage is
the one health-and-beauty treat-
ment she can rely on. She
knows that massage, when
properly applied, will keep her
complexion clear, fresh and col-
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pink of condition; her figure
supple, attractive and of youth-
ful contour.

Today more than half a mil-
lion Star Electric Massage Vi-
brators are being used daily.
Hundreds of women have writ-

ten us that they are delighted
with the almost magical results
that the "Star" has wrought
with their once muddy, unat-
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the experiences of these other
women prove to you that you,
too, can re-create your skin,
your hair, your youthful con-
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Such beautiful women as
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9/1

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if

The Best
Thing in Life

By ELIZABETH PELTRET

IT was just before luncheon, when we
were sitting in the garden, that Kip-

hng's "Jungle Book" got mixed up
with lack Gilbert's first interview.

This was strange, because we hadn't
been talking about books at all.

On the contrary, we had been talking
about moving pictures and ^Maurice Tour-
neur and ham sandwiches and milk and
Maurice Tourneur. With Jack Gilbert,
just at present, all conversational roads
lead to Maurice Tourneur. He may
begin by mentioning his own efforts to-
wards putting on flesh, but he will inva-
riably end by telling you that Maurice
Tourneur is a god.

We tried to get into the studio cafe-
teria, but it was crowded to the doors.

"Let's walk around for a while," sug-
gested Gilbert.

The sun had broken thru the fog only
about an hour before and the Goldwyn
studio garden was at its best. Shrubs
and ferns and, further away, eucalyptus
•Xees, made spots of comparative dark-
ess to relieve the glare on the white

Pliotograph by livans, L. A.

Tack Gilbert is but twenty-
three. He comes of an
actor family, indeed one
of his earliest memories
is being stranded in a little
Arkansas town. Gilbert
and his father washed
dishes in a little railroad
lunch-room in order to
earn money enough to get
home

buildings and the glass-
encased stages.

"Pretty," remarked my
companion, appreciatively.
We seated ourselves where
the sun was warmest.

"You write stories, dont
you ?" I asked.

"Yes ; I was in the sce-
nario department of the
Gibraltar Company, but it
blew up just about the time I got well started. Then I
made a resolution to write a story a day for the purpose
of improving my mind. After about five days, I decided
to quit that and take up foreign languages."
"What foreign languages did you learn?"
He laughed and traced a circle in the garden path with
his cane.

"Actors," he said, "are like monkeys. Did you ever
read Kipling's 'JunS^e Book'? Yes? Then you know
how monkeys are. They play with one thing for a while
until they get tired of it, then they let it go and jump to
something else. And imitative ; the only way an actor
can improve his work is by watching some other actor.
When a John Barrymore picture comes to town, I go to
see it five or si.x times. But just as a monkey, no matter
what he may pick up and drop, sticks to his trees, so an
actor sticks to his work. He cant help it ; it's second
(Continued on page 84)

(Eighty)

Beverly Tr avers

The Fear Woman"

Beverly, the charming girl in
white, is doing wonderful work.
She has a natural dramatic ability
coupled with beauty and person-
ality, and we look for her to go
far in the film world.

Goldwyn Picture

Not only do I use Ingram's Rouge
but I have recommended it to
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no matter how warm the day or
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Itl^t&m's

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at her very best, she needs a finishing touch of color;a soft, natural,
girlish tint, such as Ingram's Rouge imparts.

Ingram's Rouge is excellent in every way, and unusual in some
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spiration; nor will it harm the skin, for its color is not absorbed.
Prepared in daintily scented cakes, which are less wasteful than
loose powder, it is sold in three perfect shades. Light, Medium and
Dark. Price 50 cents.

Ingram's

' /clveold
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FACE POWDER

A complexion powder especially distinguish-
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a powder of unexcelled delicacy of texture
and refinement of perfume. Four tints-
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Philippines: F. A. Thompson

Commercial Co., Inc.
LaCampanaBlde., Manila
AoitrsliB: T. W. Cotton, Pty., Ltd.
Melbouroe

Foreign Distributora

Africa, Soutii: C. A. Bolus

Steytlera BIdg., Johannesbarff

DETROIT, U. S. A.

Trinidad: L. C. Wharton
San Fernando

Africa, British East: A. Ambrose Smith

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China: Mustard & Co.
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Coupon

(Look for proper address at left)

I enclose 6 tw "> cent stamps in return for
which send me your Guest Room Package
containing Ingram's Milkweed Cream,
Rouge, Face Powder, Zodenta Tooth Pow-
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sizes.

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Induslru

MOTION PICTURE

Gossip of the Pacific Coast

(Continued from page 66)

represented the Studio Girls' Club and
drove over in her Uttle brown Scripps-
nooth.

They are keeping Helen Eddy, of the
Ckib, very busy at the Hollywood Com-
munity Theater, besides her work witli
Mr. Beban. Helen is so versatile and
lias such a fine voice that delivery of her
lines is always listened to with great
pleasure.

The Southern Pacific station was
crowded one afternoon as I dropped in
to bid farewell to a friend departing on
the Ozi'l. The Christy company pro-
ducing "Bringing Up Father" was occu-
pying a hollow square at two of the exit
gates and an audience five deep stood
about the outer edges of the square.
Funny Johnny Ray was togged out in a
top-hat garnished with a bright-blue rib-
bon and three ditto buttons, and as the
echoes are very noticeable at the termi-
nal station, everything he said was car-
ried for hundreds of feet. A train
dispatcher had nothing on Mr. Ray!
The tourists are entranced whenever
they happen to witness a free show like
this. It's funny to hear their comments.

Donald Crisp is directing "Held by the
Enemy," and there are more people in
Northern and Southern uniforms and
crepe hair mustaches ambling up and
down Vine Street at luncheon time than
you could imagine. It reminds me of
that old panorama of Gettysburg. It is
droll to see the "dead" men arise when
the noon whistle blows. They've an at-
tendant out there who smears thick mud
over the countenances, hands and cloth-
ing of the hundreds of extras employed
at five dollars per diem. 'Tis very real-
istic. The women in hoop-skirts have a
difficult time getting luncheon at the
small nearby cafe, but the leading play-
ers manage to stuff themselves into cars
and drive over to the Boulevard, where
there are some good light lunch places
and French cafes.

Gloria Swanson always drives over,
because she's particularly fond of toasted
bread with chicken en mayonnaise as a
filling, and the waiter knows to the frac-
tion of an inch how she likes the bread
cut. Ethel Claj'ton has a lot of extras,
too, and the Lasky lot is a busy place
this spring, every company working
overtime.

I noticed Wally Reid in a gorgeous
blue silk lounging robe sunning himself
at noon in front of the enclosed stage
and enjoying the society of fat Walter
Hiers, who is called "The .Soft-Drink
Kid." Mr. Hiers is always telling jokes,
singing, or otherwise amusing not only
stars but extras. He was wearing
gaiters with inset rubber, and is playing
in "Held by the Enemy." He's under a
five-year Lasky contract now, and looks
as if he were quite lot-broken and at
home on Vine Street. There's one thing
about genial Walter, he is big enough to
be found easily, and his merry chirps
give away his whereabouts, anyway.

Monte Blue is wearing tortoise-shell

goggles olifstage. That pair of spectacles
gives Monte a sort of sentimental, poetic
air. One expects to hear him burst forth
into limericks — he's quite a hand at
jingles, be it known. Raymond Hatton,
beloved on the Lasky lot, has become a
Goldwyn feature player. Nobody be-
grudges Ray his good fortune, for he's
worked steadily for advancement, even
playing untitled parts in some of the
larger productions for Mr. de Mille, just
to give proper characterization to what
would have been a minor part in less
capable hands.

Herbert Heyes has taken this town by
storm in "Civilian Clothes," which has
run steadily for nine months at the Mo-
rosco Theater, Los Angeles. Not long
ago, Clyde Fillmore told me, when step-
ping out of the aforesaid clothes into a
Lasky contract, that he thought Heyes
would be the best Sam McGinnis of
them all. The local papers are raving
over Mr. Heyes' conception of the part,
altho they fairly admit that both Thurs-
ton Hall and Clyde Fillmore seemed
incapable of improvement, so well did
they play their parts.

Priscilla Dean has really wed Wheeler
Oakman, a former stock company man
here. They were married in February,
at a "wedding within a wedding" on the
Universal lot. She's as saucy a bride as
you'd wish to see — always up to pranks.

Lincoln's Birthday was famous for
the Wally Reid ball at the Hotel Alex-
andria, heralded in advance by sky-
bombs dropped by Lieut. Shirley J.
Short. Viola Dana was patroness, es-
corted by Lieut. Locklear, whose plane
was donated for the cloud-massaging
acts. I asked Vi if she were engaged
to the lef tenant, and she answered, most
emphatically, "If you value your life,
repeat not that question !" They do say
on the lot that Viola sees red when
quizzed on that subject.

Wherever one goes, Edith Roberts is
talked about. The movie colony pre-
dicts wonderful things for Miss Rob-
erts. They say she's as clever as she
is beautiful. She has had a fine cast for
"The Daring Duchess," including Henry
Woodward, Leota Lorraine, Stanhope
Wheatcroft, formerly of the Morosco
Theater, Harold Miller, Kathleen Kirk-
ham and Ogden Crane. The next pic-
ture for Miss Roberts will be a revival
of Clara Louise Burnham's famous novel,
"Jewel," for nowadays stories dealing
with metaphysical healing are very good
money-makers. Tommy Meighan told
me that you cant buy a ouija board in
New York on short notice, that the wave
of psychic phenomena has struck not
only that skeptical money-making burg,
but every little hamlet thruout the coun-
try. Nearly everybody at the studios is
interested in mediums, and lots of the
girls have ciystals, ideographs, Jula
boards — or something like that.

Eugenie Forde, who supports Mrs.
Hayakawa in "A Tokio Siren," was
(Continued on page 87)

(Eiffhty-two)

MHHM

aAssic

That Irishman From Paris

{Continued from page 47)
Fitzmaurice has just attained the dis-
tinction of producing for Paramount-
Artcraft in his own name. "George Fitz-
maurice Productions," they are called,
for the director has followed the foot-
steps of other notable makers of photo-
plays. This shows that reward comes
surely in the world of the cinema.

The Pulse of the Photoplay Public

(Continued from page 64)

Mr. Lasky picked up an exhibitor's re-

i port. "The pulse of the public beats in

' this," he smiled, and then he concluded:

"It would be folly to say that we lead

our audiences, just as it would be equally

ludicrous to say that they lead us. We

are finding our way together."

The Dancin' Fool

{Continued from page 79)
humorously, the unwittingly tender and
conciliatory good-night of Uncle Enoch,
Junie Budd and Sylvester were alone.

"Will you marry a 'dancin' fool,'
Junie?" the young lover asked, "and —
and the present partner and future out-
right owner of the Jones Jugs, Incorpo-
rated . . . will you ?"

"I'll many you," whispered Junie,
"just you . . . like you were . . . that
first night . . . when you came and
found me . . . and I didn't know . . .

and didn't care . . .

long ..."

"So long . . . ?"
"So long as you .

. . . close . . . and

. . . 'dancin' fool' .

who you were, so

as you held me
. and loved me

"SHOOT TODAY !"
By Walter E. Mair

Peep o' day in January ;
Winds that were so long contrary
Drift to sleep, and all their fretting
Hardly seems worth while forgetting.
(Some one breathes into my ear
That a picture-day is here.)

Drowsy dawn in January,
[ And tlie tender stars unwary
! Taunt their rising lord and master,
j While he threatens their disaster.
I (Ah, what is it seems so good?
\ Nature's in a melting mood!)

j Wondrous morn in January!
j 'Twns but yesterday that Alary

Wept of mother, courts and lawing;
I But . , . today, the ice is thawing.
(Is it Mary turns to say.
"Shooting-light is great today?")
Happy morn in January !

NOT A GENUINE HERO
She saw him coming; the welcoming light
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little gasp and keeled over into a convenient
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Instead of lightly vaulting over the fence,
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(Btghty-tliree)

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The Best Thing in Life

{Continued from page 80)

A

nature to him or he wouldn't be an
actor."

All of this was said lightly, and then
he added, with boyish seriousness, that
his work is his life; that he'd rather die
than do anj-thing else ; that he would a
thousand times rather die than not suc-
ceed in it !

He is very serious, is Jack Gilbert, and
very young, in some ways younger e\'en
than his twenty-three years. He played
you will remember, the part of a four-
teen-year-old boy in Mary Pickford's
"Heart of the Hills." Eut since then he
has added five pounds of breadth to his
five eleven of height, with the promise of
more from the physical instructor of the_
Los Angeles Athletic Club, where he
lives. Also, he played a "heavy," (his
first role of that sort), in "Sliould a
Woman Tell ?" vv'ith Alice Lake, and the
strongly sympathetic part of the puri-
tanical garden boy in the George Loane
Tucker picture, "Ladies Must Live."

On the day I saw him -he had just
signed a two-year contract with Tour-
neur and he was, he said, in the seventh
heaven, happier than he had ever been
in his life before. A director can make
or break his people ... it meant every-
thing, he said, absolutely everything, to
be with the right one, and Tourneur
could bring out the best there was in
you ! He would praise you to the sky
when you did anything well and perhaps
break a chair over your head when you
did anything badly . . . Gilbert laughed.

"He wont let his people overact, tho,"
he went on, "and he doesn't kill your
enthusiasm. He makes you want to do
your best every minute, because you
know that the work you are doing with
him will live, that it means something.
Did you see 'Victory'? Didn't he just
take you to the South Sea Islands?"

Gilbert's eyes are dark-brown and
have in them much of the romantic mys-
ticism of the Celt. His feeling of hero-
worship for Maurice Tourneur is real,
quite the realest thing imaginable, and
one knows that Mr. Tourneur must be
conscious of it and proud of it, too.

We left the garden and went to the
cafeteria, where, neither of us being
particularly hungry. Jack Gilbert had a
piece of apple pie and I had a ham sand-
wich, and we both drank milk for the
sake of the extra pounds it might add.
"You must drink it very slowly," he
advised.

He was born in Ogden, Utah. "Al-
most a Mormon," he remarked. His
mother, Ida Adair, was a well-known
.stock actress. His father, Walter Gil-
bert, also an actor, is at present stage
director of the Baker stock company at
Portland, Oregon.

Jack, or, to give him his full name,
John C. Gilbert, made his first profes-
sional appearance at the ripe old age of
six months, when, in company with
Eddie Foy's oldest son, he crawled on
the stage at the end of an act. It was at
about this time that he began to dread

the loneliness of Thanksgiving and
Christmas. This is a feeling that be-
longs to all actors, an unfailing mark of
the professional who is usually away
from home, if he has one, and who has to
give an extra performance into the bar-
gain. However, the most vivid recollec-
tion of his childhood is of an incident
that happened when he was about eight
years old.

He and his father were "barnstorm-
ing" with a company playing some wild
and woolly melodrama the name of
which he has, of course, forgotten. In
a little town in Arkansas they cleared a
little something from the receipts and
the manager, seeing his chance, left the
company very suddenly, taking with him
the little something. To make a bad
matter worse, a cyclone came along in
the middle of the night and blew away
most of the town . . .

"We were stranded. My father and
I had to go work washing dishes in a
little railroad lunch-room to get money
enough to get out !"

Those were early . . . very early . . .
struggles. His screen career began with
Triangle-Ince. "Golden Rule Kate" and
"The Mother Instinct."

He made "More Trouble" for Vita-
graph, (no pun intended), and "Wed-
lock" for Paralta. His first picture for
Maurice Tourneur was "The White
Heather." When I saw him, they were
just "shooting" "The Glory of Love." I
almost forgot to say that a number of
the scenarios he wrote were produced,
one of them by Henry B. Walthall.

After lunch, we walked over to the
stage and sat on the edge of the set,
showing a wax-works exhibition in
Paris, waiting for Jack Gilbert to be
called.

"It is not a good thing," Gilbert re-
marked, "for an actor to marry outside
the profession."

"Is it a good thing," I asked, "for an
actor to marry at all ?"

"Oh, yes ! No man ever won great
success unless he had a woman to help
him. That is true not only of actors,
but of all the big people of history !"

So, you see that Jack Gilbert is still
looking forward to tiie best thing in life,
a romance that will do its share towards
making him famous.

OPPORTUNITY
By Ch/Srlotte Bf.cker
Fate led two wanderers to a shininpr place

Where ghostly forms awaited silently.
And thus he spoke: "Choose each from this
dream-race.
A guiding-spirit for the years to be."

And one bent eagerly, and chose as his

A radiant being, fair and stronc and wise;

The other, watching idly, answered this:
"Choose for me. Master, blinded are my
eyes."

And Fate led to him one who stood aside
With folded wings, and weary, joyless
breath. „

Then to the first, he said, "Life is thy guide.
And to the second murmured, "Thine is
Death I"

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IWOTION PICTURE

A Bigger Fame and Fortune
Contest

{Continued from page 52)
contest: two years of the widest pub-
licity in The Motion Picture Classic,
The Motion Picture Magazine and
Shadowland. This publicity includes
special interviews in each of the maga-
zines, cover portraits in colors, special
pictures, articles by well-known writers,
etc.

The Motion Picture Magazine,
Shadowland and the Classic will se-
cure an initial position with one of the
prominent producing firms. The judges
alone of this contest constitute a hall of
fame. Each and every one of them
stands pre-eminent in his or her particu-
lar line of endeavor. The list of these
luminaries of the dramatic and photo-
graphic world will be published in a
later issue. Watch for it.

This contest is open to every man,
woman and child. There is no age limit
or, indeed, limit of any kind. There are
no residential boundaries, either. If you
live between the North and South Poles
and New York and Yokohama, in either
direction, you are eligible to enter this
contest.

Of special interest to those who enter
this contest is the announcement that a
five-reel drama is now being produced.
The honor roll winners will appear in this,
as well as the winner or winners of The
Fame and Fortune Contest. If this
chance to make a mark in the film world
interests you, fill out the coupon you will
find on the bottom of another page of
this issue and send it to us, together with
the best photograph you have or can
have made, and let the famous judges
decide whether you have something in
you that the picture lovers all over the
world are looking for.

The attractive women who have so far
sent us their names and pictures for this
contest still outnumber by far the men
who have entered. It should be remem-
bered that this contest is open to the men
as well as to women, and we again urge
our masculine readers who have film star-
dom aspirations to send us their names
and pictures.

We are sure that there are many men
among our readers who have these aspi-
rations and have only waited their chance
to appear before the lens. Here is your
opportunity. Send your photographs to
us and they will receive tlie same con-
sideration from the judges as do those of
the fairer sex.

Those entrants who finally make the
honor roll are to be congratulated, since
the test is very severe. The judges give
a careful and painstaking as well as fair
and impartial consideration of the claims
and photographs of the entrants and
those who are picked are therefore the
most nearly perfect entrants for each
period.

A word or two about "A Dream of

Fair Women," the two-reel feature which

brought before the searchlight of the

motion picture world the twenty-five

{Continued on page 95)

(EigMy-six)

CLASSIC

Gossip of the Pacific Coast

{Continued from page 82)

married again in February. She has
sold her house on Bronson Avenue, right
near Victoria Mix's home, and bought a
larger and more beautiful mansion not
very distant from the Mixes, for I dont
know what Vicky would do without her
mother. Those two enjoy shopping to-
gether as few mothers and daughters do.
Both have exquisite taste and the means
to gratify their longing for pretties.

Lee Moran and Eddie Lyons are a
pair of cut-ups offstage. When Mr.
Moran was laid up with flu, Mr. Lyons
continued making scenes in which his
partner did not appear according to the
script. Upon Lee's return, Eddie said,
joyfully, "Glad to have you back, Lee ;
heard you were dead !" Lee grinned,
winked one eye and said, "Heard the
same rumor, Eddie, but knew it was a
lie, minute I heard it."

Mary Miles Minter will stand as god-
mother to Juliet Shelby Whitney, her
namesake, on Easter Day, at the famous
Mission Inn, Riverside, California. Char-
lotte Whitney, baby's mother, lives with
the Shelbys, since Mary's secretary must
be constantly on hand to direct her pub-
licity, answer fan letters and post photo-
graphs. Margaret Shelby has an excel-
lent part in Mary's new picture. On
April 1st, Mary's eighteenth birthday was
celebrated, and she comes of age in Cali-
fornia, altho according to the terms of
her contract, made in New York, she is
not of age, "pictorially speaking," until
1923, when she will be twenty-one.

Miss Minter takes herself very se-
riously. She is quite a reader and has a
talent for writing, and I'm expecting to
see her name on a scenario or novel be-
fore she's thirty and when she has tired
of acting.

Winifred Westover, at last report, was
dickering about the payment of salary in
the Swedish motion picture concern
which stars her for a year abroad. It
seems that Winifred wanted the salary
paid in American coin, while the pro-
moters wanted to pay her the contract
salary in Swedish currency, which would
have meant a considerable loss when ex-
changed. Cablegrams have been sent by
all concerned and, as a long-distance dis-
agreement of this sort is rather expen-
sive, we all await the outcome with
considerable interest.

The winner of the Fame and Fortune
Contest in our magazines is hard at work
on the Universal lot. Virginia Brown
Faire has adopted the "U" menagerie,
even including a vicious horse which
she's learning to "stick by."

THE BURDEN

By Betty Earle

There was a vast pale sobbing once that leapt

And swelled to anguishes as on a sea
Whose mad-drenched rocks the white hands
blindly swept —
And then at last a strength came quietly.

So stand I like a shadow, without trace

Of grieving left ; only solitude ;
And in the cool the night is all my face,

And over all the stars I bend and brood.

Wanted This Year

A grave dearth of story plots now confronts the motion picture industry.

Producer* will pay you well for any suitable story-ideas. Literary ability

not a prime factor. Learn how you can write for the screen.

5000 New Story=Ideas for
Motion Pictures

The above figure does not include material needed for religious, cammercial and educational films.

SOMEWHERE in America this year,
scores of new motion picture writers
will be developed. (For the motion pic-
ture industry must have a continuous sup-
ply of good, new story-ideas if it is to
survive.)

Most of these new photoplaywrights
will be men and women who never wrote
a line for publication. They will be
people with merely good ideas for stories,
who are willing, during spare hours, to
learn how picture directors want their
plots laid out. Producers will pay them
$100 to $500 each for clever comedies,

and $250 to $2,000 each for five-reel
dramatic scripts. They will pay these
prices because they must have stories.
95% of book material is unsuited to their
need, and as yet not enough people are
writing for the screen to supply the
demand.

The above is a statement of fact concerning the
motion picture industry. If you have a story-
idea as good as some you have seen produced, this
opportunity is wide open to you.

There is plerity of proof that producers really
do pay the prices stated above. For they are
paying these prices constantly to people we have
taught to write for the screen — people who- never
saw a motion picture studio.

In Two Short Yeeas

It was a little over two years ago
when the famine in story plots first be-
came acute. Public taste changed. Play-
goers began to demand real stories.
Plenty of manuscripts were being sub-
mitted, but most were unsuitable. For
writers did not know how to adapt their
stories for the screen. Few could come
to Los Angeles to learn. A plan for
home study had to be devised.

Frederick Palmer (formerly staff writer
of Keystone, Fox. Triangle and Univer-
sal) finally assembled a corps of experts
who built a plan of study which new
writers could master through correspond-
ence.

The Palmer Course and service has
now been indorsed in writing by prac-
tically every big star and producer.
Back of the Palmer Plan, directing this
work in developing new >vr iters, is an
advisory council composed of the biggest
figures in the industry. It includes Cecil
B. DeMille, Director- General of Famous
Players- Lasky Corporation ; Thomas H.
Ince, head of the Thomas H. luce
Studios; Lois Weber, America's greatest
woman producer and director ; " Rob Wag-
ner, well-known motion picture writer for
the Saturday Evening Post.

In two short years we have developed
dozens of new writers. We are proud of
the records they have made, and wc
prefer to let them speak for us.

A Co-operative Plan —
Not a Tedious Course

Our business is to take people who
have ideas for stories and teach them to
construct them in a way that meets a
motion picture producer's requirements.
We furnish you the Palmer Handbook
with cross references to three stories jl^
ready successfully produced. The scena-
rios come to you exactly as used by the
directors. Also a glossary of studio
terms and phrases such as "Iris," "Lap
Dissolve," etc. In short we bring the
studio to you.

Our Advisory Service Bureau gives you
personal, constructive criticisms of your
manuscripts; — free and unlimited for one
year. Criticisms come only from men
experienced in studio staff writing. Saiurday t

Special Contributors

Twelve leading figures in the motion picture in-
dustry have contributed special articles to the
Palmer Course. These printed lectures cover
every phase of motion picture production. Among
others these special contributors include: Frank
Lloyd and Clarence Badger, Goldwyn directors;
Jeanie MacPherson. noted Lasky scenario writer;
Col. Jasper Ewing Brady of Metro's scenario
staff; Denison Clift, Fox scenario editor; George
Beban^ celebrated actor and producer; Al E.
Christie, president Christie Film Co. ; Hugh Mc-
Clung. expert cinematographer, etc., etc.

Our Marketing Bureau is headed by Mrs.
Kale Corbalcy, lomierly photoplaywright for Mr.

Advisory
Council

Cecil B. DeMille
Director-Gen. Famous
Players -Lasky Corp.

Thomas H. Ince

of the Studio that

Lois Weber
imerlca's greatest wo-
man producer and di-
rector

and Mrs. Sidney Drew. In constant touch
with the studios, she knows their needs,
so that when our members so desire, we
submit their stories in person for them.
Thus we not only train you to write;
we help you to sell your story-ideas.

$3000 for One Story Plot

Our members come from all walks of
life; mothers with children to support,
school teachers, clerks, newspaper men,
ministers, business men, successful fiction
writers. In short, we have proven that
anyone with an average imagination and
story -ideas can write successful photo-
plays once he is trained.

One student, G. Leroi Clarke, formerly a
minister, sold his first photoplay story for
$3,000. The recent success of Douglas Fair-
banks' "His Majesty the American." and the
play. "Live Sparks," in which J. Warren
Kerrigan lately starred, were both writ-
ten by Palmer students. Many students
now hold staff positions, four in one studio
alone.

We have prepared a book, "The Secret
of Successful Photoplay Writing," which
will inform you of the Palmer Course and
service in greater detail. If you desire to
consider the unusual opportunity in this
new field of art seriously — this book will
be mailed to you free.

At Least Investigate

For there is one peculiar thing to con-
sider in the Palmer Plan. One single
successful effort immediately repays you
for your work. Not all our members
begin to sell photoplays at once — natur-
ally. But most of them do begin to show
returns within a few months. And the
big majority are not literary folks. They
are people who have simply made up
their minds to make money out of story-
ideas they have in the back of their heads
— and incidentally, perhaps, to gain some
reputation.

The way is open. Producers are mak-
ing every effort to encourage new writers.
The demand is growing greater every day,
and the opportunity is rich in its rewards
because it is young. If seriously inter-
ested, mail the coupon.

Palmer Photoplay Corporation

Department of Education

517 I. W. HeUman Bldg..

Los Angeles, Cal.

Palmer Photoplay Corporation
Department of Education.
517 I. W. Hellman Building,
Loa Ajigeles, Caiirornia.
Pioase send me. without oblieation. your new book.
â– 'Thi' Secret or Successful Photoplay Writing." Also
'â– Proof Poaitive" containing Success Storiea of many
Palmer members, etc

Namii

Address

City

State

Ellen From Tennessee

By LILLIAN MONTANYE

curtain, a bit of gold pasteboard for a crown, she danced, sang
and gestured — and created for herself a land of make-believe,
a world that none of her family or ancestors, so far as any
one knew, had ever dreamed of.

By the time Ellen was fifteen she knew quite definitely that
she was going to be an actress. She was not abnormal,
unusual in any way. In reality and habit she was like the
girl friends with whom she walked arm-in-arm under the old
elms of the quaint little city. But deep under every inherited
habit there was something that would not be suppressed.

One evening at supper she announced herself: "Mother,
grandmother, I have decided that I will not always sing in
church ; I am going to be an actress !" Had she announced
her intention of being a plumber, a butcher, an anarchist, her
family could have been no more astonished, more hopelessly

bewildered.

Helplessly they searched the
family tree to see if they
could spy out the branch that
had handed down this per-
verse inclination. For their
Ellen to sing in church for a
consideration had been bad
(Continued on page 90)

1

Ellen Cassity, J. Stuart
Blackton's latest discov-
ery, hails from Tennessee.
She came to the screen
via the "Ziegfeld Follies,"
and is the latest beauty of
that famous organization
to grace the films

PhotoEraph below bv Liimiere

i'hotograph by Pach, iS. V.

It's her real name and her stage name :
Ellen Cassity. A name that from, the

press agent's point of view needs no
camouflage. Surely the gods of luck
must have taken a hand at her christen-
ing and in bestowing upon her many
more true gifts : brown hair with threads
of gold ; slate-blue eyes with velvety,
dark-fringed lashes ; regular features ; a
perfect skin and a shapely, healthy body.
And, if they had the gift of sight and
knew that the wee lassie was destined
for a career, they gave no sign, for, with
the wisdom of their kind, they knew that
gods of luck and gods of chance, also
careers, must bide their time.

Ellen Cassit)' was born in Jackson,
Tenn., of good old Southern stock; a
people proud, upright, uncompromisingly
conservative. A family of gentlemen
and gentlewomen, careers, for their
womenfolk, artistic or otherwise, were
not even considered.

When Ellen was five the family moved '""'

to Louisville. Shortly afterward it was
discovered that the small daughter had
a voice of unusual quality. She was given lessons, vocal
and instrumental, and at the age of ten had developed into
a child prodigv- and was solfJ soprano in a churcli.

Not only was she soloist on Sundays, but she was also
the star of her grade at school entertainments. An om-
nivorous reader, .she spent many a rainy afternoon in
grandmother's attic and in Dickens, Scott, Stevenson, and
finally a set of Shakespeare's plays, she discovered a secret
door to another world.

LTnknown to her adoring family, little Ellen began to
dream dreams. The old attic, with its low ceilings, its
dusty rafters, saw strange sights. Before an ancient mir-
ror with tarnished frame, with an old portiere, a lace

(Eighty-eight)

t^y^aiaiflBi

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Pittsburgh, p*.

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SAMUEL HARDEN CHUUCH, JH.

Chicago, nilnoU.
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PERFECT VOICE INSTITUTE
Studio 1554 1922 Sunnyside Ave., Chicago

' PERFECT VOICE INSTITUTE,

â–  Studio 1554. 1922 Sunnyside Ave.. Chicago, Illinois.

' Send mo your free illustrated book. 'Toice Culture," and

' facts about the Feuchtinger Method. I have put (X) oin»o«lt«

â–  subect which Interfsts mo most. I assume absolutely no
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' n Singing D Stammering

• a Speaking D Lisping

1 Name. .

I Address. .

(Eighty-nine)

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Ellen From Tennessee

(Continued from page 88)

enough, but she had the gift of song;
rightly used, it might help others and
was not unbecoming a gentlewoman. !
But a public career — the stage !

Quietly but persistently, Ellen, sought
to overcome parental objections. She
studied, she sang in church, in concerts,
she took part in school entertainments,
she attended the theater whenever pos-
sible and she bided her time. Finally a
theatrical manager and friend of the
family advised her to come to New York
and her mother, still unreconciled and
secretly hoping that the New York man-
agers would have none of them, came
with her.

But alas for maternal hopes ! The very
first day in New York, thru a lawyer
friend whom Mrs. Cassity had known |
for years, Florenz Ziegfeld saw the beau-
tiful young Southern girl, noted her
grace, her charm, and signed her for
"The Follies of 1917." During her ca-
reer with "The Follies" her face was the
model for more than a dozen Clarence B.
Underwood covers and a well-known
photographer won several prizes with
art studies of Miss Cassity. Finally she I
left "The Follies" to sing in "Words and
Music" with Raymond Hitchcock. Fol-
lowing this, she had the opportunity to
understudy the leading role in "Pals
First," later going on tour as leading
woman.

And then, unfortunately, Miss Cassity
was obliged to undergo a severe opera-
tion on her throat that resulted in the
weakening of her voice. So she decided
to accept one of the many flattering
offers for screen work.

"I could still dance," she says, "and
sing some, but I felt that it would be best
to give my voice a rest and try pictures.
I am so glad that I did and have no idea
now of going back to the stage, but, of
course, one never knows.

"While I found the stage interesting,
I find the pictures even more so. The
stage was, to me, a veritable land of
make-believe. But the pictures are more
than that. They are a series of wonder-
ful adventures — every day is different
from the one before. Not that it isn't
hard work, it is. One has to be on the
alert every minute. One's physical en-
durance is' put to the test very often, and
often there are real dangers to encounter
— as, for instance, when we were making
'Checkers' and a piece of glass flew into
my eye, causing me to suffer tortures,
even endangering my eyesight. All the
same, I had a wonderful time making
'Checkers.'

"Just now I am co-starring with Her-
bert Rawlinson in 'Passers-By,' pro-
duced and directed by J. Stuart Black-
ton, and I want to say that it is a great
opportunity to work with Mr. Blackton,
who is a gentleman every minute of the
day and is consideration itself.

"My favorite parts and hobbies and
ambitions? I like drama best, with
plenty of action — also light comedy. Am
(Continued on page 110)

(Ninety)

Why do women weep?
Why do men chuckle?

Why does the whole audience clutch
their hands and strain their eyes?

REMEMBER how the fat man
ha ha'd right out and got
«- the audience giggling and the
old lady laughed until the tears ran
down her cheeks. What a wonder'
fill picture that was !

And last week even the gruff old
bachelor had red eyes when the
hghts went on. You felt as though
you had lost your own sister when
Melissy died.

All the way home you discussed
the story.

Why do you enjoy this picture
or that one so much ? Have you
ever stopped to think why?

First it was such a human story.

And the star was so sweet in the
part. You always did like her. All
the characters seemed just like the
real people.

And the scenes — real rooms in

real houses. The outdoor pictures
were like a vacation for you — out
in the open — daisy fields, sunshine,
mountains, deserts.

Perhaps you didn't notice the
photography, you were so interested
in the story, but you will remember
how clear it was — how beautiful the
lighting.

These are the things you will
always find in a Goldwyn picture.
Interesting stories — your fevorite
star — beautiful settings — perfect pho'
tography. Goldwyn combines them
all. When you see a Goldwyn
picture you forget your troubles —
you forget the baby's croup and the
cook's leaving.

You come home feeling as fine as
though you'd had an outing.

Never miss a Goldwyn picture.
They are the ones you know you
will enjoy.

GOLDWYN PICTURES

(Ninety-one)

Lloyd Hughes

His Ship Comes In

By MARY FORRESTER

"That picture," said Lloyd Hughes, "did
a lot toward making me realize how much
depends upon the way you look at things."

A good illustration of how much de-
pends upon the way you look at things is
the story of Lloyd Hughes' own boyhood.
Nothing unusual about it ; nothing at all.
His life was the same as that of innumer-
able other youngsters. But he looked at the
world thru rose-colored glasses and so, at
twenty-one, he has found a rose-colored
world.

"When I was a kid," he said, "I used to
stay around theaters as much as I could.
I always liked them. I was stage-struck
even then !"

This was when he began delivering papers
after school. He used to make plays for him-
self, imitating the people he met on his route,
and later he did the same thing when he got
his first job during a school vacation.

"I was a butcher boy," he said, "and that
position gave me more material."
(Continued on page 94)

Lloyd Hughes worked
in a hardware store by
day and went to a dra-
matic school by night.
Then he began as a
studio extra. His hit in
King Vidor's "T h e
Turn in the Road" led
to his recent Thomas
Ince contract

Both photographs by Evans, L. A.

J LovD Hughes is
I , Youth incarnate.
This doesn't mean
that he is frivolous.
On the contrary, he is
very serious, with the
romantic, humor-
touched seriousness of
the Celt. His cheeks
are red, his eyes blue

and his hair dark, almost black. He celebrated
his twenty-first birthday during the making of
King Vidor's "The Turn of the Road," and it was
in this picture that he played his first leading part ;
in fact, his first really important part of any kind.
He is a real discovery. His ship has just come in
and he is beginning to unload it, keenly conscious
meanwhile of the romance of it all. His love of
romance is, indeed, the most characteristic thing
about him. It is hard to picture him in any work
which would not be colored by his imagination.

It is a curious thing that "The Turn of the
Road" marked in more than one way the turn of
the road in his life. Not only did it bring him
success, but it changed his entire outlook. It is
a picture marked by youth and hope and earnest-
ness. Mr. Vidor, the author and director, is him-
self little more than a boy — "He's twenty-four,"
said Lloyd Hughes, as tho that were quite ancient —
but he had something to say and said it well —
because he meant it.

(Ninety-two)

Do

N

Do You Know How Rich You Are?

You Realize that Your Photoplay Ideas, if Brought to Life
Upon the Screen, Might Make You Wealthy?

O matter what your profession, vocation or trade, be it lawyer, teacher, doctor, news-
paper-man, engineer, editor, advertising writer, accountant, clerk, stenographer, sales-
man, or telephone girl, etc., you have ideas for Photoplays which, if put
into proper form, as we can teach you to do, may be worth anywhere from
$500 to $5000 each.

A PROFESSION OPEN TO ALL
Photopla)' writing is a profession of the first rank, from the standpoint of
enormous earnings, and yet it is open to "unknowns" and persons without previ-
ous writing experience, to a degree which no other profession is. It is not lim-
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We are bringing forward a new army of photoplay writers, recruited from
the ordinary walks of life, and they are producing screen
plays of amazing quality. Producers, Artists and Direc-
tors are searching for the man or woman who can con-
tribute a fresh note or new idea, and are ready to reward
them handsomely.

ADRIAN JOHNSON FORMULATES SYSTEM

The profession of pliotoplay writing has been brought to your
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teachable, learnable system of simplicity and accuracy. The per-
son of average intelligence can master and put it to practical

application. His system covers the basic rules of photoplay writing which
experienced writers invariably follow and which beginners must know to get
their material in required form. It comprises 20 lessons, 2 model Scenarios
of successful productions, to study, imitate and as patterns for your Scripts;
A Dictionary of "Studio Language." the very words, terms, phrases and
expressions used among Artists, Directors and Producers, besides a wealth
of necessary, inspirational and developmental information gleaned from the
personal experiences of this famous writer, in his meteoric rise from an
"unknown" to the highest pinnacle of success in this profession. With this
material at hand, you know when your scripts measure up to professional
form, and that they will reach the producers in condition to invite reading
and not rejection.

That remarkable photoplay, "The Miracle of
Love," featuring the brilliant young star. Miss
Lucy Cotton ; "April Folly." itnth Miss Marion
Daznes, and "Checkers." Mr. Johnson's latest three
successes, are now being shown from coast to coast.
Mr. Johnson has written 300 additional produced
photoplays.

FAMOUS STARS

l.\
FAMOUS ROLES

New York City, 2-25-20.
Dear Mr. Johnson:

Your system is proving
what I have always con-
tended,^— that there Is amrle
trenulne ivrltinc talent in
an? group of men and nomen
In any vocation, if it nan
be oTRanized.

What they lack is a
knowledge of the mechanics
of ^Tiling, and that you
ran teach this there Is not
the sHehtest doubt.
Sincerely,

Dir. for Robertson Cole In
forthcoming Oeorgea Car-
pentler productions.

New York. N, Y,.

Feb. 15. 1920.
Dear Adrian Johnson:

I have spent several hours
mising through your photo-
play system. It is at once,
the most complete, compre-
lienslve and satisfying thing
in correspondence instruction
that I have seen.

It la amazingly simple
and I am not at all aui-
piised that usable scripts
are coming In from lawjers.
teachers, newspaper men,
and folks who have never
written before, as your
correspondence shows.

We need this new In-
fusion of wTiting blood.
Very truly.

Star "Miracle of Love,"

New York City. 2-14-20.
The Adrian Johnson System,

New York City.
Gentlemen:

I have critically read
your Photoplay System and
consider It the most concise
and satisfying text-book
produced up to date, on
hoiv to write photoplays.

It deals clearly with fun-
damental principles of writ-
ing for the screen, and any-
one who has a good idea
and possesses a little com-
mon sense, Is assured of a
good margin of success by
following this valuable sys-
tem.

Ver>- truly yriurs.

ADVISORY AND SALES BOARDS

Mr. Johnson heads the Advisory board which
reads, criticises and suggests the necessary improve-
ments to make your scripts saleable. Our Sales
Department exists on commissions earned by the
sale of successful scripts. It is an expert organiza-
tion with entree to all producers, artists and direc-
tors who buy plays, and is as eager to receive a
saleable script as you are to write one.

So unqualified is our confidence in our System,
and the service we provide, that the complete
system is sent you on approval, allowing you several
days to decide whether it can teach you photoplay
writing.

SEXD NO MONEY

"A FASCINATING r.;VnEER" Is the name of an in-
tpresting hook lliat Is alisoUitt'ly free to you. for tho asking.
It tells what the famous artists and directors shown here
think of our .System, The Adrian Johnson Photoplay
System. Sd Flour, Am. Theatre Bldg., Ntw Turk City,

Adrian Johnson Photoplay System, Inc.,
3rd Floor. American Theatre Bldg.. New York City.
Please send, without oliliKatiou, the book "A

Fascinating Cut eer. "

ADRIAN JOHNSON
NOTABLE
SUCCESSES

"Miracle of Love"
"April Folly"

"Checkers"

"Tho Typhoon"

"Tho Rus«"

"Camllle"

"Honor"

"The Devil"

"Wrath of the Gods"

"The Marriage Bond"

"Tiger Woman"
"A Royal Romance"
"A Small Town Girl"
"Romeo and Juliet"
"Lure of Heart's

Desire"
"Darling of Paris"
"Madame du Barry"
"Every Girl's Dream"
"Three Musketeers"
"Heart and Soul"
"Her Greatest Love"
"Daughter of France"
"Battle of Life"
"Cleopatra"
and over 300 others

A QUINl ETTE OF FAMOUS DIRECTORS WHO ENDORSE THIS SYSTEM
EDMV\'D JOSE TOM TBHRIS R. WILLIAM NEIL E. H. GRIFFITH GEORGE D. BAKER

"i'es and No" "O. Henru Stories" "Cinema Murder"

"Mothers of Men"

"Fortune Hunter"

LVOV COTTON

"Mitacl.: of Love"

LEAH BAIRD

"Th,: Capitol"

GARLYLE BLdOKWELL
of 100 Bucccaaes

^Hb-.

EVELYN OREELT
"dladdin'a Lamp"

9

EMM7 WEHLEN
*MitB Robinson CrUBOt"

fNinpfti.fhrfifi 1

STRONGFORT
The Perfect Man

Ai© VOU a Man
or a. Mannikin ?

A man's happiness largely de-
pends on his Vital Powers; his
success in social, domestic and
business life all centres around
this. If be is not virile, he is
not magnetic, forceful or at-
tractive; neither is he sought
after — his very strength is the
axis upon which all else relating
to him revolves. Men become
weak through overwork, worry,
and bad habits, and gradually
lose their strength and manhood.
When they reach the stage when
they .*ind their strength on the
wane, it is the forerunner of
failure, and domestic happiness
is then soon upset. Young men
become incap.ible of marriige,
listless and purposeless; their
brain power decreases as their
manhood fails. Strongfortism so
strengthens the internal muscles,
which are responsible for general
health and physical strength,
and the most obstinate and long
standing cases give way, in a
short time, to its internal action.

MAKE A MAN OUT
OF YOURSELF

The only way to do It la to build
up your body — all of It — throuRh
Nature's methods ; NOT by pamper-
ing >our poi>r stomach and kItihr It
extra work to do. Don't be a pill-
feeder. And don't think fate L^
makine you a failure. The real
REASON whj- you don't succeed
doubtless lies In yoiu poor, emaciated
body, In your half sickly condition, which shows In your face
and your unhealthy skin. The world has no use for weak,
slcklj- people; nobodj' wants to have them around.

BUILD UP YOUR BODY

You can do it. If you will only WILL to do It. and go about
it In Nature's way. You caji make your flcure manly and
symmetrical and at the same time strengthen your heart.
luDss. sioniach and everj' other rttal organ, by developing the
INTERNAL muscles on which their action depends, as well as
your external muscles. You can free yourself from Constipa-
tion, Indit^estioD. Dyspepsia, Biliousuess, or anj- other ehronlo
aliment that is handlcappiiic you and holding you back,
WHEN VOU HA\'E NATURE ON YOUR SIDE.

Get bad; your lieaitli, slren^-lh and a bis store of reserve
\itaiity. by taklnp advantage of the tremendous revitalizing
r>o\Ter nhlch Nature has implanted In everj- human organism.

STRONGFORTISM

The principles of Strongfortism are based upon my dis-
covery— that internal muscular actively governs Health,
Stre»>;tii and Life itself. Most forms of disease are caused
from Uie muscles losing their power of rapid contraction. Am
these muscles are responsible for holding the internal organs
in position, when ihey are relaxed, the organs gradually fall
out of their place and rest upon other organs, upsetting their
functioning and causing almost everj' known form of disease.
Strongforlism gives contractiib power to these muscles and
quickly makes them normal and so draws the sagging organs
back to their position.

WHiat I have done for thousands of other weak, ailing, dis-
couraged men and women. 1 can do for YOU. There Isn't the
.slightest doubt of it. \\Tiaiever vour present condition and
whatever brought you to it I GUAJtANTBE to improve you
if you will follow my directions for a few months.

SEND FOR MY FREE BOOK

"Promotion and Conservation of Health, Strength and
Mental Energy" will PROVE to you that STRONGFORTISM
lan and will do for YOU what It has done and is doing every
day fur other men and women wh» have TURNED TO
Nature for the restoration of their lost vitality. Remember.
there's no medicine of anj- kind in Strongfortism; no e.Tpensive
apparatus reiiulred: no interference witli your business, work
or oonipation. Fifteen or twenty minutes daily In the privaoj-
of vour own bedroom will work wonders for you.

BE HEALTHY— STRONG—VITAL—TII AT' S Ln'ING! Send
for the book NOW— don't put off doing so. IT'S FREE, but
it's worth good money to any man or woman in ANY' slate of
health. Fill out the courK>n below and enclose It with three
2c stamps to cover parking and jmstagc and I will m&ll yon
with the took a special letter on the subject In which you are
most interested.

LIONEL STRONGFORT

Physical and Health Spccialiit
1208 Strongforl Institute, NEWARK. N. J.

-••-""■CUT OUT AND MAIL THIS COUPON"
Mr. Lionel Strongfort. Newark, .V. J.

Dear Strongforl: — Please Bend me your book, "Promotion
and ContorvBtlon of Healtli. Strength and Mental Energy." for
postage of which I encloso three 2c stamps to cover mailing
expt-nses. I havo marked IX) before the itubject in which I

am Interested.

(1208)

. .Cold*

..Short wind

. .Weak Eyet

..Catarrh

. .Flat Foet

.Falling Hair

..Aithma

.Stomach

Gattrltis

..Obeilty

Disorders

. Heartv«eakne$s

..Headache

, Constipation

. -Poor Circulation

. .Thinneu

. Blllousneis

Skin Disorders

..Rupture

. Torpid Liver

. . Despondency

. . Lumbago

. Indigestion

. Round Shoulders

..NeurItU

. Nervousness

. Lung Trouble*

. .Neuralgia
..Flat Cneit

. Poor Memory

..Increased Height

. Rheumatism

Stoop Shoulders

. .Deformity

..Bad Habits

. Muscular

idrfK-ribel

..WeaknMsos

Development

..Intomnia

AOB

Occupation

_

CiTT

Stitb

Lloyd Hughes

{Continued from page 92)
I saw him at his home on Coronado
Street, Los .Angeles. It is an attractive
bung-alow, painted green, with a wide
lawn and plenty of flowers, as pretty and
homelike a place as any one could find in
a long day's journey. Here he lives with
his mother, father and two brothers.
One brother is eleven and the other sev-
enteen years old. His father is a loco-
motive engineer, and Lloyd's earliest am-
bition, the only one he had before he
thought of being an actor, was to follow
in his father's footsteps. This was in
Arizona, where he lived on a ranch near
Bisbee, close to the Mexican border.
Incidentally, he has lived almost all over
Arizona. During school months, the
monotony of life in Bisbee was broken
by forbidden swims in the reservoir and
regular pitched battles with little Mexi-
cans— the sort of life out of which Ham-
lin Garland made literature.

When his family came to Los Angeles,
Lloyd went to work for a wholesale hard-
ware company as a salesman. Now
there is plenty of romance in the whole-
sale hardware business — after you have
left it. While you are in it, however,
there is plenty of work. The stock con-
tains everything from a needle to rail-
road iron. In addition to his regular
work he went to a dramatic school and
memorized a part in a play every week.
He must have worked and studied all of
the time. He saved a large portion of
his wages from week to week and at last
quit and started in doing extra work at
the studios. This was about two years
ago. A great deal of work came his way.
There were even occasional bits and
small parts, but these were few. He has
certainly worked very hard to bring his
ship to port. It only remains to be seen
if he will work equally hard unloading
its cargo. Unless one has an unusual
character, success at such an early age is
often fatal to continued success later on.
Lloyd Hughes does not seem to face this
danger. He is a sincere, earnest boy,
fully conscious, of the heights still above
him. It is certain he will go far.

His first part was in a two-reel com-
edy-drama with King Vidor. This part
led to an engagement with the American
Film Company at Santa Barbara to play
a juvenile lead with Margarita Fisher.
From there, he came back to Los Angeles
and worked at LIniversal City as the
Third Brother with Dorothy Phillips
in Allan Holubar's "The Heart of
Humanity."

"After that," said Lloyd, "came 'The
Turn of the Road.' The rest, I suppose,
you know."

He started to work with Enid Bennett
and when the picture was half finished
he was given a two-year contract by
Thomas Ince. He was recently loaned
to Paramount for the making of one pic-
ture with Vivian Martin.

Asked about what advice he would
give to the screen aspirant, (the screen
aspirant always wants advice, you
know), he said :

(Continued on page 106)

DON'T READ THIS

Unless You Want a Geuuino Bargain

BE A MOVING PICTURE STAR

Do you know that many Mov-
ing Picture actors and actressM
get from $500 to $5,000 a
week? Many young ladiei
and young men working (or
small wages could do just as
well if they knew how.
This book will teach you every,
thing from start to finish. Also
tells how and where to apply
for a position. Gives the ad-
dresses of all the studios and
managers and tells everything
in detail. It is a pleasant ana
profitable profession and the
demand exceeds the supply all
the time.

No other book needed — this ex-
plains everything. Book mailed for 15c.

100 PHOTOS OF MOVIE STARS

reproduced in half-tones. Your
favorites are all here — Chaplin,
Bushman, Pickford, Bara, Pearl
White, Joyce. Clark, etc. All the
STARS in real classy poses. Suit-
able for framing. Set mailed for 2Sc
with catalog of other MOVIE articles.

2 MOVIE PENNANTS
FOR 20c

, To introduce our catalog of Movie
I Books, etc.. we are selling these pennants
at bargain prices. Just the thing for
your Den, etc. Each pennant of a dif-
lerent Star. Made of Felt and come in
I assorted colors. Will send two for 20c.
12 for 75c or 25 for $1.25. Order
before they are all gone,
iou can order all of the above single at prices named
or Will send the Movie Star Book. 100 photos and 2
pennants, all for SOc. Order before they are all gone

YOUNGS PUB. CO., Box 600, So. Norwalk, Cono.

48 Photos of Movie Stars

reproduced in half-tone. On card-
board, suitable for framing. Ar-
buckle, Bara, Chaplin, Pickfordi,
Anita Stewart, Pearl White, etc.
Both male and female STARS are
all here in CLASSY POSES. By
mail postpaid 15 cents. Stamps or
Coin.

ARDEE PUBUSHING CO.
Dept. 150 Stamford, Conn,

COPY THIS SKETCH

anj let's see what you can do with it. Car-
toonists and illustrators earn from S30.00
to ? 125.00 or more per week. Many oppor-
tunities are opening up for boys. My prac-
tical course of individual lessons by mall
will develop your talent. Send sketcti of
T'nclc Sam with 6c in stamps ffm examnli-s nt
Jtwdents which will show
STATE YOUR AGE.

The Landon School SlS.IS^

1403 SchoGrld aids.

.-ilPS

•WO*

^^/l

Needed

— like rubbers

in wet weather

Because Piso's protects the
children by soothing irri-
tated and tickly throats —
allaying troublesome J
coughs and hoarseness. Keep Piso's in
the medicine cabinet ready for instant
use. It saves weary trips at night and
brings quick relief.
30e at your Jniggtn i Contaiiu no
optatt Good for ytung and oid

PISO'S

forCoughs Si Colds

(Ninelyfour)

MOTION PICTURE CLASSIC

A Bigger Fame and Fortune
Contest

(Continued from page 86)
American beauties who were on the
honor roll of our 1919 contest. You
can have this feature run in your locnl
theater if you will cotninunicate with
Murray W. Garsson, Foundation Film
Corp., 1600 Broadway, New York, who
is presenting this film.

The second honor roll winners are :

Eleanor Stahl, who lives at 17 W.
44th Street, New York City. She has
yet to appear before the footlights or
the camera. She was born in Russia.
She is S feet 2 inches in height and
weighs 110 pounds. She is of a fair
complexion and has a wealth of dark-
brown hair. Her eyes are of the ocean
depths, for they are green-blue.

lone M. White, 415 Frasch Street,
San Antonio, Texas, is a Dixie girl with
blue-grey eyes and golden hair, weighing
106 pounds and being just one-quarter
of an inch short of five feet. She has
had some amateur experience on the
stage and screen.

Dolly Davis is a native Windy City
girl, living at 1536 W. Chicago Avenue,
Chicago, 111. She is a golden-haired,
blue-eyed maid and is 5 feet 2 inches in
height and weighs 98 pounds. She has
had no professional stage or screen expe-
rience as yet.

Irene Anna Snow is a native of Erie,
Pa., living at 308 E. 12th Street. She
has hazel eyes and medium brown hair,
is 5 feet 3 inches in height and weighs
120 pounds. She has not yet graced the
screen or the footlights.

Marie Protich Zorka, of the golden-
brown hair and dark-brown eyes, is a
native of France. At present she is liv-
ing at the Rivinton Apartments, 777
Burrard Street, Vancouver, B. C, and
she has made several public appearances
as an eccentric and classical dancer. She
has the clear olive complexion of South-
ern Europe and is 5 feet 6 inches tall
and weighs 122 pounds.

Winnie Charlotte Rowley is a native
of New York's greatest borough and
lives at 427 Dean Street, Brooklyn. She
is blessed with a combination of light-
brown hair and blue eyes. She is just
two inches over five feet and weighs 115
pounds. Up to the present neither stage
nor screen has had the pleasure of her
appearance.

Here are a few things to remember in
connection with this contest:

It has been decided that August 1st
will be the closing date of the Fame and
Fortune Contest.

Never give up trying to get on the
honor roll. If you do not succeed at
first, try again.

Please do not send hand-colored por-
traits.

Millions oP People Can Wiite

Stories and Photoplays and

Dorit Know It/

A Resume of the Fame and For-
tune Contest, Past and Present

So many of our readers have written
to us asking for information about the
(Continued on page 97)

THIS is the startling assertion recently made
by E. B. Davison of New York, one of the
highest paid writers in the world. Is his
astonishing statement true? Can it be possible
there are countless thousands of people yearn-
ing to write, who really can and simply haven't
found it outf Well, come to think of it, most
anybody can tell a story. Why can't most any-
body Tiffite a story? Why is writing supposed
to be a rare gift that few possess? Isn't this
only another of the Mistaken Ideas the past has
handed down to us? Yesterday nobody dreamed
man could fly. To-day he dives like a swallow
ten thousand feet above the earth and laughs
down at the tiny mortal atoms of his fellow-
men below! So Yesterday's "impossibility" is a
reality to-day.

"The time will come." writes the same au-
thority, "when millions of people will be
writers — there will be countless thousands of
playwrights, novelists, scenario, magazine and
newspaper writers — they are coming, coming
— a whole new world of them!" And do you
know what these writers-to-be are doing now?
Why, they are the men — armies of them —
ycung and old. now doing mere clerical work,
in ofiices, keeping books, selling merchandise,
or even driving trucks, running elevators,
street cars, waiting on tables, working at bar-
ber chairs, following the plow, or teaching
schools in the rural districts; and women,
young and old. by scores, now pounding type-
writers, or standing behind counters, or run-
ning spindles in factories, bending over sewing
machines, or doing housework. Yes — you
may laugh — but these are the Writers of To-
morrow.

For writing isn't only for geniuses as most people think.
Don't yoit believe the Creator gave you a story-Hfriting
faculty just as He did the greatest ivritert Only maybe
you are simply "bluffed" by the thought that you "haven't
the gift." Many people are simply afraid to try. Or if
they do try, and their first efforts don't satisfy, they simply
give up in despair, and that ends it. They're through.
They never try again. Yet if, by some lucky chance, they
had first learned the simple rules of writing, and then
given the Imagination free rein they might have astonished
the world I

But two things are essential in order to become a writer.
First, to learn the ordinary principles of writing. Second,
to learn to exercise your faculty of Thinking. By exer-
cising a thing you develop it. Your Imagination is some-
thing like your right arm. The more you use it the
stronger it gets. The principle* of writing are no more
complex than the principles of spelling, arithmetic, or
any other simple thing that anybody knows. Writers
learn to piece together a story as easily as a child sets
up a miniature house with his toy blocks. It is amazingly
easy after the mind grasps the simple "know how." A
little study, a little patience, a little confidence, and the
thing that looks hard
turns out to be just as
easy as it seemed difficult.
Thousands of people
imagine they need a fine
education in order to
write. Nothing is farther
from the truth. The
greatest writers were the
poorest scholars. People
rarely learn to write at
schools. They may get
the principles there, but
they really learn to write
from the great, wide,
open, boundless Book
of Humanity! Yes.
seething all around you.
every day, every hour,
every minute, in the
whirling vortex — the
flotsam and jetsam of
Life — even in your own
home, at work or play,
are endless incidents for
stories and plays — a
wealth of material, a
world of things happen-
ing. Every one of these
has the seed of a story
or play in it. Think! If
you went to a fire, or
saw an accident, you
could come home and
tell the folks a I 1 about
it. Unconsciously you
would describe it all
very realistically. And
if somebody stood by
and wrote down exactly
what you said, you'd be
amazed to find your
story would sound just

LETTERS LIKE THIS
ARE POURING INI

"With this Tolimie before him.
tbe vi^nt^t nonce sbould be able
to build Rorlea or pbotopliLys that
will tlniJ a ready market. The beet
ireallse of ila kind I havs «a-
CCTimtered In 24 years of news â– 
paper and literary work. "-—U.

i'llCIICB W B L L B B, MANAGING
EmTOK.THEDlNl^HAilTON TUI^SB.

"I sold my first play In less than
three weeks after settinc your
l>ook." — Thblua Almsr.
Helena, Mont.

"Mr. Irving baa bo simpllflod
story BCd photoplay writing that
anyone with ordinary InLelliEence
ought to master it Quickly. I am
having no trouble In selling mj'
atoriea and plays now."— B. M.
James. Dallas, Texas.

"I have already sold a synofMla
— written according to Mr. Irv-
ing'fl instrucUona — for $500.00,
and some short sketches for smal-
ler suma"— ^AViD Cla&s. Pobt-
LAND, Ore,

"Your book opened my eyea to
ffreat posaiblUtiea, I received my
first cJiock t o • d ay— J175.00,'*
— H. Barlow, Lodistillb, Kt.

"It is the moat complete and
practical book ever written on
the subject of wrilinff-" — 1Iari!T
ScHfLTz. Kitchener, <jnt.

"The book is all, and more,
than you claim it to be." — W. T.
Watson. Whitehall, N. Y.

"I am delighted with the book
beyond tbe power of words to
express."— Laura Datib. Wen-
ATCHEB, Wash.

Copyright, Lumlere

Miss Helene ChadwicJt, TersalUe screen star, now
leading lady for Tom Moore of Goldwyn Film
Company, says:

aa interesting as many you've read in magazines or km
on the screen. Now. you will naturally say, "Well, il
Writing is as simple as you say it is, why can't / Icarn t(
write? Who says yon can't f

Listen! A wonderful free book has recently been wnttet
on this very subject— a book that tells all about a Startlinf
New Easy Method of Writing Stories and Photoplays
This amazing book, called "The Wonder Book for Writers.'
shows how easily stories and plays are conceived, writtei
perfected, sold. How many who don't dream they cai
write, suddenly find it out. How the Scenario Kings ant
the Story Queens live and work. How bright men ant
women, without any special experience, learn to their owi
amazement that their simplest Ideas may furnish brillian
plots for Plays and Stories. How one's own Imaginatioi
may provide an endless gold-mine of Ideas that bring Happ;
Success and Handsome Cash Royalties. How new writen
get their names into print. How to tell if you are \
writer. How to develop your "story fancy," weave cleve:
word-pictures and unique, thrilling, realistic plots. Hov
your friends may be your worst judges. How to avoic
discouragement and the pitfalls of Failure. How to wh

This surprising book is absolutely free. No charge, Ni
obligation. Your copy is waiting for you. Write for i
now. Get it. It's yours. Then you can pour your wholi
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in your spare time, without interfering with your regula
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Drain! Who says you can't turn your Thoughts into cash
Who says you can't make your dreams come true! No
body knows— but the book will tell you.

So why waste any more time wondering, dreaming, wail
ing? Simply fill out the coupon below — you're not buyini
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may prove the Book of Your Destiny. A Magic Bool
through which men and women, young and old, may lean
to turn their spare hours into cash!

Get your letter in the mail before yoti sleep to-night
Who knows— it may mean for you the Dawn of a Nev
To-morrow.' Just address The Authors' Press, Dept. 104
Auburn, New York.

The Authors' Press, Dept. 104, Auburn, N. Y

Send me absolutely free "THE WONDER BOOK FOI
WRITERS." This does not obligate me in any way.

Name

A ddress

Ci'tv oM(i State.

BeAnArtist

Release the
Talent in
Your Pencil

Everybody has the ability to draw.
True, some have more ability than
others — but that is because it has been
developed. Just as you have been
taught to read and write, you can be
taught to draw. It's simply a question
of the proper training. Why stick at a
routine job. wasting your life away,
when there is a crying demand for
trained illustrators — cartoonists — and
designers? Our wonderful N E W
METHOD of teaching art by mail has
qualified hundreds of our students for
high-salaried positions. Under our in-
struction, your undeveloped ability will
flow forth in streams of saleable pic-
tures, and you will have

A Career —
Not a Job

A career is open to you as commercial
artist that has definite possibilities.
There is no future for you in a "job."
There are thousands of big paying Ar-
tist's positions open right noiu. And
these positions are actually going beg-
ginp because of the scarcity of trained
artists. Magazines, newspapers, adver-
tising agencies, business concerns — all
are looking for men and women who
can handle their illustrating. With the
tremendous boom in both foreign and
domestic business, commercial art is
more in demand than ever, — and that
demand is growing every day! Get in
this fascinating game NOW!

$100 for One
Drawing

That is what many of our students are
now getting for one drawing! Many,
after completing this wonderful course,
have even started in at $60 a week!
Often, even before the student has fin-
ished his course, he has made more
than enough through the sale of his
drawings to pay for his tuition. Why?
Because he learned to draw under the
personal instruction of one of the coun-
try's foremost commercial artists — Will
H. Chandlce. The Chandlee system
does away with all superfluous technique
and entangling hindrances of the ordi-
nary art school. It brings the prin-
ciples of successful drawing right down
to fundamentals in a course of instruc-
tion that can't be beat. You can get
all the benefits of studio instruction
right in your own home. — and for just
a few cents a day! Your spare time is
all that is required. Our valuable book
"How to Become an Artist" tells all
about it. Send for it today! It's FREEl

Free Book and
Artist's Outfit

Mail coupon NOW for this wonderful
free book "How to Become an Artist."
Contains full particulars of our FREE
ARTIST'S OUTFIT OFFER, and spe-
cial terms for new students. Also con-
tains many drawings by our students,
showing their remarkable progress. Book
just full of valuable information to you.
Send for it NOW!

Washington School of Art, Inc.

1144 H Street, N.W., Washington, D. C.

jf^"^^^

V\

WASHINGTON SCHOOL OF ART, Inc.

1144 H Street. N. W.. Washington, D. C.
Please send me, without cost or obligation on my part,
your free book "How to Become an Artist."

Name
Address

"^AnavmAan"

Tliis department is for information of general interest only. Those who desire answers by mail, or
a list of the film manufacturers, with addresses, must enclose a stamped, addressed envelope. Address
all inquiries to The Answer Man, using separate sheets for matters intended for other departments of
this magazine. Each inquiry must contain the correct name and address of the inquirer at the end
of the letter, which will not be printed. At the top of the letter write the name you wish to appear.
Those desiring immediate replies or information requiring research, should enclose additional stamp or
other small fee; otherwise all inquiries must await their turn.

Tony's Admirer. — Hold on to what you
have rather than reach for that you cannot
get. Oh, yes. I have met Antonio Moreno.
In fact, lunched with him. Alia Nazimova
has signed up for two more years with Metro.

Chatterbox. — Remember, if you want to be
answered in The Classic, be sure to write
Classic at the top of your letter. Grace
Darling has joined Goldwyn for three years.
She is in Los Angeles.

A Good Fellow. Shake! I like a regular
fellow. And a lot of my readers are regular.
No, I couldn't call June Caprice a decided
blonde. In fact, she hasn't decided yet. Claire
Whitney played leading parts opposite House
Peters in "You Never Know Your Luck,"
produced by Sunset Pictures.

Adelaide M. — If you mean in book form, get
in touch with Brentano, Fifth Avenue, New
York City.

Old New Hampshire. — Yes, Harold Lock-
wood has appeared on the speaking stage.
Now Conrad Nagel has gone and married.
Both leads of "Forever After," Conrad Nagel
and Alice Brady, married inside of a month,
but not to each other.

Mildred S. — Haven't heard of Marguerite
Courtot doing cabaret work. May Allison is
out in Los Angeles, and Elsie Ferguson is
working in New York. Our sailors wear the
black scarf in memory of sailors who have
died in previous wars. The w^ide, flaring
trousers are a matter of adaptability to con-
ditions. They have to roll them up to the knees
when scrubbing decks.

Verbena B.— You've got the right idea
there ! Call again.

K. S. Shioya.— Which Mabel do you refer
to? But, after all, life is at best full of
dangers, and but few of us ever get out of it
alive. Write me some more.

Norma Talmadge Forever. — Sure thing
Wanda Hawley played opposite Doug Fair-
banks. Also opposite Bill Hart. William
Shay had the lead in "Secret Service Sam."
The magazine you mention is out of business
now. "Safety Curtain" was not published in
our magazine.

BucKSKiK Bill.— Hello. Bill! Well, I
reckon the Amazon discharges the largest
amount of water of any river in the world,
and the St. Lawrence next. Rose Tapley is
doing special exhibitor work for Paramount.
Ruth Roland is in Los Angeles now. You
refer to Ann Forrest.

S. V. H.— This is out of my line, but when
mv mahogany desk becomes stained from
dampness, I wipe it with a polish made of one
tablespoonful of turpentine and three table-
spoonfuls of linseed oil to a quart of boiling
water. Not inflammable. Tyrone Power is
now in Canada. Lionel Atwell is to play op-
posite Florence Reed for United. You want
to know if Theda Bara showed any special
signs of talent before becoming an actress.
Hardly think the real and true information is
obtainable. She started with Fox.

Three Sisters.— Yes, it is true Betty Gray,
nf Biograph and Vitagraph fame, recently
ciied. Frank Lanning is playing for Robertson

Cole, Los Angeles. William Hart, Los An-
geles.

Connie — Oh, so you like the snappy an-
swers I give. What snappy thing can I say
to you without snapping at you? No rela-
tion. You want an interview with Constance
Binney. Write Nazimova, Metro Studio, Los
Angeles. Cal. Surely you can be my friend,
why not ?

Sar.\h H. — You say movies will never be
the same to you until Norma Talmadge and
Eugene O'Brien play together and Constance
Talmadge and Harrison Ford play together.
"This thing must be fixed up somehow, so the
movies will be the same to you.

Lillian L. — Interview with Harrison Ford.
He seems to be in great demand today. Oh
yes. X-rays have been used to tell ages. Some
of you girlies had better keep away from the
X-ray. You say Tom Chatterton and Belle
Bennett are playing in stock in San Francisco.

Esther M. F. — A good game to play is to
take photographs of the moving picture play-
ers and tack them to the wall, numbered,
and give prizes for those who guess the most
correctly. Conway Tearle is now in the West.
Wallace MacDonald is out in Los Angeles.

Britisher. — I beg his Royal Highness' par-
don. King George's birthday is on June 3d,
and not on the 5th, as I said. No, never saw
them.

Flo-Flo. — Why dont you send for a list of
film manufacturers?

Carefree Dot; Sis Hopkins; T. M. P.;
Jane C. ; Fi-Fi; Susie G.; Marc-^rita, New
Orleans ; Liu.ian F. — Please see above for
yours, and dont fail to write again.

M.\ry Jane. — Glad to hear from you. You
say a "perfectly good man getting only $9.50
per week." How do you know I am perfectly
good? How can I be perfect and good too?
Broncho Billy has given up the picture busi-
ness for theatricals.

Chkis. — You should have entered your pic-
ture in the Fame and Fortune Contest. 'The
editor didn't think it safe for me with all the
beauties coming in, so he sent me on a vaca-
tion. We had some exciting times here.

H. B., Stamford. — Yes, write to the players
direct.

Cascarets.' — So that's your name, is it?
Yes. I have heard orators get up and say they
didn't have anything to say and then talk
endlessly. I cant tell you why they do it.
Your letter was so interesting I am going to
quote a paragraph. You say "I knew a little
girl six years old, who was sick for four
years with oaralysis. She recently died, and
every evening her mother used to have to tell
fier some story in which Mary Pickford
played, often she told the same one over
many times, as Mary didn't play in new
ones' every day. Ruth finally passed awav
one evening just as her mother finished tell-
ing her a new story of Mary."

A Reader. — All right, but be sure to sign
your name and address next time. And I shall
greet you d bras ouverts. Viola Dana is out
West.

(Ninety-six)

MOTION PICTURE CLASSIC

A Resume of the Fame and For-
tune Contest, Past and Present

(Continued from pat/e 95)
Fame and Fortune Contest of last year
and for this year, that we think it ad-
visable briefly to review the history of
the contest from the beginning.

Late in 1918 we conceived and started
the Fame and Fortune Contest and,
during the year 1919, it was featured in
all three of our publications. Nearly
every issue of each magazine contained
several pages of the leading contestants,
which we called the Monthly Honor
Roll. Photographs came pouring in
from every nook and corner of the coun-
tiy, and while we never counted them, it
was estimated that we received over
lifty thousand.

Our idea was to go thru the country
with a fine tooth comb, as it were, bring-
ing out all of the young girls who had
motion picture possibilities. We feel
safe in declaring that there were verj*
few villages thruout the country whicli
had not heard of this contest and
were not talking about it. Nearly every
town sent in a representative to the con-
test. Those who read our announce-
ments and saw the pictures of the lead-
ers in each issue of our three magazines
talked about it to friends and neighbors,
and even wrote to distant cities, recom-
mending that certain young ladies enter
the contest.

For example, in one case a lady living
in Dallas, Texas, had a niece who lived
in Denver, Colorado. She sent a copy
of our magazine to the young lady and
advised her to enter the contest, and she
did so. Tims, even those who were not
regular readers of our publications learnt
of the contest, and we believe that the
country was well covered.

However, it was our first venture and
we made several mistakes. This year
we are making good use of our first ex-
perience, and we are confident that the
Fame and Fortune Contest of 1920 will
far outshine the previous one.

On account of the recent printers'
strike, and traffic and freight troubles,
together with a far-reaching shortage of
paper, we have been very much handi-
capped, as have all other publications,
and several important announcements
regarding the contest did not find their
way into our columns. But for these
and other difficulties we would have
been publishing each month the usual
two pages of beautiful pictures of the
contestants. All obstacles have been
surmounted ; the Fame and Fortune
Contest of 1920 is now well under way
and running in full force.

Last year the judgfes of the contest were
Mary Pickford, Thomas Ince, Cecil de
Mille, Maurice Tourneur, James Mont-
gomery Flagg, Howard Chandler Christy,
J. Stuart Blackton, Samuel Lumiere and
Eugene V. Brewster.

The judges for the 1920 contest will

probably be Mary Pickford, Mme. Olga

Petrova, Howard Chandler Christy,

Thomas Ince, J. Stuart Blackton, Mau-

( Continued on page 103)

(Ninety-seven)

I Teocch PioLno

A Funi\y Wecy

So people said when I first started in 1891. But
now, after over twenty-five years of steady growth,
I have far more students than were ever before
taught by one man. I make them skilled players
of the piano or organ in quarter the usual time
at quarter the usual cost.

To persons who have not previously heard of my
method, this may seem a pretty bold statement.
But I will gladly convince you of its accuracy by
referring you to any number of my graduates in
any part of the world. There isn't a state in the
Union that doesn't contain a score
or more skilled players of the
piano or organ who obtained their
rulire training from me by mail.

Investigate by writing for my
64-page free booklet, "How to
Learn Piano or Organ."

My way of teaching piano or organ

is entirely different from all others.

Out of every four hours of study,

one hour is spent entirely away from

the keyboard — learning something

about Harmony and The Laws of

^^^^^^ jB Music. This is an awful shock to

^^^H^^^^^Pfj most teachers of the "old school,"

^^^P^^B^r^ J who still think that learning piano is

^^^^^gMlW j solely a problem of finger gymnastics.

J^^^mi 4 When you do go to the keyboard.

.^i^^^^HB m you accomplish tzi'ice as rnuch, be-

^ ^^^^r^ ~5 c^i-ise you understand ivhat you are

doing. Within four lessons I enable

30U to play an interesting piece not

only in the original key, but in all

other keys as well.

I make use of every possible scien-
tific help — many of which are entirely
iinknozvn to the average teacher. My
patented invention, the COLORO-
TONE, sweeps away playing difficul-
ties that have troubled students for
generations. By its use, Transposi-
tion— usually a "night-mare" to stu-
dents— becomes easy and fascinating.
With my fifth lesson I introduce an-
other important and exclusive inven-
tion, QUINN-DEX. Quinn-Dex is a
simple hand-operated moving picture
device, which enables you to see.
right before your eyes, every move-
ment of my hands at the keyboard.
Voit actually see the fingers move.
Instead of having to reproduce your
teacher's finger movements from
MEMORY — ^which cannot be always
accurate — you have the correct mod-
els before you during every minute
of practice. The COLOROTONE
and QUINN-DEX save you months
and years of wasted effort. They can

Marcus Lucins Quinn Conservatory of Music

Studio KD, Social UiiioD Biuldbc, BOSTON, MASS.

y

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'â– ijlBM

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W^l'.-.i ./^/Ttj

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' MWiP'i '^wH':';^

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Dr.QUlNlsr AT HIS PIANO— From the famous sketch
by Schiieider, exhibited at the St, Loiiia Exposition.

he obtained only from me and there is noth-
ing else anywhere even remotely like them.

Men and women who have failed by ail other
methods have quickly and easily attained suc-
cess when studying with me. In all essential
ways you are in closer touch with me than if
you were studying by the oral method — yet my
lessons cost you only 43 cents each — and they
include all the many recent developments in
scientific teaching. For the student of moderate
means, this method of studying is far superior
to all others, and even for the wealthiest student,
there is nothing better at any price. You may
he certain that your progress is at all times in
accord with the best musical thought of the
present day, and this makes all the difference in
the world.

Rty Course is endorsed by distinguished musi-
cians who would not recommend any Course but
the best. It is for beginners or experienced
players, old or young. You advance as rapidly
or a3 slowly as you wish. All necessary music
is supplied without extra charge. A diploma
is granted. Write today, without cost or obliga-
tion, for 64 -page free booklet, "How to Learo
Piann or Clrt;.in."

QUINN CONSERVATORY, Studio KD,

Social Union BIdp., Boston, M&ss.

Please send me. wUliout coat or oblisEition. your

fri?e btx>klet. "Uow to Irfam Piano or Organ," and

rutl particulars of your Course and special reduced

TuiUou Offer.

Name

Address. ,

^50

â– w^ SI t^n A WEEK WRITING
•" U\J STORIES & PHOTO-PLAYS

FreTloQ* leeapUnoe 5ot EiienClal— Send for Sp««lnl Frae Otter

NEW YORK LITERARY BUREAU

D*pt. B 145 West S6th St., New York City

/\n

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SAVE YOm BODY

Conserve Your Health
and Efficiency First

I Would Not Part With It For $10,000

So writes an enthusiastic, grateful customer. "Worth more than a farm" says
another. In like manner testify over 100,000 people who have worn it.

The

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ll3yS iTCC 31 UHr LXpCnSC Btandina and walking; replaces and
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Third

Second Prize

Fourth Prize

Ninth Prize

Popularity Contest

Sixth Prize

THE new Popu-
larity Contest,
unusual and en-
tertaining, is already
the object of great
interest — unfailing
and rife. If you
have entered it or
have read the announcements
which have appeared, and will ap-
pear, from time to time, containing
the rules and regulations, you
know it is actually a double con-
test— a contest in which both the
public and players are equally in-
terested.

The prizes depicted above and
below were selected after much
careful thought and attention and
each one is destined to make some
one happier, from the beautiful
Crescent phonograph which sug-
gests a twilight hour with the
gems musical genii have given to
the world, to the Marble nickel-
plated axe which brings to mind
a jolly time in some invitingly
green woodland.

Perhaps you have not yet de-
cided to enter the contest — if not
do so now. Dont lose an oppor-
tunity of enjoying the unique en-
tertainment it affords or of captur-
ing one of the lovely and useful
awards.

Awards

FIRST PRIZE

Crescent Phonograph, piano mahogany finish
(value $160). Plays all makes of disc records:
Victor, Columbia, Pathe, Edison, Emerson, etc.,
without the use of extra attachments or intricate
adjustments; a simple turn of the sound-box is
all that is necessary in changing from a lateral
cut record to playing a hill and dale cut .record.

A Crescent owner can enjoy a repertoire of
the greatest opera singers, popular songs, dance
music or anything that is turned out of the
disc record. The tone of the Crescent is full,
round, deep and mellow. It has a large com-
partment for records.

First

Prize

SECOND PRIZE

Movette Camera and
three packages of films

(value $65). Compact,
light, efficient, easily op-
erated. Think of the
possibilities during your
vacation trip — your
canoe trip — in pictures
— pictures of your family or friends — living pic-
tures that you can project at any time in your
home. A priceless record of your life.

THIRD PRIZE

Corona Typewriter with case (value $50) ; an
all-round portable typewriter, light enough and
small enough to be carried anywhere, and strong
enough to stand any possible condition of travel.
It is trim and symmetrical and does not give
one's study the atmosphere of a business office.
Fold it up and take it with you anywhere.

FOURTH PRIZE

Sheaffer "Giftie" Combination Set, consisting
of a Sheaffer Fountain Pen and a SheafTer
Sharp-Point Pencil, in a handsome plush-lined
box. Gold filled, warranted twenty years. Can-
not blot or leak. A beautiful and perfect writ-
ing instrument,

FIFTH PRIZE

Bristol steel Casting Rod agate guide, cork
grip, strong and durable. Packed in linen case.
Can be easily put in traveling bag.

SIXTH PRIZE

Loughlin Safety Self- Filling Fountain Pen.
No extensions to remember, no locks to forget.

SEVENTH PRIZE

Star Vibrator, h.indsomely finished in nickel
plate with three attachments. Alternating cur-
rent. Excellent for massage. Use it in your
own home.

EIGHTH PRIZE
Same as Seventh Prize.

NINTH PRIZE

Marble nickel-plated pocket axe of tool steel,
carefully tempered and sharpened. Indispens-
able in camp or woods.

(Niir^ety-eight)

Greatest of All Popularity Contests

Unique Competition in Which the Voters Share in the Prizes

WHO IS THE ONE GREAT STAR OF THE SCREEN?

Is it CHARLIE CHAPLIN or ELSIE FERGUSON?

Is it RICHARD BARTHELMESS or WILLIAM S. HART?

Concerning this matter there is great difference of opinion. Every fan, in fact, has his own idol. The Wall
street broker swears by MARY PICKFORD; his wife thinks TOM MIX is the best actor the cinema has
produced; the office bo)' has a "crush" on THEDA BARA and the stenographer collects photographs of
DOUGLAS FAIRBANKS.

What do you think? If you had a vote would you give it to NAZIMOVA or to LILLIAN GISH? Would
you vote for a man or a woman or for little BEN ALEXANDER?

Shadowland, Motion Picture Magazine, and Motion Picture Classic — the three great magazines of the
Motion Picture world — have decided to refer this question to their readers by taking a popular, world-
wide vote. In regard to matters concerning the stage and theater their audience is the most intelligent and
discerning ; the most wide-awake and well-informed in the world today. If any picture patrons can pick
out the leading star, it will be those who read Shadowland, the Magazine and Classic.

The coupons will show you how to enter your own name and the name of your favorite player. But you
may vote on an ordinary sheet of paper in Class Number 2 provided you make the ballot the same size
and follow the wording of this coupon. We prefer the printed coupons for uniformity and convenience in
counting.

There will be prizes for voters and prizes for stars.

Votes registered in Class Number 1 will probably be cast by favor. Votes registered in Class Number 2
will call for a wide knowledge of the Motion Picture business, keen powers of perception and skill at de-
tecting the trend of popular favor. You cannot guess the winner offhand.

RULES OF THE CONTEST

1. The contest began on December 1,

30, 1920.

1919, and will close on June

There will be seven ballots as follows:

December

January

February

March

April

May

June

1919 ballot

1920 ballot
1920 ballot
1920 ballot
1920 ballot
1920 ballot
1920 ballot

The result of each month's ballot will be published in each one of
our magazines the second month following such ballot.

No votes will be received prior to the opening date or after the
date of closing.

Each person entering the contest and observing the rules thereof
shall have the privilegt; of voting once in each class, each month,
for each one of ovir macazines. Vqu may send us one vote in
each class for Shadowland every month, and the same for
Motion Picture Magazine and yet again the same for Classic.
Thus, you will have three votes in Class No. 1 each month, and
three votes in Class No. 2 each month.

Class Number 1

Class Number 2

Shadowland, Magazine and Classic:

175 Duifield Street, Brooklyn, N. Y.

Shadowland, Magazine and Classic:

175 Duffield Street, Brooklyn, N. Y.

I consider

I believe that

the most popular player in the entire field of Motion
Pictures.

will win the Big Three Popularity Con
votes.

test with

Name

Name

Street

Street

City

State

Country ;

City

State

(Dated)

(Dated)....

Remember! This is the greatest player contest in history.

One Chop Will Buy
12 Dishes

of Nutritious Quaker Oats

Save 90%

And Serve Vastly Better Breakfasts

One dollar spent for Quaker Oats buys about as much nutrition as $10
buys in meat and fish and eggs.

So a Quaker Oats breakfast, compared with a meat breakfast, saves you
some 90 per cent.

And in oats you get the supreme food.

You get an ideal food — almost a complete food.

You get a food which, measured by calories, is twice as nutritious as
round steak.

And )ou get the needed minerals.

What $1 Buys

Note how much $1 buys in Quaker
Oats. It will serve a hundred break-
fasts.

That same $1 in some other foods
will buy you only ten breakfasts.

Then compare by calories-the en- ^^^ ^^^^^ ^^^.^^^, .^ j^^^ j.

ergy measure of food value. That s ,^^^ ^j ^^^ ^^^^ g -^^ ^^^ ^^^.^ ^^^^^^_

the „-ay foods should be figured. \ ou ^^^^ ^^^^.^ ^^ ^^^^^^^ q^^^

buy them for nutrition. _, . , ~r , , â–  , , ,

That IS the food which everybody

Here is what $1 buys in calories at needs. And its trifling cost will aver-

this writing in some necessary foods : age up your food bills.

What $1 Buys

At This Writing in Calories

In
In
In
In
In

Quaker Oats . .
Average Meats
Average Fish .
Hen's Eggs
Broilers

18,000 calories

2,200

2,000

1,400

600

With That Exquisite Flavor

Get Quaker Oats to make this dish
delicious. They are flaked from queen
grains only — just the rich, plump, fiavory

We get but ten pounds from a bushel.
This flavor has brought Quaker Oats
world-wide supremacy.

I5c and 35c per Package

Except in the Far We*t and South

Packed in Sealed Round Packages with Removable Cover

From Chorus to Characters

The Story of Wallace Beery

By FRITZI REMONT

There was a time in the life of Wal-
lace Beery when he hustled trunks for a
living in Ringling Brothers' Circus.
Long trunks and tiny trunks, unruly
trunks and tractable trunks came under
his supervision, but instead of carrying
make-up and tarlatan skirts, ringmaster's
high hat and Prince Albert, jockey's caps
and scarlet coats, clowns' sugar-loaf "bon-
nets" and Pierrots, those trunks were
usually loaded with peanuts and hay.

Having departed from school hur-
riedly and with great vexation of spirit,
)'oung \\'ally joined a circus and was
initiated in the art of elephant training.
That was tlie start of his dramatic ca-
reer. He handled the biggest "eflfalunt"
in captivity, old "Twenty-Six," on whom
circus-going kiddies lavished special tid-
bits. "Twenty-Six" and Wally grew to
be fast friends and baby elephants grew
into husky stunt artists under Mr.
Beery's tutelage.

Later, discovering an excellent basso
profundo within his well-developed
chest, a basso which could hold its own
above the din and roar of side-shows and
ear-splitting band music, IMr, Beery de-
cided that comic opera would be tlie
right channel for his talents. He had
been a good mimic always, and it wasn't
difficult to obtain a hearing with pro-
ducers of musical mirth.

So those of you who have seen "Flo-
radora," "The Prince oi Pilsen," "The
Burgomaster" and dozens of other stage
entertainments may dig up the old pro-
grams and there discover Wallace Beery
listed in the merry, merry.

His real opportunity arrived as under-
study to Raymond Hitchcock. Finally
Beery was given his chance. He sang
the title part, put over the "business"
until the house was in a riot, and awoke
next day to find himself famous. It's
happened before, of course, but, never-
theless, it thrilled Mr. Beery and fired
his ambitions. He advanced rapidly,
played a season with Sir Henry Irving,
had a lead with Margaret Illington, did a
character part in Orrin Johnson's com-
pany, and finally took the highroad to
pictures.

For seven years Mr. Beery has been
doing unusual characterizations. His
first real screen hit, however, came with
"The L^npardonable Sin," in which he
played the German officer.

"I owe a great deal to Mr. Neilan and
Miss Sweet," said Mr. Beery. "You
should have seen the man-hunt going on
for a suitable type. Every one was sug-
gesting that Mr. Neilan should send to
New York for some 'high-light' of the
stage or screen. I had called on him at
his suggestion, and was finally given the
part, altho I was really not well known,
having played a great deal in stock up to
that time. I studied the part carefully

(One hundred)

%

MOTION PICTURE CLASSIC

with Miss Sweet and found her most
helpful and liberal in giving me oppor-
tunity to show what I could do.

"I have done three pictures with Mau-
rice Tourneur, who was well pleased
with my work for Neilan, and perhaps
my best recent part was in 'Behind the
Door,' another of those bad German
officers. I played with Wallace Reid in
'The Love Burglar' and Priscilla Dean
in 'The Beautiful Beggar.' Then Lois
Weber came to me and said she had in
mind a wonderful story — after seeing
'The LTnpardonable Sin.' But before I
can work with her I have a number of
other productions in which strong parts
are given me."

"You are not under contract, then ?"

"No ; I free-lance, but I am always
engaged for five or six pictures ahead —
it's not a case of worrying over the next
engagement, thank the Lord !" said Mr.
Beery, cheerily.

"How do you develop your charac-
ters? Do they grow on you as the play
progresses, or can you see the whole
thing from the very first inception of the
role?"

"By no means. I always find them
unfolding new possibilities as we go
along. Of course, I have a general idea
of what I shall do. For instance, in
Tourneur's 'Romany Rye,' in which a
peculiar English type was requisite, I
made up as a Dickens character. I
spent several days at the public library
with a whole set of Dickens, studying the
old pictures and reading his wonderful
character sketches. Then I made up like
one of the pictures, always keeping in
mind the peculiar character given by
Dickens. Mr. Tourneur was highly
pleased with the result.

"When I was cast for 'The Round-
up,' I visited San Francisco and made
an intensive study of Remington's fa-
mous pictures. You know his Westerns
— those half-breeds, cowboys, Indians or
Mexicans? I had a great part in 'The
Round-LTp.' You know, that is giving
'Fatty' Arbuckle a chance to drop com-
edy for a while. They hunted every-
where for a suitable type, until some one
suggested that Mr. Arbuckle might be
induced to play a part in the drama, for
he's been wishing to get out of comedy
for a long time.

"It was funny at meal time while we
were on location. The food up in the
mountains was of the type which never
saw seasoning. Roscoe would empty
nearly a whole pepper-shaker over liis
meat stew and say that he couldn't get
the poor flavor originally found because
the pepper gave it some character.
Finally we all followed his advice and
the landlord said he'd have to charge us
extra for condiments. Talk about city
profiteering. Why, the mountain folk
aren't so far behind !"

"You lived in Japan, didn't you ?"

"I had five months over there with my
company. It is a poor place to live. All
the meats have to be shipped in from our
country or Australia, and they're rather
stale most of the time. There is no way

(One hundred and one)

THE MISSOURI WALTZ

Little Lessons That Mean Fortunes to Those Who

Learn Them — History Repeats and Fame Is

Achieved — An Old Story Retold

During the summer of 1914 John Valentine
Eppel, who leads the Eppel Dance Orchestra
at Oskaloosa, was a visitor down in the Ozark
Mountains of Missouri, and while there he
heard the natives humming a bit of a waltz
tune that was a part of their very life. He
brought it forth and tried it out as a dance
offering. It was a waltz and the wise people
all said that a waltz was impossible — that
people wanted nothing but the fox trot or a
one-step ; but that is the way people generally
say and do when a good thing is about to be
started on its onward march.

Frederick Knight Logan took that little
theme and arranged it for the piano. He then
tried to sell :t to the Barnhouse Publishing
Co., of Oskaloosa, la. And, by the way, one
real reason why Barnhouse just naturally
turned it down was found in the fact that
this same Frederick Knight Logan also lived
at Oskaloosa.

Young Logan found that it was quite easy
to compose music, but it wasn't so easy to
sell it to a publisher. So he proceeded to pub-
lish it himself. That was in 1914. He first
got out the arrangement for a piano, then
he put it out for eleven parts and piano
as an orchestra ; then as a full orchestra.
It was later arranged as a band number. By
that time this young local venturer found
himself swamped with orders, and he had
about worn out the family wheelbarrow
transporting his output to the post-office, so
one day he got on the train and came to
Chicago, determined to find a real publisher.

Of course the usual thing happened. The
big city publishers pronounced it too cheap;
it was really musically rotten to all of them —
e.xcept F. J. A. Foster. That hustling, push-
ing plugger soon saw his judgment rewarded
with orders. The more orders he received
the more advice he also received, most of
which was to the effect that he had picked a
flivver.

.Ask your dealer to show you how many
ways the "Missouri Waltz" has been pub-
lished ; see if you can find any sort of arrange-
ment that it hasn't been put thru ; see if your
player piano doesn't offer it in a half dozen
different styles, then run it down and see
how many different kinds of talking machine
records you would have to buy if you would
own one of each kind. These household
necessities have the "Missouri Waltz" in
every conceivable style, from its own original
instrument, the mouth organ, to a symphonx-
orchestra record. Grand opera stars and
cabaret singers, soloists and choristers have
all taken a trial at presenting this number.
More than 2,000,000 records have been made
of the "Missouri Waltz."

Not long ago we were sitting in at a little
confab discussing music and its relation to

the lyceum and chautauqua movement when a
cablegram was received by the publisher, ask-
ing for 100,000 copies of this same interna-
tional favorite and with it the sales rights
for the German-speaking countries.

Yes, the "Missouri Waltz" is an interna-
tional affair. Not simply because F. J. A.
Foster holds an international copyright on it,
but because the people all over the world sing
it, play it and listen to it. More than a million
copies have been sold abroad, and it is still
raging.

This is more than mere boost for a song for
the "Missouri Waltz" docs not need boosting —
to boost it is like attempting to paint the lily.
What we have written is lor those who want
to learn the lessons that this wonderful suc-
cess has to teach.

Don't think that Frederick Knight Logan
grabbed this success right out of the air. He
worked for it. He earned it. It didn't come
to him — he went after it. For years he worked
to prepare for his service. Those who saw his
mother at the convention and saw her efficient
help, saw the talented, inspirational assistance
that she rendered, didn't need any one to
demonstrate that song poem with words that
tell of the "lingering moments divine" that
animate her work and her very life as she
collaborates with her talented son in the work
that has made Frederick Knight Logan, "The
Waltz King" of our day.

' Repriittcd from The Billboard
Feb. 14, 1920

CELECT your own

^ subject — love, patriotism

— write what the heart dictates,
then submit your poem to us.
We write the music and i>uarantee publish-
er's acceptance. Our leading compnstT is

Ml*. Leo F lied ma II

one of America's well-known musicians, the author
of many song successes, such as "ATeet Me Tomght
in Dreamlnnd." "Let Me Call Yon Stvcri heart "
When J Drenm of Old Erin." and others the sales
of which t-an into mintors of copies. SiniJ ag many Tjoeois
as you wish. Don't Delay. Oet Busy— Quick.

CHESTER MUSIC CO. "» ^0?;;.%%" *'•• Chicago. III.

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Send for catalog of precious

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I highest quality. Ten montlu to pay
on cverrthing. AJJress Dept.49-J.
Liberty Bonds accepted atfacevalue

Publishes
cash art as>
Btf^^Fi^^l sigDmcnts.
rMAGAZlNE lessons anci
articles oa
Cartooning*, Designing, IIlus-
tratini:, Lcnerin^ and CbaUc-TaUdny .
Criticises amateurs' work. Full of in-
formation for artists and art atudenis.
y Satisfactory or money refanded. 20c a copy, SI a year.

SendSI NOIV. Thrift Stamps Taken
G. H. LOCKWOOD, Editor.DcpteOl, Kaltmuoo.Micb.

S'n^SStolOOaWee

BECOME A PROFESSIONAL

PHOTOGRAPHER

Big opportunities NOW,
Qualify for this fasci-
nating profession. Three
months course covers »U 1
branches:
MOTION PICTUDE — COMMERCIAI PORTRAITURE

Cai-'trat and Mattriuli furniihid free

PnatlcBl Instructloo; modem egulpmsnt. DaT or eren-
1ti£ dulses; ta,**/ tuins. The !>i:liool of Hecoffnlxed
Superiority. Call Of \\rHe fur eointilete catalog Nti. '8.
N.Y. INSTITUTE OF PHOTOGRAPHY
141 Wot 3(lli St., Nt« York SOS Suie Strnl, BrssUn

of petting fresh vegetables, and the rice
riots were going on — so we were all glad
to get back to God's country. In Tokio
alone last year 85,000 women died of
tuberculosis. That little country is just
about the size of one of our smallest
states and it's overcrowded. I dont won-
der they all seem to want to come to
California!"

"How about morals over there?"

Mr. Beery laughed. "I think the dif-
ference is that in this country \ve know
the difference between right and wrong
and do wrong anyway, and over there
they dont know the difference and so
they sin, too. I guess immorality is
pretty much the same the world over —
only motives may be different. They
have two religions ; the followers of
Buddha are somewhat stoical, but the
newer Shintoism allows lots of fun and
gaiety. We used the old Buddhistic
temples for backgrounds, and it was
marvelous to see what had been accom-
plished in rare carvings and decorations.
I enjoyed that part immensely."

"Did your brother precede you in pic-
tures, Mr. Beery?"

"Noah came in thru me. I'm thirty-
three and he's thirty-eight — and both of
us keen on the photodrama. The art of
portraying unusual characters opens up
a field not overcrowded, so that I ara
happily so placed that I may choose my
next production field. That gives one
opportunity to play in worth-while
dramas. Leading men often have to take
whatever is offered — and I always think
that it must be very tiresome to act as
'feeder' to a strong feminine star. I
prefer the individualistic work — in short,
emotional characters."

In "Soldiers of Fortune," Mr. Beery
had ample opportunity to show his talent
for make-up. He's not a handsome man,
but his face betrays force, the brown
eyes are kindly, and there's a twinkle of
mirth at the lip-corners. He is tall and
supple, very athletic. One of the fun-
â– niest early make-ups of Wallace Beery
was in the "Swedie Series," done long
ago by Essanay and remembered by
fans all over the world. He used to
enjoy doing comedy quite as much as he
now leans to heavy character parts.

Married? Not now. The beautiful
Gloria Swanson, who plays on the same
lot nowadays, was formerly Wally
Beery's wife. He leads a bachelor
existence.

THE SIGN

By Barbara Hollis

I rriglit have known that you had gone

Before they told me.

I sensed a difference

Even as I raised my hand

To lift the knocker . . .

But I stayed

To hear the words they said.

Bnt as I turned to walk dawn the path

I realized . . .

1 might have known before.

The aspen-tree beside the gate —

Its leaves were still . . .

As still as death.

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corns so they peel off

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Applj- a few drops of Freezone upon
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oSf without a twinge of pain.

Freefone removes hard corns, soft
corns, also corns between the toes and
hardened calluses. Freezone does not
irritate the surrounding skin. You feel
no pain when applying it or afterward.

A small bottle of Freezone costs but
a few cents at drug stores anywhere.

The Edward Wesley Co., CiaciBnati, O.

Wanted: Screen
Faces for the Movies

Thousands of All Types Needed —
Beauty or Experience Not Necessary

For the first time in the history of moving pic-
tures it is now possible for screen aspirants every-
where to get consideration from the big film di-
rectors. No matter where you live or whether
you are considered good looking, we get your
photograph before the directors, many of whom
are in urgent need of new "screen-faces."

We do not teach "movie" acting. Ralph Ince,
famous Selznick director, says : "There are many
young girls who could make good in the movies.
i will be very glad to take advantage of your serv-
ice." Marshall Neilan, known everywhere for his
work in directing Mary Pickford, says : "I am
convinced that the service you render screen aspi-
rants offers many new personalities to moving
picture directors." P. A. Powers, of Universal
says : "A new crop of film stars will be needed at
once to supply the insistent demand."

With tlie assistance of famous directors and
motion picture stars we have prepared a printed
guide, "The New Road to Film Fame," just off
the press, which tells you what to do and gives
full directions.

It also contains endorsements of our service
from famous people, statements from directors,
portraits of cel-'bratcd stars and direct advice to
you from MoUie King.

Remember that salaries in this profession are
big — that beauty plays but a small part — that ex-
perience is not necessary — and that thousands of
all types will be needed to meet the tremendously
growing demand. Send ten cents (Postage or
Coin) to cover postage and wrapping this new
guide. Get it at once — it may start you on the
road to fame and fortune. Address : Screen
Casting Directors Service, Dept. B-2, Wil-
mington, Delaware.

If you are not sincere in your desire to ffet ia the movies,
please do not send (or this printed guide.

(Otjc hnndred and two)

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(One hundred and three)

A Resume of the Fame and For-
tune Contest, Past and Present

{Continued from page 97)
rice Tourneur, Samuel Lumiere, Carl
Laemmle, Jesse Lasky, David Belasco,
Blanche Bates and Eugene V. Brewster.

In September, 1919, the judges an-
nounced twenty-five honor roll beauties
and invited them to come to New York
for the making of final test scenes.
Twenty-two responded promptly and
arrived at the offices of our magazines
on the appointed date, whence they were
taken in automobiles to the country estate
of Mr. Brewster, president and editor-
in-chief of our three publications, at
Roslyn, Long Island. Under the direc-
tion of Wilfrid North, the well-known
motion picture director, the test scenes
were made of these young ladies on that
date and also on the following day.
When these pictures were developed,
printed and shown to the judges it was
decided to spend two more days making
test pictures of some of these twenty-
two young ladies, and also of some
others who had since appeared. It was
also decided to write a scenario in which
the young ladies would appear. Miss
Gladys Hall, of our editorial staff, wrote
the scenario, entitled "A Dream of Fair
Women," suggested by Tennyson's poem,
and Mr. North and some of the judges
made a cast from this list of twenty-five
j'oung ladies. The play was completed
in due course.

Nearly five thousand feet of film were
taken, out of which about twenty-one
hundred feet were selected and put thru
the usual course of printing, cutting,
titling, etc. Then a meeting of the
judges was called to see the finished
product. Some of the judges were un-
able to be present and photographs of
the young ladies were sent to them. The
result was that the following young
ladies were selected as winners :

Miss Blanche McGarrity, San Anto-
nio, Texas; Miss Virginia Brown, New
York City; Miss Anetha Getwell, Chi-
cago, III. ; and Miss Anita Booth, Read-
ing, Pa.

We had agreed to give the winners of
the contest two years' publicity in our
publications and to secure for them a
contract with some good producing com-
pany. At the time the contest closed we
expected there would be only one win-
ner, but the result was that we had four
to look after.

Miss McGarrity found it necessary to
return to her home in Texas and de-
cided not to accept a contract for the
present. Miss Brown, who was only fif-
teen years old, was placed with the Uni-
versal Film Company under a contract
which was approved by the Supreme
Court, and which calls for a salary of
$75.00 a week to begin with and ending
at $750.00 a week. Miss Getwell was
promptly placed with the American
Cinema Corporation at $150.00 a week.
She has also received other offers. Miss
Booth received several offers and at the
present writing is playing with Ralph
Ince and is receiving $250.00 a week.

PL

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MOTION PICTURE CLASSIC

We also wish to add that among the:
near-winners were several who ha\e also
been successfully placed. Albert E.
Smith, president of the Vitagraph Com-
pany, said that he would take four of
the young ladies at a salary of thirty
dollars a week, but at this writing none
has accepted.

Miss Fay Brennan, of Washington,
D. C, has been playing with a company
which is producing in Washington ; Miss
Lanessa Carroll has been doing small
parts for Goldwyn and other companies.
Miss Helen Lee Worthing has been
playing at the new Capitol Theater in
New York City. Miss Margaret Fal-
coner has been playing in Ziegfeld's
Midnight Frolic in New York City, and
also several others have been doing small
parts here and there.

On the other hand, quite a number of
the twenty-five were found to be not
quite the types that are now required on
the screen, and they returned to their
homes, perhaps discouraged. They
learnt that beauty and grace are not all
that the screen requires, and that some
of the most beautiful girls do not
screen well, while many girls who are
not so beautiful do. We have also
learnt that it is impossible to pick win-
ners from mere photographs.

In some cases the Editorial Commit-
tee, acting for the judges, wrote to the
contestants advising them to call at our
offices, if convenient, and many did so.
In some of these cases the decision was
favorable.

This year we have adopted the system
of having a moving picture camera on
hand, and as the contestants appear and
pass the preliminary tests, they are put
before the camera and a test picture is
made to see how they photograph. If
the committee thinks the contestant is not
eligible, a test picture is not made of her,
but her picture remains in the contest,
nevertheless. Even if she does not pass
the preliminary inspection, she still has
a chance of winning the contest. With
all the experience of ten years, and all
of our accumulated knowledge of stars,
present and gone, we do our best to give
a verdict which will bear the test of the
final review. It is obviously impossible
to make a test of every one that comes.
This would require a hundred cameras
and operators and would involve an ex-
pense of many thousands of dollars.
Only those who seem "to have ex'ery-
thing" are accepted for test scenes.

This year we are making a five-reel
feature in which will be embodied tlie
test scenes of the twenty-five honor roll
beauties. This picture will be a drama/
and it calls for a number of character!
other than the contestants themselves
hence we are making test scenes of girls;
boys, young men and young women, am'
even of much older people in order ti
see if they will fit into the cast. Befon
the year is over we expect to have
classified list of screen possibilities of al
types and ages. We shall make this lisl
available for the producing companie;
(Continued on page 106)

(One hundred and four)

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A Resume of the Fame and For-
tune Contest, Past and Present

{Continued from page 104)
and we hope in this way to find motion
picture employment for many who
would otherwise find no means of se-
curing it. We are confident that the
contest last year has produced at least
two stars who will become internation-
ally known, admired and classed with
any ten stars that might now be men-
tioned. If we accomplish no more than
this, we believe that our work has been
well done. This year we intend to do
still more, and there seems to be no limit
to the possibilities.

As to the play which we produced, "A
Dream of Fair Women," it is now on
the market. All theaters in the United
States will be able to show it. If you
want to see it all you have to do is to ask
your exhibitor for it. If he does not
know where he can get it, tell him to
write or telegraph Murray W. Garsson,
1600 Broadway, New York City, N. Y.
It is a two-reel picture of decided
beauty and interest. You will see in it
some very pretty girls and some excel-
lent acting on the part of young girls
who had ne\er been before a motion
picture camera. You will see a few
whom you may not think beautiful but
who possess screen personality. How-
ever, we want you to see this little play
and judge for yourself.

You will be doing a favor to your
neighbors or distant friends by telling
them about it so that they may enter the
contest themselves or tell others. As
the poet sa)'s, "Full many a flower is
born to blush unseen and waste its fra-
grance on the desert air," but with the
Fame and Fortune Contest running there
is no excuse for any undiscovered Mary
Pickford to say that she never had a
chance.

Dont Let Your Right Ej-e

Know What Your Left

Is Doing

By FRITZI REMONT

Lloyd Hughes

{Continued from page 94)

"My brother wants to go on the
screen — the brother that is seventeen —
and I dont know what to tell him. I'm
not sure that I want him to break in as
an extra man. Only too often it is a
case of once an extra man, always an
extra man. The directors put you in
that class and are afraid to take a chance
on you for fear you'll spoil the picture.
But, on the other hand, the continuous
extra work accustoms you to different
methods of direction and you lose all
feeling of self-consciousness before the
camera. Then, too, if you do get any-
thing you appreciate it and dont let it
drop in a hurry."

\Vhich goes to show that he is a very
wise young man.

_ But the most serious thing of all is — a
girl ! He didn't mention her name, of
course, but he left no doubt as to her
existence. However, he's not married
yet, not even engaged— officially. And
so, ladies, cheer up! There may be
many girls before one finally proves
fatal!

There was a time in the life of Ber-
nard Turpin, popularly known by the
nickname which dignifies a certain alarm
clock — Ben — when his crossed eyes
meant a tragedy. Now he has those
same eyes insured for ten thousand dol-
lars against their becoming un-crossed.
Almost every story ever written about
Ben has given a different cause for his
ability to see evervthing double save a
pay-check. He had waited for us be-
fore confessing the truth. Here it is.
Uhile playing Happy Hoolligan for
three years, he had to look cross-eyed
nightly for from ten to twelve minutes,
(not to mention the daily matinees) and
one morning he awoke to the matiitinal
shave and discovered jest had been
turned to earnest.

"If I'd been handsome, I'd have been
a dramatic actor right along, but with
these eyes wished on me I had to find
something to do that would keep me in a
permanent job," he said. "I didn't know
the ropes in the old days of pictures, so
when Essanay offered me twenty dollars
a week, I thought I was on the way to
Paradise. You see, I'd never earned
more than twenty-five on the vaudeville
circuits. I used to do everything from
mopping floors to camera-grinding for
scene-numbers. Anything to stay on that
lot and earn a regular salary.

"Then the mash notes began coming
my way. Sure, I have had them— only
they are worse now, but that might be
because I have a business manager and
an income," he added, as he noted the
peculiar look in my eye, which I tried
in vain to conceal.

"I'm from old New Orleans, a French-
man, all right. I began to act on the
streets on amateur nights, in little side-
shows. About the time I was seventeen
I got rnarried and went into vaudeville.
It didn't take— the marriage. I mean, and
as for the other, that didn't put me on
easy street by any means. When I was
thirty-three I tried it again— marriage, I
mean, and if I were any happier — in
spite of my facial handicap — or maybe
because of it— I couldn't stand it, that's
all."

Ben Turpin, like most comedians, is a
better tragedian than many who are cast
in heavy lines of straight drama. He is
a comedian by birth, for France is the
nation of mimics, and yet, if outward
appearance allowed, he would probably
be luxuriating in the tragic role of
Hamlet.

"I really owe all I am to Charlie
Chaplin and Mack Sennett," -said Mr.
Turpin. "The very first time I met
Charlie Chaplin, he laughed for two
hours, couldn't act at all. They told
him to straighten up and get to busi-
ness, but he said, 'I cant— that chap's
blank expression has me laughing so I
{Continued on page 114)

(One hundred and sia)

M

>«^^'

<W^

♦■ ■^■

^gajf?-'T««g

-N,.a-

The Beauty of the Screen, whose
gowns are the latest creations of
Paris modistes and whose hats are
the marvel of millinery art.

Watch your theatre for

Katherine MacDonald

The American Beauty

in "Passion's Playground''

Adventures at Monte Carlo, from
the novel, "The Guest of Hercules",
by C. N. and A. M. Williamson.

A First National

, Attraction

Seeing

the Pictures

You Like

It's mighty important, these days,
to see only the kind of pictures
you like — especially when con-
sidering the wide range you have
to choose from. You probably
make your selection by choosing
certain brands of pictures or by
following )-our favorite players.

You do this because then you can
be sure of seeing exactly the kind
of pictures you like to see. You
know beforehand which brand of
picture stands for the very best
or which star plays in only the
best pictures.

And that's the safest way to choose
a movie magazine. By selecting
one which has been longest in
building and which has the largest
following.

Motion Picture Magazine has
been elected "First, Finest and
Foremost." 495.000 movie fans
did the electing. The May maga-
zine will be over one-half million.
Here are some of the articles to
be featured —

A real heart-to-heart talk with
Geraldine Farrar, operatic star
and movie queen, beautifully
illustrated, by Adele Whitely
Fletcher.

Jimmy Morrison, the same Jimmy
of old, comes back to us in a
realistic chat by Gladys Hall.

Evelyn Martin, "Peg o' My Heart"
of the speaking stage, is chatted
by Lillian Montanye.

There is an article of unusual in-
terest with unusual illustrations,
entitled "Cinema Relations," by
Truman B. Handy.

There is chat and gossip, the latest
reviews of the silversheet, splen-
did fictionizations, including "The
Stolen Kiss," featuring Con-
stance Binney.

The cover is from a painting by
Evelvn Martin.

MOTION PICTURE CLASSIC

The Celluloid Critic

(Continued from page 51)

ture, "Treasure Island," (Paramount),
and a little circus romance, "Her Ele-
phant Man," (Fox).

Mr. Tourneur succeeded in catching a
fair measure of Stevenson's rollicking
spirit of a devil-may-care in the filming
of his merry tale of pirates, buried gold
and that boy of boys, Jim Hawkins. Mr.
Tourneur followed the lead of a recent
stage production in casting a girl for the
role of Jim. There is no love element in
"Treasure Island" and, psychologically,
the presentation of a girl serves subcon-
sciously to help fill this dramatic want.
We rather like Miss Mason's mock
boyishness. Tourneur's deftness of pho-
tography and screen picture is at its very
best in "Treasure Island."

Miss Mason's "Her Elephant Man"
really deserves little comment. It is
simply a very crude and claptrap melo-
drama of circus life, with the little star
as a bareback rider. Miss Mason gives
a pleasant performance, but the single
other thing we can now recall about
"Her Elephant Man" is a fairly well
done cyclone which wrecks the tent
show.

Turning to weightier things, we pause
before Lionel Barrymore's "The Copper-
head," (Paramount), based upon Augus-
tus Thomas' drama of a simple farmer
who suffers every possible loss and in-
dignity that he may serve the North as a
spy thru the Civil War.

We were not particularly impressed
with Charles Maigne's direction, which
seemed to lack accent and gradation.
Nor with the loose scenario. Moreover,
Mr. Thomas' play, to our viewpoint, is a
gloomy presentation of a rather futile
sort of patriotism. We cannot reconcile
our mind to the thought that the great
Humanitarian, Lincoln, conceived and
directed such a ghastly sacrifice.

We admit the force of Lionel Barry-
more's playing as Lem Shanks, but Doris
Rankin seems weak as "Ma" Shanks.
And the ex-waiter who essays Lincoln
is quite awful. Briefly, "The Copper-
head" is very drab.

Speaking of Lincoln, Ralph Ince did
the Emancipator in a two-part special,
"The Land of Opportunity," (Selznick).
Flashing back to Lincoln and an incident
of his early campaigning days, this pur-
ports to hit at so-called Bolshevism, now
believed to menace America. In the old
Vitagraph era Mr. Ince seemed to us an
admirable and graphic Lincoln. Not so
now. Moreover, this tvvo-reeler is but
passably done.

While on the subject of two-reel pro-
ductions, let us consider Mrs. Sidney
Drew's celluloiding of Julian Street's
"The Charming Mrs. Chase," in which
she advances the theory that the quest
of thrills after thirty is too much trouble
for any sort of satisfaction. With fine
and characteristic touches of subtlety,
Mrs. Drew paints the gradual interest
of a placidly satisfied husband in a
charming "other woman," his lame
search for romance, and his return to

his home and comfortable chair with a
sigh of relief. John Cumberland is de-
lightful as the recreant hubby. There
are a liundred and one little touches to
lift the mild little comedy into the un-
usual and again stamp Mrs. Drew as a
leader of the human cinema school, j
But one thing we deny Mrs. Drew and I
Mr. Street. That is the theory that '
thrills are missing after thirty. We're
just over the thirty mark and we dont
believe it — not yet !

"Huckleberry Finn," (Paramount),
William D. Taylor's screening of Mark
Twain's epic of boyhood, disappointed
us, too. The scenario attempted to
crowd too much of Twain into the pho-
toplay, with the result that the film ver-
sion is episodic and jumpy. There is a
sickening effort to make the freckled
Huck into a sentimentalist. But, with
it all, Lewis Sargent does excellent work.
His Huck Finn is a spontaneous and
commendable bit of playing.

Allan Dwan's second independent pro-
duction, "The Luck of the Irish," con-
structed from a Harold McGrath story,
seems rather conventional in handling.
It is a picturesque tale, a romance be-
tween a plumber and a pretty school-
teacher extending all round the world.
But, for all that, it runs in time-worn
grooves, with the usual rich waster vil-
lain, a freckled boy for comic relief, and
so on. We approve of James Kirkwood
as the pipe expert hero, but Anna Q.
Nilsson lacks sincerity as the cause of all
the trouble and happiness.

"The 13th Commandment," (Para-
mount), with Ethel Clayton starred, is a
sermon preaching the text, "Thou shalt
not spend more than thou earnest." It
runs along conventional lines. Miss
Clayton deserves better material.

We found "Piccadilly Jim," (Selz-
nick), which is screenically built for
Owen Moore from the magazine story
by P. G. Wodehouse, to be fairly enter-
taining stuff. Piccadilly is a brash young
American who gets into all sorts of
scrapes, but manages to solve the diffi-
culties of others and win the girl of his
choice. We like Moore as Piccadilly,
and a fine bit, of the spoiled child,,
"Oggie" Pett, is done by Reginald Shef-
field. Zena Keefe does not, however,
arouse our interest as the girl of the
story.

Constance Talmadge is advancing once
more. She plays with a delightful buoy-
ancy in "Two Weeks," adapted from an
Anthony Wharton play, "At the Bam."
It is structurally weak, being another
invasion of a bachelor Eden by a
sprightly young woman, but Miss Tal-
madge invests it with sparkle and high
humor. Conway Tearle is an excellent
foil. George Fawcett makes his bit
stand out vividly ; indeed, he well nigh
runs away with the whole comedy.
Sydney A. Franklin's direction lacks in-
cisiveness in places, but, on the whole,
he has done rather well.

{Continued on page 110)

, One hundred and eight)

Ho\v You Can Have a

Charming Personality

np wj I Dear F:

loWomenU',„,7,s

Dear Friends
Sex:—
have
good reason to be one of the happiest
women in the world. For every mail
brings me so many letters of apprecia-
tion. If you were in my place, you
would be delighted to know that you
were a real help to so many, to feel
that you could be a sort of fairy god-
mother to someone in need of just the
kind of knowledge you had stored up
and just the kind of sympathy you have
in your heart.

Oh. the letters! How I love them all.
They fairly breathe appreciation and
friendship for the good things they
attribute to me and my work. Here is
one from a little woman in Allentown.
I remember the first time she wrote me.
Such a pathetic little letter it was, a
sigh from beginning to end, mingling
with a sort of forlorn hope that I,
Juliette Para, might be able to help her.

Yes, to help her. To show her how
she might attain success, how she might
throw aside the mantle of a gray, un-
interesting and even repellant person-
ality and be just what the Creator in-
tended her to be, a glorious, magnetic
little woman radiating charm and per-
sonality, captivating hearts of men and
women alike with a new found power
Gparkling with the attraction that draws
friends like a magnet, compels admira-
tion, respect and all the other things in
life worth having.

That's what my little friend wanted
and that is what all of us want. Now
ehe writes and tells me that she has
attained the desire of her heart, and
that to me — think of it, to me — she
owes the credit of her success. Can
you blame me for being elated and
happy ?

But hers is not a new story to me. I
have dedicated my life to helping
women overcome their imperfections,
my whole being is wrapped up in a
desire to enable you, dear Reader, as
well as others of my sex, to attain the
success that comes to those who will
acquire the exquisite and charming
ways which are so necessary if we
women are to achieve the feminine suc-
cess so dear to our hearts.

Perhaps you know that I spent years
of my life in Paris, watching, studying,
and analyzing the captivating ways of
the French woman, she whose fame has
Spread to every land, she who holds in
her hand the destiny of her country
and her men, she to whom the power
of attraction is an art and a science to
be cultivated just as one would learn to
play the piano or sing. What secrets
nave been revealed to me ! What amazing
things 1 have found in the French woman's
treasure box of personality!

There was Mademoiselle Polaire, for instance,
one of the most fascinating little bits of
femininity I ever knew. Beautiful? Dear me,
n o ! Mademoiselle
was positively
ugly of feature.
But people raved
over her.

But Mademoiselle
Polaire had person-
ality, she under-
stood the very
things that I would
like to teach to you
who are far from
being ugly, you, —
an American Girl —
equipped as no
other girl in the

Photo by Abbe

<k.,.,. 1

CONSTANCE TALMADGE

the
will

THIS esteemable young lady has won a place
hearts of miUions. Study her picture well;
make you think.

What man, woman or child has not been charmed by her
superb acting, her magnetic personality, even as she has
captivated you.

Note the tilt of her head, the sweet, quiet unassuming
dignity in her easy, graceful pose. Remember — you have
never heard her utter a word. She has no opportunity of
portraying her thoughts and emotions in vivid, eloquent
speech. By pose, motion and facial expression, she holds
your attention, thrilling you, amusing you, leaving you with
a lingering memory of her charming mannerisms.

/ II that Juliette Fara teaches, Miss Talmadge employs to
hci direct personal advantage, so much so that a prominent
director said: "Mentally and physically she is able to adopt
any attitude with the greatest ease and to express any
emotion or shade of feeling. That is why she attained such
nation-wide popularity."

Miss Talmadge has heartily indorsed the instructive
knowledge which Juliette Fara imparts to women, and what
Miss Talmadge indorses you should know. "How" you also
can use the secrets which she uses to such advantage is
explained to you in the free book "How" which the
Gentlewoman Institute will send for the asking.

ss=

whole world is equipped, to cultivate a charm-
ing personality, to use the secrets I am ready
to iinpart to you so that you can be just the
wonderful, admiration-compelling woman you
would like to be.

How often have you wished you could reach
out your arms and draw close to your heart the
devotion, the luxuries of life, the tender love
that you see others enjoying! How often have
you envied the woman who seemed so supreme-
ly happy in the shelter of a wonderful home
and perfect love, the woman with scores of
admirers at her feet, or another with an
f^nViable position!

You have wondered why. gifted to no par-
ticular degree with beauty of either face or
form, or endowed with but ordinary intellect or
education — why some women attain their desires
so easily.

T will answer you. They have personality,

the winsome charm that all women
can have, once tUey knc\. the secrets.

Now, dear Reader, I do not want to
seem the least bit mysterious, but you
who wish to acquire a winning
personality should know the secrets
which I have found out. These I
would like to whisper in your ear, to
tell you confidentially. woman to
woman, how I have achieved my suc-
cess, and how I have helped so many
of my sisters achieve theirs.

How many women there are who in
some way or other find it desirable and
even necessary to use every bit of
honest persuasion they can summon to
control the love and hold the interest
of the men of their hearts! Sometimes
they win over the thoughtless, indiffer-
ent or erring ones by weeping or argu-
ments. But more often do they fail
when they do not understand the true
secret of winning personality for
women.

Yes, if they only knew. If they
would but work with head and heart
instead of only the latter, using the
knowledge, the secrets which would
make the task so easy, the results so
woi_derful and everlasting. How I
have longed to go to these women and
say : "Let me teach you," instead of
which I must stand aside and await the
time they must realize that I have what
they want.

Of course, there are all types of
women in the world. Among those
who have yet to attain a charming
personality is the loud, aggressive,
rather forward girl. Then there's the
woman who is too shy and retiring.
If you are either of these types, or
if some other imperfection stands be-
tween you and your desires, I am sure
I can help you. As the beautiful
butterfly issuesi from the homely cocoon
so should you emerge from the dark-
ness and obscurity with a new found
power at your command, with the
alluringly beautiful personality of a
woman whose hand is firmly on the
throttle of her own destiny.

I want to make you sought after
by both men and women. I want you
to be the real center around which
revolves every social function you
attend. I want you to rise in business
and make yourself so independent that
you can choose your own pathway
through life, gain and hold the love of
tlie man of your heart, dispelling your
troubles like fog before the bright sun-
shine. So I want you to learn what
I have learned, to share with me the
secrets of a winsome manner.

But this is not all I have to tell
you, I would like to know you better
and have you know me better. So first I
siigrgcst that you write for a little book into
which I have written some of the wonderful
secrets I know.

cA

..M.cU'^ -7^

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I have called this hook "How." because it rcnlly tolls how
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and hapjiiness.

This little book, "How," is published and given free by the
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delighted when it comes to you — in plain wrapper, of course.

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615 WEST 43d STREET

NEW YORK, N. Y.

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The Celluloid Critic

{Continued from page 108)

Wallace Reid has another spirited and
amusing comedy in "Double Speed,"
(Paramount). Reid plays a harum-
scarum young millionaire. .Speed Car,
who starts across the continent by auto-
mobile, has his car stolen, lands in Los
y\ngeles as a hobo and gets a job as The
Girl's chauffeur. Reid is clean-cut and
likeable, as usual, and Wanda Hawley
is a pretty reward for Speed Car's tribu-
lations.

Will Rogers' "Water, Water, Every-
where," (Goldwyn), does not measure
up to his previous comedy, "Jubilo."
Indeed, this is slow and frequently
dull. Rogers plays a big-hearted cowboy
who sacrifices his own secret love for a
young woman in aiding the reform of
the man of her heart, a young doctor
who is a victim of drink. Irene Rich
lends an ingratiating characterization.

A certain warmth of spirit and the
pungent odor of the Cumberland pines
permeates "The Little Shepherd of
Kingdom Come," (Goldwyn). Jack
Pickford depicts the hero of John Fox,
Jr.'s, widely read novel of the nameless
lad who finds a name, a manhood and a
love in the fiery test of the Civil War.
.^s the primitive hero of the forests,
young Pickford does well, but, to us, he
falls distinctly short of the Fox hero in
the wartime moments. Yet, on the
whole, it is a pleasant picture. Clara
Horton is as becurled a blonde cutie as
any young movie hero might hope to
find, but Pauline Stark has been ill ad-
vised as to facial make-up as the wistful
mountain girl, Melissa. Dwight Crit-
tenden stands out as the village school-
master. Wallace Worsley's direction is
adequate, particularly in the choice of
fine scenic locations.

Sewell Ford's nervy young hero,
Torchy, has reached the screen in the
person of Johnny Hines. The first of
the series, (Master Films), is not par-
ticularly inspired. Hines seems too old
for the boyish hero, we regret to report.

Ellen From Tennessee

{Continued from page 90)
not crazy about 'adventuresome' parts,
but can do whatever I'm given to do, as
I have not as yet developed temperament.
And my hobbies are horseback riding,
of course — every Southern girl can ride;
it's a part of her education, but my prin-
cipal hobby is my mother. She has been
such a dear and came around so beauti-
fully when she realized that I was des-
perately in earnest about wanting to suc-
ceed in my profession. She has stayed
with me in New York and even Jour-
neyed to the coast with me. She's not
just a mother — she's a pal.

"And ambitions? Well, seriously, to
make the very best of myself and, even
tho I never become a great star, so-calkd,
to do something that will stand out — to
do a picture that people will remember
because of some part I played, whether
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Our "Young Visitors'

By FAITH SERVICE

Not so very long ago we had three
distinguished young visitors for luncheon
at No. 175 Duffield Street, Brooklyn. I
use the term "young" advisedly. The
three vi'ere Dorothy Gish, Lillian Gish
and Mother Gish. "Mother," said Lil-
lian, speaking of some recently taken
family photographs, "is the beauty of the
family" ...

It is said by a very great many authori-
ties on the diverse subject that Art is
Realism. If this be so, the quintessence
of Art can be handed, sans dispute, to
Dorothy and Lillian Gish. Lillian is, in
real life, the origin and source of her
•wistful screen prototypes. She is gentle ;
she is finely, gently intelligent ; she is
resourceful. There is to her an appeal-
ing personal charm even as the charm
she gives us screenically.

â– Dorothy is Dorothy. She has. humor.
She has verve. She has "pep" and ac-
tion. One is never certain what her next
move will be, nor her next speech. Pos-
sibly she is not quite certain herself.
Mother Gish regards "The Little Dis-
turber" with something of apprehension.

We found no ostentation and no flurry
of excitement at that luncheon. It
would not be supposed that young vis-
itors of fame were with us. Lillian asked
questions, for the most part. And Dor-
othy lamented the fact that she plays in
comedies w'hen she had much, much
rather play in drama, and lamented, still
further, the fact that she had to work
at all. "I never," she said, "crack a
smile in between pictures. I couldn't be
induced to."

Lillian, quietly, with the little air she
has of one apart, observed that the
ruling characteristic of human nature is
to long to do the things one is not doing
and for which one is not fit. She her-
self, she said, would much prefer to
write.

At the time of their lunching with us
they were house-hunting in Westchester
county, to be near the new Griffith stu-
dio. We asked them what manner of
home they were seeking and they in-
formed us that it was to be a farm.
Dorothy interpolated that a cow was to
be the first object of their search. She
couldn't, she said, conceive of what they
would ever do with a cozv. Now, chick-
ens, a dog, cats, pigeons, even pigs . . .
but a cow . . . We gathered that Doro-
thy has a probably wholesome fear of
cows and we delicately suggested the
same.

"Mother is the only brave one in the
family," agreed Dorothy with equanim-
ity. "We had a burglar scare in Cali-
fornia, and Lillian and I nearly died of
fright — under the bedclothes — goose-
flesh and all that. Mother, on the con-
trary, sat straight up in bed, levelling a
pistol at the door thru which her grimly
intended victim was to come. She ac-

(Continued on page 118)
(One hundred and eleven)

IIIIBillllilllll

The Biggest Novelty-Special
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DO YOU KNOW HOW STARS ARE MADE?
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A DREAM of FAIR
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Behind the Screen

Mary Pickford lias been divorced
from her husband, Owen Moore. The
decree was granted by Judge Lanogan at
Minden, Nev., on March 1, on the
grounds of desertion.

Alice Joyce was married to James B.
Regan, Jr., son of James B. Regan, pro-
prietor of the Knickerbocker Hotel, one
of the biggest New York hostelries, on
March 6th. The marriage took place at
the Church of the Holy Innocents, New
York, the ceremony being performed by
the pastor. Rev. Thomas Lynch. Mr.
Regan is a graduate of Yale, class of
1915, and he served in both the British
and American arinies in the recent war.
Miss Joyce was previously married to
Tom Moore, brother of Owen and Matt
Moore.

Realart announces Wanda Hawley as
its new star.

King W. Vidor's first release on the
First National program is "The Family
Honor," Florence Vidor being featured.

Adolph Zukor, president of the Fa-
mous Players-Lasky Corporation, sailed
on the Iinperator on March 8th for
Europe. So did William A. Brady.

Mrs. Sidney Drew has been visiting on
the coast.

Sylvia Breamer has joined the May-
flower forces. She is to have the leading
role in Robert W. Chambers' "Athalie."
Sydney A. Franklin is directing.

Corinne Griffith has signed a new
Vitagraph contract for another three

Winchell Smith, the playwright, has
joined the Metro staff of scenario writers
at Hollywood, Cal.

Myron Selznick has signed Arline
Pretty as lead for his production of Wil-
lard Mack's "The Prince of Pines."

During early March Pearl White and
her William Fox company worked on
the production of "The Tiger's Cub" at
Port Henry, N. Y., with a temperature
of 35° below zero. Thomas Carrigan
was leading man.

Marcus Loew, who now owns 100 per
cent, of the Metro Film Corporation,
announces that the Metro will greatly
increase the number and quality of its
productions. From fifty to seventy-five
productions will be released during the
coming year and a $2,000,000 studio
built on Long Island. The Loew inter-
ests are now building forty theaters.

Conway Tearle is to be starred by Nat
.Spitzer. The pi-oductions are to be made
at the Bull's-Eye California studios.

(One hundred and twelve)

A

The Old Canoe— Moonlight
—and Us Two

Isn't it easy to bring to mind the cosy scene? The swish of
limpid waters; subdued voices; the seductive harmony of stringed

instruments — lilting notes — dreamy — elusive — soothing as a sweetheart's touch
— crashing chords and syncopation, the spontaneous expression of the tingling
joy of life and youth. Honestly, whether it be in the memory or but half-
acknowledged hope, don't you thrill with the sweet intimacy of that cooling,
moon-lit, music-caressed solitude?

But listen to a secret : It isn't the canoe — nor the moon, nor the water
that plants the thrills in our hearts. It is the MUSIC — the lingering melodies
that haunt us with thoughts of happy hours. And 'tis tlie same in any setting. Summer's
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Dlcture-play fwenarloa. D-Iuj- may mean lost opix>rtunltle3. Send
dinieor otjirni-^ t.-luy. Photoplay Institute. Dept. 2, Jackson. Mich.

WHAT EVERY GIRL
SHOULD KNOW

SENT PREPAID FOR ONLY 50c.
iiiis book IS written liy M.iryant Sanger, the
crcat tjirtli control advocate, and contains in-
form.ation never before published. Anyone
readinc this book cannot help hut be benefited.
It is highly endorsed by eminent physicians.
Send us your order at once. Don't delay.
Tnilk Pub. Co., Depl. AC, H02 Broiihnr, N.T.C.

MOTION PICTURE CLASSIC

Dont Let Your Right Eye Know What Your Left Is Doing

{Continued from payc 106)

cant stop. If you want me to work-
get him out of here.'
"At that time I

was getting twenty-
five and CliarHe was drawing twelve,
fifty!"

I gave a pretty good imitation of Ben's
famous blank expression at this remark.
Mr. Turpin settled his eyes on a couple
of figures in the carpet and continued,
unmoved. "Twelve hundred and fifty a
week !," he said slowly. "I'd have thought
that a slight prevarication if I hadn't
seen a check or two.

"Then one day Broncho Bullets An-
derson came to me and offered a contract
for two years at twenty-five per week.
Nothing to worry about, he couldn't dis-
charge me — I couldn't quit — and always
a steady living for twenty- four months,
hot or cold, stormy or sunshine !

"I reached for a pen with my fingers
shaking. 'Where?' I said. Broncho
lUillets pointed to a line near the bottom
of the page, and it was all I could do to
see it with my right eye. The left was
olif the job looking far into the future.
Just for a bluff, I swirled the penholder
around like a man getting ready to write
fancy cards. Then I wrote — just as
firm — Bernard Turpin ! That settled me
for two 3'ear.s — we worked at Niles,
upper California.

"Then at iast It dawned on me that I
had sold myself for a mess of pottage.
I began to hear of salaries. I discov-
ered that I had made more than three
million for the Essanay — actually cleared
that much on my pictures . . . and I
was living on a clerk's salary. We had
hard work in those days — slapstick of
the roughest sort."

"How do you manage to look so blank
when you know a piece of pie is coming
at you, or that ice-cream is going down
your back?"

"Never anticipate anything."
"How can you help anticipating when
you just know it is coming?" we per-
sisted.

"Just dont — that's all. Think of noth-
ing, keep your mind an absolute blank — or
you cant look blank, of course. I didn't
mind the custards or soft soap or soot
and flour so much in the good old slap-
stick days," he said, "but cold ice-cream
running down your back is something
that you cannot forget in a hurry. I'm
glad those days are about over. We're
depending more on expression and funny
situations now."

"You are a scream in 'Salome vs.
Shenandoah,' " we hurried to say.

"I dont like it — and I dont like the
public appearance I make as John the
Baptist. I consider it sacrilegious — •
even if it is a travesty on the Theda
Bara play. I was brought up better
than that," concluded Mr. Turpin, so-
berly and sadly, and if you ever want to
know just hoiu sad he can look, go and
see one of his comedies.

Ben turns out a picture about eleven

times a year. He is a hard worker, and
even when he is not featured in a Sen-
nett comedy, he is usually "rung in" for
an extra bit.

A few months ago, he lost four of his
best front teeth, because a man who was
to kick him in the chest "lost his bear-
ings and aiimed too high." Ben has been
in the hospital thirty times for operations
or breaks, occasioned by rough comedy.
Such is the life of a comedian.

"When did you begin to think yourself
worth more than twenty-five dollars
weekly?" we asked, wishing to lead the
conversation back safely to Mr. Turpin's
intrinsic value.

"I was playing with Charlie Chaplii
in 'A Night Out,' and it was like co-
starring plus getting an extra's wages.
When we had finished two reels, Charlii
said we were going out on a location oi
Monday. This was Friday. I said, Ti
not going a step unless I get five hundrei
dollars in cash — no checks for mine!'.
There were two more reels and I made
up my mind I'd quit pictures or earn
what I thought I was worth. He coaxet
and talked — but I said it was five hun-
dred or nothing. He told me I must bi
ready to go on Monday at eight a. m.
said, 'Not on your life. I stay right here
unless I get the price in cash.'

"Monday he did not start. He finally
offered three hundred, but I told him
curfew would not ring that night. The
company hung around until Tuesday,
then five hundred pretty little bones were
placed in my willing hands, and from
that time on I considered myself a mo-
tion picture actor — and a fixture, in-
cluding my eyes."

Now Turpin owns his home, drives
his own seven-passenger Studebaker and
is a member of the Elks.

"Yes, I guess I'm getting popular,"
admitted Mr. Turpin, without vanity.
He is one of the most matter-of-fact in-
dividuals who ever faced a hard fall.
Surprises mean nothing in his bright
young life. "One lady fan — she's mar-
ried, too — wrote and asked me for one
of my most cross-eyed pictures to hang
in her bedroom, for she says that when
she and her husband quarrel, she feels
cheered up right afterwards if she can
go and laugh at my picture. That's
doing good in the world, aint it ?"

And, as to Ben's famous mustache, he
let me into a deep-dyed secret. The first
one he ever wore was cut off the end of
his own toupee ! He almost had the style
patented, he avers, but finally decided
that while other men might imitate his
"crepe hair" appendage, they never could
hope to attain the eloquence of teii-
thousand-dollar eyes, so now a wig-
maker has a steady contract to make
these waterfall effects by the hundred.

And, like the immortal Pope, Bernard
Turpin believes that "Beauties in vain
their pretty eyes may roll ; charms strike
the sight — but merit wins the soul" of
film fans everywhere.

^One hundred and fourteen}

i

OPPORTUNITY MARKET

ART

WHY NOT DO OIL PAINTING AT HOME? Write for
ln8truction. Landscape. Anmut, Sketching and other
ertfl. Ben H. Griep. S09 Oak St., Carthage, Mo.

AGENTS WANTED

AGENTS: $100 WEKRI.Y, Automobile owners every-
where wild with enthusiasm. Marvelous Invention
doubles power, mileage, elflclency. Saves ten times
lt9 cost. Sensational sales everywhere. Territory
going: like wildfire. $26 Sample Outfit and Ford Car
free. Write quick. L. Baltwey, Dept. 15S, Louisville.
Kentucky.

•732.25 EARNED JANUARY BY ONE MAN; others
I made (200.00 to $500.00 same month. With auto sea-

Bon just ahead our agents will double — triple this.
I You can do the same, selling this wonderful new
! Invention — guaranteed to prevent punctures and lessen
' coat per mile of tire. Tire In-Sole Mfg. Co., Dept. G.

Flndlay, Ohio.

MEXICAN DLIMONDS flash like genuine, fool experts.

I Btand teats, yet sell for l/50th the price. Few live
agents wanted to sell from handsome sample case. Big

I profits, pleasant work. Write today. Mexican Dia-
mond Imptg. Co., Box CA, Laa Cruces, N. Mex.

I "IN8YDE TIRES — inner armor for automobile tires:
prevent punctures and blowouts : double lire mileage.
Liberal profits. Details free." American Accessories
Co.. Cincinnati, Ohio. Dept. 117.

AGENTS — Snappiest household line on earth. Hed hot
sellers, steady repeaters — 100 per cent, profit. 500 light
weight, fast selling, popular priced necessities. Agent's
outfit free. Get busy — quick. Write today; postal
will do. American Products Co., 1536 American Bldg.,
Cincinnati, Oiiio.

COINS AND STAMPS

"OLD MONEY WANTED." ?2 to $500 each paid for
hundreds of coins dated before 1895. Keep all old
money. Send 10c for new illustrated coin value book,
size 4x6. You may have coins worth large premiums.
Get posted. Clarke Coin Co., Box 155, Le Roy, N. Y.

FEMALE HELP WANTED

WANTED — 5 bright, capable ladies for 19l:0, to travel,
demonstrate and sell dealers. $25.00 to $50.00 per
week. Railroad fare paid. Write at once. Goodrich
Drug Co.. Dept. 16. Omaha. Neb.

WOMEN TO SEW. Goods sent prepaid to your door;
plain sewing: steady work; no canvassing. Send
stamped envelope for prices paid. Universal Co., Dept.
22, Philadelphia. Pa.

FILMS FOR SALE

FILMS rOR SALE: One million feet, all makes,
lengths and varieties. $4.00 per reel and up. Send for
hit. Feature Film Company, Loeb Arcade, Minneapolis.

FOR THE LAME

THE PERFE»„'TION EXTENSION SHOE for any per-
son with one short limb. No more unsightly cork soles.
Irons, etc., needed. Worn with ready-made shoes.
Shipped on trial. Write for booklet. H. P. Lotz, 105
E. 28th Street, New York.

GAMES AND ENTERTAINMENT

PLAYS, VAUDEVILLE ACTS, MONOLOGS, DIALOGS.

tableaux, drills, pageants, musical readings, recita-
tions, special entertainments, make-up goods. Large
catalog free. T. S, Denison & Co.. Dept. 63, Chicago.

HELP WANTED

ARTISTS IN GREAT DEMAND. Big salaries paid
for full or part time. Learn Quickly at home In spare
time. Commercial Art, Cartooning, Illustrating, De-
signing. Outfit free to new students. .Send for hand-
some Free Book. Write Now. Washington School of
Art. Inc., 1452 H St.. N. W., Washington. D. C.

RAILWAY TRAFFIC INSPECTORS: splendid pay and
expenses; travel if desired: unlimited advancement. No
age limit. Three months home study. Situation ar-
ranged. Prepare for permanent position. Write for
booklet CM64. Standard Business Training Institute,
Buffalo. N. Y.

DETECTIVES EARN big money. Great demand
everywhere. Excellent opportunity. Travel. Experi-
ence unnecessary. We train you. Particulars free.
Write American Detective System, 1968 Broadway.
New York.

WANTED IMMEDIATELY, men, women IS or over
y. S. Government positions. Beginners get $1100 to
$1300 year. Quick raise to $1800 and over. Permanent
positions. Common education sufficient. Influence un-
necessary. List positions open, free. Write imme-
diately. Franklin Institute, Dept. P-77, Rochester.
New York.

JEWELRY

HIGHEST CASH PRICES PAID for Diamonds, Bonds
Old Gold, Crowns, Platinum. Square Deal. Cash at
once. Goods returned at our expense if our offer is re-
fused. Send now, mail or express. I. M. Cohen. 1229
12th St., Washington, D. C.

HELP WANTED

DETECTIVES AND INVESTIGATORS make big

money. Be une. We show you how by home study.
Write American School of Criminology, Dept. K, De-
troit, Mich.

MISCELLANEOUS

YOir WRITE WORDS FOR A SONG, We write the
music, publish and secure a copyright. Submit poems
on any subject. The Metropolitan Studios, 914 So.
Michigan Ave., Dept. 141, Chicago. 111.

WRITE THE WORDS FOR A SONG. We revise
poems, write music and guarantee to secure publica-
tion. Submit poems on any subject. Broadway
Studios, lOTM, Fitzgerald Bldg., New York.

MOVING PICTURE BUSINESS

$35.00 PROFIT NIGHTLY. Small capital starts you.
Outfits sold on installments. No experience needed.
Our machines are used and endorsed by Government
Institutions. Catalog free. Atlas Moving Picture Co.,
426 Morton Bldg., Chicago.

NEWS AND CORRESPONDENCE

EARN *25 WEEKLY, spare time, writing for news-
papers, magazines. Experience unnecessary; details
free. Press Syndicate, 560, St. Louis, Mo.

PATENTS

PATENTS. Write for Free Illustrated Guide Book.
Send model or sketch for free opinion of its patentable
nature. Highest References, Prompt Attention, Rea-
sonable Terms. Victor J. Evans & Co., 621 Ninth,
Washington, D. C.

PHOTOPLAYS

WRITERS*! Have you a song-poem, slory, photoplay
to sell? Submit MSS. now. Music Sales Co., 42, St.
Louis.

LEARN TO WRITE PHOTOPLAYS. My book tells
how, what, where to send, encourages, gives model,
copyright and other pointers for 50c. L. W. deFrates.
Dept. M., P. O. B. 1416. Boston, Mass.

PHOTOPLAYS WANTED. Big prices paid. You can
write them. We show you how. Free particulars.
Rex Publishers. Box 175 B. A. -5. Chicago. 111.

SALESMEN WANTED

-LIVE SALESMEN WANTED. We are located in the
heart of the great Oil Field of North Texas and recom-
mend only the best companies. We furnish bank refer-
ence and pay our salesmen well. Harwell Brokerage
Company. CentraJ Stock Exchange Bldg., Wichita
Falls, Texas.

SHORT STORIES

(One hnvdred atid fifteen)

WANTED STORIES. ARTICLES, POEMS, for new

magazine. Cash paid on acceptance. Typed or
handwritten MSS. acceptable. Send MSS. to National
Story Magazine, 65 Vanderbllt Bldg.. New York.

STORIES AND PHOTOPLAY IDEAS WANTED by 48

companies; big pay. Details Free to beginners. Pro-
ducers League, 441, .St. Louis, Mo.

EARN ?25 WEEKLY, spare time, writing for news-
papers, magazines. Experience unnecessary; details
free. Press Syndicate, 560 St. Louis. Mo.

FREE TO WKITJERS — A wonderful little book of
money-making hints, suggestions. Ideas; the ABC
of successful story and movie play writing. Absolutely
Free, Juat address Authors' Press, Dept. 14, Auburn, N.Y.

STORIES, POEMS, PLAYS, ETC., are wanted for
publication. Good ideas bring big money. Submit
MSS. or write Literary Bureau, 134, Hannibal, Mo.

SONG POEMS

WRITE THE WORDS FOR A SONG. We revise
poems, write music and guarantee to secure publica-
tion. Submit poems on any subject. Broadway Studios.
107H, Fitzgerald Bidg., New York.

DO YOU WANT YOUR SONG POEMS ACCEPTED'>

Send your poems today for best offer, immediate publi-
cation and free examination. Song writing booklet on
request. Authors & Composers Service Co., Suite 525
1431 Broadway, New York.

YOU WRITE WORDS FOR A SONG— We write the
music, publish, and secure a copyright. Submit poems
on any subject. The Metropolitan Studios, 914 S.
Michigan Avenue, Room 10 4, Chicago, III.

WRITE THE WORDS FOR A SONG. We write music
and guarantee publisher's acceptance on a royalty
basis. Mr. Leo Friedman, THE COMPOSER TO THE
AMERICAN PEOPLE, is our leading composer. Among
his well-known hits are such songs as "Meet Me To-
night _ in Dreamland" and "When I Dream of Old
Erin." Submit poems on patriotism, love or any sub-
ject. Chester Music Company, Dept. 324, 920 South
Michigan Ave., Chicago. 111.

WRITE THE WORDS FOR A SONG. We revise poems,
compose music for them and guarantee to secure pub-
lication on royally l.asis by New York music publisher.
Our Chief Composer is a song-writer of national repu-
tation and has written many big song-hits. Submit
poems on any subject. Broadway Studios, 107A Fitz-
gerald Bldg.. New York.

SONG WRITERS

WRITE THE WORDS FOR A SONG, We

music and guarantee publisher's acceptance

Submit

poems on patriotism, love or any subject.

Chester

Music Co., y20 S. Michigan Ave.. Room 185,

Chicago.

12 SONGS FOR $1 — In order to popularize our great
hit "DESERTLAND," retail price 30c. for a short
time we will offer it and eleven other popular song
hits postpaid $1. Offer limited, send $1 today sure.
Riviera Music Company, Room 106, Chateau Theatre
Bldg., Chicago, III.

YOU WRITE THE WORDS FOR A SONG, We will
write the music, publish and secure copyright. Ed-
ouard Hesselberg, our chief composer, has to his rredit
the great hit "if I Were a Rose," and other famous
songs. Submit poems on any subject. Send fur our
Song Writer's Guide and submit poema at once. Met-
ropolitan Studios. 914 South Michigan Ave., Dept. 142,
Chicago, Illinois.

IF YOU WILL WRITE — The words for a song. I will
write the music and guarantee publisher's acceptance.
Poems on any subject acceptable. Ethwell Hanson,
Room 106, 3808 Broadway, Chicago, Illinois,

WRITE A SONG — Love, mother, home, childhood, pa-
triotic or any subject. I compose music and guarantee
publication. Send words to-day. Thomas Merlin, 269
Reaper Block, Chicago.

WRITE THE WORDS FOR A SONG. We revise poema,
compose music for them and guarantee to secure pub-
lication on royalty basis by New York music publisher.
Our Chief Composer la a song-writer of national repu-
tation and has written many big bjng-hits. Submit
poems on any subject. Broadway Studios, 107S Fitz-
gerald Bldg., New York.

SONG-UTIITERS' MANUAL AND GUIDE sent free!
Contains valuable instructions and advice. Submit
song-poems for examination. We will furnish music,
copyright and facilitate publication or sale. KnickT-
bocker Studios, 310 Gaiety Bldg., New York.

BE A SONG WRITER — You write the words and I
will compose the music and guarantee publication.
Among my great hits Is 'DESERTLAND." Submit
poems today on any subject. Room 107, Ethwell Han-
son, 3808 Broadway, Chicago, Illinoia,

THEATRICAL

ARE YOU CONTEMPLATING A THEATRICAL
CAREER? Do not enter your chosen profession unin-
formed. Authentic, reliable information upon request.
New York Theatrical Advisory Bureau, 350 Broadway,
New York City.

GET ON THE STAGE. I tell you how. Send 6c
ptistage for illustrated booklet "All About Vaudeville"
and full particulars, LaDeile, Sta. 302, Jackson, Mich.

The Successful Man Creates
His Own Opportunity

The man who succeeds today is not the
man who waits for opportunity to come to
him, but he begins by first preparing him-
self, and once prepared he finds himself
surrounded by open doors.

Knowledge Is Therefore the
Key to Success

Are you waiting for opportunity to find
you, or are you preparing yourself to meet
opportunity when it comes? The American
College of Literary Arts and Crafts is giv-
ing you the chance to prepare yourself for
something bigger and better than the pres-
ent position you have. By installment pay-
ments and during your leisure time you can
study right in your own home.

Send for our "Open Door" booklet
for full particulars.

American College of Literary
Arts and Crafts

175 DUFFIELD ST., BROOKLYN, N. Y.

We Believe in Everybody Who Believes in Himself

Reel Realities

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Solid Gold
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Keep On Dancing

Your Phonograph Equipped

With Our Repeating Device

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Sen* poatpald on receipt of J7.50 wllh the understanding
that II not aatl»faclory It may he returned and money
Immediately relundcd. No agents wanted.

THE ELLINGTON COMPANY

80 Boylrton Street, Boston, Mass.

At last the Church has actively en-
listed the motion picture. This spring
sees the Interchurch World Movement,
the new cooperative organization formed
by most of the Protestant denominations
of the United States and Canada, using
films to put the needs of the world be-
fore the country.

During the winter an expedition, num-
bering the Rev. A. V. Casselman, E.
Lloyd Sheldon and Harry Keepers,
sailed from San Francisco to film inter-
esting things of the Far East. At about
the same time another expedition, num-
bering Willard Price, editor of World
Outlook, and Horace D. Ashton, de-
parted from New York for North
Africa and the Near East.

These two expeditions were sent out
by the Interchurch World Movement in
cooperation with the Educational Films
Corporation. These represent, as pointed
out by the Educational Film Magazine,
the first sincere attempt of the Church
to film the work of missions in foreign
lands and to obtain unusual pictures of
interest in this particular field. The ex-
peditions will thus obtain two groups of
films. The first, covering mission work
and activities, will be later shown in
churches. The second, to be released
under the title, "World Outlook on the
Screen," will be shown in motion picture
theaters. Some 100,000 feet of film will
be obtained in all.

This second group of motion pictures
will delve into odd bits of strange
lands never seen by tourists. Thus, for
instance, they will touch upon the life of
the women of the East as affected by
modern progress. Again, they will re-
veal how the world war has brought
civilization to the Arab and Bedouin in
lonely desert spots.

film publications, a certain steady falling
off in sales of American photoplays is
manifesting itself in England, Italy and
Spain.

Indeed, in England the threat has been
made of a high protective tariff on films.
But this is hardly probable. American
productions are being crowded by
cheaper films of British, Italian, Scandi-
navian and even German make.

Many German films have piled up
during the war and German manufac-
turers are trying to find a market for
them eve^'where. These make tlieir
appeal because they are workmanlike
and cheap. British producers are dis-
tinctly worried over the situation. Can
the ill-nourished infant British produc-
tion stand this added competition, they
ask. A movement is on foot to force
the printing of the country of origin
upon each and every film. This is to
prevent the camouflaging of German
films as Dutch, Swedish, Norwegian and
Danish.

The Far Eastern expedition sailed on
the Persia on December 21st, and eight
months vi'ill be spent in India, Burma,
China, Japan and Korea. The Rev.
Casselman is a widely known missionary
leader. Mr. Sheldon is well known as
an author, playwright and scenario
writer. Mr. Keepers is the camera-man
of the expedition. It will interest
Motion Picture Classic readers to
know that he was the camera-man re-
sponsible for the prize picture, "A
Dream of Fair Women," now being
shown thruout the country and made
under the direction of Wilfrid North.

The other expedition will visit Egypt,
Algeria, Turkey, Syria, Armenia, Pales-
tine and parts of Italy. Mr. Price has
attained prominence as an editor and
Mr. Ashton is one of the best known
photographers and motion picture men
of two hemispheres. He is a fellow of
the American Geographical Society and
a member of the New York Academy of
sciences.

The rivalry between American and
British films goes merrily on in England.
Just now they are pointing with interest
to the fact that, in the year 1918,
there was a fall of 3,500,000 feet in the
export of American film to England.
Also that, in December, 1919, Britain
exported films to an amount two and
one-half times as great as the corre-
sponding month of 1918. Yet The Lon-
don Kinematograph sums up the matter
clearly when it asks British screen men
to drop the idea that Americans dislike
British productions and seek to prevent
their importation. "Let the British film
maker drop the habit of appealing for
'equal treatment' from America until he
has established his ability to give equal
value. . . . The British producer who
first achieves success on this firm basis
of equality will, we venture to think,
laugh heartily at the pitiful attempts oc-
casionally made today to picture him as
a hard-luck case."

A certain resentment runs thru Brit-
ish comments upon American produc-
tions. With some truth we must admit
they protest the "naive faith of some
American producers that one soldier of
the United States is worth a few dozen
of any other country."

Yet David Griffith's "Broken Blos-
soms" appears to have scored a triumph
in London. The Daily Mail said :

"The whole production is filled with
the spark of genius which raises it above
any film drama yet made and oiiens a
new road for the expression of the high-
est dramatic art on the screen,"

And The Sunday Telegram said : "It
is in every sense a masterpiece. David
Wark Griffith has no equal. Others may
emulate, but they never manage to get
quite the same touch. 'Broken Blos-
soms' will be one of the big things of the

Judging from British and Continental year.'

{One hundred and sixteen)

As sure as you
are a foot high

you will like this
Camel Turkish and
Domestic blend!

Camels ere sold everyjph&re in scien-
tihcally seated packages of 20 ciga-
rettes for 20 cents; or ten packages
{200 cigarettes) in a glassine-paper-
covered carton. We strongly recom-
mend this carton for the home or office
supply or when you travel.

R. J, Reynolds Tobacco Co.
Winston-Salem, N. C.

{One hundred and seventeen)

YOU will prefer Camels smooth, de-
lightful blend of choice Turkish and
choice Domestic tobaccos to either kind
smoked straight! It gives you an en-
tirely new idea of cigarette enjoyment

Camels never tire your taste no
matter how liberally you smoke. They
are always appetizing— and satisfying,
because they have a desirable, mellow
body.

Camels leave no unpleasant cigaretty
aftertaste nor unpleasant cigaretty odor.
In fact, every angle you get on Camels
is so different from any other cigarette
that you will be won as you were never
won before!

That's why we say frankly — compare
Camels with any cigarette in the world
at any price! We know the answer.

AU\DDIN imts

save:

$300 to

v$ioooy

Lumber shortages — a virtual famine of lumber — cxis

III many parts of the country. Reports indicate it ._

impossible even now to get material for certain needs.

Stocks were never as low as thev arc now. The demand

wasnever asgreat as it isnow. THIS MEANS STILL

HIGHER LUMBER PRICES. It means that prices

will go upward rapidl.v — that it will possibly lake $150

in six months or a year to buy $100 worth of lumber.

\VilI you be forced to pay these prices' Will your need

fur a home in six months cost you a 50% or a 100% penalty?

Four Greatest Forests — Aladdin Lumber Yards

Tlie Aladdin lumbLp yards are the four grenlest forests of the Unltpd
Slates, Each om- has sufficient standing timber to lake care of tho iitwis
of the country for many years. The possible lumber famine predicted in all
parts of the oountry will not affect the Aladdin Co.

Kvery Aladdin llcmo mac ufactured In 1920 will be shipped quickly and
completely. Is'o shortage of .i few grades of material from tho Aladdin
house order. Is'o bold-'jp on .he job on account of lack of matexlal.
BVV J NOW-DONT DELAY

Early buyers of Aladuiii Homis are assured dcllTpry, Aladdin buyers are
also assured a big aanng — Irom $300 to $1,000. BUT quIcIc action is
necessary. The enormous demand for homes will soon flU the Aladdin
Mills to capacity. Your order will possibly be too late. An important
message to every builder is contained in tiie Aladdin catalog. It Is the
message to I'ou from the vor'rt's greatest homebulldinf organlzatloti. Send
to-day for this 100-Page Book, No. 2031,

THE ALADDIN COMPANY, Bar City, Michiean

BRANCHES: WlltniwrtoD, N. C. BBCtlCBbum.MlBS. PortUnil. Ore. Toronto. Ont..lCBn.

THE SKIN BEAUTIFUL

She who possesses a beauti-
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woman.

Be Beautiful

Obtain a cleansed, clear,

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from imperfections and

chapping by using

FLORESTON TOILET CREAM

By Mail 50c
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Sample ott receipt of 5c to pay mailing, etc.

Y,.. i^ Price 13.»®

I IFYeuCanTetlitfroim
CENUINE 0I*«0II1)S"'» M back

To prove that our blue-white MEXICAN DIAMOND closely
resembles the finest cenuine South African Diamond (coat-
Ins 50 times as much), with same DAZ^LINO KAiNbUW-
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is 26) for Hall Pries lo Inlroduee, S3. 1 0, plus WarTajlbc.
iamc Ihinff but Ladles Solitaire King. (Cataloge price M.98)
for 12 60 plus WarTax 13c. MountinREi srcoar hncat 12 karat
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ble&sed retorn in 2 davs for MONEY BACK. lean handliDg
eh*r(r«8. Act quick; offer limited; only one to • eUJtomer.
Write for FREE Catalog. AGENTS WANTED.

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AU of the aTwve can be obtained by fol-
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physical culture that will develop all parts
of your body to perfect proportion. Tlie
e.xercises are Illustrated with 20 fuU-paee
half-tone cuts and require no apparatus.
Send 25c in coin.

300,000 COPIES SOLD

Send your order today before you forget

PROF. ANTHONY BARKER, D.C.

Studio 120

127 West 42iJ Street, New York City

9i$20

violin, Hawaliar Guitar. Ukulele,

Guitar. IVfandolir., Cornet, Tsnor Banjo or Banjo

Wonderful new system of tcacbloff note monlc by mall, Tr> firot
pu^ills fn each locality, wo givti a $20 ouperb Violin. Mnnjolin,
Ukutclo, Guitar, Bnwsiin Guitar, Comet, Tenor Banjo or Banjo obao-
lutoly froo. Very atnall ohorse for IcAsona only. Wo Kunranteo huc-
ceasornocharse. Comp I etc outfit free, WrltOQoWt MooLIIkoUod.

SLINGERUHD SCHOOL OF MUSIC. Inc. Dept.2B CHICIGQ. lU-

Remember: "" • ' "-

cAll advertising in ^yVlotion
Picture Classic is guaranteed
i by the M. P. Pub. Co.

ONE MILLION DOLLARS A YEAR

is being m.iflc by several persons in the Motion Picture InHustry.

One Hundred Dollars a Week

is being made by thousands of persons in the Motion Picture Industry,

Hundred! of ThousandB of People are asking every day eucli people can acquire It. There Is no rule ahout beauty, grace,

QUeatJons aa tlieso- cJiarra, via., and some may ivin without any one of tho sup-

no,, o» I ,.t into ,to Mo..»n Plclur. bu.ln«sl '"^r":j'^r.T,o''7n''Tl\n . pla™ In .ho «r=« Mo,.„„

rui I l"-coui'; a i)liotoI>lnjlT? Plclufo Indusw. send llw câ„¢ia in slami.s tor tirls boolikt,

u'.;i I n"°S^'«l^ ir,™al..,! "WH» Can and Who Cannot Got Into tho Pfcturo, and Why!"

How can I become a Motion I'lcture Director? Address It to

Can I licaim© financially Intcn'-flM In Motion Pictures? THE NATIONAL MOTION PICTURE INSTITUTE

Cui 1 write for Motion Plctur^-sy 173-175-177 Duffleld Street Brooklyn, N. Y.

Have I a "Moilon I'lcture fare"? — — — — ^ — ■^■•■^■■■mm ■■•«■■■■■■"■" ""

Can I train mysflf for any branch of tho buslncaat , _ _ maTinNai MnTifiM PICTURE INSTITUTE

Those ato oucsllons that Iiavo lonn rcmalnod imanswerod. ! „ ""''"'V^";' ;'''',i" 'IS//,' ]'T/,r,i' UTi'l'i" l-,lrt™,!!l\ri' .im^^

But lh,v lan li„ nnraerod. TlKTO havo heon ai-hools that ' faDnol Got Into tho I'lcturoa and Wh,t Liidoscd la o cenu

vrelond to tracli Motion I'lcturo aolinK. hut thoy are. jtcnorally ■ »n alaiupa for mailing,

rrownrd uiwn by tlio iiroroKSlon. PeraonaJlly. cjiarm, wtnsomo- ■ »•__„

ni-M uod bvauty aro Godnivon BlTts. They can tio cultivated â–  "" ' " ' "

and liinTtrted, inn not created. Actlini in a natural fiilenr. I Addrwa.

Some iiuv 11, otlieni ae»iulre It. but most i"-o|ile wiio liiiiin't |

It never will leam It. Or»c<' Is natural to swme. but most •

MOTION PICTURE CLASSIC

Our "Young Visitors"

{Continued from page 111)
tually fired a shot, altho it didn't make
the mark. The burglar, however, was
frightened away. I told mother that she
had the heart of a murderer."

The Editorial Staff shook with a
sort of composite mirth. It would be
hard to suppose a murderer's heart in a
Gish breast. There is something about
each one of them, even to the more
earthly Doroth}', suggestive, reminiscent
of lavender and old lace, of quaint cus-
tom and lyric verse, of melodies fingered
forth on a spinnet, of potpourri and
minuets. It is the aroma of these things
which they have brought with them to a
hitherto less lovely medium of expres-
sion. They are, each one of them,
whimsically characteristic. They have,
individually and together, an atmospheric
charm, from Mother Gish, who is but a
slightly-grown-older Lillian, to Lillian
herself, slender and potential, to Doro-
thy, sparkling and keen and young.

They are quite utterly unprofessional
in their manner, in their point of view,
in their bearing and talk. They might
never have seen the inside of a studio.
There are none of the earmarks. Prob-
ably there are no two girls more per-
fectly themselves. They have given a
great deal and borrowed nothing. They
do not talk of their work, if they can
gracefully avoid it. They do not speak
of their ambitions, nor of their suc-
cesses, past, present or future. There is
about them a fine reticence. They love
their mother, their home and the best
artistic expression of the work they are
doing. These things come naturally to
them and they express them naturally.

After they had been regretfully ush-
ered out by Mr. Brewster and the rest
of us, we asked each other the inevitable
question after some one of the stars^
has taken luncheon with us at our more
modern Round Table — "\Vhat do you
think ?," we wanted to know — and we all
thought the same. Lillian was as we ,
had thought she would be, must be, from
her portrayals on the silversheet. She
was gentle, she was lovely, she was
poetic, she was a thinker ancl a dreamer.

Dorothy was as we had thouglit she
would be, ')nust be, from her portrayals
on the screen, humorous, lovable, vivid,
"regular."

Mother Gish is the mother of the two,
an eminently satisfactory arrangement,
pro and con.

For these young visitors the house of
the Big Three is ever open, the arms of
the Editorial Staff the same, and the
table ever round, with a capacity for
being rounder !

Lu Lu 'HucHON. — What do you mean by
acciisiiig my beard of being fInfFy and kinky?
You come in some day and I'll let you stroki^
it. So }-our brother thinks Elsie Janis is a
regular "pcacherino." I dont know what that
is, but tell your brother I agree with him. And
just tell that brother of yours he's got me
wrong with the ladies. Yes, I sure do admire
Charlie Ray. So you like Tamar Lane's stuff
in tlie M.'ir./xziNE. Yes, he's almost as briglH
as I am. Write again.

lillllliilliliilllllllllllllllllillllllllllllllliilllllilliil^

THE GREAT

1 920 FAME AND FORTUNE

Are you beautiful? V_xV^l \| A J_JkJ/ X

Do you possess charm?

Do you think yourself a potential Mary Pickford or Theda Bara?

Does your environment make it impossible for you to act, but not to dream?

Do you live in a make-believe world all your own, far removed from the dull reality of your daily life?

Do you dream of fame and fortune and all the big things of life? Do you long for a fairy godmother

who will some day touch you with her magic wand — and like Cinderella-of-the-ashes, transform you from

a dull, drab cocoon into a beautiful butterfly?

The New Fame and Fortune Contest

Is the fairy godmother of all the movie fans of the country. By the magic power of the press, she will
seek you out, no matter how small your hiding place. She will open up to you a new world — a new vista
of life with all its wonderful gifts! Thru the power of the greatest motion picture publications,
The Motion Picture Magazine, The Motion Picture Classic and Shadowland, the golden op-
portunity of your life is offered to you. Remember the old adage which, tho it may bore you by its
familiarity, yet carries the force of a great truth — Opportunity knocks but once!
Go to your photographer. Have him make a photo of you which will be you.
Send it in as early as possible.

It may interest you to know that a great five-reel feature drama has been written and will be produced
in connection with The Fame and Fortune Contest of 1920. The Honor Roll girls will all appear in
this picture.

"A Dream of Fair Women"

Which brought the twenty-five Honor Roll girls of the 19 19 Fame and Fortune Contest before the
eyes of the world, has been completed and you may see this wonderfully interesting picture in your own
home town! If the manager of your home town theater has not already secured this film for exhibition,
tell him to get in touch with Murray W. Garsson, Foundation Film Corp., 1600 Broadway, New York.
See it! It will give you an idea of what you will be doing if you are one of the Honor Roll winners.

RULES FOR THE CONTESTANTS

Contestants shall submit one or more portraits. On the back of each photo an entrance
coupon must be pasted. The coupon must be from either The Motion Picture
Magazine, Classic or Shadowland, or a similar coupon of j'our own making.
Postal card pictures and snap-shots not accepted. Tinted photographs cannot be re-
produced in magazine.

Photos will NOT be returned to the owner.

Photographs should be mailed to CONTEST MANAGER, 175 Duffield St., Brooklyn,
N. Y. Send as many as you like.

The contest is open to every man or woman, except those who have already played
prominent screen or stage roles. There is no age limit.
Contest closes Aug. 1. 1920.

-CLASSIC ENTRANCE COUPON

Address (street)

(city") (state)

Previous stage or screen e.xperience in detail, if any

When born Birthplace Eyes (color).

Hair (color) Complexion

Would you like to take part in the Five-Reel Feature Drama?

1

â– IllllllliilllillllillllllillllllllillllllllillllililliiiiiillliiilllliU^

Portraits of Your
Favorites

TWENTY-FOUR LEADING PLAYERS 1=

What is a home without pictures, especially cf those one likes or admires? How
they brighten up bare walls and lend a touch of human sympathy, alike to the homes
of the rich and poor!

And what could better serve the purpose of decoration for the homes of motion
picture enthusiasts than portraits of the great film stars, who have become world-
wide famous?

The publishers of the three leading motion picture monthlies, the Motion Picture
Magazine, Motion Picture Classic and Shadowland, have accordingly prepared at great
expense, especially for their subscribers, an unusually fine set of portraits of twenty-four of
the leading players.

These portraits are S'A" x 8" in size, just right for framing, printed in rich brown
tones by rotogravure, a process especially adapted to portrait reproduction, and are
artistic, accurate and high-grade in every way.

You will like these portraits, and 3'ou will enjoy picking out your favorites. You will
delight in framing them to be hung where you and your friends may see them often.

Mary Pickford
Marguerite Clarlc
Douglas Fairbanki
Charlie Chaplin
William S. Hart
Wallace Reid
Pearl White
Anita Stewart

UST OF SUBJECTS

Theda Bara
Francis X. Buihman
Earle Williams
William Farnum
Charles Ray
Norma Talmadge
Constance Talmadge
Mary Miles Minter

Clara Kimball Yount

Alice Joyce
Vivian Martin
Pauline Frederick
Billie Burke
Madge Kenned7
Elsie Ferguion
Tom Moore

These portraits are not for sale. They can be secured only by subscribing to the
Motion Picture Magazine, Motion Picture Classic or Shadowland for one year, and
then they will be sent free.

You will want the Magazine, Classic, Shadowland, or all three during the coming
year. Subscribe now and get a set of these portraits. It will cost you less than to buy
them by the month at your dealer's. Send in 3'our order today and we will mail the
portraits at once.

COUPON __________________________

SUBSCRIPTION PRICES:

U. S. Can. For.

Magazine $2.00 $2.30 $3.00

Classic 2.50 3.00 3.50

Shadowland 3.50 4.00 4.50

All Three 7.50 8.80 10.50

iiimniiiiaiiiiii

Date

M. P. PUBLISHING CO.

175 Duffield Street. Brooklyn. N. Y.

Gentlemen ; Kindly enter my subscription to the
MOTION PICTURE MAGAZINE1

MOTION PICTURE CLASSIC > for one year. Also please
SHADOWLAND J

send me at once a set of the twenty-four players' portraits.

Enclosed find $ in payment.

Name

Address

â– lllllBIIIIHlllini!

YOU CAN Gil INTO THE MOVIES /F YOU WANT TO

Maybe _\oii're all ready now, but dont know exactly how to go about it, or
maybe there's a few technicalities unfinished or overlooked ; or possibly there's a
whole lot you dont know and need to know.

In any case, we are in a position to offer you sound suggestions. Cut out
the coupon below, and enclose 5c for postage

MOVIhS.'' rhen you judge! I "75 DumelO Stroot. Brooklyn, N. Y.

m» # W M JW m * W^ • ■ ' ricflBi- Bcnd mn a t-opy of your booklet, "Who

l\lrV§-tr\T\rV M l\/tr\ri^^-n r^tr^rit-V^ ' *^*" >^'^ ^^■'lo <.'annot Oi-t InUi tlio riciurca and

lyULliJilUl iVM\JLi,\JH M CCCUf t? I \Vli>r- Enclosed Is S cents la aUiiiii>ii for malUng.

Institute 1"""°

I Auaxeu

175 DuHield Street Brooklyn, N. Y. •

Regarding Delays

,\s we have announced before, the great printers'
strike in New York interfered seriously with the
publication and distribution of every periodical
that was printed in and around New York City.
Many publications went bankrupt, and several
have not j'ct recovered from the catastrophe.
Every one of them has sullered immeasurably.
Not only did the strike mean several months'
delay in getting out the magazines, but it meant
a terrible confusion in every editorial office.

Those publishers who tried to get their magazines
out in spite of the strike, adopted various methods,
among which was the sending of one piece of
work out of town and another piece of work to
another town, and still another part of the pub-
lication to some other place or to be done by some
other process. Some of this matter was lost, other
parts were printed so badly that they could not be
used, and the working machinery of every edi-
torial office was sadly disrupted.

On the top of this came blizzards with their ac-
companying 'raffic obstructions, and for weeks it
was impossible to move the printed magazines
from the printerics to the post-offices. Then came
blizzards and freight congestions in other parts of
the country, which further delaj'ed matters. It
never rains but it pours, aiid to add to our
troubles, came the announcement that there was a
serious shortage of paper in the world, necessi-
tating the cutting down of the supply used by
various publishers. It is certain that some pub-
lications must go out of existence, and it is well
known that many large newspapers and magazines
have been compelled to cut down either the size of
their edition or the number of pages.

But now, since the strike is over and the winter
also, the sun shines once more and we emerge
from the maze of difficulties more hopeful than
ever.

Unless something unforeseen occurs, our three
magazines will be published on time hereafter, and
the contents will be superior. We have taken up
the missing threads of various departments and
now have them well in hand. Those readers who
have been lenient with our shortcomings and
patient with us for the numerous delays in getting
their magazines, have our warmest thanks and
gratitude. We arc looking for better things in the
future, and we can see no reason why we shall not
be able to give you finer magazines than ever, and
give them to you on the very day that we promise
them.

MOTION PICTURE PUBLISHING CO.

Stars Needed

Any exhibitor will tell you that there are not
enough stars. Good stars are scarce, and they
are nearly all tied up with contracts with a very
few companies. New companies are forming
every day and they require stars. This makes
the demand greater than the supply. The pro-
ducers have been objecting to the High Cost of
Stars, and the exhibitors are complaining of the
High Cost of Films. Some have even gone so far
as to state that the Star System must go. But
there will always be a demand for stars and when
there are enough stars to supply the demand there
will be a better feeling all around and the film
industry will advance and prosper. Again, it is
evident that many of our well-known stars are
passing out — some retiring of their own accord,
and some losing their popularity and drawing
power. It is quite clear, therefore, that we must
have more stars. Where are they to come from ?
We maintain that there is no better way to dis-
cover and introduce new stars than the Fame and
Fortune Contest, which is conducted every year
by the three leading magazines, — Motion Picture
Magazine, Motion Picture Classic and Shadow-
land. This being true, it should be warmly sup-
ported by producers, exhibitors and public alike.
(One Tiundred and twenty)

Illill

II

"An exciting story, pleasel"
How many times have those words
been spoken over the desk at the
PubHc Library!

Exciting stories ! How much in demand they are
with the readers of the popular magazines! The
love for them is universal ; it begins and ends with
no one class or creed.

Pathe Motion Picture Serials ^re always exciting; they are
written, produced and acted for the great public that wishes
to be lifted for a little while from the hum-drum facts of
everyday life. They are thrilling, entertaining and always
clean. There is a motion picture theater in your vicinity that
shows Pathe serials ; it will be easy to find it !

A^oixi showing: Ruth Roland in "The Adventures of Ruth;"
George B. Seitz in "Bound and Gagged;" Pearl White in "The
Black Secret" from Robert W. Chambers' book "In Secret;"
Jack Dempsey in "Daredevil Jack."

Coming: "Trailed by Three" with Frances Mann and
Stuart Holmes; George B. Seitz in "Pirate Gold," (with
Marguerite Courtot) and others.

(One hundred and twentif-one)

jSZ ^ exAj e L s

This superb 21-Jewcl. thin tnodcl Burlington ia sold to you direct at "-He rock'bottom price. This
masterpiece of watch manufacture has twcnry-one Jewels of Sapphires and Rubies. It 's qdjusted to
position, adjusted to temperature, and adjusted to isochronisnu Send the coupon today for *ice
book on watches.

$

^^Q'^J^ntk

You pay on!y this small amount each month for this masterpiece, sold to you at the direct rock-
bottom price, the lowest price at which a Burlington is sold.

Burlington Watch Co., Dept. 1275 \ Send thls CoUDOn

19th St. and Marshall Blvd., Chicago, HI. \ ^ AV7 1 T5 1

333 Portagt Avenue Winnipeg. Cam \^ lOT W atCD. DOOK

Ple.se send me (without obligation and prepaidi your free \ You Jo not pay a cent until you see
bookon watches with full explanation ot your cash or $3.50 ^. the watch. Send the coupon today
a month otfer on the Burlington Watch. ^. for this Rtcat bt

\

upon today

k on watches,

and full information of the $3.50

a month otfer. Don't d*lay.

\
'^"'^ \ Burlington Watcl Co.

^ I9lli Si. aad Martbill Blii.
Addras \ Dept 1275, Chicaio, UL

•IK>Oltt.TN,N.<r.

{One hundred and twe7ity-two)

TALCUM

FRAGRANT WITH

PARFOM

'^aryGarden

^he New
'bd'^Size

This fragrance enriches the
entire series which includes

Breath Pastilles
Brilliantine
Cold Cream
Eau Dentrifice

Lip Rouge
Liquid Soap
Nail Polishes
Powder (Solid)

Eye Lash Beautifier Sachet Powder

Eye Brow Pencil
Extract
Face Powder
Greaseless Cream
Hair Tonic

Shampoo
Talcum Powder
Tissue Cream
Toilet Water
Tooth Paste

Vanity Case

16RuedelsPaix
• PARIS-

onspicuous

Nose Pores

How to reduce tkem

COMPLEXIONS otherwise flawless are
often ruined by conspicuous nose pores.
The pores of the face are not as fine as
on other parts of the body. On the nose
especially, there are more fat glands than else-
where and there is more activity of the pores.
These pores, if not properly stimulated and
kept free from dirt, clog up and become
enlarged.

To reduce them: wring a soft cloth from
very hot water, lather it with Woodbury's
Facia! Soap, then hold it to your face.
When the heat has expanded the pores,
rub in very gently a fresh lather of Wood-
bury's. Repeat this hot water and lather
application several times, stopping at once
if your nose feels sensitk^e. Then finish by
rubbing the nose for thirty seconds with
a piece of ice.

Notice the improvement the very first treatment
makes — a promise of what the steady use of
Woodbury's Facial Soap will do. But do not
expect to change completely, in a week a con-
dition resulting from long continued exposure
and neglect. Use this treatment persistently.
It will gradually reduce the enlarged pores and
make them inconspicuous.

Begin TONIGHT the treatment your shin needs

Get a cake of Woodbury's I'acial Soap and
begin tonight the treatment your skin needs,
"^'ou will find Woodbury's on sale at any drug
store or toilet goods counter in the United
States or Canada. .\ 25c cake will last a month
or six weeks.

In the booklet which is wrapped around each
cake of Woodbury's l-'acial Soap, you will find
complete treatments for the commoner skin
troubles, including Conspicuous Nose Pores,
Blackheads, Skin Blemishes, Oily Skin and
Shiny Nose, Coarsened Skin, Tender Skin,
Sluggish Skin, etc.

Sample cake of soap with booklet of famous treat-
ments and samples of Woodbury's Facial Powder,
Facial Cream and Cold Cream for 15c

For 6c we will send you a trial size cake (enough for a week or
10 days of any Woodbury Facial treatment) together with the
hooklet, "A Skin You Love to Touch." Or for 15c we will send
you the treatment booklet and samples of Woodbury's Facial
Soap. Facial Powder. Facial Cream and Cold Cream. Address
the Andrew Jcigcns Compaii> , 901 Spring Grove Avenue.
Cincinnati, Ohio.

// voii live in Canada, address the Andrew Jergens Com-
pany, Limited 904 Sherbrooke Street, Perth, Ontario.

t L.iho. Co.. N. V.

/^VJIIVJIN MICI VWt

IA.SSIC

y^J^i^U^e-^R^

VIRGINIA FAIRE

This superb 21-,ewe. thin model Burlington is sold to you direct at the rock-bottom price; This
masterpiece of watch manufacture has twenty-one Jewels of Sipphircs and Rubies. It is ajjusted to
position, adjusted to temperature, and adjusted to isochronism. Send the coupon today for tree
book on watcher,

You pay only this small amount each month for this masterpiece, sold to you at the direct rock-
bottom price, the lowest price at which a Burlington is sold.

Send this Coupon
for Watch Book

You do not pay a cent until you see
the watch. Send the coupon today /

for this prcat book on watches,
and full information of thc$3.50
a month offer. Don't delay.

Burlington Watch Co.

I9lliSt.aiidMiinhBllBlTd.
Dept.AIZT, Chicago, III.

Burlington Watch Co., Pcpt. A127
19th St. and Marshall Blvd.. Chicago, 111-

338 Portage Avenue, Winnipeg, Can.
Please send me (without obligation and prepaid) your
free book on watches with full explanation of your cash or
$3.50 a month offer on the Burlington Watch.

(Three)

"Evervwoinan"'

,.-.l,.,/ ).v ffiv.ro.- H. MclfnrJ
Willi .-III S'lir Cast

George Fitzniaurice's

Pr.'ihictiou

'On With the Dance!"

Wm. S. Hart in
"The Toll Gate'

A IVm. S. Hart Productin

George H. Melford':

Production

"The Sea Wolf"

William D. Taylor's

ProJiiclicn

"Huckleberry Finn"

Maurice Tourneur's

Production

"Treasure Island"

George
Loane Tucker's

Production

"The Miracle Man"

DD

And remember that any Para-
mount Artcraft Picture that
you haven't seen is as new as
a book you have never read.

Tf>""'T.....,,Tf'!'"'n»..,..?^ei''"T ,T-r(i"''r...:.Tf'<1""T...A.,.rrfl''"''«u,.„.'^""'! .r'lC'l""'"""''^!'"''"""-'"""^''""— ■.T*'"''".".^

^AOMITOW^ acWIT owg^L AOM'T OMt ^ *n"IT OMt ^^ *OWII Om ^ *°WT ONE ^ *[>HI T ntir ^ aOHII Ofit ^ AOrliT OH^ '. apn'T. nw» ^aPMir QN »■ j

ILLUSTRATION BY NORMAN ROCKWELL

A

ilA)urp/ease

yy

family affair:

That's the way to get the most out of Paramount
Pictures.

Multiply the pleasure hy sharing it!

Good entertainment logic, and happy logic, too.

You can see it illustrated hy smiling faces at any
box office where money paid buys a view of Pictures that
are Paramount .'

Know before you pay.

Make sure it's a Paramount. Then "four, please"
is right.

paramount ^iciures

;WH^ famous players -lasky corporation MI^

(Four)

I The Jualf

BREWSTER PUBLICATION i

i.;\v'-azme'

Some ten or twelve years ago a small
periodical, hiding its trcpidatioii under a
cover photograph of Thomas A. Edison,
went forth on its first jonrney alone, nut
into a very indifferent world. The trip
could he easilv compared to tlie first trip
made hy the brain-child of Robert Fulton.

This humble instrument of literature was
none other than Tm-: Motion Picture
Magazini-;, the same magazine of today—
und yet not quite the same, for the growth
of its popularity has been remarkable- and
tho the seas have sometimes been rough
and the sailing uncertain, it has weatliered
all storms, arriving in port as the greatest
magazine of its kind in the world!

You think this a rash statement, perhaps?
Get llic lulv number and judge for your-
self !

The cover is the latest portrait of Miss
Blanche McGarity, a winner of the Fame
and Fortune Contest of 1919. There is
also an interview with this newly arrived
motion picture star.

Wonder what a studio mail clerk thinks
about? Especially when he has to stagger
dailv under the carloads of movie fan let-
ters. In "The Confessions of a Studio
Mail Clerk," by himself, you will find many
new sidelights on this all-important sub-
ject.

Bert l,\tell is seen thru the fascinated
eyes of Elizabeth Peltret. Sometimes it is
pretty nice to be an interviewer, savs Eliza-
beth !

Brides are always interesting in the
hone>-mooii stage, and when the bride hap-
pens to he Alice Joyce, the bright star of
Vitagrapb— well. 30U just have to read
what (.lad\s Hall has to say about it in that
interview she had with Alice t'other day!

And the new novelizations — and the new
pictures of all the popular stars ! And the
latest California gossip told by "one who
knows."

'Uhe Motion Picture Magazine

175 DuffieUSlreet Brookbn, N Y

,JsiaAai3^

(uriant. Ume. sUky eyelashes add greatly to the beauty of the
■ c. If lialurt has nut eiidn»ved you with such eyelashes, you may
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I I pruinutes In a natural manner the growth of the eyelashes. The
r illcathin of a little of this wonderful cream niehtly produces
[ larkable results. "'Lashaid" la guaranteed absolutely pure and

mless. Satisfaction assured or mimey refunded. Send 50c coin
package, mailed in plain wrapper.

CORONA LABORATORIES

Chicago, III.

1 )Pt, G, 207 S. Dearborri St.,

Write the Words
For a Song

Write the words for a song. We revise
song-poems, compose music for them, and
gtiaratitee to secure publication on a
royalty basis by a New York music pub-
lisher. Our Lyric Editor and Chief Com-
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tion and has written many big song-hits.
Mail 3'Our song-poem on love, peace, vic-
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Poems submitted are examined free.

BROADWAY COMPOSING STUDIOS

I(7-E FiliceraM Bldf., Broadway at Tinea Square, NEW YORK

(Five)

V(.l. X

JUNE, 1920

No. 4

THE GIRL ON THE COVER
(Painted by Leo Sielke. Jr., from a photograpJi hy Alhii:.)
The Motion Picture Classic takes a great deal of pleasure
in presenting Virginia Brown Faire, one of the four winners of
the 1919 Fame and Fortune Contest, as its cover subject. Miss
Faire is already well upon her way to fame and fortune with the
I'niversal Companv, having a most unusual five-year contract.
Before the f-'ame and Fortune Contest discovered her. little Miss Faire was ab-
solutely unknown. Her remarkable type of beauty t|ujckly singled her out front
among" the thousands of contestants and later won her a place among the Um-
\'ersal featured placers.
Rotogravure Gallery of Players. Full page studies of P

Riciiard Bartlielniess. Madge Kennedy, Betty

Blvthc, Rnth Roland and Betty Ross Clarke H

B. C. i920. Meaning that the piquant Betty Compson

becomes a star this year f-rrdrruk Jafiu-x Sinilli

The Mid-Day Frolic. Where the stars of the "low-

and-bcbold" roniedies come from — and why Tniiimti /* Handy

The Cost of the Modern Photoplay, Allan Dwan pre-
sents interesting facts about the production of

picture dramas Ihirnsai, llnshins

The Human Photoplay. King Vidor talks about his

ideas and his ideals. Both are unusual Maiidf .S. Chcalham

Romance Comes to Priscilla. That tomboy of the

cinema, Priscilla Dean, bows to Cupid Mary keaiie

Those Vampire Eyes

The Man Who Killed. Mae Murray's newest photo-
play told in 'lory form Dorothy Donncli

Alec Francis, Pioneer. This able actor was one of the

first actors to invade motion pictures Elizabeth Peltret

Seena Seen Scenically. A lively little chat with that

blending of the Hast and West, Seena Owen lunth Servue

Cameo Cassinelli. A colorful interview with the color-
ful Dolores Cassinelli Ullmi' Montanye

"The Blue Flame" of the Films. Glimpses of Tlieda

Bara in her stage \ eiilure -

Sick-a-Bed. A charming story based upon Wallie

Reid's newest comedy vehicle Olive Carew

The Celluloid Critic. The newest photoplays in rev\ew.l-redenek James Smith
A Rose in the Bud. The fascinating real life story of

the prett\- contest \'. inner, \ irginia lirowti Faire Barbara Allen

What the Fame and Fortune Contest Means. To-
gether with the liiteEt honor roll

Warwick at Home, intimate glimpses of virile Robert

Warwick

The Greatest of Popularity Contests. How the stars

stand in this unique content

Impressions of Screen Folk. Imaginative tabloid de-
scriptions of pruiitinenl petipte of the silversheet Louise J-azenda

The Prince Chap. An absorbing short story based

ujion the Paramount photoplay I'aith Scrviee

Double Exposures Condueted by F. J. S.

The Movie Encyclopedia The Answer Man

Look for the last minute features among the advertising pages

SiilisLriiition, $J.50 a year, in atlvance, including postage in the \J . S., Cuba, Mexico, and
Philippines: in Canada, $3.00 a year; in foreign countries, $3.50. Single copies. 25 cents, postage
prepaid. One- and two-cent stamps accepted. Subscribers must notify us at once of any change
of address, giving both oli! and new address.

Entered at the Brooklyn, N. V., Post Office as Second-class Matter.
Copyright, 1920. by Brewster Publications. Inc.. in the United States and Great Britain, a New
York corporation, with its principal cffice at Brooklyn, N. Y. Eugene V. Brewster, President and
Editor-in-Chief; E. M. Heineniann. Secretary: Eleanor V. V. Brewster, Treasurer.

STAFF FfJR THE CLASSIC-

Frederick James Smith, Mnnuging Editor

15. I-. U'ilson, Kditor

Dorothy Donncll Associate Editor

Guy L. Harrington Business Manager

Duncan A. Dobie. Jr Director of Advertising

Rufus French, Inc Eastern Manager

Archer A. King, Inc Western Manager

Metz B. Hayes New England Manager

.Mir.

15

Ih

bS

2-t
26

i2

34

36

38

39
44

4<)

48

50

51

52

53
58
92

This magaziiu'. piiblislied monthly, comes out on the 15th. Its elder sister, the Motion Picture Magazine,
comes out on the first of every month, Shadowland appears on the 23rd of each month.

Wanted: Screen
Faces for the Movies

Hundreds of All Types Needed. You
May Have Perfect Screen-Features

For (he first lime in llic history of moving pictures it is
iKnv possible for you to got consideration from ihu big Iilm
directors. No matter wTicre you live, we get your photo-
graph before the directors, many of whom are in urgent
need of new "scrceu-iaccs."

Ralph Incc. famous Sclznick director, says: "There are
manv young girls who could make good in the movies.
I will be very glad to take advantage of your service."
Marshall Ncilan. known everywhere for his wonilertui
production. "The River's End." says: "I am convinced
that the service you render screen aspirants offers many
new persi nalities to moving picture directors." P. A.
Powers, of Universal, says: A new crop of film stars
will be needed at once to supply the insistent demand."

With the assistance of famous directors and motion
picture stars we have prepared a printed guide. "The New
Road u< Film Fame." just off the press, which tells you
what tu do and gives full directions.

It also contains endorsements of our service from famous
people, statements from directors, pnrtraitsof celebrated
stars and direct advice to you from Mollie King.

This is a fascinating profession paying big salaries.
Don't miss this opportunity. Send ten cents (Postage or
Coin) to cover postage and wrapping this new guide. Get
it at once — it may start you on the road to fame and
fortune. Screen Casting Directors Service, Dept. B-3,
Wilmington. Delaware.

If \ou arc Jtot sincere in your desire to get in the
»».'fjo, f/,-iJ^t- d.' tut scuJ f:.r this printed guide.

SEND YOUH NAME— NO MONEY

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LEARN

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Sexual Knowledge

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By WINFIELD SCOTT HALL. M.D.. Ph.D.

SEX FACTS MADE PLAIN

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Stage Plays That Are Worth While

(Headers in distant toiuiis will do well to preserrc lliis list for reference when these spoken
plays appear in their vicinity.)

Aslor. — Fay Bainter in "East Is West."
The story of" a (juaiiit little Chinese maid who
falls in iove with a young American. Racial
harriers seem insiirmountahle, but there is a
happy and surprising ending. Has all the in-
jredients of popular drama.

Belasco. — "The Son-Daughter," with Lenore
Ulric. George Scarborough and David Belas-
co's highly colored Chinese melodrama with
the vivid Miss Ulric. One of the big hits of
the season.

Booth.— "The Purple Mask." with Leo Dit-
richstcin. A stirring, romantic melodrama of
the (lays of the First Consulate in France;
tense, colorful and highly interesting. One of
the best evening's entertainments in New York.
Mr. Ditriclistein is delightful as the royalist
brigand, the Purple Mask; Brandon Tynan is
admirable as the republican police agent, Bris-
<iuet ; Lily Cahill is a charming heroine, and
Boots Wooster makes her bit of a peasant girl
stand out.

Broadhitrsf. — "Smilin' Through," with Jane
Cowl. An odd, but effective, drama which pur-
ports to show how those who have gone before
influence and watch over our lives. Miss Cowl
is exceedingly good as a piquant Irish girl and
also as a sp'irit maid whose death occurred
fifty years before. "Smilin' Through" will
evoke your smiles and tears.

Caj-i'iio. — "My Golden Girl." A passable
musical entertainment with a score by Victor
Herbert. A chorus girl, Jeannette Dietrich,
scores the hit of the show.

Central. — "As You Were," with Irene Bor-
doni and Sam Bernard. A delightful musical
show in which Miss Bordoni dazzles as the
various sirens of history. Pleasant music and
a pleasant chorus lend effective aid.

Century. — "Florodora." The much-heralded
revival of the widely popular musical show of
some twenty years ago. Done with charm,
distinction and humor. Eleanor Painter^s
singing stands out vividly and George Hassell's
humor is highly diverting. Then, of course,
there is the famous "se.xtette." Here is a
revival that really revives.

Cort — "Abraham Lincoln." You shouldscc
this if you see nothing else on the New York
stage. John Drinkwater's play is a noteworthy
literary and dramatic achievement, for he
makes the Great American live again. "Abra-
ham Lincoln" cannot fail to make you a better
American. Moreover, it is absorbing as a play.
Frank McGlyn, a discovery, is a brilliant Lin-
coln.

Cowfrfv.— "My Lady Friends." Highly
amusing entertainment adapted from a Conti-
nental farce. Much of the humor is due to the
able work of Clifton Crawford in the role of
the guileless young publisher of Bibles whose
efforts to spend money get him into all sorts
uf difficulties. June Walker scores in Mr.
Crawford's support.

£/(i'h(;c.— "Breakfast in Bed," with Florence
Moore. A rather amusing farce satirizing the
movies with vaudeville's lady clown. Miss
Moore, working very hard to put it over.

Empire. — "Declassee," with Ethel Barry-
more. One of the big things of the dramatic
season is this clever play by Zoe Akins.
Whether or not it has the basis of truth, it is
brilliantly written and is well played by Miss
Barr\inore.

Fortv-Eighlh Street. — "The Storm." A well-
told melodrama of the lonely Northwest with a
remarkable stage effect of a forest fire. Helen
MacKcllar is admirable as the piciuant French-
Canadian heroine.

Forty-Fourth Street. — "Look Who's Here,"
with Cecil Lean. A passable musical enter-
tainment that entertains when Mr. Lean and
Cleo Mayfield hold the center of the stage.

G/oic— "Apple Blossoms." The ambitious
and much heralded operetta of Fritz Kreisler
and Victor Jacobi pins colorful Joseph Urban
settings. An offering far above the musical
average. lohn Diaries Thomas sings admir-
ablv, Wilda Bennett is an attractive heroine
anti Florence Shirley lends a piquant person-
ality to the proceedings.

Harris. — "Three Showers." A musical com-
edy of Dixie, staged by the Coburns, who pro-
duced "The Better 'Ole." Rather dull and
not very inspired. Anna Wheatoii is the fea-
tured member of the cast.

Hippodrome. — "Happy Days." Big and
spectacular production typical of the Hippo-
drome. The diving girls are again a feature,
disporting in the huge "Hip" tank.

Hudson. — "Clarence," Booth Tarkington's
delightful comedy, built about the way a re-
turned soldier reunited a disturbed but typic-
ally American household. Superb perform-
ances by Alfred Lunt, Glenn Hunter and
Helen Hayes give the comedy a fine verve.

Knickerbocker. — "Shavings." A pleasant
bucolic entertainment based upon Joseph C
Lincoln's familiar Cape Cod stories. Harry
Bercstord is featured in a gentle, whimsical
characterization.

Little Theater. — "Beyond the Horizon," by
Eugene O'Neill. This powerful drama was
produced at a series of special matinees and
proved so successful that it won a theater all
its own. A gripping study of a human being
crushed by environment, told with compelling
force. One of the biggest native dramas of
years. Richard Bennett heads a remarkable
cast.

Maxine Elliott's. — "What's In a Name?"
The most beautiful musical entertainment, with
the possible exception of the Ziegfeld revues,
yet seen on Broadway. Colorful new art stage
designs, remarkable use of lights and gorgeous
costumes lift it into the realm of the exquisite.
Intelligently written and put together, too.

Morosco. — "Sacred and Profane Love," with
Elsie Ferguson. An absorbing — if loosely con-
ceived— drama by Arnold Bennett which marks
the return of Miss Ferguson to the speaking
stage. It is the story of the remarkable love of
a keenly mental authoress for a musical genius
who slips into the slough of drugs. Miss
Ferguson has many admirable moments and
Jose Ruben contributes some brilliant playing
as the drug wreck.

New Amsterdam Roof. — Ziegfeld 9 o'clock
and midnight revues. Colorful entertainments
unlike anything to be found anywhere else.
Mile. Spiiielly, a Parisian favorite, is now in
the cast of the two revues. Mary Hay stands
out and the entertainers include Fanny Brice,
Carl Randall and W. C. Fields.

Nora Bayes Theater. — "Lassie." A charm-
ing and pleasantly tuneful little musical comedy
of Scotland and London in the picturesque
sixties. Based upon Catherine Chisholm Cush-
ing's "Kitty MacKay." Tessa Kosta sings
pleasantly and Mollie Pearson and Roland
Bottomley are prominent. Dorothy Dickson
and Carl Hyson contribute some delightful
dance interludes.

Playhouse. — "The Wonderful Thing." A
human play built around a poverty-stricken
but blue-blooded English family into which
Jeanne Eagels comes as a wealthy heiress and
wife of the eldest son. Pleasant drama.

Republic— "T\ie Sign on the Door." A very
good melodrama which boasts many instances
of the unexpected — and Marjorie Rambeau in
highlv emotional scenes.

5'/ii(bfr/.— "The Blue Flame." with Theda
Bara. A lurid melodrama with the famous
Theda in the dual role of an ingenue with and
without a soul. It is breaking bo.x-oftice rec-
ords, proving that every one wants to see
Miss Bara "in person."

Thirtv-Ninth Street Theater. — "Scandal."
Cosmo Hamilton's daring drama which Con-
stance Talmadge played on the screen. Fran-
cine Larrimore and Charles Cherry have the
leading roles in the excellent footlight produc-
tion.

Winter Garden.— "The Passing Show of
1919." A typical girly garden show in which
the famous runway gets plenty of use. The
revue presents a number of travesties upon
current attractions, particularly colorful being
that of "The Jest," with Charles Winninger
doing a clever burlesque of Lionel Barrymore,
(Continued on page 8) â– *

(Six)

I

How I Improved My Memory

irv One Evening

The Amazing Experience of Victor Jones

"O'

you !

Mr. Addison

, F course I place
Sims of Seattle.
.^^ "If I remember correctly — and 1 do
remember correctly— Mr. Burroughs, the lumber-
man introduced me to you at the luncheon of
the Seattle Rotarv Club three years ago m May.
This is a pleasure indeed ! I haven t laid eyes on
you since that day. How is the grain business .'
And how did that amalgamation work out f

The assurance of this speaker— in the crowded
corridor of the Hotel McAlpin— compelled me
to turn and look at him, though I must say it is
not my usual habit to "listen in" even in an

hotel lobby. „ , , . r

"He is David M. Roth, the most famous
memory expert in the United States," said my
friend Kennedy, answering
my question before I could
get it out. "He will show
you a lot more wonderful
things than that, before
the evening is over."
And he did.

And as he went into the
banquet room the toast-
master was introducing a
long line of the guests to
Mr. Roth. I got in line
and when it came my turn.
Mr. Roth asked, "What
are your initials, Mr.
Jones, and your business
connection and telephone
number?" Why he asked
this, I learned later, when
he picked from the crowd
the si.xty men he had met
two hours before and
called each by name with-
out a mistake. What is
more, he named each

man's business and telephone number, for good
measure. . , .

I won't tell von all the other amazing things
this man did except to tell how he called back,
without a minute's hesitation, long lists of num-
bers, bank clearings, prices, lot numbers, parcel
post rates and anything else the guests gave him
in rapid order.

*****
When I met Mr. Roth— which you may be
sure I did the f^rst chance I got— he rather
bowled me over by saying, in his quiet, modest

wav : . , t. i

"There is nothing miraculous about my
remembering anything I want to remember,
whether it be names, faces, figures, tacts, or
something I have read in a magazine.

"YoH can do this just as easy as I do. Anyone
with an average mind can learn quickly to do
exactly the same things which seem so
miraculous when I do them. , „ i ..

"My own memory," continued Mr. Roth, was
originally vcrv faul'tv. Yes it was— a really I'oor
memory. On meeting a man I would lose his
name in thirtv seconds, while now there are
probably 10,000 men and women in the United
States, many of whom I have met but once,
whose names I can call instantly on meeting

"That is all right for you, Mr. Roth, I inter-
rupted, "you have given years to it. But how
about me?"

"Mr. Jones," he replied, "I can teach you the
secret of a good memory in one evening. This
is not a guess, because I have done it with thou-
sands of pupils. In the first of seven simple les-
sons which I have prepared for home study. I
show you the basic principle of my whole system
and you will find it— not hard work as you might

ffSrven )

fear— but just like playing a fascinating game.
I will prove it to you."

He didn't have to prove it. His course did;
I got it the very next day from his publishers,
the Independent Corporation.

When I tackled the first lesson, I suppose 1
was the most surprised man in forty-eight states
to find that I had learned in about one hour-
how to remember a list of one hundred words
so that I could call them off forward and back
without a single mistake. ,., ,

That first lesson stuck. And so did the
other six. ,, ,,

Read this letter from Terence J. McManus,
of the firm of Olcott, Bonynge, McManus &
Ernst, Attorneys and Counsellors at Law, 170

Of course I Place You! Mr. Addison Sims of Seattle"

Broadway, and one of the most famous trial
lawyers in New York:

"May I take occasion to stale that I regard
your service in giving this system to the world
as a public benefaction. The wonderful sim-
pHcity of the method, and the ease with which
its principles can be acquired, especially appeal
to me I may add that I already had occasion
to test the effectiveness of the first two lessons
in the preparation for trial of an important
action in which I am about to engage.

Mr. McManus didn't put it a bit too strong.
The Roth course is priceless ! I can absolutelv
count on my memory now. I can call the name
of most anv man I have met before— and 1 am
getting better all the time. I can remember any
figures I wish to remember. Telephone numbers
come to mind instantly, once I have filed them
by Mr. Roth's easy method. Street addresses are
just as easy. , , i u .

The old fear of forgetting (you know what
that is) has vanished. I used to be ' scared stiff^
on my feet— because I wasn t sure. I couldn t
remeiTiber what I wanted to say.

Now I am sure of mvself, and confident, and
"easy as an old shoe" when I get on my feet at
the 'club, or at a banquet, or in a business
meeting, or in anv social gathering. ^

Perhaps the most enjoyable part of it all
is that I have become a good conversationalist
—and I used to be silent as a sphinx when 1
got into a crowd of people who knew things.
Now I can call up like a flash of lightning
most anv fact I want right at the instant I need
it most ' I used to think a "hair trigger memory
belonged only to the prodigy and genius. Now 1
see that every man of us has that kind of a memory
if he only knows how to make it work right

to be able to switch the big searchlight on your
mind and see instantly everythmg you want to
remember. .

This Roth course will do wonders m your ottice.

Since we took it up you never hear anyone in
our office say "I guess" or "I think it was about
so much" or "I forgot that right now" or 'I
can't remember" or "I must look up "his name.
Now they are right there with the answer-
like a shot.

Have you ever heard of "Multigraph" Smith?
Real name H. Q. Smith. Division Manager of the
MultiRraph Sales Company, Ltd.. in Montreal. Here
is just a bit from a letter of his that I saw last week:
"Here is the whole thing in a nutshell: Mr. Roth
has a most remarkable Memory Course. It is sim-
ple and easy as falling off a log. Yet with one hour a
(lay of practice anyone — i
don't care who he is — can
improve his Memory 100
per cent in a week and 1 .000
per cent in six months."
My advice to you is don't
wait another minute. Send to
Independent Corporation for
Mr. Roth's amazing course and
see what a wonderful memory
you have got. Your dividends
in increased poiver will be
rnormous. Victok Jones.

While Mr. Jones has chosen
the story form for this account
rf his experience and that of
others with the Rctk Menwry
Course, he has used only facts
that are known personally to the
President of the Independent
Corporatic'n, who hereby verifies
the accuracy of Mr. Jones'
story in all particulars.

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Publishers of the Indef^endeni Weekly

Dept. R-576, 319 Sixth Ave., New York

Ynii may sen.i me the r.mrse or O.iirses checked below
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Hqw to Bead Character al Sight.

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CELECT your own

^ subject — love, patriotism ;^

— write what the heart dictates,

then submit your poem to us.

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one of America's well-known musicians, the author
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Stage Plays That Are Worth While

(Contiinicd from page b)
ON TOUR
"Maiiniui's Affair."— R:\i:he] Butler's admir-
ably written comedy— a stiuly of that deadly
Inmian specie, the hypochondriac who fancies
herself suffering from all sorts of ills. Done
^yith distinction and fine discernment. Ida
St. I. eon scores and important memhers of
the cast are; Eflic Shannon. Roliert F.clcson.
Katherinc Kaelred and George Lc Guerre.

"The I.illlc iriwt>l'cr."—\A\e\y and amusing
musical comedy with tuneful score by Rudolf
Friml. Vivienne Segal pleasantly heads the
cast, which also nnnibers Harry C. Browne,
who does excellent work, Mildred Richardson
and \V. J, Ferguson.

"The Cat Bird." with John Drew.— .A. lei-
surely little play by Rupert Hughes, dealing
with an elderly ecologist who straightens out
the romances of se\eral people according to
the principles derived from hi& studies among
the flowers and insects. Mr. Drew returns
to the New York stage after two years as the
ecologist. A suave evening's amusement.

"ll'fddiiig Belts."— A bright and highly
amusiiig comedy by Salisbury Field. Admir-
ably written and charmingly played by Marga-
ret Lawrence and Wallace Eddinger. One of
the things you should see.

".'J/'/irofl'i'/c. "—Highly colored and lavish
presentation of a drama based upon Pierre
Louys' exotic novel of ancient Alexandria. Su-
perbly staged adaptation of the play that
caused a sensation in Paris. Dorothy Dalton,
the screen star, returns to the stage in the
principal role of the Galilean courtesan,
Chrysis, and scores. McKay Morris is admir-
able in the principal male role

"The Frivolities of 1030." — G. M. (Broncho
Billy) Anderson's girl revue. Lively, speedy
musical show with a large measure of vul-
garity, but many pretty girls.

"The Royal I'agaboiid." — A Cohanized opera
comique in every sense of the words. A tune-
ful operetta plus Cohan speed, pep and brash
American humor. Also tinkling music.

"The Girl in the Limousine.'' — A decidedly
daring boudoir farce by Wilson Collison and
Avery Hopwood, iu which a pink and white
bed is invaded by every member of the cast
during the progress of the evening. John
Cumberland is very funny and Doris Kenyon,
fresh from the screen, is both pretty and
pleasant as the heroine.

"Nightie Night." — Described by the program
as a "wide awake farce," "Nightie Night"
lives up to its billing. It has plenty of verve,
ginger and some daring. There are scores of
laughs. Heading the very adequate cast are
Francis Byrne, Suzanne \Villa, Malcolm Dun-
can and Dorothy Mortimer.

"The Magic Melody." — A "romantic musical
play" with a tuneful score and a picturesque
Willy Pogany setting. Charles Purcell. Julia
Dean, Earl Benham and Carmel Myers, the
last two well known to the screen, head the
cast.

Elsie Janis and "her gang." — Lively enter-
tainment built about the experiences of the
A. E. F. on the other side. Well put together
by Miss Janis, who shines with decided bright-
ness. A pleasant entertainment.

E. IJ. Sothern and Julia Marlowe in Shake-
spearian repertoire. — These artists represent
the best traditions of our theater and their
revivals of "Twelfth Night." "Hamlet," and
"The Taining of the Shrew" are distinguished
in e\ery sense of tiie word.

LEADING PICTURE THEATERS.

Loezv's N. Y. and Loczifs American Roof.—
Photoplays; first runs. Daily program.

Loeiv's Metropolitan. Brooklyn. — Feature
photoplays and vaudeville.

Capitol. — Photoplay features plus a de luxe
programme. Superb theater.

Rivoli. — De luxe photoplays with full sym-
phony orchestra. Weekly program.

Rialto. — Photoplays supreme. Program
changes every week.

Strand. — Select first-run photoplays. Pro-
gram changes every week.

SUBMIT YOUR SONG POEMS ON ANY SUBJECT
FOR MY PERSONAL CRITICISr>( AND ADVICt
ACCEPTABLE W0RD5 WILL BE REVISED. FURNISHED
WITH APPROPRIATE MUSIC, COPYRIGHTED AND
EXPLOITED UNDER MY ORIGINAL METHODS FOR
FACILITATING THE PUBLICATION OR OUTRIGHT
SALE OF 30NGS. VALUABLE BOOKLET ON SONS
WRITING 3Eyi-FS£LQa REQUEST WRITE TO ME TO-Mr

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(Eight)

HfeLENE CHADWICK - CLARA WILLIAMS

/„ '■The ll'ond.-r l.ook for W'rllcrsr lohich w
Stars pohit uul the easiest ivay to turn your u.

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Millions of People Can Write
Stories and Photoplays and

Don t Know It /

THIS is the startling assertion recent >
made bv E. B. Davison of i\ew \ork.
one of 'tiie highest paid writers in the
world Is his astonishing statement
true' Can it be possible there are countless
thousands of people yearning to write who
reallv can and simply haven t found U outT
Well' come to think of it, most anybody can tetl
a sto'rv. Whv can't most anybody tfrilc a story ^
Whv 'is writing supposed to be a rare g't' /hat
few possess' Isn't this only another of the
Mistaken Ideas the past has handed down to
us' Yesterday nobody dreamed man could tl; .
To-da>' he dives like a swallow ten thotisaud
feet above the earth and laughs dowti at the
tmv mortal atoms

LETTERS LIKE THIS
ARE POURING INl

"1 woul.ln'l tak.. a million del-
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FAIHMONT. W. Vd.

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MICHAUS. CHABLEBOI, Pa.

"It contains a gold mine of
valuable suggestions." — LENA
BAILEY. MX. Vernon, III.

"I can only say that I am amazed
that 11 is possible to set forth
the principles of short story and
photoplay writing In.?"* » «'"";:
concise manner. — t.UBL>ol>
MATHEWS. Montreal, Can.
"I received your Irving System
some lime ago. It Is the most
remarkable thing 1 have ever
seen, Mr. Irving certainly has
made story nn.I play writing
ama7.inely simple and easy. —
ALFRED HORTO. Niagara
Falls. N. Y.

"Of all the compositions I have
read .in Ih^s subject, 1 find yours
the most helprul to aspiring
a" th.." "-HAZEL SIMl'SON
NAYLOR, LITERARY Editor.
Motion Fictcrb Magazine.

"With this volume before him.
the veriest novice should be able
to build stories or photoplays that
will find a ready market. The
best treatise of Its Iclnd 1 have
encountered in 2 4 years of news-
paper and literary worlt," —
H PIERCE WELLER, MAN-
AOINO Epitor. The Bing-

HAMTON I'nEHS.

"When I tlrsl saw your ad I
was working In a shop for S30 a
week. Always having worked
with my hands. I doubled my
Bblllty to maite money ivllh my
brain. So It was with much skep-
ticism that I sent for your Easy
Method of Writing. When the
System arrived, I carefully stii.I-
ied It evenings after work. Within
a m.mth I had completed two
plays. one of which sold for JSOn.
the other for S 4 56. I unhesitat-
ingly sav that I owe it all to the
IrvlDg System "-HELEN KIN-
DON, ATLANTIC CITY, N. J.

.^

of his fellow-men
below! So Yest<;r-
clay's " impossible
ity " is a reality to-

day- . .,,

"The time will
come," writes the
same authority,
"when millions of
people will be writ-
ers—there will be
countless thousands
of playwrights,
novelists, scenario,
magazine and news-
paper writers— they
are coming, coming
— a whole new world
of them!" And do
you know what these
writers- to-be are
doing now? Why,
thev are the men—
arrnies of them—
young and old, now
doing mere clerical
work, in offices,
keeping books, sell-
ing merchandise, or
even driving trucks,
running elevati^rs,
street cars, waiting
on tables, working
at barber chairs,
following the plow,
or teaching schools
in tlie rural dis-
tricts; and women,
young nnd old, bv
scores, now pound-
ing typewriters, or
standing behind

counters, or running spindles in factijrics, bend-
ing over sewing machines, or doing housework.
Yes-you may laugh-but these are Ihc
Writers of Tomorrow.

For writing isn't only tor genmses as most
people think. Dontyoubeluvc the Creator
qave \mi a storv-Tprtting faculty just as He did
the greatest wri'ter? Only maybe you are simply
"blu^'Ied" bv the thought that you haven t the
gift." Many people are simply afraid to try^
Or if thev do try, and the.r first efforts don
satisfy, thev simply give up m despair, and that
ends it. They're through. They never try
aeain Yet if by some lucky chance, they haa
fi?st learned the simple rules of writing, and
then given the imagination free rein, they might
have astonished the world!

BUT two things are essential in order to
become a writer. First, to 'earn the
ordinary principles of writing Second, to
learn to exercise vour faculty of Thinking By
exercising a thing .vou develop it. Your Imagi-
nation is something like your right arm. ihe
more you use it the stronger it gets, ihe prin-
ciples of writing are no more complex than the
principles of spelling, arithmetic, or any tether
simple thing that anybody knows. Writers learn
to piece together a story as easily as a child ses
up a miniature house with his toy blocks. It s
amazingly easy after the mind grasps the simp e
"know how." h little study, a little patience a 1 ttle
confidence, and the thing that looks hard often
turns out to be just as easy as it seemed difficult.
Thousands of people imagine they need a hne
education in order to write. Nothing is farther
from the truth. Many of the greatest writers
were the poorest scholars. People rarely learn
to write at schools. They may get the principles
there, but they really learn to jm-./c from the
ereat wide, open, boundless Book of Humanity !
Yes 'seething all around you, every day, every
hour everv minute, in the whirling vortex— the
flotsam and jetsam of Life-even ui your own
home, at work or play, are endless incidents for
stories and plavs-a wealth of material, a world
of things happening. Every one <if these has he
seed of a storv or play in it. Think! If you
went to a fire, or saw an accident, you could
come home and tell the folks all about it. Jn-
consciouslv vou would describe it all very realis-
tically And if somebody stood by and vvrote
down exactly what you said, you might be
amazed to find vour story would sound )ust as
interesting as many you've read m magazines or
seen on the screen. Now, you will naturally say,
"Well if Writing is as simple as you say it _is^
why can't /learn to write?" Who says you can f,

LISTEN! A vvonderfiil â„¢Ei; book has recently been
written on this very subject— a book that tells ail
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he Story Queens live and work. How bright rnen and
women, without any special experience, learn to their owi^
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'"Cet'^^^ur letter in the mail before you sleep to-night.
Who knows— it may mean for yoii the Dawn of a New
To morrow! Just address The Authors' Press, Dept. 142,
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2&BO0KFREE

^^^K,

] THE AUTHORS' PRESS, Dept. h:. Auburn, N. Y.

I Send me ATISOLUTELY FREE "T/ic Wonder Book
J for IVntcrs" This does not obligate me in any way.

1 A'"-'"'

g Address

B City and State.

(Nine)

Keep your skin

fine in texture

A SKIN like a child's!" — but do you realize what
makes a child's skin so beautiful? More than
anything else it is the exquisitely smooth, fine
texture which men and women alike so often lose in
later life.

Examine your face in a strong light. Do the pores
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expanding as they should.

To restore your skin to healthy, normal activity and
give it back the fine, smooth texture it should have,
begin tonight to give it this special treatment:

Just before you go to bed, dip your washcloth in very
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and dry. Then dampen the skin and rub the soap in
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Sold at all drug stores and toilet goods coun-
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.^n oily skin and shiny nose can be
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learn how to overcome this condition.

The famous treatment
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A PPLY hot cloths to the face until the skin
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Finish by rubbing the face for thirty seconds with
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A sample cake of soap, the booklet of famous
treatments, and samples of Woodbury's
Facial Powder, Facial Cream and Cold
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For 6 cents we will send you a trial size cake (enough for a week
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If you live in Canada, address The Andrew Jergens Co., Limited,
QO6 Sberbrooke Street, Perth, Ontario.

(Ten)

RICHARD
BARTHELMESS

Dick Barthelmess
has been on the
screen since 1916,
when he made his
dibut in Herbert
Brenon's "W»r
Brides" with Na-
zimova. It was
not until last year
that he scored his
big hit — as the
Yellow Man of
"Broken Blos-
soms," a charac-
terization which
bids fair to be as
lasting in favor
as Walthall's fa-
mous Little Colo-
nel

Photograph by Atilie

Motion Picture Cl

?v/y*»c

l*hotograph by Alfred Cheney Johnston

MADGE KENNEDY

Ever since Madge Kennedy stepped to the silversheet from footlight farce
comedy, she has been a popular favorite. Miss Kennedy is one of the fore-
most .Goldwyn stars

k,-^^

^jtt

BETTY BLYTHE

Betty Blythe is one of the most beautiful of the cinema stars. She made

her first hit in Vitagraph's "Over the Top" and since has been contributmg

many interesting characterizations to the films

Pholograph by K\

RUTH ROLAND

The motion picture serial has no more P°P^|" "P°""A *^^" ^r^J,^, |°o\^^^^^^
the favorite Pathe star. Life is just one thrill after another for Miss Roland

Photograph hy Abbe

BETTY ROSS CLARKE

Miss Clarke is a cinema newcomer. She scored in William Farnum's "If -

Were King," and has a leading role in Doris Keane's "Romance." Miss

Clarke has unusual beauty and charm

Betty Compson says her
career really started over
a year ago, with her r61e
in "The Miracle Man."
"Before that," she says,
"I had drifted along aim-
lessly and without partic-
ular ambition. Life was
an adventure — and that
was all. I never thought
of tomorrow. Nobody in
particular gave me a sec-
ond thought. I didn't my-
self"

RIGHT at the start we
must confess to a
fearful interview
faux pas.

We did something no in-
terviewer has ever ad-
mitted, as faT as we know.

We sneezed. It was an
editorial sneeze, but still it
was a sneeze.

And Miss Betty Comp-
son did something never
before admitted of an in-
terviewee. She sneezed.

When you realize that this occurred in the tea-room
of the Claridge, you begin to comprehend the enormity

of it all. J . , ^

It was with this spirit of cold camaraderie that our
chat began. It was Miss Compson's first outdoor— at
least as far out as the tea-room— appearance m four
days. We were doing our best to forget terrific chills in
huge cups of oolong, said oolong being the only ...
But that is another story. , , • . .

" 'S awful," sighed Miss Compson, from behind the
daintiest of handkerchiefs, referring, of course, to the
weather.

" 'S awful," we admitted— between chills.

"Wonderful city," continued Miss Compson. Despite
a haze of bromo-quinine, we suspected a note of satire.
But we were wrong. Miss Compson really meant it.

We murmered a long-suppressed longing for a warm

B. C 1920

Meaning Betty Compson Be-
comes a Star this Year

beach at Waikiki or some such spot, altho, in
truth, our cold was abating. What cold could do
otherwise before Miss Compson? For she is —
here we find ourselves weeks later still groping
for a vivid enough adjective — dazzlingly beauti-
ful. Which is hackneyed, but true.

The cinema camera has never caught the real
Compson beauty. A slender, elusive, delicate
sort it is, quite Elsie Fergusonish.

All this we enthusiastically conceded to Mjss
Compson. "Very nice — for a tired editor with
chills," she admitted.

Firmly removing our gaze from the Compson
profile, we asked the first-aid query of all inter-
viewers : "Your hopes, your real dreams, all that
sort of thing, please."

"Betty Compson's career really began slightly
over a year ago," she started impersonally. "Be-
"ore that I had rather drifted along aimlessly and
without particular ambition.

(Sixteen)

By

FREDERICK
JAMES
SMITH

Exclusive Pic-
tures Taken for
the "Classic"

"I started as
a kiddie in
vaudeville and
I played a vio-
lin in endless
theaters. My
youth," (we
smiled at the
youthful Miss
C o m p s o n ' s
use of the
word), "was
just one rail-
way station,
hotel hall-room
and dreary
dressing-room
after another.
It was a liveli-
hood— life was
an adventure —
and that was
all I never
thought of to-
morrow.
"Then I tried

pictures. I
gained a little
place for my-

sel f on the

screen. Those

were the days

when I played

in comedies

with Roscoe

Arbucklc and

others. But I

never quite

struck five.

Nobody in

particular gave

me a second

thought. I

didn't myself.
"One day I

came to George

Loane Tucker,

who was seek-

ini» a girl for

'The Miracle

Man.' I was

tired and discouraged — I guess I looked the role.

Mr. Tucker gave it to me.
"From that moment dates my career, whatever it may be.

The chara-fi- interested me and I fairly lived it during the

making of the photoplay. Then, for the first time, I felt ambi-
tious and 1 began to try."

Miss Compson smiled whimsically. "I hadn't read much of

particular value before, but I began with a vengeance. I have
put my months to good u.se, I think, for in that time I have
read most of Wells, much of Shaw and nearly everything of
the younger Knglish authors." Miss Compson paused.

"The world is really just beginning to unfold. I was a dull
outsider before — now — well, it's nice."

"Lookingbackward," wequeried,"what impresses you most?"

(ScvenleenJ

msiMmzm

>!' : 'vy'i' '..'^*' ' ■■•v' »£•■-■■ t,-

Anyway,

Miss Compson pondered the
question. "It's that I think I
have discovered at least a part
of the secret of screen success.
It consists of sincerity. If you
are not sincere you cannot pos-
sibly last in the films.

"You must feel your roles. I
am positive that Norma Tal-
madge sinks her.self into her

parts ; that Mary Pickford forgets her identity ; that Elsie Fer-
guson feels her film moods. Sincerity must be there.

"Then, too, you must have some brains to go any distance
(Conlimied on page 74^

"You must feel your roles
to succeed on the screen,"
says Miss Compson. "I
am positive that Norma
Talmadge sinks herself
into her parts, that Mary
Pickford forgets her iden-
tity, that Elsie Ferguson
feels her film moods. Sin-
cerity must be there"

LEAVE it to the movies to bring forth a new variety
of aand witch — a lovely damsel of youth and beauty
and perfection of form, who looks so intrinsically
luscious that Eastern producers of musical revues have
changed their standard of ladies of the ensemble. In-
deed, they are now judging chorus aspirants by the mack-
sennettian rules and regulations the silent stage formally
"adopted" at least two years ago as being the dernier cri
of feminine pulchritude.

In days more or less gone by pictures used to pick their
pippins from the stage choruses. Witness Kay Laurel,
the delectable Olive Thomas and the lily-whi^e Marion Davies.
But, having plucked from the stage tree a half dozen lemons —
frizzly blonde ladees with as many wrinkles as a palm-leaf
fan — to every one real peach, experts on the subject of cine-
matic saccharinity
decreed that: (1),
innocent belles be-
tween the ages of

Above, Vera Steadman,
the sea-going belle of Fox
comedies, and, very much
at the right, Dorothy De-
vore of the Christie forces.
Miss DeVore is the tiniest
girl in comedies, being
just five feet one. Miss
Steadman is one of the
best divers and swimmers
in the films

The

Mid-Day

Frolic

By TRUMAN B.
HANDY

fifteen and eighteen are
those best calculated to
set on fire the masculine
hearts in the movie audi-
ences; (2), cuddly
blondes are the most de-
sirable, most marriag*:-
able objects on earth ;
(3), demure brunettes
with dimpled knees and
a healthy smile are the
lineal progeny of the fa-
mous Mrs. Venus, and,
(4), that Titian-haired
sorceresses — the kind
rapturous poets have
raved over as cavorting
about in sylvan dells
while moonbeams bathe

C-T

(Eighteen)

Where the Stars of

the Low-and-Behold

Comedies Come

From

llieir wliite-wliitc sUin in sil-
\XT hues — are quite the very
best nu'ims iif making tlie
mere men nf ilie countrv want
to leave liomc.

Anil it is no use denying
that -Mr. .Mack Sennett uas tlic
lirst to put tlie sin into cinema.
And, to lie e\en more explicit
and perhaps a bit more iii-
tiiiic, as the I'rench say. it
beltooves us to admit that Mr.
Sennett had his fmger jolly
well placed (jn tlie public
pulse when he ordained Miss
Sweet Sixteen as the \estal
virgin of his comedy temiile.

And, inasmuch as Sennett-
ism is more or less indigenous
to the California soil, he
])icked his "decorative back-
ground" from the beaches.

I'eing a mere male myself,

Kinplis >g"j li

Above. Peggy Davis, a
lorelei of the Christie
company and, left, the
sprightly Marie Prevbst
of the Sennett beauty
squad. Only one girl in
10.000 can qualify for the
bathing comedies, says
Mack Sennett. Miss Pre-
vost would qualify out of
a million

(Nineteen)

T hereliy confess that I am wont to get considerable
"kick" out of the screen picture of IVfarie Prevost
in her one-piece bathing-suit. And this. I assure
you, is precisely the reason that the movies have
stepped forward with their bevy of beautiful
bathers.

The sand \vitche>; in (piestion must ha\e large
qtianlities of "pep" — and, moreover, their figures
must be as perfectly proportionate as that of the
Venus of Milo. Xo angles nor sharp corners for
the wind to whistle around.

Brains aren't an absolutely necessary adjunct. Xeverthe-
less, they're always a hel]), and if a present-day bathing girl
chances to possess them she stands an equal chance of achiev-
ing the good fortune — and, incidentaliv, the gowns — acfjuired
by Gloria .Swanson.

Every feminine visitor to tlie .Sennett, Fo.x-.Sunshine. Rolin,
Christie or other studios making particular
u.se of the decorative feminine background
is carried liack to her boardin.g-school days.
The dormitory dressing-rooms where the

Photographs tiy li,van»

Helen Darling, above, is a former caff
dancer. Now she is a Christie beach-
combing star. Id. the center is Phillis
Haver, the Sennett favorite. Below is
Virginia Hammond, a comparatively re-
cent Sennett belle

Photograpli © liy Mack Sennett

.MOTION PICIURE CLASSIC

girls hold forth are precisely like the boudoirs at a socially
exclusive finishing school,' The walls are covered with
the usual feminine assortment of Art, chocolates are on
the chairs and gum under the window-sills, ouija boards
are on the dressing-table and the spirit of Youth per-
meates everywhere.

Impression has it that the average comedy beauty is a
peculiar variety of fish ; a creature who spends the total-
ity of her waking hours in the studio swimming pool,
and who eats, sleeps, talks and dreams of — water.

Fact is, the majority of the girls cant swim, and nine
out of every ten have never had their feet wet by the
splashing ocean.

A very poetical male once wrote that the New York
chorus girl is an exotic flower — an Orchid which blooms
for an hour and then fades. At any rate, she's a dis-
tinctive creature who thrives peculiarly under lights — on
Broadway after theater hour.

The movies' midday f rolickers, on the other hand, have
a clause in their contract which makes them
liable to dismissal if they're caught out in pub-
lic later than ten o'clock on week-day nights.
Being a camera subject, a girl has to have a
"photographic" face-:-one that will not look
like the bird's-eye view of a plowed field.

In addition, she must have qualities that

make her individual and different from the

average run of females. In other words, she

just "is" or she "isn't," If you can lose a"

girl in a crowd she has no chance on the

screen. If her personality does not stand

out among other personalities, she simply

cant qualify.

Provided .she has passed the acid test,
she is required to report each morning at
8:30. With another girl she shares one of
the aforementioned dressing-rooms. She must
exercise; she cant get fat. If walking wont
turn the trick, the studio matron requires her
to don a gym suit and take a "workout" on a
vacant stage. Or perhaps she has to roll.

Stage chorus girls have
of the foregoing routine,
plus : rehearsals at eleven ;
lunch; performance at
two ; rest and dinner ;
evening show at eight —
plenty of one-two-three-
kick exercises. No chance
to get hefty.

None of the successful
contemporary comedy
girls — Phillis Haver,
Marjorie Payne, of Chris-
tie's; Marie Prevost,
Peggy Davis, Vera Stead-
man, Bessie True, of Sun-
shine ; Norma Canterno,
Harriet Hammond — have
ever had .stage experience. The majority have
come to the studio directly from school. None
have ever seen a theatrical agency, and nearly
all have been brought to the attention of the .
producers by other girls on the "lot."

One girl invites a pal to visit the studio and
together they go giggling to interview the man-
ager. .Some day the pal is employed in a mob
scene. If she "is," she is regularly added to
the company, and it is not infrequently that she
develops real talent. More than one current
first-magnitude star got hei; start in the swim-
ming tank.

In the beginning, an anxious mother usually
accompanies the newcomer. Seeing her cherub
{Continued on paije 70)

(Tweutij)

Allan Dwan is a type of busi-
ness-man director. His opin-
ions upon motion picture pro-
duction costs consequently
have unusual significance

At the left is a characteristic view of Mr.
Dwan directing, blue glasses an' every-
thing. Below he is reading a script to his
company, which includes James Kirk-
wood and Anna Q. Nilsson

The Cost of

the Modem

Photoplay

By

HARHISON HASKINS

NOWADAYS, when motion
I)ictine profits and
losses are reckoned in
millions, few stop to con-
sider the actual cost of pro-
duction. From a few hun-
dred dollars the cost of film-
ing a regular release photo-
play has climbed from the
$30,000 of a year or so ago to
$40,000 or $60,000, while a
feature production easily
runs up to from $125,000 to
$150,000.

No director is more com-
petent to discuss studio costs
than Allan Dwan, who is es-
sentially a business- man
director. "I smile when
directors talk loudly of art,"
.says Dwan. "I look upon a
photoplay in the making as a
commercial product, and en-
deavor to create a picture
that will make the broadest
entertainment appeal."

It was then that Dwan
began detailing production
costs. "The average stand-
ard release — such as the
products of the Famous
Players-Lasky, Metro and
other concerns — runs above

(Continued on page 79)

From a few hundred

dollars, the cost of

producing a regular

photoplay feature

has advanced to

$40,000. A feature

drama now runs to

$125,000 or $150,000.

Allan Dwan predicts

that these costs will

double during the

commg year

(Twrnly-one)

Ai. A K c I-: photo-
graphed copy of
the Vidor creed
hangs over the desk
in King Vidor's |>ri-
vate study. It domi-
nates the room, even
as its lofty principles
dominate the life and work of this
yoimg <hrector and producer, who has
fearlessly hroken down many of the
cherished traditions in his endeavor to
hring hetter films, with hetter themes,
into motion pictures.

The first time I met King Vidor
was in the Hu.sh of the phenomenal
success following the showing of his
initial picture, "The Turn in the
Road," and, tho he was pleased and
happy over the i)raise showered upon
his work and the honors it hrought
liim.he had not lost his head nor his
.sane halance. I met him again a
year later, when, having hacked up
this success hy several pictures of
rare merit, he h.id demonstrated that
his first effort was nr) accident, but
tiie result of keen judgnuiit guided
by an absorbing ideal.

He was still unspoiled, eager and
boyish, with a little more confidence,
perhaps, but sincerely viewing his
past achievements merely as the finger
pointing to greater work yet to be
accomplished.

After all, an ideal is the most prac-

Above, a recent study of
King Vidor; center, Mr.
Vidor directing, with Mrs.
Vidor and little Ben Alex-
ander; below, instructing
Charles Meredith how to
make love to Mrs. Vidor

The Human
Photoplay

tical thing in tlie world, for it is the force, the energy
behind action, creating a subtle spiritual jiower that
finds its exiiression thru the individual who has
courage to listen to its call.

Remembering the N'idor pictures, wliich are ever.
like a breath of clean, fresh wind sweeping aside the
accumulating stale and sordid elements which fre-
quently mar the present-day films, I am glad that he
has unfalteringly followed his ideal.

"What is the hiunan pho-
toplay ?" 1 asked, as I tried
to memorize the creed be-
fore nic.

After a thoughtful
jiau.sc, Mr. N'idor set on
record a satisfying defini-
tion as he replied, ".\ hu-
man photopla)' is one that
de])icts peo])le and things as
they really are — one that
is based on truth, life and
naturalness, built on drama
but devoid of melodrama —
a theme that is comprehen-
sive and discernible by the
greatest number of people!
"Human life consists of
struggle." he continued.

'^ti^Kt;''-' I'l' "1"' "ft "f
false beliefs and supersti-
tions that ham])er, and it is
only thru right thinking
that this can be done, so in
my stories on the >creen, if
I can ]Jortray a bit of life,
.'1 simple ^lnry uni\er>al in
its appeal, carrying an

(Twentii-two)

The Vidor Idea

By MAUDE S. CHEATHAM

uplifting tlioiight that will hel|), I shall be happy. Life can be
excitement and thrills and still be human, or it can be all of
this and not be human if it is too far removed from daily
experience, too much toward types and exceptions, and so
narrowed in its application that only the few can understand."

"(]oing back to 'The Turn in the Road,' " I prompted, recall-
ing that marvelously human film that had sent its vital mes-
sage into the hearts of many.

"Well, in that picture," began Mr. Vidor, "I had this idea in
mind — how can I make it so real, so true, that it will hit home;
in other words, make it .so universally human that every one
who sees it will get the thought and be with the characters
as they work out the story, for emotions tend to unite hu-
manity thru the sharing of sympathies !

"With this hope before me, I laid the scenes in a small
town, introduced several incidents that would touch any neigh-
borhood and selected characters of every-day folks whom all
know.

"In watching motion pic-
ture audiences I have no- .. ^'i^J^' -liSi!
ticed that during what I
call the human scenes, they
are interested and intense,
while during the romantic
episodes their attention is
frequently diverted."

"Then you dont consider
the love story an essential
ingredient?" I asked,
amazed at this iconoclastic
suggestion.

Center, the Vidors in their
new car, and, below, little
Suzanne gets her first taste
of motion picture direction.
Ben Alexander appears with
Mr. and Mrs. Vidor

A (Urttit aiib a ^Ubgr

I believe in the motion picture that carries a message to humanity.

I believe in the picture that will help humanity to free itself from
the shackles of fear and sufferiuK that have so lon^ bound it
with iron chains.

I will not knowingly produce a picture that contains anything I
do not believe to be absolutely true to human nature, anything
that could injure anyone or anything unclean in thought
or action.

Nor will I deliberately portray anything to cause fright, sug-
gest fear, glorify mischief, condone cruelty or extenuate
malice.

I will never picture evil or wrong except to prove the fallacy
of its lure.

So long as I direct picturesl will make only those founded upon
the principle of right, and I will endeavor to draw upon the
inexhaustible source of good for my stories, my guidance and
my inspiration.

King W. Vidor.

"Not what is termed the juvenile love interest, unless it up-
holds the theme," he replied, laughing at my surprise. "In the
many letters I received from young
people regarding 'The Turn in the
Road,' few of them mentioned the
love story ; it was the struggle
toward the light that interested
them, and many .spoke of the help
it had afforded, which all goes to
show the trend of thought in the
audiences of today.

"In my last picture, 'The Family
Honor,' it is the love of a sister for
her two brothers and her unswerv-
ing loyalty which is the theme, the
ove story being wholly secondary ;
while in 'The Jack-Knife Man,' by
Ellis Parker Butler, my next film,
there are no young people in the
cast, except a four-year-old boy,
and the story is woven around the
devotion of an old man for this
child.

"Romance on the screen is usually
too vividly portrayed, too obvious,
too highly colored to be natural and so lacks
interest. It is the simple story, simply told,
in simple surroundings with which all are
familiar, and with characters like them-
selves, such as they can understand, that
has what we call the universal appeal with
an audience.

"For instance, the majority of people are

not handsome, and in their hearts they

haven't the sympathy with those who are,

and a handsome hero, like Wallace Reid,

has more to overcome in reaching his

audience than does a plainer man. Will

Rogers made one of his

clever remarks when he

said, 'Guess they put me

in motion pictures so all

the homely birds will

feel good — there are so

many of us!' "

"What is the most im-
portant element in the
successful photoplay?" I
questioned, finding Mr.
{Continued on page 75)

riiologiraph center by Evans
riiotograph left by J. H. Morgan

(Twenty-three)

Romance Comes to
Priscllla

as a son, a clear and devoted one, aiid — "We're al] ,10 hap])v !"
added the little wife, with a new and sweetly serious note in
her voice.

Miss Dean is a stunning-looking girl, with her slim young
figure, dancing black eyes, rosy cheeks and a radiant smile that
shows her merry good humor as well as her pretty teeth.

She is still the "Wildcat," oh, dear yes, irresistible and irre-
pressible in her vivacity and gay spirits. Her name and her
piquant face may be flashing all over the world, but she is not
a bit "up-stage," nor the least spoiled — just a democratic, gen-
erous "good fellow." She had a jolly "Hello !" for every one
who chanced to pass our bench, whether it was her director,
Tod Browning, or Rrich von Stroheim, the maker and builder
of "Blind Husbands," an elderly'electrician or a property boy
in faded overalls.

"Sure," laughed Priscilla, when I spoke of this. "They are
all good scouts ; I like 'em and I believe they all like me. They
treat me to candy and I play games with them — we are just
kids together out here.

"Sometimes I try to be gentle and demure," she exclaimed,
gaily, "but what's the use! I just cant be quiet; I must be up
and doing every minute, and I'm all over the place, teasing
and joking every one."

"I dont see how he ever did
it !" I said, watching the eager
little face beneath the droop-
ing hat.

"Who did w/mi<.^" demanded
Priscilla, briskly.

"Wheeler Oakman " I

began,

"Oh-h!'' she interrupted,
laughing. "Well, Mae Mur-
ray introduced us a long time
ago when he was her leading
'man, but we immediately for-
got all about each other. He
was in service fourteen
months, in France, too, and one
afternoon after he returned I
met him on the street, but we
just spoke and passed on.

Priscilla Dean and
Wheeler Oakman were
secretly married recently.
The romance came about
during the filming of the
Universal feature, "T h e
Virgin of Stamboul." In
the center is a glimpse of
Miss Dean "making up"
her new husband

T]iK great romance has come
to the little "Wildcat of
Paris," and recently Pris-
cilla Dean and Wheeler Oakman
slipped away and were quietly
married !

It is still a dead secret, but as
Priscilla and I talked it all over,

sitting on a wooden bench under the huge pepper trees in the
Universal studio grounds, I reminded her that these love
stories will leak out eventually, so she consented to my an-
nouncing the interesting news.

\o one knew of their jilans excejit Mary, as Priscilla calls
her mother and best pal, and, of course, Mary went along, and
tho her heart was a little heavy at tlie thouglit of sharing her
daughter's life with another, she had already accepted N's'heeler

(Ticcnti/four)

By MARY KEENE

Vhen my picture, 'The Virgin of .Stamboul,'
ame along, Wheeler was cast as leading man,
nd that's when it began. It just grew and
rew until, when we went on location up at
)xnard and were working awfully hard on
ur desert scenes, he proposed to me. He bet
lat we would be married within thte year, and

bet we wouldn't, but — you see — I lost.
leally, this is the first serious love affair I
ver had. There wasn't any use waiting, so
'e just up and married without any fuss or
xcitement.

"We are planning to build a little white
olonial bungalow in Hollywood. Wheeler is
-azy about a home, and I am domestic, too,
)r I can cook and wash dishes and scrub and,
hat is more, I am glad that I know how. We
■e already scrapping about the dogs — that we
ji'en't! Wheeler wants a bulldog and I want

wire-haired terrier. Isn't that a peaceful
mibination ?

"We both love to entertain our friends with
formal dinners and suppers, and we like to
vim and play tennis and dance and ride
)rseback, but neither of us can see golf —
oks like a lot of walking around with noth-
g doing. We're picture fans, too, and our
lief sport is following serials — we like the
rills !" and the little star's con-
gious giggle made several smile

they passed us.

Priscilla Dean was born in New
ork city and at an early age went
I the stage with her mother, May
•eston-Dean. When she was four
e was playing in "Rip Van
'inkle," with the great Joseph
flferson, and she also
ayed with that other
le actor, James A.

Photographs by Jack Freulicn

Below-is a view of Miss
Dean in her new picture,
"The Virgin of Stamboul."
The Wildcat of Paris is
still her favorite role. "I
like wild parts," she says,
"the wilder the better

(Twenty-five)

'"^

Hearne, in "Shore Acres"
and "Hearts of Oak."

At fourteen she did a
song-and-dance act — it was
toe dancing, too — at the
opening season of the Folies Berycre in New York, and
later made a hit with Harry Piker in his famous whirl-
wind dance.
Then came a period of stage work and pictures, mixed,
and four years ago she came to Los Angeles to
play comedy for the National.

"You remember that the company busted,"
recalled Priscilla, cheerfully, "and I was
stranded, without a nickel. I met a man con-
nected with the Buick agency, and he suggested
that I try for the coming Ascot beauty contest.
He had the car dolled up in gay cretonne, and I
wore a simple little summer dress, while Doro-
thy Dalton, Edna Goodrich and the other con-
testants were all beautifully gowned. I was
lucky, tho, for the crowd was with me right
from the start and I won the first prize. A
little later I won a bathing-suit prize at
Venice and, as this had given me much pub-
licity, Universal made me leading woman
for Eddie Lyons and Lee Moran in their
{CoHtinuK.d on page 78)

Two interesting close-ups — and a
long shot — of Carmen Phillips'
eyes. Carmen has distinguished
herself as a fil-em vampire. You
can judge for yourself upon study-
ing the Phillips optics

Those

Vampire

Eyes!

*.\\Â¥

I'liotograph by Witzcl

(Twcyity-ftis)

liHH

Told in story form from the George
Fitzmaurice-Mae Murray Photoplay

By DOROTHY DONNELL

GLORIA, Lady Falkland, had been
dead five years, but. unfortu-
nately, they do not bury women
whose bodies are still able to move
about, and eat and drink and breathe.
So she carried her dead heart about
with her, sepulchred under her beau-
tiful breasts, and looked out at th«
world with dead, beautiful eyes that
never wept, never smiled, even
when she gazed down into the face,
of her little son.

Lady Falkland never looked al;
Archie without the terror of seeing
.something of his father in the soft
baby curves of him, without fear oi'
some vague hint of the cold cruelty,
malice and cynicism that had mur-
dered her girlish hopes beginning to
show in the rosy baby flesh. After
all, he was his child as well as hers.
Yet it was the boy who had kept
her in Constantinople these last
hideous years, enduring all Sir
Archibald's slights, insults, indiscre-
tions, because not to endure them
would have meant disgrace for the â– 
boy and possibly separation from.
him. Constantinople, with its hard
glare of brassy sun, its heartless
gaiety of color on housetop and in
market square, its senseless, soulless
laughter that jangled discordantly on
alien ears— she hated the place—
until even the powers of hating had
become dulled.

• Tonight, muffled in moonlight, it
lay along the Hellespont a dream
city, wjth frail minarets and towers
like' fingers pointing upward. The
waters under the prow of her skift
were blue and tipped with little light
golden flames, the air was clean and
scentless upon her forehead, robbed
of the heavy, sickly odors of the day.

MOTION PICTURE

only killed me,
smiled the wo-
self mockery,
"killed the heart of me.
I'm not the Gloria you
knew. I'm her ghost"

"He has
Richard,"
man in

It might have been a breath out
of the greenness of other springs
long ago in England, so long ago
that they seemed to her some-
times like a thing she had
dreamed and wakened from.

The boatman, a muffled shape
in the prow, began to sing a
native chant, but the soul of his
passenger was far away. There
is something about beauty that
leads the thoughts toward some
beautiful thing, and Gloria was back again, six years back, in
Sus.sex with the white hawthorn hedges, like ghost flowers, all
about them, and a nightingale setting the mo'on to silver music
and a man's hands touching hers, reverently, a:', an acolyte his
shrine, a man's voice throbbing in her ears. "I love you,

Gloria — oh, I love you "

It had been her beautiful moment and she had let it be taken
from her, stolen, cast contemptuously aside to wither even like
one of those tender, budding hawthorn .sprays. Love ! Bah !
A word for babies and fools, they liad told her. A penniless
girl could not afford love when she might have marriage with
one of the great men- of her country, a lord, wealthy, too —
come, come, be sensible !

The clean wind of the Sussex downs. The oaks and little
thatched cottages, and hedges and a deep voice tliat faltered

over foolish words — "I love you, Gloria " The hawthorn

blossoms that would never bloom for her again

"Oh," said Lady Falkland aloud, with a httle broken laugh of
pity, ''she was so very young, and she believed so many things,
and she put her hand out trustingly to life," for it seemed to
the disillusioned woman in the skiff that the girl who had
worn a white gown in the Sussex dusk was some one else who
had lived and died a long time ago. Surely she was not one
with the flouted, scorned creature who had sickened at the
shame of sitting at the table where her husband and his mis-
tress made wanton love before her face and crept out here into
the dusk for a merciful moment of respite.

The slender boat shell moved silently thru the water, leaving
a ribbon of golden ripples behind. The woman sat quite mo-
tionless, brooding, her white hands folded lightly in her lap.
And suddenlv .siie knew that she did not care any longer what

he did or how he insulted her wifehood or what the msolent,
ruddy Lady Edith, with her painted lips and hard glitter of
rings, plotted against her. The dead do not feel shame, can-
not be humiliated, and she was wholly dead of heart at last.

The cry that rose to her lips now was not of fear, tho the
frail boat staggered under the impact of the other sjciff that
had materialized without warning out of the shadows. "Dick !"
said Lady Falkland, "Dick!" and held out her hands with a
beautiful, simple gesture to the man who stared incredulously
down at her from the other boat. In the prows the two Turks
quarreled fiercely over the mishap and the blame thereof. The
city lay very far away, and the present, while the two travelers
from the past touched hands in greeting.

"God, but you haven't changed,' Gloria," swore Richard
Loring, and then the moon looked out from her face veil of
cloud and fell mercilessly upon the lifted face of Lady Falk-
land and the words died on his lips. Beautiful still, with hol-
lows where there had been curves, shadows where there had
been light, and her eyes — the man gave a stifled groan. "Gloria \
What has he done to you ?"

â– 'He has only killed me, Richard," smiled the woman, in self-
mockery, "killed the heart of me. He would do that, you
know, where it would be kinder to kill my body. I'm not the
Gloria you knew. I'm her ghost. But I keep right on living.
I'm so dreadfully healthy, Richard. It's— rather a shame."

He shook. She felt him even across the space that sepa-
rated fhem. Perhaps her soul was closer, I do not know

THE MAN WHO KILLED
Fictionized from the scenario of Ouida Bergere, based upon
the play of Claude Farrere and Pierre Fromdaire. Produced
by George Fitzmaurice for Paramount-Artcraft. Directed by
Mr. Fitzmaurice. starring Mae Murray. The cast :

Lady Falkland Mae Murray

Richard Loring David Powe

Lady Edith ii ' ; ' ' ' ' i-^'S'' 7^

Sir Archibald Falkland Holmes E, Herbert

Prince Stanislaus de Cermurcz Macey Harlan

Marshal to Sultan frank Losee

Governess Marcia Harris

Little Archie Lawrence Johnston

(Twenty-eight)

CLASSIC

But at once, because she was a woman, and women spare those
whom they love, she changed her tone, began to speak lightly
of conventional things. How did it happen, she asked that he
was here in the Kast, when she had supposed hmi m London .
Her tone shook, speaking the name, and he sensed somethmg
of the awful exile of her soul.

Less tactful than she— men always prefer the fundamentals-
he answered her briefly. He was an attache to the Consul, very
lately arrived — yes, yes, every one she knew was well m England
when he left. But she, he stammered, he had heard thmgs
—gossip— idle reports "And now," he said, suddenly vio-
lent "now I know they're true! That beast! Yes, I must say
it, Gloria— that's what he is ; no man could treat a woman so, a
woman like vou, .so little, and sweet and breakable ...

The boatsmen, from anathemas had progressed to amenitie.s
and were now become bosom friends, embracing, to the peril
of their craft. Lady Falkland stirred suddenly and looked
about her with startled eyes. "It's late. I must go back.
She was all at once a hunted thing. "If he finds me gone—
you see, he's so anxious to find something he can use ^^

"Use?'' Loring repeated thickly. "You dont mean "

She nodded dully. "He wants a divorce. Lady Edith— he
would marry her if he could, but I wont ask for one. For the
boy's sake. And so— he's watching— for a chance to sue me.
He's even chosen the man— a Russian prince with great, thick,
red lips. You se£ J have to be" — she laughed, breathlessly —
"careful. I couldn't lose Archie, you know. He's the only
thing I've got in all the world." , a -j

"You've got me, Gloria," the man in the other skiff said,
very low. In the dim light his eyes burned down into hers
with a dean, clear flame. "I— haven't changed. I never shall.
Some men are like that— they want only one woman and

you're my woman. It's something stronger than we are,
stronger than life, even. It's drawn us together again after
all these years, and it will keep on drawing us until there is
no more parting. I dont know how. I just know it's so.
Look at me, Gloria. Dont you believe it, too r"

She shook her head. "I'm dead, I tell you ! Can you raise
the dead. Richard ? There's nothing left here," her hands
touched her breast, "nothing but ashes . ■ •" . ^ , , , ,

But that night, within her own chamber, behind the locked
door she knelt for a long time, while the sleepy maid nodded
in her corner, wondering why the God of the white race re-
quired such endless prayers. But Lady Falkland was not
praying, or if she prayed, it was with strange words. After
all these years, and I so changed. Am I still beautiful, I won-
der"' I haven't looked into a mirror for so long, but /i^ sneers
at me and says no man could be expected to be faithful to
such a scrawny thing!" , , , , , .<.

The thin stufT of her negligee slipped back jfom her out-
flung arms, showing their wasted beauty. She had been
rather a plump girl, all firm, rosy curves and dimples. Ihe
worn beauty of her lifted face was stamped with horror. Let
me stay dead, God!" Lady Falkland prayed. "Living means
suffering, and I'm so tired. So tired of feeling— too tired even
to love Let me stay dead, please, God !" '

Sir Archibald Falkland was very cordial to the new attache
at the consulate, a trifle too cor-
dial. Robert Loring, seething
at the thought of the wrongs a
certain woman had suffered at
the hands of this stout, jovial,
effusive person, could hardly re-
strain a savage desire to plunge

"Let me stay dead, God,
Lady Falkland prayed.
"Living means suffering —
and I'm so tired. So tired
of feeling — too tired even
to live"

(Tiiciity-iiine)

MOTION PICTURE

his fingers into the flabby flesh
of his throat. But if he was to
help Gloria, it could not be by
such direct methods, and so he
accepted Falkland's invitation to
call at his house. "A man falls
heir to his wife's old friends, eh. Loring?" and presently he went.

"Look at yourself!" he
sneered, indicating her un-
covered limbs, her torn,
dishevelled hair. "A likely
story — "

The woman who came to meet him. one thin hand on the
shoulder of a little four-year-old lad, was the colorless Lady
Falkland that all Constantino|)Ie knew, light hair dragged back
from her forehead, all her careful gowning not quite conceal-
ing her pitiful lack of flesh. She gave him a cold, nervous
hand. "You should not have come,' she quivered. "Oh, I
wish you had not come! Of course, he asked you. twt—Iie

(Thirty)

CLASSIC

alwavs tell, because then

means something dreadful. I can

he's almost kind to me." , , ,

It was a shan,eful thing to see how she shrank atid trcmb e
at the thouglit of her husband, an<i how the httle boy lookec
une sil a >out him and drew closer to her. t made R.chard
Lo -tng Vlvsically sick when he thougltt what long tutelage had
scl ook 1 them in this fear, "Ciloria " he saul, when, a te .
hort, formal call he stood in the hall takmg h>s '^ve I ca
stand this. Why d.^nt vou end U '. Leave him, go back to
Kngland ! There's no laxv that can com|>el a woman to endure
what vou have to endure !" , , r

No but there's a law that would take tny baby away frotit
me if 'l left him," Lady I'alkland reminded him, and so 1
shall stay And I shall endure whatever I must, even if it s
„»re than I've had to bear before. But it will be easier if you
dont come any more, I'm afraid, Richard, afraid——

"no° of me, surely, dear!'" he asked her. And she .shook
her head, smiling painfully. ,.„,,,• i

••I'm afraid of-myself," Lady halkland whisperecl.
•That night .^ir Archibald was very drunk indeed. So dumk
that he was ciuite am.n'ous toward his wife and m horror of
hs causes she fled to a small pavilion on the lawn where she
had fitted up a little room, a refuge when he made merry with
Ws Zsen intimates in the house, as he frequently pleased to
do Lady h:dith laughed at his discomhture. "When a man
finds he has a rival," she sneered, "it adds attractions even o
a • fe eh Archie? My word, vou were cpiite taken w_,th Lady
Rones toni,ght ! Ouite touching to see such husbandly devo-

"°The man grew sullen under her gibes, then flared to fury.
"Damn her!'' he fumed. "1 wont stand her virtuous airs any
IrSer As for Loring, what do you think I inyited him here
f r^if it wasn't to get her where I want her.' Ill be rid of
iVer-but I'll kee,. the boy. She'll whme and whimper to him,

â–  and by and by she'll send for him, and then-

" \nd then '" Lady I'-.dith fawned, leaning her blow/.y beauty
to him. "Then, Archie, old boy, what about
jm'.'"

He leered at her
with rheumy eyes. He
liked 'em a good armful,
with plenty of color.
"Then I'm damned if I
dont marry you, Edie,"
he promised, "if we're
still friends."

The woman got up
restlessly and moved to
the window^ to hide a
frown. If they were
still friends ! The longer
that mi Ik -faced fool
hung on to him, the less
her chances, for she
knew well that her
lord's affections were
fitful as the wind. She
leaned her forehead
against the glass, staring
out into the night, which
was torn apart violently
now and again with
jagged splinters of light-
ning, and, so staring,
uttered a cry of delight.
"Would you call it
grounds for divorce,"
she pointed triumphantly.

"I shall sleep well," mur-
mured Lady Falkland, "so
soundly that I think I
shall not even dream — "
She took a step towards
the edge of the parapet

••if a married woman receives a Russian prince in her bedroom

at this hour?" . .,, ,, .

Sir .\rchibald was at her side in an nistaiit, peering uith th.
face of an eager devil into the thick dark. When, tor an in-
stant it lifted.^he saw thru the window of the pavilion his w,te
struggling desperately in the arms of the unsavory I rmce
Stanislaus de Cernuirc/., whom he had brought to the house
a month before in the boiies of this very thing.

■•Call the servants. We must have witnesses! he dneaed.
"I'll go confront them' Cive herself damn vntuous airs,

'"The%'es of the two of them, bad man, ba.l woman, met,
an.l the woman, because she tc.,.. a woman, had an instants
compunction, ••He's a beast-and she hates him . . . it isn t

siiorty ..." ... â–  r

"Dont you give vonrselt virtuous aiis.
snarled. "She could have sued me year
wouldn't, iust out of sp-.-te. Keep out of th,
as much your advantage as mine.

In the pavilion, from
which the Prince had in-
continently fled at the
fir.st sign of apiiroaching
footstejis, the husband
and wife faced
one another, the
woman clutching
\Coni\nncd

oil /i (1 (/ I'

68)

Sir .\rcliibald
ago. and she
l'",die — it's just

(Thirty-one)

Ai.iic Bunn Francis was born in London,
F.ngland, and originally destined for the
law. Hut the law did not appeal to him.
He liked the idea of presenting an argument
to a jury, but that was the only thing he did
like ; all the rest was drudgery. However, he
did his best for a while in order to
please his father, who was a promi-
nent barrister, and then, one day,
fijUy convinced that he would not ,

gain greatness there, he left the pater-
nal office to embark on the career he
had chosen for himself. You are
right — he became an actor.

Now, it is probable that but for his
extreme sensitiveness, the very sen-
sitiveness that made him dislike the
law, he would be a favorite of the
London 'Stage today. Certainly he
would never have been a pioneer in
moving pictures. His success was ja^'-

too great for him to have left the
stage in time.

He was with the Kendals for two
seasons and appeared in "The So-
licitor," which ran for 365 nights in
London. This was followed by two
more big successes, "The Barrister"
and "The Guardsman." '

He became very elated, he told me,

Alec Francis,
Pioneer

and asked ridiculously big salaries. And'
then, he said, the managers decided to punn
ish him for thinking him.self indispensably
by dispensing with him entirely.

He seems to have reacted to outside?!
events with characteristic intensity. Ap-
parently, he was always too elated or overly^
cast down. It did not occur to him that'
this misfortune might be temporary. He:
had been given such an intoxicating draught
of great success that, when the cup wasi
taken away from him, it must have seemed
like the end of the world.

He didn't go into detail. He simply said
that he walked the streets for hours and
then enlisted in a regiment bound for
British East India.

"I suppo.se that I had some idea of pun-
ishing myself," he said. He told me that
he does not believe anything happens in life
which is not according to a perfect plan and
necessary to human development.

He left the army convinced that- he was ,
very much the better in every way for his |
experience. He had grown to love j
India, and South Africa, too, where he ;
also served. In England, again, he
found that his entire viewpoint of life
had changed. The con-
finement of his once
dearly beloved profes-
sion was quite unendur-
able to him. He had

Alec Francis has had an
adventurous career. He
served in the British army
in British East India. Long
stage years preceded his
screen dibut, which was
with Vitagraph

(Thirty-two)

By

ELIZABETH PELTRET

become imbued with the spirit
of "The Empire Builders," so
he left the stage again and
went to Canada to make his
fortune.

"I did every kind of work
that I could do," he said,
"from running a ranch to
nursing in a hospital."

But the fortune did not
materialize. It took him sev-
eral years to work off his
restlessness. Finally, how-
ever, after wandering a long
way around, he came back to
the place from which he
started — the stage. But it
was the New York stage ; he
has never returned to England.

.#".'â–  I

I'liotoKraptis Ity Kv;\ti9

Alec Francis is now one
of the mainstays of the
Goldwyn dramatic person-
nel. Sometime or other
he plans to return to his
first love — th; stage — for
just one production. Af-
ter that i*- will be the films
again

He was married while
he was on tour with a pro-
duction named "Comin'
Thru the Rye." His wife
was a member of the same
company.

His first screen ap-
pearance was with Vita-
graph. He was with
Florence Turner in the
first two-reeler ever
made, "Auld Lang Syne."
From Vitagraph he went
to World, starring in the
first screen production of
"Alias Jimmy Valentine,"

which was directed by Maurice Tourneur. Of his

Goldwyn pictures tho.se that come most readily to

mind are, "The Face in the Dark," "The Cinderella Man,

"The Flame of the Desert," "The Street Called Straight" and

"Earthbound," a spiritualistic picture from the story by Basil

King.

You must imagine him as I saw him at the Goldwyn studio
in Culver City. He was sitting erect in a straight-backed
chair, one hand clasped over the other, resting on the curved
handle of a light-colored cane. He wore a fawn-colored over-
coat. His hair is grey, his skin very fair and his eyes a
peculiarly intense, "electric" blue.

I amused myself by imagining that I was seeing him in his
own house. 1 could easily fancy myself writing, "The place
is marked thruout with an elusive atmosphere of the Orient.
This is all the more peculiar because the colors are subdued
and the furniture arranged with British nicety."

I dont know whether this would be the case or not. He
told me that he loves the Orient. I have said that he impressed
me as being a mystic. He al.so impressed me as being a man
with a very highly developed sense of order.

"I have been house-hunting all week," he said. "It seemi
quite impossible to find a place to live in. My wife and I are
alone, (my step-children are both married), but we want a
(Continued on page 73)

(Thtrty-thret/

Seena Seen
Scenically

cant l>reallie, a> tlm i will ch(ike," she lamented.
"People in ])risnn ninst have the same feeling — as if
great walls are closing in on them. I miss the blue
skies and the open s|)aces acutely. I could never
stand life in a city. And the crowds! It's s6 dif-
ferent in Los Angeles. It's so homey. Like one big
family. Here, you could die of sheer loneliness and
there would be no one who would necessarily know
nor care. It's a city of strangers. Of course, I do
enjoy the cafe life and seeing the theaters and all
that sort of thing, tcinpornrily. But I could never
stand it, day by day. I know that. Being born in
the West. I suppose . . .

"I like to do Western pictures, too," she went on,
"the kind I have done with I'.ill Hart. I had much,
much rather do that type of work than the slinky
society lady variety. There's, something In a Western
picture; something every one cant do. .Invlnidy can
do the drawing-room stuff. 1 like to ride and shoot
and throw up my hat. I can do it, so why not ? It
has real life in it."

The Biltmore, and the French i)astries and .Seena,
satin-clad and fur-enveloped . . . the far
plains and Bill Hart and the cold muzzle

Seena Owen combines
— to the outer eye — the
bearing and sophistica-
tion of the effete East
with the love of open
soaces, homey people,
Colts and Bill Hart
photoplays with mus-
tangs and shooting

I MIGHT add, .Seena
seen mentally,

'too, were it not
for the cumbrous
fact that said addi-
tion would make a
cumbrous title, and
meaning must go
by the board when
.such a point is at
stake. Hence . . .

The setting was the Biltmore, on a Saturday
afternoon at tea-time. Scenically, the value
of this depends upon one's point of view.

The background was the spiralling of ciga-
ret smoke, grey-blue, which added to the dull
gold of Seena's hair, and there was Hawaiian
music, against which she did vociferously pro-
test, and also, there were coffee and consider-
able French pastry. There is something ex-
ceedingly clean-cut about the indubitable
beautv of Seena. She moves well, too, and
she has a charming carriage. She has a
rather indolent air and a detached manner,
and yet you find, ui)on after-contemplation,
that she has said a great hiany things which
must, necessarily, have come from a fund of
thought and feeling. She is unostentatious to
a degree. If she is subtle she conceals it, and
yet her simplicity is ultra rather than simple.

It would seem super-discriminating to cavil
at the necessity of stopping at the Biltmore,
yet Seena was so cavilling. Not, however,
exclusively at the Biltmore, but at living in
New York City generally. "I feel as tho I

(Thirlji tour)

By

FAITH

SERVICE

of a Colt ana c^eena
dashing about on a mus-
tang . . • rather a far
stretch of the imagina-
tion, but, (this we say
modestly), we have an
elastic imagination and a
great credulity, and we
'ave seen what we 'ave
seen!

Seena was here, she
knew not whether tem-
porarily or no, it seemed.
She was,- at the timevve
talked, just free-lancing,
but future plans were
more or less in abey-
ance and pending fur-
ther consideration.
Then, too, there were
stage plans. She was
quite electric when I
asked her whether she
would like the stage. "I
would be crazy about
it !" she declared.

It being a few days
prior to the arrival of
the Yuletide saint, the
conversation ran to said
arrival and to the wee
generation to whom the
arrival looms so impor-
tantly. "There is going
to be," said Seena, not
without wistfulness,
"some sort of gather-
ing of the kiddies at the
Grand Central Palace
on Christmas Day. I
am going down there
to play with them for
a while, since I cant be
with Patricia." (Pa-
tricia, be it said, is three-
year-old Patricia Walsh and a very important part, indeed, of
Seena, viewed scenically or any other way.)

"I haven't dared to break the news to them at home," said
Seena, "that I will not be with them Christmas Day. We're
an awfully chummy family, mother, my sister, Mr. Walsh, my
brother and the baby and I. I've been sending all sortg of
vague telegrams in an effort to break the ice, but I haven't
dared to attempt the final word yet. It's hard to be away, tho,
on Christmas Day. I never have before."

We spoke of the general irreconciliation of the woman who,
so especially in this day and age, is endeavoring to be at once
professional and domestic, to combine the child and the career.
Seena admits , to puzzlement. The two, she thinks, are,
really, irreconcilable ; and yet, paradoxically, no woman
reaches a high stage of personal development, and hence a high
stage of artistic development, until she has known the pos-
session of a child. "I," said Seena, "never knew anything
until I had Patricia. I dont know much now," she added,
with a pretty depreciation, "but I knew even less before.

"Perhaps," she said, thoughtfully, after a little, "the very
struggle between the personal and the professional,' the child
aiTd the career is part, a very large part, of the development.

(Thirty-five)

No woman reaches a high
stage of personal develop-
ment, says Seena Owen,
until she has known the
possession of a child. "I
never knew anything until
I had Patricia," she de-
clares

It is hard, but ... I dont
know ..." She shrugged her
shoulders and laughed, "One
thing I do know," she said, with
a glance which took in the pleas-
ant dalliance of the room, "I
could never do Hothinc/. I
would rather be rushed to death

than to be idle. That would be to me the one thing I never
could stand. I dont see how it's done."

Seena beheves in laughter. Lots of it. For all sorts of
things, physical and mental. No physician, she thinks, can do
for vou what laughter can do, mere fooling. "I was so de-
pressed a couple of hours ago," she told me, "that I didn't
think I should be able to say three connected words, arid then,
about. an hour ago Clarine Seymour came in and we just sat
up in my room and laughed and laughed and kidded away like
two-year-olds, and now I feel like one. The depression is
gone. I dont know any one I have more fun with than I
do with Clarine, anyway."

Seena is a sort of an illustration of the impossibility of Last
{Continued on page 69)

Camet

By LILLI.N

of "professionals" and their
friends, know of its existence.
One does not enter — one is ad-
mitted at a ring of tlie bell, vol-
ubly greeted in Italian and po-
litely conducted up a wide flight
of stairs to rooms that must have
been, in days of yore, the scene
of many notable gatherings, a
place where the elite, the fa-
vored few, entertained — and
were entertained. A place of
charm and dignity, with its many
quaintly fashioned old chande-
liers, high arched doorways, long
mirrors, bare poli.shed floors,
tables gleaming with napery and
silver at which were gathered
interesting and congenial groups.
We were a party of four. Miss
Ca.ssinelli, her mother, a friend,
myself. While Mrs. Cassinelli
was giving her attention to the
menu, Dolores was holdmg court.
From this table and that came
artists from the Metropolitan
stage, from the concert stage, a
few from the speaking stage, to
greet her, speaking always in
soft, liquid, eager tones, their
mother tongue. Listening to the
inconsequent chatter, the gay
laughter, the manifest compli-

Photograph by Alfred Cheney Johnston

Dolores Cassinelli was
born in the land of
sunshine and blue skies
— Italy, Always a stu-
dent of music, she be-
gan with the Essanay
Company in Chicago
while doing concert
work there

SHE claims the distinction of being
the only Italian screen artist,
and is proud that this is true.
She is proud, too, of the fact that
she is an Italian, that she wis born
in the land of sunshine and blue
skies, of music and song, of a race
with the subtle charm of older civ-
ilization and culture than ours —

poets, artists, thinkers — of the race that is ready to "kiss or
kill," a hot-blooded, warm-hearted people, with the keen sense
of justice that quickly recognizes and seeks to right a wrong.

It was Caruso who gave to his young countrywoman the
title, "The Cameo Girl," and the name has clung. Not because
Caruso gave it, but because Dolores Cassinelli is, in truth, a
cameo girl — and far more beautiful in reality than she is on
the screen. She has the splendid glow, the sparkle, the effer-
vescence of champagne. One sees in her pure, clear-cut pro-
file, her Madonna-perfect face, the wistfulness, the immortal
faith of youth ; in the flame of her dark eyes the magic of
deathless romance. Love, wi.sdom, comedy, tragedy — are all
combined in her.

The interview was accomplished in a restaurant — if a place
so unusual and interesting can be called by that commonplace
name — on one of New York's cross streets. I fancy that few
New Yorkers, aside from Metropolitan artists, a certain class

(Xliirty-mx)

iassinelli

)NTANYE

merit, one could picture Dolores
Cassinelli in her own Italy. A
coun with vivid flowers bloom-
ing, the tinkle of a fountain,
olive-skinned swains adoring a
dark, vivacious girl picturesquely
garbed, behind one small ear a
deep red rose.

And then, with a wave of a
slender hand, she dismissed her
cavaliers and turned to me, a
thoroly modem .American girl,
delightfully girlish in her grey
jersey frock, with its glorified
vest of old-rose.

CJver the delicious Italian din-
ner I marvelled at her perfect
l''ngli>h. "I speak French and
Spanish, too," she said. "Lan-
guages come easily when one
begins young. Of course, I like
my own language best of all and
love to si>eak it. But I have
tried very hard to perfect my-
self in English, because I came
to .\merica when a mere child
and it is really my home. I like
the i>eople immensely. They
have been more than kind to me.
Americans are, perhaps, more
cold, more reserved than my
people, but it's merely a diflfer-
ence in temperament. Italians

Photograph l»y Ahlic

Pnotogra|iri ai>ove l>y Alfred t'heney Johnston

Altho bom in Italy,
Miss Cassinelli is really
typically American.
She has lived almost
her whole life here.
Her musical education
is a complete one and
she can sing fourteen
operas

(ThiHu-ieteri)

are more demonstrative, warmer-
hearted," gazing appreciatively at
the groups of apparently carefree
diners about us. "Americans are
just as kind at heart — but they are
always so busy. They cannot spend
so much time on little things because
they are doing so many big things
— and one cant do everything."
".And you?" I intpiired of Mrs. Cassinelli.
"Yes," (the said, emphatically, ".Vmerica has been kind.
Dolores is really an .American. .She was educated, grew up
here. She has ti'ot been back to Italy. I have been back many
times, but here I shall be most of the time, becau.se Dolores
needs me. 1 am her manager and attend to all business.

"I, too, have had many oflfers to act in pictures, but," with
:i deprccatorv .shrug, "1 have no desire and no time. It is all I
can do to look after Dolores — not that she is hard to manage,"
she said, looking across the table at her daughter, and one saw
in the glance they exchanged that they are the most under-
.standing of friends.

Dolores Cassinelli has had a varied career. .Vs she grew up,

her abiding love for music, which is one of the characteristics

of her race, grew a|)ace with her, and at an early age she began

her career ui«)n the concert stage. While doing concert work

iConliuucd on fos/i' 7Z)

"The Blue Flame"
of the Films

Here are the first acenes from Theda
Bara'8 new stage play, "The Blue
Flame." Miss Bara has temporarily de-
serted the films to star in this exotic
drama under the management of A. H.
Woods. Theater records have been
smashed everywhere — rather indicating
an uncommon interest on the part of
the public in the famous cinema siren.
Donald Gallagher appears with Miss
Bara in the scene at the right

Sick-a-Bed

Told in story form from the Paramount-Wallace
Reid Photoplay

By OLIVE CAREW

"OHK says," moaned John Weems, "she says
|j she's going to get a divorce. My God,
what shall I do?"

"Let her get it and thank your lucky stars."
But Reginald Jay did not say this aloud. He
was too much perturbed at the prospect evoked
by his friend — blonde Constance, a trifle in-
clined to stoutness, more than a trifle roman-
tic, free and husbandless, preying upon whom
she willed! In spite of the testimony of his
mirror and of ladies' eyes. Jay was a modest
young man, but even modesty could not blind
him to the fact that Connie had been very ten-
der that night in the Forest of Arden. He
groaned aloud, and the afflicted husband
echoed the groan.

"Yes, think of it! To lose that peerless
woman, and all because of a terrible mistake.
Oh, why did I ever show that woman over
your property? Why did I ever go into that
infamous roadhouse to telephone? Why did
1 fire that chauffeur"-' And some men can take
chorus girls to Palm Beach and get away with
it by calling it a business trip!"

John Weems, president of the Weems Pat-
ent Clothes Wringer Co., ("Ring out the old,
wring in the new," Pat. 1900), was not built
for tragedy. A movie director would have
cast him in the role of the prosperous banker
or the successful business man. He was stout-
ish, baldish, with a mind that worked like
ticker-tape and conversation flavorous of the
Wall Street Journal, but tonight he was un-
doubtedly moved.

Chalmers, the detective, was inclined to take
a more cheerful view of the situation. "Come,
come ! She's only got two witnesses, seeing
as how the lady in the case has disappeared.
Lor' lo\'e you, sometimes we have to fix up a
dozen ! The chauffeur wont count for much.
He was sore at being fired and, anyhow,
juries dont take much to chauffeurs since the
taxi fares has went up. That leaves this
gentleman here "

"I'll lie," Reginald Jay declared, "like a
gentleman."

sir." The detective shook
"The (|uestion is, can you

That wont do
his head sagely,
lie like a liar?"

"The court will ask you," moaned Weems,
"what you were doing yourself at Fender's
Place at one o'clock in the morning, and what
will you say then '"

Reginald thought deeply. "I might say," he
suggested, "that I was attacked by redskins
from the bushes, or
bitten l)y a rabid
Bolsheviki. or I
sto()i)ed to buy a
postage stamp to
mail a letter to my
maiden aunt. ( )r 1
could say that i
was afraid of the
night air, or that I
felt an attack of

frilirt,! iniirl

Young Jay started,
paled perceptibly at a
vision of Constance,
coy and determined,
piloting him up the
aisle to the strains of
Mendelssohn what

was it she had called
him . . . Orlando?
Yes, that was it, her
Orlando!

MOTION PICTURK

'On the whole," the doc- my old malady, housemaid's

or mused, "I think I shall ^nee, coming on, or "

)rescnbe a nurse for you. .... r- a\-'\.\. j ^ ,.â– 

\nornamentalnurse . ." ^X Gawd! the detective

groaned. "It's no use! We cant
trust you on the stand or you'll
;nd by gettin' Mr. Weems hung! You'll have to fade, that's
all, afore the process servers get you."

"Fade?" Jay repeated vagfuely. "I'm sorry, but I dont
just "

"Vamoose! Skip! Beat it ! Make your getaway !" the de-
tective snapped. "Without your testimony the lady cant get
the goods on her husband, and seeing he was doing you a
favor by carrying the lady around" — and here he winked with
the eye farthest from Weems — "it's up to you to take a little
trip to Canada till the whole thing blows over."

Reginald Jay opened his lips, but the shrill pealing of the

door-bell interrupted
him. When he returned,
he carried a legal-look-
ing pajier which brought
a disgusted "Hell !" from
Chahuers. "Too late ! Y'
cant leave the .Statenow !"
Weems collapsed
heavily on the daven-
port. His Habby cheeks
(|uivered, a sniaJI, for-
lorn tear trickled down
the side nf his nose.
"My Con.stancc I Mar-
ried for four years and
I've been faithful to her
— never hired a stenog-
rai)her under fifty, even.
And if she gets her di-
vorce she'll marry some

other man "

Young Jay started,
paled perceptibly as a
vision was vouchsafed
him of Constance, coy
and determined, piloting
him up the aisle to the
triumphant strains of
Mendelssohn. What was
it she had called him
while they wandered
thru the darkness that
night, trying to find the
inn — Orlando? Yes. that
was it, her Orlando I "I
— I might commit .sui-
cide, I suppose!" he
cried. "That would be
better than getting mar-
ried "

"You mean than get-
ting divorced," Weems
corrected him. He sat
up suddenly on the
couch, a pale gleam of
hope flickering in his
watery gaze. "Look
here; couldn't you be
sick ? Sick-a-bed ' Out
of your head? Forbid-
den to testify under the
doctor's orders? Jay,
you must do it ! It's my

only hope "

Reginald Jay consia-
ered. Bed for an indefi-
n i t e stay «' a s bad
enough, but Constance
was worse. It was his
only hope, too. "I'd prefer the flew to the flu.'' he ventured,
with ghastly humor, "but you .provide the doctor and I'll pro-
vide the corpse — er — that is, the patient. .\nd perhaps" — hope-
fully, as one determined to see the bright side of things — "pei
haps my case will be desperate enough to call for a do.se of
Green River every hour or so."

It was a very sick man who lay, groaning dismally, the next
morning when Chalmers ushered in two small and weedy
gentlemen, equipped with black bags and tall silk hats, and
introduced them cheerily as "Doctor Widner and Dr. I-'lexner,
who will attend to your case."

Under cover of a groan. Jay |>ulled the detective down. ,
"Doctors?" he whispered. "Real M.D.'s?"

Chalmers grinned. "X.D.'s — nearly doctors," he reassured
him. "The Van Dyke beards and the hats are props, m' boy.
They understand the situation, and have no objections to a

CLASSIC

well patieiU, provideil the fee i> ;ill right. IJoelcirs, 1 wish
\(iii uinild m;il<c an e.\:iinin;ai(Jii ni this gentleman."

The (luctcii's iipened their bags and drew out sundry inipres-
sive-liioUing ini|ilenients that caused Jay tii turn jiale and start
1(1 ri-e, niilv to he forced back upon the jiillows, while Messrs.
Widnrr and I'"!e.Nner listened solemnly at his chest, took his
tcni|ierature, counted bis pulse and wagge<l tlieir heads mourn-
fullv.
pend^

'\'ery seriotis, very. My dear telle
on vour remaining in lied for two week:

, your life de-
at least, with-

out -eenig any
\\ ing (.'how.
instructions to
hung o\er the

(lied from
amount of

caller>."

the impa>si\e butler, was called in and gi\en
admit no one. .\n oflicial-Io(;king chart was
bed, the shades were drawn and a large bottle
and a spoon arranged on the -tand beside the bed. Chalmers,
obviously imjiressed by these realistic arrangements, shook
hands with jay feelingly. "( iood-by. old man, and if worst
comes 10 worst. Ciod bless you I"

The patient's snn'ie was painful. "Do you know a nice,
kind-hearted undertaker .'"

"Lea\e that to us," Dr. I'"le.\ner assured him cheerily; "we'll
attend to all those little details."

Left alone in the dimmed bedrocjm. Reginald was forced to
admit that he (//(/ have a ipieerish feeling — in his heart, it was.
or perhaps his lungs. Come to think of it, his grandfather had
died of Uright's disease, and a great-uncle had |)assed away
of ]ihtliisis at the age of ninety-two. The more he rcHected,
the worse he felt. He hadn't a single grandfather or grand-
m(;ther left — in fact, nearly all his ancestors had
something or other. 'I'here had been a surprising
nujrtality among them . . .

He groaned with real feeling, and then groaned again with
still more feeling. For the door had been unceremoniously
thing o])en and Constance W'eems burst plumply into the
room. "Reginald Jay!" she accused him; then, in a softened
tone. "Orlando, how could you treat your Rosalind so?"

The sick
man gave a
really brilliant
imitation o f
one in the last
throes of dis-
solution.
"Very — sick."
he trailed out,
and sank be-
neath the bed-
clothes ; "think
—going to—
die "

"Nonsense !"
The irritation
got the upper
hand in the
lady's voice,
giving it the
pleasing qual-
ity of a nut-
meg grater.
"You know as
well as I do
that it's all a
put-up job to
cheat me out of
a divorce. But
if you and my
husband think
for one mo-
ment that I'm
going to be
stopped by
child's play
like this, you'll
find you're
very much
mistaken !"

(Forty -one)

Reginald Jay spoke pleadingly, "Have a heart! I'm really
dl. It — it came on me suddenly."

Mrs. W'eems sniffed, then drew out a handkerchief bedewed
with delicate scent and dabbed at her eyes. "It's because I have
a heart that I want to be free. Have you forgotten our Forest
of.Vrden? Orlando! Orlando! My heart is fluttering like a
bird — a little, tender homing-bird that would fly to its own
nest !"

"Help! I'm dying!" moaned Reginald, and, as if in answer,
the door opened to admit Dr. Widner, followed by the apolo-
getic \\ ing Chow.

"I no can hel|)ee ! Lady velly bigger than me. I say no can
come in. She say go-to-hellee !"

"1 am sorry, madam." bowed the doctor, "but this gentle-
man cannot be disturbed. A very serious case of — htm —
post-mortem anterior metabolism, with complications. (Quiet-
ness is essential. Wing Chow will keep you informed as to
his progress," and the amazing little man actually succeeded
in bowing the lady out and closing and bolting the door behind
her. jay sat up in bed and shook hands with him.

"You're a wonder! A moment more and she'd have got
her divorce and married me!'' he exclaimed, wiping his be-
dewed brow. "Some women rob the cradle, and .some rob the
grave. My Cod, I'd stay in bed a year to kee[) my old friend
Weems safely married!"

"On the uliole," the doctor mu.sed, "on the whole. I think 1
shall prescribe a nurse for you. An — ornamental nurse," he
hastened to add, at signs of explosion, "one whom it will not
hurt the eyes of an invalid to look upon."

There are compensations to
everything, even to sickness.

Xur.se Durant was such a com- "There, there!" cooed

pensation. She had a neat little N.""« Durant, smoothing

!;„ . , 1 ■ 1 ,1 ui n's forehead, quite profes-

hgure which the prim blue urn- sionally, of course; "you

form set oft to perfection ; she mustn't get excited"

MOTION PICTURE

Late one evening the re-
sourceful Constance ap-
peared to reiterate her
plea that he recover and
help to free her from a
man who could never un-
derstand her soul-needs

had soft, wavy brown hair with
gUnts of gold in it which the ab-
surd little cap made no pretense
of hiding, and she had a smile
that made one pray fervently —
but not for speedy recovery.
Then and there Reginald Jay de-
termined that his illness should
be lingering if it did not become chronic.

"Have you brought your trunk 'l" he asked, feebly. "I'm
going to be sick more than a suit-case worth."

The nurse seemed surprised. "And yet you look so well!"

"Do you think so?" Jay cried, eagerly. "Of course, I need

a shave, but when I'm dressed up I've been told I ought to try

for a place in the movies. There's a photograph over there on

the bureau somewhere "

Nurse Durant blushed and made a great pretense of study-
ing the chart at the head of the bed. "Temperature normal —
pulse normal," she read aloud. "Mr. Jay, how long have you
had this- — this illness ?"

"It began," explained the patient .sadly, "with a love affair."
"Oh!" "The nurse's tone was suddenly remote. She was
turning away, but Jay caught her skirt.

"You dont understand. It wasn't that I was in love, but
the ladv. Listen — oh, please listen! You cant blame me if a
married woman insists ui)on falling in love with me, can you .'
Her husband was an old friend of mine, and I never dreamed
of such a thing. But she asked me to go to walk, and a storm
came up and we couldn't find our way Isack to the inn till mid-
night. And she kept talking about how romantic it was!"

"I suppose she's very beautiful?" but the pretty nurse's tone
was a trifle less frigid.

"Beautiful !" Jay growled. "With her hair all out of curl
and pla.stered over her face! And she would skip, tho she
weighs fifty pounds too much, and now she's trying to get a
divorce from her husband because I happened to meet him
coming out of a roadhouse that same night with a woman he'd
been .showing real estate lots to ! And she wants me to be her

witness, and afterwards she means to " He broke off,

shuddering.

"There, there !" cooed Nur.se Durant, smoothing his fore-
head, quite professionally, of course; "you mustn't get excited.
It's very bad for a man as sick as you are. Dont worry at all.
No one shall marry you while I'm around."

Ensued several delightful days during which Jay's chart tes-
tified that he was at least holding his own. Constance and the
Forest of .\rden were quite forgotten, while Nur.se Durant and
her patient discovered singular similarities of taste. They botli
liked limburger cheese, ragtime music, Robert VV. Chambers,
auction bridge and Coney Island. They both disliked the sub-
way, highbrow plays, blondes, bologna and grand opera. And
when they both at the .same moment stated that their favorite
movie star was Norma Talmadge, they looked at one another
awed. It was almost supernatural to feel so much alike about
all the essential things.

But even a nurse has to have some sleep and, late one eve-
ning, while Reginald lay unprotected and helpless, the re-
sourceful Constance api>eared via the fire-escape to reiterate her
plea that he recover and help to free her from a man who
could never understand her soul-needs. She was just getting
nicely under way when voices outside the door warned of the
approach of a visitor.

"My husliand !" Coimie whispered, dramatically. "Well, it
is Fate!" However, she showed distinct uneasiness, and just

(Foriy-two)

as Jay was on the point of fainting away she plopped plumpiy
into the clothes hamper and drew the cover down, concealing
all hut one peroxide curl. At the same moment the door burst
open and Weems flung himself in, quite purple with some
emotion which he immediately proceeded to explain. â– 

"I've got tlie evidence!" He waved a small pink slip of
note-pai)er threateningly. ".\ letter in her own hand, begin-
ning 'My Hwii Orlando,' and now, as soon as I find who the
fellow is, I'll start a counter suit — what's the matter. Jay?"

I'or his friend had choked alarmingly, and now sat up
among his pillows, regarding the clothes hamper, which was
swaying violently to and fro in a very, odd manner indeed.
Luckily, Weems was too full of his own grievance to notice.
"Yes, sir," he declared, violently, "I'm on the track of Orlando

right now. and when 1 tind him " He brought his fist

down on the lid of the hamper by way of emphasis.

"Wing!" called Jay, faintly, "Wing Chow!" And as the
Chinaman api)eared sleepily in the doorway he pointed to the
hamper. "Take the laundry basket out into the other room.
The man will be here for it tomorrow morning, and it's always
well to he forehanded. Take it out ! And keep it out — dont
let it get back in here !"

Doctors FIcNner and W'idner wore a distinctly worried look
as they entered the sick chamber the next morning and silently
laid upon the bed a court order that Dr. Macklyn, the prominent
physician, should be allowed to examine one Reginald Jay on
behalf of .Mrs. Constance Weems, who claimed that he was
not sick enough to claim exemption from testifying in her
divorce suit.
"There's just one thing to be done," Flexner observed,

gloomily, to Widner, across the |>rone form of the patient,
"and we'll have to do it or go to jail."

"Certainly. " agreed his co-i)ractitioner, "and the sooner the

better. That Macklyn may be here at any moment."

They then both regarded Jay with an expression that caused

lively foreboding in that gentleman's mind. "What do you mean?"

he asked irritably.
"Which would you

prefer to have?" h'lex-

ner inquired, as he

opened his case, re-
moved several small

vials and a hypodermic

needle and held them

one after the other, to

the light. "Now, we

can give you a beauti-
ful case of cholera, or

perha|)s you'd prefer

leprosy " Or a touch of

.\siatic fever' Come,

come ; choose and be

quick about it ? You

cant expect us to go to

jail because ymi aren't

really sick. Be reason-
able!"
"I'll be da '' Jay

began, but the appear-
ance of Nurse Duncan

changed the expletive

to "switched." She was

bearing the breakfast

tray and looked

puzzled.

"Dr. Richard Mack-
lyn is outside," she

said; "what can he

want ' Do vou know ?"

"Then you've got a case
for life" — he kist her —
"for I have the best
medical authority that
mv case is incurable I"

( h'tiTtii-ihTer.)

SICK-A-BED

Told in story form from the scenario of Clara G. Ken-
nedy, based upon Ethel Watts Mumford's story. Produced
by Famous Players-Lasky Corporation, starring Wallace
Reid. Directed by Sam Woods. The cast:

Reginald Jay Wallace Reid

Nurse Durant Bebe Daniels

John Weems John Steppling

Constance Weems Winifred Greenwood

Chalmers Tully Marshall

Dr. Macklyn C. H. Geldert

Dr. Widner ; Lucien Littlefield

Dr. Flexner Robert Boulder

Lady Customer Lorrenza Lazzarini

Wing Chow George Kuwa

The two pseudo doctors collapsed with two groans onto two
chairs, while the invalid showed strongly marked symptoms of
getting out of bed, but sank back on second thought upon his
pillows, running his fingers distractedly thru his hair. "Oh,
we know, all right !" he said, dismally. "He wants to prove
I'm faking sickness so he can send these fellows here to jail
and marry me off to Con — to Mrs. Weems. Now, I wouldn't
care if it meant jail for me, but — the other! And she'll marry
me sure as fate if she gets her divorce ..."

"Never !" cried Nurse Durant. These nurses have such a
wonderful devotion to their duty ! She set down the tray be-
side the bed. gave her hair a touch at the mirror and sailed out
of the room militantly, returning in a moment with a dis-
agreeable-looking man, carrying a battered medicine case and
scowling over thick-lensed spectacles.

"Here is the patient. Dr. Macklyn," she said sweetly, "and
these are the attending doctors. Any questions you may want
{Continued on page 74)

The Celluloid '
Critic

finally |(ives up his life in a battle with
natives, and the. waster, stirred by his
ideals and religious faith, becomes re-
generated in the love of the island maid.

This clash of untrammeled passions
and age-old conventions is not new, of
course, but at least we expected Griffith
to weave it into a human fabric. But
"The Idol Dancer" never approaches
reality anywhere and is merely bald
melodrama working up to the inevitable
Griffith cha.se, this time a boatload of
natives, led by the beachcomber, racing
back to the village in order to save it
from headhunters. These savages, by
the way, live up to Griffith tradition by
spending hours battering away at the
missionary's door.

Clarine Seymour is the island girl
and as piquant a figure as ever we hope
to see celluloided. No .such half-caste
girl ever e.xisted on a tropical island, but
why quibble at reality ? Richard Rar-
thelmess is effective as the derelict
beachcomber, if rather youthful for a
waster of such experiences as the sub-
titles paint. And Creighton Hale handles
his role of the tubercular lad from the
States very well. Here and there are
"Griffith touches." but "The Idol
Dancer" is a distinct disappointment.

Clarine Seymour is the island girl in
"The Idol Dancer," and as piquant a
figure as ever we hope to see cellu-
loided. Below, Dorothy Gish in
"Mary Ellen Comes to Town"

l'liotoKriM'i''''y Alil'C

DAVID Wauk tlkiri-iTii is a man
good, bad and indiflferent, all
is his latest celluloid creation,
us to this comment.

"The Idol Dancer" is Girifiith at
exotic a background as any .screen
upon a desert isle a pictures(|ue tria
whose veins throbs the blood of
comber waster and a missionary's
Then comes the inevitable clash of

of unique i)ersonality. He can be

within the scope of a few weeks. It

"The Idol Dancer.'.' which prompts

his worst, despite as colorful and
painter could desire. Griffith places

iigle; a beautiful half-caste girl thru
several passionate races, a beach-
sickly nephew from New England.

iiassion and ideals. The weak youth

(Forty-four)

The Newest Photoplays in Review

By FREDERICK JAMES SMITH

\Vc rate the Metro visualization of Sir (lilbert Parker's
"The Right of Way" as the best thing created by that
organization since Alia Naziniova's unforgettable "Revela-
tion.'' It is a tragic story, and Metro went at least a step
in the right direction by pre|)aring two endings. One iire-
sents the novel as the author saw it and the other offers it
as motion jjiclure producers imagine audiences demand it.
The production is admirable as to consistent continuity plus
direct and sincere handling. .\nd P.ert Lytell contributes
one of the best characterizations of the year as that arch-
cynic. Charley Steele, .\nother fine bit of work is that of
Gibson Gowland as Joe Portugais.

John Barrymore's "Dr. Jekyll and Mr. Hyde," (Para-
mount), will likely be an unforgettable thing in the minds
of those who see it. I'or Parrymore makes the Robert
Louis Stevenson creatiofi a ghoulish thing of nightmares.
True, he idealizes Jekyll into a poetic and melancholy
youth of classic iirofile and lacy waistcoats. Rut his Hyde
is a terrible being, with the
most ghastly make-up we
ever recall seeing in the
films. Memories of the
bent and gloating Hyde,
loping thru the London
fogs, will haunt your
dreams. The film adajJta-
tion isn't the original story
of Stevenson, since all .sorts
of things, from the addi-
tion of feminine intere.st
on, have been dorie with
it. Yet it is a finely work-
manlike ])iece of screen-
craft. Out of the cast
stands a vivid figure of the
London dejiths, played in
remarkatile fashion by one
Nita Xaldi. You will hear
more of Miss Naldi, or we

Above, Bert Lytell
contributes one of the
best characterizations
of the year as the
arch-cynic in "The
Right of Way." Cen-
ter, Priscilla Dean as
The Virgin of Stam-
boul, and below,
Charles Ray trying to
keep cool in Alarm
Clock Andy"

- JnmyiAmfillvm

L

miss our g u e s
Martha Mansfield
makes a rather pret-
ty figure as Dr.
Jekyll's sweetheart.

Universal appar-
ently spent a small
fortune upon "The
Virgin of Stamboul"
as a super-vehi'clc
for Priscilla Dean.
It is all about the
desperate tribula-
tions of a pre^t3' beg-
gar girl of Coni.tan-
tinople who is de-
sired by a villain(jus
sheik, a gentleman
who appa rently
care:s nothing for
the H. C. of L. in
combafing harem
overhead <5.xpenses.
Then, too, tlie girl is
beloved by an Amer-
ican soldier of for-
tune. We give you
one gliess as to who
wins. But it doesn't
happen until scores
of camels and hor.ses
chase each other
across the Sahara,
endless extras walk
up and down the
streets of Stamboul
and a desert city, "in
the direction of
Mecca" is stormed.
(Cotttinued on page
101)

(Fnitjifivtj

Virginia Brown Faire is
one of the four winners of
the Fame and Fortune
Contest of 1919. She is
now at Universal City do-
ing special productions
uiyler a remarkable con-
tract which has five years
to run

EVERY time I have seen Virginia
Brown Faire — and I have seen her
often and under many widel)-
varying conditions — I think of a rose.
Xot of a deep red rose, nor of a white
or pale yellow rose — rather of a pink
rose, delicate and fragile, not full
blown, but in the bud.

Virginia is the essence of girlish-
ness — still in her 'teens, she has not stopped to question why. She
is fortunate in having a mother who is a pal and a father who takes
his pleasure in making her happy. If she has weighed the world
it has not been to find it wanting — and yet she is not .selfish thru the
things which have come to her. There has been an element of wis-
<lom in the love which she has known.

Before signing her Universal contract and leaving for California,
ihe came often to the magazine offices, and there has been no more
â– welcome visitor. Her utter naturalness and the lack of any desire
upon her part to impress went so far as to impress even the office-
boy — that, in itself, is su|)er!ative. /\nd there is no one who knows"
her who is not delighted over her good fortune — there could be no
greater test of sincerity of feeling.

"How did I feel when I learnt I was one of the contest winners"'"
she reiterated. "Why, very happy. At first it seemed too good to
be true, and when Universal offered me the five years' contract and
the generous salary-rwell. I just didn't know any one could be .so
happy."

Her mother was with her and she told me that Virginia had left
school this term, because they knew she could not accept any offer

A Rose
in the Bud

Bv BARBARA ALLEN

and keej) uj) with her class at school. She
was in the first year at high.

"Virginia will not give up her studies,
however," she told me. "She is fond of
them, in the first place, and we realize thai
the wider her knowledge, tlie more conver-
sant she is in different subjects, the better
her work will be. She is particularly fond
of Frencii and literature, but there will be
other subjects as well. One of the first
things we'll attend to when we reach Cali-
fornia is securing a good tutor."

I asked X'irginia if she liked picture
work.

"I love it," she answered, and I have
come tc know that Virginia loves many
things. .She lo\es dancing, swimming and

(Fortynx)

Impressions

of

Virginia

Brown

Faire

liovjfhack riding— and she loves
[jfrople. Perhaps that is why
people love her, for there is no
more mutual thing than love.
Love begets love.

"I expect it will be ever so
much nicer now. working with
one company and knowing just
what I will be required to do
from day to day," she said. "I
have done just a little motion
picture work, you know — not
very much, but I lov.^ it, ' and she
smiled a \irginiaesque smile.

Vitginia Brown Faire loves
dancing, swimining and
horseback riding. All of
which comes in good
stead in her motion pic-
ture work. Readers of
THE CLASSIC should
watch for her forthcom-
ing Universal appearances

On this day she was thinking of the new frocks
it would be necessary to take to California with her,
and, like every other girl in her 'teens the world
liver, she was quite absorbed in the iiuestion.

"I'm having the ])rettiest new evening dress," she
said, happily. "It is maize color, of chiffon and,
very â–  -ile. Do you think gold cloth slippers would
be pre. .-.est with it 'â– â– "

I thought so, and into my mind there came a pic-
ture of Virginia at her first party in the movie cohmy at Hollywood. In her .shy
ittle way she will be as charming as the most brilliant star — no one will be love-
lier than our little Virginia in her delicate yellow frock, with her black curls pinned
upon her jiretty head and her skin like rose-tinted ivory. 1 wish that I might
see her.

The next time 1 saw her the metamor])hosis was quite coni]ilete — tangibly, of
course: intangibly it was non-existent. .She has taken the family name of I'aire
and hereafter we will know her as \'irginia Faire. Her contract with Universal
had been sealed, signed and delivered — she stood on the brink of stardom.
Rut with it all she was the same little girl who entered the contest — shy.
modest and appealingly winsome, supremely happy in honors which had
come to her, most ap|ireciative of all that had been done for her, but entirely
lacking in any pose or affectation.

(Continued on pa</c S6)

^r''rt_i/sevfcn^

Above, Kay Bardine of
New Yoric City: and
center, Gertrude Cross-
man, Brooklyn, N. Y.

Right, America Ched-
ister of Seattle, Wash-
ington

What the Fame

WK are a link in the great cli.Mn of die
motion picture industry. We are .i
mcdinni of expression between tlie
silxersheet, with all that lies behind it; i.e.,
the producer, the director, the scenario, the
star, and the spectator. Daily the gigantic
force of the screen grows in strength and,
as a part of this new world-iiowcr. we
realize its possibilities.

We firmly believe thit the motion (licture
industry is — as all great industries should
he — a field open to all. We know that the
op|iortunity in this particular field is greater
than that of any other industry of its size.
Why? liecause it is jiractically new. It is
the youngest of world industries. It is the
second largest and most powerful !

As a medium of expression between the
silver.sheet and the siiectator, we are trying
to strengthen the comiecting chain as much
as ])ossible. Last year we inaugurated a
Fame and Fortune Contest. /\t the conclu-
sion of this contest we launched four win-
ners upon a careersof unlimited possibility;
four young women who would otherwise
have never been given an opportunity to
show their talent.

The results of last year's contest were so
unusual as to make us decide upon a re])e-
tition of the contest. We were able to
profit largely by our experience and to map

Pliotogrnph Ijy Champiain Studios

iFiirlii-iulhl)

and Fortune Contest Means

out a course wliicli uoiikl tetul to i)Iace the new veiituic on a
liitjher scale. After imicli tliouglit and ileliheration, we de-
cided upon ilie following ))lans for our new 1920 Fame and
Fortune Contest :

First of all, the contest is open to every one, male and female,
the only limitation heinjj previous professional experience.
Secondly, wc have decided to produce a five-reel feature
drama, the scenario for which has already been secured, and
ill which all the members of the final honor roll and, of course,
the winners will take part.

Thirdly, for the final winners of the contest, we shall pro
cuie contracts with leading motion picture C(>m|)anies — and
shall launch each winner with a two-year [niblicity camiiaign,
thru our three magazines, Tin-:
Motion I'ictl'ri-: Mac.azinic,
Till-; Motion Pictl'ki-: Classic
and .SiiADowi.ANi).

It is a source of great pleas-
ure to us to know that we have
been the means of serving our
readers, as well ns the screen
]>rofession. This feeling has
caused us to back the 1020 1'ame
and I'ortunc Contest with a
enthusiasm, and we intend that
it shall sur))ass in every way
any jirevious contest of its kind.

(Conliinicii pit /•di/r 88)

Top, Thelma Goeddel of Pitts-
burgh, Pa.; center, Anna Kelley
of Brooklyn, N. Y. ; lower left.
Hazel D. Reeves from Chicago,
111.; and, lower right, Alva Ansley
of Washington, D. C.

PhotfKiaph by Hnigrave

(Fortitnine)

s""*"*ti

/â– V#

m

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1

s

^

jw^^

^^^

v4^Str,!K

^:

i^-.?^

Irw

â– wT-w-l

ll^Jk-

Warwick at Home

Herewith are three glimpses of
Kohert Warwick, the Paramount-
Artcraft star, at home in his Cali-
fornia bungalow. Mamma War-
wick presides over the Warwick
domicile

(Fifty)

The

First

Complete

Tabulation

of

Leading

Candidates

The
Greatest

of
Popularity
Contests

TJl F. tlOp-
ularity
contest
is booming.
The intense
interest
manifested
by votes
and letters
from Can-
ada, South
America,

Australia and New Zealand, as well as from nearly every town
and city in America, is an inspiration to our editorial offices
and is blazing the way for a greater popularity for our stars
than ever before enjoyed by them.

Our readers are both intelligent and discerning and, in the
letters received, it is interesting to note the reasons set forth
for choosing their favorites. Most of tlie feminine stars are
chosen for their beauty, or because of a certa'.n appeal, but the
male characters are chosen for their niggtd strength or for
their fun-loving proclivities. With or wkfiout reason, every
movie fan has one or more favorites.

. The interest is twofold, too, for not only does the reader
have the opportunity of boosting the player who has given
them the most happy hours, each reader also has the opportu-
nity of winning one of the splendid prizes dt(-)icted and
described in detailon another page.

(Fifty-one)

Beginning
with this
number
there will be
in each issue
of our mag-
azines a tab-
ulation of all
the players
sted in the
contest with
their repre-
sentative number of votes. Here is the result of the contest at:
the time that this issue of the magazine went to press :

Feminine stars: Mary Pickford, 13,160; Pearl White. 10.481 ;
Norma Talmadge, 9,875 ; Nazimova, 4,002; Viola Dana, 2,851 ;
Constance Talmadge, 2,247; F.lsie Ferguson, 1,'450; Shirley
Mason, 1,247; LilUan Gish, 1,1.50; Theda Rara, 1,057; Dorothy
Gi.sh, 981 ; Ruth Roland, 981 ; May Allison, 900; Mary Mik;s
Minter; 900 ; .\nita Stewart, 900 ; Marguerite Clark, 870 ; Marie
Osborne, 750; Irene Castle,647; Geraldine Farrar.(>03; Mildred
Davis, 5.50; Margarita Fisher, 550; Olive Thomas. 550; Gloria
Swanson, 550; Pauline Frederick, 523; Marie Prevost. 5'18;
Fthel Clayton, 451 ; Vivian Martin. 451 ; Mae Murray, 450;
Marie W'alcamp. 447 ; June Caprice, 489 ; Priscilla Dean, 4-89 ;
Madame Petrova, 489; Dorothy Dalton, 356; Bebe Daniels,
356; .Mice Joyce, 313; juanita Hansen. 216; .Mice Brady, 212.
(Continued on paiic 80)

Photogmph
by 8»rony

Marguerite Clark —
Little Red Riding
Hood. A snow-
bird . . Moonbeams .
Cecil Bruenner
roses. .Story of The
Little Red Hen
Molly

Charles Ray — In-
diana .Tandem bi-
cycles, boiled din-
ners . Correspond-
ence schools .Boys
that cant dance

Mary Pickford —
The Princess in the
fairy story . . May-
poles The doll at
the top of the Christ-
mas tr«e. .White
kittens

N a 2 i m o V a — Sam-
ovars and aigrettes. .
A knife in a satin
sheath. Ravens..
Zithers thru lattice
windows . . A pet pan-
ther.Breath of
Araby

Norma Talmadge —
Poppies in wheat
fields .. Dinner by
candle-light. Scent
of jasmine on an
evening breeze.
Sables

Louise

Fazenda's

Impressions

of Screen

Folk

Miss Fazenda is more
than a farce come-
dienne as the accom-
panying impressions
show. We know of no
one who can paint as
vivid a picture with a
half dozen words as
Miss Fazenda. The
Mack Sennett come-
dienne really wrote
these and she will con-
tribute more to forth-
coming issues of THE
MOTION PICTURE
CLASSIC

Anita Stewart —
Apple blossoms
Swans on summer
lakes. Rainbows. .
Memory of a smile . .
Breezes thru lilacs

Will Rogers— Thru
Arkansas on a mule. .
Whittling.. A lariat
on a dusty road . .
Bull Durham . . Bill
Nye. .Side-shows

Pauline Frederick —
Agate . . Reincarna-
tion of a gypsy
queen. ."The Second
Mrs. Tanqueray"..
Lamplight thru the
fog

IMiotoRrai)!
by Hartiook

William Farnum— Hamlet
of the north woods A
cello . . Logging camps
Painting of a lion

PhotooTiil'li
hy PwlTer

Ben Turpin — Mark An-
tony In caricature . . Court
jesters. East Side mani-
kins. .Horseradish

Constance Tal-
madge— Caesar's
wife . . Platinum
wedding-rings.
White duck..
Yachts. Pine-
appleice. Honey-
moons by water

Bill Hart — Maynard Dix-
on's painting of the des-
ert. Camp-fire silhou-
ettes . . A mirage . . Forty-
fours arid pounded silver
chaps. Eagles

Dorothy Gish — Young
America . . Hallowe'en . .
Middy blouses. Ice-cream
sodas . . Skipping-ropes and
swings

Charlie Chaplin —
Rachmaninoff's
"Prelude" in rag-
time. Fly on a
custard pie Cal-
liopes. Moving
day .. Frank-
furtersandbeans.
Hurdy-gurdys. .
Lost puppies

Phi.l..Biapli
by llooviT

(Fiftll-Uvn)

If^^-^^^

Vi'

3f i^^^K

â– mk

â– r^

Told in story form from
the Paramount Photoplay

tof

By FAITH SERVICE

" A '*" ^^'' ti'^'^hed Peyton, "the Prince Cliap went away and
^'\ left the Re-u-tiful Princess spinning the mantle for his
(Ilail Keturning in her Faithful Tower."

Claudia's rai)t eyes held a certain inizzlement. "If he loved
his He-u-tiful Princess so much," she said, in her eight-year-
old treble, "and she loved her Prince Chap so much, why did
he go away? Peojjles who love like to stay close, / think."

Peyton sighed and shook his
head. "All around Love, my
child," he said, "there are the
Briers of Necessity. The Be-u-
tiful Princess had to have silken
sandals for her milk-white
feet and a mantle of true blue
for her slender shoulders and
a cap of moonshine and star-
dust for lier golden head. The
Prince Chap had neither gold
nor ]>recious stones, and so he
had to go out among the briers
and brambles and rind the for-
tune to lay at his ladye's feet.
He is still searching, child,
very sad at heart sometimes
and often sore of foot. But
when he is most tired and most
sad, when the wav seems the

THE PRINCE CHAP
Fictionizi'd from the .scenario of Olga Primzlau
from the play of Edward Peple. Produced by Famous
Players-Artcraft Corporation. Directed by William
de Mille. The cast;

William Peyton Thomas Meighan

Runion Charles Ogle

.Mico Travers Kathlyn Williams

Jack. Earl of Huntington Casson Ferguson

Phoohe Tucker Ann Forrest

(4 years — Peaches Jackson
8 years — May Giraci
.18 years — Lila Lee

.\unt Lyllian Leighton

Ballington Bertie Johns

Claudia's Motlu-r Florence Hart

Vaddir, Theodore Kosloff

HilnuT Clarence Geldert

Housekeeper Agnes Marc

roughest and longest, he thinks of his truly blue Princess in
her Tower of Faithfulness and his way is made glad again
. . . and he can shut his eyes . . . and dream ..."

"That's loving ..." said the child, in an awed little whis-
per. "Oh, Prince Chap, I hope, .some day, I will be a Princess
in a Tower of Faithfulness waiting for my Prince Chap to
come down the i)ath of the Moon."

Peyton leaned over and kist
her. The little lovely touches
of womanhood were becoming
perce])tible even now, he
thought. And the thought
brought an ache to his heart.

Two things happened to little
Claudia when she was eight
and a half. Two productive
things, which, in their effects,
were to remain with her and
tinge all her years. One was
that she learnt that fairy tales
are, almost alyavs, true, kx
any rate, the fairv story which
had delighted her bedtime hour
since first her mother had
given her, as God was taking
her, to Peyton, was true. The

(Fiftji-llmr)

i^/* ''S^

â– 'â– *â– .

tm*

^'

'S-r-^;

At Christmas time there

came a box of toys for

Claudia

Prince Cha]i was her "Daddy"
Peyton and the mythical, golden-
liaired Princess Alice in her
Tower of I'^aithfulness was a
lovely lady named Alice Travers,
who lived in a distant country
called, rather pleasantly, Cali-
fornia. Tlie lovely lady had a father with many millions and
lived in a palace set amonj^ showering roses. It was all as
beautiful as the fairy tale, Peyton told her, one lonely twilight
hour when waiting and pain had made him take the child as
confidante for the love that was gnawing away his resistance.
But it wasn't a fairy tale . . . Claudia could not quite ex-
plain why, but it made it different. It made it all very differ-
ent. Suddenly, she didn't want to hear about it any more.
Not any more, ever. She didn't want Peyton to be the Prince
Chap and she didn't want the Princess with the shining hair
to be the lovely lady in her garden of showering roses in that
land called California.

Of course, she didn't know it, but with the merging of the

fairy tale into a reality of pain, jealousy was born in her . . .

The second thing was the arrival, in person, of the lovely

lady. That, as may be imagined, was a most tremendous

happening.

Claudia had been reading Grimm's, quite alone, in the win-
dow seat. Peyton was out for the afternoon, but had promised
to take her to sup|>er and the play later on. They did things
like that, the lonely man and the fanciful child. Sometimes
some of the other sculptors and artists in the building went
along. Claudia was the Queen of them all. They had, each

called "Come ! " very dulcetly, too. And then the door
swung open and Claudia had known at once that the

and every one of them, known her beau-
tiful mother when, in the heyday of her
youth and beauty, she had made them
rapturous, artistically, by posing for
them. They, each and every one of them, accepted her little
girl as a sacred trust, even tho she had chosen to give her into
the specific keeping of Peyton.

It had been ju.st about twilight. Claudia loved to read fairy
tales at twilight. Peyton had very solemnly assured her that
none of these tales could ever, ever come alive.

There had come a rap at the door, very gently . . . Claudia

had '''^^»^'^ 'T'ntnia '

had

lovely lady was before her. Her first instinct, too, was one
of a fierce little pain. S'pose and s'])ose the lovely lady had
come to take Peyton home with her to that land called Cali-
fornia, where, Claudia knew, he had been as a little boy . . . .'
S'pose and s'po.se .she should take him away from her . . . .'
.\ pain, unchildlike in its bitterness, stabbed her .small and
loudly thumping heart.

There was something unfriendly, almost distrustful in. the
way the lovely lady came into the room and over to the win-
dow seat, from which, with difhciilty, Claudia managed to rise
and bow.

"Are you," the lady said, in a tone as thum|)y-sounding a.s
Claudia's heart, "are you . . . Mr. Peyton's little . . . girl?"

"Yes," said the child, for the fir.st time, inadequate.

The lovely lady dropped into the chair Claudia held out
for her.

"I have come a long way," she said, "to find out."

"Didn't you know," Claudia .said, "about me.'"

"I had heard." the lady said, "things ..." There was a

(Fifty-fntirj

it had liad the wrong

a space grevei" than any
(jrey, and thronfjed, too,

silence, then, "What do you call liim, my dear?" she asked.

"Daddy, of course." said Claudia, addinj;, "that is, when I
dent call him Prince Chap."

The lady didn't answer, and Claudia took llie silence to be
an invitation. "You .see," she said, entertainingly, "Daddy
tells me a fairy story, or he used to tell nic a fairy story, and
it was all about a He-u-tiful Princess who sat in a Tower of
Faithfulness spinning a mantle for his Glad Returning. He
used to tell it to pie 'most every evening, just about now. It
helped liini when he was sad. Then, one day, he was sadder
than ever, and he told me that it wasn't a fairy story at all.
Tlie Prince Chap was him.self and the Princess was . . ."
Claudia ])aused and caught her breath . . . "The Princess was
make-believe." she .said. It didn't seem the tiling to do to tell
the lady with the cold eyes that the Prince Chap wove the twi-
light with the bright jewels of his radiant love for her. The
Prince Chap, it came to Claudia, had been wrong. It had
been the wrong sort of fairy tale .
sort of Princess . . .

.Mice Travers was staring into
space she had ever known before.

with the ugly images the past few years had brought to her.
ever since Bill Peyton had gone away to win fame and fortune,
and hadn't wi.'i it . . . suspicions nurtured to growth by her
father, by her aunt. l>y Helmer, the man with the millions who
wanted to marry her . . . .sus])icions she had made uji her
mind tfi accept or to lay into the dust where she had hoi)ed
against hope they might belong. .She found her voice and said,
rather than askcil :

"Your . . . your daddy loved your mother, didn't he?''

"Of course," said the child, with fierce jiartisanship she felt
for the dead she had loved; "everybody loved my mother.
Daddy said, often, that hers was a face to 'launch a thousand
.shi]is and burn the topless towers of lllium.' 'Course, indeed,
he did love her."

"Of course ..." said Alice Travers. Claudia thought she
had the disagreeablest laugh she had ever heard. It didn't go
at all with a dream of a lovely lady, whcse voice should be as
a tinkling bell.

.\fter the laugh, Peyton came in. When he
Claudia hid her small, troubled face in her hands,
.such a glory (jii it. "I
didn't know," thought the
child, "he uas waiting
like thill . . .â– '

Then she heard .Klice
say words like "suspi-
cions" and "honor" anc
"tests for me" and then
the word "honor" again.

saw .Mice,
There was

reiterated several times. It sifted into her small intelligence
that the word honor had, somehow, to do with her. More
clearly she got the fact that it had to do with Peyon's sending
her, Claudia, away. If he kept her with him the lovely lady
would know that he had no honor. If Claudia stayed, the
lovely lady would go away . . . definitely . . . forever . . .

"You must accept my n'orrf of honor." Claudia heard Pey-
ton say, his voice all stiff with an , intolerable ache; "it must
be enough for you, -Mice . . . oh, my dear ..."

That last, thought Claudia, must melt the ice away from
the coldest blue eyes, must warm to a fierce tenderness the
most hidden heart.

"I will not be made a laughing-stock." .^lice was saying,
"for any living man. That is what you would do with me.
You would ha\e me take to my bosom the living token of your
infidelity. You are mad."

"I have been," the man said; he added, "dreamers are
always mad, I guess . . . they build castles made of hopes
and .sjian the very heavens with bridges of their own tears."

"Will you send the child away?" The woman's voice was
becoming tense, im[)atient.

"I will not."

"Do you love her better than you do me?"

"1 love her better than this thing you ask me to do for you."

"Then it is good-by. Forever, you Understand?"

"I understand. You have made me."

"Very well, (iood-by.'

"Good-by, dear."

Claudia crept into his arms, there on the old window seat
where he had spun for her the fabric of her young imagina-
tion. She closed her slender little arms about him and held
him in a \i.se. .\fter a great while, his tears fell on her hair
and hung there, emblematic. ".She didn't care enough,
Claudia," he said.

"She didn't know how," said the child, and kist him fiercely
on his eyes, his hair and on his listless hands.

At Christmas time there came a box of toys for Claudia,
gaudy affairs, and a note for Peyton announcing the marriage
of .Mice Travers to Robert Helmer.

The years never elTaced for Claudia the memory of Peyton

"I will not be made a laugh-
ing-stock," Alice was saying,
"for any living man. That
is what you would do with
me. You would have me
take to my bosom the living
token of your infidelity. You
are mad"

//•'!/ (;i fill- 1

playing kid games witli her, zestfully, willi
his heart, hurt to death, in his eyes.

Claudia had a tenacious memoiy or the
memory 'of Alice would never have per-
si.-.ted, because she was twenty before she
saw or ever heard of her again.

She was a very beautiful twenty, too,
with dreams in her eyes and tenderness in
her fingertips. She was so very beautiful,
indeed, and there were so many broken
hearts attributed to her that gossip began to
wag -ts finger at the menage of Pey-
ton and herself, unchaperoned. Peyton
instantaneously alert,
engaged a house-

MOTION PICTl'RE

keeper. Claudia, instanta-
neously enraged, protested.
"It's absurd!" she
stormed. "I've taken care
of you all these years,
capably, if I do say so.
We arc happy just as we
are, just the two of us, you
and I. We never have
needed another living soul.
We are complete. Now
here you go, blundering,
and destroy tlie whole
thing. You bring a woman
into our home and pay her
wages. Daddy dear, how
could you ?"

Peyton explained, with
what discrimination he
could, and Claudia never
called him daddy again.

She never did because
she never again fell .the
same as .she had before
that window-seat talk when
Peyton tried to tell her that
the little girl was grown
up, that he was not her
daddy, nor any sort of
blood relation, and that the
world . . . well, the world
. . . and Claudia under-
stood . . .

She understood a great
many other things, too. She
understood, for instance,
the breaking hurt in Pey-
ton's heart the years had
never wholly swept away.
She understood what it
means when a woman loves
a man, or a man loves a
w-oman, and there is no
way out. She understood
w-hy she had never been
able to love the K^irl of
Huntingon or any of the
other nice boys who had
come to Peyton's studio
and sued for her favors.
She had never been able to
because , .

She understood why she

It made Peyton'i occasional

c»I!b elsewhere, without her,

intolerable hours

(Fifty-six J

CLASSIC

had mothered Peyton so
all these years, why she
had suffered when she
had learnt, years ago,
that the fairy story of
the Prince Chap was
not a fairy story at all,
and why, when Alice had
gone away, she had been
able to take the broken
man into her arms and
kiss him and soothe
him as a woman might
have done.

All these things had
been possible because
she had loved him. Be-
cause she loved him
now. Because she must
always love him so long
as hfe was he and she
was she and the world
revolved about them.
She was made for this.

It made everything
rather different, of
cour.se.- Painfully, de-
lightfully different. It
made their tete-a-tete
teas together stolen
paradises. It made
Peyton's occasional calls
elsewhere, without her,
intolerable hours. It
made the memory of
Alice, still visible in his
eyes, an aching dreari-
ness ... It made a
touch a thrill ... a
word a sacrament . . .
it gave a fever to her
veins, flinging a violence
of roses into her cheeks
... a brilliance almost
supernatural into her
eyes . . .

It made the coming of
Alice into their lives
again a cup she could
not pass and dared not
drain . . .

Claudia learnt a great
deal about love after the
meeting with Alice. She
learnt that part of love
which is renunciation.
She. grew so greatly that
she could find peace in

the thought of Peyton winning his peace at last after liis
.suffering years.

The night after their meeting Peyton and Alice took a long
stroll. They were at a summer hotel, and Peyton told Claudia
not to wait up for them. She didn't, but she waited in bed
with a heart as cold as ice until their footsteps and their whis-
pered good-nights sent the hot tears flooding down her face.

"Prince Chap," she murmured in the honeyed darkness,
"please let me be glad when you are glad . . . you have been
sorry like this so long . . . and I have been sorry like this
only for a little, little time. You have borne it, and so will I.
But oh. my darling, if it could have been me . . . if it could
have been me . . ."

The next morning, at the breakfast-table, Peyton told her
all about it. It was a habit of theirs to tell each other every-
thing. The habit had precluded, all their lives together, any
sort of shred of misunderstanding arising between them.

(Fifty-ieven)

"It has been a long, long
path of moonbeams,
Prince Chap, and most of
the time it has seemed to
waver and shift . . but
you have come . . . safe-
ly ... at last"

There was, there had always
been, only glad, confident mr-rn-
ing in their mutual tie.

"Alice is a widow," Peyton
said; "she has been for nearly
five years. I . . . you see.
Claudia honey, it has been a long
while with both of us. Flames
abate, even such a flame as there was between us
.Mice and 1, that there could be no one thing in all the world
so fascinating as to set up those ashes, revive that flame, make
those dear dead dreams live, lovely things again. We are
going to try together to win back our youth, the love of our
youth."

"It would be beautiful," said Claudia; "you
even build . . . again . . . the Tower of
{Continued nii page S.S)

VV'e think.

. . . you might
aith fulness and

THAT popular phrase,
"won over by the films."
now reads "won over
by the .stage."

'The X'irgin of Stamboul"
has destroyed our desire to
ever visit Constantinople.
The architecture of the city
is just like that of every
movie theater we've ever
been in.

Our idea of a 100°-in-the-sliadf
combination : Lew Cody and Betty
Blythe. Yet the press story reads
that Miss Blythe is to appear "in
the late Lew Cody picture."

These Americanization films —
preaching the lesson of .\merica —
will be a fine thing — if only some
of the movie magnates themselves
.see em.

Bu; ScKKFN Momi:nt or Tin-

Month
Cutie Beautiful in the liula-liula
moments of "The Idol Dancer.".

Universal has engaged a "plot
doctor." which opens the way for:
Scenario surgeons.
Photoplay physicians.
Philm pharmacists.
Drama druggists, etc.

Xow we have an epidemic of
rural dramas about to descend
upon us. Witness David Grif-
fith's " 'Way Down East'' and
Metro's "Shore Acres." Watch
'em come.

.Another jirediction : Watch for
studios to be built in Cuba.

Just when all the movie pro-
ducers start on their spring
exodus to Europe, .Mbert E.
Smith, president of X'ltagraph,
comes back to America. He'^
nine months in Brooklyn.

Double Exposures

Conducted by F. J. S.

rector. .\. Lincoln Hart,
claims — prior to his screen
debut — to have been the firstj
man "to introduce the re-'
fined cabaret." Will some one|
please explain this for us

-Some one is always taking
the joy out of life, just
when Francis X. Piushman
announces his iiermanent re-
tirement from the screen,
some one else announces the
film debut of l-"rancis X.'s son.

If bad news interests you

at all, you will be absorbed

to learn that a new ciim]iany

has been organized to film

favorite ]> o ems.

They're starting with

one b.ised upon Ella

W heeler Wilcox's lines,

"Laugh and the world

laughs with you."

.'^ome day we hnpe
to read an interview
with a feminine star in
which there is no men-
tion of :

Chaise-longues.

Blue chintz.

Theii' mothers.

Kavishing gowns.

Said star's definition
of love.

Ditto of marriage.

It's just a hope, y'-
understand, just a
hope.

visiting in Los .\ngeles after

Suggestion to jiroducer.s-
upon prohibition ?

-Why not produce a story touching

Down in Washing-
ton the religious or-
ganizations have put
up a huge electric sign,
asking the city to come
to Ciod, or words to
_ that effect. Maybe

Louis .Selznick- is going
to have some electric sign competition, after all.

Sicilian brigands recently kidnapped a motion picture direc-
tor. They returned him at once, upon discovering his occu-
pation. They have to draw the line somewhere.

Yeh, divorce is in the air
in filmland. The continui-
ties seem to be all wrong.
Harold, all wrong.,

So retakes are in order.

Do Tin: -Spirits (iivi: a
Rap r

.\nna Eva Fay. who has
starred as a fortune-teller
for lo, these many years, is
invading the film world.
making a photoplay dealing
with "psychic phenomena."
A scenarioist is nov\' doing
the script with the aid of a
ouija board.

Louise (ilaum's new di-

Ol'R IDEAL SCREEN- STOCK COMP.'\NY

All the producers arc tirganiziiig stock companies tiiesc da^'s.
Here's otir. idea of a perfect organization:

Leads — ("liarles Rav. Richard Barthelmcss — Naziniova. KIsIc
Ferguson. I-illian Gish.

Srioiids — Conu-jv)" Tearle, Thomas Meighan — Jane Xovak,
Alma Tell.

//('fli'iVj— Ua\-id Powell. Antonio Moreno — Bett\ Compson,
Bebe Daniels,

Characlcrs — Hobart Hoswortb. George Fawcett — Mar\ .Mden.
Eugenie Hesserer.

Jnvniili's. Itigciiut's — Douglas MacLeau— IJorotlu- Gisb. Clar-
ine Sevmour.

Others — WallUre Beery. Al Chaney.

Directors — Supervision. David Gril^tb ; contiiuiity. George
Loauc Tucker; advisory. Mrs, Sidney Drew and King \'idor;
ligbting. Maurice Tourneur and Cieorge Filzmaurice; choice of
setting and location, Mr. Tonrneur.

Combinations weW like to
see :

Ben I'urpin .'ind X.izini-
ova.

Big cinema psychological
moment of the month :

Olive Thomas in pajamas
in "Footlights and .Shadows."

Jobs Wii'd Likk to Havi;

Camera-man at the Mack
Sennett studios.

Ditto at the Christie
studios.

(Fifty-eight)

em

0 wu realize
now often
are fastened

on uour nails

Are you willing to be judged by their appearance?

YOU gesture freely as you talk to
him. His eyes follow your moving
finger tips. What are his impres-
sions?

Men are especially sensitive to little defi-
ciencies in a woman's appearance. Many
men habitually judge a woman by the

trouble. The skin about the nail is sure
to grow tough, uneven, to cause rough-
ness, hangnails. When you cut the over-
grown cuticle, you inevitably cut the live
skin. As it heals, the skin is left thick
and ragged. There is danger also of in-
juring the sensitive nail root, which is
only one-twelfth inch below the surface.

It is possible to keep the cuticle thin,
smooth, evenly shaped without cutting
it. Your hands and nails can be so
lovely you will be proud to have them
noticed.

Cutex will soften the cuticle and keep
it in good condition— -it will dry up the .

hangnails and rough places. In a very
short time you will find that your nails
are as lovely as you have always wished.

Wit\ a bit ot cotton
Icrapfied aronnit an orange
ttick and dipped in Cutet,
Kwrfc around the nail base,
piuliing back the aurptiu
evticte

condition of her hands. The impression
given by carelessly manicured nails is a
hard thing to overcome.
Wherever you go you are being silently
appraised by your nails. Lovely hands,
smooth, even nails immediately sug-
gest a background of refinement.
Perhaps you find it is not possible to
have a professional manicurist care
for your nails regularly. Yet when
you try to manicure them yourself
you find you cannot keep the cuticle
smooth. The more you cut it the
worse it grows.

The most important part of your
manicure is the care pf the cuticle.
To cut it with scissors or to bruise
it with a sharp instrument invites

(Fifty-nint)

To keep pour nait tipt
Khite everv dap appiv 0
Ml ot OHtep NaU White
underneath them direetlp
from t\e tuhe

MAIL THIS COUPON AND TWO DIMES TODAY TO
NORTHAM WARREN, 906. 114 West 17th Street. New York

. A irltk Tuh ipith Cutct

Sail Polish bringe a high
gloet to the naiU

Follow the directions under the illustrations.
Once or twice a week, depending on how fast
your cuticle grows, give your nails this quick
manicure. The consciousness of flawless nails
will add greatly to your poise— your general
charm.

You can get Cutex at any druR or department
store in the United States and Canada, and any
chemist's shop in England. Cutex Cuticle Re-
mover comes in 3Sc and 65c bottles. Cutex Nail
White, Nail Polish and Cold Cream are 35c each.

Six complete manicurei for 20 cent*

Send the couiKin below and 20 cents for "the Introduc-
tory Manicure Set. This is not as large as the Stand-
ard sets, but it contains enough of the Cutex preparations
for at least six manicures. Address Northam Warren,
114 West 17th Street. New York City.

^' If you live 111 Canada,

address Northam
tVarrcn, Dcpt. 906,
ioo Mountain Street,
Montreal, Canada.

The Pride of

the Anzacs

By ELIZABETH

AN N r.-iTi; Ki;i.i,i:kman
said she will never,
s(i long as she lives,
(,'et over her fear of pov-
erty. She toUl mc this
one afternoon as we sat
in comfortable rockinj;-
chairs on the lawn in front
of a big, typicall) Calf-
fiirniaii house in South
Pasadena that she has
rented for the season.
She took this house l)e-
cause, with its broad
lawn and orange and
lemon groves, and situ-
ated as it is on the top of
a hill from which she can
see miles of ojien country,
it is as far removed from
the atmos|)here of the the-
ater as tho it were in a
different world,

"I remember one period
in London, when 1 was
trying to get my lirst en-
gagement." she said, and
you would have guessed
from her e.Npression that
distance has not greatly
softened the memory,
"My father had heart dis-
ease and we were desper-
perately I'oor. We got
lodging in King's Cross
for one poun<l. (five dol-
lars), a week, which
included meals for us both.
My room was in a garret,
where the ceiling was so low
that I couldn't stand uji
straight. I u.sed to comb my
hair kneeling in front of the
bed. One thing I have al-
ways been thankful for is
that my father never saw that
r«om. He was unable to
climb the stairs. It was at
that time that 1 began to be
afraid of the poorhouse.
The very thought of it was
unbearable. It comes back to me now, some-
times, and at the moment 1 am able to think of
all sorts of things that might hap|)en to send
me there! And then, at other times, I am
glad that 1 had that experience; I think that
it is a good thing." Undoubtedly she feels
that this was the principal motive jiower that
drove her on to success, a success that her
father never lived to ;;ee.

"Do you think that he knows about it?'' I
asked, and she answered, "Yes, I am certain
that he does." She paused. "It is a curious
thing," she went on, "I've felt somehow . . ."
She finished her sentence with a gesture which
clearly meant "that I've had help."

The thing that would impress you most
about Annette Kellcrnian is, of course, her
tremendous vitality. Her clothes were de-

Annette Kellerman was
born in Australia and,
as a little girl, was a
cripple. Swimming
brought her back to
health. When she first
tried to make her liv-
ing as an exhibition
swimmer — she almost
starved to death

PELTRET

signed for comfort and
gave no least hint of i)er-
fect figure ; a figure which
has rejieatedly been said
to be the most perfect in
the world . . . she wore
white cotton stockings
and broad-toed, low-
heeled shoes. She has a
frank, comradely way of
shaking hands. Her voice
is the voice of a sports-
woman, hearty and free
from affectation. There
is never a moment in
which she appears to be
self-conscious of her
fame.

As a little girl, Annette
Kellerman was an almost
hopeless cripple. "I had
to wear iron braces on
both my legs," she said.
"These extended to the
hips and hurt me hor-
ribly." In addition to
this, she was told that
there was very little hope
for her ultimate recovery. J
She was sensitive, tinriid, I
above all, afraid of the
water. But her father, a
typical Australian, was
resolved that she should
learn to swim, and she
did, very slowly, she says,
but very thoroly. This
was in Sydney, New-
South Wales, where she was
born and spent her childhood.
Little by little she felt her
crippled limbs growing stronger
until, at last, there came a day
when she was able to discard
her braces entirely. With re-
turning health came a new con-
fidence and, by the time she
was thirteen years old, she be-
came so proficient a swimmer
that she was given an engage-
ment at exhibition swimming
with a salarv of five |)ounds,
($25.00), a 'week, which at-
tracted a great deal of atten-
tion.

Soon she began making rec-
ords with her two, five and ten-
mile swims, and her family
talked things over and decided
that there would be more op-
portunity for her in some big
city, preferably London. So
she and her father left Sydney,
promising to send for the fam-
ily with the first dawn of pros-
perity. lUit for a while it
looked as tho the prosperity
was never going to materialize.
(Continued on page 80)

(Sixty)

J oise and C^Ac

arm

These are usually possessed by the woman

who knows that in the careful execution of her
toilet, she has left no opportunity for slighting
comment. Every detail has had attention — par-
ticularly her complexion.

She is equally at ease in the witching candle

light of the tea room and the bright sun-light ot
the busy street because she knows that her skin
IS smooth, soft — delicately lovely.

RESINOL SOAP is often found among

the toilet requisites of such a woman, because it
refreshes and invigorates while it lessens the
tendency to oiliness, roughness, blotches, chapping
and other blemishes. Try it today not only for
your complexion but for your bath.

ht a\\ (iru^ stores and toilet goaij, counters.

Trial cake free nn request.

Rexiiiiil. Baltimore, Md.

K

cannot be excelled for the man
with a tender skin.

( Suly-ont)

The Home-Made Girl

By PEARL IVjALVERN

MlolOKraptl
Sluilios

Tiii'.Ki: is always sometliing fresh and cliaianiiig and iK'vcr-t()-coiiie-a},'aiii aboiu
a bctiinnhiii of anything. Slevenson said something or other very apt and
very lovely concerning a rtrst snnset, a lirst love, the inconiparableness of
hoth of these. He might, just as truly, have said the same of the hrst of a career,
especially when that career is the silversheet and is being embarked tipon by a
young girl with tawny-colored hair, a gentle manner and starry eyes There is
something wlioUy inspirational, a trifle wistful and very sweet in such an inception.
There is so nnich roseate optimism, so much grave earnestness, so much of the
first and tender fruitage of the young success. There is an atmosphere aboiU it
of a voung bride, a new baby, all the fresh things of life and living. There is so
much Oi hope and faith. Success, full-blown, has never that delicate bloom of
success still glimpsed in its entirety upon some dim horizon.

-Mice Calhoun had the air, the night 1 talked with her and with her mother,
who is also her best friend, in their a|>artment on upper
Riverside Drive, of a child standing, expectant and delighted,
on tiptoes looking into a sho]) window, marvelously filled.
There was about her the unsaid thought, ''This is too good
to be true."

What she really did say, however, not once, but many
times, almost, indeed, the theme of our talk was, "People are
too good to be true."

Hers is a grateful as well as an eager little heart. The sun-
shine t)f chivalry, of a helping hand, of kind words and en-
couraging praise falls upon receptive soil, anxious !o give
back again all and more than it has received.

" F.vcrybixly has beep so kind," she said. "I think movie
people are the most understanding, the most open-hearted, the
•kindest people in the whole world. 1 haven't been disap-
pointed in a single one of them, nor in a single thing about the
work. 1 love every bit of it. When I first began going to
pictures-remember, mother? — you used to .say that you
always knew where to look for me after school — In the near-
est picture house — Maurice Costello was my hero. I used to
.say that I was going to marry him when I grew up. I never
dreamed in my wildest drerims, tho, that I would ever pliy
in a ])icture with hiin. And then, just the other day, down at
Vitagraph, I did. I played in a ])icture with him. It seerned
aliTiost too good to be true. And he is just as dear and nice
as I thought, courteous and thoughtful and considerate.
Vitagraph seems just like another home to me and all tli';
Vitagraph people are |ike sort of an extension of my own
family."

"Would vou ever leave?" I wanted to know, realizing that
the word "ever" is a little word to the very young.

Miss Calhoun made a small dissenting gesture. .\ very
clean, real sort of loyalty is hers. There is,
one perceives, a steel-trueness both in the
chiseling of her fine features and the chisel-
ing of her keen young spirit. "I wouldn't
7vant to, I know," she said, 'and I certainly
never unll until I have proven to them that
the faith they have placed in me has been
justified. They have all said, in so many
words, 'Go ahead. We know you can do it,'
and I want, more than anything else in the
world, to show them that I can do it before
I ever leave, even if I ever do then.''
"How did it all begin ?" I asked.
"Accidentally, in a way." laughed Alice. "Mother and I had just come
to New York from Cleveland and were looking for an apartment. We
happened, while looking, to run into Frederick A- Thompson, who had
an apartment he wanted to lease, or something of the sort, in the very
house we were in. While we were all talking together he kept looking
at me, and suddenly he said, 'You would screen well, do you know thrt ?'
"I. of course, just gasped. It was as tho he had put his hand right on
my secret dream and dragged it opt into the light of day. I guess my
eyes told him better than my lips that, of all the things in the world, that
very thing was the thing I wanted most to do. I must have 'registered,'
(Contittued on paf/e 83)

fSixtyUvo)

Alice Calhoun invaded the
screen accidentally. Seek-
ing a New York apartment.
Miss Calhoun and her
mother met Frederick A.
Thompson, who saw her
film possibilities. And so
F he became a Vitagrapher.
In the center is a glimpse
of Miss Calhoun in a re-
cent screen drama

our skin needs

Mure ami timrc tvumcn arc ilisc( vcriiifj
how tbcy can remain f'uwticrcj ami
free from shine for fi-rf ir six hiiirs.
Before powdering, they apply a bit of
Pond's Vanishing Cream

Your skin needs two creams

One i\.'ilhoiit any oil, for daytime and even-
ing needs — Pond's Vanishing Cream. It will
n(ti reappear in a shine.

One -n-'itii an oil base — Pond's Cold Cream.
It ha> just the amount of oil the skin needs.

Neither of tliese creams fosturs the Krowtli
of hair or down,

Ciot a jar or tube of each cream today, at
any dru^ or department .Klore. With these two
eieanis \ou can give \'Our skin the different
kinds of care it needs at dilTerent times.

KKKK S.\MPI.K TURKS— MAIL THIS COUPON

oiiti's Extract Cc

Please seiKl me,

A fret- sar

A flee sai

Iiistea.l ol tlie f

uckeil beloM', fdi

A 5c !t:itii|i

A 5c siiinii

trt-et

ity

(Snt!j three)

Pond's Extract Co., 137-P Hudson Street. New York

Please send nie, free, tlie items checked:

A free sample of Pond's Vanishing Crtaiii
A flee sample (if Pond's Cold ("ream

Iiisteail ot the free samples, I ilesire the larger "sair
checkeil below, for which I enclose tlie required anu

pies
unt:

A 5c sample of Pond's Vaniehing Cream
A 5c sample of Puml's CtAd Cream

Street

'

Itferent
kinds 0,

b'lurt i/iiu 00 out,
protect iioiir com-
iilifivn frof/t the
dim!, icitt^ and sun

atJJlfferent limes

YOUR skin is not a
piece of fabric that can
always be cared for in
the same way. It is a living
thing;- which has different
needs at dift"erent times.

Before an onting, for ex-
ample, yonr skin needs a
s[)ecial kind of care

When you go out, rub a
tiny bit of Pond's Vanishing
Cream into your skin. It
disappears instantly, leaving
your face soft and smooth.
There is no oil in Pond's
Vanishing Cream, so it never
reappears in a wretched
greasy shine — and it gives
your, skin the protection it
needs from the coarsening
caused â–  by dust, wind and
sun.

Then, about powdering —
do not expect powder to
stay on for hours without a
l)owder base.

Uefore you powder rub a
tiny bit of Pond's X'anishing
C r e a m into your face.
Instantly it will disappear,
leaving the skin softened.
Xow see how smoothly the
powder goes on, how natural
it looks. It will stay on two

PON D'S

Cold Cream &^
^VanLskinp Cream

or three times as long as ever
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At night, before retiring,
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skin should have a special
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Before retiring' ^ive your face
a thorough cleansing with
Pond's Cold Cream. It has
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th Pond's Cold

Cream

The

Glamorous

Glaum

During her recent visit to New York,
Louise Olaum posed in two negligee crea-
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Above, is a costume of antique cashmere of
Indian design and colorings; while, at the
left is an Oriental creation of georgette, in
Arabian design and modernized head-dress

(Siccty-four)

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because its delightful fra-
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Confessed Calumny

Warner Oland Tells His Secrets of
Screen Villainy

By TRUMAN B. HANDY

THIS is a series of confessions!
We who concoct fascinating fripperies
anent the cinematic constellation for the
daily papers aren't prone to he startled. In other
words, we only too often fail to register a thrill

And, moreover, only too often we've heard how
all bad screen villains — the kind that pursue the
movie cuties unto the very last reel ; the sort of
men whom mothers warn their daughters to stay
away from — are fond husbands and devoted
daddies to a baker's dozen of progeny ; how
'Papa Bluebeard dotingly prepares the evening meal
while friend wife whispers honeyed harmonies
into his ever-ready ear. And all that — i.e., how
all film bad men are home-growing saints in real
life. It's gotten to be an old, old story and a sad
tale.

Hence. I hesitate to state that Warner Oland,
the wickedest of 'em all, is strictly a home product.
Such is the case. Sad, but true. How very inter-
esting it would be were we to see Mr. Oland sur-
rounded by a den of vampires, or hatching a plot
to dig up his neighbor's favorite rosebushes !
What a thrill we would get were
we to observe him in the act of
choking his wife or of- raising
h — 11 with his flock of domestics!
And how interestingly intricate
would it be were we to have
definite proof that he were foot-
ing a scheme to turn his peace-
ful home town, Glendale, into a
seething hell-hole of anarchy!

As it is, we are forced to re-
cord that said gentleman of the
voracious viciousness was ac-
tually and ostensibly observed to

Photograph by Harlsook

Warner Oland,
the screen's de
luxe villain, is
shown, center,
on a vacation
roughing-it
trip with his
wife. Below,
Mr. Oland is
seen double-
crossing M r .
Oland, by
means of trick
phot ography,
in "The Third
Eye"

be muchly
occupied in
the overt act
of culling
"Toots," his
wife's pet
poodle, of
fleas!

And, fur-
the rmore,
we shed
large quan-
titles of
salty tears
as we announce that Mr. Oland speaks per-
fect English in a soft. semi-Southern drawl.
And has never even slapped his mother-in-
law, the very charming Mrs. .Shearn, one of
those real, old-time, .genuine women who
have received advancing years gracefully!

The profession of wreaking screen havoc
is one peculiar unto itself, we learn as we
hold conversation with him who gave us
cold chills when we saw him as the Japan-
ese Baron Somebody in "Patria." Of
course, you are always good friends with
the leading lady whom the script requires
you to calumnize. And, besides, you always
feel ashamed of yourself when you have to
bind and gag the helpless hero, whom you
know in real life tn have a wife and .seven
children to support.

.^nd somehow or other you never can
([uite get over kicking vourself for havinc
(Continued on paqe 7f>)

(Sixty-site)

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liKOHliF: E DRIOHTSON. TrtiliViit

NEW YORK CITY; 279 Broadway
Fifth Avenue at S3rd Street

MOTION PICTURE

The Man Who Killed

{Continued from paqe 31)

;ib(nit her the garment, ahnost torn froin
her body by the lust of her husband's
liirelinj;. She read in his hard, pitiless
ijliince that she was beaten at last in her
nallnm, desperate game, knew that no
words slie could say would save her, and
yet said them, with trembling lips that
strove for control, with fearful, ago-
nizing earnestness, even with piteous,
futile little efforts to apjieal to his ])ity,
his old at^'ection. His /-I'/y.' .\s well
might she have struggled to stop the
lightning flashes with her small, naked
hands.

"I-xok.at yourself!" he sneered, indi-
cating her uncovered limbs, her torn,
disheveled hair. "A likely story ! You — "
and he called her a vile name that
streaked her face like a white whip-lash.

She cowered from him, and from the
vision of the future his words evoked, a
divorced woman, stained with jiublic
shame, driven out of her husband's house
to drift in dubious and always more ilu-
bious circles in provincial towns upon
the Continent, the butt of whispers, tlie
prey of adventuring men . . .

And suddenly she began to shriek iri a
shrill, tearing, senseless way. Slie was a
coi'nered animal thing, liereft of human-
hon'd, save that her shrieks took the
form of words. 'Clod! Oh, God!
Uont let him ! Dont let him ! Oh ! Oh !
Please, God !"

He choked the cries with great, cruel
hands. "Dont be a damn fool. There's
no one to hear you, no one that would
care if he did "

"And there," said a new voice, in an
odd, breathless fashion, "there's where
you're mistaken, my friend ! I heard,
and I — care. Take your hands otT her
or I'll be delighted to kill you. you
hound!"

Richard Loring advanced from the
threshold, very white and quite ridicu-
lou.sly a man, with his great shoulders
squared, his hands clenched into sledge-
hammers. Sir Archibald made a mis-
take. He pointed derisively at the shak-
ing figure of the woman, crouched
against the wall. He laughed. And
Richard Loring sprang toward him,
knocking the lamp over as he sprang.

Clutching her torn gown aliout her.
Lady Falkland fled from the pavilion
into the storm, and thru a back way to
the house and her own rooms, where she
fell in a swoon upon the floor. And af-
terward, with only the maid to watch
over her, she fought a hundred desper-
ate, delirious fights all night long.

The finding of Sir .\rchibald h'alk-
land's bruised body in the disordered
pavilion tlie following morning set all
Constantinojjle buzzing. The mystery
was not who could have wished to kill
him, but which one of the many wlio had
cause to wish to kill him had finally ac-
complished the deed. It was Lady Kdtth,
distraught over the ruin of her plans,
who accused her rival, the wife of the
dead man.

"Ask Lady Falkland where she was!"
she clamored. "Ask the servants who
saw them quarreling in the pavilion!
Ask her maid how her mistress came in
last night !"

The obvious absurdity of accusing the
frail little woman who lay raving up-
stairs in the flaming clutch of fever was
slightly mitigated by the fact that tho
otherwise greatly bruised and torn, it
was ])lain that what had caused the baro-
.net's death was the thrust of a knife
which was found beside the body and
which Lady Edith instantly identified as
belonging to the wife. Within three
hours Lady Falkland had been publicly
accused of the murder of her husband,
and in spite of the fact that she was too
ill to be lifted from her bed, the trial was
begun in the library of the Falkland
mansion.

It had hardly begun when a servant
came, soft-footed, to the side of the Mar-
shal, a stout, kindly, conservative Kng-
lishman, and whispered to him that some
one wished to speak to him outside. In
the hall, Richard Loring, haggard with
sleejilessness but dressed immaculately
and very calm, rose up to meet him.

"I have been told," he spoke, slowly, as
tho testing each word, "that Lady Falk-
land has been accused of the murder of
her husband. Is that true?"

The Alarshal nodded, regretful but
tremendously official. "And she is very
ill, too, poor lady. But one mustn't let
pity interfere with the law. The trial is
even now proceeding within, and the tes-
timony of the servants seems conclusive.
No doubt she had cause. I have heard
stories, really beastly stories, but what
can one do? The law — hem — the law
must be preserved."

"Then you shall try another prisoner,"
Loring said, jaw set in a grim line, "for
it was I who killed the degenerate beast
who was torturing her. That is, I had
the honor of contributing greatly toward
the happy result, altho it was a Greater
than I who turned his own knife against
liim in the struggle. I refer to the Lord,
who always had great reverence for
women."

The Marshal chewed his straw-
colored mustache in dire perplexity.
"H-m! Most 'straordinary ! Two mur-
derers, and you say he was — h-m — tor-
turing her?"

"He was taunting her with the threat
that he was going to shaine her publicly
for the lustful attack made on her by a
man in his pay." Richard Loring did
not raise his voice, but the low words
seemed to fill the hall with hideous
clamor. The Marshal, a family man
with two young daughters, writhed vis-
ibly. "I happen to love the lady. 1 have
loved her for seven years. But if 1 had
been a perfect stranger, I could have
done no less than I did, and still call
myself a man."

The Marshal walked the hall in deep
dejection. "H-m I But there must be an
accused. It is obvious there must be an
(Siatii-exjiht)

CLASSIC

iccused Aha!" He actually chuckled,
this absurdi" simple creature. "I have the
idea. There is a criminal, a desperate
creature who broke jail last night and
was found drowned in the Dardanelles
this morning. Now he would make an
ideal .accused for us "

On the narrow ledge of the tower
parapet Gloria, Lady Falkland stood and
looked out dreamily into the pure blue
deeps of the sky. Her fragile night
draperies floated about her; a strange,
mysterious smile curved her white lips.
The fever was gone, the horror of the
night, and the years before the night was
passed and at last freedom awaited, and
forgetfulness and peace.

"1 shall sleep well," murmured Lady
Falkland. "The boy will go back fo
F.nglapd to my sister. He will smell the
spring in Sussex. He will see the haw-
thorn bloom — white — like bridal wreaths
— but I sliall be sleeping, so soundly that
I think 1 shall not even dream "

She took a step toward the edge of the
parapet. But before .she could take
another, strong arms were about her,
drawing her back to life.

"Not yet, Gloria, my beloved!" cried
Richard Loring. "We will go back to
England together, and the white haw-
thorn sliall be your bridal wreath "

"Dick ! You must not keep me," she
moaned, tho she clung to him with quite
earthly terror, her overwrought mood
gone. "They accuse me — and I have
written a confession so that they could
never accuse you. Dear, it was the only
way. I couldn't bear — any more "

"That is all over," he told her gently ;
"by and by I will explain. But no one
accuses either of us, nor ever will.
There is nothing for you to die for.
There is everything for you to live for —
Gloria ! Gloria, listen to me, my dearest.
Let me tell you what there is to live
for "

And as he told her Death drew back,
discomfited, and all about them the air
was splendid with the shinings wings of
Love . . .

Seena Seen Scenically

{Continued from pac/e 35)
meeting West and vice versa. She has,
to the outer eye, the bearing and sophis-
tication of the effete East, and to the
more trained sense the love of open
spaces, homey people and places, Colts
and Bill Hart photoplays with mustangs
and lots of shooting!

Hence, Seena seen scenically is not
Seena in the Biltmore, sipping tea and
enwreathed by slender blue spirallings,
but Seena on the prairies with the prairie
dust about her !

Alick C. — Vivian Martin in "Husbands and
\\'ivcs," released tlirn Gaumoiit. June Caprice
in "In Wali<ed Mary." So you want me to
make this department longer. I'm a little short
of time, you know, and the editor is a little
short of space, and the typesetter is a little
short of breath. So you think Dorothy Gish
and Richard Barthelmess are perfect opposites.
Better send in a stamped, addreased envelope
for those casts.

ffUxtii-iiine)

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way for restoring gray hair

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1

MOTION PICTURE CLASSIC .â– 

LEARN
DRAFTING

at home in spare time as you would in
victual practice. Men and women in
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EARN $35.00 to $100 A WEEK -

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HELP YOU SECURE POSITION

We are frequently able to place our Students
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The training we give enables students ttj secure
positions without trouble, on completing the
course. Write today for Free Book of par- ;
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COLUMBIA SCHOOL OF DRAFTING

ROY C. CLAFUN. Prtiidtnt
m DepI, IIOS 14di and T Sb.. W»liiii|loii. D. C.

The Mid-Day Frolic

(Cotitiiiucd from page 20)
for the fir.st time in a one-piece bathing- more apt to
suit before the camera, mother clucks
and sputters and follows daughter
artmnd the picture camp with a belliger-
ent and watchful eye. Rut tlie life she
sees and the routine of hard work is so
decidedly humdrutri that she promptly
retires, completely at ease as to the pit-
falls and snares in the wake of a virtuous
flower, satisfied to let the matron put
arnica on bruised knees and to sec that
tlie wardrobe mistress fits her into the
requisite low-and-behold attire.

The various "companies making use of
this rarified feminine "atmosphere" dif-
fer in their handling of the girls. In the
first place, requirements of production
differ. Sennett's beauties, such as Phil-
lis H.aver and Harriet Haivmond. are
the languid, gracile type of tirl, replete
with eyelashes and soulful eyes. Hamp-
ton Del Ruth, when he selects girls for
Sunshine comedies, never wants a girl
who is more than five feet five inches in
height. His system of weights a_nd
measures is meticulous, as follows:

I

6

9

Xrainiti^ jor /Twlltorsliip

HoWtoWriie.WhottoWrHc,
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Courses in Short-Story Writ-
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for many years editor of Lippincott's Magazine, and

a st.Tf of literary experts. Constructive criticism.

Frank, honest, helpful z6\\ce. Peal teaching.

Ofi» papll has racHVd over tS.OOO for atorits and articles
iriiten m^sth In spare lime — "plop kfork." he calls It.
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writen, young or old. The univerritie* recoenirc thii, for over
one hundred members of the Engliih faniltic* of higher inititu-
lion* aze itudying in our Literary Deportment. The editors
recogniM it, for they arc constai.'tly recommending our courses.

, .iMcHpiixbvMUl r<H. W* >iw pttblMi
., ^ * oOk . â– Miurrtpl {flUcLn wrfk*.

MO*pag« llluatraiad •:ataleiu« trma.

Tfie Home Cdrrespandoice School

Dcpt. 1 12. Sprinqfteld, Mass.

iHcow.'OiATte i9o4

ITAau4HtD >8»r

ml'»T«TTS

Height Weight

5 ft. 1 in. lOS lbs.

5 ft. 2 in 110 lbs.

5 ft. 3 in 115 lbs.

5 ft. 4 in 120 lbs.

5 ft.' 5 in 125 lbs.

Questions relative to height and weight
are the first asked at any studio. No ex-
perience is necessary. The majority of
the producers prefer to get girls un-
. spoiled by any idea of technique or
tricks. When a girl comes to Del Ruth
with the intimation that she is a second
Mary Pickford, he promptly disillusions
her.

P.oth Sennett and Christie, while they
use girls in the en.semble, insist upon the
beautv being brainy enough to under-
stand the fundamentals of acting, inas-
much as the background has to be deco-
rative enough to play a principal part in
the ])icture. Phillis Haver, for instance,
could never have been the beauty in "Sa-
lome vs. .'Shenandoah" if she had not pos-
sessed both beauty and histrionic ability.
Xor could Marie Prcvost have appeared
in "Yankee ntjodle in P.erlin" had she
not mani|)ulaled her grey matter as well
as her shapely legs.

"I got a girl," remarked .\1 Christie,
liroprietor of tlie comedies, "who had not
a particularly good figure, but a very
winsome smile. I figured that I could
use her. We could cover up her under-
pinning and play up her teetli."

Christie jirefers to get girls with expe-
rience, inasmuch As each damsel of ne-
must be able to do

cessitv

a certain
amount of legitimate dramatic comedy.
He will consider no girl applicant more
than five feet six inches in height. His
.rirls are slightlv different from those at
the Sennett and Fox studios, because they
generally play '•dressed-iip" parts and are

appear in afternoon tea-
gowns than in a bathing-suit, altho one
of the Christie beauties. Vera Steadman,
wears bathing apparel whenever the
scenario editor can find a suitable excuse
for it.

But Vera, too, is required to thespian-
ize — to use facial expression as well as
a beautiful figure to "put her over."
Helen Darling, another of the Christie
fiock, is a former cafe dancer, chosen for
the. comedies chiefly because she is grace-
ful and can walk thru a door without
giving the impression that she's all left
feet. Dorothy DeVore, perhaps the tiniest
girl on the screen, is five feet one inch
tall, a former singer in a Los Angeles
cafe. She is a good type, because she
has a bright, snappy personality. Mar-
jorie Payne, on the other hand, is taller
and of more languid aspect. She is the
winner of a national magazine beauty
contest and has a wistful, Mona Lisa
face. Florence Gilbert was picked par-
ticularly for her face, as a type opposite
to Miss DeVore, who is a brunette. Miss
Gilbert is almost the fluflfy blonde type
and is possessed of a lovely oval face.
Peggy Davis, on the other hand, is the
vivacious, sprightly, medium-sized bru-
nette lorelei.

On the .Sunshine lot, Dorothy Lee rep-
resents the terpsichorean coterie of
mirth-maids. She, like Dorothy DeVore,
is small and extremely vivacious, with a .
snapf)y personality. Norma Canterno, a
large-eyed, beautiful Italian girl, is pos-
sessed of perhaps the most beautiful
shoulders in comedy, while Bessie True,
a brunette with light-blue eyes, was se-
lected particularly because of her knees
and ankles. Lillian Hackett's feet are
the smallest on the "lot," while Dorothy,
Terry's arms, hands and shoulders are
proclaimed ideal.

The lovely,' dreamy, blonde Phillis
Haver is the ideal girl on the Sennett lot,
cxiierts have testified. Miss Haver has
deep, bahy-blue eyes and lips that form a
natural pout. Her arms and hands are
slender and her fingers are tapering, and
her legs are as perfectly formed as those
of a young child. Marie Prevost is her
exact ctmntertype, with a live-wire,
sprightly manner and a "mickey" per-
sonality that has proved extremely at-
tractive to thousands of film "fans,"

Only one girl in 10,000 can qualify fo;-
the movies' decorative background. So
says Mack Sennett, the originator of the
mid-day frolic in front of the camera—
the Ziegfeld of the films !

It was only a few years ago that Sen-
nett conceived his idea of the feminine
atmosphere, inspired by the success of
musical revues thru their attractive
chorus. Bathing-suits for the movie
maids were the most natural garb imagi-
nable, and the California beaches fur-
nished exclusive, original locale.
(Continued on page 73)

(Seventy)

PQRTUN

com

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91

ome

Distributed by METRO

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2 — What is the strongest dramatic situation in the plot of "A Modern Salome"?

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Portland, Mait\e

MOTION PICTURE CLASSIC '

Cameo Cassinelli

(Cnnthnicd from pape .V)
in Chicago lier hcniity ,nnd charm at-
tracted tiie notice of the F.ssanay film
producers ,Tnd in one of theii- famous
pioductions she made licr screen dehut.

Upon the comjiletion of her conti'act
with Kssanay she left the silent drama
and again tool< up concert work as a
memlier of the Chicnfjo Opera Company,
me.inwhile posinj; as ;i model for paint-
iiifjs and etchings for distinguished for-
eiRn artists.

.\fter two years of concert work the
young artiste again harkened to a flat-
tering call from the inovies and returned
to the screen to co-star with IC. K. Lin:
coin in Leonce PeiM'ct's hig production,
I "Lafayette, We Come." i-'ollnwing this
she was featui'ed in m.nny Capellani ])ro-
ductions.

The Italian heauty is niA keen on talk-
ing ahoiit herself. "Why should 1?" she
said. "Does Caruso go about talking of
himself? Do. any of the great .'irtists,
musicians, writers, go about telling how
wonderful they arc? \o! .\nd they
have done something worth talking about
I have done nothing but sing a little — .act
a little — any one can do that.

"My music? Yes. It was born in me
to like music, I loved to study it, always.
My music is a pleasui'e, a pastime. I
â– play the piano, I sing because I love it.
It is true that I can sing fourteen of the
operas, hut I have .studied and sung them
since I was a child. They are ju.st a. part
of my education."

".^nd your hobbies — ambitions?"

"Music!" she laughed.

"I go to the opera every chance I have,
and study, study, study. Some day I
hope to sing the great operas in some
great opera house. My brother — he. too,
sings— even better than I. Together we
compose music. Pei'haps we may write
a great opera. Who knows?

".\nd I read — i-omance, history, adven-
ture. Kspecially I like D'Annunzio, and
one of my ainbitions is to screen one of
his masterpieces. I should like to idealize
the Italian type on the screen — and yes,
I should like to go back to Italy and
study and work — but not yet."

Mrs. Cassinelli consulted her wrist-
watch. Our party was over and we went
our separate ways, but with me there re-
mains a memory of an unaffected. girlLsh
girl alive with enthusiasm foi' her work
and all things beautiful, who is giving us
thru the medium of the screen "gloiHous,
golden songs of silence."

.Vivv r()MI':ii.— Cnmc ,riglU in. Glad you
uercn't afr:ii(l to wi-itc. Yoti know I'm draw-
iii>; $9.50 per to answer question.^, «o keep nie
l>n.<.v. And j'oii haven't received iVorma Tfl\-
niadge's picture after writing' three' titnes.
She's a very busy lady, but I have reason to
liclieve that she means to treat everybody
kiiidlv

l'"i.o I .—Thanks for the fruit, particularly
the dates, althn when I cat them I will be con-
snmin^' time, and there's none too much. Owen
.Moore in "Sooner or Later." Yes, he's single
now. Hessie Barriscale in "The Woman Who
l_"iideistood." ^'iiii'd rather see action on the
screen than to hear the voice on the stage. I'm
glad there arc a lot more like you.

(Seventy-two)

SELECT your own
subject — love, patriotism
— write what the heart dictates,
then submit your poem to us.
W* write the muilc and ouarantee publiah-
er'a acceptance. Our leading composer is

Mr. Leo pplcdman

one of America's well-known musicians, the author
of many song successes, such as "Meet Me Tonight
in Dreamhtjd," "l.ct Me Call You Swerfheart,"
"Whfn / Drfnm of Old Erin," and olheri the fales
of whl,-h nn Into mlUiond of O'PiM. 8c".) n« many r>oen«
Mvouwlah. Don't Dvlnv. 0»l •o«»-Oul«h. , f.

CHESTEk MUSIC CO. *" 'br^'.-WS '" • Chle.«., III.

Bring Out the Hidden Beauty

Dt'lKfilli ihe •n|je<1, OlRcoInrfd. failvil fjt aiiiil onmiilcxlnn 1^
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Itfiiitrifnl Hklii uiiiii'nipath.
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Mercolized Wax \l

Ilavu you irlcil It?

fashion saus
the use or j

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correct ityle. Thot it why

"they all use Delatone"

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Beauty specialists recom-
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•lay

The Sheffield Pharmacol Co.^

Dept. LX, 33» S.Wabish Ave.. Cbicsfo. 111. d&

fSerenti/thmg)

ine miQ-uay nunc

(Continued from />«(/(? 70)
It was, as Sennett says, a mere adven-
ture at the time, hut with the passing of
years a precedent has been established.
The original coterie of bathing beauties
has risen to heights of stardom— (Uoria
.Swanson, Mabel Norniand, Juanita Han-
sen, Ora Carew and Mary Thunnan—
and tomorrow tlie lovely ladies who fur-
nish divertisement today for the bald
liead.'s in the thirty-cent seats may see
their names in gleaming electrics over a
feature i)roduction.

.\nd it has come to pass that the New
York managers are commencing to look
to the movies for fre.sh, unspoiled girl-
hood. The day of the blase chorus kicker
is' p:ist, and the caftj soubrette who
screams jazz thru a corrugated-iron
throat is passt;.

(Girlhood is selling at a premium, and
the decorative background c()ntinues to
grow more decorative each time a new
baby vamp with dark hair and sparkling,
champagne eyes step.s out of the dlass-
room into a bathing-suit— and out before
the camera.

1 48 PItotos of Movie Stars

rt'protliictd in halftone. On card
li'niril, 6iiiial)lc for framing. Ar
Inicklc, Uarn, Chajilin. Pickfords,
Anita Stewart, Pearl White,
Itotli male and female STARS arc
;ill here in CLASSY POSES. Bv
m.iil pos'|i;iid 15 cftnis, Stamps nr

(nin.

ARDEE PUBU5HING CO.
Dept. 1 50 Sumford. Conn.

Alec Francis, Pioneer

(Continued from patic 33)
place by ourselves and a place large
enough for ordinary comfort.

â– T think I have found one now. It is
a rather attractive house in the Wilshire
district."

He added that they had been having
much trouble with their servants. They
had found it impossible to get a i:apabte
one.

Vfiu feel tliat these things are very
disturbhig to .\lec Francis. He is un-
doubtedly overly sensitive for his own
happiness. He told me that if two or
three things go wrong in succession the
accumulated efifecls will make him HI in
spite of all his philosophy and his power
to reason against it.

Occasionally he would lift one hand
from his cane and make a short, level,
sidewavs gesture, but for the most jiart
he sat very still.

He told me a story of his first season
on the stage which illustrates the changes
he has seen take place.

"We had- only gas -lights then," he
said. "One night, during my big scene,
some one noticed that the lights were at
half-cock and turned them all on full.
l".\ery globe in the house hurst." He
will never forget the panic that followed.
( )f all the things that have happened in
his eventful life he apparently remem-
bers this most vividly.

â– T want to go back to the stage fin-
just one more production," he said, in
conclusion. His contract with ( ioldwyn
has another year to run. "T am ])lanning
to apjiear in a comedy-drama which I
may jiroduce myself, .\fter that I will
return to ])ictures."

Which goes to show that even n pio-
neer loves his old home best, and there is
no love like a first love after all.

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Sick-a-Bed

{Continued from page 43)

to ask them I am sure they will be only
too happy to answer."

"Humph !" Dr. Macklyn opened his
case and drew forth a clinical thermome-
ter, squinted at it and shoved it into
Jay's unwilHng mouth. "Dont want an-
swers. Want facts. Very different
things. Humph !"

Jay's eyes sent out an agonized S. O. S.
over the glass tube, and the nurse an-
swered it by slipping a piece of ice from
the tumbler on the tray between his lips
as she stooped to smoath the pillow. The
doctor removed the tube, glanced at it
once conternptuously, once incredulously,
and uttered an exclamation. "My God!
The man his no temperature ! He ought
to be dead!"

He shook the thermometer and rein-
serted it. Again Jay sent out his wire-
less and again was answered when Nurse
Durant slid a bit of smoking-hot muffin
deftly into his mouth, as she drew up the
blankets about his chin.

"Heavens alive!" muttered the amazed
doctor. "It's gone up to IDS in two
minutes. This is terrible !"

He drew out his stethoscope and ap-
plied it to the portion of pajama front
beneath which Jay's heart beat normally
and in perfect health. Nurse Durant did
not hesitate. She saw her duty and did
it. Stooping over the doctor's head, she
implanted a kiss upon Jay's forehead !

"Powers that be!" howled the doctor.
"The fellow's heart is speeding away like
an express train. He wont last the day
out. It's a wonder to me he's still
alive!"

From the doorway came a shrill
scream. "She did it ! I saw her kiss
him! Oh, Orlando! Orlando! You
have broken my heart !" Constance
Weems wailed. At the same instant her
husband's burly form shot by her and to
the bed, where his brawny hand lifted
the invalid by the collar-band and shook
him violently.

"Orlando ! So you're Orlando !" yelled
John Weems. "Well, what d'you mean
by making love to my wife, eh?"

"I didn't make love to her !" Jay
gasped. "I wouldn't make love to her if
she was the last woman on earth !"

This did not tend to placate the infu-
riated husband. "You wouldn't ? I'd like
to know why not? She's a woman any
man would want to make love to ! What
do you mean by insulting her?"

A soft voice fell across his rage like
cool water. Nurse Durant, very trim
and demure in her blue starched uni-
form, had taken one of Reginald Jay's
hands with the most charming blush in
the world. "He means," she explained,
"that I've agreed to see that he doesn't
make love to any other woman, no mat-
ter how much he'd like to ! Isn't that it,
Reggie dear?"

Already the two fake doctors had
slipped unostentatiously away. The spe-
cialist, scowling ferociously over his
glasses, snapped his case to over the
stethoscope. "Love-sick ! Humph ! That

accounts for the symptoms !" he growled. |
"Some day some doctor is going to win i
everlasting fame and the gratitude of his
sex by inventing an antidote. But this
case is incurable. Humph! Good-day!"

Her dreams of romance receding,
Constance turned her glance upon her
husband. After all, a husband, even a
patent clofhes wringer husband, was
preferable to nothing. She cast herself
into his arms with a^shrill wail, "John!
John ! Have you corne back to me, my
ownest owp?"

In this feminine manner did she take
the groun4 out from under his feet and
put him once and for all indubitably in
the wrong, abjectly in the proper mascu-
line position of begging for forgiveness
for her sins. And so together they went
away, and lived forever after, but
whether happily or not the reader must
decide on the grounds and evidence
presented in this tale.

And Nurse Duncan and her patient
were left to, themselves.

"Dearest," he began tentatively, and,
when nothing happened, "Darlingest," he
cried, .raptiirously, "you've made me the
happiest man in the world."

"A nurse has to do her duty," said
Nurse Durant, coldly, but it was notice-
able that she did not draw perceptibly
away. And correctly interpreting this,
Reginald Jay arose from his sick-bed and
took her in his arms to the scandal of
the prim little cap atop fhe brown curls.

"Then you've got a case for life" — he
kist her — "for I have the best medical
authority that my case is incurable !"

B. C. 1920

(Continued from page 17)
You cannot portray emotions for others
if you cannot study and analyze these
emotions. And you have to have some
grey matter to do that." Miss Compson
smiled and added, "That's why I'm
reading furiously."

"And beauty — is that needed?" we
reminded.

"Perhaps," responded Miss Compson,
"of a kind."

"If one had both?" we insisted.

"Gracious," Miss Compson said, "you
go right home and do something about
that cold."

DOLLS
By Charixjtte Becker
I love them just as much today
As when, a dreamy little girl,
I decked them out in remnants gay,
And proudly smoothed each mussy curl.

And, up and down the busy street
The people that I do not know.

The faces of the doiis repeat.
In toyshops of the long ago.

I long to take each lovely one
And set tliem in some make-believe.

Quaint games, where they'd have heaps
fun
In thrilling stories that I'd weave.

And all the ugly ones I want

So very nice a time to give.
That they'll forget the jibes that taunt,

And (ind how good life is to live.

(Seventy- four)

of

CLASSIC

The Human Photoplay

{Continued from page 23)
Vidor's vigorous ideas intensely inter-
esting.

"The theme," he replied promptly ; "the
underlying reason for the picture being
made. I try to look at a picture as one,
in which all the elements are well bal-
anced and work together harmoniously,
but the big idea must be there !"

Artificiality comes when there is no
longer a fresh and urging impetus, but
this young man — he is only twenty-si.x —
seems to have an inexhaustible supply of
visions which promises to stimulate his
pictures for some time to come.

In all human endeavor is the element
of the unexpected which comes to thwart
the best laid calculations ; this, of course,
creates the plot, and it is the working out
of these difficulties in the right way that
concerns King Vidor.

It was as a schoolboy down in Galves-
ton, Texas, that Mr. Vidor first decided
he wanted to direct motion pictures,
and after many disappointments and
struggles, during which he was learning
much, he finally reached his goal, cre-
ating a veritable sensation with his first
production, "The Turn in the Road," and
he is considered one of the principal
possibilities of the screen.

"I am now with the First National," he
told me, happily, "and they are affording
me a greater opportunity and more free-
dom than I have ever had, and with my
new studio, which is being built, I hope
to make my pictures reach the highest
standard."

A year ago little Suzanne could only
gurgle delightedly at me, for she had
been a Christmas gift to the Vidors and
was but a few months old. Now she is
a regular chatterbox, and I predict she
will be a comedienne, with her twinkling
eyes and merriment. And she should
be, for her pretty mother, Florence Vidor,
who is her husband's leading woman
in all his pictures, excels in emotional
work, and King Vidor believes there
should be an equal amount of drama and
comedy in each film.

"Comedy," he told me, "serves to
make people forget their troubles and
gives them a chance to see life in its true
perspective. Much of the worry of the
world comes from trying to plan ahead.
There is no past, no future, only the
glorious present, and if we are striving
for the riqht, all our needs will be met at
the proper time !"

Who knows but the name of King
Vidor will prove a pivotal one, by reason
of what he will accomplish and of his
far-reaching influence on the motion pic-
ture art itself!

Sapho. — Church bells were first suggested
by Pauliniiis, an Italian bishop, and were in-
tended for "driving away spirits and ridding
the air of devils " No. Carol Dempster is not
engaged to Richard Barthelmess. You're
right; come again.

Harold R. — Write Gloria Swanson, Los An-
geles, Cal. No. Harold, I dont think I have
written anything yet that will live. I have
been answering questions for nearly ten years,
and I am thankful that I still live, even if my
answers dont. Write me again some time,

(Seventy iive)

Paul Schofield

A year ago he
was a rank out-
sider. He studied
the Palmer Plan,
To-day he is
under a 2-year
contract as staff
writer with Thos.
H- Ince Studios.

The Famine

Stars and producers are searching the country for new, workable
motion picture stories. Literary genius is not a prime factor. They
want new story-plots told in the language of the screen. 95% of the
book material is unsuited to motion picture production. Learn how
this new opportunity can be mastered more easily than you may think.

In Photoplays

5000 New Stories Wanted

If the Motion Picture Industry is to Survive

(This figure does not include material needed for religious, commercial or educationat films.')

HOW many times in the last few years
have you felt that you could write a
better plot for a story than some you
have seen in the motion picture theatres?

Well, perhaps you could. At least there
are many people who could. And producers
want you to make the attempt. For there has
been a big change in motion pictures in the
last few years. People don't go for the
novelty any more. They want to see a story
with a good plot, A scene with fat women
rolling down hill no longer packs a
theatre. The star is no longer able to
carry a poor story to success.

But at the present time pro-
ducers cannot get enough good
stories. Over 5,000 are needed
each year, 95% of book material
is not suited to the screen. And
at present there are simply not
enough men and women writing
for the screen, even though in-
credible prices are being paid.
More must be trained if the in-
dustry is to live. So if you have
a spark of creative imagination,
if you have any story-ideas, the
opportunity is golden.

Literary Genius Not
Essential

The Palmer Photoplay Cor-
poration makes no extravagant
claims. It merely points to the
list of successful photoplaywrights it has de-
veloped through Correspondence. People from
all walks of life — mothers with children to
support, ministers, clerks, magazine writers
who failed when they tried for the screen. In
short, we have demonstrated that anyone
with good ideas can write photoplays, once
he learns the fundamental principles.
$2,000 for a Story Not Uncommon

Producers now pay $100 to $500 for a
clever comedy; $250 to $2,000 for a five-reel
manuscript.

One of our students, formerly a minister,
sold his first story for $2,000. 'The recent
success of Douglas Fairbanks, "His Majesty
the American," and the play, "Live Sparks,"
in which J. Warren Kerrigan starred, were
both written by Palmer students. James
Kendrick of Texas has sold six stories since
enrolling less than a year ago.

Many of our members have taken staff
positions in studios, four in one studio alone.

Not a Tedious Course of Study

Most of our successful students begin to sell
their photoplays a few months after enrolling.
For you start to work on your manuscript
almost immediately. We teach by direct
example.

We furnish you with the Palmer Hand-
book with cross references to scenarios that
have been produced.

We give you a glossary of studio terms and
phrases. In short, we bring the studio to you.

Then you begin the real work with our
Advisory Service Bureau. This Bureau gives
you personal, constructive criticisms of your

Advisory Coiuicil

The educational policy
of the Palmer Photoplay
Corporation is directed
by the biggest figures in
the industry. They are :
Cecil B. de Mille, Direc-
tor-General of Famous
Players-Lasky Corpora-
tion ; Thomas H, Ince,
head of the Thomas H,
Ince Studios; Lois
Weber, America's great-
est woman producer and
director ; Rob Wagner,
well-known motion pic-
ture writer for the Sat-
urday Evening Post,

manuscripts — free and unlimited for a year.
Every critic in this Bureau is an experienced
photoplay writer.

Special Contributors

Included in the Palmer Course is a series
of lectures by twelve leading figures in the
motion picture industry. They cover every
technical phase of motion picture production.
You can judge their value from the fact
that they are contributed by such notables as
Frank Lloyd and Clarence Badger. Goldwyn
directors ; Jeanie MacPherson. noted Lasky
scenario writer ; Col, Jasper
Ewing Brady, of Metro's sce-
nario staiT; Denison Clift. Fox
scenario editor ; George Beban,
celebrated actor and producer;
Al E. Christie, president Christie
Film Co., Hugh McClung, expert
cinematographer. etc, etc.

Our Marketing Bureau, headed
by Mrs, Kate Corbaley, formerly
photoplaywright for Mr. and
Mrs. Sidney Drew, helps you sell
your work. In constant touch
with the studios, she knows their
needs. When members so desire,
she submits their plays to Di-
rectors and Scenario Editors in
person.

Send For This Book
and Investigate

For those who are really interested in this
great new opportunity, we have prepared
"The Secret of Successful Photoplay Writ-
ing," which lays before you the Palmer
Course and service in greater detail.

If you have any story-telling ability, you
owe it to yourself to write for this book.

Remember that many photoplaywrights
have never written a line for periodicals.
Literary ability is not what is wanted. Pro-
ducers want outline plots written from a
knowledge of their specific needs, A simple
story with one good new thought is enough.

There is one peculiar thing to remember
about the Palmer Plan. Unlike any other
course in special training, one single success-
ful effort immediately pays you for all your
work.

In this new uncrowded field success is rapid.

The need is growing greater every day. Never

were rewards greater and quicker than in the

new art. At least investigate. Mail the coupon.

Palmer Photoplay Corporation

Dtprirlnicnt of Education,
74-1 I. W. Hellman Building, Los Angeles, Cal.

PALMER PHOTOPLAY COnPORATIO.N.
Departmont of Education.

741 I, W, Hcntnan Bufldlili:.

Los Angeles, Caliitounia.
Please send me, without obligation, your new book.
"The Secret of Suocessrul Photoplay Writing," Also
"Proof Positive," containing Success Stories of toany
Palmer members, etc.

Name...,
Address, .

city,.

Slate.

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MOTION PICTURE CLASSIC

Confessed Calumny

(Continued from page 66)

kicked up such a cinematic rumpus
over a package of mere blank ivriting
paper, which the scenario has designated
as the million-dollar plans of an imagi-
nary movie mine.

All this from Oland, as he continues
fleecing "Toots" for the leaping dan-
druff !

Mr. Oland, as I have said, resides in
the peaceful suburb of Glendale, twenty
minutes by Cadillac (this is a perfectly
free gratis ad) from Los Angeles. His
house is precisely like any other com-
fortable abode, with a piano, victrola,
hot-and-cold running water, Jap boy,
flower-garden and various other com-
forts of home. You step into a spa-
cious sun-parlor, and you are confronted
by an unfinished oil painting on an easel.

Does Mr. Oland paint? This you ask
breathlessly.

No, Mr. Oland does not paint, you
learn, but Mrs. Oland does. You glance
at the piano and note a ballade of Mous-
sorgsky thereon, Another disappoint-
ment! Mr. Oland does not play, neither
does he sing. It is Mrs. Oland who is
thusly accomplished. Y'ou see a large-
sized box of Murads, (another free ad),
reposing temptingly on a mission oak
table in the sun-parlor. Still another
heartache, because you, being a writer,
are plebeian and inhale the aroma of Vir-
ginia's purest weed, rather than that of
Tu rkey-on-the-H udson .

The thrillingest bit of dirty work
Oland ever did on the screen was when
he nearly pushed Pearl White off a fast-
moving box-car. Of course, the afore-
said box-car wasn't going fast, but the
camera made it look as if it simply burned
up the track. And the camera box was
nailed onto the hind end, some three feet
below the level of the roof. Oland was
escaping, and the darned heroine posi-
tively insisted upon following him by
climbing over the roof of the moving
train.

The director wanted him to kick her
in the face — gently, of course, but, never-
theless, to implant a healthy boot in the
center of her proboscis.

"I really couldn't do that," Oland con-
fessed. "Miss White was such a nice
girl. And then the director coyly sug-
gested that I step on her hands as they
clenched the roof of the car. And I
just couldn't bring myself to do that,
either. And so we compromised by my
pounding her lily-white fingers gently
with my fist, and she, suffering only the
exquisite agony capable of screen hero-
ines, dropped to the camera-stand three
feet below !"

And it was in "The Witness for the
Defense" that he had to choke Elsie
Ferguson I Actually choke her !

"How did she feel?" I inquired, gasps
punctuating my breathing spells.

"Oh," drawled Oland, languidly, "she
just thought of it as a dramatic situation
and told me to be rough with her for the
sake of art."

"And you ?" again from breathless me.

"Oh, I'd been married to her seven
years in the ston,', and while Elsie is a
charming girl, the scenario writer in-
sisted that I'd had enough of her. And
I choked her lovingly, gloatingly. It was
a good scene and we didn't have to do a
retake."

"The result?" .

"Miss Ferguson merely had to retire to
her dressing-room to again make up her
neck so that we could continue the day's
labor."

"It's the first time in his life he ever
mistreated a woman!" Mrs. Oland in-
sisted, indignant. "The things they have
him do ! No wonder he gets tempera-
mental after he's worked on a picture for
months."

But hearken ! I haven't told the half
of it.

"My pet trick," added Oland, "when
my picture prey wont tell the hiding-
place of the diamonds, is to twist his
wrist. Camera-man takes a close-up,
and the public shudderingly shivers,
'Hozv aw fid!'

"You know, I never really hit them in
pictures. I generally plan all the screen
dirty work, and tny 'adherents' put in the
actual punches. If I do hit them, I'm
ever so gentle. Why should I :vant,
merely because I'm the heavy, to hurt
them ? They never get a chance to come
back at me, and — well, my conscience
always fails me."

This screen villainy is commencing to
be a fad with our subject. He eats and
sleeps slinkingly, slyly, thinking up new
dastardly tricks to play on the members
of his company on the morrow.

But what he wants to do is to play the
part of a farmer! He has a farm in
Massachusetts, where, when possible, he
retires to rest and Mrs. Oland to paint,
and both to collaborate in translating
Strindberg, twelve volumes of which
have been thus far anglicised bv the
Olands.

You'd think, from seeing Oland on the
screen, that he is a Japanese and, from
hearing him talk, that he's English.
Wrong again ! He was born in the
northern part of Sweden, of Swedish-
Russian parents. America claimed him
at an early age, but, nevertheless, he's
wholeheartedly in love with the literature
of Bjorkman, Hauptmann, Strindberg,
Sudermann and other Norsemen, and
when he's not too busy villaining you'll
likely find him working on English trans-
lations of their works.

And he has, for years, been intensely
interested in the little-theater movement.
In fact, when he produced and played in
Strindberg's "The Father," his own
translation, some years ago at the now
defunct Berkeley Theater, New York,
the presentation was the forerunner of
the art-theater wave in this country.

Originally he was to have been a grand

opera baritone. Fate later sent him to

the Boston School of Expression, where

he became interested in the drama while

(Continued on page 82)

(Seventy-six)

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(Serentii-^eieitJ

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the prettiest of and congested unless they
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MOTION PICTURE

Romance Comes to Priscilla

{Continued from page 25)
comedies. They are two fine boys, and
comedy is good training, for it teaches
you to think and act fast — that's why I
like it. After I began doing heavier
work I had to keep slowing down the
speed all the time.

"Of course, my favorite role was the
Wildcat of Paris — I loi'cd her. She was
a regular spitfire ; laughing or crying,
she was full of pep, never quiet a minute.
Anyway, I like wild parts — ^the wilder,
the better !"

Miss Dean went on to tell me about
"The Virgin of Stamboul," a seven-
reeler by H. H. Van Loan, which proved
to be her romance picture, culminating,
as it did, in her marriage to Mr. Oakman
in real life as well as on the screen.

"I lost pounds making that picture,"
declared the little star, solemnly, "for we
worked so hard, and all night long many
times. Tod Browning has directed me
in nearly all my pictures, and he under-
stands me so thoroly that we have to do
little rehearsing. That helps a lot.
Funny how things happen — he and my
mother used to play in the same company
on the stage, and I have known him
always.

"My next picture, 'False Colors,' in
which I play dual roles, a naughty
French actress and an American girl,
will afford the first chance I have had to
wear gorgeous clothes before the camera,
and I'm having a beautiful time design-
ing them. They're mostly of satin — all
shimmery and very long and snaky!
Cant you see me swishing around in
them ? For my personal wardrobe I pre-
fer plain, trim suits and sport togs, and
always of the quietest colors. Surprising,
isn't it?"

As we watched the animated pano-
rama of studio life which the noon hour
brings, Priscilla confided that the lure of
the stage still holds her and that she
never sees a musical comedy without
wanting to jump on the stage and take
part in the singing and dancing.

Of course, she is still so young that
many new triumphs on both screen and
stage await her. Already several over-
tures have been made by big producers to
induce her to bring her fascinating type
of madcap personality to the stage.
However, her contract with Universal
still holds good and the present — with
her devoted husband— is absorbing her
thoughts, for, after all, before theactress
is the woman, and Priscilla Dean is at all
times essentially feminine!

HILLS
By Betty Earle

The patient hills wait also.

I lasso them with my loneliness ; tho far away
I clutch them close and closer.

A heart I yield to them with human heart-
beats.

I rumple their leaves to manifold whispers; I
expose my soul to their wandering pathways ;
I weave in shadows the pattern of my gloom.

Together now we face the mourn of owl, the
wind's low urge, the solitary star's blue
quietude. .

Yet feel no loneliness; only a kindred faith.

Because we wait together.

(Seventy-eight)

LASSIG

The Cost of the Modern
Photoplay

{Continued from page 21)
le $30,000 mark, and it frequently slips
p above $.SO,000 towards $75,000. But
Dt often.

"Today the average special feature
jsts $125,000 to $150,000 and frequently
luch more. Let me detail a produc-
on, using my 'The Heart of a Fool' as

basis. Place the original stoiy cost at
25,000. It required a cast of ten able
layers for eight weeks at a salary of
5,000 to $6,000 weekly. This totalled
bout $55,000; $10,000 went to players
f smaller roles, extras, etc. The over-
ead costs — for staff executives, camera-
len, etc. — ran to about $2,000 for ten

eeks, since these people were engaged
or a longer period than the players.
"his then climbed to $20,000. 'The
leart of a Fool' necessitated unusually
laborate interiors — $25,000 went for the
uilding of settings, the renting of props
nd the renting of studio space; $5,000
/ent in furniture ; while the electrical
epartment required $5,000. The ward-
obe cost $10,000, the two principal
romen needing unusually lavish gowns.

"In 'shooting' the picture we used
omething like 75,000 feet of raw stock.
This cost $3,000. Developing and print-
ng some 50,000 feet of final positive cost
12,500 more. Incidental items, such as
â– diting, making titles and cutting, ate up
>1,000 more. I have not added in my
iwn salary as director, because I draw
igainst the profits, but this is another big
tern, running usually to $20,000 or
)30,000 for just an average man and
iway up for the big directors.

"You can see for yourself how the
terns pile up. 'The Heart of a Fool'
lere runs over the $160,000 mark. I
jredict that production costs are going
o double themselves in the next year.
Producers declare this impossible, that
luch photoplays cannot make money.
But I know the reverse to be true.

"Today a $150,000 production draws,
et us say, $500,000 gross. The middle-
nan — the exchange distributor — pulls
Jown half of the profits. Directors and
stars are now organizing in combines
iuch as the Associated Directors, to dis-
:ribute their own pictures. With com-
petent handling, these photoplays can
take in $750,000 to $1,000,000. Of that
we are confident. So there is no reason
why a $250,000 or $300,000 film produc-
tion isn't feasible — and profitable.

"Indeed, it will be necessary. A good
story now costs up to $75,000 or $100,-
000. Players' salaries are steadily mount-
ing. Other costs are advancing. It will
really cost $300,000 to make a big picture
very shortly."

Thus has the once lowly movie ad-
vanced. And only a few years ago a pro-
ducer needed only a camera, a haphazard
story, a man to operate the machine and
a half-dozen actors at five dollars — or
less — a day.

Dwan protests against New York as a
national premiere center for this country.
(Continued on par/e 80)

fSeventynine)

The high cost of water

This is one reason why Quaker Oats will often cut breakfast cost ninety
per cent.

Quaker Oats is only 7 per cent water. It yields 1810 calories of food per
pound. Many costly foods are largely water. Note this table.

In Quaker Oats
In round steak
In veal cutlets
In fish .

Percentage of water

7% In hen's eggs
60% In oysters
68% In tomatoes
60% In potatoes

. 65%

88%

. 94%

. 62%

The cost of your
breakfasts

Here is what a breakfast serving
costs in some necessary foods at this
writing :

Cost per serving

Dish of Quaker Oats
Serving of meat ....
Serving of fish . . . â– 
Lamb chop .....
Two eggs .....

Ic
. 8c

8c

12c

. 10c

In cost per 1,000 calories — the energy
measure of food value — they will aver-
age ten times Quaker Oats.

* ''P T» T*

Quaker Oats is the greatest food that
you can serve at breakfast. It is nearly
the ideal food — almost a complete food.

Young folks need it as food for
growth — older folks for vim- food.

Yet it costs only one cent par dish.

Serve the costlier foods at other
meals. Start the day on this one-cent
dish of the greatest food that grows.

In cost per .serving these other good
foods run from 8 to 12 times Quaker
Oats.

World-famed for its flavor

Quaker Oats dominate because of the get but ten pounds from a bushel. You get
flavor. They are flaked from queen grains this extra flavor without extra price when
only— just the rich, plump, flavory oats. We you ask for Quaker Oats.

ISc and 35c per Package

Except in the Far West and South
Packed in Sealed Round Packages with Removable Cover

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The Pride of the Anzacs .

(Continued from page 60)

"We were always poor," she said,
"and those days in London were terrible !
We went from manager to manager, but
none of them would take a chance on me
or pay any attention to the records I
had made in Australia. \Vhenever any
one asked our address we used to avoid
giving it by saying tliat we were expect-
ing to move as soon as we could find a
suitable place. Of course, anything was
better than admitting tliat we lived in
King's Cross !"

At last, when they had only one
ha'penny left, she got her chance. The
London Dally Mirror offered to back her
if she would enter the Channel swim-
ming contest. It was explained to her
tliat she would have to remain in the
water long enough to make a showing —
at least three hours, and the longer she
stayed after that the more money she
would get. She suffered from nausea,
but whenever she was tempted to give up
she reminded herself that the longer she
stuck the more she would get, and think-
ing of that single ha'penny, which w-as
all her worldly wealth, she remained in
the water for six and a half hours. (On
another occasion, when she attempted to
swim the Channel, she remained in the
contest for ten and a half hours and got
three-quarters of the way across, a rec-
ord for a woman.) For her first attempt
she was given thirty pounds ($150.) But
it was not until some time afterward that
she began to make a steady income. The
real incentive of her many record-break-
ing endurance swims was her very great
horror of extreme poverty. The follow-
ing year she and her father came to
America, and she gave swimming exhibi-
tions at White City Park in Chicago.
They charged ten cents admission and
gave fifty-five performances a week.
Her first vaudeville engagement was at a
salary of $300 a week. Her popularity
was so tremendous, however, that her
salary grew to $1,200 and she worked
for two years in the Keith theaters with-
out a day's vacation. But she was de-
nied the joy of sharing prosperity with
her father as they had shared their pov-
erty. This was her greatest regret.

At this point, Mr. Sullivan, her hus-
band, came up to a.sk if I wouldn't like
to see the exercise room. It was a per-
fect little "g}'m," converted from a
screened porch in the back of the house,
overlooking the orange grove. This
"gym" is large enough and equipped in
such a way that she can practice her golf
and tennis strokes with ease. She con-
tinues to keep in practice with her ballet
dancing and tight-rope walking ; in fact,
with evei-ything that serves to keep her
fit.

After a conversation with Annette
Kellerman one carries away an impres-
sion of bulldog tenacity of purpose,
almost awesome in its intensity.

"Tennis means more to me right now
than anything else," she said. "I am
never so happy as when the Bundys or

MOTION PICTURE CLASSIC

Mary Browne tell me that I have played
my game well."

Tom and May Sutton Bundy, Mary
and Nat Browne are her nearest friends.

"Isn't it odd," Annette Kellerman went
on, "how, when you really want to do a
thing, the importance of it seems to
grow and grow until nothing else mat-
ters at all ? For instance, I spent hours
and hours trying to learn how to walk a
ball. There wasn't any particular use in
my knowing how to walk a ball, but I
kept on with it until I could do it quite
easily. Of course, it will come in handy
now."

We had returned to our favorite spot
on the lawn where the sun was warmest.

"No more fairy stories ?" I queried, re-
ferring to her recent arrangement with
Sol Lesser under which she will make
moving pictures with her own company
which will be exploited and controlled by
him.

"Not for a while at least," she an-
swered. "You know, the way this ar-
rangment came about was that I made
some one-reel educational pictures on
how a woman could keep healthy. I
showed these to Mr. Lesser and he'liked
them so well that he made me this offer
to do five-reel comedy-dramas in which
I will play a modern athletic girl. I
think that it will be something really
new !"

The Greatest of Popularity
Contests

(Contiiuied from page 51)
Male stars: William S. Hart, 5,982;
Richard Barthelmess, 4,821 ; Wallace
Reid, 4,624; Douglas Fairbanks, 3,829;
Eugene O'Brien, 2,317; William Farnum,
2,019; Charles Ray, 1,752; Douglas Mc-
Lean, 1,546; T. Warren Kerrigan, 1,503;
Tom Mix, 1,207; Charles Chaplin, 1,050;
\yilliam Russell. 911 ; Tom Moore. 816;
Kenneth Harlan, 700: Antonio Moreno,
700; George Walsh, 700; Harrv North-
rup, 515; Harrison Ford, 447; Ralph
Graves, 447; Louis Bennison, 389; El-
liott Dexter, 389; Bert Lytell, 389;
Thomas Meighan, 341 ; Rodnev La
Rocque, 325.

The Cost of the Modern
Photoplay

{Continued from page 79)
"The district between Fifty-ninth and
Forty-second streets, wherein lie all the
big New York movie houses, is a land of
jaded, cynical theatergoers," he main-
tains. "Their opinion isn't worth any-
thing as a criterion to judge a photoplay's
reception by the country at large. They
care nothing for the staple realities ; they
want something to stir their blase appe-
tites. Hence the enthusiastic reception
of 'Broken Blossoms' and the lukewarm
way 'The Miracle Man' was received in
New York. Producers are coming to
avoid New York for film premieres."

Which we submit as Mr. Dwan's
opinion — and manifestly not our own.

(Eight)/)

' I ifiritfliTiB

How Every Woman Can Have
a Winning Personality

Let Me Introduce Myself

DEAR READER : / wish to tell
you how to have a charming,
winning personahty because all
my life I have seen that xvithovit it any
woman labors under great handicaps.
Without /lersonalitv, it is almost im-
possible to make desirable friends, or
get on in business ; and yes, often must
a woman give up the man on whom
her heart is set because she has not
the power to attract or to hold hmi

Duniii; rav career here and abroad, 1
have nic'l a great many people \vhom 1 Have
been able to study under circumstances
wbich have brought out their weak or strong
points, like a tiny spot on the lens ot .t
moving picture machine will magnify into a
very large blot on the screen. And I have
seen so many people, lacking in personality,
try to muke a success of their plans and tail
completely, in a way that has been quite
pathetic. I am sure that you also are
familiar with one or more such cases.

Success of a Winsome Manner

I saw innncrvus jaUtires that were so dis-
tressing that my thoughts could not help
dwelling upon those shattered and vain con-
ditions. I have seen women of education,
and culture and natural beauty actually
fail where other women minus such advan-
tages, but possessing certain secrets of
loveableness, a
certain win-
someness, a
certain knack
of looking right
and saying the
right word
would get
I ahead delightfully.
Nor were they
naturally forward
women. Nor were
they the kind that
men call clever.
Some of them, it
you studied their
features closely,
were decidedly not
handsome: yet they
seemed so. They
didn't do this by covering their faces -with cosniet-
ics- they knew the true means. And often the
wiiining women were in the thirties, forties, or
even fifties. Yet they "appealed." You know what
I mean. They drew others to them by a subtle
power which seemed to emanate from them Others
liked to talk to them and to do things for them. In
their presence you felt perfectly at ease— as though
you had been good, good friends for very long.

French Feminine Charms

The French women among m\ friends seemed
to me more generally endowed with this ability to
fascinate, than did my friends among other nation-
ahties. In the years that I lived in Pans, I was
amazed to find that most of the women 1 met
were enchanting.

"Is it a part of the French character? I asked
mv friends. , , , ,

"Were you born that way?" I would often ask
some charming woman.

And they smitingly told me that "personality."
as we know it here in America, is an art, that is
studied and acquired by French women just as
they would learn to cook, or to sing by cultivating
the voice. Every girl and wom.^n possesses latent
personality. This includes you. dear reader. There
are numerous real secrets for developing your
personality. In France, where the women have ab
ways outnumbered the men. and where opportutii-
ty for our sex is restricted, those who wish to win
husbands or shine in society, or succeed in their
careers, have no choice but to develop their
charms in competition with others.

How Men's Affections Are Held

Lately the newspapers have been telling us that
thousands and thousands of our fine young army
men have taken French wives. It was no surprise
to me. for I know how alluring are the French girls.
Nor could I help conceding the truth in the asser.

JuUettc Fara

You may have all those attractive qualities that
men adore in women

lion of a competent Franco-American journalist
that "American girls are too provincial, formal, cold
and unresponsive while the French girls radiate
warmth of sympathy, devotion and all those
exquisite elements of the heart that men adore in

""/Iiid'/ who am successful and probably known
to you by reputation through my activities on the
Faubourg St. Honore can tell you in all candor, as
one woman confiding in another, that these brcnch
secrets of personality have been a very important
factor in the successes of mine. But it is not my
tendency to boast of myself, the Jnhelte l-ara
whom I want you to feel that you already know
as vour sincere friend, but I speak ,./ YOU and
for'Y'OV.

French Secrets of Fascination

Mv continued residence in France enabled me
to observe the ways and methods of the women
closely. I studied and analyzed the secrets of
lYieir fascinating powers ,,,, c J T c.f

When 1 returned to the dear old U. i. ,^..1 set
myself at work putting together the facts methods,
secrets and formula: that I had learned while in

'of one thing I am absolutely con-uinced— every
woman who wishes it may have a winning person-
ality.

Overcoming Deterrent Timidity

/ know I can take any girl of a timid or over-
modest disposition, one who lacks self-conlidence.
or is too self-conscious for her own good, and
show her how to become discreetly and charmingly
daring, perfectly natural and comfortable in the
presence of others, I can show you how to bring
out charms which you do not even dream you possess.

Uncouth Boldness— or Tactful Audacity

rf you are an assertive woman, the kind that
suffers from too great '"""Jness, I can show
you in a way that you will find delightful how to
be gentle and unassuming, lo tear away 'he fa sc
fabric of vour repelling and ungracious personality
and replace it with another that wins and attracts.
By this method, you vvill succeed, oh so wel .
while by uncouthness or misapplied audacity you
meet with setbacks. ,

/ can take the frati girl or woman the listless
one who usually feels that the good things in life
are not for her and show her how to become
vigorous and strong, tingling with eilthusiasm ai^d
g<5)d cheer and how to see the whole wide world
full of splendid things just for her.

Become An Attractive Woman

I can take the girl or woman who is
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the girl who dresses unbecomingly and instill
in her a sense of true importance of appear-
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the ways of women of the world, in making
the most of their apparel. All this without
any extravagance; and I can show her how
to acquire it with onginaHty and taste. You
realise, of course, that dressing to show
yourself to advantage, is a real art and with-
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under a disadvantage.

For Married Women

There are some very important secrets
which married French women know that en-
ables them to hold the love, .idmiration and
fidelity of their men. How the selfish spirit
in a man is to be overcome so ingeniously
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fact that his character and his manner have
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not only making you happy, but he is find-
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was inconsiderate. There are secrets in my
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turbulent course of married life for one ttiat
is entrancingly ideal. And this power lies
within you, my dear Madam.

Acquire Your. Life's Victory Now

What we call personality is made up of a
number of little things. It is not something
vague and indefinable. Personality, charm,
good looks, winsomeness and success can be
cultivated. If you know the secrets, if you
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ing personality. Don't think it is impossible.
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Don't even think it ought to be hard to acquire it:
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obtain still more of life's rewards.

No Fad— the Success of Ages

; am well enough known by the public not to be
taken as advancing some new-fangled fad. All my
life I have understood the value of plain common
sense and practical methods. And what I have
put into my course on the cultivation of personality
is just as practical as anything can be.

/ could go on to tell you more and more about
this trifly remarkable course, but the space here
does not permit. However. I have put soine im-
portant secrets for you into an inspirtng little book
called "How" that I want you to read. The (jejitle-
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Confessed Calumny

(Continued from page 76)
studying for a cliair of oratory. One
day he was persuaded to see E. J. Mor-
gan for "extra" work in the latter's pro-
duction of Hall Caine's "The Christian,"
merely for training in stage technique.
The stage manager wanted a man to sing
the baritone solo, "Jesus of Nazareth,"
and luck would have it that Oland could
fill the bill. Result? A year on tour
with "The Christian" company, in which
he subsequently played a prominent part.
After this came a two-year engagement
with Viola Ailcn in "The Eternal City"
and repertoire, followed by a season with
Sothcrn and Marlowe in repertoire.

The next season saw him playing Peei
Gynt with Hilda England, the Swedish
actress — a year before Richard Mansfield
appeared in the celebrated role. Closing,
he went for a year with Nazimova, her
second year in America, at the old Bijou
in New York, in Ibsen's "The Master
builder," in which he played Ragnar, the
idealistic youth, and in "A Doll's
House," where he was first Krogstad and
later the male lead.

And, a few weeks ago in Hollywood,
he saw Nazimova for the first time in
years as she was emerging from a picture
theater.

"Ah, Mr. Oland," she said, "do you
remember when you used to be the boy
in my play? Now you are the villain!"

After the Nazimova engagement he
went to Williams College to produce
plays for the institution and the Cap and
Bells dramatic society. Which he did
alternately for three seasons, meanwhile
appearing in a production of Edgar Allan
Woolf's "House of the Vampire" and
one with Helen Ware in "The Price."

Following the latter he put on his own
production of "The Father," and fol-
lowed this by superseding Robert Hil-
liard in "A Fool There Was" for two
years. And ultimately he played the
villainous chief of the Okrana in "The
Yellow Ticket."

It was then pictures claimed him for
the heavy with Theda Bara in "Sin." He
did three more with her and others with
Fox, at length joining Olga Petrova's
company. Other stars he has played with
include Clara Kimball Young and Kitty
Gordon at the World studio; Mrs. Ver-
non Castle in "Patria," "Convict 993"
and "The Mysterious Client" ; Pearl
White in "The Fatal Ring" and "The
Lightning Raider" ; Doraldina in "The
Naulahka" ; Fannie Ward in "The Yel-
low Ticket" ; and Elsie Ferguson in "The
Witness for the Defense" and "The Ava-
lanche." And now he is deep in calumny
in a Pathe serial, "The Third Eye," of
which he is the star.

And when serialling is finished and he
gets a vacation, Oland and Mrs. Oland
will retire to their Massachusetts farm,
where Mrs. Oland will put onto canvas
the beauties of nature, where Warner —
"Jack," as she calls him — will callous his
hands chopping wood and coaxing the
rich, warm milk from his herd of good
old New England cows.

(Eighty-two)

CLASSIC

The Home-Made Girl

(Continued from page 62)
because he said to me, 'Come to the stu-
dio and I'll give you a chance.' And I
went . . . and that began it.

"I'm the most fortunate as well as the
happiest girl in all the world. No one
else, it seems to me, ever had so beauti-
ful a beginning, so kind a start. I only
want to deserve it, that's all — and wori<
and work and work as hard as I can. 1
can hardly wait to get to the studio in
the morning, and I dont care if I ever
leave at night. I like to play all sorts of
roles for the love of the experience, but
I think the things I like to do most will
be the character parts that go right into
the hearts of the people and make them
go away just a little bit happier, even if
they dont quite know why."

"What did mother think of all this?"
I asked of the smiling woman, rocking
in her chair nearby, who had helped
"Sister," as she called her young daugh-
ter, with here and there a sympathetic or
a reminiscent mood. There was, it was
tenderly evident, a great bond between
the two.

"There was a great deal of opposition
for Sister at first," her mother said ; "no
one in the family had ever done such a
thing before, and I suppose we had the
prejudice of the more or less uninformed
layman against the stage and what we
thought it stood for. Her brother, too,
was aghast when he first saw her on the
screen. We hadn't dared to tell him by
word of mouth, and it wasn't until he
saw her in 'How Could You, Caroline .''
the first picture she did, with Mr.
Thompson, that he knew anything about
it. He was outraged. Wrote and said,
in part, 'Mother, what can you be think-
ing of?' But now, with the kindness
Alice has been the recipient of, and her
own interest in her work and perhaps,
too, his better understanding of the
nhole, he has become a very ardent and
assiduous fan, even of Alice herself."

"I think," interpolated Alice, in her
gentle little way, "that he really has haa
a throw-back to our kiddie days in Cleve-
land, when we played theater in the
garage and charged the children of the
neighborhood admission to watch tis, or
rather hear us, declaim."

"It's always been acting with Alice,"
said Alice's mother.

Then Alice served home-made grape-
juice and home-made cookies and dainty
little cakes and promised, upon my mani-
fest delight in the delicacies, to invite me
some night to a wholly home-cooked din-
ner. Alice is a home-made girl. One
knows that. WTiat she gives to the
world via the screen will have had its
root in the sincerity bred of home-life
and home-love, of a mother who has
been first of all a comrade and a friend,
by her own natural domestic and womanly
tendencies, practical in their demonstra-
tions.

There is nothing in her charming head
now save these things of the work and
the home she loves with a sort of a blent
{Continued on page 88)

(Eightit three)

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IT was in the mystic twi-
light hour — just as the

day creeps into the
shadows of the night —
that I met Maurice Mae-
teriinck, the famous Bel-
gian poet-dramatist and
philosopher.

After the formal greet-
ings in the dusky living-
room we drifted toward
the open windows, from
which could be seen the
glory of the sunset's
afterglow on the limitless
expanse of Pacific Ocean
before us. In the dis-
tance, deep purple shad-
ows were obscuring the rugged outlines of the
Santa Monica mountains and the waiting world
seemed poised, breathless, for an instant, before
letting the day become one "with yesterday's
seven thousand years !"

"This .shall be my inspiration," said Mr.
Maeterlinck, in slow, precise English, spreading
his hands to take in the magnificent view. "I
could never grow indifferent to such beauty."
And while I watched an inner light suffuse the
calm, perfect features of the poet, I wondered
what exquisite vision would come to him here.

Mr. Maeterlinck, accompanied by his youth-
ful bride, Madame Maeterlinck, and their two
good friends, Mr. and Mrs. Henry Russell, of
Monte Carlo, are occupying a lovely home on
the Palisades in Santa Monica, fifteen miles
from Los Angeles, during their stay in Cali-
fornia.

He has recently signed a contract with Gold-
wyn Pictures Corporation to write one original
picture-play a year for this company, and his

The Blue Bird Alights
on the Silversheet

By MAUDE S. CHEATHAM

coming has created a stir in the film colony, for the Belgian
poet is probably the most brilliant and distinguished of the
many literary lights who have fallen under the lure of the
motion picture.

Before settling down to work he will spend some time
studying the cinema art, and already he is deeply interested
in the vast possibilities for theme development on the screen.
Genial and charming, with a serenity born of quiet hours
spent in contemplation, he talked freely regarding his plans,
but as he frequently reverted to French and spoke very
rapidly, I was often left far behind except when Mr. Rus-
sell smilingly would halt the poet's flow of enthusiasm while
he interpreted the conversation.

When I asked what phase of the picture building inter-
ested him most, Mr. Maeterlinck wrinkled his brow and,
turning to Mr. Russell, inquired the
meaning of phase. Then followed a
debate between the two while the
word was fully explained.

Returning to my question, he re-
plied, "The plot or story. I find there
will have to be an entire transposition
of method, for previously the author
has rendered thought thru the image
or force of words, allowing the spec-
{Continued on page 89)

Top, Maurice Maeterlinck, the Bel-
gian poet-dramatist and philosoplier;
center, the Maeterlincks outside their
lovely home on the Palisades in Santa
Monica, where they are spending their
honeymoon among the roses; below,
the little bride who looks like a four-
teen-year-old schoolgirl, proving the
theory that mi(gh)te makes right,
while their friends, Mr. and Mrs.
Henry Russell, of Monte Carlo, enjoy
the performance

(Eighty-four)

iVlU 1 lUlN rH^iUrtC ^_LrtJ3H^

The Prince Chap

(Continued from page 57)
wear upon your shoulders the mantle of
your Glad Returning."

Peyton stared ahead of hhn, and
something saddened the curve of his
mouth. "No," he said, "there was no
Tower of Faithfulness . . . ever, you
see . . . and the returning is not a glad
one ... it is not even a returning . . .
it is just a chance meeting . . . of a
woman and a man who, very long ago,
played at love together . . . and, some-
how, lost ..."

"Love never loses, dear," said Claudia,
in her little-mother voice, "not when love
is real. And if it isn't real ..." She
paused, while her young eyes clouded
over with an immemorial pain . . .

"If it isn't ..." prompted Peyton,
and found himself thinking, "How
young she is, how young and how
lovely ..."

"If it isn't," the girl said, "why then,
it doesn't very much matter, anyway,
does it? . . .no matter. how much it
may seem to . . . "

To Claudia, just at first, looking on, it
seemed as tho Alice and Peyton must be
succeeding, if only because they were so
much together. They did, too, all the
things they must have done in the fairy-
tale days . . . they danced and swam
and read the books they had read then
and talked and took long, rambling
walks . . . and it seemed to Claudia,
too, just at the first, that she couldn't
possibly nor conceivably stand it. Any
day, now, the miracle would occur and
Peyton would come to her with his shat-
tered heart all whole and well and all his
dreams come true within his eyes.

Then, just a little later, she decided to
stay on and take care of him. He looked
so tired, so sort of baffled and wearied.
He never looked like that, she knew,
when he and she played about together.
His eyes had a light in them, even over
the broken pieces, and his voice had a
sort of Glad Returning ring ... it came
to her, suddenly, that they were trying,
trying desperately, not to capture that
which had eluded them, but to revive that
which was coldly dead, which, even more,
had never been warmly living . . . they
were trying to instill into a corpse the
revivifying breath of life, where life had
never been . . . and if they should, each
of them, know this, abandon the dream
for futile, turn, each one, to face a new
horizon, why then . . .

After that Claudia determined to fight.
Why should she sit by, all palpitant with
life, while the bleached bones of a by-
gone structure struggled wearily for re-
erection? She, who had gifts to give
. . . largesse . . . prodigal red roses . . .

It was woman to woman between
them, then . . . youth fighting precedent
. . . desires fighting dreams . . . and
after a week more Alice, rather abruptly,
left.

The morning following her departure
Peyton breakfasted with Claudia. He
had always told her everything and he

(Eighty-flve)

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would, she knew, tell her this. After a
while, feehng his way carefully, as it
were, he did tell her. Mostly, he told
her what a fool he had been. He had
permitted unrealities to fetter his foot-
steps and imprison his soul. He had
bound himself round with thongs and
thews and found them to be, after all,
non-existent. "You see," he said, in
conclusion, "I found two days after Alice
had come that what you said some time
ago was utterly true . . . you and I have
never needed another living soul. We
are complete. We are, each unto the
other, sufficient. Only, I did not know
that it was . . . love. I have dwelt so
long with the semblance of love that
I ... I did not know. Dear, you who
have always mothered me so, pity my
ignorance, pity my blinded years, which
have only been so many years of prepa-
ration for this ... for ... for you, if
some day, some wonderful how, you will
have me . . . Claudia ..."

"It has been a long, long path of moon-
beams. Prince Chap," the girl said, "and
most of the time it has seemed to waver
and shift ... and break ... but you
have come . . . you have come . . .
safely ... at last ..."

And then she kist him^

A Rose in the Bud

{Continued from page 47)
The staff of the magazines had jour-
neyed en masse to the Grand Central
Station to see her and her mother off
for sunny California. It seemed fitting,
somehow, that she should go there, for
California is the land of roses— it would
naturally be kind to this little rosebud.
Friends and officials of the Universal
Company were gathered about, and she
was showered with flowers, baskets of
fruit and books and candy. But when
"Toodles," her little white dog, ensconced
in his traveling basket, set up a howl,
apparently anything but pleased at the
prospect of his trip across the continent,
she knelt down and tried to soothe him,
quite oblivious of everything else.

The station master, who, by virtue of
being a movie fan, had permitted the
party to go thru the gates, a thing ordi-
narily tabooed, asked her how she felt
about the honors thrust upon her.

"I love it. Wouldn't you ?" asked Vir-
ginia, with her shy little smile.

And Mr. Station Master can probably
be numbered as her first fan.

Later, on the platform of the train,
they posed her for the flashlights. ^^

"Please let my flowers show," said
Virginia.

All too soon came the familiar sound,
"A-1-1 A-b-o-a-r-d !"

Slowly the Century Limited pulled out.
On the platform stood Virginia and
her mumdear, arm in arm.

"Good-by! Good-by!" she smiled,
waving her tiny white-gloved hand.

Virginia had started on her journey to
stardom — methinks she will not find it a
very long journey.

Make room in the cinema firmament
for a new and brightly shining star-
Virginia Faire !

(Eighty-six)

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MOTION PICTURE

What the Fame and Fortune
Contest Means

{Cont'mued from page 49)
And perhaps the most interesting fact
which we gathered from the overflow of
pictures was that they came from all
parts of the country. .Some from the
crowded cities, others from small middle-
western towns and others from rural
districts where the coming of the old,
slow, plodding nag, bearing the postman
and his precious burden of Uncle Sam's
mail, is watched for with eagerness and
expectation.

From 101 Travella Blvd., East End,
Pittsburgh, Pa., there comes the portrait
of Thelma Goeddel, who has never had
any stage or screen experience and who
faces a very pleased world with blue
eyes, golden-brown hair and very fair
complexion.

Anna Kelly, of 284 Clinton Street,
Brooklyn, N. Y., is the possessor of a
large number of huge golden curls. With
fair skin and dark blue eyes, she easily
deserves a place on the honor roll list.

Chicago has blown us Hazel D. Reeves,
of 3972 Ellis Avenue, who has never had
any previous stage or screen experience
and whose hazel eyes and auburn hair
frame a face which 'tis not very diffi-
cult to gaze upon.

The home of Alva Ansley, who has
played in amateur plays and who swims
and dances, is at 21/ Pennsylvania Ave-
nue, N. W., Washington, D. C. She
possesses naturally curly hair of light-
brown, blue eyes and fair complexion.

A girl of Manhattan is Kay Bardine,
of 1324 St. Nicholas Avenue, who has
studied voice with Mario Salvini, and
who is a classic and eccentric dancer of
no mean talent. With very fair com-
plexion and dark-blue eyes, this little
blonde is no mean competitor of the
Fame and Fortune Contest.

Again Brooklyn, N. Y., comes to the
front with its allotment of beauty in the
person of Gertrude Crossraan, of 87
Woodruff Avenue, who has done extra
work in pictures and who has dark-grey
eyes, light-brown hair and fair skin.

All the way from 423 Twenty-third
Avenue, South, Seattle, Washington,
does America Chedister send in her pho-
tograph. Her eyes are a dark grey-
green, which shine under a mass of light
golden-brown hair.

The Home-Made Girl

(Continued from page 83)
eager impartiality. It is "mother"
the "Vitagraph." These are the
two names constantly on her lips.

She has her first doll, too. I asked her
whether she played with it yet. "I dont
actually play with her," she said, "but I
ove her just as I always did, and I like
to see her in my room when I come home
at night."

And so there is a fund of tenderness,
too, from which, with the mellowing of
youth, many of the fragrant, lovable
things of the artistry which is best may
come.
Alice at dawning . . . !

(Eighty-eight)

and
and

The Blue Bird Alights on the
Silversheet

(Continued from page 84)

tator's mind to form the picture, while
now the picture must serve to interpret
the thought without words."

"That spiritual quahty that has always
dominated your writings — can it be
transferred to the screen?" I questioned.

After studying the red roses in a tall
vase beside him for a moment, he said,
"I hope and believe this will be possible.
Already some success has followed ef-
forts in this direction. It is not so diffi-
cult to express the finer thought in your
picture as it is for the public to grasp it.

"The producer says, we want a play
that is unusual, different, better; then
when the author brings it to him, he
reads it, shakes his head and remarks
that it is too far away — what do you
say ? — too high over their heads. .So we
must develop the thought of the audience
gradually, step by step. Therefore, the
first thing to do is to select a theme that
will appeal to all. It may have a strong
material side, but in its treatment the
spiritual significance must be retained."

"Do I like California?" and Mr. Mae-
terlinck laughed boyishly at my foolish
question. "How can I help it when I
am given sttch a royal welcome? Here,
near the ocean, it reminds me of my
home in Nice, only it is warmer. Your
season is perhaps six weeks ahead of
ours.

"Oh, this prohibition ! No more is
there pleasure in one's meals — all attrac-
tion is gone. In France I have perhaps,
one, two glasses of red or white wine,
not much — but just enough to bring joy.
The Latin countries use light wine and
beer, and there is no harm in them. The
American banquet consists only of
speeches and a glass of water, and some-
times I have gone to four in one day — it
is indeed very sad." Smilingly, he
shrugged his broad shoulders.

On the following day Maurice Mae-
terlinck and his party visited the Gold-
wyn studio, and as they drove thru the
imposing entrance he declared that it
made him think of a great exposition.
He was surprised to find the studio built
on such an artistic as well as elaborate
scale.

The first point that seemed to arrest
the author's attention as he watched a
scene from Rupert Hughes' "Scratch
My Back," in which Helene Chadwick
was depicting the frenzy of fear of a
man who was threatening her, were the
strains of music coming from an orches-
tra hidden behind the set. The fine psy-
chology of emotional upbuilding with
the aid of music, and also of certain
colors used in the set, interested him
greatly.

Mme. Maeterlinck, who looks like a
fourteen-year-old schoolgirl, danced about
in an ecstasy of enthusiasm. She is
hoping to play in her husband's new pic-
ture and is to have a test made within a
few days. She said, "This would be my
{Continued on page 94)
(Eighty-nine)

vvaicn me JL.usier

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Laundry Buttons and
Grease-Paint!

By FRITZl REMONT

liome to "the wife." When Mr. Ogle is not ogling for the camera, he's right
by his own hearthstone enjoying domesticity to the utmost. Perhaps it is
because he has to be at the studio so much of the time that he is so keen on
home comforts in the few hours left at his disposal.

Just lately, for instance, Mr. Ogle took his beauty sleep in the dressing-
room, in a sort of catch-as-catch-can manner. He was doing "Treasure
Island" for Mr. Tourneur and working at nights with Jimmy Cruze in "Haw-
thorne, U. S. A." The part of the one-legged Stevenson rogue, Long John
Silver, was a particularly trying role in the Tourneur production ; in fact, the

most difficult characterization from the
physical standpoint yet essayed.

Mr. Ogle's left leg was strapped up be-
hind, then the foot strapped again to the
right thigh, and with loose trousers the illu-
sion was perfectly preserved. As much of
the acting was done on a rough boat, tossed
about by gentle currents in the Pacific and
only one crutch was utilized, Charles Ogle
says he was just about crippled in reality
when night came.

"But — everybody was so kind. Two of

the boys would strap and unstrap me, and

massage my numb muscles into

Charles Ogle just takes you.
You dont have to acquire a
liking for him; it's as con-
tagious as the sympathy
which he puts into his voice.
You know he's always pick-
ing up forlorn curs on cor-
ners, and putting small kit-
tens into his ulster pockets
to take home to "the wife."
Center, an interesting mo-
ment in "Jack Straw," and
below, as Long John Sil-
ver in "Treasure Island"

action again. We've gone over
the rushes of 'Treasure Island'
carefully, and I defy any one to
find two legs on Long John
Silver," said Mr. Ogle.
{Continued on page 93)

LAUNDRY buttons,
yellow, brown
and black, a
frameless mirror, a
modest little hand-
glass, stacks of
grease-paint and face
creams, large boxes
of safety matches,
suspenders that fair-
ly seemed alive with
their wearer's indi-
viduality— all the
trivial things which
of themselves seem
nothingness — until
you meet Charles
Ogle.

Why not some
other star? Ah,
there's the old-time
connection of
Charles Ogle, char-
acter man with the
Chauncey Olcott

Company, and the Pickford kiddies who started life in that genial Irishman's
"Edmund Burke."

"Why, yes," the deep voice of M'Liss' good friend answered my question as to
the Smith children. "We put Jack into his first panties in that very show. And
Mary was just as winsome and as good a pal of mine then as now."

Charles Ogle just lakes you. You dont have to acquire a liking for
him ; it's as contagious as the sympathy which he puts into his voice.
There's a bit of comedy about his ample mouth-corners and a softness
in his big brown eyes that makes you know he'd be picking up forlorn
curs on corners and putting small kittens into his ulster pockets to take

iNwHy)

Sh

e

Became
Famous
Ovemight!

VIRGINIA FAIRE

Maybe you will be as fortunate as INIiss Virginia Faire. She is now a star! And one
year ago, she was just a regular movie fan herself; — going often to the movies, and only
dreaming about an opportunity to get on the screen.

Her opportunity came with the Fame and Fortune Contest, which was conducted by
The Motion Picture Magazine, The Motion Picture Classic and Sii/VDOwi^AND last
year. Miss Faire, together with hundreds of others, grasped at the chance. Knowing
that she had a perfectly fair and equal chance to win, she entered the contest. There were
four winners instead of one, — Miss Faire being one of the four.

They have all signed up with large companies. Their salaries are well up in five
figures. Their pictures have appeared in all the magazines and newspapers with
write-ups, etc.

You have precisely the same opportunity now. If you have confidence in yourself, or
believe that you could make good on the screen, fill out the coupon below, and paste it on the
back of your photograph and mail it in immediately.

RULES FOR THE CONTESTANTS

Contestants shall submit one or more portraits. On the back of
each photo an entrance coupon must be pasted. The coupon must be
from The Motion Picture Magazine, Classic, or Shadowland, or
a similar coupon of your own making.

Postal-card pictures and snap-shots not accepted. Tinted photos
cannot be reproduced in magazine.

Photos will not be returned to the owner.

Contestants should not write a letter accompanying photo requir-
ing a reply. Thousands of photos will be received and it will be im-
possible to answer each one. All rules will be printed in all three
magazines.

Photos should be mailed to CONTEST MANAGER, 175 Duffield
Street, Brooklyn, N. Y. Send as many as you like.

The contest is open to everybody, no age limit, except those who
have already played prominent screen or stage roles.

Contest closes Aug. 1, 1920.

CLASSIC ENTRANCE COUPON

Na

I Address (street)

â–  (city) (state)

Previous stage or screen experience in detail, if any

I When born Birthplace

Eyes (color) Hair (color)

Complexion

'^<><><><><K><><><><>0<><H>CK><><><><><><><><><><><>0<><>0<><><><><><^

(Ninety-one)

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AT DRUG AND

DEPT. STORES
Send 10c for Trial
Sample and Booklet.

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Tiny bottle costs few cents
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Hello, friends ! Once more we meet in the
month of flowers and sunshine, after the severe
snowstorms of winter. We are now back on
schedule time, and if you dont get your answer
when you should you are entitled to register
a great big "kick."

A Soldirr's Sweetheart. — I hope you're true
to him. So your favorites are Sessue Haya-
kawa, Louis Bennison and Hallam Cooley.
No, I haven't tried it yet, but I understand the
Mexicans have been making whisky from cac-
tus. It ought to have a sting to it. Cleo Madi-
son, Universal Co., in "The Radium Mystery."

The Movie Fans. — You seem to think that
the face is the most valuable requisite for a
motion picture actress, yet Mack Sennett and
the editor of the Classic seem to prefer ped-
estals. Of course, Mary Miles Minter's hair is
naturallv curlv. BilHe Burke is married. One
child. Is that all?

Ln.Y May. — Glad to hear you enjoy the de-
partment by the Sage in Shadowland. You
know, he's kinda uppish on himself now since
he became a papa not so long ago. Monte Blue
is not married and he is in Los Angeles. King
Baggot is to play opposite May Allison in "The
Cheater." Yes, come in again any time.

Miss V. Saundrrs, Wairarapa. — Address
Pearl White, Fox Company, Fort Lee, N. J.

Gertrude T. E. — So you are writing scripts.
Did you read where Sir James Barrie has
made over $100,000 out of one play alone?
Encouraging, isn't it? Valeska Suratt is not
playing in pictures now. Virginia Rich is back
and she is playing in "Would You Forgive?"
(Fox).

Lydia N. — I dont know that player's salary
and wouldn't tell if I did, unless it was public
property. Dont believe all you read about
salaries. The printer, and sometimes the pub-
licity man, add a figure by mistake, and 100
is made to read 1000. Yes, Mary Pickford
will answer you if you write her. Dont know
how you can see her acting in a scene unless
you go to California.

Viola Dana Admirer. — So you dont believe
that I am nearly SO and that I get only $9.50 a
week, and hence prefer to believe me a lyre.
Alas, alack! No, you have me wrong — there's
nothing romantic about me. Yes. I think 16
is about the age when most young girls want
to become actresses. Ask dad; he knows.

N.\DE. — No trouble at all. Eric Von Stro-
heim, Universal Co., Los Angeles, Cal. Wal-
lace Beery with Famous Players. Oh, about
25 cents.

Nazimovite. — You say Herpicide is an ex-
cellent hair tonic and want me to try it. Why
burden myself with a lot of hair to brush and
take care of? If you write direct to our Cir-
culation Department they will be glad to supply
you with back issues. Keep up the good work;
you're a mighty clover writer.

A. W. P. — Your letter was very bright.
The religious Russians do not eat pigeons be-
cause of the sanctity conferred on the dove in
the Scriptures. The most perfect lover on the
screen? Bless your heart, I'm no judge of
such things. Wait until I get down to V'irginia
Lee Corbin and I'll be able to tell. English,

you know. Yes, I liked John Cumberland in
"The Gay Old Dog." It was very well done,
and I dont see how the ending could have
been different.

V. Die I. Bury. Undertakers. — Say, what's
this all about? You're right, I haven't shaved
since Noah brought me from the Ark. Well,
the whiskers came in mighty handy this past
winter, except on occasions when they bore
icicles. You want more of Constance Tal-
madge in the Magazine and Classic. Come
to think of it, you're right.

Fatty. — Why dont you diet? Yes, Elliott
Dexter is married to Marie Doro. May Alli-
son. Los Angeles, Cal. — Metro, of course.

M. I. Welcome. — You just bet you are. Yes,
it is true; Alice Joyce is married again. She
married a New York hotel man. Percy Mar-
mont is playing opposite Billie Burke in "Away
Goes Prudence."

M. S., Mobile. — Just take this little tip — the
excesses of youth are drafts on our old age.
payable with interest, and sometimes they are
pavable at sight. From one who knows. Ye;f;,
Norma Talmadge is in New York. 318 W. 48th
St. Her own studio, of course.

H. V. S. — You are just a little late. Sorry,
old dear, very sorry ! To Dorothy Davenport.
No. William Hart isn't. Mary Pickford was
recently married to Doug Fairbanks in Los
Angeles. Marjorie Daw was bridesmaid. Yes,
Charles Pathe is still alive.

Mrs. E. De M.— Thanks a lot for the fee.
I'll do all I can for you.

M. T. Garret. — There are others! Why is
this thus? You say the reason telephone girls
are called operators is because they cut you off
in the middle of a conversation. More air!

Rogerettf,. — Well, yes. I walk very erect,
having been straightened by circumstances.
Did you think I was old and bent? Will
Rogers, Goldwyn Co., Los Angeles, Cal. Well.
I didn't have to worry about an income tax.
That's one thing nice about this job. and one
reason why I have refused better offers.

Ima Wallace Reid Fan. — Yes, Fox are re-
issuing "Les Miserables," "Salome," "The
Honor System," "A Tale of Two Cities,"
"Cleopatra" and "A Daughter of the Gods."
Sylvia Breamer has signed up with Mayflower.
Yes, Ann Little is back with Bill Hart.

Bell del C. — Bessie Love is not married, and
Tony Moreno at Vitagraph Co., Los Angeles,
Cal.

Nell from Florida. — Eugene O'Brien, in
viewing Niagara, called it "The Pride of
Rivers." That pride certainly has a tremen-
dous fall. Yes, I have been to Niagara — but
not what you mean. Fritzi Brunette is playing
with Warren Kerrigan, Rosemary Theby and
Conway Tcarle in "Michael and His Lost
Angel." Sessue Hayakawa is married. You
want D. W. Griffith to produce another
"Broken Blossoms." P'r'aps he cant.

Brown Eye. — Your letter was true, all right.
You know words from the mouth die in the
ears, but words from the heart stay there. Yes,
Charlie Ray is with Arthur S. Kane Pictures
Corp., 452 Fifth Ave., New York. He is com-
ing to New York soon.

(Ninety -two)

Laundry Buttons and Grease-
Paintl

{Continued from page 90)

"Dont you think that the study of law
aided you in dissecting; character, in
analysis and expression?" we asked.

"Oh, I'm sure of it. You see, I
studied for the ministry, because father
was an oratorical preacher and dead
against the stage. However, my college
days gave me plenty of work in theatri-
cals, and so I finally followed the natural
bent and took to the boards.

"For fifteen years I acted — out with
road companies or at home in stock.
After the first few years of acting, and
to please my mother, I finished college.
I studied law and practiced with my
brother — and I know that in those early
days I was really acting for the jury,
watching what effect my words or ges-
tures had on them.

"But I returned to the stage — and
later came back to the law office. I was
a regular Klaw and Erlanger pay-roller.
Perhaps you remember 'The Blue
Mouse'? We did 'Father and Son' also.
And I had a good part in Rex Beach's
'The Spoilers.' For three years I trav-
eled with Chauncey Olcott, and altho I
again practiced law, it never had any
allurement for me after tasting the ex-
citement relative to creating living, pul-
sating beings of the imagination. So
after some years of stage life, I became
interested in pictures in 1909 and have
been at them ever since."

I had been told that Mr. Ogle makes
his first visit in the morning to the offices
of the Famous Players-La sky, there to
bury his expressive nose in the stock
report of the daily paper. So I ventured
another question.

"Do you make a hobby of dabbling in
stocks ?"

"Well, it's not a fad — I dont like fads.
I suppose you might call it a hobby, ooin,
hoom," (Charles has a habit of saying
"oom-hoom" in place of the generally
accepted affirmative, and it makes one
think of a fat, happy bumble-bee burying
its proboscis in a particularly luscious
blossom!), "for I have not only invested
conservatively — very conservatively — but
have had about six hundred students."

"Students? What sort of students?"
We had not heard of any financial school
of the sort around these parts.

"Oom, hoom; students in investing
money carefully. Fve tipped off at least
that many on this and other lots. You
see, I never advise anything — either
from the legal standpoint or from my
own observation, study and experience —
unless I am sure it is very safe. I
haven't done anything with oil stocks,
for instance. If I were to invest, I
should simply take Standard Oil stock
and be satisfied with the returns. There
are some who make a fortune out of oil
— but you'll find thousands who have
lost everything in wildcatting.

"Just this morning a chap called and
had a lot of the boys excited over oil
and tried to interest me. I wont say I
never lost a cent on stocks, but the losses

(Ninety-three)

June Mornings

Bubble grains on berries

yUx these airy, flimsy bubbles
in e\ery dish of berries. Use
Puffed Rice or Corn Puffs. The
blend is delightful. It adds what
crust adds to a shortcake.

At breakfast, also, serve with
cream and sugar — any of these
fragile, fascinating grains.

June Evenings

Whole wheat

steam exploded

For suppers, float Puffed Wheat
in milk. That means whole wheat
with every food cell blasted. The
grains are puffed to eight times
normal size.

They seem like tidbits, but every
flaky globule is a grain of wheat
made easy to digest.

June Afternoons

Airy, nut-like confections

For hungry children, crisp and douse
with melted butter. Then Puffed Grains
become nut-like confections, to be eaten
like peanuts or popcorn.

Use also like nut-meats as a garnish on
ice cream. Use as wafers in your soups.

Puffed
Wheat

Puffed
Rice

Corn
Puffs

Also Puffed Rice Pancake Flour

The Quaker Qats (pmpany

Sole Makers

STRONGFORT
The Perlect Man

DorCt Be a
Sickly Grouch !

Nobody loves a grouch

nobody likes to meet

him in the street, do
business with him or
have him around. And
you can't help being a
grouch if your internal
machinery is running
wrong; if dyspepsia or
biliousness make your
life miserable; if head-
aches and backaches
take the tuck out of
you; if constipation is
poisoning your blood and
beclouding your brain.

Get Rid of Your
Ailments

You are only half a man
when you stagger along
under such handicaps; you
can't win out, you can't
make a success of any-
thing; you are bound to
be a failure — you know it,
your wife knows it, and
all your friends know it.
Don't lay it on your stom-
ach or liver or lungs —
take hold of YOURSELF— build yourself
up into a MAN again; turn over a leaf and
live life as Nature meant it should be lived.

STRONGFORTISM

Will Show You How

Strongfortism is Nature's way, and there
isn't the slightest doubt in the world that
she can build you up and brmg you back
to health and strength and the enjoyment
of living life again, if you give her halt a

Strongfortism has salvaged thousands of
human wrecks; has put vigor, vitality, hope,
happiness into men who felt they were
hopelessly down and out. Strongfortism
will help YOU, as it has helped them; will
show you Nature's safe, simple, sure way
back to health and strength and mental
vigor Don't delay a single day; learn
about Strongfortism— the one way to happi-
ness for you.

Send for My Free Book

â– â– Promotion and Conservation of Health, Strength
and Mental Enerpr" tells you all about Strong-
fortism. It tells Ro^v I became tje ^"â– ''"e"' ,"^f,"
n the wjrld by practicing it, and how my pupils
in ever^ part of the world have freed themselves
from the handicaps that held them back, and are
forcing ahead in the world. . ^^ , ^.

Remember, Strongfortism .s N'""'. s way the one
sure way I no drug store dope or patent medicines—
just giving Nature a chance to dispel your ills and
build you up. Send three 2c stamps to cover postage
and packing and I'll mail you a copy .at once. SEND
TODAY, using coupon below, indicating your
ailment thereon.

LIONEL STRONGFORT

Phmlcal and Hcallh Specialist

1264 Strongfort Institute,

NEWARK, N. J.

-CUT OUT AND MAIL THIS COUPON-

Ur Lionel Stronslort, NcUJOrfc, .V. J.

SSS«. .ri"»'.»:ri,Kf IX> before tH, subject In ^hlchj

. .Deformity
..IniomniB
..Short Wind
..Flat Feet
. .Conitlpatlon
. .Btllouinni
. .Ton)ld Livor
. .lndIg«3tion
. Nervouineia

Poor Memory
. .Weak Eye*

tm interested.

. .Coldt
..Catarrh

..Aitrima
..Hay Fever
..ObMlty
..Headache
..Thlneaaa
. .Ruptura
..Neuritit
. .Neuralfia
..Flat Cfi««
..FalllDB Hair

. .Rheumatism

. .Poor circulation

. . Muicular

Dovelopment
, HeartweakneM
. .Bad Hablti
. . Woakneiiei
. .Skin Dliorder*
. , Round Shouldera
. .Luno Trcublei
..Increased Height

Nam

OccorATloN.

STaiXT
CITI

were trivial — not -worth mentioning at
all in view of the fact that I covered
them fully in larger returns on other
stocks. I have made an intensive study
of the stock market for over twenty
years. It's not a thing for people to go
into as a gamble. It is a study— like
chess. If you cant see the difference,
you are sure to go wrong." The sage of
the stock market nodded solemnly.

Charles Ogle is a musician. He might
earn his living in a half-dozen -ways;
shows marked versatility, has an alert
mind sharpened by a college education,
extensive travel and constant study.

Every director of note has employed
Mr. Ogle at some time. In "The Val-
ley of Giants," as a blind man, fans
worshipped this veteran character actor.
He has received thousands of letters say-
ing that this sympathetic role appealed
more than any other part Mr. Ogle has
essayed. When asked if it were not
more difficult to play a blind than a deaf
or lame man, Charles Ogle replied, "No;
that one-legged man in 'Treasure Island'
gave me more trouble than anything I
ever did in my life."

Another doubling feat which Mr.
Ogle carried thru was day work in "The
Squaw Man" with Cecil de Mille and
all-night hustling for "The Dub," in
which Wallace Reid was starred and
which proved to be one of Charles
Ogle's most successful parts. He's an
indefatigable worker, his fine mental and
physical vitality carrying him thru long
sieges on the lot, where cat-naps are the
rule and meals are irregular.

So that plain little dressing-room on
the third tier at the Lasky lot overlook-
ing the stages, flanked by waving pepper
trees and where the sounds of saw and
hammer and the strains of Max Fisher's
violin blend with swishy little breezes,
has become a shrine to many. When
there's a business bother or a love-tangle,
Daddy Ogle is the legal adviser, confi-
dential friend and ministering angel to
the perplexed photoplayer.

The Blue Bird Alights on the
Silversheet

[Continued from page 89)
ideal of stage life — acting out in the
open — the hills for the setting, the audi-
ence— the world."

The little bride is called Selysette by
her husband in memory of the artistic
portrayal of her role in his famous play,
"Aglavaine and Selysette," in Paris.

"We are on our honeymoon," she con-
fided demurely, clasping a huge bouquet
of roses in her arms. "I think Califor-
nia is the land of 'The Blue Bird,' and I
do not like to think of the time that we
may leave — after a while."

With this new romance in his life,
who can doubt that the famous poet-
philosopher, Maurice ^Maeterlinck, in his
sheltered nook among the roses and with
the rhythm of the great Pacific in his
ears, will produce an inspirational mas
terpiece which shall set a
the ever rising tide of

WRITE PLAINLY

new mark in
the art of the

IAMOND><

. VVATCHE5^

onGPEDITJ

n

Send for FREE Catalog

There are 128 illustrated pajres of Diamond '
Rings. Diamond l>a Vallierea. Diamond Ear,
Screws. Diamond Scarf Pina, Diamond Studi.
Wai-chea. Wrist Watches; also our wonderfully
showv assembled Solitaire Diamond Clusters.
EVERY ARTICLE IN OUR CATALOG is spec-
ially selected and priced unusually low. What-
ever you select will be sent prepaid by us. You
••• and «XBmln« the article right In your
own hands. If satisfied pay one-fifthof purchase
Drice and keep it, balance divided into eicht equ I
■ • ■ amoontSi payable montbly.

'f

LIBERTY BONDS
ACCEPTED

Diamond Rings

We are offering wonderful
values in Diamond RingB. Soli-
taires and Cluatera, in eUl the
popular mountings, plain and
fancy ereraved, special at
$40, $50, $75. SSS, $100,
$150, and up. Credit terms,
one-fifth down, balance Id eight
equal amounts, payabletDODtbly.

describes all thostandard World-
renowned Watches — solid gold
and gold filled caaea. Splendid
bargains in 25-year guaranteed
Watches; credit tenna as low as

$2.50 a Month

LOFTIS BROS. & CO., National Crtdit Jiwtlart

DeDt. A-616 100toloeNorthStat»St.,Chlcaco,illlnoi«

(SiUbliilud ISUl jTOBMIHtEAOlNQcmH

leant How to Write
Short Stories

W plays and feature articleg. You can learn how to

r?oijr Hporo time- Jack London said SO. Be •>"* o

have eodoracd oar homo etud? courDo. _^

Write for free book sT-lli'in^lcto-r,-

offerls limited. No oblizsOonB. Write touM.
I Haosler Inatltute, Short Story Dapt. A15S

arn'35tol00aWdg

BECOME A PROFESSIONAL

PHOTOGRAPHER

Ble oppnrtunltie3 NOW. Qualify for gjl
thl9 faaclnatlng profession. Three ^"
months* course covers all branches:
Motion Picture — Commercial

— Portraiture

Cameras and Materials furnialied free.

.- Peaotioal Instrdotion : modem „. , ,

equipment. Day or evening classes; easy terras The School of

Becognized Superiority. CaU or write for complete catalog No. 18.

N Y. INSTITUTE OF PHOTOGRAPHY

141 W 36th St, N. Y. 505 State St.. Brooklyn

Crooked Spines

motion picture r

Thousands of
Remarkable Cases

An old lady, 72 years of
age. who suffered for many years
and wasabsolutelv helpless, -found
relief. Anian who was helpless,
unable to rise from his chair, was
riding; horseback and playing ten-
nis within a year. A litile child,
â–  paralyzed, was playinK about the
1 Iioiiseafterwcarinca Philo Hurt Ap-
I i.Hance3 weeks. We have siicccss-
:„ii* w,..,.^.. .....re tli.in W.noOcascs the past !7 years.

30 Days' Trial

We will prove its value in your

own case. There is no reason why you

should not accept our offer. The photo

graphs show how lik'hl.cool.ehaslic .^^towSS"

ynci easily adjusted the Phito Biirt '^KSS^^SA

Appliance is — how difFereiit from

the old torturous plaster, leather or

steel j.'tckets.

K vtry sufferer wi(h a wenkeiied or

deforiufd spine owes it to liiinf

to invcstiiiate thoroiitrhly. Pi

within reach of all.

Send For Our Free I
If voii will describe the case it i .^

aid us in civinK you definite iiifor-
uintiou at once.

PHILO BURT MFG. CO.

€SS^ Odd Fellow. Temple, . J«

(Ninety-four)

KjrrKJts. 1 ui'^i 1 I xvi/\i\ivE. i

AGENTS WANTED

S733.25 earned Januury by ooe man ; others made
f200.00 to $500.00 same month. With auto season just
ahead our agents will double, triple this. You can do
the same, selling this wonderful new Invention — guar-
anteed to prevent punctures and lessen cost per mile
of tire. Dept. G, Tire In-Sole Mfg. Co., Flndlay, Ohio.

MEXICAN DIAMONDS flash like genuine, fool expert!,
â– tand testa, yet sell for l/50th the price. Few live
agents wanted to sell from handsome sample case. Big
profits, pleasant work. Write today. Mexican Dia-
mond Imptg. Co.. Box CA, Laa Cruces, N. Mex.

"IN8YDE T1RE8 — Inner armor for automobile tires:
prevent punctures and blowouts: double tire mileage.
Liberal proQts. Details free." American Accessories
Co., Cincinnati. Ohio. Dept. 117.

OLD COINS WANTED

"OLD MONEY WANTED." 5a to $500 each paid for
hundreds of coins dated before 1895. Keep all old
money. Send 10c for new illustrated coin value book,
•Ize 4x6. Tou may have coins worth large premiums.
Get posted. Clarke Coin Co., Box 165, Le Roy, N. Y.

FARM LANDS

FREE BOOK OF FLORIDA FACTS. Own your own
orange grove in beautiful Frultland Park. A few cents
a day you now waste will buy it for you. A few dollars
a month may provide you with a life Income. Schmltz-
ler sold his twenty acre grove here for 540,000 — two
thousand an acre. He saw the same opportunity that's
offered you and planted a grove. Result — he reaped a
small fortune. You have the same chance but you must
act now. Write TODAY for Free Book of Actual
Photographs, Florida Facta and the interesting story
of a Frultland Park Farm. Learn of crops that help
you buy it. Address today. Lake County Land Own-
ers' Aaaoclatlon, 316 Sunset Way, Frultland Park.
Florida.

FEMALE HELP WANTED

96-$18 A DOZ. DECORATING PILLOW TOPS at

home; experience unnecessary; particulars for stamp.
Tapestry Paint Co., 103 La Grange. Ind.

WOMEN TO SEW. Goods sent prepaid to your door;
plain sewing; steady work; no canvassing. Send
stamped envelope for prices paid. Universal Co., Dept.
22, Philadelphia, Pa.

FILMS FOR SALE

FILMS FOB SALE: One million feet, all makes,
lengths and varieties $4 00 per reel and up. Send for
list. Feature Film Company, Loeb Arcade, Min-
neapolis.

HELP WANTED

DETECTIVES EARN big money,
everywhere. Excellent opportunity,
ence unnecessary. We train you.
Write American Detective System,
New York.

Great demand
Travel. Experl-
Partlculars free.
1968 Broadway,

DETECTIVES AND INVESTIGATORS make blc

money. Be one. We show you how by home study.
Write American School of Criminology. Dept. C. De-
troit, Mich.

WORK FOR TOrR GOVERNMENT. Hundreds men-
women 18 up wanted Immediately, Pleasant work. Com-
mence $100 â– month. Experience unnecessary. Ex-
cellent list positions open — free. Write Immediately
Franklin Institute. Dept. S. 77, Rochester, N, Y.

Railway Traffic Inspectors earn from $110 to $200

per month and expenses. Travel If desired. Un-
limited advancement. No age limit. We train
you. Positions furnished under guarantee. Write
for Booklet CM 64. Standard Business Training In-
stitute. Buffalo, N, Y.

JEWELRY, ETC.

HIGHEST CASH PRICES PAID for Diamonds. Bonds.
Old Gold, Crowns, Platinum. Square Deal, Cash at
once. Goods returned at our expense if offer Is re-
fused. Send now, mall or express, I. M. Cohen, 1229
12th St.. Washington. D. C.

" CASH FOR OLD FALSE TEETH— We pay up to $35.00

per set, (broken or not ). Also buy discarded, gold
jewelry, gold crowns, bridges, platinum diamonds,
watches and sliver. Send now. Cash by return malt.
Packages held 6 to 10 davs for sender's approval of
our offer. U. S. Smelting Works, Dept. 40, Chicago. lU.

FOR THE LAME

THE PERFECTION EXTENSION SHOE FOR ANT

person with one short limb. No more unsightly cork-
soles, irons, etc., needed. Worn with ready-made shoes.
Shipped on trial. Write for booklet. H. P. Lotz, 105
E, 28th St.. N. Y.

MAGAZINES

BACK ISSUES OF MOTION PICTURE CLASSIC, Mot-
Ion Picture Magazine, Photoplay and alt publications
fop sate by Boston Magazine Exchange, 109 Mountfort
St., Boston. Mass.

MISCELLANEOUS

YOU WRITE WORDS FOR A SONG. We write the
music, publish and secure a copyright. Submit poems
on any subject. The Metropolitan Studios, 914 So.
Michigan Ave., Dept. HI. Chicago, III.

WRITE THE WORDS FOR A SONO. We revise
poems, write music and guarantee to secure publica-
tion. Submit poems on any subject. Broadway
Studios, 107M, Fitzgerald Bidg.. New York.

MOVING PICTURE BUSINESS

MAKE MONEY FAST, Small capital buys professional
machine and complete outfit. Easy payments. No
experience required. Openings e\ ery where. Catalog
free, Dept, 634, Monarch Theater Supply Co., 407
Ellsworth Bldg., Chicago,

$3&.00 PROFIT NIGHTLY. Small capital starts you.
Outfits sold on Installments. No experience needed.
Our machines are used and endorsed by Government
Institutions. Catalog free. Atlas Moving Picture Co..
426 Morton Bldg., Chicago,

NEWS AND CORRESPONDENCE

EARN $25 WEEKLY, spare time, writing for news-
papers, magazines. Experience unnecessary; details
free. Presa Syndicate. &61 St, Louis, Mo.

PATENTS

PATENTS — Send for free book. Contains valuable In-
formation for Inventors, Send sketch of your In-
vention for Free Opinion of Us patentable nature.
Prompt service, (Twenty years experience). Talbert
& Talbert, 4723 Talbert Bldg.. Washington. D. C.

PATENTS. Write for Free Illustrated Guide Book.
Send model or sketch for free opinion of Its patentable
nature. Highest References. Prompt Attention. Rea-
sonable Terms, Victor J. Evans & Co., €21 Ninth,
Washington, D. C.

PHOTOPLAYS

WRITE PHOTOPLAYS. $50 to $500 each for begin-
ners; experience unnecessary. Our free plan tells you
how; write for it today. Los Angeles Photoplay Co..
123 N. Broadway, Los Angeles. Cal,

PHOTOPLAYS WANTED. Big prices paid. You can
write them. We show you how. Free particulars.
Rex Publishers, Box 175 B. A. -6. Chicago.

LEARN TO WRITE PHOTOPLAYS. My book tells
how, what, where to send, encourages talent, gives
model, copyright taws, valuable pointers for $1.00. L.
De Frates, Box B 1461, Boston.

FREE TO WRITERS — A wonderful little book of
money-making hints, suggestions, ideas; the A B C
of successful story and movie play writing. Absolutely
Free, Just address Authors' Press, Dept, 14, Auburn. N.Y.

SHORT STORIES

STORIES, POEMS, PLAYS. ETC., are wanted for
publication. Good Ideas bring big money. Submit
MSS. or write Literary Bureau. 134. Hannibal. Mo.

WRITERS! Have you a song-poem, story, photoplay
to sell? Submit MSS. now. Music Sales Co., 42. St.
Louis.

SONG POEMS

SONG- WRITERS' MANUAL AND GUIDE sent free'
Contains valuable Instructions and advice. Submit
song-poems for examination. We will furnish music,
copyright and facilitate publication or sale. Knlck'>r-
bocker Studios. 310 Gaiety Bldg.. New York.

WRITE THE WORDS FOR A SONO. We write music
and guarantee publisher's acceptance on a royalty
basis. Mr. Leo Friedman. THE COMPOSER TO THE
AMERICAN PEOPLE, is our leading composer. Among
his well-known hits are such songs aa "Meet Me To-
night in Dreamland" and "When I Dream of Old
Erin." Submit poems on patriotism, love or any sub-
ject. Chester Music Company. Dept. 324, 920 South
Michigan Ave.. Chicago, 111.

WRITE THE WORDS FOR A SONG, We revise
poems, write music and guarantee to secure publica-
tion. Submit poems on any subject. BroEtdway Studios
107H. Fitzgerald Bldg.. New York.

DO TOU WANT YOUR SONG POEMS ACCEPTED?

Send your poems today for best offer, immediate publi-
cation and free examination. Song writing booklet on
request. Authors & Composers Service Co., Suite 523,
1431 Broadway. New York,

WRITE THE WORDS FOR A SONG. We revise poems,
compose music for them and guarantee to secure pub-
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Our Chief Composer is a snng-wrlter of national repu-
tation and has written many big song-hits. Submit
poems on any subject. Broadway Studios. 107A Fitz-
gerald Bldg.. New York,

TOU WRITE WORDS FOR A SONG— We write the
music, publish, and secure a copyright. Submit poems
on any subject. The Metropolitan Studios, 914 S.
Michigan Avenue, Room 10 4, Chicago. Ill,

WRITE THE WORDS FOR A SONG. We write the
music and guarantee publisher's acceptance. Submit
poems on patriotism, love or any subject. Chester
Music Co., 920 S, Michigan Ave.. Room 185, Chicago.

Leam to Draw
at Home

Illustrators. Cartoonists. Commercial Artist*
«am big money. $25 to $100 a week and mors.
Learn- at home In spare time under personal
direction of Will H. Chandlee. famous news-
paper, magazine, advertising artlat^'of S6 yearr
successful experience.

BE AN AttTISTr

DeiU-htful. faaclnatlriR profesaioiL rtVondeiful new
honie-Btiiflj' method makes drawing easy I Send couewd
or postal today for special otter of j^mm^m^^m
complete Artlsfs Outfit FREE to >
new etudeniE. Write for hand- ^ FRFPRnilPfll

«ome book. "How to Became • ^ "^"^^ l»UUruil

an Artist" Don't; delay- • WASHINGTON SCHOOL
write, or send coupon at ^^ ne .n-r i

once. Address ^^ Or ART. Ibc.

Wuktnrtoa School ^ 1146 HSt, N. W.. NnbioetoB, D. t

•( Art, Inc. _^^ Send me

1146 H St.,N.W >% AnnsT-s

)D.C.

f

Name.

particulars of FItEB
PCTTPIT ofTer sod
How to Becomf aa

^^ City .......r,. .6tat«.

MUSIC

TAUGHT

IN YOUR HOME

FRE

13o« CAn wool 7Uuu4. luKt i^iu qu
riftao, Oraan, Tlollo, MAndotln. ODitar, Banjo, ,

BeffJDDara or idTUirsd plaTera. One laonn weakir lllDat»tloDa laafe* m
thine plain . OdJt enprnso aboat £f ner '4ar to eoiar caul of (KXiKa* ftnd ■
nsed. Writs far FREE baoklat which azplalDa avanUilDB In rull.

AMBRICANSCHOOLOP MUSIC. 69 LaliMU*B«UdlBC,CHtCJI

SONG WRITERS

WRITE A SONG — Love, mother, home, childhood, ]
triotic or any subject I compose music and guaran
publication. Send words to-day. Thomas Merlin, ;
Reaper Block. Chicago.

TOtJ WRITE THE WORDS FOR A SONO. We ^

write the music, publish and secure copyright. I
ouard Hesselberg, our chief composer, haa to his ere
the great hit "If I Were a Rose," and other fami
songs. Submit poems on any subject. Send for i
Song Writer's Guide and submit poems at once. M
ropolitan Studios, 914 South Michigan Ave.. Dept. 1
Chicago. Illinois.

WRITE THE WORDS FOR A SONO. We revise poei
compose music for them and guarantee to secure pi
Ilcatlon on royalty basis by New York music publish
Our Chief Composer Is a song-writer of national rei
tation and has written many big song-hita. Subi
poems on any subject. Broadway Studios, 107S Fl
gerald Bldg.. New York.

IF TOU WILL WTIITE — The words for a song, I n
write the music and guarantee publisher's acceptan
Poems on any subject acceptable. Ethwell Hans-
Room 106, 3808 Broadway, Chicago. Illinois.

BE A SONG WRITER — You write the words and
will compose the music and guarantee publlcatii
Among my great hits Is "DESERTLAND." Subr
poems today on any subject. Room 107. Ethwell Ht
son. 3S08 Broadway. Chicago. Illinois.

YOU WRITE THE WORDS FOR A SONG: We'll co
pose the music free and publish same. Send So
Poem today. A, F. Lenox Co., 101 West 4 2nd £
New York.

WRITE A SONG. We write music, offer best proi
sition. Send words today. Chicago Music Studi
725 N. Western. Chicago.

STORIES WANTED

STORIES AND PHOTOPLAY IDEAS WANTED by

companies; big pay. Details Free to beginners. Pi
ducers League, 441. St. Louis. Mo.

EARN $25 WEEKLY, spare time, writing for new
papers, magazines. Experience unnecessary; deta
free. Press Syndicate. 560 St. Louis. Mo.

THEATRICAL

GET ON THE STAGE. I tell you how. Send 6c poE
age for Illustrated booklet "All About VaudevlU.
and full partictulars. LaDelle. Sta. S02. Jackso

Mich.

ARE YOC CONTEMPLATING A THEATRIC;!
CAREER? Do not enter your chosen profession unli
formed. Authentic, reliable information upon requei
New York Theatrical Advisory Bureau. 360 Broadwa
New York City.

(Ninety-five)

Fourth Prize

Second Prize

Popularity Contest

THE new Popu-
larity Contest,
unusual and en-
tertaining, is already
the object of great
interest — unfailing
and rife. If you
have entered it or
have read the announcements
which have appeared, and will ap-
pear, from time to time, containing
the rules and regulations, you
know it is actually a double con-
test— a contest in which both the
public and players are equally in-
terested.

The prizes depicted above and
below were selected after much
careful thought and attention and
each one is destined to make some
one happier, from the beautiful
Crescent phonograph which sug-
gests a twilight hour with the
gems musical genii have given to
the world, to the Marble nickel-
plated axe which brings to mind
a jolly time in some invitingly
green woodland.

Perhaps you have not yet de-
cided to enter the contest — if not
do so now. Dont lose an oppor-
tunity of enjoying the unique en-
tertainment it affords or of captur-
ing one of the lovely and useful
awards.

Awards

FIRST PRIZE

Crescent Phonograpli, piano mahogany finish
(value $160). Plays all makes of disc records;
Victor, Columbia, Patbe, Edison, Emerson, etc.,
without the use of extra attachments or intricate
adjustments; a simple turn of the sound-box is
all that is necessary in changing from a lateral
cut record to playmg a hill and dale cut record.

A Crescent owner can enjoy a repertoire of
the greatest opera singers, popular songs, dance
music or anything that is turned out of the
disc record. The tone of the Crescent is full,
round, deep and mellow. It has a large com-
partment for records.

First

Fifth

Seventh

Prize

and

Eighth

Prizes

Prize

SECOND PRIZE

Movette Camera and
three packages of films
(value $65). Compact,
light, efficient, easily op-
erated. Think of the
possibilities during your
vacation trip — your
canoe trip — in pictures
— pictures of your family or friends — living pic-
tures that you can project at any time in your
home. A priceless record of your life,

THIRD PRIZE

Corona Typewriter with case (value $50) ; a,n
all-round portable typewriter, Hcht enough .Tnd
small enough to he carried anywhere, and strong'
enough to stand any possible condition of travel.
It is trim and symmetrical and does not dive
one's study the atmosphere of a business office.
Fold it up and take it with you anywhere.

FOURTH PRIZE

SheafTer "Giftie" Combination Set, consisting
of a Sheaffer Fountain Pen and a Sheaflfer
Sharp -Point Pencil, in a handsome plush -lined
box. Gold filled, warranted twenty years. Can-
not blot or leak. A beautiful and perfect writ-
ing instrument.

FIFTH PRIZE

Bristol steel Casting Rod agate guide, cork
grip, strong and durable. Packed in linen case.
Can be easily put in traveling bag.

SIXTH PRIZE

Loughlin Safety Self-Filling Fountain Pen.
No extensions to remember, no locks to forget.

SEVENTH PRIZE

Star Vibrator, handsomely finished in nicke.
plate with three attachments. Alternating cur-
rent. Excellent for massage. Use it in your
own home.

EIGHTH PRIZE

Same as Seventh Prize.

NINTH PRIZE

Marble nickel-plated pocket axe of tool steel,
carefully tempered and sharpened. Indispens-
able in camp or woods.

(N\nety-8ix)

SEE
'A Dream of Fair
Women" —

Produced b}) the M. P. Publishing Co.
Publishers of the

MOTION PICTURE MAGAZINE
THE CLASSIC ar,d SHADOWLAND

Presented b:9 MURRAY W. GARSSON
Foundation Film Corp.

1600 BROADWAY, NEW YORK

Everyone Admires a Slim Figure
You Too Can Become Slim

Thousands uf Stout women everywhere have
reduced tlielr superfluous flesh and regained the
matchless grace of girlhood by using

FLO-RA-ZO-NA

BATH CARTONS

Dissulved in the daily balh they begin to
liiiyruve yuur Ilgure at (,nfe. A nmivelous sclen-
tiOc discuvery that reduces yuur weight harm-
li'saly and effectively. Absululely free from
Eusum Salts, alum, or any harmtul Ingredients.
A wunderlu! benefit also In rheumatism and all
sUin eruptions. No drugging, no drastic dieting,
ir nerve-racking exercises.

An aesthetic delight to the woman of refine-
tnint- A full two wefts' course of H FLO-liA-
y.D-SA haths 7nailed anvichere In the Unitrd
.s/afrg tin rrceipt of $3.00. // i/our druaoisl
riinnot supply j/ou, trrile to the

Royal Pharmaceutical & Perfumery Co., Inc.

1090 Madison Ave., New York.

Popularity — Through Music

DEMEMBER how — with palms atingle from
vigorous applause and with the joy of music

permeating your very soul — you have envied the
players their ability to produce
such harmony — such a blending of
tone. Thrilled as you have been,
yoii can know the still greater
thrill which comes when you,
yourself, produce such music.

U**^ /nstn

Instruments

mean the realization of your music-
dreams. These wonderful instruments
are surprisingly easy to learn, yet un-
wer, scope and qualitv of
tone. Truly the GIBSON
is the ideal medium of
music expression for
amateur or professional.
Send for YOUR copy of
the GIBSON Booklet.

teacher Salesmen
— men or women
— wanted evew
where. Write for
detaih.

GIBSON
MANDOLIN-
GUITAR CO.

(iO(> Parsons Street,
Kalamazoo, Mich.

Greatest of All Popularity Contests

Unique Competition in Which the Voters Share in the Prizes

WHO IS THE ONE GREAT STAR OF THE SCREEN?

Is it CHARLIE CHAPLIN or ELSIE FERGUSON?

Is it RICHARD BARTHELMESS or WILLIAM S. HART?

Concerning this matter there is great difference of opinion. Every fan, in fact, has
his own idol. The Wall street broker swears by MARY PICI'CFORD; his wife thinks
TOM MIX is the best actor the cinema has produced; the office boy has a "crush"
on THEDA BARA and the stenographer collects photographs of DOUGLAS
FAIRBANKS.

What do you think? If you had a vote would you give it to NAZIMOVA or to
LILLIAN GISH? Would you vote for a man or a woman or for little BEN
.\LEXANDER?

Shadowland, Motion Picture Magazine, and Motion Picture Classic— the three great
magazines of the Motion Picture world — have decided to refer this question to their
readers by taking a popular, world-wide vote. In regard to matters concerning the
stage and theater their audience is the most intelligent and discerning; the most
wide-awake and well-informed in the world today. If any picture patrons can pick
out the leading star, it will be those who read Shadowland, the Magazine, and Classic.

The coupons will show you how to enter your own name and the name of your favor-
ite player. But you may vote on an ordinary sheet of paper in Class Number 2,
provided you make the ballot the same size and follow the wording of this coupon.
We prefer the printed coupons for uniformity and convenience in counting.

There will be prizes for voters and prizes for stars.

Votes registered in Class Number I will probably be cast by favor. Votes registered
in Class Number 2 will call for a wide knowledge of the Motion Picture business,
keen powers of perception and skill at detecting the trend of popular favor. You
cannot guess the winner offhand.

RULES OF THE CONTEST

The contest began on December 1, 1919, and
will close on September 30, 1920.

There

will be ten ballots as follows:

December 1919 ballot

January 1920 ballot

February 1920 ballot

March 1920 ballot

April 1920 ballot

May 1920 ballot

June 1920 ballot

July 1920 ballot

August 1920 ballot

September 1920 ballot

The result of each month's ballot will be pub-
lished in each one of our magazines the
second month following such ballot.

No votes will be received prior to the open-
ing date or after the date of closing.

Each person entering the contest and observ-
ing the rules thereof shall have the priv-
ilege of voting once in each class, each
month, for each one of our magazines. You
may send us one vote in each class for
Shadowland every month, and the same for
Motion Picture Magazine and yet again
the same for Classic. Thus, you will have
three votes in Class No. 1 each month, and
three votes in Class No, 2 each month.

Class Number 1

Shadowland, Magazine and Classic:
175 Duffield Street, Brooklyn, N. Y.

I consider ■ • -

the most popular player in the entire
field of Motion Pictures.

Name â–  â–  â–  â– 

Street

City

State

Country

(Dated)

Class Number 2

Shadowland, Magazine and Classic:
175 Duffield Street, Brooklyn, N. Y.

I believe that

will win the Big Three Popularity
Contest with votes.

Name

Street

City .

State

Country

(Dated)

Remember! This is the greatest player contest in history.

(Ninety -seven)

It Pays to Read
Advertisements

Advertisements are
news. Good news —
timely news — help-
ful news.

News of the great
world of business.
Heralds of the
world's improve-
ments— builders of
factories — makers of
homes.

News of the latest
styles.

News of comforts
unknown when
father was a boy.

News that is handy
to your eye.

News that you cant
afford to hurry by.

News that will save
you money.

Dont miss the ad-
vertisements

in

Motion Picture
Classic

Reel Realities

Mary and Doug, here are our sincerest
and deepest congratulations !

The announcement that the honey-
mooners will make a tour of Europe,
doing a photoplay or two en route,
arouses all sorts of fancies.

Here is an event well calculated to stir
the imagination, for the coming of the
two will be unparalleled in history. We
can already see Little Mary, almost dei-
fied by the cinema, being received by
royalty, (what roya.ity the war has left
behind), moving thru crowded streets,
for Doug and Mary are known and
loved ifi every land, and are being feted
as no one has ever been.

A picturesque honeymoon, indeed.

Not so long ago theatrical producers
used to weep and gnash their teeth when
their stars "lowered their prestige" by
going into the lowly movies. Who would
pay two dollars to see a player after
being able to observe her for a quarter
or less, they reasoned.

It remained for the present theatrical
season to really prove the utter fallacy
of this reasoning. A. H. Woods decided
to present Theda Bara in a footlight
play, "The Blue Flame." Miss Bara
promptly shattered records in Washing-
ton, Philadelphia and Boston and started
her New York run with a smash. Had
the play been at all worthy, she would
still be breaking records. Instead of de-
tracting from Miss Bara, the screen has
built up an enormous following anxious
to see her in real life.

Again, consider Eisie Ferguson in her
return to the stage after two years' ab-
sence. Her vehicle, "Sacred and Pro-
fane Love," is attracting capacity New
York audiences. Out on the coast, in
Los Angeles, to be specific, Wallie Reid
has been playing in a stage piece, "The
Rotters," with striking success.

And now the stage producers are fall-
ing over each other to persuade scrten
stars to make a theater return.

The times have changed !

Recently American producers offered
George Bernard Shaw a million dollars
for the film rights to his works. The
canny Mr. Shaw sat down and began
figuring. Then he rejected the offer,
figuring that he would not only not make
a million on the deal, but would actually
lose $17,000.

Mr. Shaw arrived at his conclusion
after considering just what British,
United States and New York State taxes
would do to such a settlement. So
"Arms and the Man," "Candida," "Caesar
and Cleopatra" and the other gems of
biting Shavian humor wont reach the
films — for a while, anyway.

Despite the fact that New York's new-
est de luxe house of the films, the Capi-
tol, goes in for extremely long, all eve-
ning programs, the trend everywhere

in the country is towards shorter bills.

The general impression — and there is
no denying its e.xistence — is that theaters
have gone the limit in working up de
luxe entertainments of music, singers,
dancers, short films, etc., to the detri-
ment of the feature. Result, audiences
have departed tired and even bored.
Naturally, the feature, buried beneath
the elaborateness of the program, has
suffered severely.

It is an interesting commentia-y that
one of New York's biggest money-
making theaters is the New York, an
old, out-of-date house, but one present-
ing only pictures.

Our comments upon program length
must not be taken as a slap at the short
film, whether dramatic, comic or scenic.
Tremendous and most praiseworthy
strides are being made in this field of
motion picture endeavor.

In short comedy the American motion
picture is particularly advancing. We
venture to say that Harold Lloyd, for
instance, is as popular as any feature
star of the cinema, with possibly an ex-
ception or two. Remember the way the
late Sidney Drew was beloved? On
every side these days we see the short
comedy, which Mr. and Mrs. Drew so
ably pioneered, making splendid ad-
vances.

And now London, just as did New
York, welcomes "The Miracle Man,"
following the hit of David Griffith's
"Broken Blossoms." There is no doubt
that these two productions stand out as
milestones in American film progress.

George Loane Tucker is acclaimed as
one of the great directors of the cinema.
It is interesting to note the enthusiasm
of the London press over Betty Compson.

More than 50,000 miles of motion pic-
ture film were exported from the United
States in the calendar year 1919, or
enough to stretch more than twice
around the world at the equator, says the
New York National City Bank in a cir-
cular just issued. To be exact, says the
National City Bank, in a discussion of
this growing feature of our export trade, .
the films exported aggregated 273,270,120
linear feet, of which the exposed film
was 153,237,260 feet and the unexposed
film 120,041,012 feet; the value of the
exposed film being $8,066,723, or an av-
erage of 5.5c per foot, and of the un-
exposed film $2,680,000, or an average
of 2.2c per foot.

This is by far the largest total, says
the bank's statement, of motion picture
films exported in a single year, whether
measured by quantity or value. In 1918
the total length of films exported was
only 151.000,000 feet; in 1917, 166,000,-
000; 1916, 125,000,000; in 1915, 199,-
000,000 feet, and in the year prior to the
war, 1913, 146,000,000. It was only in
{Continued on page 100)

(Ifinety-ei^t)

Ifiinfnnnnin non

MTniew,

m

Isn't it a joy to throw away that
old and shabby winter suit you've
been wearing so long that you felt
it had become a part of you? Isn't
it a g-r-r-rand and glorious feeling
to see how everybody turns around
to look at you as you pass, and to
know that they are all admiring —
and, perhaps, envying you a little?
We know just how you feel, for
we, too, are coming out in our new
spring suit — and it's great to shake
oflf the troublesome clothes of the
past winter — all full of patches
made by the printers' strike, and
the paper shortage, and the late
schedules.

We have a stunning new cover
for our June number of Shadow-
land, and the latest thing in pic-
tures, and the newest stories about
every one on the stage and screen
that you like. It will be the best
and most interesting number ever
issued.

There's Walter Pritchard Eaton's
first contribution to Shadowland,
One of the foremost writers of the
day, he offers a brilliant article on
the theater.

Adolph Bolm, Master of Terp-
sichore, tells Frederick James
Smith, in an unusual interview, of
the development of the dance in
America.

Have you ever thought of the
political power of the cinema?
Lynde Denig, in his "Will Motion
Pictures Elect a President?," gives
you much food for meditation.

There are the wonderful color
plates of the most popular stars;
z'ery clever reviews of the plays
and cinema features for the month;
the. latest offerings of fashion from
Paris; the nezvest novelizations ;
and, as an added feather in our cap,
we have made arrangements with
all the leaditig photographers of
America for first xise of their best
zvork!

TThe publication date of the
June Shadowland is Ma}) 23

SHADOWLAND

175 DUFFIELD ST.. BROOKLYN. N.Y.

(Nmety-nine)

DONTE^t-^'"

REMOVER

•n}th ihe siveei fragrance '

A Depilatory Sweet

and Fragrant as the

Daintiest Perfume

Donte solves the problem.
You apply Donte to the
skin with a little water,
that's all. Donte not only
removes superfluous and
undesirable hair, but also
prevents its return, as it
works under as well as
above the surface. Donte
will not injure the most
delicate skin, it leaves it
smooth and in perfect con-
dition. Donte is endorsed
by leading practitioners.
Hair is beautiful on the head, but nowhere else. No
matter what process you have used before, you will
find Donte delightfully satisfactory. Donte has no
disagTCeablt odor, instead, it is fragrantly perfumed.
Donte eliminates cutting, shaving, or other painful
methods.

Put Donti on Your Dressing Table

50e and J 1.00 ft jtr at Drmt and Department Stores. If your
dealer cannut supply >yu. send us his name and $1.00. and
we will Send jnu In plain wT»oper, a full-sized jar. posUee
•nj war tax ineiiaid.

DONTE CHEMICAL COMPANY
275A Troy Avenue, Brooklyn, N. Y.

ftWords fora5on^
1} andlllurrite^

' theMusic! .

You, yes, you, write the words for a
song and submit to me. If I find the
subject or idea suitable for use in a song,
will agree to give your poem a musical setting
and have the complete son^ printed accord-
ing to the plan of the

Metropolitan Studios

You Can Succeed —make no

â–  mistake about

that! You may be interested in knowing
that I received my musical education at the
Moscow Roval Conservatoo' of Music. Moscow,
Russia, and later became the royal court pianist-
I have appeared in concerts in all the leading
cities of Europe and this counto'- Among my
greatest song successes are:— "If I were a Rose."
of which a million conies have been sold, and
the national hymn, ' America, My Country."
Do Dot let another day go hy without submit-
ting • poem to me. Who know*— you mmj be
the soog writer of tomorrow-

Address me as foUotcs:

Edouard Hetselberg

METROPOUTAN STUDIOS

91«S. Michig.n Ave.. Suit. 138 Chicago. 111. )

Reel Realities

{Continued from page 98)
1912 that this class of e.xports was con-
sidered of sufficient importance to jus-
tify a separate statement in the record
of exports, the total for that year being
62,241,000 feet, valued at $.=;,502,000. The
value of the films e.xported since the be-
ginning of 1912 is nearly $60,000,000.

A very large proportion in the earlier
years went in the unexposed form for
use in making photographs in other parts
of the world- At present, as above indi-
cated, considerably over one-half, (153,-
000,000 feet), of the films exported are
of the "exposed" class — those films bear-
ing photographs made in the United
States — while considerably less than one-
half, (120,000.000 feet), are blank films
for use in making pictures in other parts
of the world.

These 52,000 miles of motion picture
films exported in 1919 went to all parts
of the world- While the details of 1919
distribution are not available, those of

1918 show that motion picture films of
the "exposed" class ready for presenta-
tion on the screen went to no less than
fifty-three countries and colonies of the
world. Tliirty-three per cent- went to
Europe, 29 per cent, to North America,
exclusive of the United States ; 14 per
cent- to South America, 14 per cent- to
Oceania, a little over 7 per cent- to .A.sia,
and 3 per cent, to Africa. Of the un-
exposed films, of course, a very large
proportion went to Europe, 85 per cent.,
in fact, while the remaining IS per cent,
was distributed to the North American
countries other than the United States.
Asia, Oceania and South America.

While our exports of motion picture
film have mounted, the importations have
quite naturally declined, the total num-
ber of feet imported in the calendar vear

1919 having been but 17,000.000 'feet
against 26,000,000 in 1918 and 76,000,000
in 1917, which was the high record in
importation of films from abroad. The
average import price of the exposed film
was about 5.5c per foot as against 5.3c
per foot of the exposed film exported.
Of the 153,000.000 feet of exposed
film exported in 1919, 39,000.000 feet
went to the United Kingdom, 15,000,CKD0
to Canada, 13.000.000 to Australia, 9,-
000,000 to France, 7,000,000 to .â– \rgen-
tina and nearly 6.000.000 to Brazil. The
character of the views presented on the
exposed "ready to use" films is quite
similar to that of the films in use in the
United States, probabl)' three-fourths
being photoplays and the remainder
travelogs, "news service" and comedies.

\\"hi!e no exact figures are avail-
able on the quantity of films now pro-
duced in the United States, says The
Xew York Morning Telegraph, an esti-
mate, based upon the known quantity
exported, suggests that the entire do-
mestic production nearly exceeds 2,0(X),-
000.000 feet, with a value of approxi-
mately $75,000,000 per annum when
"e.xposed" and ready for use in the pro-
jecting machine.

|jiiiii;i';,i' iiiiiiiiiiiiiiiiiiiiiiii!Hiiiin!iiniiii

HAV/AflAN

W,„MUSIC THE

C2L*'in»'i:?% RAGE

INSTRUMENT =

CanYouPlay

AreYou

Popular?

LET this famous
player be your
instructor. Let h i m
teach you to produce wonderful, sym
pathetic melodies on the Hawaii:' >
Ukulele. No more exquisite music was
ever given to mankind.

Draw to your hnme and yourself rfiarmcJ
circles of friends and admirers — know ihe
delights of popularity. Sing aiid danco to
tile tt^nder strains of HawaJion music

Write MS at once for information bow you
can ohlain .ABSOLUTELY FREE a genuine
Ukuleli', wtik'h we are givinR away to in-
troduce narr>- ,7. Clarlte's new and wonder-
fully easy system of instruction by mail.
Small cost — great results!
Write Mr. Clarke ptTsonally today.
HAWAIIAN INSTITUTE OF MUSIC
Dept. 8F 1400 Broadway. N.Y.

im

\m\

fl PERFECTPN

Is d GeSFlbiveSiK'

Go to your mirror now and

examine your skin closely. If you have
Blackheads, Acne, Pimples, Enlarged
Pores, Oily or Shiny Skin, WTite for free
booklet, *^j^ C/ear-Tone Sjtm,** It will tell
you how to perfect your complexion,

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223Cheinical Eldg. Kansas Cit^-, Mo.

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Writo at once ior OUT big catalo<}:^iid special offtj-B,

Take your choice fr-jm 44 etyles. colors and Bizea

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dsirioxisantj Factory-to-Rider prices.

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special Factory-to-Rider cash prices.
Boys, he 3 "Rider Agent" and make big mon-
ey taiiiiJg ordt-ra for bicycles and BupplieB.
TIDCC equipment. aundriesand everything
I mCO in Ihe bicycle line at ha!/ usual
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(One hundred)

MOTION PICTURE CLASSIC

The Celluloid Critic

{Continued from page 45)

Xo, "The \'irgin of Stamboul" is not
particularly impressive. It is too long,
for one thing. The direction of Tod
Browning is cumbersome and H. H.
\'an Loan's storj- but trite melodrama.
It does, however, reveal the effect of the
shimmie upon Turkish life. Miss Dean
nowhere achieves the note of spontaneit\'.

Charles Ray can invest any screen
opus, no matter how banal, with the life
of reality, which, to our way of thinking,
closely approaches something popularly-
called genius.

Consider "Alarm Oock Andy." (Para-
mount), the romance of a bashful clerk
who develops into a success. It is ob-
viously a made-to-order story, (by Agnes
Johnston), but Ray takes it, gilds it
here and there with sincerity, and — lo
and behold! the thing seems a human
document in which the tear is close to
the smile. Jerome Storm has directed
the theme adequately.

Constance Talmadge makes "In Search
of a Sinner," (First National), a piquant
and highly diverting comedy. John Em-
erson and Anita Loos have cleverly
adajtted Charlotte Thompson's story to
the films, giving it a tinge of the risque.
Miss Talmadge seems to be centering
upon this note of late. We do not say
this in a spirit of censure, for she has the
verve to dash with the lightness of
thistledown over thin ice thru which
most other screen comediennes would
crash disastrously.

â– 'In Search of a Sinner" presents a
3'oung widow, one Georgianna Chad-
bourne, who has been so bored by her
first and verj- moral husband that, upon
his demise, she sets out to find a wild-
man. When her quest thru Xew York
unearths just one possibility and all sorts
of difficulties ensue, Georgianna realizes
that wickedness doesn't pay and is quite
glad to accept the p)ossibility, even tho he
turns out to be a head of the Purity
League. David Kirkman's direction is
spirited and Rockcliffe Fellowes at least
looks the caveman-purit}- leaguer.

"Mary's Ankle," (Paramount), was
adapted from May Tully's stage farce
for the use of Douglas MacLean and
Doris May. A youthful trio, headed by
a young doctor in search of patients, is
in desperate financial straits. Finally the
near-physician sends out wedding an-
nouncements in the hope of drawing down
a check from his wealthy uncle and pos-
sibly salable gifts from here and there.
Then a young lady of identically the
same name as that of the fictitious bride
sprains her ankle in front of his office.
Thus begin the complications. It is ver%-
broad slapstick farce of the footlight
type and not comparable to the MacLean-
May gem, "23>2 Hours' Leave." When
will movie producers discover that stage
farces do not lend themselves to tlie
screen ''

If it were not for the fact that Dorothy
Gish is the star of "^lary Ellen Comes to
Town," (Paramount), we'd say some-
thing rude about it.

(One hundred and one)

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MOTION PICTURE

Behind the Screen

Mary Pickford and Douglas Fair-
banks were married in Los Angeles, Cal.,
on Sunday, March 28th, by the Rev.
J. Whitcomb Brougher, pastor of the
Temple Baptist Church. Robert Fair-
banks, a brother of the bridegroom, was
best man, and Marjorie Daw was brides-
maid.

John Barrymore's sudden illness — a
nervous brealcdown — caused the abrupt
termination of his engagement in "Rich-
ard III" in New York. The revival had
scored a sensational success. Mr. Barry-
more's illness is said to have been caused
by his hard work while rehearsing
"Richard III" and doing the film pro-
duction of "Dr. Jekyll and Mr. Hyde."

Billie Burke has postponed her stage
revival of "The School for Scandal," in
which William Faversham was to have
appeared, and will devote her time to the
photoplay.

Agnes Ayres is to be starred by Albert
A. Kaufman.

William Faversham's forthcoming
screen vehicles, starting with "The Man
Who Lost Himself," will be released by
Myron Selznick.

Constance Talmadge has secured the
film rights to the stage success, "Wed-
ding Bells."

Realart's first starring vehicle for
Wanda Hawley is a film version of
Jerome K. Jerome's "Miss Hobbs,"
originally played behind the footlights by
Annie Russell.

C. Gardner Sullivan, Thomas H. Ince's
scenarist-in-chief, has departed on his
world tour. Genoa is the first stop.

Thomas Meighan is back on the coast,
making a film adaptation of Leonard
Merrick's "Conrad in Quest of His
Youth" for Paramount.'

Ethel Clayton has renewed her
mous Players-Lasky contract. She
make two pictures in London.

Fa-
will

Jack Mulhall has been signed under a
long-term contract by Paramount-Art-
craft.

The Andrew J. Callaghan Produc-
tions, Inc., is to star Bessie Love, her
first picture being Charles Tenney Jack-
son's "The Midlanders."

Myron Selznick has signed Louise
Huff as one of his stars.

J. Stuart Blackton is doing a story of
spiritualism, "The House of the Tolling
Bell," by Edith Sessions Tupper. The
cast is headed by May McAvoy and
Bruce Gordon.

Tsuru Aoki is visiting in Japan.

(One hundred and *u!0)

CLASSIC

Pacific Coast Gossip

By FRITZI REMONT

Los Angeles, Cal., (Special) — One
of the very best raconteurs in the film
world is William Duncan. Unlike most
Scotchmen, Bill is a good talker and
loves to swap anecdotes on the lot.

He related an amusing incident of his
early experiences in pictures. Before
going on the stage, Mr. Duncan was an
exponent for the Bernarr MacFadden
exercisers, as well as a good bo.xer. His
younger brother had put on the gloves
while in his teens and become a light-
weight champion. Thru Bill's early as-
sociations, he was able to put his brother
"next," and the youngster soon became
engaged for well-advertised bouts.

Mr. Duncan's parents were orthodox
Scotch, averse to publicity and quite up-
set over William's theatrical experiences.
One day, the newspaper held glowing
accounts of the younger Duncan's suc-
cessful fight, as well as of William's
serial. The family read the paper and
silently laid it down for Father Duncan
to peruse at night. There would be no
use in hiding it, for the elder Duncan
would merely buy another copy and
scold over tfie carelessness of women
who mislaid the publication.

That evening, Father Duncan read his
paper after dinner as usual. He said
nothing for an hour or so, then suddenly
turned to his wife. "Misthress Duncan,
dont ye think we should be prood of our
bairns? I think we should praise the
guid Lord daily for gi'in us sic a fine
family. It's not many that be blessed
with lads and lassies like ours — nought
but d prize-fighters and actors !"

Some years have passed since that
sarcastic outburst, and now that William
Duncan is famous thru serials, his
father is a first-nighter every week to see
the current episode. Moreover, his son
has just signed a new contract with
Vitagraph and reluctantly Father Dun-
can admits that after all there is "some
guid in play-acting."

Wandering over the Famous Players-
Lasky stages, I happened on "Bob"
Warwick's set. He is doing "Hunting
Trouble," which is an adaptation of
"The Man from Blankley's," and is sup-
ported by the nineteen-year-old Bebe
Daniels.

Of course, Bebe and her stunning eve-
ning gown got me. She was wearing a
combination of white satin, silver lace,
handsome jewels, high-piled coiffure
with Spanish combs and silver slippers.
As we gossiped, Miss Daniels' jewels at-
tracted attention. One of the men as-
serted that he could tell the difference
between the imitations and her own
valuable pins, rings and bracelets, all
worn at one time. She laughingly defied
him.

She was wearing a long bar pin of
diamonds and platinum right over an-
other of different pattern. I happened
to view a safety catch under the lower
pin, so decided on its worth at once.

"Oh, I forgot that would give me
away !" Bebe Daniels laughed, merrily.

(One hundred and three)

Vr COTTOH
"Miracle of Lous"

VARLVLE BLiOKWELL
oj 100 Succeseee

$ 1 ,000 and Film Fame for
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Fol V by Adrian Johnson

One of the world-famous producing com-
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for a story suitable for one of its stars —
Miss Marion Davies, and asks you to see the
ADRIAN JOHNSON photoplay "APRIL
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similar lines.

TO ENCOURAGE NEW WRITERS

The express purpose of the contest, as
advertised in all New York papers, is to
encourage NEW WRITERS and NEW
IDEAS. The Cosmopolitan Productions
agree to buy all scenarios submitted which
are suitable for production.

YOU NEED THE ADRIAN JOHNSON SYSTEM

A mastery of the Adrian Johnson simple, practical,
successful system of photoplay writing will admir-
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this character, which will be numerous in the future,
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All Adrian Johnson Students entering the above
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through our school and avail themselves also of our
service bureau in criticizing them.

THE ADRIAN JOHNSON SYSTEM

Comprises a course of 20 lessons, covering every
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into your home, acquaint you with its inner secrets.

CiTHEniNE CiLTERT
"Homance ot VndcrwoTld"

BVELYK OREBLY
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EMMY WEHLEN

"Miss llohuinnti CiitKiit"

WE SELL YOUR SCRIPTS

Our Sales Bureau is an expert organiza-
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producers, stars and directors who buy
plays. It is of inestimable value
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JUST AVERAGE INTELLIGENCE

You need not be a "genius" or "born writer," or anything but just what you are.
If you have average intelligence, a story-telling ability, and a creative imagination, even
in embryo, we can teach you to write photoplays. Obscure unknowns are jumping into
Fame and financial independence daily.

LEAFI BAIRD

"The Coiiitol"

WE CRITICIZE YOUR PLAYS

Our advisory board, headed by Adrian
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A TRULY WONDERFUL BOOK

Our FREE SOUVENIR book, "A Fasci-
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''I bet you cnnt tell these bracelets
apart !" I coiiUin't, but the connoisseur
guessed correctly. The rings balHed us
all. Every imitation was perfect, and
we finally had to be shown. She had
worn the real jcvvels, lest they be stolen
if left in her dressing-room, so fans will
have an opportunity to judge for them-
selves when Bebe's next release appears.
The little string of real pearls she wears
constantly was a parting gift from the
Kolin studio folk.

Running over to the Christie studio,
I found that Chic Sale is now doing
"The Smart Aleck," by Irvin Cobb, a
"Satcvcpost" story. Mr. Sale has a vaude-
ville reputation which is national, so,
with Coleen Moore playing leads, the
comedy drama should make a hit. There
is a new star in the shape of Lucile
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Strange to say, "Smiling Bill" Par-
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"Smiling Bill" Jones, said to be a for-
mer English grand opera singer. Billie
Rhodes has been resting, but has resumed
production, now that the Lenten sea-
son has passed. A big photograph of
the late "Smiling Bill" Parsons hangs
over the mantel at the National studio
sitting-room, and it seems as if the jolly
husband of Billie must come back any
day. It has been very hard for the little
star alone, and so her absence from the
screen is due to her inability to settle
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Henry Walthall, of the National, has
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APOLOGIA
By Charlotte Becker
Altho .1 garnered no wealth nor fame,

Nor played a hero's gallant part,
Nor bore a sage's honored name,
Nor any place in song or art :

Not all unworthy have I proved,
Life of her joy should make me free-

For I have suffered, I have loved.
And one good woman has loved me.

THE STORM
By Charlotte Becker
The East Wind rides to war tonight —

I hear his eager steeds,
With rustling panoplies bedight.
Come plunging thru the reeds.

Deep in the wood, where Captain Oak
Commands the valiant trees,

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Lest Major Sunflower fall.

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The East Wind's trumpets blow,

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(One hundred and six)

FEBRUARY 192

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The beauty secret of Cleopatra hidden in every cake

How washing your face makes rouge and powder harmless

You should not blame your skin
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Modern cosmetics are usually harm-
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must be governed by the kind of
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For this modern combination of the
palm and olive oils Cleopatra used
as cleansers is as bland as a lotion.
Its profuse creamy lather leaves the
skin soft, supple and smooth.

Yet, while money can't buy a more
satisfactory facial soap, the price of
Palmolive keeps it within reach of all.

Why isn't Palmolive expensive?

Manufactured in small quantities it
would be. Palm and olive oils are
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Enormous production and factories
working night and day— ingredients
ordered in gigantic volume— is what
reduces production cost.

Thus we are able to keep the price of
Palmolive to a very moderate sum-
no more than ordinary toilet soaps.

You can therefore afford to use

Palmolive for every toilet purpose.

Keep it on the washstand for the

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Two kinds of faces
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because its fragrance is in
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How^ You Can Have a

Charming Personality

rwt WY I Dear Friends

I n WOTTIf^n ' "^^ ^y Sex:—
1 U TT UlllC;il • Truly. I have

good reason to be one of the happiest
women in the world. For every mail
brings me so many letters of apprecia-
tion. If you were in my place, you
would be delighted to know that you
were a real help to so many, to feel
that you could be a sort of fairy god-
mother to someone in need of just the
kind of knowledge you had stored up
and just the kind of sympathy you have
in your heart.

Oh. the letters! How I love them all.
They fairly breathe appreciation and
friendship for the good things they
attribute to me and my work. Here is
one from a little woman in Allentown.
I remember the first time she wrote me.
Such a pathetic little letter it was. a
•igh from beginning to end, mingling
with a sort of forlorn hope that I,
Juliette Fara, might be able to help her.

Yes, to help her. To show her how
•he might attain success, how she might
throw aside the mantle of a gray, un-
interesting and even repellant person-
ality and be just what the Creator in-
tended her to be, a glorious, magnetic
little woman radiating charm and per-
sonality, captivating hearts of men and
women alike with a new found power
sparkling with the attraction that draws
friends like a magnet, compels admira-
tion, respect and all the other things in
life worth having.

That's what my little friend wanted
and that is what all of us want. Now
•he writes and tells me that she has
attained the desire of her heart, and
that to me — think of it, to me — she
owes the credit of her success. Can
you blame me for being elated and
pappy ?

But hers is not a new story to me. I
have dedicated my life_ to helping
women overcome their imperfections,
my whole being is wrapped up in a
desire to enable you, dear Reader, as
well as others of my sex, to attain the
success that comes to those who will
acquire the exquisite and charming
ways which are so necessary if we
women are to achieve the feminine suc-
cess so dear to our hearts.

Perhaps you know that I spent years
of my life in Paris, watching, studying,
and analyzing the captivating ways of
the French woman, she whose fame has
•pread to every land, she who holds in
her hand the destiny of her country
and her men, she to whom the power
of attraction is an art and a science to
be cultivated just as one would learn to
play the piano or sing. What secrets
nave been revealed to me ! What amazing
thing! I have found in the French woman's
treasure box of personality!

There was Mademoiselle Polaire, for instance,
one of the most fascinating little bits of

Photo by Abbe

CONSTANCE TALMADGE

THIS esteemable young lady has won a place in the
hearts of millions. Study her picture well; it will
make you think.

What man. woman or child has not been charmed by her
superb acting, her magnetic personality, even as she has
captivated you.

Note the tilt of her head, the sweet, quiet unassuming
dignity in her easy, graceful pose. Remember — you have
never heard her utter a word. She has no opportunity of
portraying her thoughts and emotions in vivid, eloquent
speech. By pose, motion and facial expression, she holds
your attention, thrilling you, amusing you, leaving you with
a lingering memory of her charming mannerisms.

All that Juliette Fara teaches. Miss Talmadge employs to
her direct personal advantage, so much so that a prominent
director said: "Mentally and physically she is able to adopt
any attitude with the greatest ease and to express any
emotion or shade of feeling. That is why she attained such
nation-wide popularity."

Miss Talmadge has heartily indorsed the instructive
knowledge which Juliette Fara imparts to women, and what
Miss Talmadge indorses you should know. "How" you also
can use the secrets which she uses to such advantage is
explained to you in the free book "How" which the
Gentlewoman Institute will send for the asking.

femininity 1 ever knew.

JULIETTE FARA

Beautiful? Dear me,
n o! Mademoiselle
was positively
ugly of feature.
But people raved
over her.

But Mademoiselle
Polaire had person-
ality, she under-
stood the very
things that I would
like to teach to you
who are far from
being ugly. you. —
an American Girl —
equipped as no
other girl in the

whole world is equipped, to cultivate a charm-
ing personality, to use the secrets I am ready
to impart to you so that you can be just the
wonderful, admiration-compelling woman you
would like to be.

How often have you wished you could reach
out your arms and draw close to your heart the
devotion, the luxuries of life, the tender love
that you see others enjoying! How often have
you envied the woman who seemed so supreme-
ly happy in the shelter of a wonderful home
and perfect love, the woman with scores of
admirers at her feet, or another with an
unviable position !

You have wondered why, gifted to no par-
ticular degree with beauty of cither face or
form, or endowed with but ordinary intellect or
education — why some women attain their desires
so easily.

I will answer you. They have personality.

the winsome charm that all women
can have, once tUey know the secrets.

Now, dear Reader, I do not want to
seem the least bit mysterious, but you
who wish to acquire a winning
personality should know the secrets
which I have found out. These I
would like to whisper in your ear, to
tell you confidentially. woman to
woman, how I have achieved my suc-
cess, and how I have helped so many
of my sisters achieve theirs.

How many women there are who in
some way or other find it desirable and
even necessary to use every bit of
honest persuasion they can summon to
control the love and hold the interest
of the men of their hearts! Sometimes
they win over the thoughtless, indiffer-
ent or erring ones by weeping or argu-
ments. But more often do they fail
when they do not understand the true
secret of winning personality for
women.

Yes, if they only knew. If they
would but work with head and heart
instead of only the latter, using the
knowledge, the secrets which would
make the task so easy, the results so
wonderful and everlasting. How I
have longed to go to these women and
say : "Let me teach you," instead of
which I must stand aside and await the
lime they must realize that I have what
they want.

Of course, there are all types of
women in the world. Among those
who have yet to attain a charming
personality is the loud, aggressive,
rather forward girl. Then there's the
woman who is too shy and retiring.
It' you are either of these types, or
if some other imperfection stands be-
tween you and your desires, I am sure
I can help you. As the beautiful
butterfly issuesi from the homely cocoon
so should you emerge from the dark-
ness and obscurity with a new found
power at your command, with the
alluringly beautiful personality of a
woman whose band is firmly on tho
throttle of her own destiny.

I want to make you sought after
by both men and women. I want you
to be the real center around which
revolves every social function you
attend. I want you to rise in business
and make yourself so independent that
you can choose your own pathway
through life, gain and hold the love of
the man of your heart, dispelling your
troubles like fog before the bright sun-
shine. So I want you to learn what
I have learned, to share with me the
secrets of a winsome manner.

But this is not all I have to tell
you. I would like to know you better
and have you know me better. So first I
suggest that you write for a little book into
which I have written some of the wonderful
secrets I know.

FREE-" HOW," a Book of Secrets-FREE

I have called this book "How," because it really tells how
you may start upon the right road to a career of contentment
and happiness.

This little book, "How," is published and given free by the
Gentlewoman Institute. I know you will be surprised and
delighted when it comes to you — in plain wrapper, of course.

GENTLEWOMAN INSTITUTE

615 WEST 43d STREET
103-M NEW YORK. N. Y.

GENTLEWOMAN INSTITUTE

615 West 43d Street, 103-M. New York, N. Y.

rie.uo send ire, postpaid, fre« of c»t and ^thoiit
any obliffatlon on my part. Madams ouliette Fara-
little book aitlllcd "Uow."

Name. ,

Addrea

JOHN BARRYMORE in
"DR. JEKYLL AND MR. HYDE'

Directed by John S. Robertson

"THE COPPERHEAD"

With Lionel Barrymore
Directed by Charles Maigne

CECn. B. DeMILLE'S

Productinn

"MALE AND FEMALE"
CECIL B. DeMILLE'S

Production

"WHY CHANGE YOUR WIFE?"

"EVERI-WOMAN"

Directed hy Gcorfre H. Melford
With All Sur Cast

WM. S. HART in
"THE TOLL GATE"

A Wm. S. Hart Production

GEO. H. MELFORD'S

Production

"THE SEA WOLF"
WILLIAM D. TAYLOR'S

Production

"HUCKLEBERRY FINN"

MAURICE TOURNEUR'S

Production

"TREASURE ISLAND"

Cpamrnjount Cpictums

FAMOUS PLAYERS ~LASKY CORPORATION

The
Slave

With all her
strength she
fought to get
away from it all
— the vulgar
cabaret — the ^
mysterious \
beauty parlor
— the under-
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ing-hcll.
Fiercely she
had refused
every bribe —
resisted every
temptation. And
yet. when there
came the chance
to escape, she
turned her back
and stayed.

It is a plot so exciting
— so manelously planned
— so brilliantly solved —
that it could have been
written only by the mas-
ter detective

CRAIG KENEDY

"Ths'Amencjri Sherlc;\hIcJrms

ARTHUR B.

.CJha American Conan Voyle

He is the detective genius of our age

has taken science — science that standi

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romance of detective fiction. Even to the

smallest detail, every bit of the

plot is worked out scientifically.

For nearly ten years America

lias been watching this Craig

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<trang:e new startling things that

iletective-hero would unfold.

Such plots — such suspense —
with real, vivid people moving
through the maelstrom of lifel

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10 Volumes

To those who send the coupon
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iet of Edgar Allan Foe's master-
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Edgar Allan Poe — far off in
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Establiihed 1817 NEW YORK

He

for

BREWSTER PUBLICATIONS

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Haruer & Brothers. 8 Franklin Square. New York

-.nd me. al! charses prepaid, set of Arthur B, Reeve — In 12
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Vol. X JULY, 1920 No. 5

THE GIRL ON THE COVER
{Painled by Leo Sielke, Jr., from a Still Photograpli.)
The silversheet has no more promising young star than
Constance Binney, who first came to the films in Maurice
Tourneur's production of "Sporting Life."

While Miss Binney owes her cinema discover>- to Mr.
Tourneur, she had an unusual measure of stage experience
crowded into her two or three years behind the footlights. She first attracted
attention as a dancer in the musical comedy, "Oh, Lady, Lady!" After that
came screen fame and finally stardom with Realart.

Rotogravure Gallery of Players. FuU-page studies of Page

Alma Rubens, Louise Glaum, Christine Mayo, June
Caprice and ilay Allison 11-15

Bashful Bobbie. Robert Harron is persuaded to relate

some experiences of the early days in films Frederick James Smith 16

Players of Yesteryear. The good old days compared

interestingly with the photoplay of 1920 B. F. Wilson 18

Side-tracked. Lewis Stone came very near being a

sailor, but the stage finally won him EUcabelh Pellret 20

Katherine MacDonald, A.B. Which means American

Eeautv. rather than Bachelor of Arts Emma-Lmdsay Sqmer 22

The Classic Visits the Mack Sennett Studios. James
Abbe takes some striking pictures of the pretty
maritime belles -^

The Prince Approves. Mildred Harris Chaplin was the

particular instance of the royal favor 26

Remodeling a Husband. Dorothy Gish's latest com-
edy told in piquant short-story form Faith Service 27

Bennett and Co., Inc. The constructive domestic team

work of Enid Bennett and Fred Niblo Maude S. Cheatham 32

Siunmer in the New York Theater. Plays and person-
alities now behind the metropolitan footlights 34

Shorty. Antrim Short began acting as a kiddie before

he could lisp and he's acted ever since Frit:i Remont 36

Screen Impressions. Impressionistic word portraits of

the cinema favorites Louise Fasenda 38

For the Soul of Raphael. Clara Kimball Young's latest

photoplay of the Southwest told in fiction form Dorothy Donnell 39

The Climax. "The latest honor roll in the international

Fame and Fortune Contest of 1920 44

A Dreamer of Dreams. As a boy Cullen Landis deliv-
ered milk in Nashville and he has fought every
inch of the way since Elizabeth Peltret 46

The Celluloid Critic. The latest photoplays in review. . .Frederick James Smith 48

Gossip of the Pacific Coast Truman B. Handy 50

The Last Interview. A tribute to Clarine Seymour Harrison Haskms 51

Little Sister, Huh! Eva Novak, sister of Jane, has am-
bitions of her own Truman B. Handy 52

Double Exposiu-es Conducted by F. J. S. 54

The Yellow Typhoon. Anita Stewart's picturesque
new screen vehicle presented as an interesting
short story Pearl Malvern 55

A New Cinema Beauty. Otherwise Emily Chichester 60

The Movie Encyclopedia The Answer Man /7

Look for the last minute features among the advertising pages

Subscription. $2.50 a year, in advance, including postage in the U. S., Cuba, Mexico, and
Philippines: in Canada, S3. 00 a year; in foreign countries, $3.50. Single copies, 25 cents, postage
prepaid. One- and two-cent statnps accepted. Subscribers must notify us at once of any change
of address, giving both old and new address.

Entered at the Brooklvn, iv. i ., j-osi wmce as acconu-ciass aiaiici.

" " •■■ ■ - ..,...« . ^ . gritain. a New

President and
*ster, Treasurer.

STAFF FOR THE CLASSIC:

Frederick Janiea Smith, Managing Editor

B. p. Wilson, Editor

Dorothy Donnell Associate Editor

Guy L. Harrington Business Manager

Duncan A. Dobie. Jr Director of Advertising

Rufus French. Inc Eastern Manager

.Archer A. King. Inc Western Manager

Met2 B. Haves. New F.ngland Manager

MOTION PICTURE CLASSIC - - - 175 Duffield St, Brooklyn, 1

Addr<?6«

OcOUDAtiOD

L (Five)

This magazine, published monthly, comes out on the 15th. Its elder sister, the Motion Picture Magazine,
comes out on the first of every month. Shadowland appears on the 23rd of each month.

CELECT your own

*^ subject — love, patriotism

— write what the heart dictates,

then submit your poem to lis.

We write the music and guarantee publish*

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Mr. L€0 Piicdiinaii

cne of America's v."el!-kno\'.^l mus.ct.'ir?, fho ijuthor
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CHESTER MUSIC Ca=" ^fc^^fVa'o" ""'â– â–  Chicago, III.

Write the Words
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Write the words for a song. We revise
song-poems, compose music for them, and
guarantee to secure publication on a
royalty basis by a New York music pub-
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poser is a song-writer of national reputa-
tion and has written many big song-hits.
Mail your song-poem on love, peace, vic-
tory or any other subject to us today.
Poems submitted are examined free.

BROADWAY COMPOSING STUDIOS

107-E FitSftraJd BMc-. Br«a<lwar at Timfi Squre, NEW YORK

Stage Plays That Are Worth While

(Headers in distant towns will do well to preserve this list for reference when these spoken
plays appear in their vicinity.)

ShorthaLnd

Stenographers and Secretaries now in great demand —
draw big pay — this is your opportunity — we teach "Mid-
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128 North La Salle Street, Chicaeo, 111.

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Becognlird Supsrlorltj. Call or write for complete cotaloi No. 18,

N. Y. INSTITUTE OF PHOTOGRAPHY

141 W. 36th St., N. y. 505 State St.. Broobljm

Astor. — Fay Bainter in "East Is West."
The story of a quaint little Chinese maid who
falls in love with a yoiiiip American. Racial
barriers seem insurmountable, but there is a
happy and surprising ending. Has all the in-
gredients of popular drama.

Bclasco. — "The Son-Daughter," with Lenore
Ulric. George Scarborough and David Belas-
co's highly colored Chinese melodrama with
the vivid Miss Ulric. One of the big hits of
the season.

Bijou. — "The Ouija Board." Crane Wilbur's
thriller built around spiritism. Real spooks
invade a fake seance, solve a murder mystery
and provide plenty of surprises. Guaranteed
to keep you on edge. Excellent cast includes
George Gaul, Howard Lang and Edward Ellis.

Booth. — "Not So Long Ago." A fragile and
charming little comedy by a newcomer, Arthur
Richman, telling a story of picturesque New
York in the early 70's. Genuinely delightful.
Finely played by Eva Le Gallienne, Sidney
Blackmer and an excellent cast.

Broadhursf. — "Smilin' Through." with Jane
Cowl. An odd, but effective, drama which
purports to show how those who have gone
before influence and watch over our lives.
Miss Cowl is exceedingly good as a piquant
Irish girl and also as a spirit maid whose
death occurred fifty years before. "Smilin'
Through" will evoke your smiles and tears.

Casino. — "Betty, Be Good." Lively summer
musical show with a tuneful score by Hugo
Riesenfeld, the director of the Rivoli, Rialto
and Criterion screen theaters. Josephine
Whittell is the life of the entertainment, Frank
Crumit scores and Worthington Romaine
makes his role stand out.

Central. — "As You Were," with Irene Bor-
doni and Sam Bernard. A delightful musical
show in Avhich Miss Bordoni dazzles as the
various sirens of history. Pleasant music and
a pleasant chorus lend effective aid.

Century. — "Florodora." The much-heralded
revival of the widely popular musical show of
some twenty years ago. Done with charm,
distinction and humor. Eleanor Painter's sing-
ing stands out vividly and George Hassell's
humor is highly diverting. Then, of course,
there is the famous "sextette." Here is a
revival that really revives.

Cort. — "Abraham Lincoln." You should see
this if you see nothing else on the New York
stage. John Drinkwater's play is a noteworthy
literary and dramatic achievement, for he
makes the Great American live again. "Abra-
ham Lincoln" cannot fail to make you a better
American. Moreover, it is absorbing as a play.
Frank McGlyn is a brilliant Lincoln.

Comedy. — "My Lady Friends." Highly
amusing entertainment adapted from a Conti-
nental farce. Much of the humor is due to
the able work of Clifton Crawford in the rote
of the guileless young publisher of Bibles
whose efforts to spend money get him into all
sorts of difficulties. June Walker scores in
Mr. Crawford's support.

Eltingc. — "Martinique." A colorful romantic
tragedy of the French West Indies, revolving
around tlie exotic Belles Affranchies — mulatto
belles— of a certain part of the tropics, the
women poetized by Lafcadto Hearn. The cast
includes Josephine Victor, Vincent Coleman,
Arthur Hohl and Emmett Corrigan.

I'orty-F.ifjJilh Strccl.— 'The Storm." A well-
told melodrama of the lonely Northwest with
a remarkable stage effect of a forest fire.
Helen MacKcllar is admirable as the piquant
French-Canadian heroine.

Porty-Pourth Street.— ''\.ooV Who's Here,"
with Cecil Lean. A passable musical enter-
tainment that entertains when Mr. Lean and
Cleo Mayfield hold the center of the stage.

Henry Miller's Theater — "The Famous Mrs.
Fair." Able drama dealing with the feminine
problem of a career or a home. Skilfully
written by James Forbes, with unusual playing

by Blanche Bates, Henry Miller and Margalo
Gilmore.

Hudson. — "Clarence," Booth Tarkington's
delightful comedy, built about the way a re-
turned soldier reunited a disturbed but typic-
ally American household. Superb perform-
ances by Alfred Lunt, Glenn Hunter and Helen
Hayes give the comedy a fine verve.

Little Theater. — "Beyond the Horizon," by
Eugene O'Neill. This powerful drama was
produced at a series of special matinees and
proved so successful that it won a theater all
its own. A gripping study of a human being
crushed by environment, told with compelling
force. One of the biggest native dramas of
years. Richard Bennett heads a remarkable
cast.

Lyric. — "What's In a Name?" The most
beautiful musical entertainment, with the pos-
sible exception of the Ziegfeld revues, yet seen
on Broadway. Colorful new art stage designs,
remarkable use of lights and gorgeous cos-
tumes lift it into the realm of the exquisite,
intelligently written and put together, too.

A'V^c Amsterdam Roof. — Ziegfeld 9 o'clock
and midnight revues. Colorful entertainments
unlike anything to be found anywhere else.
Mile. Spinelly, a Parisian favorite, is now in
the cast of the two revues. Mary Hay stands
out and the entertainers include Fanny Brice,
Carl Randall and W. C. Fields.

Nora Bayes Theater. — "Lassie." A charm-
ing and pleasantly tuneful little musical com-
edy of Scotland and London in the picturesque
sixties. Based upon Catherine Chisholm Cush-
ing's "Kitty MacKay." Tessa Kosta sings
pleasantly and MoUie Pearson and Roland Bot-
tomley are prominent. Dorothy Dickson and
Carl Hyson contribute some delightful dance
interludes.

Playhouse. — "The Wonderful Thing." A
human play built around a poverty-stricken but
blue-blooded EngUsh family into which Jeanne
Eagels comes as a wealthy heiress and wife of
the eldest son. Pleasant if conventional.

Plymouth. — "Three Showers." A musical
comedy of Dixie, staged by the Coburns, who
produced "The Better 'Ole." Rather dull and
not very inspired. Anna Wheaton is the fea-
tured member of the cast.

Thirty-Ninth Street Theater, — "Scandal.'*
Cosmo Hamilton's daring drama which Con-
stance Talmadge played on the screen. Fran-
cine Larrimore and Charles Cherry have the
leading roles in the excellent footlight produc-
tion.

Winter Garden. — "The Passing Show of
1919." A typical girly garden show in \vhich
the famous runway gets plenty of use. The
revue presents a number of travesties upon
current attractions, particularly colorful being
that of "The Jest," with Charles Winninger
doing a clever burlesque of Lionel Barrymore.

ON TOUR

"The Purple Mask." with Leo Ditrichstein.
A stirring, romantic melodrama of the days of
the First Consulate in France; tense, colorful
and highly interesting. One of the best eve-
ning's entertainments of the season. Mr. Dit-
richstein is delightful as the royalist brigand,
the Purple Mask; Brandon Tynan is admirable
as the republican police agent, Brisquet; Lily
Cahill is a charming heroine, and Boots Woos-
ter makes her bit of a peasant girl stand out.

"The Sign on the Door." — A very good melo-
drama which boasts many instances of the un-
expected— and Marjorie Rambeau in highly
emotional scenes.

"The Blue Flame," with Theda Bara. A lurid
melodrama with the famous Theda in the dual
role of an ingenue with and without a soul.
It is breaking box-office records, proving that
every one wants to see Miss Bara "in person.'"
(Continued on page 8)

(Six)

HELENE_CHADWICK • _CLARA WILLIAMS - LOUISE FA2ENDA - RUTH ROLAND •_ RUTH STONEHOUSt ■ M A\- ALLISON

In "The Wonder Book for Writers," which we will send to you ABSOLUTELY FREE, these famous Movie
Stars point out the easiest way to turn your ideas into stories and photoplays and become a successful writer.

Millions of People Can Wiite
Stories and Photoplays and

Dorit Know It /

THIS is the startling assertion recently
made by one of the highest paid writers
inthe world. Is his astonishing statement
true? Can it be possible there are countless
thousands of people yearning to write, who
really can and simply haven't found it out?
Well, come to think of it, most anybody can tell
a story. Why can't most anybody write a story?
Why is writing supposed to be a rare gift that
few possess? Isn't this only another of the
Mistaken Ideas the past has handed down to
us? Yesterday nobody dreamed man could fly.
To-day he dives like a swallow ten thousand
feet above the cnrth and laughs down at the
tiny mortal atoms
of his fellow-men
below ! So Yester-
day's " impossibil"-
ity " is a reality to-
day.

"The time will
come," writes the au-
thorityquoted above,
"when millions of
people will be writ-
ers— there will be
countless thousands
of playwrights,
novelists, scenario,
magazine and news-
paper writers — they
are coming, coming
— a whole new world
of them!" And do
you know what these
writers- to-be are
doing now? Why,
they are the men —
armies of them —
ydimg and old, now
doing mere clerical
work, in offices,
keeping books, cell-
ing merchandise, or
even driving trucks,
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street cars, waiting
on tables, working
at barber chairs,
following the plow,
or teaching schools
in the rural dis-
tricts; and women,
young and old, by
scores, now pound-
ing typewriters, or
J standing behind

LETTERS LIKE THIS
ARE POURING IN!

"I wouldn't take a million dol-
lars for It."— MARY WATSON.
Faibmont, W. Va.

"It Is worth Ua weight In
Bold."~G. MOCKWITZ. New
Cabtlb. Wabii.

"Every obstarle that menaces
• uccesi esn be mastered through
this ilmple but thnrouEh
system,"— M RS, OLIVE
MICHAUX. Charlbboi, Pa.

"It contains a gold mine of
valuable suggestions," — LENA
BAILEY, Mt. Vbbnon, 111.

"lean only say that I am amazed
that It Is possible to set forth
the principles of short story and
photoplay writing In such a clear,
concise m a n n e r." — GORDON
MATHEWS, Montreal, Can.

"I received your Irving System
â– ome time ago. It is the most
remarkable thing 1 have ever
Been. Mr. Irving certainly has
made story and play wrltlne
ama/.lncly simple and easy." —
ALFREI> HORTO. Niagara
Falls. N. Y.

"Of all the eompnslllons 1 have
read on this subject. I find yours
the most helpful to aspiring
authors " — HAZEL SIMPSON
NAYLOR. Literaut Editor.
Motion PrcTcitB Mauazink,

"With this volume before him.
the veriest novice should be able
to build stories or photoplays Ihal
will find a ready market. The
best treatise of Us kind I have
encountered In 21 years of news-
paper and IHerary work."—
B. PIERCE WELLER. Man-
aging Editor, Tub Bing-
HAMTnx Press,

"When I first saw your ad I
was working In a shop for $30 a
week- Always having worked
with tny hands, I doubted my
ability to make mnney with my
brain. So It was with much skep-
ticism that I sen! for your Easy
Method of Writing, When the
System arrived, 1 carefully stud-
led U evenings after work. Within
a month 1 had completed two
plays, one of which sold for $5 00.
the other for US f). I unhesitat-
ingly say that I owe It all to the
Irving Systcm."-HELEN KIN-
DON, ATLANTIC Cm. N. J.

counters, or running spindles in factories, bend-
ing over sewing machines, or doing housework.
Yes— you may laugh — but these are The
Writers of Tomorrow.

For writing isn't only for geniuses as most
people think. Don't you believe the Creator
gave you a story-uriting faculty just as He did
the greatest ivriterf Only maybe you are simply
"blu.Ted" by the thought that you "haven't the
gift." Many people are simply afraid to try.
Or if they do try, and their first efforts don't
satisfy, they simply give up in despair, and that
ends it. They're through. They never try
again. Yet if, by some lucky chance, they had
first learned the simple rules of writing, and
then given the imagination free rein, they might
have astonished the world!

LISTEN! A wonderful FREE book has recently been,
written on this very subject— a book that tells all
J about the Irving System — a Startling New Easy
Method of Writing Stories and Photoplays. This
amazing book, called "The Wonder Book for Writers,"
shows how easily stories and plays are conceived, written,
perfected, sold. How many who don't dream they can
write, suddenly find it out. How the Scenario Kings and
the Story Queens live and work. How bright men and
women, without any special experience, learn to their own
amazement that their simplest Ideas may furnish brilliant
plots for Plays and Stories. How one's own Imagination
may provide an endless gold mine of Ideas that brinff
Happy Success and Handsome Cash Royalties. How new
writers get their names into print. How to tell if you
ARE a writer. How to develop your "story fancy,**
weave clever word-pictures and unique, thrilling, realistic
plots. How your friends may be your worst judges. How
to avoid discouragement and the pitfalls of Failure.
How to WIN!

This surprising book is ABSOLUTELY FREE. No
charge- No obligation. YOUR copv is waiting for you.
Write for it NOW. GET IT. ITS YOURS. Then
you can pour your whole soul into this magic new

BUT two things are essential in order to enchantment that has come into your MU— story and
1 -. _ T7;_,.» *„ i^^-n *Ua pla-V writing. The lure of it, the love of it, the luxury

become a writer. First, to learn the p^ f^ ^.,i ^fjj ^^^ ^^^,^^ ^^^-^^^ ^^^ ^^u ^'^^.^t, ^.jiJ
ordinary principles or writing, becond. to profit and pleasure. You will have this noble, absorbing,
learn to exercise VOUr faculty of Thinking. By money-making new professi9n! And all in your spare
^^'.c.-^^ ., *i,'«™ ,.^., Aa„^\^n ;t V/it.r Im-30-i time, without interfering with your regular job. Who

exercising a thing you develop it. Your Imagi- ^^y^' y^^ can't make "easy money- with your brain?
nation is something like your right arm. Ine Who savs you can't turn your Thoughts into cash! Wha
more you use it the stronger it gets. The prin- says you can't make your dreams come true! Nobody

ciples of writing are no more complex than the ^"s7Vh^'^w'as[e^fny^''m^o^e '!-L^.Vo^tLl!'^;c..un,.

principles of spelling, arithmetic, or any other waiting? Simply fill out the coupon below— you're not

simple thins that anybody knows. Writers learn BUYING anything, you're getting it ABSOLUTELY

to piece together a stor>->s easily as a child sets «^& \ J-H^ tfo^J^Sou^T^wX ^'If.L^Z

up a miniature house with his toy blocks. It is young and old, may learn to turn their spare hours

amazingly easy after the mind grasps the simple mto cash!

"1^,,.^.., 1.^.,, " 'a i;*tlo ct,,Hi' Q littlpt^atipnrp a little ^^^ y^""" leUer in the mail before you sleep to-night,

know how. .^ little ■^tud>, a lltte patience a I ttie ^^,^^ knows— it mav mean tor you the Dawn of a New

confidence, and the thing that looks hard often To-morrow! Just address The Authors' Press, Dept. 144,

turns out to be juit as easy as it seemed difficult. Auburn, New York. .

Thousands of people imagine they need a fine ^^^9 . T\ % T^l^T^T^

education in order to write. Nothing is farther fM%'WC' fS/^/^l^ P^ \J r^ I^
from the truth. Many of the greatest writers ^JTiA^ J^WwJlV. X l.\.L<JL<

wcrt the poorest scholars. People rarely learn ^^

to write at schools. They may get the principles

there, but they really learn to TvrWc from the

great, wide, open, boundless Book of Humanity !

Yc5. seething all around you. every day, every

hour, every minute, in the whirling vortex — the

flotsam and jetsam of Life — even in your own

home, at work or play, are endless incidents for

stories and plays — a wealth of material, a world

of things happening. Every one of these has the

seed of a ftory or play in it. Think! If you

went to a fire, or saw an accident, you could

come home and tell the folks all about it, Un- __a>iBai__»_a->a------------>---

consciously you would describe it all very reallS- J ,pjjE AUTHORS' PRESS, Dept. 144, Auburn. N. Y.
tically And if somebody stood bv and wrote â– 

down evartlv what vou said vou micht be ! Send me ABSOLUTELY FREE "T/„- If'»..</fr Boo*
clown exactly what vou saia you mignt uc \ i„, Writersr This docs not obligate me in any way.

amazed to find your story would sound just as J

interesting as many you've read in magazines or i Ndme

seen on the screen. Now, you will naturally say, • ^^^^^j^

"Well, if Writing is as simple as you say it is. [

why can't / learn to write?" Who says you can't? \ City and State

(Seven)

It Pays to Read
Advertisements

Advertisements are
news. Good news —
timely news — help-
ful news.

News of the great
world of busmess.
Heralds of the
world's improve-
ments— builders of
factories — makers of
homes.

News of the latest
styles.

News of comforts
unknown when
father was a boy.

News that is handy
to your eye.

News that you cant
afford to hurry by.

News that will save
you money.

Dont miss the ad-
vertisements

in

Motion Picture
Classic

stage Plays That Are Worth While

(Continued from page 6)

"My Golden Girl." — A passable musical en-
tiTtainment with a score by Victor Herbert. A
chorus girl, Jcannette Dietrich, scores the hit
of the show.

"Shavings." — A pleasant bucolic entertain-
ment based upon Joseph C. Lincoln's familiar
Cape Cod storiefe. Harry Beresford is featured
in a gentle, whimsical characterization.

"Mamma's Affair." — Rachel Butler's admir-
ably written comedy — a study of that deadly
human specie, the hypochondriac who fancies
herself suffering from all sorts of ills. Done
W'ith distinction and fine discernment. Ida St.
Leon scores and important members of the
cast are : Effie Shannon, Robert Edeson, Kath-
erine Kaelred and George Le Guerre.

"The Little IFhof^per." — Lively and amusing
musical comedy with txmeful score by Rudolf
Friml. \'ivienne Segal pleasantly heads the
cast, which also numbers Harry C. Browne,
who does excellent work, Mildred Richardson
and W. J. Ferguson.

"Wedding Bells." — A bright and highly
amusing comedy by Salisbury Field. Admir-
ably written and charmingly played by Mar-
garet Lawrence and Wallace Eddinger. One
of tlie things you should see.

"Aphrodite." — Highly colored and lavish
presentation of a drama based upon Pierre
Louys' exotic novel of ancient Alexandria.
Superbly staged adaptation of the play that
caused a sensation in Paris. Dorothy Dalton,
the screen star, returns to the stage in the prin-
cipal role of the Galilean courtesan, Chrysis,
and scores. McKay Morris is admirable in the
principal male role.

"The Frivolities of 1920." — G. M. (Broncho
Billy) Anderson's girl revue. Lively, speedy
musical show with a large measure of vulgarity,
but many pretty girls.

"The Royal Vagabond." — A Cohanized opera
comique in every sense of the words. A tune-
ful operetta plus Cohan speed, pep and brash
American humor.

"The Girl in the Limousine." — A decidedly
daring boudoir farce by Wilson Collison and
Avery Hopwood, in which a pink and white
bed is invaded by every member of the cast
during the progress of the evening. John Cum-
berland is very funny and Doris Ivenyon, fresh
from the screen, is both pretty and pleasant as
the heroine.

"Nightie Night." — Described by the program
as a "wide awake farce," "Nightie Night" lives
up to its billing. It has plenty of verve, ginger
and some daring. There are scores of laughs.
Heading the very adequate cast are Francis
Byrne, Suzanne Willa, Malcolm Duncan and
Dorothy Mortimer.

"The Magie Melody." — A "romantic musical
play" with a tuneful score and a picturesque
Willy Pogany setting. Charles Purcell, Julia
Dean, Earl Benham and Carmel Myers, the
last two well known to the screen, head the
cast.

Elsie Janis and "her gang." — Lively enter-
tainment built about the experiences of the
A. E. F. on the other side. Well put together
by Miss Janis. who shines with decided bright-
ness. A pleasant entertainment.

E. H. Solhcrn and Julia Marlowe in Shake-
spearian repertoire. — These artists represent
the best traditions of our theater and their re-
vivals of "Twelfth Night," "Hamlet" and "The
Taming of the Shrew" are distinguished in
every sense of the word.

Loew's N. y. and Loezv's Ameriean Roof. —
Photoplays ; first runs. Daily program.

Loew's Metropolitan, Brooklyn. — Feature
photoplays and vaudeville.

Capitol. — Photoplay features plus a de luxe
program. Superb theater.

Riz'oli.—'Dii luxe photoplays with full sym-
phony orchestra. Weekly program.

Rialto. — Photoplays supreme. Program
changes every week.

Strand. — Select first-run photoplays. Pro-
gram changes every week.

MOTION PICTURE CLASSIC

Mary Pickford and Wallace Reid
Head Popularity Contest

The contest witli the twofold interest
rushes on. If you have not already sent
in votes for your favorite player, you
have two more months in which to do so.
Join the ranks of the photoplay students
who are showing themselves cognizant of
who is who in niovieland.

Here are the last-minute results at the
time of going to press : Mary Pickford,
30,004; Norma Talmadge, 15,850; Pearl
White, 13,051; Nazimova, 7,950; Con-
stance Talmadge, 5,749; Viola Dana,
3.302 ; Elsie Ferguson, 2,014 ; Lillian
Gish, 1,552; Shirley Mason, 1,500;
Theda Bara, 1,452 ; Dorothy Gish, 1,351 ;
Ruth Roland, 1,210; Mary Miles Min-
ter, 1,210: Anita Stewart, 1,148; Gloria
Swanson, 1,102; Marguerite Clark, 1,000;
Baby Marie Osborne, 1,000; May Alli-
son, 948; Dorothy Dalton, 948; Ethel
Clayton, 901 ; Olive Thoinas, 901 ; Irene
Castle, 901 ; Geraldine Farrar, 751 ;
Clara K. Young, 751 ; Marion Davies,
701 ; Bebe Daniels, 651 ; Pauline Fred-
erick, 651 ; Mae Murray, 600; Margarita
Fisher, 549; Mme. Petrova, 549; Marie
Prevost, 500 ; Edith Johnson, 500 ; Alice
Joyce, 500; Alice Brady, 453; June Ca-
price, 453 ; Vivian Martin, 453 ; Priscilla
Dean, 402; Marie Walcamp, 402; Do-
lores CassinelU, 350; Tuanita Hansen,
350; Ann Little, 350; 'Betty Compson,
300 ; Madge Kennedy, 300 ; Billie Burke,
249; Wanda Hawle'v, 249; Doris Ken-
yon, 249; Katherine MacDonald, 248;
Jane Novak, 248; Doris May, 201 ; Lila
Lee, 149; Mae Marsh, 149; Dorothy
Phillips, 149; Fannie Ward, 149; Enid
Bennett, 102; Virginia Lee Corbin, 102;
Mildred Harris, 102 ; Constance Binney,
102; Mary Garden. 102; Mildred Rear-
don, 102; Mary Thurman, 102; Wini-
fred Westover, 102; Kathlyn Williams,
102; Peggy Hyland, 102.

Wallace Reid, 9,750; William S. Hart,
9,202 ; Richard Barthelmess, 8,550; Doug-
las Fairbanks, 6,600; Eugene O'Brien,
3,801 ; William Farnum, 2,398 ; Charles
Ray, 2,101; J. Warren Kerrigan, 1,952;
Douglas MacLean, 1,602; Tom Mix,
1.602; Charles Chaplin, 1,349; Rodney
La Rocque, 1,102 ; Tom Moore, 952 ; An-
tonio Moreno, 900; William Russell,
900; Jack Pickford, 850; John Barry-
more, 800; Ralph Graves, 748; Earle
Williams. 748; Thomas Meighan, 748;
William Duncan, 700; Kenneth Harlan,
700; Bert L\tell, 700; George Walsh,
700 ; Bobbie Harron, 647 ; Harry North-
rup, 647; Marshall Neilan, 550; Harri-
son Ford, 501 ; Eddie Lyons, 501 ; Eddy
Polo, 449; Henry G. Sell, 449; Lewis
Stone, 449; Tom Forman, 350; CuUen
Landis, 300; King Vidor, 300; Francis
McDonald, 300; Robert Gordon, 251;
Bryant Washburn, 251 ; Emery Johnson,
204; Will Rogers, 204; Monroe Salis-
burv, 204; Robert Warwick, 204; Louis
Beiinison, 204; Elliott Dexter, 204; Lon
Chanev, 204; Monte Blue, 151; Ray-
mond Hatton. 151; Harold Lloyd, 151;
Charles Meredith, 151 ; Lee Moran, 151 ;
Francis X. Bushman, 100; "Fatty" Ar-
buckle, 100; Lew Cody, 100.

(Eight)

MISS ANETHA GETWELL
1919 FAME AND FORTUNE CONTEST WINNER

You Will Admit That This Is a Rare Opportunity !

You have often thought of what you would do if you could only have the chance.

Well, here it is !

The Fame and Fortune Contest being held by The Motion Picture Magazine, The Motion Picture
Classic and Shadowland is offering you the realization of your dreams.

It brought success to four young ladies last year ; it brought them country-wide publicity thru their appear-
ance in "A DREAM OF FAIR WOMEN," a two- reel feature produced for the purpose of testing their
histrionic ability. This feature, which is being released by the Fine Arts Pictures, Inc., of 130 West 46th
Street, New York City, proved so interesting that it has been sold to every State in the Union.

"LOVE'S REDEMPTION" is the title of the five-reel feature play that is being produced by us, which
will include many of the contestants of the 1920 Fame and Fortune Contest. Blanche McGarity, winner
of last year's contest, has been chosen to play the leading part of "Peggy." Dorian Romero has been
selected as the "heavy," and he has a big and strong part to play. Edward Chalmers, Alfred L. Rigali, Mrs.
Mayer, Bunty Manly and Erminie Gagnon have also been assigned parts. Among the distinguished men
who will probably take part in the play are Edwin Markham, the great poet; Hudson Maxim, the famous
inventor, and Judge Frederick E. Crane of the Court of Appeals of New York State. Most of the scenes
will be filmed in and around the Brewster place at Roslyn, L. I., and the making of the picture will be con-
tinued well into September. Each issue of every one of our several publications will hereafter contain
interesting news of the progress of the play.

Put yourself to the test. You have exactly the same chance to make good as any of the very best known
stars on the screen today have. Send in your photograph and let us decide whether or not you have
screen possibilities.

RULES FOR 1920 CONTESTANTS

Contestants shall submit one or more portraits. On the back of
each photo an entrance coupon must be pasted, or a similar coupon
of your own making.

Postal-card pictures, tinted photographs and snapshots not ac-
cepted. Photographs will not be returned to the owner.

Contestants should not write letters regarding the contest, as it
will be impossible to answer them. All rules will be printed in all
three magazines.

Photos should be mailed to CONTEST MANAGER, 175 Duffield
St., Brooklyn, N. Y. Send as many as you like.

The contest is open to every one, except those who have already
played prominent screen or stage roles.

Contest closes August 1, 1920.

THE MOTION PICTURE CLASSIC
ENTRANCE COUPON

Name

Address (street )

(city) (state)

Previous stage or screen experience in detail, if any

When bom Birthplace

Eyes (color) Hair (color)

Complexion

Do you want to take part in the Five-Reel Feature Drama?.

k

(Nine)

The

Possibilities
in every
Woman's
Face

THE soft, appealing charm of a
fresh, lovely skin — of course., you
want it. Every girl does. Every girl
wants to be attractive, lovable, admired —

And unless your skm is right, nothing is
right. Haven't you often felt that.' What
use to wear the prettiest frock, if your
skin is pale and lifeless, marred by black-
heads or ugly little blemishes?

You can make your skin so noticeably
soft, so exquisitely fresh and clear, that at
first glance it will awaken admiration and
delight. By studying it — learning its pos-
sibilities— then giving it every day the
kind of care that suits its particular needs,
you, too, can win the charm of "a skin
you love to touch."

Is your skin pale, sallow, lifeless;' Be-
gin tonight to give it the special steam
treatment and see how quickly you can
rouse it to freshness and color.

One or two nights a week fill your
wash-bowl full of hot water — almost boil-
ing hot. Bend over the top of the bowl
and cover your head and the basin with a
heavy bath towel, so that no steam can es-
cape. Steam your face for thirty seconds.

Now lather a hot cloth with Wood-
'jury's Facial Soap. With this, wash your

face thoroughly, rubbing the lather well
in to your skin with an upward and outward
motion. Then rinse your face well, first
with warm water, then with cold, and
finish by rubbing it for thirty seconds
with a piece of ice. Dry carefully.

The other nights of the week wash your
face thoroughly in the Woodbury way,
with Woodbury's Facial Soap and warm
water, ending with a dash of cold water.

A special treatment for each different
type of skin

This is only one of the famous Wood-
bury treatments for the care of the skin.
You will find special treatments for each
different skin condition in the little book-
let that is wrapped around each cake of
Woodbury's Facial Soap.

Get a cake to day — begin, tonight, the
treatment your skin needs. Woodbury's
Facial Soap is on sale at all drug stores
and toilet goods counters in the United
States and Canada. A 25 cent cake
lasts for a month or six weeks of any
treatment, or for general cleansing use.

"Your treatment for one week'*

A beautiful little set of the Wood-
bury facial preparations sent to you
for 25 cents.

Send 25 cents for this dainty miniature
set of Woodbury's facial preparations,
containing your complete IVoodbury treats
ment for one iveek.

You will find, first the little booklet,
"A Skin You Love to Touch," telling
you thespecialtreatmentyourskin needs;
then a trial size cake of Woodbury's
Facial Soap — enough for seven nights
of any treatment; a sample tube of the
new Woodbury Facial Cream; and sam-
ples of Woodbury's Cold Cream and
Facial Powder, with directions telling
you just how they should be used. Write
today for this special new Woodbury
outfit. Address The Andrew Jergens
Co., 907 Spring Grove Ave., Cincin-
nati, Ohio.

If you live in Canada., address The
Andretv Jergens Co.., Limited>)OJ Sher-
brooke Street., Perth, Ontario.

Photograph by Maurice GoUibcrK

ALMA RUBENS, International Star.

,^,-^:!»s~rm,vtyi<m!fi-X

Tlmtngnil'li !â– !

LOUISE GLAUM

CHRISTINE MAYO

Now of Goldwyn, but who has recently been seen in that five-reel comedy of
Marshall Nielan's. "Dont Ever Marry." Miss Mayo gave an unusual characterization
a much-hackneyed semi-vampire in this feature

lAoMiu-Uy Stuilios

JUNE CAPRICE
To be known as "The Sunshine Girl" -,^^''« » P'jg?^"^'!''^^' ^"hieCent"" Mi»

pictures.

I'liolfigraiih hy K\aiis, L, A.

MAY ALLISON

One of the stars on the Metro banner, Miss Allison's ability as a comedienne
is as unusual as her blonde beauty. She has just completed "Held in Trust," in which
she is ssiid to have done her best work.

Bashful
Bobbie

aiitoiiKihili.' .IS over the script of hi-
next picture I'robably much more,
Harron has too many interests to be
what you call an actor. An actor has
only one interest — himself."

Harron takes himself far frr.m scn-
ouslv. They tell an interesting,' story
at the ( iriffith studios anent this qual-
ity. The press agent had put over a
IMiblicitv .stunt about Harron ami.
armed with the newspaper clipping,
came in triumph to show it. Harron
took the clipping. The back of it
caught his eye and he began laughing
over a comic story of a police court
case. Finishing it, he calmly dropped
the clipping and walked back before
the camera. Xever a thought about
hiuLself !

Harron is a difficult subject to in-
terview. He simply wont talk about
Bobbie Harron. And yet his story is
a fa.scinating one — for he is a veritable
prodigy of the photoplay.

Years ago — we wont be too exact —
but it was before the film play of to-
day, I iriffith was a struggling play-
wright-actor who had never heard of
the liiograph studio, then located at
\'o. 11 East 14th Street.

Harron was a student at St.
Joseph Parochial School close by. The

BOBKIK H.\KRo.\' is soon
to be a star. We arc
violating noconfidences
in telling, we believe.
When the unassuming I'.ob-
bie goes into the electric
lights it will l)e the ultimate
step in a singular career.
For Bobbie has never
sought success in the films.
Oame Fortune has litcr-
allv pounded upon the Har-
ron doors and, linding no
response, climbed in a window,
profound silverscreen ambition

Do not niisun<lerstand us.
look down ui)on the photoplax
little the films. H
favor. Far fnjm

Above, a new portrait
of Bobbie Harron and,
right, a glimpse of
Bobbie clamming on
the beach close to the
Griffith Mamaroneck
studios. When Harron
becomes a star he will
stand unique in the
cinema world. He has
never sought success —
it literally came to him
uninvited

Harron lias

larron does not

He does not be-

• IS not unforgetful of their

it. "Harron isn't a tvpical

actor, some one who knows him
well told us. "He is a regular boy.
He will go to a football or a base-
ball game and have just as keen an
interest about it as about a scene at
the studio. He will be just as ab-
sorbed over the mechanism of an

(Sveteen)

FREDERICK JAMES SMITH

I'.icinrapli Company secured its minor employees by
.•il)ph iii^ to tile academy. In the course of events,
llarnm ami a lad named Jinimic Smith were sent
over to the lliograpli studio, by the i^ood fathers.
That was in 1*X)7. They went to work in the film
cuttint; room, [iminie Smith is now 'iriffith's chief
cutter.

llarron moved on t(j doing all sorts of odd jobs
around the studio, .\cting, however, was far from
his thoujjhts.

"Then (iriffith came," he says. "1 remember
those first days very well. .\t the start, he wrote
scenarios and played as an e.\tra. Then he deve
o])cd to 'heavies' under the direction of Wallace
Mcl'utcheon's father, at that time a I'iograph
ihrector. Soon he w.is {^iven a chance to direct
and, with his first picture. ' The .Adventures of
Dolly, lie established himself. I hat first picture
was staged up near L'it> Island, not far from the
new (irilfith Mamaroneck studios. "

brom t h e entrance o f
( iriffith, fortune began to
shape Harron's career. He
was literally pushed into
success. "That b o y . " as
they called 1'. o b b i e . was
pressed into service in tin\

Harron takes himself far
from seriously. He is a dif-
ficult subject to interview,
for he simply wont talk
about himself. Yet his story
is a fascinating one, for he is
a veritable prodigy of the
photoplay

roles. Lillian (iisli once told us
that her earliest memory of Bob-
bie was of a queer lad acting a
bit and devoting the rest of the
(lav to sweeping up and doing
odd chores around the I'our-
teenth Street studio.

Thus it comes about that a

mere boy can speak like a white

whiskered patriarch about the

screen s palm\ days. I 'or instance, he remembers when he "delivered films

to a man nanted l.oew miming a little place over on Second .\\enue." The

m;m named l.oew turned out to be Marcus l.oew.

remembers one decidediv interesting incident. It seems that the outer
(lortals of the old riiograi>h studio were then guarded by an iron- willed
feminine tartar who never relented an inch.

One dav, David (iriffith was coming down the studio steps when he heard
the dragon saving in sugary tones. "I'.ut, honey. I cant!" Ciriffith paused
in amazement and listened. Then another- and \ery girlish voice — pro-
tested. "How is he ever going to know whether or not he wants me when
he isn't allowed to see me'" .\nd then the dr;igon responded: "Well, dearie,
do what I can."
Right then and there ( .riffitb says he decided to engage the imknown.

I ( DlltiltllCll .111 /'(i,</i' 71 )

fSrrenlpfn}

Players of
Yesteryear

unusual beauty, mar velously
gowned and disjjlaying the bril-
liancy and charm of a fairy tale,
("ilorious ladies and handsome
courtiers of dashing animation
danced and flirted and loved and
sighed to the silent strains of
a half-hidden orchestra.

The most glorious of all the
glorious ladies and the most dash-
ing of all the courtiers faded
slowly from sight, clasped in each
other's arms and gazing most
deejily into each other's eyes.
'The F.nd" was written — and
then — the blank white screen. A
faint click almost broke the heavy
silence and still the ligure of the
man in the armchair sat (|uietly,'
liis head resting on his hand. The
last word in motion i>icture i)ro-
duction had just been reviewed,
and anuuic] leaf had been added to the laurel-wreath of
fame which he wore as the great director.
The room was still in darkness as a shadowy figure
slipped noiselessly behind
the armchair and softly
closed the door on the luxu-
rious projection-room and
on the back of the man who
sat lost in the maze of the
road which leads back into
the past. He gazed long and
deeply upon the white sheet,
and suddenly the tiny shutter
of memory clicked in his

Top, Clara Kimball 'Voung
and James Young in Vita-
grapin's famous old pro-
duction of Barrie's "The
Little Minister"; left,
Harry Northrup and
Helen Gardner in "Vanity
Fair"; below, a Paris
street scene in "A Tale of
Two Cities," with Florence
Turner and William Shea

Till room uas dark; here and
there the diml)- white figure of
.1 marble statuette, the polished
corner of a mahogany chair, and a
soft told of velvet curtain, glim-
mered in the half-light. .\ white
screen reflected the high-light at
ilie back rif the room. ,\ deep
silence of thick, luxurious carpets,
of heavy draperies, of jicrfect un-
derslaiiding 'nelween the inanimate
iMid animate objects of the room,
(|uiete(l the tense nerves of the man
seated in the armchair. .Silently he
gaze<l upon the screen before him,
and to an invisible observer there
could be seen a sort of puzzled,
half-wistful, half-humorous look in
tlie deep-set eyes.

On the large, white sheet there
moved in a magnificently ftn-nished
(|ueen's drawing-room figures of

(Kightten)

By B. F. WILSON

\Foi- the fitcts ill this itrticic thi- ivritrr is
ittdcbtcd to I 'nil Dyke Unmh-.l

brain, anil he looked upon a curious
jiicturi.- whicli now ap[)eare(l on the
screen.

There wa.s a .small group of quaintly
garbed ])eople nio\ ing stiffly about a
room so ludicrous in its attempt to
imitate with [lastehoard, pap'ur-nutchc
and tinsel the s]ileiidor of a (|ueen's
drawing-room that it brought the
tears of laughter to his eyes. He saw
himself, made \\\> as a senile old man,
tho at that time he had staggered
under the mighty weight of twenty-
five years ; dashing to and fro on the
set, acting, directing and reading
from his own manuscript, all at once.

Another |)icture from the camera
of memory Hickereil across the screen :
he .saw himself at his desk, writing
far into the night, and yet on the fol-
lowing morning, bright and early, he
would be down at tlie studioand. stand-
ing, before the heads of the company
would read his scenario, receiving
their Spprovaf or disapproval.
If the scepju'io was at all passable,
instructions would be given him to
start that day, the picture wliich
was to be Iinish6(if the same after-
noon, it being an established rule
that all pictures must be finished
by the afternoon of the same day
on which they were started. It
was almost incredible ! Where on
earth had he been able to find all

Top, Maurice Costello as he
appeared at the height of his
celluloid career in "A Tale of
Two Cities," one of the best-
known of Vitagraph "palmy
day" productions. Right,
Clara Kimball Young as
Anne Boleyn, in "Cardinal
Wolsey." Below, Harry
Morey, Florence Turner and
Norma Talmadge, then a
minor player, in the same pro-
duction, "Cardinal Wolsey"

the energy necessary for the work that
he had been able to accomplish in those
days â– - Seven and eight costume and
make-up changes during the day; trying
out new and strangely awkward aspi-
rahts for the recently created ladder of
fame; directing the scene, which creaked
both in its acting and in its furniture.

.K smile crept -nto the corner of the
tired mouth. There appeared a title on
the screen of his memory. It read. "Five
Minutes to Twelve." and he remembered
that it held the record for being the
shortest picture 'that had ever been

{'Hin*ie*n)

MOTION PICTUKK CLASSIC

Left, a scene from
Kalem's well-known
old production.
"From the Manger
to the Cross." Cen-
ter, a glimpse of
"Vanity Fair," with
John Bunny and
Tefft Johnston, at the
extreme right. Lower
left, Robert Gaillard.
Maurice C o s t e 1 1 o
and Leo Delaney in
"Thomas a Becket"

made; it only covered one hundred
and fifty feet of film, and living up to
its title, by twelve the showing of it
was finished.

He recalled one bright morning
when he had hurried across the
crowded studio to a large open win-
dow and had called out some direc-
tions to a group of more or less indif-
ferent carpenters down in the yard
who were building Solomon's Temple
for the last set. which had to be
taken that afternoon. As he turned
(juickly back, he knocked down a
small, dark-eyed child who wore a
hea\y pigtail of hair down her back.

She had been
gazing intently
at a group of
actors, and had
been so absorbed
that she had
failed to notice
the director as
he hurried ]iast
ht-r. The child
c|uielly i)ickeil
herself up and
continued her
earnest inspection ot the ])layers. Her
mother was standing nearby, and the di-
rector, attracted by the beauty and iutercsi
of the child. ;isked the mother if the chiUl
could be used in tlie picture. The mother
consented, and the little girl ])ut her foot
on the first rung of the ladder, on the top
of which she now sits in undisputed jios-
session and gladdens the world with her
talent. The little-girl-of-the-i)igtail \\a^
Norma Talmadge !

A succession of the old jiuiiils whom lie
had started on the
rocky road to success
flashed across' the
screen. The mobile
face of Florence Tur-
ner smiled wistfully
from the screen, fol-
lowed by the queenly
Julia Swayne Gor-
don, the intrepid
F.dith Storey, the
blonde head of Claire
Williams, the won-
derful dimi'les of Lil-
lian Walker, the agile
Mabel Normand. the
great-eyed Clara
Kimball Young, the
unusual beauty of
.Vnita .Stewart and
the prettiness of little
Zena Keefe, all chal-
lenging a not-indiffer-
ent world with the
first flu.sh of their
glorious youth. What
tremendous screen
jiosses.sed! He sighed

])ersonality
as he recal

the)- had
lied the universal adoration which
thev had received from all parts of the world.

The sigh vanished promjnly as the immor-
tal huge figure of John Runny ambled across
the screen, followed in close jiursuit by the
angular form of Flora Finch. livery a|)pear-
ance of these two was the occasion of untold
mirth, and they had truly caused a grin to
circle the globe. He thought of the o|)portuni-
ties which they would ha\e had tod.iy and
sighed again.

It was i)ay-day. l-'lorence Turner, who rep-
resented the entire stock company of one and
al.so the star cast of one. dofted for the mo-
ment her histrionic character and. assmning a
much more responsible and important one- -
that of cashier for the comjiany — laid into
eager hands the weekly envelo|)e containing
the munificent salaries of the players. .\
cni-ious look appeared on the face of the man
as he remembered the $.S.OO per day he himself
i Conliimrd on poj/c 82)

(Twenitj)

Side-tracked!

Bv ELIZABETH PELTRET

LI u i> S. SiDM- lia> tuo little f;irN. niie eleven and the other
three, and neither one of these children has ever been
inside a tlieater. either to see a play or a moving picture.

"I'lecause, " said Stone, "1 dont helieve in it ! 1 want them to
he children while they can. 'I'hcre is time enough for them to
learn the things plaxs will teach them. I want them to grow
up as children should grow nj) ; wholesomely interested in their
lessons and their games and free from fooh.sh notions. My
oldest girl sometimes takes part in little school plays. I'.nt she
know s nothing of the real theater, and 1 ha\e nothing about
the house that could suggest it to her."

We were standing on a stage at the (ioldw)n studio, at Cul-
ver City, and -Stone wore the costume of John for the rtrsl
episode of "Milestones." He had just finished a delicate little
love scene with Mary Alden as Rose, and now . oddly at vari-
ance uith her hoop skirts and the quaint house-furnishings of
two generations agor Rose sat gracefully in an old-fashioned
arm-chair and puffed at
a .Melachrino, while her
lover sat on a carpenter's
"horse" and .smoked Fati-
mas. It was. perhaps, a

Lewis Stone's stage career was
the result of the merest ca-
price of Fate, He dramatized
a story from a magazine which
he was casually reading one
day, and while trying to dis-
pose of it in a booking office
he was offered the leading
part in a melodrama named
"Side-tracked." Center, Mr.
Stone in an interesting scene
with himself from "The River's
End," his biggest success

little disillusioning if you
wanted to look at it that
way. But if you didn't want
to look at it that way. every-
thing was entirely as it
should be.

There is, around a studio,
an air of comradeship . . .

a sort of all-this-is-
in-the-family tone
that is in every wa\
delightful. I. 'it tie
remarks, made jok-
ingly, that have no
meaning whatever
unless an outsider
hears them, when
they suddenly be-
come absurdly im-
portant. Hut to the
players themseKes
scarcely anything is
real. It is all a lit-
tle game they are
playing with them-
selves and with each
other. Some c\en
drift so far a w a y
from realit\ that
they lose touch with
it entirely. ( )thers,
more wise, tie them-
selves to something
so genuine that the
breath of artificiality
can ne\er touch it.
This is what Stone has done in keeping the theater out
of his home. ( )therwise. he would inevitably see his
])rofession become the principal interest in the lives
of his two little girls. He would never, for ;ui in-
stant, be away from its atnios])liere . . . nor would
they . . . and he would hear talk about it coi'stantly.
He knows because he himself came from a theatrical
family.

"I was born to the profession," lie said.
Lewis Stone is a man of medium height, with green-
ish brown eyes and brown hair. His voice has a splen-
did tone, naturally resonant and entirely free from
"staginess." His walk, howexer. a graceful, perfectly
even stride, gives evidence of his ]Mofession. He is of .Scotch-
English ancestry. This. [)erha]>s. accounts for the stern, grim
expression he is able to assume so well.

".\ctuallv. I have ;i very cheerful disposition," he said. "In
spite of my tin-pan exterior."

He has two houses, one in I.os .\ngeles and the other at
X'enice. Whenever he finishes work earl\, he goes to the beach
[Continued nit paiic (il')

(Twenty one)

I WAS looking over fan
mail in the publicity
office of the Kathei-
ine MacDonalH studio,
waiting for some one to
ascertain if the lovely
star was on the lot, and
among the enveloi>es

whose postmarks I perused was one addressed to
"Miss Katherine MacDonald, A.B.''

"Ah. the fair Katherine is a college graduate, and
this letter is from a classmate," I Sherlocked to
myself, and so sure was I of the accuracy of my deductions
that almost the first question I asked of Miss MacDonald.
whom I found dressed in negligee in the semi-privacy of an
elaborate bedroom set. was, "And where did you take your
degree of A.R. ':"

Miss MacDonald looked blank. She denied having taken
such a thing.

"Rut it was on a letter!" I insisted. "Right after your
name, the initials. '.\.B.' ''

The beautiful Katherine — she's exactly the kind of a girl
that Shakespeare would have called "my bonny Kate"- — threw
back her head and laughed merrily and- unaffectedly. .\nd
the line of her throat when she did it !

"Oh, that I" she said, sobering enough to explain her out-
burst of mirth ; "that was from a Japanese fan. You know,
they use my pictures with a rose and the slogan of 'The
.\merican Beauty.' My Japanese admirers seem to think it's
an honorary title, so they use the initials after my name."
I wanted to tell her that the Japanese were evidently a ,â– 

Katherine
MacDonald, A.B,

people of rare di.scernment, but I didn't want
to gush. Interviewers are supposed to be
blase and beauty-proof, but I defy any one to
look upon the perfect oval of Katherine's
countenance, with its serious eyes of grey
shaded by the longest and thickest lashes
imaginable, a mouth shaped like Eros' bow, for
the subjugation of human hearts, and not get
a thrill somewhere deep in the left ventricle.
Even in the hideous glare of the deceitful
Klieg lights she was beautiful. My own face,
as I was acutely conscious, was a dyspeptic
green, set off with jiurple lips and magenta
eyes. But hers, ])rotected from the spiteful
lights by a coating of cosmetic, was a creamy
white, and her grey eyes were only deepened
in color. Her hair, which is soft and brown, fell
about her face in enchanting little waves and
lay caressingly on her shoulders in unpremedi-
tated curls. When she turned her face in a
certiiin way, F caught a fleeting resemblance to
her sister, Mary McLaren.
"I hope you dont mind
my receiving you in my
boudoir.'' she shivered, as
.she gathered her negligee
closer around her and hud-
dled up by a tiny gas stove
which was doing its best to
dispel the chilly atmos-
phere of an un-California-
like day, while the .studio
electricians shifted lights
on the set.

"We are making 'The
Guests of Hercules,' " she
went on, tucking a satin-
shod foot under her for
warmth, "and this is one of
the guest rooms of the an-
cestral castle which is
willed to me."
Her voice. I noticed, had
none of the inflections
or broad a's which
characterize so mcny
screen stars— whether h '

(Twtntytvio)

By

EMMA-LINDSAY
SQUIER

nature or cultivation I
am not prepared to say.
'Ihere is a quiet sin-
cerity about her, an ab-
solute naturalness, that
])recludes any idea of
pose. In fact, she gives
you the impression tliat
she is what she is and
tliat if yeu do nothkeher
it makes not the shght-
est bit of difference. 1
found her attitude re-
freshing and ahogether
diarniing.

"Pictures?" she
echoed, as I broached
the time-worn but neces-
sary question as to how
slie "got in."

"Well, to tell the
truth, 1 was pushed in.
I never had the slightest
idea of going into the
movies; in fact, I con-
sidered them quite com-
mon and altogether un-
attractive. Of course, I
was interested in Mary's
work, but for myself —
whv, I was going to be
a school-teacher." .She
fniished with a reminis-
cent smile.

"'Phat's hard luck for
some, school," 1 ob-
served, but she shook
lier head and gazed into
the tire.

"Oh, I dont know —
maybe I'd have failed
miserably as a teacher.
One never knows. Rut
anyway. I came West to
straighten out some le-
gal tangles for Mary,
and stayed to kec]) house
with her and her mother.
The manager of the old
Horsley studio asked me
if I wouldn't work in
Slink' pictures, and he

iitTered me thirty dollars a week. Well. I had nothing else to
do, so I started in. For many weeks I ])layed 'atmos])here'
bits and held up the back curtain while the real actors emoted
in front, but the studio uas rather ]ioorly equi])ped with help,
so I was a sort of general ]iroperty woman. 1 helped 'dress'
the sets, arranged the Howers for all of them, and when extra
'props' were needed, I'd take my car and run over to the house
and bring back a load of vases, rugs, curtains and everything
you could think of."

1 could not help looking about the nllra-modern studio with
its elaborate sets, perfect in construction and detail, and re-
flecting that they were for her very own productions, b'rom
thirty a week to umpty-steen thousand a week — well, the Lord
must love the ."scotch as well as the Irish. Katherine is Scotch.
"Then Ma.\ Linder offered me one hundred a week to l>lay
ojiposite him in his comedies." she went on. "Of course, it
scninded like an immense amount of money, but Mary advised
nic if 1 was going to start in pictures, not to break in thru the

(Tirentythree)

l'll..t..|:i,iii!j Ity Honvcr .\rt l".

Interviewers are sup-
posed to be blas£ and
beauty -proof — but
there wouldn't be any
golden rules if it were
not for the exception.
And Miss MacDonald
is certainly all of that!

comedy route. ( That was before
( 'iloria Swanson and the rest of the
comedy queens broke into drama),"
vhe e.\plained parenthetically. ".So
1 turned down the offer and took a
|iart in Mary's company. I did
]iarts of no special inii)oriancc for
>ome time, and my tirst lead was
with Douglas l-'airbanks in'Headin'

South.' 1 also played w ith him in 'Mr. b'ixit,' and did two pic-
tures with William Hart, Kiddle (iawne' and ',Shark Monroe.'

"1 ne\er thought I'd have my own company," she smiled,
glancing around the studio with a jiardonable pride, "but I
iia\e — and it's like .i dream, I'm afraid I'll wake up."

The tirst feature in which Katherine MacDon.ild made her
producer's bow to the public was "The Thumlerbolt," and the
next were "The Beauty Market" and "The Turning Point."
( CniiliiniCii nil l>iiiir 7Z)

ts3^'a<

The ingenue affecting the
coy pose on the pedestal
is a Sennett newcomer.
Peggy Floyd. She is just
making her firsV appear-
ances in seagoing farces.

The

''Classic'

Visits

Abbe, exclusive photographer
has caught some unusual

The young lady introdu-
cing the new style in musi-
cal attire at the left, is
Ruth King, still another
new Sennett — er — face.
Ruth just loves her daily
music exercise

(Tieenty-four)

Remodeling a
Husband

Fictionized from the Dorothy (jish-Par;(miHmt Photoplay

By FAITH SERVICE

" V^ou're making a mistake !" chorused the tlushed fenii-

X ninities after having showered Janie Wakeman with
all the extraordinaries in the way of aluminum they
had found purchasable if not practicable; "a terr-i-ble
mistake," they intoned.

"Not me!" snapped Janie Wakeman. She had a snappy
way, had Janie.

"He's a devil with the ladies!" went on tlie chief mourn-
ers, dolorously.

"He'll have a devil for a wife," came back Janie, with
pursed lips; "that'll cure him."

"Not Jack . . . there was the blonde down at the beach
'ummer before last ... he had a fierce time over that.
She" — the fair informant lowered her voice meaningly —
'she was married!"

"Old stuff!" said Janie.

"There was the girl on the Pullman car," suggested still
another ; "her father stepped in . . . "

"There was the girl who waits on the table in Wild's, "
vouchsafed another; "Jack cant eat there any longer. Oh,
Janie, darliny, you'll have a fearful life, simply fearful!"

"All this," observed Janie, stirring her chocolate coolly,
"was before my time and does not concern me."

"But, Janie," they protested, en masse, "what makes you
suppose you will be any different than the others ? He i.v
a flirt. He's fickle. He's inconstant and unsteady.
F.verybody says so."

"Everybody." said Janie. "does not have to marry him.
Nor, I might add, has he married everybody. / am the
first. / shall be the last. .Ml that is necessary, my dears,
is efficiency in the marital relationship. I am young, but oh,
how I am wise, " she added, softly, "when it comes to
Jack. " She said, aloud, ""Jack .shall neither break my heart
nor my home. Wait and see !"

They wailed. Then they waifed some more. It was
unbelievable. Jack Valentine had never been known to
walk a straight line on the street when a pretty girl was
on the other side. ,\fter his marriage to Janie he seemed
to be of the n.Ttine of a sleep-walker; his eyes were fixed.
It was magic, they said.

Janie took it calmly and rather irritatingly to many of
her prenuptial well-wishers. She had the air of "I told
you so!" .Some went so far as to say that they pitied poor,
dear Jack ... his home life must be something awful!
They began to remember the autocracy of Janie with hei
humble parents. .After Janie's advent, it was recalled, the
parents, well-meaning always, had had little if anything to
say. Of course, they had seemed to like it, but then, they
had been |)arents . . . that is different . . .

The well-wishers had to admit to an idyllic state. Tliere
was every sign. Janie in her pretty room, en negligir,
waiting for Jack to run in for early tea . . . which he
always did.

Janie undoing her husband's shoe, petulantly pretty.
Janie on her husbands knee before the open fire. The
pictures were complete.

When the first difficulty „_ v j .. j i •

, 11 . Everybody, said Janie,

came the well-wishers were ..joe. not have to marry

wholly in the dark. That him. Nor, I might add,

was Janie's way. .has he married every-

Jack came home for sup- *'2^?,\ ^ifâ„¢, *"!* 5^?'\, I

â– > I. ir shall be the last. All that

per one evening half an iinecessap' in the marital

^our late. He entered with relationship is efficiency"

(Tvenijtevenj

MOTION PICTURE

The well-wishers had to
admit to an idyllic state.
There was every sign.
Janie in her pretty room,
en negligee, waiting for
Jack to run in for early
tea - . which he always
did

kIiI) e.NCU.ses and many kisses.
He was greeted by an apj>arition
that made his amative blood con-
geal. His wife, his Janie. stooij
on the threshold of tbe living-
room and her blue eyes blazed in
her head like twin coals. She
was sobbing hot, indignant tears
an<l her small lists were beating
the air in a ihoroly efficient sort of manner.

"Dont you dare . . . d-d-dont you d-d-dare!" she sput-
tered, effectively. "I .saw you! I did! You w-wretch !
You . . oh, \'ou! No, dont sjieak, dont dare to s|)eak.
You'll lie. I know you'll lie. Of course, you will. You
always <to . . . husbands always do, I mean. 1 feel It
coming. You'll say that the subway was held up, or you
were held up ... at the office, or , . . or something of the
.sort. It isn't so . . . no. it isn't so . . . no. I wont stop talk-
ing. I've only just begun. I saw you, I tell you. 1 saw you.
With my own eyes. O-o-o-o-h !"
Jack waved a limp hand. It was no use.
"I was on top of a Fifth .\venue bus," formed on Janie,
"riding along and thinking how I'd gel down pretty soon and
buy you some ties I saw in liudd's. Then, all at once. 1 saw
you go up to a girl on the avenue, a blonde girl. John T. Val-
entine, and help her into a taxicab. .\ taxicab. mind you !
You know you did. Dont tell me. .Ns if I didn't know what
a lax'nah means ! Haven't I been in em '"
'R-r-r-r-r . . a-a-a-a-a-h ..."

"John X'alentine. if yr)u say another word I'll hurl every
single bit of bric-a-brac in this miserable, violated, desecrated,
once-holv home at vour infidel head. I will' You just dare
to come in here and talk to me like thai, to my very face!
C)h. you brazen ihing. you . . . you ..."

Janie choked, but waved her fists fiercely to caution the
ghastiv lohn to a complete silence.

'You got in after her," she went on, "and I got down and
got into another taxi and followed you. You took her to her
very door, and at that door, you . . . you ..."

Something between a groan, a squeak and a whine emanated
from the nearly coUajised Valentine. He swayed weakly and
rested his palm on the nearest sujiport.

"You kist her," shrieked Janie, "you did I Before my eyes!
Kist her! I call heaven to witness if a fal.ser wretch ever lived
or breathed ! I call on all the gods ! I am wronged ! I am a
wronged woman! Heavens!" Janie gave three tremendous
sobs, then she, too. crumpled up and fell into the chair behind
her. "John T. Valentine." she said, "what are vou going
to dof'

John T. Valentine made a desperate endeavor to appear as
tlio he filled at least some portion of his clothing. During the
tirade he seemed perceptibly to have wilted. He felt of his
collar, of his hair, even ran his fingers over the outline of his
features to make certain they had not altered; then he said,
with great adequacy, "Janet, you know I 1-love you."

This i)roduced an emotional Niagara, terrific in its on-
slaught, to the eye and to the ear. .\nother hour and Janie
demanded, albeit "more weakly. "John T. Valentine, what are
you going to doi"'

John T. \'alentine crejit over to the couch upon which the
sharer of his bosom was, by now, drooping. He tentatively
touched the hem of her flowing garment. The night was
creeping on apace. He was cowed ; he was subdued ; he was
convinced that lie had trod <iown and S|>lintered the ten com-
mandments and that, no doubt, he would have done damage to
ten ]norc had there been that number; but he was also sleepy
and he knew that he hated with a frightful and bloodthirsty
vengeance the blonde on the .Avenue who had seemed to him.
at that moment, unable to carry her suitcase, and to whom,
probablv because she was blonde, he had tendered his assis-
tance, and he knew as c'early that he was violently sleepy and
that he adored Janie. If she could know these things, too!

fTirnitii riiilit)

CLASSIC

He began to tell lier. He l>eKan w conjure up tlieir itnmi-
nent and tender past.

The result was horrihc. It produced dolor not unmixed
with temper and resulted, all told, in four smashed vases,
rather jolly vases at that ; the complete destruction of the
family album, with all the grandmas and grandpas ; three pic-
tures ; two glass trifles and various carefully selected books.
With each crash Janie would wail, "You've broken my heart,
you have! You have, you've broken my heart!" until John T.
felt, with a shudder thru his spine, that he could hear the
agonizing splintering of Janie's beloved and agonized little
heart.

He suffered.

.\round morning they fell asleep.

The result was breakfast at noon, with considerable marma-
lade, a chastened husband, a weepy but pictures(|uely forgiving
little bride.

Of course, a second honeymoon ensued. It was altogether
blissful. It had a .savor the original one had not. They had,
they knew, suffered together and had "come thru." Jack had
sinned, had strayed from the fold. It gave him, Janie half
admitted it, very .secretly, to herself, a sort of glamor, a new,
if dangerous, garment of illusion. Janie. on the other hand,
had forgiven. In reality, she had fallen asleep, but p.shaw !
What is reality when one is twenty and very much in love .'

There followed another interlude.

"Have you eirr." said everyhoily, 'known' such an ideal
couple as the Jack \'alentines ' They w ere made for one
another. "

Then, abruptly, it became known that Janie \'alentine had
gone home to mother. Had picked u]) every belonging she
owned and gone clean back.

That was all that did become known. Janie was mum. .She
took her efficiency and her silence into her father's business
offices and proceeded to be successful. The only mail she did
not read were the letters she received in John's handwriting.
These she tore up into little, vicious bits, lit a match and com-
pletely removed
from being. The
only 'phone mes-
sages she did not
personally receive
were those made
by John. These
she either did not
receive at all or
transferred to an-
other line upon
recognition of the
voice.

Go.s.sip said that
Janie Valentine
had "changed."
There was a little
glint in her eyes
that had not been
there before.
There was a .slight
lightening of her
mouth. When she
walked, now and
then her shoul-
ders drooped as
tho she were car-
rying a burden
ever so slightly
too much for her
strength.

When she
,1 w o k e in t li e
mornings her pil-
low- was always
damp. No one
hut Janie k n e w
that.

It had all been about a manicure girl. .\ rather opulent
creature with a hearty laugh.

Janie bad been in the habit of having the girl come to the
house to do her nails every Saturday morning. One day Jack
suggested that he rather needed a manicure himself. Janie
suggested that her Mabel do them for him. Jack assented.
.\fter the first manicure. Jack took to having them as regularly
as Janie. At first, Janie was unsuspicious. Jack had been,
since the taxicab catastrophe, so completely uxorious. Then,
one day, while he was being "done," Janie had caught a look
in his eyes. It was the old battle light. .\t once she was on
her guard.

Jack was a transparent person. The next time he had an
appointment for a manicure, Janie had occasion to go out . . .
for a while . . . When she returned, rather suddenly and
very quietly, her husband was not being . . . manicured . . .

One hour later, to the minute, Janie went home to mother.

This time, her methods were very different.

There was no weeping, no wailing, no gnasliing of teeth.
There was no reviling, no accusations, no protestations. Jack
wished, tragically, that there were. Just silence. Cirim silence,
(jlacial. Totally unforgiving. Her small, white face . . .
how stern! Her hurried, yet precise pre)iarations, how final!
Jack bit his manicure away and cursed the- fragile sex! His
advances, his pleas, his self-condemnations were met with a
frigid aloofness, not so sad as it was sweet, nor .so sweet as it
was sad. Jack was minded of the lines. "But. sweet, for me,
no more of you, not while I Ifve, not tho I die, good-night,
good-by !"

His soul was swept and scarred and seared by a knowl-
edge, a revelation, of his torren-
tial love for Janie! ("lods, how
he loved her ! It ached !

Janie became exceedingly busi-
nesslike. She took to wearing
severe-looking garments and
talking like a profiteer. The

Janie undoing her hus-
band's shoe, petulantly
pretty. Janie on her hus-
band's knee before the
open fire. The pictures
were complete

{Tv-enty-ninf)

MOTION PICTURfi

worse her heartache and the (ismver her pillow in the morn-
ing, the more she talked and the more severe she grew. Her
parents led a rather terrible life. They had always been some-
what in awe of Janie, single; now that she was come home in
her new state, she was truly terrible. They had not an inkling
of the quaking heart within the firmly girded breast.

It took John T. two months to gain admission to the rather
important place Janie had made for herself in her father's
importing house. He had, finally, to .see her by appointment.
It was an ordeal he did not soon forget.

Janie talked to him as his grandmother might have talked,
as some remote and distant great-aimt might have talked to a
foolish nephew who had foolishly strayed from the safe and
beaten way. She didn't talk one bit like his Janie, who had
lain, with tumbled curls and love-flushed face, within his
cradling arms. He had to focus his vision and pinch himself
to make sure this new Janie was also his old Janie. _the Janie
he loved . . .

"... are the paths of righteousness which, alone, bring
peace and eventual happiness," Janie was ending up. She had
been going it in such a wise for the better part of an hour.

Jack gulped mightily. He had not many re.sources, had
Jack. He wai^lovable, but not subtle. If, now, he could only
have taken the terribly stern young person and cuddled her
and kist her absurd frown away and called her oogly-googly

and such like familiar-sounding
things, he could have won out.
He was, lie felt, deprived of his
weapons and left defenceless.
He could only say, with thinly
shredded adequacy, "Janie, I . . .
I 1-love you !" Under the stern
appraisement of her eyes his own
fell and he fidgeted.

"You kist her!" shrieked
Janie. "You did! Before
my eyes! Kist her! I call
to heaven to witness if a
falser wretch ever lived
or breathed! I call on all
the gods! I am wronged!
I am a wronged woman!"

"Love, young man. " said Janie. 'is a science. It should be
treated as such. f)ne does not toy with science, lest one toy.
inadvertently, with a high explosive. Love, voung man, is
such an one. Love ..."

'Oh, Janie," burst forth Jack, "Janie . . . please . . . re
member. Janie, that's all I ask of you. Just sit there for five,
for ten minutes, and remember. Remember just as hard as
ever you can. Our first meeting, Janie, our second, our . . .
our third. You do remember our third, dont you, dar . . .
er . . . dont you, Janie? We took a walk ... we ... we
didn't keep on walking . . . you do, Janie, I .see it in your
face . . . then, that night, you kist the ring I slipped on your
hand .... you were all . . . well, go on. Janie, just for five
minutes. "

After precisely three and three-quarter minutes Janie had
crumpled in her official chair, the crisp attire was flooded with
tears and there was none of Janie to be seen at all. She was
completely engulfed by John.

.\n hour after that she had severed her business connections,
dispen.sed with home and mother and was busily rehabilitating
herself in her husband's home.

There was, of course, a third honeymoon. There would
have had to be. They had become a man and a woman of
.sorrows. They conducted themselves as such. It was tinged
with melancholy, this third honeymoon. There was much talk
of the frailty of human nature and, on Janie's part at least,
very much talk indeed of the consummate greatness of a
woman's enduring and all-forgiving love.

.Still, Jack knew, it had been a capitulation on Janie's part.
He was only human. He began to give himself airs and, as it
were, to look about him. He began to believe that he was.
after all Janie's taunts and threats, the master in his own
domain. Twice now, with just a little coaxing, Janie had crept
back into the fold. .She probably alwavs would.

I Thirty)

CLASSIC

Jack began to strut
about. He felt more like
other men. His wife, so
he attitudinized, was only
a woman . . . tish, tosh!

He attitudinized in such
a manner for six weeks.
One day, presto, change !
he found himself a bache-
lor again. He had a habit
of so doing. His Janie
was gone oft'. This time
she did not do so temper-
ate a thing as to make it
home and mother. She
went oflf, vaguely, but she
might, from her sinister
notes, have gone 'most
anywhere.

Jack had the most
hideous nightmares. Now,
at last, he Iiad gone and
done it. This — this was
beyond expectation ! He
thought of his Janie in all
sorts of terrible situations,
almost always with a
hlond man with a Greek-
god torso and melting
eyes. He had done it this
lime !

He took to wearing
flowing ties and affecting
a tragic air. He wrote to
the general delivery ad-
dress Janie had left him
the most impassioned, the
most desperate, the most
suicidal notes. He soared
as neither Janie nor he
had ever supposed he
could soar before. He
even quoted jioetry and
finally got so bad that he
composed some. He took
to ]>laying the piano and
liintet! jt the iiarp. At
this, Janfe came home.

Of course, a fourth
honeymoon ensued.

On this occasion Jack
adopted the attitude, or
felt it — who knows — of
the desperate lover. He
l;mguished at his lady's
feet and mooned into her

eyes. They talked of their past and of the more than earthly
thing their love had becorng, that it should lead them, as it
did, thru the still waters And the dark vallevs unto, as always,
each other's arms ...

RKMODKlJXt; ,\ HISH.WD

Fictinnized from the scenario l>.v Dorothy Klizalieth Carter.
Produced In rar.imoimt, st.irring Dorothy (iish. Directed liv
Lillian Gish. The oast ;

.liniie VVakcman Dorothy Gisli

Her fatlier Downing Clarke

Her mother Marie Bnrke

Her chum Mildred iMarsh

.l.ick \ alcntnie Jame.s Rennic

His father Frank Kingdon

A flirtatiou.s lad> Barden Daulic

They imjircssed upon each other
the fact that this was the ulti-
mate reconciliation, inasmuch as
only those who had been thru the
tires of the crucible of love could
really know its deepest meaning.
They pledged each other thru the
medium of beautiful, fervently
.sounding phrases, prodigally bor-
rowed for the occasion from the
'-six best sellers" of the dav. They
outdid each other ; capped each
other's highest-flown phrases without
blance of a blush.

"Love like ours." chanted Jack, cmeil and
been ..."

Janie nodded, solemnly. "Love like ours," she repealet
him with her eyes, "has nev-er been ..."

.\bo\e theni. the ancient moon sailed thru the ancient

It took John T. two
months to gain admission
to see Janie. He had, fin-
ally, to see her by appoint-
ment. It was an ordeal
he did not soon forget.
Janie talked to him as his
grandmother might have
talked, as some remote
and distant great-aunt
might have talked to a
foolish nephew

even the faintest sem-
owed. "has never

hxmg
,kv.

(Thirty-one)

Bennett & Co.,
Inc.

"It all depends upon the husband," laughed
Miss Bennett, when I spoke of this. "You see,
l^'iffl hapjiened lo be the ri^iht one and I hap-
pt'ned to know it before I said 'yes!' "

"Oh, no; it depends upon the wife," gaiU chal-
lenged Mr. N'ibld, smiling at her. "So I refused
to accept I'.nid's 'no,' and she had to say 'yes !' "

"Seriously, it depends up<jn both husband and
wife," went on Miss Bennett, lookin)^ like a little
girl as she curled up in the corner of the big
davenport. "No one's life is complete without
love, and marriage should so enrich one's nature
that a new dramatic power and a deeper sym-
l)athy would be developed thru great happiness.
Fred and I share both our work and our play;
in fact, we have an absolute understanding and,
after all, that is the only basis for a hapjiy mar-
riage, whether there is a career or not."

We were sitting in the drawing-room of the
Niblos' beautiful home, situated on a palm-
shaded avenue in pic-
turesque Beverly
Hills, which lies mid-
way between the
ocean and Los An-
geles. It is here they
are found whenever
the duties at the Ince
studio will jjermit,
for they have suc-
cessfully incorporated

An ideal married life
is that of Enid Bennett
and Fred Niblo. ""Vou
see, Fred happened to
be the right one and I
happened to know it
before I said 'yes!'"
says Miss Bennett. At
the bottom are Mr. and
Mrs. Niblo in their li-
brary

Photograiih. Irfl, l>y Ev,ins

TiiK popular little
screen star, Enid
Bennett, and her di-
rector husband, Fred
Xiblo, have solved the
great jiroblem of how to
combint careers and
marriage, making a suc-
cess of both.

In this day of unrest
and confusion it is a joy
to find a couple so thoroly
congenial and happy in
each other as are the
Xiblos. Their ta.sles and
ambitions are essentially
the >ame, while both
seem endowed with a
definite optimism thai
keeps their lives moving
along |)eaceful paths. In
their quiet, wholesome
married lifethere is noth-
ing of the theatrical or
ultra-pretentious, only an
atmos[)here of good fel-
lowship, of ideal com-
jianionsliip.

(Thirty tvo)

By MAUDE S. CHEATHAM

their own artistic and hospitable ideas, and it is a real
home where they spend their leisure in resting, studying
and entertaining their friends.

As she talked, I found myself watching the little
star's expressive face, with its delicate coloring, deep
blue eyes and lovely blonde hair. She suggests a re-
fined womanliness which gives her a distinct charm.

"I came from a great big country, but a wee little
town, for I was born in York, Western Australia,"
.said Miss Bennett, a little lateV. over tea and cinnamon
toast. "Rather a coincidence that bred was born in
York, too, but York, Nebraska, U. S. A., and, much
to our chagrin, both Yorks are so small that they are
absolutely unknown.

"1 went on the stage as S(wn as 1 finished school,
and I'm sure that I |)layed in every town and hamlet
in our country.
Among my tirst im-
portant roles was
Modesty in the h\p
production o f
'Everywoman,'
over there
Mr. Niblocame
to Australia,
presenting a
repertoire of
A m e r i c a n
comedies,
and for
three years
I played in
his com-
pany. Later,
1 realized
that t h c

Above, a new study of Mr.
Niblo; center, the Niblo
"chamber of horrors" and.
below. Miss Bennett spend-
ing a quiet afternoon in
her Beverly Hills home

Photugrapli Ipy Whilp

o])portunities at home
u ere limited, so I
made a bold dash for
the front and came to
the United States. I
am glad I came, for
happiness and suc-
cess have reached me
here." .\nd the bbje eyes
smiled into the glowing
fire.

"My first engagement
was most fortunate, for I
was with Otis Skinner in
Cock o' the Walk' for a
whole year. He is won-
derful, and every one in
his company receives their
full worth !"

While appearing with
Mr. Skinner, Thomas
Ince met Miss Bennett
and, seeing her possibili-
ties, he engaged her to
play in his pictures, with
such success that .she is
now one of this pro-
ducer's brightest stars.

Then, two years ago.
after a romantic court-
ship, Fred Niblo came
West to marry Miss Ben-
nett and found her in the
middle of a picture.
While waiting for its
completion, Mr. Ince
(Contiitued on page 67)

Photographs I'.v Xorthlanii Sliidio

(Thirty three J

l/r

Summer

in the New York

Theater

Photog^rafh by Af *^

1^

0«

Pliologniplis l.y AlilK

At the upper left ^PP-^^^ti'.^^st^wSl!'^ f«.
of the best of °^^y°T^% the Northwest, "The
tured in «"* melodraina of the « ^^ ^^^ ^

Storm," at the ♦Sth Street ^"» ^ ^i^^ member

pretty Marcella Sr^"»|5'<,,\".. 'now revived at the

of the sextette of '''^^°°?t +orrence and Louise
Century ; and, above. Ernest Torrenc,, ^^^ ^.^

°f°nfc''rr.'rsSow^ar t'Se' Liberty Theater

(Thirtyfourj

Photograph hy White

Irene Bordoni is a fascinating figure in the
charming and amusing musical entertain-
ment, "As You Were." At the lower right
she appears in her Ninon song, while
above, is seen the Watteau choriu in the
same number

I'hotograpk by White

Alice Eis is a popular dancing
headliner in the Keith varieties

(Thirty-fivt)

Shorty

(.crtru.lc hec.iim- n stage child alm,.st before
he cmia Hs|.. In 19CWi, he was a stock actor
at the Liberty Stock, in Oakland, Cal.fornia,
where he plaved prattling little mrls and stage
infants in long clothes, a thing he hated^

To he truly appreciated, Antnm Short
should be heard. He is inimitably droll, a
horn mimic and farceur, ciuicV as a Hash at
repartee, "ilh a niohile month.

■•Some one said. Aha, the kid is clever-
let us take him to New York that he may he
apiireciated !' So mother packed the family
jewels, meaning Certie and me, into a tourist
car and came to the city of big happemngs
:ind miserable failures.

■•I had s.,me seasons with lorn Jefferson—
regular lank shows. What 1 dont know about
,en iwent-. thirt' houses isn't worth chron-^
icling, continued
the lively Mr.
Short, as he tried
gymnastics on a
swivel-chair. "Reg-
ular tank shows, 1
said and they
were. We carried
a tank for the

Antrim Short is a cousin
of Blanche Sweet. He
made his screen debut
at old Biograph when
she was a member of
the company, altho he
had been on the stage
from a kiddie. • At that,
he's just eighteen

f -PI..'!"!:'-'!'!" lâ– ^

RK.M. coiiM lou-iic-s an. I .-ictnig were Miiuiha-
n,-,,i,s wiih \nlrini Shorl, In fact, hi-
mollicr >a\s he «:i- hnni .ictiiig,

\nlrim uasalwax- u). to tricks. When his
name is mentioned nowadays m cinema circles,
people begin to smile and tell you that he is
-the cutest kid in the game, a sure comer.' _
He is as full of life and boyish nonsense as it
he si, II \\crc a schoolboy— and fearless.-'
Whew' .Mioiil ihe first storv I heard of him
was the wav he frightened the folks at Metro
studio by swooping around in Ins airship, shoo-
ing spa'rrows and linnets off the telegraph
wires in front of the new administration
buildings. , .

Being a generous s.uil, .\ntrim Short united
some of the clerical force up for a rule, but,
with one accord, they i>leaded "important busi-
ness." and one timid individual said his life
insurance policy had not yet arri\ed from New

-\ his chat really should be Short and Sweet,
for Antrim is first cousin to Blanche Sweet
and has appeared with her frequently on stage
and screen. His present release with Miss
Sweet is in "Fighting Cressy" and, having
watched his clever' work during the "shooting,
I looke<l with a jileasurable thrill for the first
showing. ,., ,

W^hat he hasn't es.sayed in his young hte.
As 1 said, he was born acting and, with sister

(Thirty six)

By FRITZI RRMONT

water scenes, which were very thriMintj.
I was in 'Salvation Nell' with Minnie
Maddern Fiske, being three seasons (in
the road with her. Ciertrude went over
to Mary Mamering, and mother traveled
with her, while father held the slipi>cr
over mc as our paths separated. Fond
parent act, and all that, you see.

"Then the idea of pictures struck us
very hard. They were doing camera-
phone photoplays then, and during a
summer season I worked in two 'talkies.'
That was before David Griffith began to
show the possibilities of the .screen.

"The Hiograph followed, because
Blanche Sweet, who's my first cousin,
was with Ciriftith. I had two months of
the movies, then we moved to San .\n-
tonio, Texas, and "

"You must have seen a lot of our
country at a very early age," we inter-
rupted, rudely.

"Yep, followed old motto — .see Am-
erica first — one hundred per cent, stuff,
youthful ])atriotism and .so on," laughed
Antrim, gaily. Then, continuing mod-
estly, "Rut
there's a deal
I've not yet
seen. Any-
way, where
was P Oh,
yes, in San
Antonc. Let's
.see — why" —
registering
great surprise
and delight
at a brilliant
d i s c o \- e r y —

Antrim Short, despite
his youth, has ^ad
worlds of cinema ex-
perience, principally
with Metro and Uni-
versal. He's something
of a crack aviator on
the side, making flights
three times a week. At
the left is a glimpse of
Mr. Short in "Please
Get Married" with Viola
Dana

"ihai will be cigliiccii years ihe eighteenth
(l.iy of this month. Watch your step.
Shorty ; you're growing ancient."

Such simshiny blue eyes as he has! It's no wonder
they look for his hi(le-,'\nd-g(i-scek smiles. There is
an attraction about this unsjioilcd, wholesome .Ameri-
can boy, born of his broadminded outlook, which gets
over on the screen every time.

".\t last I came to California with the I'iograph,
Wilfred Lucas directing. Then back to the Xew
York Biograjil^ 1 returned to Mr. Morosco's stock,
])laying at the old Hclasco, Los .'\ngeles, and (icrtrude
had a similar engagentent. Later she played at the
Alcazar in Frisco. I was cast in 'Mother' with
F'mnia Dunn, with whom I'm now doing 'Old Ladv
Thirty-One'- it's great to renew old friendships.
Helen Leslie had me playing opposite lier. and I also
did the juvenile in 'The Littlest Rebel' for months
and months

"When the Hiograph returned West, 1 worked
with them two years, then left to free-lance, as thev
were going to New York."

The boy did a sea.son in stock at Universal, then
(Continued nn paije 68)

( Thirty leveni

Screen
Impressions

By LOUISE FAZENDA i'

ALMA RUBENS— A red lily
— Messages d'amour in an old
prayer book — R u b i e s — Moon-
beams en the Alhambra

MAY ALLISON— Corn-flowers
and dafTodils — Turquoise — Sun-
shine after rain — White rabbits

MARY MILES MINTER—
Dickens' Little Nell — Daisies
— Lavender and old lace — Valen-
tines

VIOLA DANA— Johnny Jump-
Ups — Peter Pan — A baby-
cloud against a purple mountain
— Wisteria

OLIVE THOMAS — Forty-sec-
ond Street and Broadway —
"Lalla Rookh" — Pink satin and
pearls — Mignonette

ENID BENNETT— Easter lilies

— Mendelssohn's "Spring Song"

—White moths — St. Cecilia

EUGENE O'BRIEN— Sir Wal-
ter Raleigh — The Barcarolle
from "Tales of Hoffman"— Old-
rose drawing-room

TOM MEIGHAN — Gorse-cov-
ered moors — A shepherd on a
lonely hill — Shamrocks in Cen-
tral Park

PhotORrapli
by Hartsook

CLARINE SEYMOUR — Fire-
flies— Night, the scent of orange-
blossoms and thrumming uku-
leles— Bloom of apricot

f Thirty-eight.

For the Soul of
Raphael

Told in story t'oini from the Clara Kiniball Youiit;
Photoplay

By DOROTHY DONNELL

TiiK Arteaijas had land aiul gold and jewels, great
ranches sweeping to the far foot-hills, money
to buy drink and velvet jackets and jewels
wherewith to adorn their proud ladies so that they
flashed in a niultic(jlored and cold flame. The last
of the Arteagas had today won a jewel, more
precious than emeralds and diamonds

Marta Kstevan, slim and white as one of the
candles she had burned before the \'irgin's shrine,
sat in the great chamber while the maids arrayed
her for her marriage with Raphael Arteaga, the
bridegroom whom she had seen once only, and then
red-eyed, jmrple of face, reeking of the wine he
had drunk in honor of his convent bride whom his
mother was bringing from the Sisters of the Holy
Heartbreak that afternoon.

"Yesterday." Marta murmured, wonderingly.
"how strange ! I have lived a long tii since then."
She thought of her shrinking dii.gust at the
\inous kisses of her aflianced, of old Dona I.uisa's
burst of anger at the sight of the slim golden slipper
under the refectory table, and then the terrible
sequel.

Marta shuddered .so that one of the girls who
sat twisting the veil of the .\rteagas above her soft,
straight, high-piled hair felt the movement and
crossed herself. Mary pity a bride who shudders
upon her wedding day ! Yet, per Dios. she did not
wonder that the jioor white lamb feared that black
wolf. Raphael. .She could tell her tales

Kut Marta was not thinking of Raph,iel. Instead,
her brain kept re))eating over and over the words
that she liad whispered after Dona Luisa's stiffen-
ing lips in that room of death where the red light
of the sunset lay like an angry stain across the
counterpane but could not tinge that cold grey face
with its glow. "I swear by the Holy Cross and the
Sufferings of Our Lord to stand guard over tlie
soul of f^aphacl while he lives!" .\ cold wind, with
the dank odor of open graves, seemed to blow
across her. Iho the room was stifling with the odor
of roses and (dies, and again she shuddered.

"See, the bride is ready!" the Mexican girls
cried, fluttering away like a flock of gaudy ])arra-
keets, to admire their work, "but." they whisi)ered.
"she is pale — pale as a cor])se! Perhaps, who kntiw
heart is dead for another "

Raphael, handsome as a great, black, full-blood.ed animal,
gaudily arrayed in a suit of wine-colored velvet and wearing a
huge ring on one finger that flashed with a hard light in the
sun, strode up and down the colonnade of his ranch-house,
awai'iiig his bride. A gratified smile twisted one red li]i-
corner. despite the fact that his mother lay in state within the
darkened room in which he had been born. She was dead,
but one must die when one is old, of a certainty — when one is
young — ah! One lives! Lives hard, hotly — drinking deep
of the wine ut pleasure.

The smile grew broader. He was remembering Marta, the
convent girl who had stepped from the cloisters into his arms,
untaught of the meaning of life or of love — a flower unpicked,
almost unseen. "Dios!" swore Raphael, licking his curving,
glossy lips, "my mother was right. The .Arteagas should

(Tliirtji nine)

her

choose women who have never
been handled when they come to
wed. The others — they are well
enough for loving, but one wants
of one's wife. .\nd
never even seen ,in-

From the noisy merriment
of the wedding breakfast,
Marta slipped away pres-
ently with a sense of es-
cape. Almost without
knowing what she did she
stepped through the low
windows to the balcony:
ran along it to the steep
stone stairs and then
down

to he sure
Marta has
other man ..."

Convent walls are liigh. con-
vent walls. are thick, hut no walls
have ever been built that can keep
the eyes of a maid from those of

;i man. In her girl soul, on an altar auKing her saints. Marta
had enshrined a face witli blue eyes like the sky when the sun
shines and skin as fair as the waxen faces of the images in the
chapel. There had been only one moment for her to remember,
a single flash of wonder in two meeting glances, a something
that seemed to spring up laughing in her soul. Rut since

MOTION PICTLKK

Her voice broke. "Today
he marries a great lady
like himself, and — and if
I had not the wee one to
care for I should want to
die. Oh, Raphael — Raphael
mio— "

tlien Maria had known what life
cimlil Ije.

The wf(ldin)<-hells rang across
the hacienda with a brassy
sound, as tho tliey sang of the
joy that would be hers with false
tongues. .She walked among the
flowers and the faces, trembling
thru all her small, slender frame, witli look <l(juncast and cold
hands that were displeasing to tlie man who clasjicd them at
the altar. He liked women witli life in them, blood in their
\eins; women who could laugh loudly and swear a bit. This
girl was strangely aloof. .She made him feel too large, too
clumsy. She reminded him of tlie chilly saints with their dis-
dainful lijis in the sacristy. I'-ven before Marta had worn
the name of .\rtcaga an hour her bridegroom was already
looking at another woman, a tall, rijie. blonde thing — a tourist
spending the summer in town who had co! 'e to the wedding
from bold curiosity and who stayed to smile with eyes that
held hot blue flames into the eyes of the handsome savage who
had married the little grey nun.

From the noisy merriment of the wedding breakfast — the
(lea<l woman listening rigidly in that darkened chamber up-
stairs— .\lart;i sli])ped away presently with a sense of escape;
laid off her sheer gown and the lace veil, light as gossamer,
that seemed so heavy a weight on her head. I"or a time she
brooded alone, gazing down into the hot sunshine of the gar-
dens wliere the roses. stec|)ed in tJie glare, swung like great
censers, flinging off rich incense. Then, hearing an uncertain
foot.step on the stairs, .she sprang to her feet with a sudden

sense of suffocation -her husband — Raphael

Almost without knowing what she did. she stepped thru the
low win<lows to the balcony, ran along it to the steep stone
stairs at the end and down. Then crouching in the shadows,
the bride of an hour waited until her husband's wine-thickened
voice had ceased to call her name. Along the gallery came
other footsteps, light r>nes but dragging. Marta moved front

her retreat and came face to face with an Indian girl, almost
a child in years, whose slender body was bent sidewise under
the weight of the heavy baby she carried on her hip.

There were tears rolling slowly down the olive cheeks, dri])-
ping on the stolid little face below, and as Marta looked the
girl leaned heavily against the pillar and gave way to a low
wailing in her own tongue.

"Is there anything I can do'" she asked her, gently. "You
seem unhaiipy, suffering "

"No, sehorita," the girl answered humbly. .She sjioke the
li(|uid Spani.sh gutturally but understandably. "No one can
do anything, for my baby or for me. Its father" — and she
touched the tiny face with tender fingertijis — "great gentle-
man. He love me once. Now he ride by and does not see
me in the dust of his horse's feet. Today" — her voice broke —
"today he marries a great lady like himself, and — and — if I
had not the wee one to care for I should want to die. Oh,
Raphael — Raphael niio "

"Raphael!" Rajihael's bride sjiokc the name in a voice that
seemed very far away. She turned, held out her hands and
sank to the stone pavement, a crumpled little hgure amid the
ruins of her life. They lifted her, carried her to her chamber
and iiresentiy she opened her eyes and shuddered at the sight
of the dark face bending over hers.

"(io away'' she begged him; "go away! I would 1 lay yon-
der dead beside your mother before I had made that cruel
pledge. The Indian girl is your real wife — for she has borne
you a child "

Raphael laughed, with great, square white teeth. "Pah!" he
s])at. "Wife — that carrion wife to an .Arteaga! 'S'ou are in-
■•ane. or a fool! Come, get control of yourself and come down
to my guests."

Marta rose from her i)dlows. Her skin had the trans-
parent look of a lily that has been broken. Her eyes were
great dark bruises under the tumbled wealth of he' hair.
"Raphael Arteaga," she said quietly, "I have swrrn an oath that
your mother's soul carried up to God with her to guard youi

(Forty)

CLASSIC

Sdul while vou lived. I shall keep tli;it j)leclne, but 1 rail dii
(iod ti) witness that if you try to force me to he your wife, as
that Indian f;irl was your wife. I will kill myself with the
<IatJger that all the convent girls wear always here " and

she struck at her bosom with clenched hand.

In that moment. Raphael, bully and bra^Kart that he was,
felt the cold touch of fear on his coward soul and turned
away and left the bride whom he would not own now or here-
after. Rut the golden-haired .\niericano was waiting below
stairs, with the other guests, and there was plenty of wine,
.md so he <|uite forgot his grievance- for the while.

.\nd all the night after her wedding .Marta knelt with the
moonlight bathing her feverish face like cold, clear water,
and prayed to the \irgin thai she would teach her how to use
lier broken life and give her the cour.ige to forget the leaping
light in twfi sinmy blue eyes.

The days thereafter were blurred, long, aimless stretches of
sunshine that made the eyeballs ache. interru]ited by velvety
black nights, smothering the Hat
ranchlands with sootv shadows.
.Marta gradually, because she
« as yoving and strong and hope-
ful. '.•\en tho she thought that
lio|ie was forever gone, came to
accept her life, even to begin to
bll it with little, gentle, usebss
"tusks. .She gathered the roses
m the garden, wove garlands of
paler blooms tor the cha|)el and
embroidered altar cloths with
tiny, invisible stitches, to send
to the convent in Mexico from
which she had come.

Ra()hael did not trouble her.
He was sullen in his manner to-
ward her, sneered at her tasks-
but he did not claim any of the
rights she had denied him. On
her part, Marta made conscien-
tious efforts to fulfill her pledge
to the dead woman who had
adojrted her when she was a
child and ]>laced her in the con-
vent to be reared for her son.

She saw to it that the table was
spread with the food he liked,
that his silver spurs were always
polished until they struck out
sparks and that he drank no
more wine than she could help.
She prayed for him, too, in the
long, wakeful hours of the night,
that the good saints would touch
his soul and that he might be
saved from the fires of hell. Of
the other, whose face was as an
image with a candle burning be-
fore it. she tried not to think,
yet thought often, wondering
where he might be now and
whether he ever remembered her.
.\nd then one strange day,
that ever afterward remained a
sacred one in her calendar of
life, Marta .\rteaga looked out
of the window of the house of a
friend in the village, straight into
the eves she had seen once only.

And all the night after her wed-
ding, Marta knelt with the moon-
light bathing her feverish face like
cold, clear water and prayed to
the Virgin thav" she would teach
her how to use her broken life

yet had seen so many limes in dreaiVis .\na .Mendez. her
hostess, hearing her stifled exclamation, came to her side and
waved her hand.

".Senor Keith Hryton, an .Vniencano !" slie exclaimed. "He
IS a friend of my husband. He is in Southern California buy-
ing mules for the army. Is he not handsome, think you.
.Marta' With his skin so white as milk and his eyes "

Hut Marta heard no more. Both her small hands had cre]il
lo her brea.st, pressing close as tho tfi prevent some secret thing
from escaping. Her face was the waxen white of the mag-
nolia blooms beside it, but then a tinge of rose wakened it to
life. For the man who stood in the plaza outside had moved
toward them and .\na had hurried to admit him to the room.
.\nd now he stood before her, and his hand, big and firm and
warm, held hers an instant in formal greeting. She lifted her
glance to his, and their eyes met. steadily, as those of friends.

".\t last," Keith Hrvton said, with a slow breath. "I have
waited long ffir this, I.ittle Nun."

(Fortii one)

MOTION PICTURE

She liHci ;i vision of their rtrsl and only meeting, ^lle a hif;-
cved. grey-clad girl looking thru the open gate of the convent
wonderingly at the unfamiliar world, at this tall, straight figure
striding ^long the uavenient as tho he owned the world. Then
when he came opposite her he had stopped, as if she had called
him, and looked at her, long — long — until old Sister Margaret
had come up behind and snatched her in and swung the gate
to, shutting him outside. She had had to do hard penance for
her sin. but .-he had forgotten (he |>enance and only remem-
bered the wonder of the sin.

"1. too," Marta answered him now. "I have often prayed
for you, senor, and [)rayed that the good God would let me see
you again some day.'

He laughed, a big. healthy sound. "Some day is here,
Marta," he -ried. "and so am 1 and you."

Rut she had drawn away, suddenly trembling. "I had for-
gotten.'' Marta whispered desolately, "I am married. 1 have
taken a vow up to (ioil." and for the first time since her dark-
ened wedding day the slow, hopeless tears rolled down her
cheeks. .\nd. with a frightened movement like some wild
thing, she turned and ran from the room. But deeper than
the tears was the sound of singing, for she knew that she
would see him again.

~ burcb. Marta, with Raphael be-

side her, felt his gaze before she
dared look for him. but when at
length she rai.sed her dark,
frightened eyes from her rosary,
her heart leaped until she felt
that her husband must be aware
of its tumult. This time there
was no chance for words, yet
she went back to the hacienda

The next time was at the

The next d»y Keith Bry-
ton was brought, wounded
wrll-nigh unto death, into
the hacienda. A party of
vaqueros had found him
lying beneath his dead
horse on the mountain
trail

with the sense of having listened to mad love-making. And
that night she prayed to the Virgin that she might never see
Keith again and that she might remember always her promise
lo Dona l.uisa and to (iod.

The next morning she .stood, waist deep in June, the great
waving heads of the roses in the garden tossing their petals
over her dark, uncovered hair, when Keith Rryton strode
thru the wicket.

'1 have come. Little Nun, to say good-hy, " he told her,
standing before her in the sunshine that dazzled her eyes as
she lifted them to his face; "I dont dare to stay any longer.
It's too hard to be near you and still so far away. From the
moment I saw you in the convent gate I've loved you, hut I
couldn't touch you then, and" — his great ha, ids clenched — "I
cant touch you now."

Marta looked up at him, then down at the criinson rose by
her hand. .\s long as she lived, the scent of red roses was to
make her faint and dizzy as she was then. ".She was an okl
woman, and she was dying." she said, as tho ])leading an ex-
cuse; "she had been good to me ..." The words caught
raggedly on a sob. She looked up at him again, piteously.
"You say — you love me. Then promise you will think of me
every evening when the first star shines, and I will try to go
on living. But if I thought you would forget — I should pray
the N'irgin to take me to Her, for 1, too — I. too "

"(lod bless you and keep you. Little Xun!" the man said
hoar.sely, and suddenly the roses blurred in the wind of his
going and fell in a shower of bloody petals at her feet, and the
world was empty and the saints had turned their faces away.

.\cross the fields Marta saw a fleck of black that was
Raphael and a fleck of blue that was the habit of the .Ameri-
cano with golden hair, but they meant nothing to her mind,
numb with its grief. They were very close together, these

(Fnrtyttro)

I

CLASSIC

flecks, but mBemi&mm^''mm:^iimmms3essm>'!^ii^:^if^m

Marta did not
notice. He
was gone. He

was <ioiie

That night,
as she was
brushing her
dark, thick
hair, the door
was flung sud-
denly open and
her husband
stood swaying
on the thresh-
old, his eyes,
glazed with
wine, resting
'covetously on
her uncovered
arms a .d neck.
"Damn it ! '
cried Raphael,
"I've a right
h e re — dont
look so aston-
ished! I mar-
ried you. didn't
i:- And I'll be
put off no
longer with
your pious
talk." He
lurched toward
her, smiling
thru glistening
lips. "You're
— you're devil-
ish pretty. M.irta. Did you know it? Cinon, give 's a kiss!
What ! You hell-cat !"

He leaped backward as something hashed in her upraised
hand. Her eyes, too, glittered with the hard light of the steel.
"Keep away." warned Marta, in a low, tense voice. "I swore
to your mother to marry you, but I didn't swear — anything
more. And if you come nearer I'll kill you as certainly as I
stand here hating you !"

They faced each other in sdence, and again, as once before,
the man's spirit yielded to hers. He laughed spitefully. "Have
your own way! After all, why should I care! There are
others who aren't quite so — particular "

The next day Keith Bryton was brought, wounded well-
nigh unto death, into the hacienda. A party of vaqueros had
found him lying beneath his dead horse on the mountain trail.
stripi>ed even to the silver mounting of his harness by brigands.
"He will die,' mumbled the old |)hysician, bending over the
.splendid chest of the wounded man to count the slow heart-
beats ; "nothing can save him."

"He will live!" Senora
Arteaga flamed. "One thing
can .save him." But she did
not say that that one thing
was love'. In the days of
terror that followed she
seemed to keep Death at a
di.stance with the bare
strength of her beating
hands. She literally fought
for the life that was dearer
to her than her own life. It
was as tho she re-created
him, until, one day in the
late summer, he opened sane
eyes on a room filled with
the clear wine of sunset,
with a woman's face — or

- bending
he whis-

.And thu

Mexican

place for

"And if you come nearer
I'll kill you as certainly as
I stand here hating you."
They faced each other in
silence, and again as once
before the man's spirit
yielded to hers

walk in the garden.
lay Ircsh blooms be-

FOK THK SOIL OK k.\PHAKl.

Fictionized from tlic scenario liy Dorothy Yost based upon llu'
novel of the same name ti\ Marali Ellis Ryan I'rotlnced ;uul
directed by Harry CJarson, Starring Clara Kimliall Vmni);. TIk-
cast:

Marta Ka<|nel Estevan Clara Kimliall Yoini^

Kapliael Arteaga I'.ertram Grasslij

Dona Liiisa Arteaga KiiKenic Besserer

El Capitan Juan de la ( ru;;

Keith Bryton. tlie Americano J. Frank Cilendon

Ana Mendez Knth King

Angela Bryton Helene Sullivan

Polonia. . .'. Paula Mcrritt

Teresa Maude Emery

Ricardo > Edward M. Kimball

was it an angel's ' -
over him. ".Marta."

pered, "beloved "

But she was gone,
he begged the old
nurse who took her
her. she came no more. The
strain of t)ic last weeks had al-
most sapped her. .'she was hardly able to
or even to make her daily |iilgriniage to

fore the image of the Holy Mother in the chapel. But every
evening when the first star twinkled out of the <lack blue over-
head, she closed her eyes and said a little ])rayer for the man
who was creeping back to life in the great ranch-house.

On a night of late .\ugust. sidtry, throbbing with stars, she
^tood in the decaying garden and heard the voice of her hus-
band beyond the wall, speaking jiassionately. "Your golden
hair — a man could drown in it. rara mia! Have mercy!

Tell me when y(ju will go

with me '

'' I .\nd then, cold as ice,

a woman's reply. "When
vou bring me the jewels you
have promised, Raphael —
the jewels of your house."

"Now! Within the mo-
ment!" the man cried
hoarsely. "They are in her
room, but I will get them if
1 have to draw the necklace
around her throat and
strangle her! Wait here!
I'm mad for you. ,\nita —
mad enough to wade thru
blood to seize you in my
arms !"

(Conlinued on pafif 60)

(Forty-three)

The Climax

Evidently the possibilities of the contest have reached, in many and
various ways, the ears of the entire feminine contingent of the coun-
try, for there seems to be no village or county in all the land which
hasn't been heard from. A peculiar fact attracts our attention —
photographs of the i)rettiest girls frequently come from the most
obscure places. More than once v\e are reminded of the poet's say-
ing that "many a flower is born to blush unseen, and waste its sweet-
ness on the desert aiv" This, of course, is the primary object of
the contest. To give an opportuifity to a girl who, shut -away from
the world and all that it offers, would otherwise have no chance at
all ever to get away from her narrow enclosure. To oflfer to this
girl, if she is one of the winners, every means by which she will
arrive at the goal of .success.

And not only have the contestants responded front every village
and county thruout the country, but we have received pictures from
our readers who desire to enter the contest from many foreign
countries. This is, perhaps, what is the most interesting factor of
the contest. The variety of types of beauty and charm is over-
whehning. And not only is it the young girl who dreams about the
glory of stardom, but there has been a number of entries from men
and women beyond their first youth who desire to try their fortune
and who feel that they may make good in the cinema world. This
shows the increasing importance that is being attached to the cinema
by old and young alike.

We are quite flattered with the results of the contest so far. As
you doubtless know, the winners of the contest and also the mem-
bers of the honor roll took part in a two-reel
feature which was aptly named '"A Dream of
Fair Women," and which (iroved so successful
a film that the Fine

rHF. jiidi/es'
c 0 m >n i 1 1 e e
will sit on
July 1st and 2nd
b c ttueen the
hours of ten and
four at 175 Duf-
ficld Street,
Brooklyn, N. Y .,
to interview per-
sonally all con-
testants who can
make it conve-
nient to appear
at this time.

Tests will be
taken before the
iiioticn picture
camera at Ros-
lyn, L I., N. Y..
on the followittfi
Saturday, Sun-
day and Mon-
day of all those
contestants who
seem qualified to
be chosen for the final honor roll.

We have now arrived at the most exciting part of the Fame
and Fortune Contest being held under the auspices of The
Motion Picture Macazinf., The Motion Picture Classic and
SiiAPOWLAN'n. The climax is. of course, the most interesting
and thrilling part of the play, and the audience always thrills to
the rising of the curtain on the third act. We have reached the
big moments in the contest. Entries are growing more and more
excited, (as. is shown by the number of photographs submitted,
anxious letters pouring into the office, wires, etc.). Indeed, the
l)hotographs have doubled in number and flood the office daily.

Above. Helen M. Bates
of New York City;
center, Pauline Ander-
son, also of New York
City, and, below, Mar-
garet Peggy Ford of
Washington, D. C.

Photograph by Hartsook

Arts Pictures, Inc.,
of 130 West -46th
Street, New York
City, has distrib-
uted it thruout the
entire country. En-
couraged by the

Photograph hy Bctts. K- C.

(Fortu four)

The Fame and Fortune Contest
Reaches Its Most Interesting Point

success of this feature, we have decided to produce a five-ref.l
drama.

"L.ove's Redemption" is the title of the five-reel feature
play that is being produced by us, which will include many
of the contestants of the 1920 Fame and Fortune Contest.
Blanche McGarity. winner of last year's contest, has been
chosen to play the leading part of Peggy. Dorian Romero
has been selected as the "heavy," and he has a big and strong
part to play. Edward Chalmers. Alfred L. Rigali, Mrs.
Mayer, Bunty Manly, Erminie Gagnon and Johanna Huschle
have al.so been assigned parts. Among the distinguished men
who will probably take part in the play are Edwin Markham,
the great poet ; Hudson Ma.xim, famous inventor ; and Judge
Frederick E. Crane of the Court of Appeals of New York
State. Most of the scenes will be filmed in and around the
Brewster place at Roslyn, L. I., and the taking will be con-
tinued well into September. Each issue of every one of our
several publications will hereafter contain intere.sting news
of the progress of the play.

The judges of the contest will be Mary Pickford, Mme.
Olga Petrova. Howard Chandler Christy, Thomas Ince,
J. Stuart Blackton, Maurice Tourneur, Samuel Lumiere,
Carl Laemmie, Jesse Lasky, David Belasco, Blanche Bates
and Eugene V. Brewster.

We have the privilege to announce the
seventh honor roll winners of the Fame
and Fortune Contest:

Martha Carleton Baker, 571 West 139th
Street, New
York City, has
never had any
professional ex-
perience. She
has blue-grey
eyes and brown
hair. Her com-
plcNion is fair.

Top, Lady Gay Car-
rara of New Orleans,
La.; center, Nan E.
MacAUister of Balti-
more, Md., and, be-
low, Martha Carleton
Baker of New York
City

fcr<tt-».-..-»,:... :.-.«g.,:^niivy^ -^ .-.tg- -

fFnrlii-five)

Photograph by SymsBck

Another Man-
hattan beauty is
Helen M. Bates
of 430 West
119th Street.
Miss Bates has
appeared in
amateur theatri-
cals and is very
in ap-
pearance. She
has blue eyes
and dark-brown
hair and a very
fair complexion.
From 2751
W. Lafayette
Avenue. Balti-
more. M d . ,
comes a picture
of Nan E. Mac-
.'Mlister. who has
played minor
roles on the
screen. She is
an English girl
and has dark-
brown eyes and hair, while her complexion is olive.

Pauline Anderson of 561 W. 141st Street, New York City, has
blue eyes and dark-brown hair and fair complexion. She played
a small role on the stage last season.

Margaret Peggy Ford, 312 C Street. N. W., vVashington,
D. C, has a fair complcNion, blue eyes and dark-brown hair.
Miss Ford has played small roles on the dramatic stage.

From P. O. Box 1428. New Orleans. La., conies a beautiful
])hotograph of Lady Gay Carrara. This Dixie beauty has been
playing a small role with the New Orleans French Opera Co. for
two months. It is a well-known fact that New Orleans has
many beautiful girls — Lady Gay Carrara proves this with her
hazel eyes, dark-brown hair and fair complexion.

Fhotoprap'is by Kvnns

CuUen Landis has worked
at everything. He started
in Nashville as a milkman
and drifted' to the coast.
There he started at the
bottom in the studios,
worked up to property
man, assistant director, and
assistant camera-man to
"stunt actor." Finally he
landed as a regular player

NO one who saw Rex Beach's
"The Girl from Outside" could
forget "the Curly Kid."

.\11 the way thru the picture you
felt Cullen Landis' sincerity, a sin-
cerity that seemed to come out of
the screen and grip you. "Why."
you thought, "this kid is real ; there
is no pretense liere." ."Vnd when
he stood, frightened and miserable,
by the bedside of the sick girl, he

made you realize his misery as keenly as tho he were there in
person in the place of his shadow.

He w.is, it seemed. Youth incarnate; impulsive, reckless and on
fire with enthusiasm at every new discovery. And this is exactly
the impression you get when you meet Cullen Landis in person.
He is splendidlv, boyishly alive to evervthing that is romantic in
life.

There are people who believe that all day-dreaming is a waste
of time. .'\nd then there are others who will tell you that all
thoughts have an existence of their own, with power to help or
harm their creator. That your success depends on your outlook
on life and on the way you think more than on anything else. It
is on this philosophy that Cullen Landis is molding his life.

"I have always had big dreams," he said; "even when I was
property man I used to imagine my name in electric lights above
the door of a theater." .\nd now, at twenty-four, his dream
seems well on the way to fulfilltnent. He is under a five-year
contract with Goldwyn.

I saw him at the studio on a cold, rainy afternoon in late
winter. We sat in one of the little upstairs office rooms. The

A Dreamer
of Dreams

rain beat an endless tattoo on the roof and
occasionally was blown against the window-
pane.

"1 used to believe," he went on, "that
thoughts were of no material help, but 1 have
grown to look on such matters differently.
I think now that my day dreams have
helped' me and that they are helping me
every day. I know that having visions of
a future makes me more careful with my
work. I'.ven when I get a part that I dont
like, it is impossible for me not to do my
best with it.

"There is a man, a Russian Jew, named
Auerbach, who has talked with me a great
deal about the importance of training my
mind to be as mentally efficient as possible.
He is one of the most brilliant men I have
ever .seen. He has been everywhere and he
speaks half a dozen languages, among them
.Sanskrit. 1 think that he has had more
influence on my life than any one else with
•Se exception of Uncle Ed, (Edward Job-

f Forty-six)

By

ELIZABETH PELTRET

^on, a nnich li]\eil character aclor), Uncle
I'd laii),'lit me how to be patient.

"I first met I'ncle h".(l at tlie lialboa studio
in I.ong I'eacli. I was doing a little of every-
lhin(j then, driving a bns. running errands
and minding the switchboard. He had lost
a boy of about my age, and I suppose that
is why lie look an interest in me. 1 used to
lose my patience with praclicalh' no jirovo-
cation at all."

C'ullen l.andis is the romantic ty])e of
Irishman. Mis .skin is pale, his eyes a deep
blue and his hair black and wavy. He talks
in a direct, matter-of-fact way, with just a
slight edge to his voice to tell of his natural
restlessness. He doesn't like cities. You
would notice that his few gestures are always
large ones and that they are upward and
outward, away from himself.

When I saw him he had just returned to
Los .Vngeles from his tirst visit to \ew York,
which he made in company with his director,
Victor Schertzinger, and Mrs. Schertzinger.

"I had a gof>d time," he said, "but I didn't
like New York, really. I like to have lots of
room."

He lives in Long Beach, about twenty
miles from Los ,\ngeles. James Cullen

Phutnsrarhs by K

Cullen Landis is a
young Irishman — and,
with all his hard
struggle — a dreamer of
dreams. "My day
dreams have helped
me," he says, "and they
are helping me every
day"

Landis, to give him
his fidl name, was
born in Nashville,
Tenn., in 1895. There
it was that he got his
first job. It was as a
milkman, and he only
kept it for a very
.short time, .\fter that
he bought a newspaper route and rose promptly
at three o'clock every morning so tliat sub-
scribers to The SashvUlc .-Inicrican would have
no reason to complain of their service. He was
so successful that lie soon rose to the dignity of
a regular position in the circulation department.
He gave that u]) when, at the a.ge of sixteen, he
came to California.

"My first job here." he .said, "was driving a
sightseeing bu.i, so I am i|uite fitted to point out
llie beauties of Los .\ngeles to admiring friends."
And tlien he began doing a little bit of everything
at the I'alboa studio in Long Reach.

No one can say that he didn't begin his career
in moving ]iictures on the first rung of the lad-
der, or that he missed any rungs going up, even
tho he is climbing so rapidly.

He was a pro[)erly man, an assistant director,
an assistant camera-man and, with it all, a
"stunt" actor, but the type of stunt actor who
never gets any credit. He was, in other words,
a double for stars w-here the scenario required
them to do a stunt so risky that the company
(Continticd on fcfW 76)

(Forty seven)

Above, Bert Lytell in "Alias
Jimmy Valentine," in which he
gives a very likable perform-
ance; right, Violet Heming in
"The Cost," which is too scat-
tered a tale to make an effec-
tive photoplay; and, below.
William S. Hart and Anna Q.
Nilsson in "The Toll Gate,"
another typical Hart de luxe
dime novel

The Celluloid Critic

Kext month Mr. Smith zmll review the entire screen year, select-
ing the tzuenty leading photoplays of the twelve months and dis-
cussing in detail the progress — or lack of progress — of all the
leading players and producing units. This annual reincw has been
a Classic feature for three years and is of unusual value as a
record of cinema achievement.)

WE have long intended commenting at length upon Charles Ray
and his unquestioned genius of the silversheet. Yet there is
something so matter-of-fact, so every-day, so humaVily devoid
of the spectacular about Ray that each month we express our brief
appreciation — and pass on.

Ray is deserving of much more. You and I have come to look
upon his bashful, awkward, small-town boys as regular incidents of
photoplay releases. Yet they are far more. Ray takes the most
colorless sort of role and galvanizes it into life. There is nothing
of the theater or studio airaut him. He is small-town youth — the
sort of youth upon which .\merica depends. He is a master player
because he is able to reflect this .so humorously, so tenderly, so sin-
cerely. We know the customary
phrase: "He is just playing him-
self." In answer, we say that Ray is
the greatest of all artists, a player
who projects himself into a role
minus all the histrionic trapi)ings
and gildings of the actor. Great
artists are the simi>lest. Witness
Marv Pickford. Or Charlie Chap-
lin. 'Or Ray.

Ray is a genre player of genius.
He is typically American. No mere
heroic manikins are his screen crea-
tions. He turns the characters in-
side out and shows you the aflfecta-
tions, the weaknesses, the boyish
foibles, the very thoughts of his crea-
tions, along with the outer shell.

Consider Ray's latest vehicle,
"Paris Green," (Paramount). Here
he plays a country boy, just back
from France and out of khaki, who
finds that his sweetheart at home has
not waited for him. Just when life
seems greyest, along comes a little
French girl he met during his forty-
five minutes in Paris and to whom he
gave his address "in case she ever
needs it." With the aid of a French
dictionary the boy finds the happi-
ness he seeks.
.\ creaking skeleton of a story it is. But Ray
makes you lielieve in it. If there is anything
more human in recent pictures than his home-
coming to the old homestead, we want to see it.
Rert WoodruflF makes the father stand out,
altho he exaggerates the role, while Gertrude
Claire is effective as the boy's mother.

One other production of the month strongly
impressed us. This was "Humoresque," (Para-
mount), a visualization of Fannie Hurst's short
story of a little Jewish boy who finds wealth
and acclaim thru his genius in music, who gives
up everything to go to France in the uniform
of the land his parents adopted, and who re-
turns with one arm crippled. In the end he
recovers and his ability to play upon the public's
heartstrings via his violin returns. ^liss Hurst
writes with an unusual understanding of East
Side life and the story offers innumerable op-
portunities for fine naturalistic direction.

Frank Rorzagc's handling of the theme is

(Forty-eight)

The Newest Photoplays in Review

By FREDERICK JAMES SMITH

unusual enough to make his future work of vivid
interest to students of the photoplay. Here is an-
other forerunner of the shce-of-hfe silent play of
tomorrow. True, this striving for human detail be-
comes apparent here and there .thru "Hunioresque"
and the play drags seriously at times. But, on the
whole, it is far and away ahead of the average shal-
low melodramatic film drama.

The cutting of "Humoresque" is puzzling at times.
I'or instance, there seems to be a deliberate effort to
kee]) the featured |)layer, Alma Rubens, in the back-
ground. As the yoimg violinist's sweetheart she
should have been a vital link in the story. Here she
is a mere inanimate lay figure. .\ character player,
\'era Gordon, who C(jntributes a singularly fine and
ucll-rounded portrayal of the Jewish mother, walks
away with the honors of "Humoresque."
Xo mere silversheet shadow is this
touching iiresentation of the immigrant
woman whose son, by one of those
odd freaks of genius, lifts her from a
tenement room and a fire-escape land-
scai)e to Riverside Drive and limou-
sines, but who never once loses her
primitive brhnce, her store of mother-
love, her unswerving faith. Dore Da-
vidson, too, is excellent as the father,
(iaston (ilassisquite adequate as the boy.

Da\id Graham Phillips always wrote
vigorously. Rut his "The Cost" is too
scattered a tale for a strong film story,
unless handled from a more naturalistic
view-jioint than Director Harley Knoles
produced it. Herein a young girl over-
rides the hopes of her jjarents and mar-
ries a young rounder, .^he soon dis-
covers the downright moral worthlcss-
ness of the man and that she really
loves another. But she drifts thru
years of disillusionment and pain until
the death of her husband opens the way
to a belated sort of middle-aged happi-
ness. There is really no climax, for
Mr. Phillips' characters are very human
in their drifting.

Violet Heniing is fairly symjiathetic
as the girl, while Ralph Kellard is
actory as her unfortunate selection.
"The Cost" is one of those photoplays
in which the characters never really age.
altho years dash by in the subtitles.

Somehow or other we find ourselves unable to take
the very heroic heroics of William S. Hart very
.seriously. Somehow his dc luxe dime novels never
impress us as being a significant contribution to either
life or literature. "The Toll Gate," (Paramount),
is an instance in point. "The Toll Gate" ])resents Hart
as another kindly bad man. Black Deering, who once
again encounters regeneration and a cutie at one and
the same time. In this opus. Black Deering foregoes
the ingenue and rides away alone thru the mountain
"toll gate." Hart is himself as the good bad man and
.\nna Q. Nilsson is an attractive figure as the heroine.

We confess dire disappointment in Marshall Neilan's
feature comedy, "Dont Ever Marry," (First National).
For Neilan has a fresh Irish sense of humor. In
"Dont I'".ver Marry" he has taken a slender farce idea
.ind tried to develop it into feature length. The result:
.1 tiresome hour and a quarter with only occasional
ll.ishes of laughter. It concerns the efforts of a young
( Coiilinued on page 94)

(FoTty-nine)

Uharlie Ray is a genre player of
genius. Above, he appears in
"Paris Green," a slender story
galvanized into life by his rare
artistry. Left, Irene Castle, who
lends a certain pleasant person-
ality to "The Amateur Wife."
Below, Thomas Meighan and
Lila Lee in "The Prince Chan"

Gossip of the
Pacific Coast

By TRUMAN B. HANDY

L

V"?

Photograph hy J. C. Milligan

Top, a stelUr
reunion at the
First National
coast studios:
left to right.
Florence Vidor,
King Vidor,
Katherine Mac-
Donald, Charlie
Ray and Anita
Stewart. Center.
Charlie Chaplin
and little Mary
Pickford Rupp.
Right, Ruth
Roland display-
ing literary dis-
crimination

Photoeraph by
Pathc Fxchangf

OS Ani:i:i.i',s, (Special) — The back-to-tlie-

stajje iiuivem(.MU is hitting the movies hard

these (lays. That and the fact that the

)rodiicers, siu-h as Metro, Cioldwyn, Lasky,

t'/ al., are liaviiif; to pay upwards of dozens of

thousands of dollars for star vehicles, such,

for instance, as "Parlor. Bedroom and liatli."

After havinj; been in pictures for some years,

our cinema favorites are feeling the call to

return to their tirst love, the stage, and one by

one they are leaving the film Mecca.

Dorothy Dalton. of course, was the first to
depart in order to star on Broadway in
"â– Alihrodite." Theda Bara left the camera for

— "The Blue Flame." And now Bert Lytell has

annoiniced his intention of going back to the
boards in a jilay to be staged exclusively for the puri)ose of letting (Broadway
theatergoers hear his voice. Lytell has actually wanted to go back to the ''legit"
for some time. In fact, after each picture he'd say he was thru with films —
temporarily — and that he wanted a chance to hear his own voice again en scene.
But now, having finished "The Tem|')le of Dawn," he has left for New York to
make one more picture before the fatal appearance per se.

.And even that champion little child-wife of the screen, Mildred Harris Chaplin,
left the camera, very temporarily, however, for the speaking stage. She made her

debut here at the Little Theater in a very intri-
cate farce. ".'^ick-a-Bed," and, even tho she
looked beautiful in her stage dresses, her voice
was not (|uite |>owerful enough. The premiere
lling at spoken dramatics, however, has put
the bug into Mrs. Chajilin's ear; she says she'd
really like to consider the stage seriously.
And. who knows? She's had a very good
offer to do so, it .seems, but, nevertheless, she's
(juite busy making a picture which is to be
released under the more or less prosaic title of
"Old Dad."

The Los .\ngeles film colony was plunged
into sudden sadness on receipt of the news of
Clarine .Seymour's death. Miss Seymour was
one of the best-liked members of cinema-land's
younger set. A year ago, before she left for
Xew â– 'i'ork with the Griffith players, Miss
Seymour was one <if the brightest social lights
liere. Her sparkling jiersonality was in evi-
dence at all of the more exclusive dansants
and teas, while her graceful dancing and
genial good-fellowship won her a host of ad-
mirers. And. by the way, she was one of
I'.ileen Percy's closest friends and, I believe,
"stood u])" with Lileen at her marriage to the
son of Adol|)hus Husch. When word was
received here of her death, a huge portrait of
her which stood in the lobby of the Kinema
Theater, at which her I'icture was showing,
was draped in crepe and an especially written
obituary was flashed on the screen immediately
after the announcement of her name on "The
Idol Dancer" cast sheet. For Los .Angeles
was her home, and it was here that she was
filmed in the two productions which literally
"made" her — "The ("lirl Who Stayed at Home"
and "Scarlet Days. "

Remember Tom Chatterton, who made such
a startling impressi(m a few seasons ago as a
(Continued on pa</e 75)

(fifty)

By

HARRISON
HASKINS

CI.ARIXE SEY-
MOUR died at
the Misericordia
Hospital, \'en' York, on
Sunday cTeniug, April
25, following an illness
of only four days"

So si)oke the cold,
impersonal newspaper
columns. Vet in those
few lines lay a drama
of real life — swift,
flashing, tragic — of
striving, of success
close at hand, of death.

For the screen had
no more promising
voung actress than
Miss Seymour, Re-
call hei- pathetically
brave little jazz girl in
David Griffith's "The
Girl Who Stayed at
Home." Remember
her little harum-scarum
wife in "True Heart
Susie." And her
piquant little Mexi-
can girl in "Scarlet
Days." Rut, most

The

Last

Interview

At the top of the page is
Clarine Seymour's last photo-

?:raph, taken two weeks be-
ore her fatal illness devel-
oped. Above, is a snapshot
of Miss Seymour taken last
winter with her mother and
little brother. At the right is
another snapshot

of all, her half-caste
girl of the tropics —
vibrant with the love
of life— in "The Idol
Dancer." Here Miss
Seymour touched a
new note — a note
that meant quick
staitdom.

sVie was at work
in Mr. (Iriffith's vis-
ualization of " 'Way
Down East" when
the fatal ailment-
intestinal trouble —
asserted itself. An
operation was found
necessary. I-'or five
days she fought a
brave fight against
impossible odds —
and then the end.

It is hard now to
transcribe even a bit
of our last talk with
Miss Seymour,
which was, indeed,
her last interview.
For the talk was so
full of hope, of
gladness, of dreams
coming true.

Miss Seymour
was born in Brooklyn, altho New Rochelle became her home
town. Comparatively close by was the Thaiihouser studio. It
was inevitable that she should try for screen success. But an
opening did not come easily. She went day after day for weeks
before she was given a tiny role. Heartened by it. Miss Sey-
mour kept on. Small roles came now and then and finally she
was ofTered a contract with the
Rolin Comi)any to play in Toto
comedies.

Miss Seymour went to the
coast, hut a disagreement fol-
owed soon after. She sued,
charging a broken contract, and
won her case, altho not until she
had played briefly with the
(Continued on page 83)

Photograph by White

' F\ftynnf )

PhotoRraph by Hoover Art Co.

Tills question of
having to live
down the repu-
tation of an aheady
famed nienihcr of
your family is a
serious one. In the
tirst jilace. old la-
dies inclined to
deafness are wont,
upon an introduc-
tion, to murnuir
about liow much
you look like your
noted relative and
then to give you a
dissertation on the
various seven car-
dinal virtues jiossessed by him.

Or they'll start in to patronize you
by saying that so-and-so has done such
perfectly splendid things and has a
beautiful soul, and that you have the
same sort of eyes and therefore have
the same beautiful soul and all that.
Or else they'll perbajis merely sniff the
air. take practically no notice of you at
all and insist u))on mouthing all the
famous doings of the famous one which have alreadv been done.

Rut Rva Xovak. the cver-so-blonde sister of Jane, isn't the sort of per-
son whom doddering old ladies are going to classify as —

"Hehr Jane's sister — oh my. yes!"

.\ot at all. F.va has a personality (|uite her own; a \ivacity that her
demure older sister seems not to affect; a way of burring her "r's" that
jane doesn't have ; a liking for athletics and the great out-of-doors, while
Jane prefers to stay at home, to sew or to read a book.

Jane likes to go to tea and the theater. Hva doesn't give a whoop
about the ujtlift of the "drammer." .She'd rather ride a hor.se. Rut

Sister Jane, ne\ertheless. drives the family omnibus, F.va declares
that Jane's the better chauffcuse and knows how to fix the darned thing
when it's "busted." The omnibus in ((uestion is a small limousine, black
with yellow wheels. Jane sits at the steering gear like a regular cabby,
while I'.va rides in stale in the back seat.

Little Sister, Huh!

oy TRUMAN B. HANDY

Inasmuch as h'.va was leaving on the .^ :.^0 train with the Rill
Hart company for a location in northern California, the meager
details of this interview were gleaned in a hasty and none-too-
easily-ridden trip to the studio from the Novak bungalow in
Hollywood.

Jane at the wheel of the aforesaid liiiw. h.va and yours truly in
the back seat. Mrs. Novak, the girls' mother, in the front seat
with Jane — and all of us [lermeated with that atmosphere of
hurry peculiar to the time previous to boat sailings and the flights
from the city of motion picture companies and bank panics.

Rva, as I have hitherto noted, is a blonde — one of those pink-
and-white creatures lovers of the aesthetic rave about. Her ever-
present smile is contagious, and echoed by the faint, wistful regis-
tration of sisterly appreciation as evidenced by sister Jane.

It impressed me that F.va is something of a vamp — one of those
harmless kind a mere male simply cant help adoring. I asked her
if she thought she was sirenish.

"I dont see why not.'' she
rem a rked perfunctorily.
"Just because' you happen
to have a taffy thatch isn't
any sign that you cant com-
pete with your raven-locked
sisters, is it .' "

Ouite so. Jane admitted
it for Fva — and for her-
self. ,\nd she also volun-
teered the information, in
resjjonse to my query, that
F.va's ambition is not to
vamp; that, in fact, her lit-
tle sister as yet seems to
have manifested nr) par-
ticular ambition other than
becoming as famous as
Mary Pickford.
In Hollywood the pecu-

Eva is a blonde . . one of
those pink-and-white crea-
tures lovers of the aesthetic
rave about. Her ever-pres-
ent smile is contagious; and
it impresses one that she is
something of a vamp — one
of those harmless kind a
mere male simply cant help
adoring

I*hotOKrai>Ii Iiy Kv.iii.*

(Fiftjjtico)

Eva Novak Refuses to
Twinkle in Jane's
Reflected Brilliance

liar aiiibitioii of every one of ihe photo-
famous seems to be to "take ofi. "— vveifjlit in
some cases and in otheis aviation. "Taking
oti," aviatorially speakin;;, may I explain,
means to go up in a plane. Pauline l'"red-
erick has "taken off" considerably. So have
Mary Pickford and those |)rime factors of
the him colony, the Hayakawas. l''va, how-
ever, declares that she knows aviating
wouldn't even give her a thrill. She's never
figured on buying an aeroplane, nor even
considered the matter of l.ocklearean vol-
])laning.

But, however, her ambition^ are in ihem-
sebes like aviation.

"T hey go in leaps and boinids." she an-
noiniced.

"Um-hum.' agreed Jane, laconically, "she
makes up her mind sometimes that she's a
moumaineer. .\fter she's bought a new set
of hiking attire, the streak's w(irn off and 1
use the stuff in a ])icture."

"I wouldn't!" e.xclaimed b'.va, vehemently,
a little bit ungrammatically, but, ne\erthe-

Photogra])li liy Kvaiis, L \.

Photnpr.Tph 1

er An Cn.

Miss Novak, the
younger, has gone into
the serious stuff for
keeps. Temperament-
ally, she's been created
for the emotional line.
Physically — well, she
should just be merely
seen by Flo Ziegfeld!

less, vehemently. "I
.idore the mountains.
I'd rather be in the
mountains than eat, so
there!"

"Once in a while she

gets ambitious to fix up

the house," added Mrs.

Novak. ".She sends me

out of the kitchen and insists upon cooking all the

meals. .She knows bow to cook if she wants to."

.\t this juncture our little Kva in true younger-
sisterly fashion, registered a protest.

"Jane." she said. "I have to follow you every
]ilace. and they say. 'Oh. there's Jane's sister!' It's
an awful stigma to be the younger relative of soi^ie-
body who'.s well known. 1 wish I were a hoy — no.
I dont, either, lioys always have shiny noses and
want to fight."

lint what is weighing very heavily on the younger
Novak mind right now is her attempt to stabilize
her memory. .She forgets so many things she ought
to remember, she declares, that she's sim|ily i/ot to
do .something.

"We get so used to not remembering that we just
forget to remember. The studio writes everything
down for us — what we wore in .Scene 144 and even
how we looked in a close-uji. Now. ever since I

first started "

"Which wasn't so long ago." interrupted her sister.
Precisely. She was a schoolgirl in .St. Louis
( Continued nn page 70)

(Fiftfi-three,

Double

Conducted

y

Tim: Oimja
Spi.aks —

Oc 1 J A ! ■•
said

we the other night
— we always consiih our
ouija boai'il u|)on eililo-
rial matters of impor-
tance— "OniJa," we re-
peated, "how about it?"

Suddenly the ouija
galvanized into move-
ment, ' d r a j; j; i n g o u r
hands along.

"I-mh-e-r-e." it spelled,
indicating that the spirit
of Ab, the famous cave-
man-novelist and the
Robert \V. Chambers of
the Stone Age. was at
work. Ab, who is our
spirit control, claims to
have been the originator
of the Cinderella type of
story, (having dictated
it to a stone mason in
80892 n. c ), and is con-
sequently intensely inter-
ested in motion pictures.

"What," we asked ]iro-
foundly, "will be the big
photoplay develoiwients
of the coming year?"

The ouija glided to
"No." .\b is whimsical
like that.

Sternly we repeated
the query.

The ouija slowly be-
gan spelling out
the psychic rei)ly:
"F-i-f-t-y-o-n-e
b-I-o-n-d-e i-n-g-e-
n-u-e-s w-i-1-1 be
s-t-a-r-r-e-d."

"Yes, yes," we
prompted breath-
lessly.

" F-o - r - 1 -y-
e-i-o-h-t B-r-o-a-d-
w-a-y f-a-i-1-
u-r-e-s w-i 1-1 b-e
p-u-r-c-h-a-s-e-d
f-o-r t-h-c m-o-v-
i-e-s a-t a h-u-n-
d r-e-d t-h-n-u-
s-a-n-d e-a-c h."

"Cio on," we de-
manded.

"G-e-o-r-g- e
J-e-a-n N-a-t-h-a-n
wi-1-1 at-t-a-c-k
t-h-e p-h-o-t-o-

p-l-a-y"

"No, no!" wc
exclaimed, incredu-

Exposures

F. J. S.

tograph by Althc

LET'S GIVE EVERY ONE CREDIT

A T KlJt KKH

â– THE BRIDE'S REVENGE"

featuring

I.KTTV I.IMI'.

From llic

Pylilicity l»y S.

DirecIPii l>y A
Photograpnei

l.ouilslioutrr
d by tj, Ick Shvittcr

A Maniniiiih I'ic

_ ) by C. O Writer

Sci-nariu by Jniso Goode

l]^ j^yaj Lithographs by Stone & to

nivcloniiii; anil Printing by Gigantic Laboratory
Lomplcx.ons by Pracb Cnsmtfc Co, ^, , ^, Shoes, t.ttrm Barga.n Stor.

I)istributt-<1 by (.'mfma SaU-B (.o.,

I.ti'iiu-l () Wiscgny. Prfsiclcnt

Oscar Shi-ktoiiKm-. Sales Manager

N.aural Ha.r Co. , ,,. Hat«. N.fty M.II.nery Shop

MiHS Limp's gowns by Maison Mignonette

Other Kowns, Novelty narij,tin Store

" Summer home scenes, Courtesy

Mrs. Oso Riche
CAST OF CHARACTKRS , , k- ,,

u/;u.- w..:>rv Marmadiikr Nothing

M K Wea?y I! ! . -St. Clair Smythe

Mrs. Weary Archibald Fine

WiRs

Railroad hCelies. Courtesy
T. N T Kailroad Co.

T„_„ Archibald Finephace

AlicTl .'.â– â– .. V â– .â– .'.â– ..'..'.'.â– .'.'.....' Hortense Palindrome

The Little Stran(^r^^.__. . y^^^.^. -^^ ^j;.;.;; ' o^^,,.- whiie,' Charts'"'
.Susiinne Zero

Kxtras Glawdy
'roi'erly Man, Nick Screen

Limp
bungler,

"Look where you're dancing,"

said Ben Turpin. "Dance where

you're looking," responded the

Sennett Spirit of Nature

lously. 'I"he ouija went finnly
to "Yes."

"W-i-M-i-a-m H-a-r-t
w-i-1-1 p-l-a-y a b-a-d m-a-n
w-h-o r-e-f-o-r-m-s."

We noted the startling in-
formation.

"W-a-l-l-i-e K-c-i-d w-i-1-1
b-e s-c^e-n a-s a d-a-s-h-i-n-g
m-o-t-o-r-i-s-t."

We started with surprise.
"C-h-a-r-1-i-e C-h-a-p-1-i-n
w-i-1-1 m-a-k-e a-n-o-t-h-e^r
p-i-c-t-u-r-e!"

We could no Ion,ger contain
ourselves. Indeed, we ex-
pressed our incredulity in no
mean language.

Rut the spirit Ab persisted.

"C-e-c-i-1 d-e M-i-1-l-e

w-i-1-1 p-r-o-d-u-c-e a p-h-o-

t-o-p-l-a-y w-i-t-h a b-e-d-

»r-o-o-m a-n-d a b-a-t-h. '

We laughed at the prepos-
terous idea. The ouija rattled
angrily.

•'Y-o-u-r-e g-e-t-t-i-n-g

t-h-e r-i-g-h-t d-o-p-e," the

ouija was fairly speeding now.

"Are you positive?" we

asked.

"Y-e-h," responded Ab. He
often drops into colloquial-
isms like that.

We were just
about to put sev-
eral more signifi-
cant questions
when A b inter-
nipted.

" H - e - r - e i- s
w-h-e-r-e I f-a-d-e
o-u-t," he spelled
out. "I a-m o-f-f
t-o t-h-e w-e-e-k-
1-y m-e-e-t-i-n-g
n-f t-h-e A-n-t-i-
S-p-i-r-i-t R-a-p-
p-i-n-g A-s-s-o-
c-i-a-t-i-o-n. W-e
a-r-e o-r-g-a-n-i-z-
i -n - g f-o-r an
e-i-g-h-t-Ii-o-u-r
n-i-g-h-t."

mist's tyliewriter by Remington
Novel origin.^'
Kir . Ktc . Ktc . Ktc

Casting Director. 1. Knowttawl
Stuilio Manager. Acost Kutter

ingti
Novel origin.Tlly published by

I'nique Pub Co.
Ktc. F.tc,

Autos by Onelung AutoCo.

Raw film stock by Eastman
Etc, Etc., Etc., Etc.

Why?

When a liner

sinks, does the

ocean seem to

(Continued on

pa<;e 83)

(Fifty- four)

The Yellow Typhoon

Told in story form from the Anita Stewart Photoplay
By PEARL MALVERN

IT was not until the bkue of i)ublicit.v had died and been
decently interred that Hilda could bear to speak of The Yel-
low Typhoon. It was not until her own honeymoon was on
the wane, and life had assumed, once more, normal proportions,
a normal persi)ecti\e. Then, one evening, before an open grate
she began to tell her husband of the twin sister, known to the
world, sinislerly. as The Yellow Typhoon. I"or. looking into
the flames, *he had begun to see pictures and the im|)elling need
of speech descended upon her. She saw herself and llerta
at pla\, twin sisters, with, at first glance, no apprecialile differ-
ence save the shade of hair. Her own the dark, somber brown
it still was, Herta's a mop of belligerent yellow, which had given
to her face a curious stalking look, the look of /"''I'V. She
could recall little fragmentary odds and ends out of their child-
hood. Their mother

saymg, m a worn
voice. "1 am sure 1
dent know what will
c't'cr become of
r.erta!" .\dding, al
wa\s. "Hilda is so
fiilircly ditTerent, it
is difficult even for
me to believe that
the> are twins." ( )r,
vividly, ISerta de-
ni a n d i n g

most uished to pla\ in her favorite game; the desk in schooj
she herself coveted : the share of candy, or fruit, always the
major sh;ire. Her own remonstrances, gradually weakening
under the insidious and generally terrifying threats llerta
would niake . . . .And then, as they grew ai)ace, little by little,
the divergence of their interests, the intolerance of their mutual
jjoints of view. It was all, .seen now, in the still red glare of
the recent traged>, painful in the extreme.

Still, she had always known that the story of The Yellow
Tv|)hoon must some day be told, and to one so important as
the man at her side, in whose life The Yellow Typhoon had
(lipped her vulture-like fingers before the end.

.^nd so she began by sketching, in graphic bits, their twin
birth, their early ajiparent dissimilarity of character and dis-
position, the slow but very sure way in which lierta had broken
their mother's heart and ended her gentle and terrified life.

"Mother gave us a complete absorption," Hilda said; "she
had. she felt, failed personally in a great many ways. Her vital
hope was that we might atone, might shrive that failure, h'roni
the beginning, 1 see it now, and mother, being .so wise, must
have seen that from the first, Kerta gave omen of her end. There
was. 1 know not how, something wicked in I'.erta. W icked is
the only word for it. The sort of wickedness that, in a woman
or a good man, congeals the blood, and in a bad man fires it."
Mathison interpolated: "Hallowell wasn't bad — "
Hilda nodded. She knew Mathison's deep devotion for the
man who had been his friend as well as his chief. She savored
the resentment he must feel for The Yellow Typhoon because
of Hallowell. So many peoi)le dear to her had suffered because
of The Yellow Typhoon! Over that desecrated grave the
tears that dropt were said with self-])ity.

"Xo, he wasn't bad," she -said, gently, compassionately; "he
wasn't. He was (/ood. iSut I think, dear, that of all who
crossed her path in that way, he was the only good one. He
was a victim to her, then, untried capacities for evil. Some
of the fresh untouchedness of her youth must have lingered
about her. with promise, not of evil, but of good. She had a
great magnetism, lierta. Poor Hallowell felt that. And feel-
ing that, he was wilfully blind to the other potentialities. The
human animal is so frail when its emotions are aroused! "
.Mathison turned to study the fire-etched profile. But there

was no substratum of mean-
ing .in Hilda's words. She was
thinking solely of her sister
and the havoc she had
w rought. She was thinking of
the beautiful, cruel, forever un-
powered hands, that had taken
so many lives and strangled
them at will ; nothing more.

"Rerta ran away with Hal-
lowell, as you know," Hilda
v\'ent on more briskly ; "and
two weeks thereafter a body
was found in the river dressed
in Berta's clothes, wearing
Berta's jewels, with Berta's
light hair, and, what we could
see of her, a general resem-
blance to Berta in form and
feature. Hallowell had
dropped from the face of the
earth — and we identified the
body as Berta's. Mother and
I surmised a tragedy, of de-
sertion, prob-
abl_\', or mere-
ly an out-
come of one
of Berta's
horrible rages
when thwart-
ed. Hallowell
had not
known how to

She could recall lit-
tle fragmentary odds
and ends out of their
childhood. Their
mothtr saying in a
worn voice, "I am
sure 1 dont know
what will become of
Berta"

(Fifm five)

MOTrON PICTURE

Still, she had always
known that the story
of The Yellow Ty-
phoon must some day
be told, and to one so
important as the man
at her side, in whose
life The Yellow Ty-
phoon had dipped her
vuiture-like fingers be-
fore the end

handle her, we reasoned, and the
suicide, in a moment of red rajjc.
had been the result.

"It broke mother's heart. The
thought of tliat unsanctified body
preyed on her night and ilay. ."^he
got to tlie point where .she forgot
the woman, l!erta. and kept hark-
ing back to the yellow-headed,
beautiful baby whose worst fault
«as to rip the paper ofif the walls
in a childish gust of passion, unrestrained. She kejn holdin.i^
her, in her imagination, or slapjjing her tiny, undeveloped hands.
Very soon after tliat. she died. I'.erla had killed her."

.•\ log separated, split, fell apart, sending into the reduced
light of the room a spray of angry .gold, not unlike the van-
quished head of The 'i'ellow Typhoon. The man and the
woman, sensing it. shuddered.

"I began my work in the V\'ashington headquarters of the

â– iecret Service." said Hilda; "I
^d the power, I believe, of
hurling myself into obliteration
of other things by work, more
work, arduous, concentrated
work. P>y work I lived, and by
work I was able to ])reserve my
sanity in the balance, if I had
had time to think of those two
lives of which I was so integral
a part.

".^fter awhile the work of the
Secret Service gripped me. I
thrilled to it. every nerve. .\nd
... I made good at it, as you
know. '

MatliiMin squeezed the delib-
erately relaxed hand hanging
over the side of her chair.

"There came my mission to
.Manila, ' said Hilda, "as protec-
tion for Hallowell on his antici-
pated tri]) home uith the plans
for rendering submarine warfare
inutile . . . Ho you remember
that day?"

"Do I ?" .Mathison gave a short
laugh. "Do ycni remember the
things that 1 said to you? ( >h,
my child !"

"The most acute thing, of
course, "said Hilda, "was the fact
you presented to me. indubitably,
that I'lerta was alive. You said,
so coldly. John, You bear a re-
markable resemblance to The
Yellow Typhoon,' and you stud-
ied my credentials with even
more than customary scrutiny as
you spoke.

"I said, 'Why; what do you
mean? \\'ho is The Yellow Ty-
phoon ?' And then you told me
of the yellow-haired woman with
the cruel mouth and the defiant
eyes who was suspected of being
in Manila for no good purpose.
'We are of the impression,' you
said to ine, watching me with
sort of lynx eyes, 'we are of the
impression that The Yellow Ty-
phoon is in Manila with the ex-
press purpose of becoming better
acquainted with Mr. Hallowell's
general plans.' How cleverly,
and with what meaning you said
tliat, dear I I asked you more about The Yellow Typhoon, and
yon told me of the woman who had, at one time, some connec-
tion with Hallowell : who had run a large, a very notorious, a
very horrible gambling house in the Orient and who had eloped
with one of her patrons, a man called Lysgaard, after staking
herself and her place agairist a priceless diamond necklace —
losing, ^'ou told me that you did not doubt but that The
^'ellouâ–  Typhoon, having left on lier transcontinental trip with
Lysgaard. a lurid pathway, was in Manila for huge stakes.
'.She has got.' you .aid, 'to slake her blood with hotter fevers
than even the Orient, which she has lapped up, can supply.
.She lias come here for the fevers. \o\i told me other things,
little things and big things, and in tlie telling you etched Berta
as perfecti) for me as tho xou had jircsented her to me in the
tlcsh. I felt faint, and showeil it, and you thought that my
being, as it were, found out, had caused the temporary illness.
You should have known, dear, that it wotild lake more than a
tentative recognition to shake the aplomb of The ^'cllow Ty-
jiboon."

(Fiflytix)

I

CLASSIC

Mathison again interpolated : "And then, again, you showed out get it as "l;;;^;^^' »"* ^^ ""^.^[^^f ,\'i',
your cre<lentia1s fron, Ileadquarters at Washington, such bona perhaps, ^he Yenow Tp>hoon w,ll he stH
fide credentials, and I recall thinking what honest hands you any longer any longer insatiable ... oh
had. what steady eyes, what a sweet, reliant mouth. I remem- 1 want rest from her !
ber thinking of you as
a woman who should
not play big stakes,
but for whom big stakes
might well, might justifi-
ably, be played. I recall
a pang of pity that you
were, in any capacity,
right or wrong, involved
in intrigue. W e
couldn't, (if course, ig-
nore vour credentials,
neither could we ignore
the amazing resemblance
to the woman who was
causing us the vmeasi-
ness, and so we accepted
vour service . . . and
waited . . . '

Hilda, tensely now,
took up the thread. She
k n e w that Mathison
would hesitate to supply
tlie piece that fitted in
here.

"That night Hallowell
found I.ysgaard and
Berta ririing his trunk,"
she said, "and Berta . . .
no, not Berta. The Yel-
low Ty|)hoon. shot . . .
and killed him . . . the
man who had been her
husband, whom she had
ruined once . . . then
deserted . . she killed
him. She got away, just
before I arrived, too late
for me to hold her back,
soon enough for me to
recognize her. When
vou appeared upon the
scene there was Hallo-
well . . . dead . . . and
there was 1 I '

There was a little
silence. The split log
dwindled to gre>' ash.
.Mathison said, "My first
thought was personal
rather than ])rofessional.
I was ashamed, but it
was so. 1 thought, in-
voluntarily, '("lod. dont
let her he guilty !'

"You dear," said
Hilda.

"Shall we go on with
this?" asked Mathisini,
tenderly, "I am afraid it
is too much for you. Is
it necessary ?"

1 lilda nodded. "Yes,"
she said, "let's talk it

She had a great magnet-
ism, Berta. Poor Hallo-
well felt that. And,
feeling that, he was wil-
fully blind to the other
potentialities

(Fiftji-fcvcn)

and then . .

1. will not be

I want her

. then,
restless
to rest ;

MOTION PICTl'RE

"Wc couldn't prove anvthiiig, nf i-oursi-," Matliison resumed,
"but we cnuldn't ))rove auytliiiiij either wny, and there we were.
1 couldn't lielieve that you were Tlic ^'ellow I'vplioon. I>nt
neither could I deny the irrefutable fact of liUcness taken in
conjunction with the uncanny circumstantial evidence piliu),' u])
about you and against you. The next day we sailed, le.uins;
poor llallowell's last rites to bo performed bv strangers . . .
You had the stateroom next ours. I bad .secreted llalloweirs
])lans and was takiuf; them to Wasbinjjton in his stead ..."
'â– .\nd all the while." broke in Hilda, unsteadily, "The Nellow
Typhoon and l.ysij;aard were in the steerajje, disguised, watch-
ing us . . . how far gone I'.erta nnist have been, John, her
own sister . . . the man who had been her husband . . .
what a terrific way she nuist have gone I"

"Then the attempt on the way over." .\lalhison tilled in the
silence that seemed almost to palpitate between them with the
strange personalit)- of the dead girl, "and lite way you, every
time. dear, intervened. .\nd the figbf 1 fought with myself!
.\gainst the fascination, the <lear warm fascination yon lield for
me, and my shrinking fear of your identity. If Herta had not
been, in fact,'iyom' sister, dear. 1 .should not be able to forgive
myself, .'^ince she was, I feel that my suspicion nuist ncces-
sarilv be somewhat condoned. Small wonder that 1 tbouglit
as I'did!"

"I used to feel sometimes." said llilda, rather dreamily, "as
tho even now, Herta was holding from me the thing I wanted
most e\enjis she had done in childhood. 1 knew, too, on that
sea voyage, dear. I knew so surely,
so sweetly, with such a ))ang of
pleasure and of pain. .\nd I
thought that the best and the worst
of it would lie tb.at I would have to
hug my knowledge to mv breast,
solitarily. 1 thought you could
never care for me . . . because of
The N'ellow Typhoon."

"And you told me of
the woman who had
eloped with one of her
patrons, a man called
Lysgaard, after staking
herself and her place
against a priceless dia-
mond necklace
losing"

They sat in silence for awhile, and it almost seemed to them
in that liusbed hour as tho the tumultuous, restless spirit uf The
^'ellow Typhoon lireathed between tbcni — was it compassion-
ately:'

"Then we landed." wbisjiered Hilda, "and I followed you to
your hotel. T took the suite above yovi. I was not sure but 1
liad every reason to believe thjit I'.erta and Lysgaard would
also go to the same place. 1 had a twofold reason then for
wishing you to reach Washington safely. My lo\e of my
country and my love of . . . my man. I determined that no
vigilance ever known should .surpass mine. Waking and sleep-
ing you should be under my sur\eillance. ^ .\nd von were. I
knew that night, that red and terrible night, that the sounds
I beard in ycnir room beneath my own. were not the sounds
you made in i^rejiaring for bed. I had come to know your
every movement, dear. To anticilJate, to follow. 1 had come
to thrill to each sound you made after the key turned in your
latch. On that night, things were different. There was no
deliberate dro))|iing of two shoes . . . how I used to smile
at the same deliberation, my own. There was no soft wdiistling
following the short sharp shower in your bath. 'I'here was no
shuflling and rulfling of innumerable newsjiapers before the
light was snap])ed out. I followed the regime thai night . . .
and it was not the same.

"1 knew it was The Yellow Typhoon at work.

"My love of you formed for nie, then, a sort of protective
barrier against the thing I had to do. If it had not been you I
was going to protect, [lerhap,^: to save, there might have come
to me the chill that I was giving my own sister, my nearest
of llesh and blood, over to the law. 1 might have been halted
in my rigorous duty, for the sake of a softer tie. Hut that
night nothing mattered — only you. I thought of your deep
friendship for Hallowell — now dead. 1 thought of the cour-
ageous sea trip yoit had made, guarding those plans, his plans,
with your life, for honor's sake. I thought of . . . oh, love,
forgive my heart talking to me in that hour ... I thought of

(FiftyeiffM)

CLASSIC

the moon-flooded nights at sea
when yotu' dear heart spoke, in
your eyes, to me. and your dear
mute mouth was still.

"There they were ! I5erta and
Lysgaard, over your trunk, mul-
ling up your papers, throwing
your things aside. Berta, my
sister, and the man who was the
aider and abetter of the crimes
that were making her infamous
. . . It was a bitter sort of
moment, if it had not been for
my love of you !"

"And you held them at bay,"
the man whispered, half inaudi-
bly, "there, in the night, alone,
splendidly, until I came with the
police who had called me to the
desk in order that I might dis-
prove the lies Lysgaard had been
spreading about me. The police
were with me at a fortuitous mo-
ment. They saw The Yellow
Typhoon and her mate. They
caught them with the papers . . .
and I think, dear, oh, I feel cer-
tain that after Lysgaard started
the firing it was the police who
shot them down. Your revolver
and mine had nothing to do,
Hilda, with the two who are no
more.

"It is hard to evolve out of a
chaos of shouts and groans and
threats and pleas any sort of
clear conce])tion. and yet, oddly
enough, something told me, some
instinct, that I should know just
what w'as transpiring, jirecisely
what was trans]>iring. The
same instinct told me that I
should need it. After this is
over, ran thru my mind, after
this is over I shall need to make
some .sort of explanation. I
think it must have been your
valiant courage in holding your

own flesh and blood at bay for the greater sake of a greater
cause. That fired me. dear. The last doubt, too, had fallen
from me. I saw the likeness and I saw the difference . . .
the same flesh and the same blood, the same features, the same
lines, the color of The Yellow Typhoon that drove men mad
for love of her and the spirit of a brooding Madonna in you
that made a man worship you. I know that. An instinct
deeper than I can fathom tells me that this is so. It is .so.
Dear ..."

"It is all over with her now, poor, passionate soul," Hilda
murmured. "I hope she is at rest . . . she never was in life.
I like to think that that little smile on her mouth was one of
commiseration for all the jiain she had caused on earth and
one of hope for the salvation
she was going to find in
Heaven."

"Amen to that," said
Mathison ; "hers was a con-
summate expiation."

The fire fell away and the
room was in darkness. Mathi-
son stooped over and replen-
ished the logs. When he had
done, the flames leaped forth
again and fell athwart the
walls in broad bands of scar-
iet and gold.

(Fifti/nine)

THE YELLOW TYPHOON
Adapted by Monte M. Kattcrjolin from Harold McGrath'.s
story of the same name. Directed by Edward Jose. Star-
ring Anita Stewart. Released by First National.
Hilda Nordstrom ] a ■♦ c*

Berta Nordstrom, (The Yellow Typhoon) ( ' ■■^""'' ^'«»="'

John Mathison Ward Crane

Robert Hallowell Donald MacDonald

Karl Lysgaard Joseph Kilgonr

Monsienr Andre Duval George Fisher

Morgan E. J. Brady

Hilda lifted her head with the "I knew, too, on that

old confidence, the old gladness. ?'* voyage, dear. I

..A„j ji " u J " It knew so surely, so

And then, she said, we took 3„„t,y_ ^j^^ si' h a

the plans to VVashmgton and de- pang of pleasure and

livered them, just, I know, as Hal- of pain!"

lowell would have wished us to do.

You were .so still on that trip. You

had seen The Yellow Typhoon. You knew the relationship

that had so confused you with its likeness, yet still you kept

silence ..."

"I was so ashamed." whispered the man. "of my doubt of

you ... of you ..."

"The committee commended you for your loyal services."

his wife went on. "and then
they asked you my identity.
You turned to me, and I
iTiust have answered you with
eyes and lips and touch, for
you bowed and said : 'Gentle-
men, my future wife!' and T
said, 'Yes,' . . .

"With the staid Washing-
tonians not quite sure what it
was all about, and I at a loss
to reply . . . and then ..."
"But you did." he said,
"you did reply."

Emily Chichester has
Just come into prom-
mence in Goldwyn pro-
ductions. She scored
something of a hit with
Pauline Frederick in
"The Woman in Room
13" and the discerning
screen observers pre-
dict all sorts of good
things for her

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Sixly-oTie)

Mildred,
Descendant
of William

By FRANCES GRAY

just plastered with pictures of movie ac-
tresses, and 1 liked the ones who wore curls
and rufllly dresses — like Mary Pickford and
Viola Dana. So you can imagine how
thrilled I was when I found I was going to
l>lay in the same cast with Miss Dana.

"We went to Washington to live when
we first came out here from the I'-ast, and
we came to California frolii Tacoma, Wash-
ington: Hut the .Seattle newspapers claim
that I'm from there, too. That's like the
crook who said that Minneapolis and St.
Paul were in an awful argument over
where he came from. Only in his case
Minneapolis said he was from St. Paul and
St. Paul insisted that he was from Minne-
apolis.

"How did I hapi)en to go into pictures?
{CoiiliiuiC(t OH l^aifc 73)

#1^""^

Pholugraph liy WiUtl, 1. A.

Mildred Davis, who plays
opposite Harold Lloyd, is
a descendant of William
Penn, and she herself
comes of a Quaker family.
Altho she is but nineteen,
she has had much screen
experience with Mutual,
Metro, Bluebird and
Pathe

•'T Y/^^'-'LI'N't William turn
\^ over in his grave if
he could see me as a
movie actress?" demanded
Mildred Davis, Harold
Lloyd's petite leading woman,
with a giggle that revealed
two piquant dimples at once.

"William— 'Shakespeare ?"
we hazarded vaguely, really
khowing nothing about Mildred's forebears.

"William Penn," slic corrected me. "Why, yes, I'm a
Quakeress — all my people came from Pennsylvania, and
I'm a lineal descendant of the dear old Hill who sold the
State to the Indians, »f bought it from them — or some-
thing. 1 never can remember history."

The famous Quaker probably did turn over in his grave
just then ; but ancestors cannot e.xpect to be taken seriously
by nineteen-year-old descendants with curly gold hair,
baby-pink skin and bluish-green eyes. Mildred. sup])lied
the optical adjectives, or I shouldn't have dared. No, she
doesn't take her illustrious lineage seriously at all. The
past does not concern her — just the jiresent.

In spite of the fact that she has played with Mutual,
Metro, Bluebird and Pathe, and has risen to the dignity of
co-featuring with Harold Lloyd, she is just a little girl,
with the likes and dislikes of young girlh'- id.

"I began as a movie fan when I was welve," she said,
with her little-girl smile. "I had the walls of my room

(Siatytwo)

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(Sixty-four)

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(Coiili)u(cii from page 21)

liou.';e and he often spends his Sundays
there, that is, of eourse, when he worUs
in Los .Snjjeles. Working at Culver City,
half way hetween Los Angeles and the
lieach. lie can make his choice, tho
from there the \'enice house is the more
easily reached. He ahsolutely refused to
let me describe either place.

"The \'enicc house is just a camp," he
said, "There isn't a thing in it, or in the
Rampart .Street house in Los ,\ngeles,
that belongs to me : all my things are in
storage."

"Mine too," said Mary Alden, w-ho had
joined us.

"But," I argued, 'you can impress
your own personality on even a vented
house if you live in it long eno'.'jgh. The
same is true of motor-cars , , ,"

".â– \nd of wives," said t'ne irrepressible
Rose,

"For instance, you might marry me
tomorrow , , , as a miatter of fact, he is
going to marry me ttjmorrow, aint you,
John ?

"I am if Fate doe.sn't step in again and
prevent," said Stoue with very little evi-
dence of enthusiasm. The wedding . . ,
for picture purposes only . , , was to have
taken place ths.t day on "location" in
Pasadena, but had been postponed be-
cause it was raining steadily and blowing
big hurricanes,

"Anyway." Rose went on, ''we inight
be walking down the street and some
one might see us and say : 'Isn't that so-
and-so's wife .' She looks like him!' "

"I think that's a myth," said Stone.
"I d()nt believe that association ever
change's one'i=i physiognomy. Environ-
ment might, bu"t not association.

"For instance, I might have been very
different in appearance if I had followed
my first ambition. I ti;ought that the big-
gest thing I could be was a captain on an
ocean-going liner. I worked on a ship
for seven months without pay, only ask-
ing to be taught something of navigation.
I worked harder then than I have
worked at any other time before, or since,
in my life.

"Finally, I considered myself quali-
fied, only to learn that I could not get a
pilot's license until I was twenty-one
years old. As I was then about sixteen,
life looked very hopeless to me. Shortly
after this, the Spanish-American war
began, and I marched away with a crowd
of boys as young as myself, all of us feel-
ing very heroic indeed.

"Of course, all of that seems like a
verv comic-opera sort of little fuss, re-
membering it in comparison with the war
we have just been thru. But it was
all very exciting to us then. Incidentally,
it was while I was in the army that I
went broke for the first time. We had
been stationed in Cuba for four months
and during that time none of us had been
paid, .â– Xs a result, I hadn't seen anything
of the nearby town. At last a regiment
arrived from Massachusetts and I went
down to look them over and see if I knew

any one. ( Stone's home is about thirty
miles from lloston.) I soon made
friends among them and one of the boys
asked me what I thought of the town.
I said that 1 hadn't been there. 'Why?"'
he asked. 'Because,' I said, 'there's
no use going there without any money,'
He said that he would let me have some
monex- and, in support of his word, ict
me have an .American ten-cent piece, I
changed it for rentavos, getting ten cen-
tavos for every American cent. Then I
took my three tent mates with me to
town and we had a wonderfuJ time,

"We could get a glass of peculiarly
hectic drink for one centavo. and a
guava fruit sandwich, which was quite
delicious, for the same price. Cigars
were two centavos each. So we not only
had a feast, we had some money left
when we got thru,

"This is in sharp contrast," he re-
marked, "to the profiteering one has to
put up with today,

"For instance," he said^ "last Sunday
I bought two Los Angeles newspapers in
\'enice and was charged twelve and a
half cents each for them. With Los
.Angeles only fifteen miles away, this is
absurd ; I could have gotten the London
Times cheaper ! It is this type of small
profiteering that is so peculiarly exas-
perating. One is practically helpless to
do anything about it," It is character-
istic of Stone's lack of self-confidence
that he did not choose the stage as his
profession, but followed it with splendid
success after another man had chosen it
for him. This was A, Q, Skannon of
Xew York and the whole incident was,
apparently, the result of the merest
caprice of Fate,

"I had just left the army," said Stone,
"and was looking for work, I visited
the navy yard, hoping to find something
there, but the only demand was for car-
penters, skilled mechanics, etc, I made
a list to show to the boys in camp and
bought a magazine for myself to read on
the way back,

"At this time, vaudeville sketches were
just beginning to be shown. Among the
stories in the magazine I was reading,
was one that I thought would make a
good vaudeville sketch. Without know-
ing anything about dramatic construc-
tion, I dramatized it and showed it to an
uncle of mine who was in the profession,
I suppose he thought it bad enough to be
really funny and decided to pass his laugh
along. Anyway, he gave me a letter of
introduction to a booking agent in New
York, While I was in this man's office,
Skannon came in. He looked me over,
'What's your line?' he said, I didn't
know what he was talking about, 'Ju-
venile, leads, heavies or what ?' he added,
I explained that I wasn't an actor," (But
here is where the advantage of belonging
to a theatrical family comes in,)

"You can read, cant you?" Skannon
asked,

(Continued on page 70)

(Siatytix)

CLASSIC

Bennett & Co., Inc.

(Continued from page 33)

made him an offer, and as he had become
fascinated with this new art, he promptly
accepted. So, instead of carrying his
bride back to New York, as he had
planned, he remained to direct her pic-
tures and the successful combination of
Bennett & Co., Inc., was effected!

"I came to stay two weeks and have
remained two years," said Mr. Niblo.
"I sent for my belongings, we bought
this house, and for the first tim« in my
life I have a real home."

"See what you got by marrying me!"
teased Enid.

"The home is only the frame for the
picture !" gaily retorted Fred, with his
grandest bow.

"Fred's weakness is prowling about
the book-stores, and he is on intimate
terms with all the book-collectors in the
vicinity," remarked Miss Bennett, as we
entered the cosy library opening off the
drawing-room.

"This room is the heart of the house,
for this is where we really live," proudly
announced Mr. Niblo. "Here we study
our scripts, work out new bits and plan
many of the scenes that finally reach the
screen."

The mahogany book-cases lining the
room contain an extensive and rare col-
lection which is a veritable treasure-
house and makes one long for unlimited
hours in which to dip into its riches.
Above tlie books are a number of auto-
graphed portraits of famous actors, sug-
gesting many happy stage associations.

The third floor of the house is one
long room, which they have merrily
dubbed the Chamber of Horrors, for
here are the remarkable souvenirs and
relics which Mr. Niblo collected during
his extensive foreign travels.

"Fred and I had such fun arranging
these things," said Enid, as we examined
the treasures, representing many nations,
tribes and peoples, "for he told me the
interesting sfory connected with each one
and how and where he secured it."

"IVanderlust!" I exclaimed. "How
does he escape its grip?"

"Oh, he doesn't," began Enid. "He
longs to be up and away whenever he
hears of a boat liailing."

"When we finii-h our contract we are
going on a long, long trip,'' continued
Mr. Niblo. "We will take our cameras
and weave one or two reel stories against
a background of travsl. I was the first
to take motion picture;"- into Africa, and
I want to cover the same country again
— with Enid."

At the far end of the room is a pool-
table, and tho Miss Bennett admits that
husband defeats her with tantalizing
regularity, yet the lure wil! not be
downed and they indulge in a spirited
game every night after dinner.

"And your fads?" 1 asked the little star,
as we returned to the drawing-room.

"I have none except — P'red !" she an-
swered. "I love my work, my home, my
garden and my two dogs — here tliey are
now !"

fSixt It seven)

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Shorty

I Continued from pai/c 37)
nliiiDst two years with Harry Pollard,
cnjoyiiif; comedy, since Iiumor appeals to
Antrim Short, and finally with Bob
\'i^'nola, his close friend and a man
whom he fairly worshi])s. I liked his en-
thnsiasm when describini; Mr. N'ignola.

"There will be a lot of f/ood directors,
iho, now that the country has j^one dry,"
Mr. Short said, sajjely.

With Vivian Martin, Antrim Short
a|)peared in "The Petticoat Pilot" and
'The Third Kiss," later with Constance
Tahnadge in "Romance and Arabella,"
and in a propaganda story which came
into being a little late, as the armistice
was declared — that was "The Yellow
Ticket," you remember.

"With liert Lytell, in 'The Right of
Way,' I play a good part. I like 'em to
change from crooks to sweethearts,
drunken younger brothers to dudish
chappies with monocles, boys — like in
'Rebecca of Sunnybrook Farm' — and all
that stuff, you know," he volunteered.

"Seems to me you have hit Universal
City quite often in your travels," I sug-
gested.

"Always glad to get back home and to
mother's cooking," he smiled cheerily
again. "Funny how we all hike again to
Universal, isn't it ? Well, you're sure of
a square meal when you belong to that
outfit, anyway. Pm welcome at Daddy
I^aemmle's table any time — quite com-
forting, that!"

"Do you fly often?" we ventured.

"Three times a week I go to Crescent
Junction and Wilshire Pioulevard, to the
Mercury Field, and it's the one big hobby
of my life — nothing on earth can com-
pare with flying," answered the young
man, as he described enthusiastic circles
w"ith. his arms. "I am a speed-crank —
and you cant get up speed on earth. I
have to zi'alk to the studio every day,
because I am so afraid of the speed cojjs."

"Automobile racing ought to suit you !"

"I want to awfully — I mean race. I
think there's less danger of smash-ups in
the air than on the track, so. for my
part, the shi|) is good enough for speed.
.Mother hasn't much time for auto
races !"

".And I sujipose you're a very obedient
son ?"

"I should .say. Mother says I run a
\ery good average — as boys go."

A.\" OKIENT.^L LOVE SONG
Hy j.vMKS Fk.v.s'ki.i.v Mi'llanky
Your abseiK-e turns the liglit of day to dusk;
The sun th.at laughed to sec yuu hides and
grieve* :
Your jjarmeuts hold their hweo'.Wr and music.
And scent of sandal leaves.

When yon are near, m>- heart that was as ct)ld
.^nd sad as winter, sin^s. and ^hidb siuRs,

For happy sunlicht kisses fields with Rold —
Tile joyous pofipy brings ;

'i"hf fraptrant ii:be-rosc stars your vihstenin^i
liair,

.\n<l perfvnnes liours. and freel\- beautifies:
Your c>es reflect hke pools of silence where

The lotus, sleeping, dies.

As with a cord, thick-twistei. of bamboo.

M>- life is bound to yours till its last breath ;
K'en then m\ soul will rise atui follow you

.\cross thai stream called "Death !"

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fashion saus
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(Sixiu-eiahi)

MOTION PICTURE CLASSIC

For the Soul of Raphael

(Continued from page 43)

Then the sound of his footsteps hurry-
ing into the hacienda. Marta Hfted her
face to the sky. Perhaps — yonder Dona
Luisa was peering down, reminding her
of her vow — "to save the soul of Ra-
phael— — "

She stepped out into the moonlight,
facing the hard look of the golden-haired
American. "You do not love him — love
saves. You would destroy him. body
and soul," Marta said steadily. "I will
not let you have his soul !"

"What are you going to do about it?"
sneered the other woman, secure in the
knowledge of her power. "You talk like
a third-rate melodrama!"

Marta came close to her. Her eyes
flashed, but her voice was low and con-
trolled. "I have made a vow to the
Mother of God to stand guard over the
soul of Raphael."

A snarl behind them drew their eyes to
the figure of Raphael Arteaga, face con-
vulsed with anger, strange-colored fires
flashing from the jewels he held in his
hand. "You ! I have had enough of
you! Take your vow back to God!"

The golden-haired woman laughed
softly. After all, marriage would be
more of a triumph ; then she screamed.
For a tall figure, head swathed in ban-
dages, had stepped from the window and
seized the arm raised above Marta's
head. Raphael whirled, stumbled, tried
to save himself and fell, the knife still in
his hand. On the ground a shadowy
figure writhed once or twice with a hic-
coughing .sound and then lay quite still.
The golden-haired woman screamed
again and began to laugh insanely as she
bent over the dead thing that had been
Raphael.

In the bright starlight Marta and Keith
Rryton faced one another. "A judgment
of God," shuddered Marta, "a judg
ment "

"Reloved!" Keith cried, "oh, beloved,
thank God I came in time !" And he
would have taken her into his arms, but
she shook her head.

"Not — yet," she whispered; "we must
not think of ourselves now." Her face,
pure like that of some waxen saint in a
sacristy, was turned upward to the sky.
"Mother of Sorrows," prayed Marta,
"intercede with Thy Son for the soul of
Raphael "

Movie Encyclopedia

Louis Desirable.— Yes, the Talmadge girls
will write to you. That was a real octopus in
Girl of the Sea " Lillian Gish in "The Tipcr
Girl." It was originally called "The Lilv anrl
the Rose." How do I know whether nr nr.t
Mary Pickford is afraid of toads? Ask her
yourself.

J M. H., Jr — Dont know how you can get
in touch with Dorothy Dalton unless you write
to her personally. She is very busy, you know.
Some one said they were going to put Aphro-
dite in overalls. No, I wasn't in that overall
parade.

Marguerite. — No, my name is that, and you
cant bribe me, either. You write a miRhtv
clever letter. Alan Forrest is playing with
Lottie Pickford, Surely Marv is a Canadian.
Cant give you the name of the Minter picture
•aken in Ottawa.

fSixtynuu)

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Side-

(Coiili)ii(e(i

"\ es." .said .""^lone.

"Tlien read tliis!"

' This" prined to be tlic leading part in
a melodrama named "Side-tracked."

Stone read it . . . cues and all.

"That will do," said Skannon.

He then explained that he had a coin-
pany on the road, playing Canada, and
that the manager was taking the place
of the leading man who was too ill to
finish the season. "When can you
leave?" he added.

"I had been trying to find work for
several weeks and was feeling somewhat
at a loss as to what I should do," said
Stone. "Here was a decision apparently
made for me by heaven. I accepted,
and joined the company at Belleville.
Canada.

"At first, the company treated me
royally. One by one they buttonholed
me and told me how much they liked my
work and how glad they were that
I could finish the season with them.
Tlieii one by one they told me what the-
ater I had been playing in when they last
saw nie and what type of part they were
certain suited me best. At last, when I
could stand it no longer, I got them all
together and informed them that I had
never been on the stage before in my life.
After this, it was thumbs down. They
treated me like the outsider I had an-
nounced myself to be."

There was a moment's pause :

"Do you think that luck is the big-
gest factor of success on the stage?" I
asked.

"I think that it is an important factor
of success not only on the stage, but
everywhere," he said.

"Certainly an actor of no -rery great
ability is often exceedingly successful be-
cause he happens to be given exactly the
right part under the best possible condi-
tions. Rut isn't the same thing true of
non-professionals? How many men
have been given credit for foresight and
sagacity when, if the truth were known,
all of the credit would be given to luck! '

.After finishing his first season. Stone
returned to Xew York, where he ap-
peared in "Bunny" at the Hudson Thea-
ter. He came West in 1906 and was
le.iding man at the ISelasco Theater in
r.os .Kngeles for six years. It was in
1907 that he married Margaret Lang-
ham, and she retired from the stage,
never to return to it again. Her death
occurred three years ago while Stone was
at I'lattsburg, training to "do his bit" in
the world war. Some of Stone's best-
known stage parts were in such" plays as
"The Bird of Paradise," with Laurette
Taylor: "The Misleading Lady," "In-
side the Lines," and, more recently,
"Where Popi)ies Bloom," with Marjorie
Rambeau.

His first picture, made with Thomas
H. Ince, was "Honor's Altar." (Others
are: 'The Havoc" and "According to
the Code," for I'^sanay ; "Man's Desire"
and "The Man of Bronze,'' from stories
which he wrote himself; "The River's

tracked

from page 66)

End," for Marshall .\eilan; "Held by the
F.neniy," for I^asky, and Goldwyn's

'Milestones.'

Little Sister, Huh !

i Continued from page 33)
when her mother journeyed West to be
with Jane, who had been playing in pic-
tures for some time. On graduating,
F.va joined her family in Los .\ngeles.
and the day following her arrival was
engaged as an extra by the Lois Weber
company at L'niversal for the production
Shoes." She had gone to the studio to
visit Jane, who was playing in the
"Graft" serial, and the fascination of il
all prompted her to register at the em-
ployment desk.

She "su|>ed" for some time. Finally
she became an ingenue in L-KO come-
dies, where she sup[)lied the requisite
feminine indchritude for nearly two
years. Then, one day, she visited the
\ntagraph plant and met Tom Mix, who
was also paying a call on Larry Semon.
Tom liked her looks and engaged her for
the lead opposite him in '"The Dare-
devil," "The Feud," "The .Speed Ma-
niac" and "One-Quarter Apache."

House Peters about this time was re-
turning to the screen at the Garson
studio, to ap|)ear in ".Silk Husbands and
Calico Wives." Kva was cast opposite
him. .\nd finally in a role opposite Hart.

Strangely enough, F.va has never had
any great difficulties in making strides of
progress f)n the screen. The hardest
thing for her tf) do, she remarks, was
learning to do the comedy walk — that
little tripping, snappy perambulation in-
digenous to the custard-pie cuties of the
black-and-bkie drama. .\nd now. since
.she's doing legitimate dramatic .stuflf,
she's had to unlearn it for the stately,
gownly stride of the tragedy queen.

"Oh, F-ve," iinplored sister Jane, "dont
get a dramatic walk ! It's worse than a
comedy wobble."

But. just the same, .Miss Novak, the
younger, has gone into the .serious .stuff
for keeps. Temperamentally she's been
created for the emotional line. Physi-
cally— well, she should just be merely
.seen by Florenz Ziegfeld. .She's over-
flowing with that concomitant known
as ''pep," in her mode of doing things,
of speech, in her very piquancy and her
incisive, keen wit.

She's a unique person. She has a
striking jiersonality all her own, and a
na'ively unaffected manner of expressing
it. Little sister--huh !

SEVEN WONDERS OF THE
SCREEN WORLD

By Vaka M. Jonfs

Charlie Chaplin's walk.

Theda Bara's eyes.

Douglas Fairhanks' agility.

Mary Pickford's salary.

Bill Parson's smile.

Billy West's nerve.

"Fatty" Arhiickle's waist measure,

(Seventy)

CLASSIC

Bashful Bobbie

(Continued from page 17)
,\ny one who could have such an effect
(111 the hardened door guarchan must be
unusual. And (.".riffith was right— for the
unknown was little Mary I'icktord.

Another storv relates the way Mary
I'li-kford brought theCiishes to the studio,

Lillian and Dorothy stood outside the
ofhce railing while Mary introduceil them
to (iriffith. 'iietter think this over,
Mary," smiled the director, "when the\ 're
on that side of the fence you needn't
worry — once they're on this side things
mav be different."

\\hereat little Mary looked (iriffith in
the <ye and said: "I'm not afraid iif any
line on cither side of that fence 1'^

Hut to return to Harron himself. Hob-
ble has an odd sense of humor — a sort of
quiet appreciation. Mo.st of all, how-
ever, he liates formality, "liey, (.iriff,"
is the way he launches his remarks to
the man who stands at the forefront of
the pliotoplay. Neither does llarron
talk pro and con about the art of the
screen. "Oh. this making of motion pic-
lures." he reni;irks, when the word .\rt
is drawn into the conversation. He hates
to be noticed in jiublic. "Dont know
uhat to do with my hands when jieople
liegin to look at me," he explains, lacon-
ically.

Imagine calling I'ohbie Mr. Kolieit
1 larron!

When some one commented that Hob-
ble would he the last person in a crowd to
lie judged an actor, he sighed with
genuine relief and said :

■•Thank Cod!"

THE N.\MBY-PAMBV OF \ NIT:
DENTISTS

/?.v E. P. Pilzer

Dentists were brought into the world to fill
â–  u long-felt want and other cavities at so tnnili
per cav.

.\ dentist alwa\s feels happiest when he is
down in the month and it does not matter
wliose month he is down.

They are generally single, for, while they
can alter the face, they hate to face the altar.

IJentisfi always like to hear a false-set o
\oice.

Their favorite card game is "liridge."

They hate hvpocrisy and admire an open
countenance. The longer it is open Ihe better
Ilie>' like it,

A dentist always likes to look yon in tlu-
face and then charge yon for it.

To put gold caps on teeth is his crowninu
glory and it angers him a bit when he knows
that no charge can be made for capping the
climax.

It is a well-known fact that dentistry has
lieen practiced for many decayeds,

,\ dentist can stop the ache in your tooth
even tho it takes nerve to do it. But it is
.\nur nerve generall)-.

They make good farmers, for they like to be
surrounded by achers.

He is obser\iiig and detects the false of
others immediateh'

Dentists, as a rule, do not like college boys
who are good at giving their respccti\e cob
lege \clls — they prefer poor rooters,

Tlic\- are generally of good extraction,

.â– \ dentist's parlor can prTiperly be referred
to as a drawing-room.

While most professions help the world gen-
erally, a dentist is always a drawback,

.Most men in order to become successful
need "push." A dentist needs "pull."

{ Srrnifii-niif) '

"Heads Win!

Traffic jammed at the rush hour! Crowds thronging station platforms! A
mile of stalled trains! The swing-bridge would not close and all because down
in the power house something had gone wrong and nobody knew what— until
Jim came to the rescue.

Each night thousands are seeing unfolded on the screen the thrilling story of Jim Godfrey,
who, in the hours after supper, with the help
of the International Correspondence Schools,
had put a trained head on his shoulders— a
head that knew what to do in an emergency.

There are thousands of Jims in real life. You will find
them in offices, shops, stores, faotories. in mines and on
railroads. For in ev^ry city and town and in every line
of industry there are men who have pained in spare mo-
ments, with I. C. S. help, special traininn in the work of

• rtkn OUT Mi«-

their clioice.

There are men like Jesse O. Vincent, who rose from a tool-
maker's apprentice lo Inventor of the Liberty Motor , men like
Joseph G Tynan, the laborer who became the world's oreatest
ship builder ; men like Robert E, Rumsay, the clerk who ht-came
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every day.

Cxn you situ go on, putting In your days at the same grind,

Jetting the same pay envelope wlln the name Insufficient mni.
eeplng up the constant fight against a aoaring cost of llvlm-.
when a little grit on your part could be the means of changiiif
your whole life?

It ts easily pusslble for you to have Ihe poslltoo you want In
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your family the kind of a home, the cpmtorts, the Utile luxuries,
the «Djoymenti that you would like them lo havt No matter
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-you can do it ! All we osk Is Ibe chance to prove it. That's fair.
Isn't It? Then mark and mall this coupon. Th.-re's no obligailon
and not a penny ot cost. But It may be the most Important suy
> ou ever look In your lite.

INTERNATIONAL CORRESPONDENCE SCHOOLS

BOX 6774. SCRANTON, PA.

Explain, without obligating me, how I can quality for Iha poal-
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. Rlecirlc Llghilngaad Railways
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t Concrete Builder

t Structural Engineer
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r Textile Overseer or Supt.
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Sign Palmer
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n Common School Sublec**
n Mathematics
nciVIL SKRVICE

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n illKtmtflll.F OI-FRlTIII*
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Learn How to Write
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Tliere is a biir '
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wVu«1ror f r«« booiri;n?r.,'i.'SSiL's?o'iS'.'' VbT.

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MOTION PICTURE 1

Katherine MacDonald, A.B. ]

{Continued from page 23)
In the one she is now making, "The
Guests of Hercules," she depicts a con-
vent-bred girl of France, -whose fortunes
lead her to the hectic halls of Monte Carlo,
where adventure, sorrow and guile way-
lay her, with lo-i-e triumphant in tlie end.
"And what do you think!" she de-
manded, enthusiastically. "The Prince
of Monaco sent me a special invitation to
bring my company over there and film
the story in the halls of Motite Carlo
itself, which, they tell me, have never
been photographetii"

"And you are going-, of course? 1
urged, catching her enthusiasm and al-
most falling out of my chair in my eager-
I ness.

I "Oh, no; I cant. It would be too hor-
ribly expensive. Mother was crazy
about the trip, and I think she got her
things all packed in the expectation that
I'd decide to go at the last minute. Id
have to take her along, you know— I'd
spend every cent I have over the gam-
bling tables if I didn't have her to hold
me down— but then, I'ln not going,"
i she finished with a sigh. "We took the
1 Monte Carlo scenes at the Fairmont
Hotel in .San Francisco, and w^e inveigled
all the guests into working in the picture.
And they were wonderful!" she said,
with conviction. "Many of them worked
all night long, for several nights in suc-
cession—and they made it so inuch more
realistic than it would have been with
five-dollar-a-day extras."

A studio iiiitentate of some sort paused
beside us and asked Miss MacDonald
what she desired for luncheon.

"Tea and a tooth-brush," she replied
])romptly. "I lost mine this morping,"
she added, to me, in explanation of her
remarkable order.

Luncheon time reminded me that food
as well as art had a place in Natures
jilan. „ . ,

"Would you mind telling me, 1 said,
hesitatinglv, as I rose to leave, "what
kind of cold cream you use?"

She laughed again, unfeignedly, but 1
paused, breathlt^ss, ready to jealously
treasure forever the recipe of Kather-
ine's beauty. ,

•'I know I ouqht to say some kind ot
imiiortetl cold cream," she answered, a
trille rcgvotfully, "hut if you want the

tl'Utll "

In mv I'Ncilenient. 1 could feel my
heart throbbing loudly— so loudly, m
fact, that T was afraid I wouldii t be able
tn hear the glorious secret.

I ,Hd! Indeed, yes! 1 leaned close.
.She leaned clo.se. . , .,t u

"Well, then," she confided, I scrub
mv face and shamjioo my hair with Life
lliioy tar soap— it costs five cents a cake
—and it was first recommended to me
as fine for bathing dogs!"

So gentle reader, 1 went out and
bought a case of Life lUioy at five cents
per' tin- cake. Of course, I haven t the
Iiatunil scenery to work on that Kather-
ine MacDonald, A.R., has, but still-you
never can tell I'm hoping for the best.
(Sreenty-two)

CLASSIC

Mildred, Descendant of William

(Coiilinucd from paijc <>2)
To he perfectly frank, it was l)ecau.-e I
was offered tliiity-five dollars a week to
do child parts. At first my family was
shocked, being (Quakers, you know, but
they finally let me do a picture for Mu-
tual, called 'Little Miss Innocence. I
was SI) disappointed when I went to see
it. because I was so ut/ly! I give you my
word, 1 almost cried !

"All the actors treated me just like a
child . . . and, of course, 1 was," she
smiled, (it seemed to me she should have
said "am" instead of "was"), "and I had
a wonderful time. I played with Wil-
liam ."^towell, Bryant \Vashburn. kobert
(iordon and Antrim Short. Mother al-
ways went with me to the studio and
curled my hair, and every one teased me
hy saying 'thee' and 'thou' to me.

'"I'he other girls at the studio laugh at
ine because I take such care of my |
health," she went on, with youthful â– 
seriousness. "I always go to bed early, 1
because I know that nothing in the world
spoils your looks quicker than late hours.
When 1 have a caller I 'shoo' him out by
eleven o'clock, (imagine, if you can, a
six-fool Konieo being forcibly ejected by
a diminutive luliet of l)arely five feetl,
because 1 value my complexion more
than 1 do .mything else."

"What do you do when you're not
vv (irking ,it the studio?" I intpiired.

"Why. I sew."

".\ot really!" we interrupted, incredu-
lously.

"^'es, I dressed dozens of dolls for the
orphans' Christmas tree this year. You
know Harold Lloyd was injured aboui
two month.s ago by a hand-grenade
which he thought was harmless, so wc
haven't been able to do a thing until he is
belter. It's given me a nice long vaca-
tion, tho, and that's how I liappened to
have time to dress the dolls. Harold will
lie able to go to work in about two
weeks, tho, so then it will be all work.

"I ride horseback, too," she continued,
with naive pride, "so I'm just tickled to
death that our next picture is going to be
a Western. .\nd 1 play golf and study
[•"rench," she added, as we complimented
her versatility.

"I certainly dont believe in giving up
your education just because you dont
have time to go to school, do you ?"

We agreed with her, but it would be
hard to disagree with this magnetic
young person on any point.

"But when do you find time to study ?"
we "entured.

"f)h, I take my books to the studio
and study between scenes." (Think of
trying to conjugate French verbs in the
midst of the noise and bustle of a film
studio!) "But that's not any worse."
she added, "than trying to study with
jack in the room hurdling chairs a la
Doug I'airbanks."

Jack, her small brother, was at that
moment leading a parade across the
lawn, composed of himself as Harold
Lloyd and two |)laymates made up as
Charlie Chaplin and' "Fatty" .\rbuckle.

(Srreiiiythree)

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jU ^^ IJVf STORIES 4 PHOTO-PLAYS

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MO'IIO.N PICTURE

"Jackie nearly emhana.'^sc.^ tne to
cleatl; vvlieii we go to see one of my pic-
tures," she continued. "He gets so
worked up over seeing nie on the screen
that he shouts so everybody can hear,
'Motlier, what's sister goin' to do lie.Nt ?' "

"How do you make yourself cry be-
fore the camera?" we a.sked, hoping to
learn some of the little secrets of the
screen.

"Oh, that's the best thing 1 do," she
laughed. "Just let them play some soft
music on a violin, and they have to get
a bucket to catch my tears, (^ne day I
sobbed so long and so hard that the
camera-man got worried. I guess he
thought there'd been a death in my family,
or at least that I'd lost my job, because
he patted me on the back and said, 'Little
girl, what are you crying for?' I said,
'Xotliing.' and kept right on crying. He
looked at me with his face a blank, as if
to say, 'Well, women are certainly Chi-
nese puzzles.'

"Of course, it's not always easy to do
what thev tell you," Mildred continued.
"( )nc time 1 was made to walk on the
edge of a roof after the director had
threatened and coaxed me for about an
hour. 1 screamed, i wont, I wont!' all
the time I was domg it."

"Do you ever want to go on the legiti-
mate stage?" we asked.

"No," she answered, emphatically,
"unless I get too old and wrinkled to
play in pictures. Then." she said, "I'll
make my li\ ing dancing on the 'legit.' "

"Hut dont you think if you were too
old for pictures, you'd also be too old to
dance?" we remonstrated.

"N'o. indeed; I'm keeping up my
dancing now for that \ery reason," she
assured me. Imagine a nineteen-year-
old sli|) of a girl keeping "limbered up"
araiiist approaching old age!

When we left, she walked to the front
gate with us, with her arm linked in
ours. .Standing on the front walk was
little brother's brand new one-man-
power automobile in bright blue splen-
dor, where it had been abandoned for the
more interesting diversion of a Chaplin-
l.loyd-.Vrbuckle parade. Mildred pijinted
to it laughingly. "Our new Stutz," she
said. "Uant to go for a ride?"

"(lit ;ivvay from our machine !" shouted
young Jack, iieremiHorily calling the pa-
rade to a nudden halt in order to look
after his property interests, and mis-
taking our mild interest for covetousness.
"Xobody can ride in it but me and
Charlie and 'Fatty' !"

You see. a film star's little brother is
no different from yours and mine. .And
far be it from us to try to crowd "Fatty"
out of any seat, so we declined with
thanks and left Mildred scolding Jackie
for his rudeness, just like any big sister,
and nut a bit like a film star--or a de-
scendant of William Penn.

THE WILDEST V\EST
Fi.OR.v— .My kid brother doesn't know
whether to no to Texas or Arizona to learn to
In' a cowboN'.

1-'m N.v— Send him to Los Angeles. There
:in.' m'lri' cowlioys in -the movies than any-
wliere else the'ic days.

(Seventrifonr)

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Gossip of the Pacific Coast

(Continued from page 50)

matinee idol with the old Broncho
company ? He's back again in pictures,
supporting Enid Bennett in "The In-
cubus." Tom happened to be the first
actor who ever donned evening attire for
Thomas H. Ince. He hesitates in de-
scribing the detail of that eventful day,
but he. docs say that his appearance in
the spick-and-span regalia caused no little
consternation among the free-and-easy
Western "types" which infested Inceville
when cowboy and Indian thrillers were
the big gag of the day and when soup-
and-fish was looked upon as too elite and
exclusive to ever make a hit on the
screen !

And, speaking of Ince, one recalls that
a coterie of New York chorus girls in
William Rock's vaudeville revue which
played at the Orpheum quite took the
Ince studio by storm. Rock, Frances
White's late partner, is an Angeleno,
quite a friend of Thomas H.'s. The girls
were stunning, and even the feminine
stars paid considerable attention to their
clothes. After wandering about the stu-
dio for some time, two of the girls be-
came confused and could not find their
party. Seeing them standing helplessly
near a "set," a stage-hand volunteered
the information that Rock and the rest
of his entourage were just over there
behind a bank of Cooper Hewitts.

Both choristers stood unimpressed, and
at length, one, turning to the stage-hand,
remarked, haughtily:

"Speak plainer, please. We're stage
ladies and cawnt understawnd yer furrin'
lingo."

That good-looking younger brother of
Anita Stewart, George, is making rapid
strides to stardom, having been cast to
play opposite Mildred Harris Chaplin in
"Old Dad." George has only been out
here a few months, but already has
played important parts with both William
Russell and Mary Miles Minter. His
"pal" at this writing is "Buster" Collier,
son of the famed Willie, who has come
to Los Angeles on a vacation. George is
working on a "set" adjoining his sister's
at the studio. Anita is filming Kathleen
Norris' magazine story, "Harriet and the
Piper," which includes one of the most
famous casts ever assembled in a picture.
Ward Crane, remembered as the vile vil-
lain of "The Luck of the Irish," is the
professional devastator of virtue again,
while Charles Richman is the leading
man and Irving Cummings figures promi-
nently. And Myrtle Steadman plays a
vampire.

And, at the same studio, House Peters
and Jane Novak are co-stars in an Alas-
kan tale by Curwood which Edwin Ca-
rewe is producing. Really, these Alaskan
dramas made in sunny California are ex-
traordinary. They get the snow effect
by sprinkling the stage with a concoction
which smells like mothballs and nearly
depopulates the studio, while the sledge-
dogs, which actually hailed from the

(Continued on page 87)

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Iloltn, Havallan Guitar. Ukulele.

Guitar, Mindolin, Comet, Tenor Banjo or Banjo

Wonderf ol now ayatem of teaching note masic br man. To flr«t
pupils In each locality, wo B'»* o T-i) Buperb Violin, Mnndolin,
Ukulele, Guitar, Howalin Guitar. Cornet, Tenor Binjo or Bnjijo aba*,
hitalr free. Ver7Bma1lcli&rz« for Icssoca only. We erturantre anc-
caa« or do charre. Complete outlit f r««. Write Dow, No obltt^ntloa*

U.IN6ERLAND SCHOOL OF MUSIC. Inc. Dept. 28 CHICAGO. lU-

DO YOU WANT TO ck

GET IN THE MONIES ?

11 sail ycu poKpSld
1 beautiful ptetuT*
:>k jc-nlaln. oo^rin*

gi»»B Xbaeitlyoaraerof tlisi Ulnt.t on lfi» loaHIMte •!«(«.
Ctbo ir Tou 4) fmt a*.lfa to inter th» aorle*. tBl. Bo<j» t* »«y
iBi.mllng uid iTntruollTS. ■*» ■••ta your tlM rt.o you can
uka tcouiand* In tbl« aloel* art by fsllolng ttia initruBttoD*
Mleb t •111 glTs you. OtDtra hav* dona 11 ana SO 0*11 TOO S«na
Ocllai t>lll or eonar ctdar today and ffi\ atarteo. You Bill not
b« dlaappo InXod. Sla^a not aocaptcd.

^ ADmiee —
ALBEfiT W. BONNEY
205 LENOX AVE., BRIDGEPORT. CONN.

(Seventy -five)

Fit YOURSELF For
Life's Fi^ht

THERE'S no pl.ice in our live-wire business and
social life for the weak, sickly man who is of no
use to himself or anybody else. Health. Strength,
EnerRv. and the Abihty they give a man, to win
SUCCESS, are the only quahties that count. No-
body will care anything about you, or even give you
a second thought, if you go staggering through life
witli some miserable chronic ailment, weakness or
bad habit making you a misfit in the busy, wideawake
world; holding you back, keeping you from doing
anything worth w!iile and slating you for the shelf
or junk heap before your time.

Get Out of the Rut

Don't be content to end your
life a miserable failure. Don't let
.1 sickly ailment ruin all your
chances of success. It won't cure
itself. You will never be any
better until you exert your will,
get hold of yourself, lift yourself
out of the rut that is growing
deeper every day you travel in it.
YOU CAN DO IT. You can free
yourself from the Constipation that
is destroying the tissues of your
body and brain; you can get rid
of the Dyspepsia and Indigestion
that make you feel as though you
carried a millstone in your chest ;
you can cast off the shackles of
aniy bad habit that is sapping your
vitality and making you asnamed
to face your fellow men. YOU
CAN BE FREE FROM YOUR
TROUBLES — strong, well, with
every chance of making a success
in the world, if you will only
WAKE UP ! — Look the Facts
<;qu.-irely in the Face and ACT
AT ONCE.

Win Back Your Health
and Strength

I'll show you how to do It. In a way
that has never failed. I have made a
lifetime Gtudy of the metlioda whereby
rtne^ved V IT ALITT— bringing With U
Health. Strength and Energy — is re-
Blored by Nature's own methods to Uie
liuman orcanlsm. By thoae methods I
built myself up. until today 1 am ca.lled
the strongest man In the world. By them I have buUt up
thousands of weak, ailing, despondent men and women: turned
the watery fluid In their leios to rich, t Issue- huU ding blood,
streiicthened their vllal orcans. developed their muscles, ex-
terna! and inlernal: given them back health, happiness, hope.
ambition and the Joy to the full of LlvinK Life. , "Vlvlmus
dum Vlvainu»"— ■■^litlo wo live lei ua UVKI" tho old Bomans
-^l.i- thcr,i's no use livina at all. unless one can be weU and
6tr>.i'g and hui'i>y aod ENJOY life while it lasts.

STRONGFORTISM

Strongfortlsm Is the Science of Living Life as NATURE
meant It to bo lived; of taking advantage In the utmost degree
of the mar^etoua recuperative powers she has Implanted In the
human organism and letting her work the cure of any Ills.
Naluru's way Is the only safe. sane, sure way of getllng back
lost health and strength. }Ier laws operate for every Individual
alike and never fall. Those laws, those methods, I have In-
corporated in the sjatcm of .Slrongfortlsm and applied thera
ivlth unvarying success to my pupils in every part of the world.
What NATURE, through the practice of Strongfortlsm. has
done for others, she -will df> for YOU. If you will onlj- give her
half a chance. There isn't the slightest doubt about It.

Send for My Free Bookserv™tTn°"of'*"Heaith!

strength and Mental Enersy" will tell you all about Strong-
fortlsm and show jou how It can do for YOU what It has
already done and Is now doing for other weak, womout. ailing
men and women. It makes no dllTcrence where you live or
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privacy of your otvn bedroom. If you like, and gain the utmost
benefit. If JOU will devoto to It as little aa fifteen or twenty
minutes a day. You will notice the Improvement. physlcaJly
and menUlly. within a few days after you Kgln. and your
frh-nds will notice your Itiiproved appearance as weU.

SEND FOR. THE BOOK NOW. Don't put it off, Every day
counla when your vitality Is ebbing away. TllE BOOK IS
FREE, but you gladly would pay a good price for it, if you
know what It would bring you. Fill out tho coupon and en-
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I will mall you with the Iwvik a spu-clal letter reearding the
points you are most Inlerestt-d lu.

LIONEL STRONGFORT

Physical and Health Specialist
1298 Strongfort lostitute, NEWAJIK. N. J.

I STRONGFORT
The Perfect Han

------CUT OUT AND MAIL THIS COUPON -------

Ut Lionel Strongfort. .Vficart, .V. J.

— PlMse aend mn

your book. "Promotloii

â– nd ConiervitloB of Health. Strength

and Mental Energy," for

post&ge of which

[ enclose Ihreo I'c

stamps to coMT mailing

marked <X) befor

the subjea la which I

aoi Intereited.

..Coldt

..InMRinla

..Weak Eyei

..Catarrh

..Short Wind

..Falling Hair

..Flat Feet

..Gattritli

..H^y F«ver

..Stomach

..Heartweakneei

..OtMelty

Diiorders

..Poor Circulation

..Hndaehi

..Conitlpatlon

..Skin DUordere

..ThInneM

, .Blllouineti

. .Despondency

, .Ruplurt

..Torpid Liver

..Round Shoulder*

. Lumbago

..Indlgeetlon

..Lung Troublei

.-Neurltit

. .Nervouineii

^.IncTiaied Height

.Neuralgia
..Flat Cheit

. .Poor Memory

..Stoop Shouldert

..RheumatUm

. -Muieular

. Defermlty

.Bad Heblte

Oeveropment

(detcrlbe)

..Weakneeeee

OooTrpaTiON

CiTt

Sun

A Dreamer of Dreams

{Continued from page 47)
wouldn't take a chance of their being
laid up, even if they wanted to take the
chance themselves, which very fre-
quently they did not. He quit doubhng
when he was given his first part in sup-
port of Jackie Saunders. He went from
Balboa to Al Christie and then became a
"free-lance." He has been married for
three years and has an eighteen-months-
old baby girl.

"Is her hair curly?" I asked.

"Not as much so as we could wish.
Her mother has beautiful hair— auburn
— the baby is blonde.

"One thing I am thankful for," he
said, "is that I cant imagine myself being
handed a part which would be entirely
outside my experience in life. I've done
a little bit of every kind of work. I've
been in fairly comfortable circumstances
and I've been very badly up against it."
His worst experience of this kind was
during the influenza epidemic only a year
ago.

"I was free-lancing then," he said,
"and, like most actors, I used to spend
everything I made as fast as I could
make it. Then along came the influenza
and closed all the studios. I didn't let
m)' wife know how badly off we were.
I simply suggested that she visit her
mother while I spend several weeks in
Los Angeles looking for some sort of
engagement. Of course, there were no
engagements to be had anywhere. I
began to pawn things. The last to go
was my dress-suit. I remember think-
ing, as I came out of that pawnshop, that
if I did get an engagement I wouldn't
have anything to wear. But the studios
remained closed and I lived for three
weeks on oatmeal mush without any
sugar or milk to make it more palatable."

But there's no more oatmeal mush
ahead of Landis.

BALLADE OF INDIFFERENCE
By Charlotte Becker

Tho Phyllis changed grave moods to gay.

And Phoebe's smile made sorrow flee,
Tho Amaryllis' eyes of grey

And laughing mouth were good to see;

Tho Chloe dimpled merrily.
And Dolly's glances once were dear,

They left my fickle heart-strings free —
W'hat matter smiles of yesteryear?

Tho once when Gladys said me nay,

I sighed an hour at her decree ;
Tho Sybil scorned my wish to stay

And gave no heed unto my plea;

Tho sometimes Julia held the key
That bared my heart to hope and fear.

For these I write no elegy —
What matter woes of yesteryear?

Tho Audrey in her blithesome way

Would quip and jest with roguish glee.
And Alice made the dullest day

Glow bright with wit and jollity,

Tho Jocelyn paid hourly fee
In cleverness that I might hear,

Tho all were charming, I agree —
What matter words of yesteryear?

Dearest, you know I'd rather be
Discussing bread and kisses here —

Where other maids mean naught to me —
What matter loves of yesteryear?

Hermo "Hair-Lustr

(Keeps the Hair Dressed)

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Two Sizes— 50c and $1

Jl size ihiee times the quantity ol SOc sire. SEND FOR
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IN FULL Once you use Hermo "HAIR-LUSTR" you
will never be without it. SEND VOOR ORDER TODAY,

HERMO CO.. 542 E. 63rd St.. Depl. 37 CHICAGO

SUBMIT YOUR SONG POEMS ON ANY 5UBJEC1
FOR I^Y PERSONAL CRITICISM AND ADVICf
ACCEPTABLE WORDS WILL BE REVISED. FURNISHED
WITH APPROPRIATE MUSICCOPYRIGHTED AND
EXPLOITED UNDER MY ORIGINAL METHODS FOR
FACILITATING THE PUBLICATION OR OUTRIGHT
SALE OF SONGS. VALUABLE BOOKLET ON SONG
WRITING SElil-FaELflti REQUEiTWRITETOMETiMW

A»/TMO« 0»^l-SfVVlM« TMC HAve* »0 TMtV W0«t CO«««
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Ail CAIKTV THEATRf BIO- N£W YOBIl.

h%V>

Name "Bayer" Identifies genuine
Aspirin introduced to physicians in
1900. Insist on unbroken packages

AiDlrln ts the trsde truirk of Bayer MBniif«tur» of
MckDOftcotlcacldejter of SallcyllcmcM

(Seventy-sia)

I

â–  "^Anavk a An " ^

This department is for information of general interest only. Those who desire answers by mail, or
a list of the film manufacturers, with addresses, must enclose a stamped, addressed envelope. Address
all inquiries to The Answer Man, using separate sheets for matters intended for other departments of
this magazine. Each inquiry must contain the correct name and address of the inquirer at the end
of the letter, which will not be printed. At the top of the letter write the name you wish to appear.
Those desiring immediate replies or information requiring research, should enclose additional stamp or
other small fee; otherwise all inquiries must await their turn.

Just Agnes. — Why dont you have some good
pictures taken and send them in to the Fame
and Fortune Contest? There's no use talking
to you. because persons in love generally re-
solve first and reason afterwards. Margaret
Shelby is playing opposite her sister in "Jenny
Be Good."

Mavove S. — Why speak of the North Pole
this nice weather? Robert E. Peary, then a
commander in the U. S. Navy, reached the
North Pole on April 6, 1909. He survived
the Arctic winters, but he could not survive
ours. The U. S. Government raised him to
Rear-Admiral. Is Conway Tearle married?
Ha. ha. he, he, and likewise ho, ho ! Yes, to
Adele Rowland.

Pearl White's Double. — Yes, sure, come in
any time. You say you would be willing to
hide in an ashcau just to get a peep at Robert
Leonard. Very well, you have my permission,
but vou'll have to ask Mae Murray. Yes, May
Allison in "The Walk-Offs."

B. E. H. — No. Lewis J. Cody's name is not
pronounced like a fish. Both at Los Angeles,
Cal. I think they would. By all means en-
close the quarter. You say you have named
your pet kitten "Tony Lew." after Tony
Moreno and Lew Cody. I'm sure the two
p-entlemen will feel higlily honored. You dont
like Tony in serials. Neither do I. He should
be vamping in star dramas.

J. T. B. — Figure it out for yourself. Ac-
cording to "Elliott on Usury," one cent,
loaned Jan. 1, A.D. 1, drawing interest at six
per cent., compounded annuallv, on Jan. 1, 1895,
would amount to $8,407,840,000,000,000,000,000,-
000,000,a« I.I II II I.I KK 1,1 KK 1.(1(10.000. it would take
610.070,OOU,000,UOU,000 spheres of gold the size
of our earth to pay the debt.

Red Rose. — Good morning! Leave all cares
behind, ye who enter here. Monte Blue is in
Los Angeles now.

TooDLES.— I'm listening! Yes, and one half
of the world doesn't know how the other half
lives — until it comes out in the divorce courts.
Dot Gish is up at Mamaroneck, N. Y. It
would take up too much room to print the
cast of "Hearts of the World." Send a
stamped, addressed envelope and I will send
it to you. Mary Pickford's hair is real, and I
might add. her own.

Fagcaty Ann. — So you think I am a pretty
good old scout. No. not old scout, for in spite
of my 79 winters. I am still a Boy Scout. Oh,
I still have my eye teeth and my wisdom teeth,
and several others. King Vidor played in
"The Turn in the Road" and "The Family
Honor." He also produced "The Other Half"
and he is now producing "The Jack Knife
Man."

Little Brown-Eyed Vamp. — Once and for
all, everybody join in the chorus. Richard
Barthelmess is not married. You say you
have "wonderful limbs and a beautiful form"
in a bathing suit. Page Mack Sennett. J.
Stuart Blackton produced "The House of the
Tolling Bell."

F. F., Milwaukee. — A once famous city.
From two to five years. Al St. John in
"Trouble." He's always in trouble. Mary

(Seventy-seven)

Miles Minter in "Jenny Be Good." "The More
Excellent Way" is an old Vitagraph. but just
being released with Anita Stewart.

Helen A. — Yes, so long as our hearts pos-
sess desires, our minds will foster delusions.
Harry Morey was in North Carolina. Blanche
Sweet in "Leona Goes a-Hunting." Robert
Ellis is directing. Couldn't give you that cast
here. Takes up too much room.

Alcide, Vancouver. — Yes. send it in. Mary
Pickford and Harold Goodwin played in
"Heart of the Hills." Universal produced
"The Devil's Passkey." Please, please, do not
compare my energy with that of Niagara
Falls, nor with perpetual motion. They both
started before I did and will not finish till cen-
turies after I am done.

LcoNEY. — Write it in English. Reminds me
of Garibaldi, Italy's famous patriot, who once
wrote a novel which was published in six
languages, but never paid in any. Yes, Mary
Miles Minter in "Nurse Marjorie." The ex-
pression "A bird in the hand is worth two
in the bush" is from Don Quixote. I'm sure
she will write you.

Movie Fan. — Y'ou have Norma Talmadge's
correct address. Be patient. She is a very
busy little lady. Constance Binney, Realart
Pictures, 469 Fifth Avenue, N. Y. C. Bessie
Love played in "The Midlanders."

Large. — Thanks for the fee, old chappie !
Mr. and Mrs. Charlie Chaplin are not Jewish.
Neither is Martha Mansfield, but Mr. Florenz
Ziegfeld and Mr. Joseph .Schenck are. But
what difference does it make? Sure write
again. Pleasant company is always accepted.

Hugh M. B., Wildsville.— Little late, but
the best I could do. You can reach Irene
Castle, Fort Lee, N. J. A little advice I had
given to me some 70 years ago : Whenever
you make an "improvement" in any direction,
look out that you do not sacrifice more than
it is worth, in some other matter.

Jack Holt's Fan. — Yes. it is true that
Clarine Seymour died on April 25th at the
Misericordia Hospital, New York City, fol-
lowing an operation for intestinal trouble.
You will remember her in "The Idol Dancer"
and on the cover of March Classic. You
want to see more of Jack Holt. Ruth Roland
is still on the coast, but is expected East this
summer.

Kaki. — Do you know, Kaki, you are a wise
little guy? He who learns what is good and
embraces it, and what is bad and avoids it, is
as wise as Socrates who said it, and that's
you, my lad. Yes, Adele Rowland, now play-
ing in "Irene" on Broadway, is Conway
Tearle's last wife. Walter ilcGrail is not
married. Dont believe all you hear. Con-
stance Talmadge isn't married at this writing,
and is not likely to be at the next.

Miss Curiosity. — You see our story is writ-
ten from the scenario, and very often the
director changes the scenes and the scenario
is never corrected to conform to the scenes.
William Faversham is playing in "The Man
Who Lost Himself." Alice Lake is with
Western Metro. Los Angeles, Cal. Howard
Ralston was Jimmie.

^^>- \,^C)>

\^

b-)S

INSURE HAPPY DAYS
for those you Jove

A Prudential

Monthly Income

Policy

is like a radiant burst of sun-*
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A Prudential Check can be put
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INSURANCE COMPANY OF AMElUtCA

IfKO'po'ared undef fheLa-s of rhe Suieol Nex Jersey

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President

HOME OFFICE

^^^CiiUn*^

The

Shamrock Girl

By FRITZI REMONT

LIKE a shuttle, weaving in and out the
fate hne of Thelma Percy caused her
earher years to be spent in Ireland
and America. Ireland, the birthplace of
their mother, was the strongest attrac-
tion Eileen and Thelma knew. Mrs.
Percy and the children were quite as
well known in Dublin as New York, for
the winters spent in the latter, hard at
work and the summers given over to
flying trips to Erin's Isle, won them
many friends in both cities.

The Percy children really never had
a childhood like other kiddies, at least so
Thelma relates.

"One dav, mother was ridmg in a
street-car in New York, with Eileen sit-
ting beside her and holding me on her
lap, when a gentleman moved across and
begged mother

to let Eileen
pose for him, as
he was a great
artist. The next
day found my
sister at the stu-
dio, with mother
and me looking
on. And so it
went on for

Thelma Percy, just
turned sixteen, has
been on the stage
ever since she could
barely walk. She is
a Universal favor-
ite, and is bending
all her energy
toward successful
screen portrayals

weeks and
weeks, until
the time
when I was
barely able
to lisp and
trot about, when
a New York the-
atrical manager
called at the ate-
lier and saw us.
He told mother
we should be
stage children —
and the outcome
of that interview
was that we both
went on the stage.
We really never
had time for play
like other chil-
dren, for I soon
began to pose
also, and at night
we were back of
the footlights.

"Our lives
weren't eventful;
our schooling was
greatly inter-

( Seventy-eight)

MOTION PICTURE CLASSIC

rupted ; we learnt as we could, with
mother to teach and hear our lessons.
I'm sorry we missed school — I often look
regretfully at the girls in Hollywood, so
carefree, going to Iiigh school or some
finishing academy!"

Little Thelma Percy, just turned six-
teen, sweet- faced, wistful — with her
strong personality, the independence of
her Irish forebears and the courage which
one always associates with her race,
looked at nie very soberly. We were
chatting in a quiet little office at the Uni-
versal, while from without came the
sounds of neighing nags, cussing cow-
boys and dozens of laughing extras.

"I wouldn't regret that — you have trav-
eled so much that you have learnt much
more than most girls of your age. Read-
ing will do the rest, dont you think so?"
I comforted the ambitious little soul.

"That is what mother always said.
She told us to keep our eyes open, to
study people, to remember what we saw
at the art galleries and museums, and to
make good use of every moment spent on
trains or steamers. I really am in mo-
tion pictures just to please mother, for
I love the stage life best of all.

"Mother passed away four years ago.
i'She used to pray always that I could get
into pictures so that I might not have to
travel about alone after she was gone.
Eileen had no difficulty in getting in, but
you see, I was at the age when I had
outgrown childhood and was unable to
take little girl parts longer, for I had
grown terribly fat! Could anything be
worse than a fat little girl of twelve?

"So after mother left us, and I was
thirteen, my guardian put me into a pri-
vate school back East, and I studied hard
to catch up with other girls. Then, a
year ago, I came here to live with Eileen,
and I just simply zvalkcd into pictures.
Mother's prayers must have made the
way easy for me — I dont think mothers
forget their children no matter where
they are, do you ?"

"And you played leads from the start,
didn't you?"

"Yes, I guess it was the lucky sham-
rock that I always carry in my little
locket which must have brought me
so much good fortune — a lovely home
with Eileen, new parents, the dearest
little French bulldog, and all the new
friends in California. Eileen's mother-
and father-in-law have simply adopted
me — I'm their baby, they say. We didn't
have time for play when we were young,
but we are all making up for it now.
Eileen's home is so jolly and lively," she
finished.

"But your pictures look so much older
than you, how do you manage that ?"

"Oh, I've tried out make-ups over and
over again. The directors would suggest
something, or one of the players here,
and I've changed a number of times. I
think in all my photographs I look at
least twenty now, for I changed my hair-
dressing to give me a grown-up air."

We had been talking about moods, for
sundry girls strolled in to share our gos-

( Seventy-nine)

'Tonight Fm going Decollete,
thanks to Electric Massage!"

DOES your figure
permit you to wear
the prettiest of
evening frocks? Then
resolve that this embar-
rassing condition is going
to be changed! In the
privacy of your own
boudoir soothing electric
massage brings back the
roses of youth into your
cheeks, keeps your hair
and scalp in fine, healthy
condition and develops
your figure into one of
graceful lines and girlish
contour.

The woman of fas-
tidious tastes, young or
old, realizes that beauty
is but a natural reflection
of health. Wrinkles,
"crow's feet," eyes that
have lost their youthful
sparkle, obesity and other
unwelcome facial blem-
ishes are, to a great ex-
tent at least, brought on
by what we term "the

strenuous life." Muscles
are sure to become weary
and congested unless they
get relaxation. And com-
plexions are certain to
suffer unless properly
taken care of. Home
electric massage is recog-
nized as the building-up
process nearest to Na-
ture's.

The Star Vibrator
should be your "beauty
parlor." Used and en-
dorsed by stage and
screen celebrities for
beauty helps, and fatigue,
nervous headaches, in-
somnia. Ideal after mo-
toring, golfing or bathing.
Keeps your skin at its
best! On sale and dem-
onstrated free of charge
at most drug, department
and electrical stores. Or
direct from us. Fitzger-
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Torrington, Conn. (Ca-
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cjk

^ STAR Vibrator

For Wrinkles, " Crow's Feet" and
Dull, Colorless Complexions !

"In One Soft Look

What Language Lies"

Beautiful eyes arc woman's richesi heritage^
The soul shines forth and the heart speaks its message
through the eyes.

As tlie frame bcaunfies the portrait, so luxuriant lashes
and pcrfecily formed eyebrows lend exquisite charm.
LASH TONIC as an aid to Nature, nourishes and
promotes the growth of eyebrows and lashes when
applied each night.

Beautiful women of the theatre and of Filmdom have
experienced marvelous results obtained by the use of
Lash Tonic, and YOU. TOO. should learn ihe secret
of making yourself more atiraciive with ihe assistance of
this absolutely harmless and chemically pure preparation.

Pricf 50c at your dealer '3 or sent

postpnid direct in plain coi-er,

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«25 DREXEL BLVD.. CHICAGO. ILL.

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siping hour. Several of them confessed
to enjoying deep-dyed indigo spells.
There were some who loved lo irrigate
tile midnight pillow, others who thouglit
it silly to weep, and so quite a discussion
followed.

Thelma Percy listened interestedly.
One of her charms is the sympathetic
manner in which she shares one's confi-
dences and admissions. When every one
liad added a personal bit, Miss Percy
said, in her sweet contralto voice :

"When I am \-ery happy, I am very
quiet. When I am happiest, I cry. There
is something very solemn about true hap-
piness, I think."

We all stopped, amazed. I dont think
any one had ever pigeonholed bliss in
quite so original a fashion.

"Then W'hen you are really sad, do you
laugh ?" It was a chorus of minds with
but a single thought focused on what
promised to be a contradictory mood.

"I may not laugh, but I smile. I dont
like them to know when I am hurt," con-
fessed the blonde beauty who had be-
guiled Sessue Hayakawa in the very first
photodrama she attempted.

And the queer part of it is, that her
courage doesn't extend to stunt acting.
They are careful of the Shamrock Girl
on the "U" lot ; no daredevil riding feats
or hard plunges are her share of the
work. She swims, drives, plays tennis
and enjoys long walks with her little dog,
but she's not charmed with horsebacking.

Thelma's days are full of duties. She
is not the sort of girl who would shirk
any responsibility. The years of work,
from the time she had her third birthday
cake, have given her a serious trend of
thought. At the end of each dav' she
waits for the rushes of her picture ; at
night she visits motion pictures or the
theater. She is studying plot construc-
tion, make-up — and most of all — Norma
Tahnadgc. She even goes to old runs
of Norma's plays, and has enthroned that
popular star as her model actress and the
screen's highest art exponent.

"The bystanders on the 'U' lot are a
great help to me," broke in Thelma.
"They dont bother us — oh, no. But
sometimes they say things so wortli
while. The other day an older woman
.spoke to a young girl with her. and point-
ing to me, probably thinking I was not
within earshot, said, 'How much better
that little girl would look if she pushed
her hair off her face.'

"I had never thought of that, but at
the end of the day I tried out her idea
and found she w'as right. In following
scenes I wore my hair off the forehead,
and everybody said that it looked so
much improved, I think impartial ob-
servers are very helpful to the photo-
player, I'm often in receipt of very val-
uable advice from the fans, I dont like
.serials much, but they say that one be-
comes well known by ajipearing weekly,
and I do know my fan letters are coming
in stronger daily. I would like to do
legitimate comedy,"

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(Eightv)

d

I

The World in
Your Hands!

"For to behold, and for to see,
For to roam this world so
wide—"

in search of the Great Un-
known; in quest of life-around-
the-corner; seeking the hidden
mystery of life, and the beauty
thereof I

Perhaps you hear the Call in
the softness of a summer day.
The Spirit of Wanderlust dances
before you. You feel the fra-
grant mist of the out-of-doors;
you peer into the mystery of un-
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Perhaps you are so situated that
you are unable to answer the Call
— you can only feel it tugging
at your heart-strings. To you,
Shadowland, The Magazine
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carpet of the old fairy-tale. It
transports you wheresoever you
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known ports,, haunting in their
colorful romance, their vivid-
ness. It places the world in your
hands, your fingers on the pulse
of the world of Art, of Litera-
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We are quite proud of our Au-
gust number of Shadowland,
The Magazine Beautiful, for it
is replete with our best literary
and artistic efforts. Among
them a clever, whimsical review
on current books by the inimi-
table Heywood Broun.

There is a beautiful playlet of
reincarnation by Katherine Met-
calf Roof.

The much discussed Theater
Guild is brought before you in an
interesting fashion by the pen of
Frederick James Smith, and
among the other articles of un-
usual interest are the "Reflec-
tions of a Gentle Cynic," by Lisa
Ysaye Tarleau, and a humorous
review of the theater season by
Louis Raymond Reid.

SHADOWLAND

175 Duffield Street Brooklyn, N. Y.

I had been listening to Miss Percy's
voice with pleasure. It's the deep, reso-
nant contralto which one often hears in
older women of the stage.

"Dent you sing, Miss Percy?"

"I sang and danced for years on the
stage, but now it's just a case of singing
when I have time. I want to study voice
culture in a few years ; as long as I'm
only sixteen, I might as well let it develop
a bit more, dent you think so ?"

Well ... I think a girl who has
worked hard from three to sixteen ought
to be free to enjoy youth, dancing, frolics
. . . and if Thelma Percy is bending all
her energies toward successful screen
portrayals, her evenings should be work-
free.

But some day, I hope she'll study sing-
ing, for she is as sure to return to the
speaking stage or light opera as there are
stars in a cinema heaven !

Yet the dear colleen doesn't know just
how talented she is.

So the career of Thelma Percy from
sixteen to twenty will be an interesting
psychological study, without doubt.

IN A MOTION PICTURE SHOW
By Ted Olson

a face like yours smiled to me from the screen
One poignant, fleeting moment, and was
gone.
I sank down in the seat, and all unseen
The picture changed; a new reel flickered
on.

I bowed my head unheeding; thru my tears
The dim gates of the past swung wide apart ;

Out of the reek and dust of lonely years
I caught your memory back into my heart.

I had forgotten you. With how much pain
I had built up a wall to bar you out ;

Swearing that never could j-ou come again
To drug my life with bitterness and doubt.

And I had won — was free — until that face
Came smiling in, laughed the gates open
wide,
And brought you back, in all your old-time
grace.
Your song, your youth, your beauty — and
your pride.

The pride that broke my heart. And from the
screen
That face like yours smiled down at me
again.
And suddenly my tired heart was clean —
Purged of its weight of bitterness and pain.

After the weary years of wasted grief
So good it was to think again of you.

I banished doubt, caught back the old belief,
Forgave you, dear, and pledged my love
anew.

The last reel flickered past and died. "Good-
night"
Flared large upon the screen. I stumbled
forth.
The rain was done ; the streets were pools of
light ;
Between the clouds one star laughed in the
north.

And in that star your smile . . . Oh, movie
maid,

So much like her whom I may never see,
God grant that some day it may be repaid—

The gift you gave — dreams, and a memory.

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(Eighty-one)

Portraits of Your
Favorites

TWENTY-FOUR LEADING PLAYERS

What is a home without pictures, especially of those one likes or admires? How
they brighten up bare walls and lend a touch of human sympathy, alike to the homes
of the rich and poor !

And what could better serve the purpose of decoration for the homes of motion
picture enthusiasts than portraits of the great film stars, who have become world
famous?

The publishers of the three leading motion picture monthlies, the Motion Picture
Magazine^ Motion Picture Classic and Shadowland, have accordingly prepared at great
expense, especially for their subscribers, an unusually fine set of portraits of twenty-four of
the leading players.

These portraits are 5y/' x 8" in size, just right for framing, printed in rich brown
tones by rotogravure, a process especially adapted to portrait reproductions, and are
artistic, accurate and high-grade in every way.

You will hke these portraits, you will enjoy picking out your favorites. You will
delight in framing them to be hung where you and your friends may see them often.

Mary Picktord
Marguerite Clark
Douglas Fairbankf
Charlie Chaplin
William S. Hart
Wallace Reid
Pearl White
Anita Stewart

UST OF SUBJECTS

Theda Bara
Francis X. Bushman
Earle Williams
William Farnum
Charles Ray
Norma Talmadge
Constance Talmadge
Mary Miles Minter

Clara Kimball Yoiuc
Alice Joyce
Vivian Martin
Pauline Frederick
Billie Burke
Madge Kennedy
Elsie Ferguson
Tom Moore

These portraits are not for sale. They can be secured only by subscribing to the
Motion Picture Magazine, Motion Picture Classic or Shadowland for one year, and
then they will be sent free.

You will want the Magazine, Classic, Shadowland, or all three during the coming
year. Subscribe now and get a set of these portraits. It will cost you less than to buy
them by the month at your dealer's. Send in your order today and we will mail the
portraits at once.

COUPON

SUBSCRIPTION PRICES;

U. S. Can. For.

Magazine $2.50 $3.00 $3.50

Classic 2.50 3.00 3.50

Shadowland 3.50 4.00 4.50

An, Thme 8,00 9.50 11.00

Date

BREWSTER PUBLICATIONS, Inc.
175 DulEeld Street, Brooklyn, N. Y.

Gentlemen : Kindly enter ray subscription to the
MOTION PICTURE MAGAZINEI

MOTION PICTURE CLASSIC V for one year. Also please
SHADOWLAND J

send me at once a set of the twenty-four players' portraits.

Enclosed find $ in payment.

Name

Address

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MOTION PICTURE CLASSIC

Players of Yesterj'ear

{Continued from page 20)
had worked for so earnestly, and the fif-
teen and twenty dollars per week the
star players had valued so highly. A
little girl, with a mass of golden curls
and eager little face reflecting each
passing thought, stood in line and held
out her hand for her envelope containing
her weekly salary of fifteen dollars. The
pride and joy on the little face was de-
lightful to behold. A check flashed
across the screen. It was the little girl's
weekly salary of today, and the face of
the director grew slightly pale!

How young they all had been in those
days ! How full of the joy of life ! Ob-
stacles were overthrown before they had
really put in an appearance, and nothing
had been too difficult to accomplish ; with
a company of one player and three direc-
tors, they Avere wont to produce any-
where from four to six pictures a week,
and such pictures ! With the audacity of
youth, rushing in where angels feared to
tread, they would blithely start about
presenting before the public more or less
authentic presentations of such plays as
"Romeo and Juliet," "Rip Van Winkle,"
"Pickwick Papers," "Vanity Fair," "The
Christian," "Thomas a Becket," "Abra-
ham's Sacrifice," not to mention "The
Love of John Ruskin'' or "How Wash-
ington Crossed the Delaware," "Cardinal
Wolsey" and "The Spanish Revolt of
1836." Nothing was beyond their reach !
And how really greatly they had acted !
Florence Turner, the first leading woman
of any company, creating a sensation
when her name appeared in conjunction
with the name of the play, as hitherto no
actor or actress had ever been mentioned
by any of the film companies. And the
dashing Maurice Costello, the first of the
matinee idols and the most popular man
in all Christendom, his homage coming
from all parts of the world. And then
there was the older group, the pioneer
players of the silversheet, consisting of
Mrs. Mary Maurice, known as the
"Sweet old lady of the screen," and Van
Dyke Brooke, W'illiam Shea and Charles
Kent and many others who had grown to
be dim shadows in the obliterating pas-
sage of time.

Many of these beloved comrades of
youth's golden hours had died ; many
others had grown old and were scattered
about the four corners of the earth.
Some had disappeared completely ; and
some, the youngest members of the
group, had now come into their own, and
were world-famous.

A timid knock sounded on the door,
and as a tired man stirs in his sleep,
mutely protesting against disturbance,
the wanderer on the Road of Memory
came reluctantly back from his journey.
A sigh slowly fell from his lips. He
thought not upon the glory and wonder
of his recent achievements, but as he
rose to answer the knock and to enter
again the world of realities, a suspicious
brightness appeared in his eye, and his
heart yearned over the gay phantom of
Youth now vanishing around the Corner
of the Past

(EigMy-ivio)

I Teach Piano
M Usual Time

I now have far more stink-nls than were ever before taueht by one
man. There isn't a state In the Union that doesn't contain a score
or more skilled players who obtain their entire Iraitiini7 from me by
I mail. Yet when I flrst started In 1891. I
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I have overcome this prejudice and In-
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THE PHOTOPLAYWRIGHT'S

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By L. CASE RUSSELL
Author of "Here Lies'^

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FIFT-5r CEHSTTS

BREWSTER PUBLICATIONS. Inc.
175 Duffield Street - - - - Brooklyn. N.

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The Last Interview

{Continued from page 51)

Christie forces and secured her chance
with Mr. Griffith.

Miss Seymour was a fimi believer in
luck. "I was going down to San Diego
on a motor trip with friends on the very
day Mr. Griffith sent for me. In fact, I
was just getting into the car when the
message came. I asked my friends to
drive by the Griffith studios, telling vhem
it would only take a few minutes to see
Mr. Griffith. Then, to my amazement,
he signed me on the spot and had me get
into make-up for my first scene. So I
went out and told my friends." That is
how Miss Seymour came to play in "The
Girl Who Stayed at Home."

Luck again asserted itself when Mr.
Griffith was filming "Scarlet Days." The
role of the little Mexican was not in the
original story at all. Mr. Griffith noted
Miss Seymour standing close by, watch-
ing some of the scenes, and he said, "Do
you want to play a bit in this picture?"
Miss Seymour jumped at the chance, and
the comedy scene, in which the fiery little
native girl bumps her head against that
of the goat, was devised. The episode
proved so amusing that Mr. Griffith
elaborated the role until it became the
best remembered character in the photo-
play._

Miss Seymour remained unaffected
and girlish thru her first taste of success.
Never will we forget how she said: "I
want to go on working and learning for
a long time yet. Then if I am worth it,
I hope for stardom — like all the rest."

It wasn't to be. Yet film fans are
going to keep a place in their heart of
hearts for "Cutie Beautiful," who gave her
all to the screen. How much that might
have been we can only guess. We do
know that she had won a place unique
upon the silversheet.

Double Exposures

[Continued from page S4)
enter the ship via the grand stairway?

Do directors always introduce a New
York scene with a glimpse of the metro-
politan sky-line?

And where do producers find the
wildly hilarious cabarets they show in
their New York night-life dramas?

Gosh, we hope the overall movement
doesn't hit the Mack Sennett studios!

The various magazines are selecting
the prettiest girls of the screen. Here's
our own particular nomination :

Harriet Hammond of the Sennett
forces.

Big Moments
Bebe Daniels in "The Dancin' Fool.'

Producers aren't satisfied to release
the classics these days under the titles
the original authors selected. Here's the
(Continued on page 95i

Wanted: Screen
Faces for the Movies

Hundreds of All Types Needed. You
May Have Perfect Screen- Features

For the first time in the history
of moving pictures it is now
possible for you to get considera- ]
tion from the big film directors. ,
No matter where you live, we get
your photograph before the di-
rectors, many of whom are in
urgent need of new "screen-faces."

Ralph Ince, famous Sflziiick director,
says: "There are niaiy yaunj; cirls
who could Hialte good in the movies. I
wUJ be very glad to take advantage
or your service." Marshall Neilan, known iven'where for his
work In directing Mary Picirford, says: "I am convinced that the
aervice jou render screen aspirants offers many new persouaJltlea
to movinjt picture directors." P. A, Powers, of Universal, says:
"A new srop of fUni stars will be needed at once to supply the
Insistent demand. "'

With the assistance of famous directors and motion picture
stars we have prepared a printed Buide. "The New Iload to Film
Fame," wlUch tells you what to do and elves full directions.

It also contains endorsements of our service from famous people,
statements from direclnrs. portraits of celebrated stars and direct
adrtce to jou from Iklollie Kinc.

This is a fascinalinir profession paying big salaries. Don't miss
tills opportunity. Send ten cents (PostaRe or Coin) to cover pos-
tafie and ^Tapping this oew guide. Gel it at once — It may
Btart you on tlie road to famo and fortune. Screen Casting Dl>
rectors Service, Dept. B-4, Wilmington, Delaware.

Vfilfss yen are sincere in your desire to get in the
moftcs, please do nut send for this printed guide.

y You May Now Have

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thousands because the result is so natural-like.
One prominent lady wrote: ' 'Lucile's Rouge ib tha
pink of perfection for any type of complexion."
Guaranteed absoJotely harmless. Two sizes, SOc
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^^^HaridSmestEffeds

i'-^i-'jPSiits^ /^3re are shown two
f popular selections.

aCruuK appeal to women of faaliiin

twho deraanij an exceptionally emarl
' coiffure. There are Two to a But of
watertvavedaelectbumBntiair. Ex-
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end sBmple.
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L (Eighty-three)

'Trom Within-Without

By LILLIAN MONTANYE

CHARLES MiLLEK slumped liis big form
down on the leather couch in the
Realart projection room and in-
quired, politely, if he could smoke. He
also apologized for the immense smoked
glasses he was wearing and for his gen-
eral appearance of all-in-ness.

"Have been working steadily thirty-six
hours, cutting film," he said, "and I got
mad about something this morning which
always makes me sick. No, it's not tem-
perament, it's temper — just as it is when
the furnace man gets mad because clink-
ers clog up his grates. I was not brought
up to believe in temperament. It's 'The
Law of the Yukon' I'm cutting, you
know. ^ly first Mayflower
production for Realart."

"And what do >ou think
of it as far as you have
gone ?"

L.^-

"Sick and
tired of it. Wish
I had never to
hear of it
again," and
then he relaxed,
and his face be-
came as the face
of a mother who
broods o V e r a
troublesome and
best loved child.
Weariness
forgotten, the
big voice and
dominant p e r -
sonality that
made him one
of the b e s t -
known charac-
ters of the
speaking stage
visualized for
me the making
of "The Law of the Yukon."

"Talk about the 'frozen North.' It
was right there at Port Henry, N. Y.,
where "we created our 'Alaskan vil-
lage' : and while the blizzards worked
suffering and financial loss in various
{Continued on page 92)

(^Eigliti/'four)

Charles Miller
has been "in har-
ness" all his life.
After many years
in stock, he
played under the
management of
Charles Froh-
man, Charles
Harris, David
Belasco and oth-
ers. He was a
very popular mat-
inee idol at one
time, and will
long be remem-
bered for his por-
trayal of the hero
in "The Great
Divide." Center.
Mr. Miller and
June Elvidge in
an off moment
up at Port Hen-
ry— while filming
"The Law of the
Yukon"

OPPORTUNITY MARKET

AGENTS WANTED

MEXICAN DIAMONDS tiash like- genuine, fool experts.
Btand tests, yet sell lor I/dOCIi the price. Few live
agents wanted to sell from handsome sample case. Big
pronto, pleasant work. Write today. Mexican Dia-
mond Imptg. Co., Box CA, Laa Cruces, N. Mex.

"INSYDE TIRES — inner armor for automobile tires:
prevent punctures aJid blowouts: double tire mileage.
Liberal profits. Details free." American Accessoriea
Co,. Cincinnati. Ohio. Dept. 117.

MAKE $m.m NEXT SATURDAY. Speederator for
Fords selling like wildfire. Used by Ford Motor otfl-
cials. Makes any Ford run like a Packard. Stops
stalling and bucking. Put on quick — instant satisfac-
tion. No holes to bore. Sell ten to twelve a day easy.
Splendid profits and exclusive territory. Write quick
for information. Address Perrin Company, 105S Hay-
ward Bldg., Detroit. Mich.

COINS AND STAMPS

"OLD MONEY WANTED." 52 to $500 each paid for
hundreds of coins dated before 1895. Keep all old
money. Send 10c for new Illustrated coin value book,
size 4x6. You may have coins worth large premiumn.
Get posted. Clarke Coin Co., Box 155, Le Roy, N. Y.

FEMALE HELP WANTED

$6-$t8 A DOZ. decorating pillow tops at home; expe-
rience unnecessary. Particulars for stamp. Tapestry
Paint Co., 103, Lagrange, Ind.

FILMS DEVELOPED

MAH. us 20f with any size film for development and
six velvet prints. Or send six negatives any size and
20c for six prints. Or send 40c for one -S x 10 mounted
enlargement. Prompt, perfect service. Roanoke Pho'o
Finishing Co.. 207 Bell Ave., Roanoke. Va.

FILMS FOR SALE

FILMS

FOR SALE:

and varieties,
eature Film

One million feet, all
$4.00 per reel and up. S
Company, Loeb Arcade

makes,

-nd for

list. F
neapolis

Min-

FOR THE LAME

THE PERFECTION EXTENSION SHOE FOR ANY

person with one short limb. No more unsightly cork
soles, Irons, etc., needed. Worn with ready-made shoes.
Shipped on trial. Write for booklet. H. P. Lotz, 106
E. 2&th St.. N. T.

HELP WANTED

RAILWAY TRAFFIC INSPECTORS: splendid pay and
expenses: travel if desired; unlimited advancement.
No age limit. Three months home study. Situation
arranged. Prepare for permanent position. Write for
booklet CM 6 4. Standard Business Training Institute.
Buffalo. N. Y.

DETECTIVES AND INVESTIGATORS make biff

money. Be one. We show you how by home study.
Write American School of Criminology, Dept. C, De-
troit, Mich.

THE WAY TO G ET A GOV ERNM ENT JOB IS

through the Washington Civil Service School. We
prepare you and you get a position or we guarantee
to refund your money. Write to Earl Hopkins, presi-
dent. Washington, D. C. for book RJ 2088. telling
about government positions with lifetime employment,
short hours, sure pay, regular vacations.

V. 8. GOVERNMENT wants hundreds men. women,
over 17. Permanent positions. S95-?150 month.
Common education sufficient. Experience unnecessary.
Write immediately for free list positions open. Frank-
lin Institute, Dept. T77, Rochester. N. Y,

JEWELRY

CASH FOR OLD FALSE TEETH— We pay up to ?35,00
per set (broken or not). Also buy discarded gold
Jewelry, gold crowns, bridges, platinum, diamonds,
watches and silver. Send now. Cash by return mail.
Packages held 5 to 10 days for sender's approval of
our offer. U. S. Smelting Works, Dept. 40, Chicago,

MISCELLANEOUS

TOC WRITE WORDS FOR A SONG. We write the
music, publish and secure a copyright. Submit poems
on any subject. The Metropolitan Studios, 914 So
Michigan Ave.. Dept. 141, Chicago, III,

n-RITE THE WORDS FOR A SONG. We revise
poems, write music and guarantee to secure publica-
tion. Submit poems on any subject. Broadway
Studios. 107M, Fitzgerald Bldg., New York,

NEWS AND CORRESPONDENCE

EARN $25 WEEKLY, spare time, writing for news-
papers, magazines. Experience unnecessary; details
free. Press Syndicate. 560 St, Louis, Mo.

(Eighty-five)

MOVING PICTURE BUSINESS

MAKE MONEY FAST. Small capital buys profes-
sional machine and complete outfit. Easy payments.
No experience required. Openings everywhere. Cata-
log free. Monarch Theater Supply Co.. Dept.
534, 407 Ellsworth Bldg.. Chicago.

$35.00 PROFIT NIGHTLY. Small capital starts you.
Outfits sold on installments. No experience needed.
Our machines are used and endorsed by Government
Institutions. Oatalog free. Atlas Moving Picture Co..
42S Morton Bldg., Chicago.

PATENTS

PATENTS. Write for Free Illustrated Guide Book.
Send model or sketch for free opinion of its patentable
nature. Highest References. Prompt Attention. Rea-
sonable Terms. Victor J. Evans & Co.. 621 Ninth,
Washington. D. C.

PHOTOPLAYS

EXCK-ANGE PLOTS FOR $$. Photoplay ideas ac-
cept.-d any form; revised, typed, published, copy-
righted, sold. Advice free. Universal Scenario Cor-
poration. Western Mutual Life Bldg., Los Angeles.

WRITE PHOTOPLAYS; $50 to ?300 each for begin-
ners. Make your spare time profitable. Our free plan
is yours for the asking; write for it today. Loa
Angeles Photoplay Co.. Los Angeles, Cal.

WRITERS! Have you a song-poem, storv, photoplay
to sell? Submit MSS. now. Music Sales Co., 42. St.
Louis,

PHOTOPLAYS WANTED. Big prices paid. You can
write them. We show you how. Free particulars.
Rex Publishers, Box 175 B. A. -7, Chicago, III.

SALESMEN WANTED

LIVE SALESMEN WANTED. We are located in the
heart of the great Oil Field of North Texas and recom-
mend only the best companies. We furnish bank refer-
ence and pay our salesmen well. Harwell Brokerage
Company, Central Stock Exchange Bldg., Wichita
Falls, Texas.

SHORT STORIES

STORIES AND PHOTOPLAY IDEAS WANTED by 4S

companies; big pay. Details Free to beginners. Pro-
ducers' League. 141, St. Louis, Mo,

EARN $25 WEEKLY, qpare time, writing for news-
papers, magazines. Experience unnecessary; details
free. Press Syndicate. 5G0 St. Louis, Mo.

FREE TO WRITERS— A wonderful little book of
money-making hints, suggestions, ideas; the ABC
of successful story and movie play writing. Absolutely
Free, Just address Authors' Press, Dept. 14, Auburn. N.Y.

STORIES. POEMS, PLAYS. ETC., are wanted for
publication. Good ideas bring big money. Submit
MSS, or write Literary Bureau, 134, Hannibal, Mo.

SONG POEMS

YOr WTtlTE THE WORDS FOR A SONG. We'll
compose the music free and publish same. Send song
poem today. A. F. Lenox Co., 271 West 125th St
New York,

WRITE THE WORDS FOR A SONG. We revise
poems, write music and guarantee to secure publica-
tion. Submit poems on any subject. Broadway Studios
107H. Fitzgerald Bldg.. New York.

DO YOU WANT YOUR SONG POEMS ACCEPTED?

Send your poems today for best offer, immediate publi-
cation and free examination. Song writing booklet on
request. Authors & Composers Service Co., Suite 525,
1431 Broadway, New York,

YOU WRITE WORDS FOR A SONG— We write the
music, publish, and secure a copyright. Submit poema
on any subject. The Metropolitan Studios. 914 S.
Michigan Avenue, Room 104, Chicago, HI.

WRITE THE WORDS FOR A SONG. We write mualc
and guarantee publisher's acceptance on a royalty
basis. Mr. Leo Friedman. THE COMPOSER TO THE
AMERICAN PEOPLE, is our leading composer. Among
his well-known hits are such songs as "Meet Me To-
night in Dreamland" and "When . I Dream of Old
Erin." Submit poems on patriotism. love or any sub-
ject. Chester Music Company. Dept. 324, 920 South
Michigan Ave., Chicago, III,

WRITE THE WORDS FOR A SONG. We revise poems,
compose music for them and guarantee to secure pub-
lication on royalty basis by New York music publisher.
Our Chief Composer is a song-writer of national repu-
tation and has written many big song-hits. Submit
poems on any subject. Broadway Studios, 107A Fitz-
gerald Bldg.. New York.

SONG WRITERS

BE A SONG WRITER — You write the words. I will

roniposp the music and guarantee publication. Among
my great hits is "Desertland " Submit poems on any
subject. Ethwell Hanson, 3S10 Broadway, Room 106,
Chicago.

THIS KEY TO
SUCCESS

Is valuable only when it is fitted in
the right door. Once the door is
found it leads into a land of a thou-
sand opportunities.

The American College of Literary
Arts and Crafts is ready to help you
find this door. Send for our "Open
Door" booklet for full particulars.

175 DUFFIELD STREET BROOKLYN, N. Y.

We Believe in Everybody Who Believes in Himself

SONG WRITERS

SONG WRITERS ATTENTION. Our plan brings
quickest results from publishers. Not a, "Publish
your own song, and sell to your friends", stheme. In-
formation free. If you write songa. write us. New
York Musical Bureau. 315-X, 1547 Broadway, New
York.

WRITE THE WORDS FOR A SONG, We write the
muBic and guarantee publisher's acceptance. Submit
poems on patriotism, love or any subject. Chester
Music Co., 920 S. Michigan Ave.. Room 1S5. Chicago.

YOir WRITE THE WORDS FOR A SONG. We will
write the music, publish ajid secure copyright. Ed-
ouard Hesselberg, our chief composer, has to his credit
the great hit "If I Were a Rose." and other famous
songs. Submit poems on any subject. Send for our
Song Writer's Guide and submit poems at once. Met-
ropolitan Studios, 914 South Michigan Ave., Dept. 142.
Chicago, Illinois,

WRITE A SONG — Love, mother, home, childhood, pa-
triotic or any subject. I compose music and guarantee
publication. Send words to-day. Thomas Merlin, 269
Reaper Block, Chicago.

WRITE THE WORDS FOR A SONG. We revise poems,
compose music for them and guarantee to secure pub-
lication on royalty basis by New York music publisher.
Our Chief Composer is a song-writer of national repu-
tation and has written many big song-hits. Submit
poems on any subject. Broadway Studios. lOTS Fitz-
gerald Bldg., New York.

SONG-WRITERS' MANUAL AND GUIDE sent frep'
Contains valuable instructions and advice. Submit
Song-poems for examination. We will furnish music,
copyright and facilitate publication or sale. Knicker-
bocker Studios, 310 Gaiety Bldg.. New York.

BE A SONG WRITER — You write the words and I
will compose the music and truarantee publication
Among my great hits Is "DESERTLAND." Submlr
poems today on any subject. Room 107, Ethwell Han-
son, 3S08 Broadway. Chicago, Illinois.

VAUDEVILLE

GET ON THE STAGE. I tell you how. Send Gc post-
age for Illustrated booklet "All About Vaudeville"
and full partldulars. LaDelle. Sta, 302, Jackson.
Mich.

New 00 Size

Write for "fart de la Toilette" lo

GEO. BORGfELDT &. CO. ^fEW YORK

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A delicately perfumed powder;
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smooth, white; for arms, limbs,
face; 50c, also $1.00 size, which
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follow tho BJmpIc directions— see what just ooe appU*
I cation win do. Sold at oil dniji etores.

Reel Realities

DF. LUXE motion picture theaters con-
tinue to be built thruout America.
Each offers its feature photoplay,
its symphony orchestra, its program of
smaller pictures and its incidental musi-
cal interludes. The method of better
class motion picture presentation has
been standardized.

So it will continue for the present.
But we foresee screen theaters devoted
to various kind of cinema entertainment,
just as various kinds of theatrical enter-
tainment have their differentiated audi-
ences. There will be the smaller motion
picture theater devoted to the thought
photoplay, the larger house given over to
the presentation of the film melodrama,
possibly a home for screen comedy. One
will know just the type of entertainment
one is to see before one enters a theater.
All this is still a fantastic bit of imagina-
tion, for the photoplay making is merely
an industry — yet.

Photoplay producers are beginning to
discover the advisability of aping the
stage in reviving successful film plays.
By reviving we do not mean merely re-
releasing revised dramas with new cap-
tions.

Companies-are purchasing screenplays
from other concerns and presenting them
in new form with new players. Some
day we shall perhaps see "The Birth of
a Nation" with a brand new cast, "The
Miracle Man" re-done and "Broken
Blossoms" reproduced. And, like thea-
ter old-timers, we will probably seize our
cane, hobble to our feet and declare
loudly that the new versions are not
nearly so good as the originals — that the
palmy days of the films have passed.

The theory that a screen star's aver-
age of popularity runs five years is stupid
reasoning. There is no reason why play-
ers cannot grow old retaining the favor
of their fans. Why not?

The photoplay is too young to point to
any specific instances. Pioneers of
cinema acting are still in their 'teens.
Boys like Bobbie Harron can talk of the
very first days of the photoplay from
first-hand experiences.

The point is made that many favorites
have flashed upon the screen, enjoyed
their brief favor and disappeared. But
there have been real reasons for each
disappearance. Some of these favorites
deliberately retired, some dissipated their
abilities and some — let's whisper this —
had no ability.

For centuries stage players have grown
old while retaining their place in the
affections of audiences. There are hun-
dreds of instances. Why cannot motion
picture stars do the same thing? Just as
Ethel Barrymore played ingenues com-
paratively recently and is now portray-
ing mature women of the world, so will
Mary Pickford's art graduate and mel-
low. Thirty years from now Miss Pick-
ford, Charlie Chaplin and Charlie Ray

should be as popular as they are today —
if they wish to be. Their roles w'iU be
different, that's all.

Speaking of acting, the histrionic level
is far in advance of ten years ago. Re-
member when a merely handsome hero
was accepted, when any sort of fil-lem
cutie passed for feminine genius? The
manikin-doll days have gone.

To be sure, movie producers still seize
upon every bit of feminine charm and
masculine ability that asserts itself above
the cinema surface. Witness the quick
stardom just accorded Richard Barthel-
mess, Bebe Daniels and Wanda Havvley.
But the ultimate fate of a star rests with
the audience. More than mere photo-
graphic appeal is necessary. Fans de-
mand acting ability these days.

The organization of motion picture
publicity men — the Associated Motion
Picture Advertisers — has launched a
movement to interest the newspapers of
the country in the publication of screen
news. They reason — and reason very
logically — that newspapers devote page
after page to sporting gossip when, at
the most, but 75 per cent, of the mascu-
line readers are actively interested in
these columns. On the other hand, most
newspapers publish absolutely nothing in
the way of cinema information, altho 98
per cent, of both masculine and feminine
readers go to see pictures and are ac-
tively interested. Why?

It is because newspaper proprietors
and editors do not comprehend the need
and the demand. But it will come.

The frenzied era of the star has ju.st
ended. By this we do not mean that
stars will cease to be. \Ve do mean that
the photoplay does not revolve around
them as formerly.

The era of the director is here. It
will probably go to the extreme of the
previous star period.

The era of the author is dawning, in-
deed, if it has not already reached its
high noon. Producers are paying up to
$f50,000 for stories. Thirty thousand is
but an average screen price for a stage
play or novel.

After these periods exhaust themselves
and stars, directors and authors have re-
tired to wealth and rest, we hope for the
dawn of another era: that of the audi-
ence.

We are heartily wearied of hearing
producers, stars, directors and scenario-
ists talking loudly and confidently of
what the public wants. Too long the
exhibitor has been a stone wall blocking
the public on every side. The exhibitor
must improve and he must take his audi-
ence into his confidence ; the present
powers- that-be in the film world must
cease to think that the photoplay depends
wholly upon them individually ; and the
audience must have an active voice — or
we fear for the photoplay of, say, 1925.

(EigMy-sia)

The

Motion Picture

Magazine for

August

Will supply the urgent need of a
companion for the long after-
noons of summer —

For the idle, languorous mo-
ments of intense heat —

For the daily siesta —

The hot nights —

For any of the periods of time in
which the body is resting while
the mind is wide-awake and keen-
ly alert.

Every reader of this issue will be
delighted with the interview
which Adele Whitely Fletcher
had with Alice Brady not so long
ago. Alice has confided to Miss
Fletcher her innermost thoughts
upon certain interesting phases
of life.

There have been so many de-
mands for an interview with
Monroe Salisbury that we had
to wire our Elizabeth Peltret to
see him at once. She did !

Jerome Lachenbrach has written
an unusual article on the associa-
tion and influence of music on
the silversheet.

The gloriously vivid Doris
Keane, heroine of "Romance,"
has been interviewed by Gladys
Hall.

And the latest follower in the
footsteps of the irresistible Ana-
lol, Eric von Stroheim, has been
pinned down to a series of unique
confessions by James Fredericks.

It goes without saying that the
novelizations will be the best to
be had — and the photographs
likewise.

'TT/ie (Motion Picture ^Magazine

1 75 DUFFIELD ST. BROOKLYN. N. Y.

Gossip of the Pacific Coast

(Continued from page 75)
region of the \'.ikon, puff and pant in the
noonday sun and occasionally have to be
cooled off in an ice-box.

Anita Stewart, on the completion of
her next picture, is going to vacation for
three months. Probably she'll journey
to Palm Beach, Fla., for a rest, ending
up in New York at dressmakers' estab-
lishments.

All the Metro stars got a thrill the
other day when the daughter of a real
e.x-President visited them. She was
Helen Taft, daughter of the famous Bill,
who is herself president of Bryn Mawr
College. She came in an effort to raise
an endowment fund for her university
and was royally entertained during her
stay here. May Allison conducted her
on a Cook's tour thru the studio, while
Viola Dana hurriedly picked a bunch of
daisies — Bryn Mawr's flower — and pre-
sented it to Miss Taft. It was Miss
Taft's first glimpse of a picture studio.

It pays to be vamped ! At least, it
paid Rosemary Theby $250 for one day's
experience with Lew Cody. There was a
difficult part in the Cody story, "The
Butterfly Man," which called for an ex-
perienced leading lady. Miss Theby had
journeyed to the studio to see a friend.
Cody was wondering whom he could get
for the "ruination" experience and Rose-
mary said she'd play the part — which she
did at the rate of $50 a kiss.

The widely read story, "The Jack-
knife Man," by Ellis Parker Butler, has
been filmed by King Vidor.

Page a profiteer ! Louise Glaum has
driven 'em so .successfully away from
Culver City that there isn't one to be
found. Reason ? Overalls ! By the
simple expedient of making the matter of
attire a civic function. Miss Glaum has
thrown a bombshell into the profiteer
ranks. In fact, she threw a bombshell
into the community in general when she
appeared at luncheon one day clad in
overalls. Chief in her support of the
mode were James Kirkwood, her leading
man; Wesley Ruggles, her director;
Joseph Kilgour, and even J. Parker
Read, Jr., producer of the Glaum plays.
It started quite a fad, and now Mabel
Normand asserts that she's gonna wear
overalls, too.

Cecil B. de Mille has given us "Some-
thing to Think About" — a new picture,
different from anything he has ever done
before — and also a chance, once again, to
view Elliott Dexter. Dexter has been ill
and off the screen for more than a year.
Nobody seemed to forget him, however,
for his "fan" mail deluged the studio
continually at the rate of 2,000 letters a
week. In the new De Mille picture no
one would ever know that Elliott has
been an invalid. He's as handsome as
ever and the screen love he makes to
Gloria Swanson is quite as ardent as of
yore.

Everybody is either just going to make
a trip to Europe or has just returned
from Europe. Anna Q. Nilsson will bid
(Continued on page 96)

A Beautiful Complexion

and a soft, smooth, col-
orful skin can easily be
had by keeping the
pores thoroughly clean
and open, keeping the
skin tissue well nour-
ished and soft, keeping
the skin protected from
the hot sun and winds.

LADY LOVE

(delicately scented)
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hsa BtwavB been the photco *f pnrtii^ular women for n

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MADAME BER.THE, Specialist

-3 Dept. M 12 W. 40th St. New York

(Eighty-seven)

Motor-Cycle
Mabel

One of Mabel Normand's
pet hobbies is motor-cycling
and she spends all her spare
time away from the Goldwyn
studios upon her trusty
Indian

"The continuity of this ma-
chine is all wrong," mutters
Miss Normand. "Let's give
it a close-up. . . . Here's
where I fade out to the book
of instructions!"

(Eighty-eight)

You can see them
everywhere

This new method is used on millions
of teeth now. Wherever you look you
see the results of it. You see glisten-
ing teeth — teeth you envy, probably.
And you know they are well cared for.

You can learn the way, without cost,
by a simple ten-day test. And we urge
you to make it now. There are few
things more important.

Those Pretty Teeth

No Cloudy Film-Coat on Them

This Is How Millions Now Get Them

AH Statements Approred by High Dental Authorities

Millions of people have found the
way to whiter, cleaner, safer teeth.
This is to urge that you accept a ten-
day test. See how it changes your
teeth, then decide about it by the vis-
ible results.

They fight film

Modern research shows that the
cause of most tooth troubles is a vis-
cous film. You can feel it with your
tongue. It clings to teeth, enters crev-
ices and stays.

The ordinary tooth paste does not
dissolve it. So brushing has left much
of it intact. And night and day, on
countless teeth, it may do a ceaseless
damage.

It is this film-coat which discolors,
not the teeth. Film is the basis of tar-
tar. It holds food substance which
ferments and forms acid. It holds the
acid in contact with the teeth to cause
decay.

Millions of germs breed in it. They,
with tartar, are the chief cause of
pyorrhea. So few escape the troubles
caused by film.

The way to end it

Dental science, after years of search-
ing, has found a way to combat film.

Able authorities have proved its effi-
ciency by clinical and laboratory tests.
Now leading dentists everywhere ad-
vise it.

The method is embodied in a denti-
frice called Pepsodent. And this new-
day tooth paste, in all ways, complies
with modern dental requirements.

To make it known quickly to the
millions who need it, a 10-Day Tube
is being sent to everyone who asks.

Based

on pepsm

The film is albuminous matter. So
Pepsodent is based on pepsin, the di-
gestant of albumin. The object is to
dissolve the film, then to constantly
combat it.

Pepsin long seemed impossible. It
must be activated, and the usual agent
is an acid harmful to the teeth. But
dental science has now found a harm-
less activating method. Now pepsin
can be every day applied, and forced
by the brush where the film goes.

It complies with all modem require-
ments. So in three great ways this
dentifrice surpasses all the former
methods. Now every family should at
once find out how much this method

The results are quick and
apparent

Send the coupon for a 10-Day Tube.
Note how clean the teeth feel after
using. Mark the absence of the vis-
cous film. See how the teeth whiten
as the fixed film disappears.

Pepsodent needs no argument. You
will see the results when you try it.
And the book we send explains the
reason for them.

Compare your teeth now with your
teeth in ten days. The facts will be a
revelation to you. Decide by those
results then between the old ways and
the new. Cut out the coupon so you
won't forget.

REG. U.S. k^^^^^BM^^^^^^H^^MB

The New-Day Dentifrice

-A scientific film combatant, combining two other newly-recognized
essentials. Now advised by leading dentists everywhere. Druggists
.supply the large tubes.

(Eighty-nine)

10-DAY TUBE FREE

•THE PEPSODENT COMPANY,
Dept. 572, 1104 S. Wabash Ave., Chicago, 111.
Mail 10-Day Tube of Pepsodent to

ONE TUBE TO A FAMILY

Second Prize

Fourth Prize

Ninth Prize

Popularity Contest

Sixth Prize

'HE new Popu-
larity Contest,
unusual and en-
tertaining, is already
the object of great
interest — unfailing
and rife. If you
have entered it or
have read the announcements
which have appeared, and will ap-
pear, from time to time, containing
the rules and regulations, you
know it is actually a double con-
test— a contest in which both the
public and players are equally in-
terested.

The prizes depicted above and
below were selected after much
careful thought and attention and
each one is destined to make some
one happier, from the beautiful
Crescent phonograph which sug-
gests a twilight hour with the
gems musical genii have given to
the world, to the Marble nickel-
plated axe which brings to mind
a jolly time in some invitingly
green woodland.

Perhaps you have not yet de-
cided to enter the contest — if not
do so now. Dont lose an oppor-
tunity of enjoying the unique en-
tertainment it affords or of captur-
ing one of the lovely and useful
awards.

Awards

FIRST PRIZE

Crescent Phonograpli, piano mahogany finish
(value $160). Plays all makes of disc records:
Victor, Columbia, Pathe, Edison, Emerson, etc.,
without the use of extra attachments or intricate
adjustments ; a simple turn of the sound-box is
all that is necessary in changing from a lateral
cut record to playing a hill and dale cut record.

A Crescent owner can enjoy a repertoire of
the greatest opera singers, popular songs, dance
music or anything that is turned out of the
disc record. The tone of the Crescent is full,
round, deep and mellow. It has a large com-
partment for records.

First

Prize

SECOND PRIZE

Movette Camera and
three packages of films
(value $65). Compact,
tight, efficient, easily op-
erated. Think of the
possibilities during your
vacation trip — your
canoe trip — in pictures

— pictures of your family or friends — living pic-
tures that you can project at any time in your
home. A priceless record of your life.

THIRD PRIZE

Corona Typewriter with case (value $50) ; an
all-round portable typewriter, light enough and
small enough to be carried anywhere, and strong
enough to stand any possible condition of travel.
It is trim and symmetrical and does not give
one's study the atmosphere of a business office.
Fold it up and take it with you anywhere,

FOURTH PRIZE

SbeafTer "Giftie" Combination Set, consisting
of a SheaiTer Fountain Pen and a Sheaffer
Sharp-Point Pencil, in a handsome plush-lined
box. Gold filled, warranted twenty years. Can-
not blot or leak. A beautiful and perfect writ-
ing instrument.

FIFTH PRIZE

Bristol steel Casting Rod agate guide, cork
grip, strong and durable. Packed in linen case.
Can be easily put in traveling bag.

SIXTH PRIZE

^ Loughlin Safety Self -Filling Fountain Pen.
rCo extensions to remember, no locks to forget.

SEVENTH PRIZE

Star Vibrator, handsomely finished in nickel
plate with three attachments. Alternating cur-
rent. Excellent for massage. Use it in your

own home.

EIGHTH PRIZE

Same as Seventh Prize.

NINTH PRIZE

Marble nickel-plated pocket axe of tool steel,
carefully tempered and sharpened. Indispens-
able in camp or woods.

(Ninety)

Painted for American Chicle Co. hy Neysa McMem. Copyrt^hi, ig2o.

Jk

^

Ittif,

./*"

/i

iKi

©^%,

4

tyL\

^^^.

^Sl

&.W^^c]

<M

Man alive-
Listen!

You can smoke Camels
till the cows come home
without tiring your taste !

CAMELS bring to you every joy you ever
looked for in a cigarette ! They are so new
to your taste, so delightful in their mellow
mildness and flavor, and so refreshing, you will
marvel that so much enjoyment could be put
into a cigarette !

To the most fastidious smoker, Camels are
a revelation !

Camels quality is as unusual as Camels
expert blend of choice Turkish and choice
Domestic tobaccos which you will prefer to
either kind of tobacco smoked straight! No
matter how liberally you smoke, Camels never
will tire your taste !

You will marvel at Camels smooth "body"
And, your delight will also be keen when you
realize Camels leave no unpleasant cigaretty
aftertaste nor unpleasant cigaretty odor!

For your own personal proof, compare Camels
with any cigarette in the world at any price.

Camels are sold everywhere in scientifically
sealed packages of 20 cigarettes for 20 cents;
or ten packages {200 cigarettes) in a glassine-
paper-covered carton. We strongly recom-
mend this carton for home or office supply or
vrhen you travel.

II

fel GAR ETiTES

R. J. REYNOLDS TOBACCO CO.
Winston-Salem, N. C.

Greatest of All Popularity Contests

Unique Competition in Which the Voters Share in the Prizes

WHO IS THE ONE GREAT STAR OF THE SCREEN?

Is it CHARLIE CHAPLIN or ELSIE FERGUSON?

Is it RICHARD BARTHELMESS or WILLIAM S. HART?

Concerning this matter there is great difference of opinion. Every fan, in fact, has his own idol. The Wall
street broker swears by MARY PICKFORD; his wife thinks TOM MIX is the best actor the cinema has
produced; the office boy has a "crush" on THEDA BARA and the stenographer collects photographs of
DOUGLAS FAIRBANKS.

What do you think? If you had a vote would you give it to NAZIMOVA or to LILLIAN GISH? Would
you vote for a man or a woman or for little BEN ALEXANDER?

Shadowland, Motion Picture Magazine, and Motion Picture Classic — the three great magazines of the
Motion Picture world — have decided to refer this question to their readers by taking a popular, world-
wide vote. In regard to matters concerning the stage and theater their audience is the most intelligent and
discerning; the most wide awake and well informed in the world today. If any picture patrons can pick
out the leading star, it will be those who read Shadowland, the Magazine and Classic.

The coupofis will show you how to enter your own name and the name of your favorite player. But you
may vote on an ordinary sheet of paper in Class Number 2 provided you make the ballot the same size
and follow the wording of this coupon. We prefer the printed coupons for uniformity and convenience in
counting.

There will be prizes for voters and prizes for stars.

Votes registered in Class Number 1 will probably be cast by favor. Votes registered in Class Number 2
will call for a wide knowledge of the Motion Picture business, keen powers of perception and skill at de-
tecting the trend of popular favor. You cannot guess the winner offhand.

The contest began on December 1,
September 30, 1920.

There will be ten ballots as follows:

December

1919 ballot

January

1920 ballot

February

1920 ballot

March

1920 ballot

April

1920 ballot

May

1920 ballot

June

1920 ballot

July

1920 ballot

August

1920 ballot

September

1920 ballot

RULES OF THE CONTEST

d will close on 3. The result of each month's ballot will be published in each one of

our magazines the second month following such ballot.

4. No votes will be received prior to the opening date or after the

date of closing.

5. Each person entering the contest and observing the rules thereof

shall have the privilege of voting once in each class, each month,
for each one of our magazines. Vou may send us one vote in
each class for Shadowland every month, and the same for
Motion Picture Magazine and yet again the same for Classic.
Thus, you will have three votes in Class No. 1 each month, and
three votes in Class No. 2 each month.

Class Number 1

Shauowland, Magazine and Classic:

175 Duffield Street, Brooklyn, N. Y.

I consider

the most popular player in the entire field of Motion
Pictures.

Name

Street

City

State

Country

(Dated)

Class Number 2

SnAnowLAND, Magazine and Classic:

175 Duffield Street, Brooklyn, N. Y.

I believe that

will win the Big Three Popularity Contest with
. votes.

Name.

Street...
City

State

Country.
(Dated).

Remember! This is the greatest player contest in history.

(Ninety-one)

muiluiN nv-iunii

f/7

?|3H^^

=r Be a ^
"60NG^SVRITE2l.

• YouTxJrite thetpords ,

• and 1 will compose the rtm-
jic and tfiiarantee piiblica.-

JVihirafcpoems today on.- _

BIO BROAErWASr.RYfr mk

r^uTr.AGo . u.s A . smm

3810

What's What in
= America =

By EUGENE V. BREWSTER

Editor-in-Chie/ of

MOTION PICTURE MAGAZINE
MOTION PICTURE CLASSIC "8?
and SHADOWLAND -^ ^ '^ -^

1 Includes chapters on Christian Science,
Osteopathy, Dreams, Phrenology, Stage
Tricks and Occultism, and a section on
Strikes, Profiteering, and the High Cost ot
Living. Cloth bound, 230 pages, mailed
prepaid to any address on receipt ot $1.Z5.

BREWSTER PUBLICATIONS, INC.
175 DUFHELD ST. BROOKLYN, N. Y.

You Have a Beautiful Face

BUT YOUR NOSE?

|N .hi, da, .nd ... "-<■-, '"f'S; '^f,%rZ'y 's\ou" /'y"u" «i""o="l^." 7°^
I expect to make the most out °' i^''„,f ,°\iSion, which is alone well worth
1 aursctive >= P""'"-''., °L'd The ^or d i"Teneral udging you peatly. .(not
vour efforts, but you W'' . <•" V"- "°,l,° ," Siook your best" at all times. Pt-K-
wholly. by your "looks." therefore itpay^ to lg)| .^ „.„ ;„;„„ ,,„„, „»,■

MIT NO ONE TO SEE. YOU LOOKINU uin^i^- j^.,^^^ ^^ success of

fare! Upon the impression !"=" ""^""l^^,;",? My new noseshaper "Trades"

M. TRILET Y. F»ce SpeC.l.st. 1039 Ackerm»n Bldt- Bln^h-vrntcn. N. T.

"From Within— Without" 1

{Continued from page 84)
cities they were certainly of incalculable
value to us in obtaining: the Yukon effects
we wanted for our picture. We left or-
ders to be called when a storm broke at
night and every one would tumble out
with enthusiasm, and what wonderful
shots of driving storms we did get ! Our
village was snowed under at one time
and we had considerable trouble with
the lights. We were up there three
months— seventy of us, most of the time
in Port Henry's solitary hotel. It is usu-
ally a fact that such an experience tries
the nerves to the breaking point. But
we didn't have a bit of trouble. We were
just a big happy family and got along
much better than most families !

"And the townspeople — they were
more interested in us than we were m
ourselves Thev entertained us in their
homes and clubs. They extended us
every assistance and cooperation and
when we left, the Chamber of Commerce
sent us a letter telling us how pleasant
an experience it had been to have us
there I found many types among the
natives, too, for the extras I needed in
the picture. I used them in the court-
room scenes and in the many dance-hall
scenes. They made exactly the right at-
mosphere, and they didn't act all over the
place either ! . , ^ c â– 

"The story, you know, is based tor a
theme on those lines of Robert W. Ser-
vice's immortal poem; —
"This is the Law of the Yukon, that only the

strong shall thrive; .

That surely the weak shall perish, and only

the fit survive. . , . . . j j

Dissolute, damned and despairful, crippled and

palsied and slain. t j u ..t,.

This is the Will of the Yukon-Lord, how she

malies it plain!"

"It's a powerful story," said Charles
Miller reflectively, "and, thanks to our
wonderful camera men and the coopera-
tion of our splendid company, I dont
think anything just like it has ever been
caught for the camera before.

Charles Miller has been "in harness,
as he expresses it, all his life. He began
his career in stock, continuing for many
years, playing every role from comedy
and character parts to leads, and was
(altho he did not tell me) one of the
popular matinee idols of his day. After
his stock experience, he played under the
management of Charles Frohman, Charles
Harris, David Belasco and other big
managers. He is singularly reticent
about speaking of his success on the
speaking stage, but did admit that the
Great Divide," in which he was starred,
was his favorite of all the plays in which
he appeared. Following his acting ex-
perience he became a stage director of
note, having directed many of our best-
known stage artists.

Five years ago, he entered the motion
picture field. The first year he acted m
pictures, playing a part in Civilization
and one or two other pictures Not ttiat
I wanted to be a screen actor, he said, i
wanted to direct; but how could I direct
pictures until I had first acted in them?

CLASSIC

"Are you one who thinks that previ-
ous stage experience is necessary in or-
der to do your best work for the camera
— both in acting and directing?"

"That is a broad question," he smiled.
"There are directors who have made a
success of pictures who never directed a
stage play. Generally speaking, I will
say that to succeed on the screen, one
should have stage experience — whether
acting or directing. Not that this ex-
perience is vital, but the artist of the
speaking stage has poise, self-confidence
and brings to the screen the art and un-
derstanding bred of an intimate knowl-
edge of the technique of acting. Of
course, there are a number of successful
screen stars who never were on the stage
— but they had a great deal to learn and
a harder road to travel to success than
their brethren who stepped from the
stage to the screen. And it's the same
with directing. There are directors who
have made a success of pictures who
never directed a stage play. But — usu-
ally, it has been a pictorial success rather
than a dramatic success.

"Theories? No — I have none. You
know how it is with bringing up a family.
Before you have any, you have all kinds
of theories. But after you get one, you
just worry along as best you can and the
theories — well, you find out how little
theory amounts to. It's doing that
counts. There is one thing, tho, that has
gone with me since I went into the the-
atrical business. It's the one thought I
have worked with: 'From williin, with-
out.' If it's in, it will come out — do you
see? When I was on the stage, I had al-
ways that thought in mind and tried to
work out of myself what was within. In
directing, I do the same. And if I can
get no response from the actor, I know
there is nothing within.

"That is why I am so insistent upon
rehearsals. On the speaking stage, the
carefully trained and modulated voice has
more to do with success than many, not in
the profession, realize. But in pictures
the voice is out of it and that's where
art comes in. The expression of one's
face, the eyes, the smile, the use of the
hands, one's very walk before the cam-
era must be studied for effect. There
are no sound effects, nothing off stage to
help along the action. The artist must
put it over. And there's such tempta-
tion to overact ! And so, I rehearse my
players over and over, making them
speak regular lines too^imtil they for-
get they are 'acting' and go thru the scene
naturally. My people always know the
story thoroly and I encourage them to
use their intelligence and make any sug-
gestions that may occur to them as we
go along. I never follow a storjf in cut-
and-dried fashion — it's the little bits of
spontaneity that add heart interest and
often make a corking picture out of a
mediocre story.

"Motion pictures have such infinite
possibilities. They are going to do what
the stage might do but cant do — they
(Continued on page 95)
(Ninety-three)

June Mornings

r-T:

Bubble grains on berries

Mix these airy, flimsy bubbles
in every dish of berries. Use
Puffed Rice or Corn Puffs. The
blend is delightful. It adds what
crust adds to a shortcake.

At breakfast, also, serve with
cream and sugar — any of these
fragile, fascinating grains.

June Evenings

Whole wheat

steam exploded

For suppers, float Puffed Wheat
in milk. That means whole wheat
with every food cell blasted. The
grains are puffed to eight times
normal size.

They seem like tidbits, but every
flaky globule is a grain of wheat
made easy to digest.

June Afternoons

Airy, nut-like confections

For hungry children, crisp and douse
with melted butter. Then Puffed Grains
become nut-like confections, to be eaten
like peanuts or popcorn.

Use also like nut-meats as a garnish on
ice cream. Use as wafers in j^our soups.

Puffed

Puffed

Corn

Wheat

Rice

Puffs

Also

Puffed

Rice Pancake

Flour

yhe Quaker Qats G>inpany

Sole Makers

D^^i

iracic

Even)
'Depilatory

The Perfect HairRemo'ver

WHEN you use DeMiracle there
is no mussy mixture fo apply or
wash off. Therefore it is the nicest,
cleanhest and easiest vray to remove
hair. It is ready for instant use and
is the most economical because there
is no waste. Simply wet the hair
with this nice, original sanitary liquid
and it is gone.

You are not experimenting with a
new and untried depilatory w^hen
you use DeMiracle, because it has
been in use for over 20 years, and is
the only depilatory that has ever been
endorsed by eminent Physicians, Sur-
geons, Dermatologists, Medical Jour-
nals and Prominent Magazines.
Use DeMiracle just once for remov-
ing hair from face, neck, arms, un-
derarms or limbs, and if you are not
convinced that it is the_pcrfect hair remover
return it to us vnih the DeMiracle Guarantee
and we will refund your money. Write for
free book.

Three Sizes; 60c, ^1.00, ^2.00

At alt toilet countfTS or direct from vn, in
plain -WTapper, on receipt of 6jc, ft.O^
or $2.o8, which includes War Tax.

Xkjfriiraefc

DeptP-28P«rfcAve. and I29th St., New York

ij^lfou Write ihe

./ lirV^rds for aSon^
landVllwrite^

UiaSiMMm

You, yes, you, write the words for a
song and submit to me. If I find the
subject or idea suitable for use in a song,
win agree to give your poem a musical setting
and have the complete song printed accord-
ing to the plan of the

Metropolitan Studios

You Can Succeed —make no

> mistake about

that! You may be interested in knowing
that I received my musical education at the
Moscow Roynl Conservatory of Music. Moscow,
Russia, and later became the royal court pianist.
I .have appeared in concerts in all the leading
cities of Europe and this country. Among my
greatest song successes are:— "If I were a Rose."
of which a million conies have been sold, and
the national hymn, * America. My Country."
Do Dot let another dnr so by without submit'
tins a poem to me. Who know.— you may bo
the long writer of tomorrow.

Address me as follows:

Edouard Hesselberg

METROPOUTAN STUDIOS

914S. Mickisan Ave., Suite 138 Chicato. ID.

MOTION PICTURE CLASSIC

The Celluloid Critic

{Continued /,

couple to keep their marriage a secret
from an irascible father, anxious friends
and all sorts of other human "complica-
tions." Nobody stands out in the farce.
Alatt Moore and Marjorie Daw play the
newly married couple.

If we may judge by the early "Edgar"
stories of Booth Tarkington, these short
Goldwyn releases are going to be genu-
inely delightful. "Edgar's Hamlet," for
instance, is a decidedly amusing presen-
tation of the youthful Edgar's efforts to
produce the Bard's tragedy in the family
barn. Tarkington knows youth and
enough of Tarkington gets to the screen
in these film stories to lift them into the
unusual. E. Mason Hopper is directing
them very competently.

"A Fool and His Money," (Selznick),
is based upon a George Barr McCutcheon
romance — one of those things that are a
thousand miles from real life. A suc-
cessful American novelist buys an Aus-
trian castle and forthwith discovers a
persecuted American girl living in a de-
serted wing of the structure. Certain
mild adventures launch themselves at
once. Eugene O'Brien's whimsical left
eyebrow is just as whimsical as ever in
this cinema effort. Rubye de Remer is
much better as the heroine, to our unso-
phisticated way of thinking. By adroit
camera work, Robert Ellis attains some
effects of seemingly limitless baronial
castle halls.

Norma Talmadge's most recent ve-
hicle, "The Woman Gives," (First Na-
tional), is no better or no worse than
her recent vehicles. Indeed, they are all
bloodless. We understand that an im-
perial ukase in the Talmadge fold re-
quires highly emotional roles, stories in
which the heroine is absolutely untar-
nished in thought and action. No won-
der Miss Talmadge's vehicles are weak
dramas. How can one be emotional
about nothing? In "The Woman Gives"
she plays a sweet, guileless art model
who loves and is beloved by a struggling
painter. She chances the loss of this
love — the young chap is very jealous — in
order to befriend and help a genius who
has slipped to the depths thru his wife's
infidelity. Then she returns to the man
of her heart and to happiness.

The story reveals no signs of life any-
where. Miss Talmadge photographs as
charmingly as ever — but that is about all
one can say. There is no plot develop-
ment and no characterization anywhere.
Neither Edmund Lowe nor John Holli-
day awaken any interest as the lover and
the derelict genius.

Nazimova is always vivid enough to
lend a certain interest to any screen play.
Thus "The Heart of a Child," (Metro),
has a measure of appeal. But the whole
thing will be quickly forgotten. She
plays a little cockney gutter child of the
London slums who attracts the eye and
love of an English nobleman. Thru his
aid she attains stage success and even-
tually marries her benefactor. The old
Cinderella tale is still popular, isn't it?

roin page 49)

We are still waiting for Nazimova to
equal her unforgettable "Revelation."
We can easily understand why she has
not. She needs a strong restraining
hand — a producer or director with cour-
age and will enough to apply her genius
in the right sort of stories. At present
she is running rampant.

Geraldine Farrar, being a most popu-
lar operatic Carmen, must needs go on
playing fiery Spanish cigaret girls in the
films. In "The Woman and the Pup-
pet," (Goldwyn), she flirts with a con-
ceited fop who is adulated by less desirous
senoritas, taunts him and snaps her
fingers in his face until, enraged, he de-
velops into a caveman. Then he slaps
her face — and no mild slaps are they —
until the tears come. After which she
willingly gives him her lips. We must
admit that the audience which observed
"The Woman and the Puppet" with us
laughed outright at Lou-Tellegen as the
lover. It has no sympathy for the sickly
sentimentalist who was willing to liter-
ally— as well as figuratively — kiss the
sehorita's feet. To our mind, "The
Woman and the Puppet" is weak screen
stuff.

Scenarioists seem to be fascinated by
the idea that the ocean bottom is studded
with treasure as a result of U-boat ac-
tivities in the recent war. "Below the
Surface" and "Terror Island," (both
Paramounts), revolve around the iden-
tical idea.

The first concerns the machinations of
a scoundrel and his paramour, who plot
to win over a daring young diver that
they may use him to recover some of this
lost treasure. The diver retains his
faith in the adventuress even after her
mysterious death in a steamship disaster.
But, after he looks thru a porthole of the
sunken vessel and sees the woman dead
in the arms of the villain, he realizes
all, and after the proper period of brain
fever, comes back to the village maid
who has loved him all along. She is a
young woman who was foolish enough
to pin her faith in pies rather than rouge.
We call "Below the Surface" unpleas-
ant stuff. That is, unpleasant without
any real reason for existing; i.e., point-
ing a cinema moral.

"Terror Island" exploits Houdini. It
is a five-reel drama done with that deep
insight into life displayed by a construc-
tor of serial thrills. In other words, it is
a series of palpably absurd incidents
intended to be ultra-startling. It isn't.

Bert Lytell does not equal his splendid
work in "The Right of Way" with his
portrayal of the reformed safe opener in
"Alias Jimmy Valentine," (Metro). Of
course, you remember the stage Valen-
tine, whose nerves were attuned so sensi-
tively that he could open any safe by
sandpapering his fingertips and running
them o\'er tke vault knobs. Lj-tell, who
is steadily advancing, makes a highly
likable Jimmy and Vola Vale is a pleasant
(Nvnety-fovx)

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(Ninety iive)

enough reason for the reformation. Wil-
ton Taylor is excellent as the hard-boiled
detective who finally relents. Why the
prison stripes of ten or so years ago
when the feminine styles are plainly of
1920?

We admit rather liking Irene Castle
in "The Amateur Wife," (Paramount).
This we attribute to Miss Castle, for the
theme is that ancient one of the unappre-
ciated wife who blossoms forth from an
ugly duckling into a swan and awakens
her hubby's slumbering affections. Some
sordid melodrama has been dragged in to
brace up the trite tale. Mrs. Castle
isn't emotionally compelling, but she
lends a certain pleasant personality to a
part of the proceedings. Whether or not
you like "The Amateur Wife" will de-
pend upon whether or not you like the
star. \V. T. Carleton is the husband.
We detect a certain Dick Barthelmess
quality in Arthur Rankin, who appears
briefly in a fearful role.

"My Lady's Garter," (Paramount), a
Maurice Tourneur production of the
late Jacques Futrelle's mystery story,
long held awaiting release, is unreal stuff,
with a hero who appears for nearly five
reels to be a master crook but who de-
velops to be a great detective. The de-
tectives in this affair are as dense as the
heavy-footed gentry who have been trail-
ing the eminent Mr. Nicky Arnstein, Esq.

"From Within— Without"

{Continued from page 93)

are going to teach the great masses of
people. They are going to bring the best
of everything within reach of these
people. That's why I'm glad that so
many of our great stage artists are com-
ing to the screen. And the screen is be-
coming our greatest educational factor.
Strange, isn't it?" he mused, "when we
remember that in some communities only
a few years ago picture houses were not
considered respectable. And now, the
very churches are installing projection
machines and giving over one or more
services a week for the showing of mo-
tion pictures — and they are installed in
our colleges for the purpose of teaching
different subjects — great, isn't it. and a
glorious monument to the determination
and courage of the few men who saw the
vision and followed it?"

Double Exposures

{Continued from page 83)

way we'd rename 'em :

"Peter Pan'' — "Up in Peter's Tree."
"Othello"— "The Black Barrier."
"Romeo and Juliet" — "Passion."
"Vanity Fair" — "The Lady of Lure."
"As You Like It"— "The Forest Vir-
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US farewell for several months when she
leaves New York in June for her native
Sweden. Miss Nilsson has not seen her
parents in nearly a dozen years, due to
(he war and everything, and as soon as
she finishes playing opposite Hobart Bos-
worth in "Bucko Mc.\lister ' she s going
to skip to New York. When Anna _Q.
came to America she did so with the in-
tention of becoming a school-teacher.
But Fate, however, cast her as Penrhyn
Stanlaws' model, and an offer of forty
dollars a week persuaded her to join a
company of Kalem players In Sweden
she'll be considerably feted, inasmuch as
she is the only one of her countryvvomen
who has ever registered a decided suc-
cess on the English "speaking stage or
screen, and while abroad she will make
nvo pictures at a reputed salary oi
$40,000 a production.

And a letter received from piquant
Tsuru Aoki informs me that she is so-
journing happily in her native Japan
She left Los Angeles immediately after
completing her Universal contract Ses-
sue Hayakawa, her husband, was to have
accompanied her, but a new contract in-
terfered and Miss Aoki left, accompanied
only by her maid. She stopped off for a
week in Honolulu, enjoyed its attractions
and at length proceeded to Yokohama,
her home. Her uncle there, Iso Kawi-
kami, is a theatrical producer. He tried
to induce Miss Aoki to sign with his
company, but she declined, inasmuch as
she is to be back in Hollywood by Octo-
ber to start work under a new, fat con-

""^Pauline Frederick has left Goldwyn.
She has definitely broken into the f^eldot
the independent producers,_even selecting
her own stories and directing herselt.

There is a move on foot in Hollywood
to start a tennis club exclusively for
motion picture celebrities. It is bemg
made by Shirley Mason, who is a tennis
Enthusiast herself, and who ^as offered
the spacious courts at her new home to
the charter members of the organization.
These include Viola Dana her sister
Bernard Durning, Ward Crane Ahce
Lake Anna Q. Nilsson, Buster Keaton,
(who, by the way, is Metro's new comedy
stir) Rex Ingraham and Lottie P'ckford.
Sh lev's plan is eventually to have the
film folk erect a handsome club-house in
Hollywood and restrict its gtiest privi-
leges exclusively to those "m the profes-
!ton''-sort of place, you k-now, where
the film famous can go without being

''Tt r'emonition that her former fiance,
..ho l^Id been reported Whed .n the war
would return to her, came t^ue recently
when Sylvia Breamer greeted Lieut.
F C Lewis, of the army intelligence
• corps upon his arrival in Los Angeles.
Tlie officer was gassed in action and be-
Sved killed. Not long ago Miss Breamer

^^^Vrtohtr'^'T^fet^ekirfe
rel?e"'M\s^BreImerjoun.eyedWest
to'^Tay the title role in "Athahe, and,

having finished, is working in a picture
for Mayflower. , â–  .i

Priscilla Dean got arrested shortly
after the new no-auto-parking ordinance
went into effect in town. Under the new
law it seems that you cant park your
car in the downtown district more than
two minutes. Priscilla went into a thea-
ter to see herself in "The Virgin of
Stamboul," and when she went to start
her car she found it tagged. No, it
wasn't a surprise to her, inasmuch as it
was prearranged by her press agent for
a front-page newspaper story.

And the marriages ! Of course, now
that Mrs. Mary Preston Dean, mother
of the sparkling Priscilla, has announced
it formally, the marriage of Miss Dean
to Wheeler Oakman, her leading man in
"The Virgin of Stamboul," has ceased to
be an item of local gossip. But Pnscil a
isn't by any means the only film star to
commit matrimony. Betty Blythe sud-
denly issued invitations to her wedding
to Paul Scardon, who has been brought
West by Goldwyn to direct the Arnold
Bennett photoplay, "Milestones. Ihe
wedding was solemnized quietly at the
Church of the Angels in Garvanza, with
less than a hundred close friends of the
bride and groom being present. Miss
Blythe, since she came to Los Angeles to
assume the lead in "The Silver Horde,
has been one of the reignmg ffvojites at
the studios. She only recently finished
the lead opposite Lew Cody in The Mis-
chief Man" and at present writing is
starring in "Nomads of the North, an-
other James Oliver Curwood story, for
First National Exhibitors' Circuit. She
has, in addition, signed a contract with
Fox to play the title role in a spectacular
production of "The Queen of Sheba.
Her marriage, she asserts, will in no way
tend toward her retirement from the

screen. ... . „ .

Another marriage which surprised
ever>'body was that of Jack Perrin, Uni-
versal serial star, and petite Josephine
Hill for some time a comedy star wiUi
the'"U" and later the little wife in
Metro's "Parlor, Bedroom and Bath.

Easterners are journeying West to
work before the camera. Wyndhain
Standing and his wife are mcely domi-
ciled at In Ocean Park hotel while Ray-
mond McKee has journeyedfrom Nev^
York to again play 0PP°s'te Shirley
Mason at Fox. McKee played Shirley s
lead several years ago in a series of her
early pictures at Edison and the meeting
of the two on the lot was something like
the reunion of brother and sister.

Monroe Salisbury, that prime emo-
tional star, who severed connections some
time ago with Universal, is back on the
screen as the star of his own productions.
His company is working at Brunton s on
r spectacular magazine story which
Metro wanted to produce, bnt didn t and
Salisbury has stated to me that he m-
tends giving every member of h s cast
quite as much opportunity in the story as
he himself will have.

(Ninety-six)

"The Perfect Woman" without her make-up

What^s a Perfect Woman?

You can learn how to be perfect, if you really want to be.
But do you? You should see the Perfect Woman before
you decide.

Constance Talmadge tried it. And while you are learning all
about the Perfect Woman from her, you'll be seeing one of
the most fascinating romances ever presented — all about how
a rich little poor girl captivated the heart of a poor little rich
boy — and you'll laugh over the comedy situations with this
great screen comedienne as you never laughed in your
life before.

Joseph M. Schenck presents

Constance Talmadge

*'The Perfect Woman"

A John Emerson-Anita Loos Production

Directed by David Kiiidand

Did she flirt? Nol No! Not in this dissuise as a perfect woman!

A First National Attraction

Photographed by Oliver Marsh
Technical Director, Willard Reineck

Ask When It Will Be ShoWn
at YOUR Theatre!

Did she flirt? Well, she wasn't disguised— just natural What do you think?

(Ninety-seven)

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EVERY NIGHT'S A BIG NIGHT

A /eir of the liitest

PARAMOUNT PICTURES

alphabetically listed

JOHN BARRYMORE in

"DR. JKKVLL AND MR. HYDE

Directed by John S. Robertson

â– THE COPPERHEAD"

Wilh Lionel Barr>more
Directed by Charles Maigne

CECIL B. DeMILLE'S

Production

'•\rHY CHANGE YOUR WIFE?'*

"EVERYWOMAN"

Directed by George H. Melford

With AU-Slar Cast

A /cu' of the latest

PARAMOUNT PICTURES

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GEORGE FITZMAURICE'S

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"ON WITH THE DANCE!"

WILLIAM S. HART in

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GEORGE H. MELFORD'S

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Shadowland
for August

SHADOWLAND is

first and foremost a magazine
of beauty.

Its purpose and object in
the world is to bring beauty to
every household which it
reaches. It believes whole-
heartedly in the development
of beauty, and the cultivation
of all art. It feels that there is
far too little appreciation of
beauty in this humdrum,
prosaic world.

Therefore, it announces
with much pleasure that the
August issue is the best yet.
Louis Raymond Reid reviews
the past theatrical season in
a whimsical, satirical article
which will delight the reader.

There is a playlet of
reincarnation by Katherine
Metcalf Roof; "The Reflec-
tions of a Gentle Cynic," by
Lisa Ysaye Tarleau; a review
of current fiction by the always-
welcome Heywood Broun,
and other articles by Benjamin
De Casseres, Frederick James
Smith, and others too numer-
ous to mention.

You will remember the
literature ; you will want to
frame the lovely photographs;
you will not, we assure you,
forget the August issue of
SHADOWLAND in a
hurry!

SHADOWLAND

175 Duffield Sireel

Brooklyn, N. Y.

BREWSTER PUBLICATIONS

Pi exu re; C LASsie

Vol. X AUGUST, 1920 No. 6

THE GIRL ON THE COVER
(Painted by Leo Siclke, Jr., from a Still Pholograph.)
The most recent astronomical discovery to be observed on the
silversheet is the blonde Wanda Hawley, who now shines with
serene starry rays on the Realart banner.

When Miss Hawley first came to New York it was to sing and
play accompaniments, but, not long ago she lost her voice thru

some throat trouble and turned her attention to the screen. Her unusual characteriza-
tions in Cecil de Mille's "Old Wives for New," and "We Cant Have Everything," as

well as other photoplays, will long be remembered by all film-goers.

Rotogravure Gallery of Players. Full-page studies of Page

Pearl White, Anna Q. Nilsson, Ann May, Harrison
Ford and Elliott De.xter 11-15

Letters of Mary. Mary Miles Minter is discovered to

be aiiolhcr Daisy Ashford B. F. Wilson 16

The Baby-Talk Lady. Louise Huff discloses some in-
teresting facts about herself Frederick James Smith 18

A Little Bit of Bohemia. Tne home of Teddy Samp-
son and Rosemary Theby is a popular rendezvous Elizabeth Peltret 20

"Some Boy, That Frenchman!" is the universal opinion

of the Idol of France, Georges Carpentier Ethel Rosemon 22

"All Mankind Love a Lover." Honeymoon glimpses

of Our Mary and Doug 23

Invading Davy Jones' Locker. Strikingly unusual sub-
marine pictures of Annette Kellermann 24

The Low-brow Playwright Speaks. Bayard Veiller

talks on plays and players; films and filmers Frederick James Smith 26

Miss Hobbs. VVanda Hawley's newest comedy feature

release told in interesting story form Faith Service 27

Mermaid Marjorie. "A Thing of Beauty is a joy for-
ever" and Miss Daw verifies the quotation 31

La Bella Sevilla. Universal's daughter of Old Spain

furnishes a colorful picture of Seville Frilzi Remont 32

His Happy Role. The home life of Bryant Washburn

and the role he likes best of all Maude S. Cheatham 34

A Daughter of Neptune. Irene Rich takes a day off

and disports on the golden beach sands Mary Keane 36

The Human Ray. .Studio snapshots of Charles Ray 38

Yes or No. Unique short story based upon Norma

Talmadge's latest photoplay Olga Shaiv 39

The Screen Year in Review. Critical commentary upon

the progress of the photoplay Frederick James Smith 44

Bill Hart's Dream Home. What Bill Hart expects to

do when he retires from the screen Maude S. Cheatham 46

The Turning Point. This month's honor roll winners

in the 1920 Fame and Fortune Contest ^^

Summer Behind the Footlights 50

High Lowe! Edmund Lowe confesses his philosophy

upon a wide range of subjects Gladys Hall 51

Overalls Capture the Sennett Studio 52

Marooned Hearts. Fictionization of the Selznick

photoplay in which Conway Tearle appears Dorothy Doniiell 53

Double Exposures Conducted by F. J. S. 57

The Movie Encyclopedia The Ansiver Man 94

Look for the last minute features among the advertising pages

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Entered at the Brooklyn, N. Y.. Post Office as Second-class Matter.
Copyright. 1920. by Brewster Publications, Inc., in the United States and Great Britain, a New
York corporation, with its principal office at Brooklyn, N. Y. Eugene V. Brewster, President and
Editor-in-Chief; E. M. Heinemann, Secretary; Eleanor V. V. Brewster, Treasurer^

RT.^FF FOR THE CLASSIC:

Frederick James Smith. Man.igiiig Editor

B. I-', Wilson, Editor

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Guy L. Harrington Business Manager

Duncan A. Dobie, Jr Director of Advertising

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MOTION PICTURE CLASSIC ... 17S Duffield St., Brookly " "

This magazine, published monthly, comes out on the 15th. Its elder sister, the MorrotJ Picture Magazine,
comes out on the first o4 every month. Shadowland appears on the 23rd of each month.

(Five)

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Stage Plays That Are Worth While

(Readers in distant toums will do well to preserve this list for reference when these spoken
plays appear m their vicinity.)

Astor. — Fay Bainter in "East Is West."
TIk' stor^' of a quaint little Chinese maid who
falls in love with a young American. Racial
barriers seem insurmountable, hut there is a
happy and surprising ending. Has all the in-
gredients of popular drama.

Belasco. — "The Son-Daughter," with Lenore
Ulric. George Scarborough and David Bclas-
co's highly colored Chinese melodrama with
the vivid Miss Ulric. One of the big hits of
the season.

Booth. — "Not So Long Ago." A fragile and
charming little comedy by a newcomer, Arthur
Richman, telling a story of picturesque New
York in the early seventies. Genuinely de-
lightful. Finely played by Eva Le Galhenne,
Sidney Blackmer and an excellent cast.

Casi)w. — "Betty, Be Good." Lively summer
musical show with a tuneful score by Hugo
Riesenfeld, the director of the RivoH, Rialto
and Criterion screen theaters. Josephine
Whittell is the life of the entertainment, Frank
Crumit scores and VVorthington Romaine
makes his role stand out.

Central. — "As You Were," with Irene Bor-
doni and Sam Bernard. A delightful musical
show in which Miss Bordoni dazzles as the
various sirens of history. Pleasant music and
a pleasant chorus lend effective aid.

Centttry. — "Florodora." The much-heralded
revival of the widely popular musical show of
some twenty years ago. Done with charm,
distinction and humor. Eleanor Painter's sing-
ing stands out vividly and George Hassell's
humor is highly diverting. Then, of course,
there is the famous "sextette." Here is a
revival that really revives.

Cohan's. — "The Hottentot," with WilHe Col-
lier. Typical one-man farce with the inimit-
able farceur. Collier, at his best. Ann Andrews
lends pleasant assistance. Full of laughs.

Comedy. — "My Lady Friends." Amusing en-
tertainment adapted from a Continental farce.

Cort. — "Abraham Lincoln." You should see
this if you see nothing else on the New York
stage. John Drinkwater's play is a noteworthy
literary and dramatic achievement, for he
makes the Great American live again. "Abra-
ham Lincoln" cannot fail to make you a better
American. Moreover, it is absorbing as a play.
Frank McGlyn is a brilliant Lincoln.

Ellinge. — "Martinique." A colorful romantic
tragedy of the French West Indies, revolving
around the exotic belles affranchies — mulatto
belles — of a certain part of the tropics, the
women poetized by Lafcadio Hearn. The cast
includes Josephine Victor, Vincent Coleman,
Arthur Hohl and Emmett Corrigan.

Forty-Eighth Street. — "The Storm." A well-
told melodrama of the lonely Northwest with
a remarkable stage effect of a forest fire.
Helen MacKellar is admirable as the piquant
French-Canadian heroine.

Garrick. — "Jane Clegg." St. John Ervine's
powerful drama, presented by the Theater
tjuild, has been running here all season. A
drab but brilliant tale of middle-class English
life. Superbly acted by the best ensemble in
New York.

Greenwich Village. — "Foot-Loose." with
Emily Stevens, Norman Trevor and 0. P.
Hcggie. Zoe Akins' well-done modernization
of the old melodrama, "Forget-Me-Not." Tal-
lulah Bankhead scores in a difficult role.

Henry Miller's Theater — "The Famous Mrs.
Fair." Able drama dealing with the feininine
problem of a career or a home. Skilfully
written by James Forbes, with unusual playing
by Blanche Bates, Henry Miller and Margalo
Gilmore.

Hudson. — "Clarence," Booth Tarkington's
delightful comedy, built about the way a re-
turned soldier reunited a disturbed but typic-
ally American household. Superb perform-
ances by .Mfred Lunt. Glenn Hunter and Helen
Hayes give the comedy a fine verve.

Knickerbocker. — "Shavings." Pleasant if
conventional dramatization of Joseph C. Lin-
coln's Cape Cod story. Harry Beresford gives
a finely drawn characterization.

Little Theater. — "Beyond the Horizon," by
Eugene O'Neill. This powerful drama was
produced at a series of special matinees and
proved so successful that it won a theater al!
its own. A gripping study of a human being
crushed by environment, told with compelling
force. One of the biggest native dramas of
years. Richard Bennett heads a remarkable
cast.

Lyric. — "What's In a Name?" The most
beautiful musical entertainment, with the pos-
sible exception of the Ziegfeld revues, yet seen
on Broadway. Colorful new art stage designs,
remarkable use of lights and gorgeous cos-
tumes lift it into the realm of the exquisite.
Intelligently written and put together, too.

A'cw Amsterdam Roof. — Ziegfeld 9 o'clock
and midnight revues. Colorful entertainments
unlike anything to be found anywhere else.
Here, too, are the most beautiful girls in all
New York.

A'ora Bayes Theater. — "Lassie." A charm-
ing and pleasantly tuneful little musical com-
edy of Scotland and London in the picturesque
sixties. Based upon Catherine Chisholm Cush-
ing's "Kitty MacKay." Tessa Kosta sings
pleasantly and Mollie Pearson and Roland Bot-
tomley are prominent. Dorothy Dickson and
Carl Plyson contribute some delightful dance
interludes.

Playhottse. — "The Wonderful Thing." A
human play built around a poverty-stricken but
blue-blooded English family into which Jeanne
Eagels comes as a wealthy heiress and wife of
the eldest son. Pleasant if conventional.

Shiibcrt Theater. — "Scandal." Cosmo Ham-
ilton's daring drama which Constance Tal-
madge played on the screen. Francine Larri-
more and Charles Cherry have the leading
roles in the excellent footlight production.

ON TOUR THIS AND NEXT SEASON

"The Purple Mask." with Leo Ditrichstein.
A stirring, romantic melodrama of the days of
the First Consulate in France; tense, colorful
and highly interesting. One of the best eve-
ning's entertainments of the season. Mr. Dit-
richstein is delightful as the royalist brigand,
the Purple Mask; Brandon Tynan is admirable
as the republican police agent, Brisquet ; Lily
Cahill is a charming heroine, and Boots Woos-
ter makes her bit of a peasant girl stand out.

"The Sign on the Door." — A very good melo-
drama which boasts many instances of the un-
expected— and Marjorie Rambeau in highly
emotional scenes.

"Look Who's Here," with Cecil Lean. A
passable musical entertainment that entertains
when Mr. Lean and Cleo Mayfield hold the
center of the stage.

"Smilin' Through," with Jane Cov/1, An odd,
but effective drama which purports to show
how those who have gone before influence and
watch over our lives. Miss Cowl is exceed-
ingly good as a piquant Irish girl and also as
a spirit maid whose death occurred fifty years
before. "Smilin' Through" will evoke your
smiles and tears.

"The Oiiija Board." Crane Wilbur's thriller
built around spiritism. Real spooks invade a
fake seance, solve a murder mystery and pro-
vide plenty of surprises. Guaranteed to keep
you on edge. Excellent cast includes George
Gaul, Howard Lang and Edward Ellis.

"Mamma's Affair." — Rachel Butler's admir-
ably written comedy — a study of that deadly
human species, the hypochondriac who fancies
herself suffering from all sorts of ills. Done
with distinction and fine discernment. Ida St.
Leon scores and important members of the
cast are : Effie Shannon, Robert Edeson, Kath-
erine Kaelred and George Le Guerre.

{Continued on page 8)

(Six)

The Fame and Fortune Contest

Speeds Ahead!

Some time ago we announced that there would ht produ-ced in conjunction with the
Fame and Fortune Contest of 1920, which was being held by THE MOTION PICTURE
Magazine, The Motion Picture Classic, and Shadowland, a five-reel feature drama
entitled "LOVE'S REDEMPTION."

This anmouncement has aroused the greatest interest among our readers and all those who
contemplate entering the contest. The feature, a strong play of dramatic force, is now well
under way, and the main scenes have already been filmed. Those appearing in the cast are
as follows:

Edwin Marktiam, Hu.dson Maxim, Dr. Nichols.

Blanche McGarity, Anetha Getwell, Dorian Romero, Lynne Berry, Katherine Bassett,
Wm. Talmadge, Arthur Tuthill, Cecile Edwards, Wm. Castro, Ellsworth Jones, Seymoure
Panish, Joseph Murtaugh, Dorothy Taylor, Efiie Lawrence Palmer, Bunty Manly, Alfred Rigali.

Erminie Gagnon, Edward Chalmers, Charles Hammer, Wm. White, Clarence
Linton, Sophie De Leske, Mrs. J. A. Gagnon, Norbert Hammer, Mr. McCabe, Doris Doree,
Mrs. F. Mayer, Colonel Hervey, George Costa, Titus Cello, Mrs. Dale, Marion Dale, The
Schwinn Twins, Ruth Higgins, Marjorie Longbotham.

IT'S A SURE WINNER

said the spectators who watched the first showing of some of the scenes in the projection-room.

The Final Honor Roll Members and the Winners

of the contest will have ample opportunity to prove whether or not they can act in this picture,
for the scenes in which they appear will be filmed as soon as possible after the judges have
named them.

All photographs mailed up to and including the date of August ist, 1920, will be entered
in the contest. Send in your photograph at once.

RULES FOR 1920 CONTESTANTS

Contestants shall submit one or more portraits. On the back of
each photo an entrance coupon must be pasted, or a similar coupon
of your own making.

Postal-card pictures, tinted photographs and snapshots not ac-
cepted. Photographs will not be returned to the owner.

Contestants should not write letters regarding the contest, as it
will be impossible to answer them. All rules will be printed in all
three magazines.

Photos should be mailed, pre-paid with sufficient postage, to
CONTEST MANAGER, 175 Duffield St., Brooklyn, N. Y. Send
as many as you like.

The contest is open to every one, except those who have already
played prominent screen or stage roles.

Contest closes August 1, 1920.

THE MOTION PICTURE CLASSIC
ENTRANCE COUPON

Na

Address (street )

(city) (state)

Previous stage or screen experience in detail, if any

When born Birthplace

Eyes (color) Hair (color)

Complexion Height

(Seven)

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Natural and Scientific Laws
Governing Success

Hints and Suggestions which will insure a Strong
Personality, Banish Doubt, Fear and Worry.
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â– 

Getting Into the Movies?

Read our booklet on "How Can I Get
Into the Movies?" It discusses the
methods used by new players and there's
a raft of good suggestions in it.

Send 5c, postage money, for the booklet
and get started before the fall rush.
We will alsu enclose our new price list
(greatly reduced) of our courses in
Motion Picture acting.

NATIONAL MOTION PICTURE INSTITUTE

175 Duffield Street, Brooklyn, N. Y.

THE NATIONAL MOTION PICTURE INSTITUTE i

175 Oufflgid StrMt. Brooklyn. N. Y. \

ricue tfend me a copy of your booklrt. "Who C&o and â– 

Who Ca&nol Oct Inlo the rictureo and Wlvl" Enoloacd ,

la 5 ceou In etajQix fur maltink'. \

Name I

I

Addrcsa I

I

I

Stage Plays That Are Worth While

(Continued from page 6)

"Afy Golden Girl." — A passable musical en-
tertainment with a score by Victor Herbert. A
chorus girl, Jeannette Dietrich, scores the hit
of the show.

"The L.itlle Whopper." — Lively and amusing
musical comedy with tuneful score by Rudolf
Friml. Viviennc Segal pleasantly heads the
cast, wdiich also numbers Harry C. Browne,
who does excellent work, Mildred Richardson
and W. J. Ferguson.

"Wedding Bells."— A bright and highly
amusing comedy by Salisbury Field. Admir-
ably written and charmingly played by Mar-
garet Lawrence and Wallace Eddinger. One
of the things you should see.

"Aphrodite." — Highly colored and lavish
presentation of a drama based upon Pierre
Louys' e.xotic novel of ancient Alexandria.
Superbly staged adaptation of the play that
caused a sensation in Paris. Dorothy Dalton,
the screen star, returns to the stage in the prin-
cipal role of the Galilean courtesan, Chrysis,
and scores. McKay Morris is admirable in the
principal male role.

"The Frivolities of 1920."— G. M. (Broncho
Billy) Anderson's girl revue. Lively, speedy
musical show with a large measure of vulgarity,
but many pretty girls.

Loew's N. Y. and Loezv's Amcriean Roof. —
Photoplays ; first runs. Daily program.

Loezv's Aletropolitan, Brooklyn. — Feature
photoplays and vaudeville.

Capitol. — Photoplay features plus a de luxe
program. Superb theater.

Kiz'oli. — De luxe photoplays with full sym-
phony orchestra. W'eekly program.

Rialto. — Photoplays supreme. Program
changes every week.

Strand. — Select first-run photoplays. Pro-
gram changes every week.

THE NEWS MEN

By Walter E. Mair

We turn a cool, collected crank
Where foemen flee the furious Yank;
We scale the Himalayan peaks to snap a bunch
of flowers.
Or, perching on a biplane's tail,
We photograph the Airline Mail ;
Tlien nonchalantly spiral down to "pan" old
Gotham's towers.

It may be up in Saskatoon
We point our guns to shoot the moon.
Or in some Panamanian cove we coax the gentle
shark.
We leap athwart some skipper's neck
And focus on his vessel's wreck.
Then right-about to catch a glimpse of spooners
in the park.

We plumb the deep and dreary mines
And risk extensive trespass fines
To spot a locomotive spinning sparks from
every wheel.
Perhaps we hie to gloomy glade
Where lurk mosquitos in the shade.
To get artistic studies of the Great Brazilian
Eel!

We frame a strip of Mandalay,
Then take a little fly-away
To where at sunrise ululates the Turkish muez-
zin.
Fingers in ears, we say amen !
Then hasten forth to crank again
.\ crew of Senegambians getting full o' nigger-
gin.

Nay, friend, no gang for arigel choirs
Are we: ti'C shine around big fires!
And yet I have a notion, should you mount the
golden stair.
You'd find a nosy movie guy
Evading Peter's watchful eye.
In hopes that yet some Newport dame might
find admittance there.

MOTION PICTURE

The Popular Popularity Contest

The Popularity Contest is still arousing
universal interest. No part of the world
is absent in representation. Votes are
pouring in — hundreds of them — every
day. Mary Pickford still leads the
women with a large majority of votes.
Wallace Reid heads the men with a not-
so-large majority. Others are coming
forward so rapidly that it is hard to
make any predictions concerning the next
report. If you have not already sent in
votes for your favorite player, there is
still tiine in which to do so. All rules
and regulations, together with a descrip-
tion of the useful and beautiful prizes
are presented on another page, and here
are the last-minute results of the contest
at the time of going to press :

Mary Pickford, 49,600; Norma Tal-
madge, 29,851; Pearl White, 20,161;
Mme. Nazimova, 11,748; Constance Tal-
madge, 6,907; Bebe Daniels, 4,748; Viola
Dana, 3,555; Elsie Ferguson, 3,417; Lil-
lian Gish, 2,801 ; Mary Miles Minter,
2,412; Theda Bara. 2,249; Dorothy Gish,
2,154 ; Ruth Roland, 2,017 ; OliveThomas,
1,759 ; Shirley Mason, 1,519 ; Anita Stew-
art, 1,506; Marguerite Clark, 1,451 ; May
Allison, 1,412 ; Ethel Clajton, 1,359 ; Baby
Marie Osborne, 1,206; Dorothy Dalton,
1,114; Gloria Swanson, 1,106; Irene
Castle, 1,017; Marion Davies, 916; Pau-
line Frederick, 861 ; Geraldine Farrar,
854; Alice Joyce, 816; Ann Little, 747;
Alice Lake, 712 ; Mae Murray, 701 ; Olga
Fetrova, 656; Margarita Fisher, 617;
Katherine MacDonald, 604; Marie Pre-
vost, 597; Alice Brady, 558; Priscilla
Dean, 552; Wanda Hawley, 519; Edith
Johnson, 512; Blanche Sweet, 506; June
Caprice, 461; Madge Kennedy, 458;
Vivian Martin, 452; Kathlyn Williams,
446; Dolores Cassinelli, 421 ; Doris May,
416; Marie Walcamp, 408; Winifred
Westover, 404 ; Tuanita Hansen, 361 ;
Betty Compson, 3"57; Billie Burke, 334;
Violet Heming, 317; Doris Kenyon, 306;
Gladys Leslie, 271 ; Jane Novak, 265 ;
Dorothy Phillips, 254; Clara K. Young,
250; Mildred Davis, 231; Jean Paige,
211; Enid Bennett, 175; Louise Glaum,
167; Lila Lee, 167; Mae Marsh, 159;
Eva Novak, 156; Fannie Ward, 154;
Constance Binney, 144; Virginia Lee
Corbin, 138; Betty Blythe, 131 ; Marjorie
Daw, 127; Mary Garden, 124; Corinne
Griffith, 123; Mildred Harris, 116;
Peggy Hyland, 114; Louise Lovely, 109;
Mildred Reardon, 104; Mary Thurman,
104.

While the men players are vastly in the
minority in the number of votes cast, yet
the leaders are steadily holding their own:

Wallace Reid, 19,954; William S.
Hart, 16,321 ; Richard Bartheliness,
14,556; Douglas Fairbanks, 9,664;
Eugene O'Brien, 4,823; William Far-
num, 3,914 ; Charles Ray, 3,461 ; J. War-
ren Kerrigan, 2,807; Tom Mix, 2,702;
Charles Chaplin, 1,958; Douglas Mac-
Lean, 1,654; Thomas Meighan, 1,362;
Rodnev La Rocque, 1,358; Tom Moore,
1,346 ;'William Duncan, 1,256; Kenneth
Harlan, 1,116; Jack Pickford, 1,057; John
Barrymore, 1,014; Ralph Graves, 1,009;

(Eight)

CLASSIC

Bert Lvtell, 1.005; Antonio Moreno,
1,002; William Russell, 996; Earle Wil-
liams, 917; George Walsh, 864; Harry
Northrup, 807 ; Harrison Ford. 801 ; Lloyd
Hughes, 759 ; Lewis Stone. 755 ; Rob-
ert Harron, 703 ; Marshall Neilan, 656
Louis Bennison, 612 ; Elliott Dexter, 609
Eddie Lyons, 561 ; Harold Lloyd, 503
Tom Forman, 459; Eddie Polo, 458
Henry G. Sell, 456; Lon Chaney, 421
Brvant Washburn, 412; Wesley Barry,
368; Theodore Roberts, 359; Robert
Warwick, 356; George Fawcett, 331;
Webster. Campbell, 319; Robert Gordon,
311; Monroe Salisbury, 307; Monty
Blue. 271; Harry Carey, 264; Emery
Johnson, 260 ; Owen Aloore, 260 ; Joe
Ryan, 257; Milton Sills, 255; Francis'X.
Bushman, 229; Lew Codv, 221; David
Powell, 216 ; Will Rogers, 212 ; Ben Tur-
pin, 208; Creighton Hale, 176; Raymond
Hatton, 169; Frank Keenan, 156; Charles
Meredith, 152; Lee Moran, 152; Sun-
shine Sammy, 151 ; Conway Tearle, 150;
"Fatty" Arbuckle, 121 ; Francis Ford,
118; Sessue Hayakawa. 116; Thurston
Hall, 114; Percy Marmont, 111.

OUR OCCUPATION
By Wright Field

Home is a curious place these days ;

We onij^ meet and speak at meals.
Or when we go en masse to see

Some thrilling thing in seven reels.
Pa at the oftice, Ma at home.

Forget their work or let it go.
Absorbed in the great national game

Of "writing a scenario!"

Sister no longer pouts and flirts

And puts on airs to tantalize
The >'onth who used to waste good ink

In writing sonnets to her eyes ;
I'll say she doesn't — for siie sits

In solemn silence with her beau,
Both bent above a lengthy script;

They're writing a scenario !

Brother, up in the barn-loft hid.

All smeared with ink and stern of brow.
Hurls out long adjectives and spurts

Of romance to the frightened cow.
He's trying out his fav'rite scenes :

All het up with creative glow.
For Doug, perhaps, or else for Bill,

He's writing a scenario!

'Tis not the Bible brings that glow

To Grandma's cheek that once was pale;
She's reading now a book about

"The Way to Write a Movie Tale."
Grandpa, his checkers pushed aside.

Devotes himself to row on row
Of stilted, carefully chosen words —

He's writing a scenario !

The chauffeur now forgets the gas

And leaves the radiator dry;
Cook puts wash-powder in the bread

And salcratus in the pie.
They've small regard for present jobs

With small fortunes beck'ning — no.
They scorn to think of humbler things

Than writing a scenario !

And so they go about all day
With lofty brow and solemn mien.

Eacli figuring how his name will look
When thrown upon the silver screen.

But shucks! Why fool with rhymes like this?

For what to me is rhythmic flow?
â– "Fade-outs" and "irises" for me,

I'm writing a scenario !

(Nine)

The Woman
They Stoned

Two years before she had run away to join
a traveling circus.

Now with an angry crowd at her bacit —
driven out of her house — she beat upon her
father's door, calling for help. The old man —
part of his narrow and bitter village — he too
cursed her — and then the greater forces that
we cannot understand — put forth a giant
relentless hand. Father — and daughter —
heartless crowd — all were — but why tell a story
better told by

O. HENRY

And as fascinating as this, so
are all his two hundred and seventy-
four stories. Each and every story
in the set of books is new and
different — each with a new be-
ginning— a new plot — a new
ending — and so human — so full of
fun — of pathos — of laughter —
of tears.

He finds romance everywhere —
around the corner — in the department
store — in the shop — in the gutter — in
the street car. He laughs when he
preaches, and preaches when he
laughs. He sees what no one else sees
— but he sees what we have all sub-
consciously seen and makes us wonder
why we never thought of it before.

FREE-8 Volumes §/"""■"

Oppenheim

Eight splendid volumes, packed full of mystery and adventure, love and
intrigue. Here are some of the most wonderfully exciting stories in the
literature of the world. Here are eight stories of plot and counter-plot,
eight gripping, thrilling tales that will keep you entranced from first word
to the very last.

Whether it be in the lonely wastes of the South African veldt — the
vague mystery of a London fog- — out on the South American pampas — or
amid the gay midnight frolics of the Cafe Montinartre in Paris, Oppenheim
always has a thrilling, gripping story to tell.

Ele makes them so real that you forget everything about you in the joy
of them. He lets you into secrets that take j'our breath away. He shows
you the real inner workings of European diplomacy. He holds you enthralled
with the romance, the mystery of his tale right up to the very last word.

There are not enough of these sets to sell in our usual way, so we have
decided that, to the first few hundred who send the enclosed coupon, we will
give — entirely free of charge — one of these sets.

Send No Money — Just the Coupon /

It brings the whole twelve volumes of O. Henry, and

the 8 volumes of E. Phillips Oppenheim FREE,
are not more than anythii
them back at our expense.

REVIEW
» OF

* REVIEWS

If both / 3«'"lnoPI..N,Y.

are not more than anything we can say of them, send / mM. rtTars"," p5?d

Otherwise 50 cents a week / ™WX °z ,SS;
pays for the O. Henry — and the E. Phillips Oppenheim / cioui'.' wmi S" tm

Cj. • T^T-iT-T^c^ t,i .11-,, / ^^^^° *''® 8 volume set of

Stones are TREE, bend the coupon today. Remember, t ,^ Phiiiips oowniieim

/ ijuund lu cloth If I keep

we have only a few hundred sets of E. Phillips /,,!'•«'»'*»■ i "in remit si, so

-.. ,.,-'.. ... 1 ^ Iti .f; days, and then ?2.00 a

Oppenheim left — just a remnant of a huge edition. * n'""£iJ"J.," ,""'"''i» for uu>

' ' . -' " # o I'enry set only and Keen the

The time to send for them is now— as you look / h?i,;;°'¥!l^E'" La-S' ^iT
at the coupon. Write in your name and address. / .VTJSt "pS'' ""'"" """' ""
tear it off and send it without obligation or / xame

expense. / Address

Oecupatlon.

THE Review of reviews co.

Publishers of the Amenoan Review of Reviews

^ Tho more sumptuous three-quarter Ktratol

^ hinding of O. Ilenrj- costs only a few rciita

^ more a volume and lias pmrod a favorili- For

# a set of Uiis more luxurious hlndlag. ciianKe

# tliP lemia to $2.00 in 5 days, and tUea $3.00 a

0 monlQ for 12 monllis.

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it until the cloth is "fluffy" with the soft
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gently over your skin until the pores are
thoroughly cleansed. Then rinse first
with warm, then with clear, cool water
and dry carefully.

Special treatments for each different
type of skin are given in the famous
booklet that is wrapped around every
cake of Woodbury's Facial Soap.
Woodbury's Facial Soap is on sale at

all drug stores and toilet goods coun-
ters in the United States and Canada.
A 25-cent cake lasts for a month or six
weeks of any treatment, and for gen-
eral cleansing use.

"Your treatment for one week"

A beautiful little set of the Woodbury facial
preparations sent to you for 25 cents.

Send 25 cents for this dainty miniature set of
Woodbury's facial preparations, containing yowr
complete iroodbury treatment for one week.

You will find, first the little booklet, "A Skin
You Love to Touch," telling you the special
treatment your skin needs; then a trial size cake
of Woodbury's Facial Soap — enough for seven
nights of any treatment; and samples of the new
Woodbury's Facial Cream, Facial Powder and
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Write today for this special new Woodbury
outfit. Address The Andrew Jergens Co., 908
Spring Grove Ave., Cincinnati, Ohio.

// voa live in Canada, address Ttie .indrew
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Conspicuous nose pores can he corrected. Read
the special treatment for this condition given
in the famous booklet of treatments, '^ A Skin
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every cake of Woodburf s Facial Soap.

(Ten)

< *^"

^JfiS^

J0^ —

fr.. jf^^ -

■'•^-^^5te

"t-w ^ •.*...

Phutograph © by Alfred Chcnt-y Johnston.

PEARL WHITE
World-famous Fox film star

Photugr^iph by Evans. L. A.

ANNA Q. NILSSON

When she was a little girl in school, Anna Q. Nilsson often "cut" class to
see her film favorites. Now she has gone back to prove to her girlhood friends
in Sweden that sometimes dreams do come true.

Photograph by Hoover Art Co.

I

ANN MAY

To be a leading lady in the celluloid world at the age of nineteen is some-
thing to wonder at; but to be the leading lady for Charles Ray convinces one
that Ann May has walked off with the golden wheel of good fortune intact.

Photograph hy Apcda.

HARRISOK FORD

Harrison Ford ^^;^:^i;i^:^t^^'^:^J^&^ '^''
l^ac.\T^^-^^'"'"yorA. "Airs wen,"

Photograph by Northland Studios.

ELLIOTT DEXTER

One of the most popular of the screen stars, threatened with the appella-
tion of "Matinee Idol," the career of Elliott Dexter was broken into by a
severe illness a year ago. Now that he has quite recovered and returned to
the screen, his faithful admirers eagerly await the release of Cecil de MUIe's
"Something to Think About," in which Mr. Dexter stars.

The Letters of Mary

1r isn't every wcll-knuwn, yokieii-curled motion i)ictuix' star who can lay
claim to any jjreat literary distinction. Of course, there is no set
reason why an actress of remarkable histrionic ability shouldn't pos-
sess the great and glorious gift of literature — but just the same, it isn't
•being done — not often, anyway.

However, be that as it may, Mary Miles Minter, the eighteen-year-old
screen wonder, is the golden (haired) e.\cei>tion in this case. Not content
with winning the jilaudits of an admiring public who watched her dra-
matic powers with awe. at the hoary age of eight, Miss Minter, while
touring the country in "The LittJest Rebel," convinced her fond parents,
and those of her friends who were privileged to enjoy her intimate
secrets, that she imssessed unusual literary ability. Her poems and her
correspondence with her fond mother have been carefully preserved,
evidently owing to unusual foresight,

Ik'ing a very imaginative young lady, her thoughts naturally were e.\-
prcssed thru the trusty form of poetry, and judging from the prolific
results, she never labored under the handicaji suffered by the immortal
Tennyson — "I w'ould that my tongue could utter the thoughts that arise
in me," etc. .She was observant and quickly formed her own o])inions on
the various important phases of existence. Most of these o|)inions were
so terrific in their static. dignity that few, if any, dared question them.

.She spent most of her time traveling -from one place to another — tour-
ing in "The Littlest Rebel" — and gathering vivid impressions of railway
stations, dusty coaches, bad hotels and her theatrical companions. All
thru this period she had as an inseparable companion a tiny dog whose
name was "Tad," and as he is very often mentioned in her writings, we
gather that probably all her view])oints of life were jioured into his inno-
cent ears before they were written. She kept up a daily corre-
spondence with her mother, and it is in this correspondence that we
have discovered' another Dai.sy Ash ford.

.She was evidently a very versatile young per.son. While she was
undergoing all the hardships of theatrical life, (about which you will
hear more later), she decided that one name was entirely insufficient
to e.\i)ress her individuality. So she assumed three, changing them when-
ever the fancy suited her, (not to mention the numerous pet names with

which various members
of the com])any and her
friends labeled her). Her
real name was Juliet
Shelby — she decided
u])on the more unusual
one of Virginia Houston
Cary, and eventually,
growing somewhat
weary of this, she took
unto herself the more
cu])honious one of Mary

We are greatly elated over our
newest literary find, Mary Miles
Minter. At the age of eight she
displayed an understanding of
the problems of life, equalled
only by the knowledge revealed
in "The Young Visiters"— that
book of revelations of the past
year. Above, a recent portrait
of Miss Minter, and, below, as
she looked at the age of six

(Sixteen)

By B. F. WILSON

Mile> Minter. The latter turned
out to be tlie favorite, for slie
has adopted it for fjood.

rrobal)Iy at the time s h c
wrote so bountifully. Mary Miles
Miiiter did not realize the pow-
erful influence which the writ-
injfs of the very young would
have upon future literature. We
are (|uite certain that her pro-
])hetic soul revealed no vision of
haisv /\shford. We might add
that it was fortunate for all con-
certied that no one else foresaw
the arrival of "'Hie ^'oung Visit-
ers." Prefaced by a photogra[ih
of a smug- faced child who seemed
to be saying, ".\fter all. who was
Will .'shakesi)eare. anyway !'" this
small, innocent-looking volume
dropped like a bomb u|)on the
conservative head of literature,
and. upsetting all jiast dignity
and tradition, started a hilarious
controversy between two nations
which almost bordered U])on the
slapstick.

It became the chief topic of
conversation in the subways, on
the street, at dinner, in the
clubs and even in the sacred
l)rccincls of the church. Be-
tween prayers, there could be
heard the familiar stage whis-
per, "Dont you i-eally think that
Barrie wrote 'The S'oung Vis-
iters'?" You were innocently
introduced to a perfect stranger
— before you had uttered the
irsual inane lie of being jileased
to meet — the stranger would
rudely interrupt you by eagerly
in(|uiring. "F .say. have you read
'The Young Visiters'?" .\nd so
it went, developing into an in-
ternational joke, a playful dig in
(Cioitiinu-ii on paijc 72)

IMiotoRrnph liy V'oorhpcs ^ Vor ^

l'hntOflrnl)ll l)y
Wilzii. ■ •

''^^"^^-^<^^,

>r2

IHJ!^

77

We call the attention of our readers to
the facsimile letters reproduced on these
pages— 4nd advise that each of them
should be carefully perused. Above, Miss
Minter in one of her lovely poses; below,
left, at the age of three, and, below, right,
as she appeared in. "The Littlest Rebel"
at eight

(Seventeen)

fflhe
Baby-
Talk
Lady

l'l,ot..«ra,.l' I'y '■•'1*^'"1 ■"'''«■" ^'°""''

Louise Huff is a bonbon
bit of femininity who just
isn't. She has very decided
views upon life in gen-
eral. She believes in re-
incarnation. "It is such a
consistent, logical belief,
she says. "Can youbeheve
that the mind and person-
ality of a Lincoln is lost
to humanity? I believe
that we go on developing
spiritually with each ex-
istence"

reason for connecting

II- reincarnation be a trutli, then
we can well imagine Louise
Huff as a fail- royalist in the
cavalier davs of Merry I'.niiland,
as a Huj;nenot maid of the
bioodv years of the de Medici
in Paris or a iitiamt little l-.van-
celine of old .-Vrcadia. For she
,s dennn-e, with a touch of devil-
mav-care twinkling in her eyes—
a 'bonbon bit of femininity who
just isn't. . ,

Of course, there is no tangible
Miss Huff with the rather pleasant

theory of reincarna-
tion, exceiit Misi
Huff herself. She
believes, and be
lieves (|uite thoroly,
in reincarnation.

Miss HufT admit-
ted to us that she
had never confessed
it before. One's in-
ner rehjiious beliefs
are ])erilous things
to talk about. "Vet
it is such a consis-
tent, losjital belief,
she confided. "Caii
vou believe that the
'mind and ])ersonal-
ity of a Lincoln is
lost to humanity?
No, \ believe that
we (,'0 on. develop
ing spiritually with
each cNistence.

"One does not ad-
mit one's real re-
buious beliefs off-
hand for fear of
beint; misunder-
stood. 1 dont be-
lieve I have talked
about them even to
my relatives, which,-
of course, is not
odd. since you con-
fide less in relatives -
than in any one else.
A pr<ii)het in his
own land, you
know." .\nd Miss
Hut=f smiled.

"1 need my re-
h);ious theory to sus-
tain me," she went
iin. "Without re-
ligion I could not
face the overy-day
things. Where

merest in things i-sychic "!''>' '-''^'"^ X, not mean the

^'"l''ci me m.ke a confession about Sir Oliver. I was walking

â–  (Kifllitfcn)

By
FREDERICK

JAMES
SMITH

'1

;in(l kind and look
us aside to answer
all our (|uestions.
\Vc talked for an
liour. I never hope
10 meet such a tre-
mendous mind again.
With men like Sir
C'liver Lodge be-
lieving in ])roo{ of
so-called i)sychic
])henoniena. I am
sure we shall pull
aside the curtain of
the infinite."

Do not draw an
inaccurate picture
of Miss Huff. She
is not in the least
eccentric. A very
human little person
she i.s, with a very
evenly balanced
view of life. Per-
haps you conceive
her as fUiftily femi-
nine, as ribboned
and becurled. Ac-
lually she has a
sweet and fragile
sort of sincerity.

Miss Huff can and
does use her mind.
She has very de-
cided views upon
things. These are
not the quickly ac-
(1 u i r e d ideas of
others, but come of
actual experience.
For Miss Huff-
youthful as .she ap-
jiears and is — has
had her share of
dreaming and re-
dreaming. But from
it all she has built
anew. Her little

I'hotograph liy Kdwartl Thayer Monroe

And

girl. Mary Louise, has grown to interesting childhood
Miss Huff hut recently married again.

Now, marriages are things not to be mentioned in inter-
views with young and fluffy stars. Rut Miss Huff's marriage
is so vitally a part of her, of her development and her theory
of life, that we cannot neatly side-.step its importance.

Miss Huff's views upon marriage are brief and to the point.
"There is nothing more dangerous than the early marriage,"
she maintains. "What can be expected of a partnership hastily
entered into when the co-partners lack all perspective of life,
all knowledge of what it may bring them and all breadth of
judgment? One develops, the other does not and — divorce."

Miss Huff admitted .she believes in love. But she would not
define it. "Unless it is the power to want another for his im-

(Nineteen)

perfections as well as his per-
fections," she ventured. "A per-
fect marriage?" she repeated. "I
doubt its existence. Successful
marriage is a matter of marital
adjustments and concessions.
Possibly of relinquished dreams
and hoi)es."

We talked of the screen.
Here, too. Miss Huff is frank in
her beliefs. "Brains are not an
essential," she theorizes. "You
know filmdom from the inside and
{Continued on

"The screen frequently
creates a personality that
may actually not exist,"
says Miss Huff. "Some
times this is accidental,
sometimes deliberate. The
films' have created a cer-
tain sugary personality for
me, giving me the mental
status of Booth Tarking-
ton's 'baby-talk lady' in
his Billy Baxter stories"

you know the percentage of
page 74)

A Little
Bit of Bohemia

Tiii.Ki-; are people wliu have been made believers
in the "iron hand of Fate" by their misfortunes
They look at life from dull, tired eyes, con
vinced that, for them, life can hold nothing but
failure, regardless of how hard they try.

And then, again, there are |)eople, fatalists, too,
who so firmly believe that the future holds nothing
but success for them that they absolutely refuse to
take their misfortunes seriously. To this class belong
the true Bohemians.

They trust the future so implicitly that they spend
every jienny they get as fast as they get it. Some-
times they cant s])end it fast enough
to suit themselves, so they give it away.
They dontgivadarn I
They live for today, joyously permit-
ting the past and the futirre to stay
where the past and the future belong.
It is with just such a group as this that
Teddy Sampson sjR-nds her time. She
is a ISohemian from liohemiaville —
which doesn't always mean Greenwich
Village ! (^n the contrary, in this case
it means a bungalow court on Wilcox
.\venue in Hollywood, and all around
are fresh air and beautiful new houses and the
most conventional of lawns and flowers and mod-

I

Photograph by flvani

crn conveniences.

It is only in the arrangement of the houses that
this court fails to be conventional.
Instead of being placed in parallel
rows facing each other, as is u.suai,

-V

Teddy Sampson and Ross-
miry Theby live together in
California. Their home it a
veritable bit of Bohemia, the
center of a jolly crowd of
young movie folk, including
Viola Dana and Anna Q. Nils-
son. Below ii a C02y corner
glimpse of Miss Sampson and
Miss Theby

Pln'ti.i^r.niili b.v Ev.-iii*

fTuienttj)

By ELIZABETH PELTRET

tliey form :i Irinn^fle witli the apex on ;i little liill. It is in tliis
bungalow, the hijjhest of tlic bunch, that Teddy Sampson and
her chum, Rosemary Theby, keep house together. And such
a jolly house ! Always the center of a laughing, kidding fjroup
of very vounj,' people who are famous all over the world and
are confidently lookini,' forward to becoming )nore famous.

In the beyinniiiK, this was sjoinj; to he a nice, (|uiet interview
alone with Teddy Sampson in her little home . . . and it was
(|uiet . . . very much more ((uiet than usual. Teddy Sampson
said so. Only Viola Dana dropped in and Lieut. Ornier Lock-
lear. tlie famous younj; aviator who jumps from one plane to
another in midair and does other daredevil stunts that make
those vvatchiu); him .ijasp and exclaim, "He's as crazy as they
make 'em!" and .\nna (J. Nilsson and Jack Dillon, the director,
and Mrs. Dillon. And when it was all over. I had a lonj; talk
with Rosemary Tlieby, who drove nie to the Christy studio in
her car. ,\s for the bohemianism, that was only su(;j;ested by
a tone of lif;ht-hearled irresponsibility.

T arrived at a quarter of one, to tind Teddy .Sampson <|uite
by herself, which is really a matter for record. I';U Dow-
lin(j, of the Christy studio, who had also been asked for
lunch, had 'phoned that he couldn't come and Miss Theby
had gone to the (iarson studio on the trail of a particularly
good part. .So we inade ourselves comfortable and, I sup-
pose because the day was particularly beautiful, talked
about Christmas, which had been ])articularly beautiful, too.

"I dont think that I have ever, in all my life, spent a
more perfect day than I spent last Christmas," Teddy
Sampson said. "It was perfect in every way! I didn't
get a single unwanted, present. This"^exhibiting her jeweled
cigaret-hotder — "from Lottie Pick ford. .\nd a vanity case
from Rosemary Theby. and a dozen pairs of gloves from
N'iola Dana and a diamond-studded wrist-watch and a neck-
lace of real pearls . . . the last, especially, something I have
wanted all my life." (There were other presents she showed
me too numerous to mention.)

".\nd now," she went on, "I am going to have a month's
vacation to spend with my iieojjle in New York."

Teddy Sani]>son is a native of New York; otie of a family
of eight, all living. Her four brothers made enviable recoi'ds
in the artny. The youngest. Revere .Sanl])son, entered the
French I'oreign Legion in 1914 and has returned with the
Croix dc (iiierrc and two palm-leaves.

"Yes, I ci'rtainly am proud of my brothers!" she said.

.She was the only member of her family to choose the
theater as a iirofessiou. Her first appearance was in vaude-
ville with (ius I'.dwards when she was twelve years old. .She
met with no opposition from her peo|)le.

"My father did not believe in ])arents trying to live their
children's lives for them." she said. "He always let us do
very much as we wanted to. only helping where he could."
It was D, \V, (irilfitb who introfluced her to the screen.

",\nd it was Mr. (irif'fith who introduced me to
my husband," she remarked, lea<ling the way to the
dining-room. (.She had decided that we had bet-
ter not wait for Miss Theby any longer.) It was
while we were enjoying a pineapple salad that she
told me the story of the romance. She is, you know
Mrs. ("ord Sterling.

"I was at the .Mexandria with Mr. Griffith and a
party," she said, "when I'ord Sterling came in. He
was at that time
at his height,

and accustomed . ^jf

to being tn-ated ^^', **v '

{Continued nil ' >

I'ai/e 7.^1

(Twentii niir)

Teddy Simpson made her
firit stige appearance in a
Qua Edwardt vaudeville
act at the age of twelve.
D. W. Griffith introduced
her to the ac-een

"Some Boy,
That Frenchman!

By

ETHEL ROSEMAN

•'|F he can love like he can fight" —
I and dodge interviewers —
"Oh — o — oh — oh !"

"Get Carpentier," said
the Big Chief. "He speaks
nothing but French, but, of
course, that wont make any
difference to you."

It would, but it didn't.

"What do you know

Even in this age when thrills
are as plentiful as blackber-
ries in summer, the day that
Georges Carpentier stepped
on American soil, a shout of
welcome went up that was
heard from one end of the
country to the other. Be-
low, in a happy mood occa-
sioned by the bride on his
arm (taken in Paris just af-
ter the wedding), and, lower
right, with Faire Binney in
"The Wonder-Man"

experience gained from many years in
the ring. When the boy was thirteen,
pere Carpentier — did you get the 'pere'?
Pretty good for an Irishman. Yes? —
decided it was time Georges started to
work in the mines, which were the chief
source of the Lens industry.

" 'How much will your son earn?' Des-
Camps inquired.

" 'Two francs a day,' replied pere.
" 'I will pay it,' volunteered DesCamps,
'if you will give me complete control of
the boy.'

" 'Agreed,' said pere and mere, so
Georges entered with enthusiasm into
training for the career in which Des-
Camps felt confident he would suc-
ceed—What's the maeLor? Cant
you get suite 120 at the Biltmore?
Dont answer? Try again — At
fourteen he had his first profes-
sional fight with an opponent seven
years his senior.''

"Of course, he won?"
"Surest thing you know. He
pulled down two hundred and fifty
bucks, too. It was more money
than his parents had ever seen to-
gether in one crowd and they
decided that as a career picker
DesCamps was all to the good.
(Continued on page 77)

Photo copyright Ijy Lumicrc

about him?" I queried the Robertson-
Cole publicity departirent between fran-
tic efforts to establish 'phone connection
with the Carpentier apartment at the
Biltmore. I figured that if I had a
handy vest-pocket edition of the fighter's
life, I might be able to understand his
answers to my questions.

"About Georges?" the department
asked.

"Have it your own way,'" I answered.

"He's some boy, that Frenchman!" the department chorused,
looking kid, too. Wait until you see the women fall for him."

"More history and less prophecy," I suggested, politely.

"He ~vas born— say, who took the matches off my desk ? Why dont
buy a box of your own?— in Lens, France, twenty-six years ago. Whe
was eight years old. he attracted the attention of Francois DesCamps, former
lightweight champion of France, at that time physical instructor of the Lens
gymna-.ium. Before many weeks had passed, the little blond Georges was
his prize pupil. DesCamps handed down to the little boxer all his science and

(Twentijtwo)

"All Mankind Love
a Lover!"

Strikes may come and govern-
ments may go — but the event
which has caused more interest
the whole world round than any
other thing recently is the wed-
ding of Mary Pickford and
Douglas Fairbanks. The lucky
groom and happy bride good-
naturedly pose for the benefit of
the as-usual-inquisitive public

'Twenty-three)

These sub - sea
pictures of An-
nette Keller-
mann were
secured from
a submarine
diving bell,
thru which the
motion picture
scenes were also
"shot"

Annette Keller-
mann on the beach
and below the sur-
face of the sea

(Twenty-four)

Invading

Davy Jones'

Locker

Some of the first dramatic

action pictures ever taken

on the ocean floor

These scenes,
taken on the sea
floor, will appear
in the Sol Lesser
production, "What
Women Love"

(Twenty-five)

The

Low- Brow

Playwright

Speaks

BAYARD Veiller. the
playwright who now
heads the Metro scena-
rio staff, is an out-and-out
materialist. He has no "il-
lusions," as he terms them,
regarding art as applied to
the drama or motion pic-
tures. Indeed, he declares
that the function of the
stage and screen is to en-
tertain and not to educate.
But he qualifies all his
statements by describing
himself frankly as a "low-
brow."

Mr. Veiller interestingly
compares playwriting and
photoplaywriting. "The
screen offers a far wider
scope, but its technique is
more tricky. Thisisbecause
there is no set way of
doing things, no real tech-
nique of tradition. In
writing for the footlights
you know just what you
can and cannot do. Seem-
ingly there is nothing you
cannot do in the films.

"Whether you write
books, plays or scenarios,
you must understand the
same foundation, which is
arousing and holding your-
audience's interest. That
is why e.xpe-
rienced writ-
ers or drama-
tists must nec-
essarily make
the best sce-
narists. They
know the ba-
.â– -ic principles.

Bayard Veiller believes
the day of the screen
author is dawning. No
longer will he be
shackled by the star
and the director. But*
he does not think the
thought picture will
ever come in America.
"Here," he says, "the
theater is a thing of
amusement and not of
education. But, of
course, I am a very
low-brow person. To
me the ideal motion
picture play is one pos-
sessing a measure of
beauty and speed with
a consistently told
story

By

FREDERICK
JAMES
SMITH

"Today the technique of the
screen is more and more aping
the stage. John Emerson and
Anita Loos continue to increase
the amount of dialog in their
stories for Constance Talmadge
via subtitles. This is necessary
to present light comedy on the
screen. The pictures must lit-
erally illustrate the text.

"Cecil de Mille uses a vast
amount of titles to tell his sex
themes. It is the only way to
express thought — and these
dramas are discussions of
marital relations. You cannot
debate in pantomime. Griffith
has always tended towa'ds the
poetic caption."
We asked Mr. Veiller regard-
ing future devel-
opments. "The
technique trend
t o m o r row? I
dont know enough
about pictures to
tell. I was really
grabbed by my
t r o u sers and
thrown into the
game without
having seen more
than twelve pic-
tures in my life.
(Continued on
page 80)

(Twentyiix)

Miss Hobbs

By FAITH SERVICE

Told in story form from the Wanda Hawley-Realart Photoplay

MISS Hobbs had bobbed hair and was a vegetarian. She
had theories, fads and a passionate philosophy, which
dealt, principally, wjth the total eclipse of the male sex
in, at least, the Hobbsian sphere. "Man," she was wont to
say to her two, friends first, discii)les later, "man is a deter-
rent. We must, for our better evolution, dispense with man."

She would then relate horrible incidents in which man had
served as instrunients of some sort of torture. To the initiate
the incidents would have savored of having been learned by
rote, but the satellites would not so have abjured Miss Hobbs, â– 
â– whom they held in reverence and esteem.

Miss Hobbs was, indeed, estimable.

The opulent legacy left her by an opulent aunt may, and
may not, have had something to do with her estiniability.
Who can say ? Too, it may
have Conduced to the further-
ance, the successful further-
ance, of her theories.

It takes a legacy (and an
opulent one) to have acreage
on which to disport one's un-
clad limbs, far from the sad-
dening crowd, in the dewy
hours of the dawning. It
takes a legacy to pluck hot-
house grapes from under sun-
glinted glass and crush them
beneath disdainful lips the
while reviling the wa)'S of
man upon said dewy grass. It

takes a very opulent legacy indeed to lure a wife away from
a husband, a sweetheart from her love. Yet all these things
Miss Hobbs did — and more.

She had an estate. She called it, probably, New Thought,
or something grave and purposeful. It was her boast that she
never did a thi>ig without a purpose. She would disdain to.
The estate was a very beautiful one. and had a little lake, and
a sudden brook, and a bit of idyllic woodland and all the
requirements for a faddist and two satellites to try out ex-
pensive theories.

She had two friends. One was called Beulah Hackett, a
timid soul who had been married some tliree years to a
"brute." Miss Hobbs thus indignantly named him. That
he deserved the apjiellation I leave to you. He abjured

bobbed hair — in his wife. He
sneered at Greenwich N'illage,
free verse, the new poets and
all things pertaining and ap-
pertaining. He made rather
conspicuous fun of Miss Hobbs,
her horn-rinuued spectacles,
her breakfasts of graham
crackers and well water ; all,
indeed, save her legacy. He
told her, supreme insult, that
she might be "attractive to
some man if she'd cut the
comedy." For that last Miss
Hobbs never forgave the lesser
creature. As a sort of neat

MISS HOBBS
Fictionized from the scenario by Eleanor Harris
from the play by Jerome K. Jerome, Produced by
Realart. Directed by Donald Crisp, starring Wanda
Hawley. The cast :

MiSs Hobbs Wanda Hawley

Wolff Kinfjsearl Harrison Ford

Beulah Hackett Helen Jerome Eddy

Percy Hackett Jack Mulhall

George Jessop Walter Hiers

Millicent Forey Juliaime Johnston

Alice Joy Emily Chichester

Mrs. Kingsear! Frances Raymond

(Twentj/nven)

MOTION PICTURE

retaliation she was later able to persuade Ileulah not to waste
her precious, purposeful years with the "brute," but to come
to \ew Thought w-ith her, there to live repletely in the state
of beautiful, natural self-sufHciency, which is every thinkinij
woman's birthright and heritage. Miss Hobbs had conviction.
She was able to spread it. She caught Beulah just after the
"brute" had spoken his mind on a woman smoking Russian
cigarets in the company of other "unsexed beings" and the
rest was easy — Beulah packed her bag and baggage, left a note
on the pincushion and betook herself to the acreage of Miss
Hobbs', there to discard domesticity, clothing, and reaction-
ism at one, and almost, the same time.

Shortly thereafter, Miss Hobbs converted the second satel-
lite. This was Millicent, a frail thing, and very much in love
with one George Jessop, with whom she contemplated niutri-
mony, Millicent was one with a plastic mind. She listened
and learned from everyone with whom she came into even
momentary contact. Invariably, when in Rome, she did as
the Romans did.

Miss Hobbs was aware of this. She had always had a lik-
ing for Millicent, who had a mind of 'sorts when away from

the sickening proximity of George Jessop. Now and then
she had hinted' to Millicent that she was committing a sort of
personal hara-kiri in entering into the modern slavery of
marriage. "A bondage, my dear," Miss Hobbs would say,
thru smoke rings ; "a bondage that irks as all bondage does.
Very well indeed for the hni poUoi, very well indeed. But
for thinking women, for self-sufficient women . . . never.
A pity ! So far no good." Then Miss Hobbs conceived the
notion of inviting Millicent for a night at N'ew Thought. Of
course she wouldn't have said so, in so many words, but she
had a sneaking notion that it would please Millicent's soul
to display her really comely limbs in the dew at the dawning
hour. >iillicent would hardly be able to resist that.
\or was she.

She spent the night at Xew Thought, during the waning
hours of which Miss Hobbs and the thoroly converted Beulah
reviled man and the fetters, extolled the new woman, scoffed
at marriage, groaned over the yoke. In the morning they
consumed hothouse grapes clad in a few yards of gauze and
much dew. Millicent was enchanted. She had never, she
knew, looked so charming or felt so charming. To be sure,
she wished George Jessop could
have been witness of her triumphal
limbs, but then, she had heard so
much of self-sufficiency that she
mocked at herself for a poor thing
at the very thought. No doubt she
would get used to the absence of
George Jessop and, like Narcissus,
be content with self- worship in the
mirror of the sudden brook. She
said something of the -kind to Miss
Hobbs, who heartily concurred.
Said Miss Hobbs : "The last need
of woman for her lesser comple-
ment, man, will be dispensed with
when woman comes to recognize
the fact that she can Worship her
own beauty much more adequately
than can man. Why not?" Miss
Hobbs always ended her introspec-
tive philosophizings with , a tense
"Why not ?'' to which there seemed
to be no other answer than an
affirmative. It was
so in this case. Af-
ter all, what more
could George Jes-
sop say of Milli-
cent than Millicent,
with the aid of the
brook and no cloth-
ing, could say of
herself. Then, too, self-
praise could be so emi-
nently satisfactory and
unfailing. This was the ulti-
mate argument in favor of a
manless state.
Millicent col-
lapsed and al-
lowed Miss
Hobbs to
send George
Jessop word
that Millicent
had decided
upon a celi-
bate career.
It is another
story to tell.
of the re-
ceipt of this
intelligence
by George

(Twenty-eight)

Shortly thereaf-
ter, Miss Hobbs
converted the
second satellite.
This was Milli-
cent, a frail thing,
and very much
in love with one
George Jessop,
with whom
she c o n t e m -
plated m a t r i -
mony. Millicent
was of a plastic
mind, and invari-
ably when in
Rome, she did
as the Romans
did

CLASSIC

Jessop. That is. the immediate receipt. The upshot
was an indignation meeting between George Jessop and
the deposed "brute" — he who had dared greatly enough
to revile the sacred matter of bobbed hair and platonic
friendship and bare-foot dancing.

"She's stolen my wife," said the brute.

"She's stolen my sweetheart,"- said George J.

"Danm her!" they unisoned.

Then, after a pause. "What'll we do?"

Much frantic smoke, then the brute. "What about Wolflf
Kingsearl ;''

George J. livened up. "Wolff always knows what to do
about women," he agreed, with some hope.

".Still, Miss Hobbs ..."

Yes, they agreed, Miss Hobbs was different. Danined if
she w-as a woman at all. Damned if they knew jvlwt she was.
They'd never seen her — but they could imagine. Angular
female, with horned glasses and a huge stride. Also, a sten-
torian voice, no doubt. Oh, they could see Miss Hobbs. Her
trouble, they knew, was not contempt of man, but lack of
man. A little kiss, a moonlight stroll or two . . . Miss Hobbs
would not be Miss Hobbs . . .

.\ppealed to, \\'olff Kingsearl agreed that a man was
doubtless the remedy to apply to Miss Hobbs. He had never,
he said, known it to fail. Still, where to find a man was the
question. The bereft husband, bearing no possible resem-
blance, in his meek forlornness, to a brute, and the eager lover,
joined forces and bet Wolff that no man, however versed in
the fairer sex, could even so much as kiss Miss Hobbs after
a month's effort. They thought to apply pin-pricks and spurs
to the hitherto unassailed prowess of Wolff. The prowess
remained unassailed. Wolff admitted the probable efficacy of
the prescribed treatment, but hinted at a svelte blonde tempo-
rarily occupying the field of his activities . . . was awfully
sorry . . . hoped they succeed . . . but Miss Hobbs . . .
rather acidulous, wasn't it . . . rather frigid zone . . . ?

Two days later Miss Hobbs found it necessary to call at

fl'iftiittt-nine)

It takes a legacy (and an
opulent one) to lure a
wife away from a hus-
band, a iweetheart from
her lover. Yet all this
Miss Hobbs did . . . and
more on her estate which
she probably called New
Thought

the home of the brute for
Beulah's more personal belong-
ings. In keeping with his
habitual tactics the creature had
dared to retain several of her
most prized possessions. Heulah
was timid and knew the potency
of the brute. Miss Hobbs vol-
unteered.
Wolff Kingsearl happened to be at the house awaiting the
lorn return of the brute. Miss Hobbs, seeing him, told him,
haughtily, that she was the maid of Miss Hobbs, but Wolff,
being versed in feminine tactics, knew that he was gazing upon
Miss Hobbs. Knew it, and longed to gaze indefinitely. Knew
it, and felt, suddenly, that he could not have his fill of gazing.
His heart beat to suffocation and his palms were moist. Miss
Hobbs ... H he had not felt unaccountably serious he could
have shrieked . . . He'd let Miss Hobbs steal his wife any
day. he thought, and half a dozen sweethearts . . . Even the
svelte blonde faded away from the active field and it was,
again, and this time, rather definitely, without a tenant.

I'^or, be it said. Miss Hobbs was rounded and fair. Her
hair was a baby gold and escaped "in tendrils," as the novelists
would say. Her eyes were blue. May-time blue, and implored
— at times. Her mouth — but I cannot say what I mean about

her mouth. She had a voice — oh, you know

Wild thoughts, like wild geese, wove patterns in Wolff
Kingsearl's mind.

What to do? Here he had gone and fallen in love!
Really in love. And with Miss Hobbs, to whom man was not.
What to do' Caveman tactics she would resent, repudiate.
iThey would disgust her more effete mentality. Her philoso-
phy, seeing clearly, would know them for what they were and
cast them forth into a sea of oblivion. At which thought
Wolff Kingsearl shuddered. Sentimentality she would laugh
at. He thought he could hear that laughter — like the tinkling-
of thin ice. IVhat to do? Where to appeal ? In the next

MOTION PICTLiPt

In the morning they
consumed hothouse
grapes clad in a few
5ards ot Kau« and
JLuch dew. M.lhcent
was enchanted. She
had never, she knew,
looked so charming, or
felt so charmmg

Bb room he could

BH hear Miss Hobbs

• - ''■"• packing. Pack-

ing B e u 1 a h s
things. She was
doing it very
definitely, very
efficiently. Of
course, she
u'OkW. It oc-
curred to Wolflf,

^, ^VlP was that, uiescaiiably. Ana
woman. She ^^^^ .,' ,^g „,others of

that is another, and

a ; different ?ort of

story . . . H" tried

it liow. He played

Chopin. He could.

He played, and as

(Continued on

page /"O)

There w«« a little silence
then the mummer over the
keys replied, rather
feebly, "I have heart
trouble . . rather badly.
I . I'm a piano tuner

—by profession"

(Thirty)

Mermaid Marjorie

Exclusive Pictures Taken for the Classic by Abbe

Marjorie Daw, the piquant little
Marshall Neilan player, was caught
on the edge of the Pacific by Mr.
Abbe. How can the sad sea waves
be sad — with Marjorie in view?

(Thirty-one)

La Bella Sevilla

SiGitTSKr.RS from all over the globe knew her — the Spanish
dancer at the San Diego Exposition. Daughter of one of
the oldest and most distinguished Spanish families resi-
dent In California, Beatrice Dominguez, the girl whose eyes
sparkled like Burgundy, whose graceful interpretation of the
folk-songs charmed thousands, has come to stay in motion
pictures.

But it was not without a struggle. Her relatives wished
Beatrice to become a doctor or lawyer ; there had been no
player-folk or dancers of professional tendencies in a long
line of ancestry. Frank Dominguez, nationally known as a
criminal lawyer of Los Angeles, and whom the girl calls
quaintly "my second uncle," since he is grand-uncle to her.
would gladly have seen her enter the law.

Dancing was in the blood of her race. Mrs. Dommguez,
born in old Sevilla, never had a dancing lesson in her life — she
simply danced — danced her way into the heart of a lad in the
old country who brought her to California and the life of the
great ranches which covered thousands of acres. Beatrice
learnt to dance from her mother, and from her, too, she in-
herited the priceless mantillas, combs, iewelry and embroidered
shawls which she wears.

"You see," said Miss Dominguez, "Spanish dances are all
symbolical. One cannot buy the music for them ; it is given from
one to another. One has visitors — they dance, sing, play the
guitar — I say to them, 'Oh, how beautiful is that melody, how
I like it!' They say to me, 'You may copy the music if you
wish.' In that way, I have about thirty dances. My mother
arranges the dances — alwavs she has danced ! Myself, I was
educated in Sacred Heart Convent for five years — my three
older sisters who have married well and who have never
worked," (this with an air of conscious pride), "spent most
of their lives there. My younger sister has been in a few

Beatrice Dominguei
was known to tight-
teeri from all over the
globe for her dancing
at the San Diego Ex-
position. There she
appeared as La Bella
Sevilla. She conies of
an old Castilian family
residing in sunny Cali-
fornia for a generation

(TMrty-two)

By

FRITZl REMONT

pictures, but she does

not like the life. I would

not have her work at

anything else — and since

she is company for my

mother, she does not

work at all.
''We were born in San

Bernardino, where it is

much more Spanish

than in Los Angeles now.

I dislike the great, bus-
tling crowds on the

streets here, so unlike

the old town of Los An-
geles, or the Spanish sec-
tion of San Diego, as

my mother describes

them,"

"How did you happen

to take the name of 'La

Bella Sevilla'?" You

should hear Miss Do-

minguez pronounce that

"La Raya Sayveeah" in

faultless Castilian. She

apologized for her pro-
nunciation, since so

much Spanish is spoken

in her home that she has

quite as much accent as

a newly arrived Sevil-

lan seiiorita.

"It was to do my

mother's birthplace

honor," she replied '

quickly. "The name

proved a detriment when

I used it for registration

at the studios. I did

not realize that at the

time. Always — after I

left San Diego, and had

danced at the Mission

Inn in Riverside — I

â– wished to act. I called
at some studios and did
not say that I was the
premiere dancer of Bal-
boa Park. I simply reg-
istered as 'La Bella Se-
villa.' Mr. O. H. Davis,
who was a vice-president
of the Exposition, was
appointed general man-
ager of Universal. One day, when I called there, he suggested
that I use my own name, because directors were rather afraid
to employ a dancer because they reasoned that she could not

.act. j was baptized 'Beatriz,' but at the studios they have
turned that into the American 'Beatrice.' "

Senorita Dominguer is true to racial type— social but aloof,
proud yet gracious, always distinguished by that graceful dig-
nity which one associates with her race.

Miss Dominguez has just finished sittings — or should one
say ''standings^'? — for pictures depicting prehistoric cave-
dwellers' habits. Since her work precluded leaving the Angel
City, Beatrice posed at the studio. Later, thru double photog-
raphy, Zion Canyon, Utah, backgi-ounds were printed in. Hun-
dreds of photographs had been submitted showing models who
wished to have the honor of a showing for the New York Art
Exhibition; this country was combed from coast to coast be-

(TMrtythrtt)

fore La Bella Sevilla was chosen. Mist Dominguez was bom

A startling photograph of the '" S«n Bernudlno. It

1-^.1 J ^ ■ 11 J i<Vu VII » ""» «'ter the San Diego

httle dancef is called The Kill, Expoittion that ihc tried

presenting a cave-woman with motion pictures. Her un-

one foot firmly planted on the u»ual CawilUn beauty has

head of a wildcat she has just attracted wide attention

dispatched with a bone club.

Very beautiful is t^is young
senorita. Remarkable eyebrows, wide at the nose, tapering off
to delicately sharpened points, give individuality to her face.
A large, generous mouth shaped, to a Cupid's bow gives a
coquettish air. Eyes with the velvet depths of tblack pansiei
change with every emotion. Beatrice's hands are fascinating—^
photographers are always featuring those beautifully tapered
fingers. She wears an odd ring nearly one hundred and ten
{Continued on page 66)

Photograph by Northland Studio .

"TY/OUI.D you believe that he used to

\^ play dope fiends and heavy vil-
lains?" asked Mrs.
Bryant Washburn, nod-
ding at the film star whose
rompings with Sonny, had
sent us into gales of
laughter.

"Never!" I exclaimed,
emphatically. "He
couldn't, not with his
merry smiles."

"That was before he
was married, so perhaps
he didn't have so many
nor — such radiant ones,"
she replied, mischievously.

"We did have some
funny old stills of me in
those days," began Mr.
Washburn, having depos-
ited his happy son on the
front veranda. "Once,"
he added, with a sly wink
at his wife, "I had a nice,
untidy study where I
could lay my hands on
everything I wanted^ "

"Until one day I was
seized with a desperate
cleaning streak," she in-
terrupted, "and since then
neither of us has been
able to find a thing. Now,

His Happy Role

just to show you what a dutiful wife I am, I'll try
to find those pictures."

For a moment after she left us, Mr. Washburn and
I smiled at each other as we listened to the click of
the little French heels flying down the wide hall,
keeping time with the gay, lilting tune she hummed. ,
It doesn't take very long to discover the two big
interests in Bryant Washburn's life — his home and
his work. When he is not at the Lasky studio,
making those merry farcical comedies which we all so
much enjoy, he is at his home a few blocks distant,
with his pretty wife, the adorable four-year-old
Sonny, whose real name is Franklin Bryant Wash-
burn IV, and the new baby, n,amed for Mr. Wash-
burn's great-uncle, Dwight Ludlow Moody, the
famous evangelist.

"You can imagine, with the religious strain so
prominent in the family, that I received little encour-
agement in my desire for a stage career," said Mr.
Washburn. "After leaving school, you know, I grew
up in Chicago. I dubbed around at a lot of things,
even sold insurance, but my heart wasn't in the work.
One day my chance came. I put on a dress suit and

became head
usher in a lo-
cal theater,
and I felt that
I was on my
way,

' Not long
after this I
met George
Fawcett, and
he asked me
if I would
like a small
part in his
play, 'The
Great John

Bryint W i â–  h -
bum has emerged
from the matin£e
idol of recent
years into a pop-
u 1 a r comedian.
Above, a recent

ahotograph of
Ir. Washburn;
center, a happy
glimpse of Mrs.
Washburn and
the new arrival at
the Washburn
domicile ; and, be-
low, the domicile
itself in Cali-
fornia

(Thirty-four)

By MAUDE S. CHEATHAM

Ganton.' Would I? IVelU You should have
seen me prancing onto the stage all dressed up in
sport flannels, carrying a tennis racket — at last an
actor ! The thrills this brought me meant much
more than the dollar I received for each per-
formance."

At the end of the season, Mr. Washburn joined
a stock company and later went to New York.
After a few ups and downs, mostly the latter, and
being broke, he signed with Essanay to make pic-
tures, more as a means of getting back to Chicago
than as a step upward in his career. This was
ten years ago, and he has been in motion pictures
ever since — .seven years with Essanay, a short
period with Pathe and the remainder of the time
as a Paramount-Artcraft star.

Mrs. Washburn came flitting back to the draw-
ing-room with the stills, and for half an hour we
laughed over the pictures of Bryant, slim and
terribly serious, in fearful make-up and grotesque
costumes.

"The first time I ever saw him," began Mrs.
Washburn, with her characteristic impetuosity,
"was at a neighborhood movie, and I kept saying
to a girl friend, 'Can he be a real Italian?' Not
lone after this I went over to Essanay as an 'extra'
ana Bryant
wa? the first

0 n e I saw.
Of course, I
recognized
him, and how

1 feasted my
eyes, for he
looked good
to me, even if
he did wear a
green coat
and an awful
tie. I shall
never forget
that tie."
And she
sighed tragic-
ally.

"Do you
remember
how skinny
you were?
No double
chins then,"

Photograph by Northland Studio

Once upon a time he
used to be a cinema
villain — and because of
his influence over the
feminine contingent
thruout the country, a
philanthropic director
turned him into the
hero of the play. Above,
another portrait of Mr.
Washburn; center, cap-
ping a flowery tribute
to his wife with a bou-
quet of words; and,
below, the happy fam-
ily out riding with
Sonny as driver

she added, saucily.
"Never mind;
when I get fat I'll
do nice old men
roles," Bryant re- '
torted. "I was mak-
ing forty- five a
week," he went on,
cheerfully, "when
we met, and with an
unexpected raise of
ten dollars we de-
cided we could be
married. Every one
predicted this would
hopelessly ruin my
career and I was urged to at least keep it quiet.
This didn't suit me. I wanted the world to
know I had won Mabel and I was determined'
to be married and publicly, too. On the con-
trary, I believe it helped my popularity from
the first. You would be surprised to know how
many romantic girls write that they are glad I
acknowledge my ma triage and how they enjoy
hearing about the tainily.

"It is the dear old ladies, tho, that are my
special pride, for they write wonderful letter.^t,
saying I remind them of their sons or the sons
they might have had, and it tickles me to pieces.
"I often wonder if any one realizes how
much these fan letters help and encourage ua
who are working before the camera, for it is
(Continued on page 68)

(TMrtyfive)

Photograph
by Evans, L. A.

IRKXK Rich lifted herself out of the
surf long enough to shout, "Isn't it

great! Wish I could go on swim-
ming forever and ever. Here is Vifhere
one forgets all worry and trouble," and,
with a gay laugh, she plunged into a
huge breaker and was lost in the mass
of green-and-white spray.

An hour earlier, Irene had said,
"It's between pictures and I have a
whole day to myself. Let's go down
to the ocean for a swim."

"Let's," I responded, "and we can
interview en route."

Quickly preparing a little picnic
lunch, and gathering together our
bathing-suits, we were soon motoring
westward in her comfy sedan.

It was a gorgeous morning. Blue
sky, bluer ocean, with its dazzling
white-crested waves, the exhilarating
salt air, all madp one glad just to be
alive.

We found ar
exclusive stretcl
of beach, with
only sea-gulls as
spectators, and
here we splashed
and rode break-
ers, while Irene,
in the role of a
water nymph,
furnished a little
exhibition of
marvelous skill
as .she swam far
out into the
ocean with firm,
clean strokes.

"I have al-
ways known
how to swim-
cant remember
when I didn't,"

Blanche Ring, th«
well-known the-
atricil star, gave
Irene a letter of
introduction to
the Laaky studio
two yeari ago—
and on the
strength of it
she got a part as
the nurse In
"Stella Maria.'*
The part was a
tiny one — that
is, when you
looked again,
Irene was gone.
Now look where
she is I Above, a
ph o t ograph ic
study of Miss
Rich, and, right,
as a water nymph
on California
aands

A Daughter of
Neptune

she told me, raising her voice above the ocean's roar.
"It was while living in Honolulu, however, that I
became so expert. Why, I almost lived in the water.
It is wonderful over there. Duke Kahanamoku, the
Hawaiian who has won so many honors iji the Stock-
holm Olympic games, taught me to ride the surf
boards. That is absolutely the most fascinating thing
in the world, with its breathless sensations, for you
seem to go a mile a minute ; of course, you do go as
fast as the waves, and, oh, it is thrilling !"

(ThWtytir.)

By MARY KEANE

Miss Rich has been steadily advancing in motion pictures, and has recently
won distinct applause for her splendid work as leading woman in Will
Rogers' late successes. She is pretty, of that sweet, wholesome feminine
type that is so appealing. She is slender, graceful and magnetic, with an
active mind in close touch with the vital currents of the life of today.

Resting on the sand in the warm sunshine, she told me of the steps that
have marked the way, so far, in her career.

"I have always acted, mentally — do you know what I mean? Whenever
I saw a play I found myself submerged in the role I particularly admired,
following it thru all the scenes, so you see, I am now only making a reality '
of my dream-acting." And Miss Rich laughed lightly. Too bad the camera
cannot catch that silvery laugh.

"Several years ago," she
continued, "I became ac-
quainted with Blanche
Ring, and I told her of my
ambition to get into motion
pictures. She's a darling, ^_~_^

you know, always doing ^Rt^^^ '^^^'

things for people, so she ^MJri^^m,.: .:—» i,

gave me a letter to the pro-
duction manager at the
Lasky studio, and he, in
turn, introduced me to the
casting director, who put
me in 'Stella Maris' as a
nurse. Really, it was just

Photograph
beiowuy

Photograph by Evani

Irene in two equally
successful roles; cen-
ter, as a mermaid, while
in lower left and upper
right she improves the
art of her costumier

After "Stella Maris"

atmosphere, for I could see
myself only between blinks
when the picture was shown.
I was happy, tho, for it was a
beginning. That was two years
ago last November, so I feel I
have made some progress."
there followed a series of pic-
tures in which Irene played wee bits, sometimes very wee
indeed. Then, one fine day. it really happened — she made
the jump from extra to leading woman. Dustin Famum
was the star, and that in itself was good luck, for think
of being even the screen beloved of "Dusty" and the
heroine of his thrilling Western dramas.

After this, things moved rapidly ; she played opposite
to Frank Keenan in "Todd of His Times," ancfmade
several pictures with William Famum, Earle Williams,
Gladys Brockwell and Louise Glaum.

"All this was such splendid experience," went on Miss
Rich, "and after playing in a couple of GoWwyn films, I
signed with them for two years, and it is a very happy
association. I made three plays with Will Rogers as his
leading woman — 'Water, Water. Everywhere,' 'The
Strange Boarder' and 'Jes" Call Me Jim.' I was sorry
that I didn't fit the tyf>e for his new picture, for he is so
wonderful to work with. They dont make men like him
very often. All his pictures are clean and wholesome —
he positively couldn't play any other. In 'Jes' Call Me
Jim' there is a beautiful theme, and Mr. Rogers is just
him.self. I hope there will be others like it. His wife is
just as sincere and real as he and they are about the hap-
piest couple I have ever seen. There are four cunning
(Continued on page 69)

(Thirty-seven) '

Human Ray

Charles Ray i» »he
most popular portrayer
of American adolescent
youth— with all of its
shy, awkward appeal,
i t s tenderness a n a
whimsicality — on the
screen. Right, Charles
gazes up at the skele-
ton framework ot
his new studio being
built at Hollywood.
Top, left, Charles stUl
leans on his father for
support. Center, going
over a scenario with
Rob -Wagner of S. t..
p fame, and below,
"Whiskers" waits pa-
tiently while his mas-
ter pays close atten-
tion to his eighteen-
year-old continuity
writer, Isobel Johnson

(ThirtyeigW

"Yes or No"

Told in story form from the Norma Talmadge-
First National Photoplay

By

OLGA SHAW

FATI-: works so obscurely, so irrelevantly, say
some of the modernistic philosophies, that it
makes little, if any, difference which way one
lakes whoi) one conies to a turning of the road ; the
destinations being identically the same. Now and
then, there are individual cases disproving — for in-
stance, I am minded of Margaret \'ane and Minnie
Berry. Analogous, poles apart, one when life
pressed upon her saying yes, the other saying no.

.Margaret was a type, a rather commonplace type,
if one might term a person with the outer seeming
of an exotic commonplace. She was much like an
extravagant rose, fragrant and beautiful, but to be
had in great varieties. The essence of her being
was possessed of similarity. Her life was made up.
principally, of money and what money can buy; of
balls and teas and men and the admiration of men ;
of indifferent, anemic novels, sex plays and vaguely
picturesque charities. She never took oflf her glove
when it became necessary for her to shake hands
with life. She didn't know anything about contact.
She didn't dream, either, because dreaming is, of
all things, the most real. .She just frittered, and if
the frittering palled upon her, as it necessarily and
frequently did, she took it out on ttie person nearest
.at hand, petulantly imagining that it was the fault
of that person. The person happened to be Donald
\'ane, her husband.

With the perfect inconsequentiality of the
human emotion. Donald Vane loved the hothouse
rose he had married. He loved her beauty and he
did dream and he injected his own dreams into her,
subcutaneously, and they sufficed him. He thought
it quite reasonable that she should sleep half the
day, dance half the night, flirt the few waking hours
.she spent, adorn her sumptuous person in the ultra-
fruit of the mills and looms and charge it up to him.
To make the payment of the charges possible he
toiled night and day, and when it became no longer
possible for him to .supply these things with the toil
of his brain and brawn he supplied then) with his
nerve forces. In the course of time his physician
told him that he had gone past a limit. "You're on
thin ice," he said : "you'd better tell your wife and
ask her to curtail and both of you live more
simply . . . the pace that kills, my lad ..."

Donald N'ane shook his head. His physician
noted, with a fatherly pang, that there was grey
showing in the bright gold. "I dont want to worry
her," he said; "I csl^ccially dont want to worry her.
.She — she has such a good time. It's what I work
for."

Donald worked harder than ever. Margaret frit-
tered harder than ever. .\nd when she had time to
think about it, she lamented the fact that she was a
"neglected wife." that

her husband gave his .
all to his work, and
took a certain doleful
pleasure in the evi-
dently greater appreci-
ation of other men.
"Donald," she decided,
â– 'was always rather

(Thiriy-ninel

Donald Vane loved the
hothouse rose he had
married. He loved her
beauty and thought it
quite reasonable that
she should sleep half
the day, dance half the
night, flirt the few
waking hours she spent

dense, rather uninter-
esting. He is just a
macliine with no liner
sensibiUties."

Even when he died
she did not suspect
that his sensibilities
had killed him.

She thought it was
failure of the heart.
That was, his phy-
sician decided, the
kindest thing to call
it. He thought of
some lines of Kip-
ling's :

"Maybe they used liim too

much at the start.
Mayhe Fate's weiRht

cluths arc l)reakinf; Iiis

heart."

His death followed,
almost immediately,
the huge ball given by
Margaret. She had
really worried her.self
t(i death over that

Things hid been so hard,
the children ailing actu-
ally sick, not enough
good milk, not enough
to pay the doctor's bill,
the rent behind, coal go-
ing up, Minnie herself
wUh a back-ache, and al-
most discouraged

MOTION PICTURE

ball. It was to be a bril-
liant affair, with the young
and popular Vanes at
something of their ascen-
dency. At the very last
moment Donald telephoned
that he would be delayed
at the office — imperative
work — and could not be
present.

Margaret had been white
with fury. She had told
him over the wire, the most
venomous things she could
think of. He ha'd, she said,
disgraced her, humiliated
her, made her a laughing-
stock. An affair like the
ball, and her husband miss-
ing — "at the office" —
Himsy, absurd excuse !

Donald had been patient,
exasperatingly patient. The
fact of the matter was, he
had had that day another
warning from his physician

At first it was just like a
breath of salt air, that and
nothing more, to have Ted
come in with his laughter,
his hint of outside things,
. the tales he told, the things
he did

(forty)

CLASSIC

to avoid excitement at any
cost, that if he wished
to continue treading the
mill of his domestic ex-
penditures he must be
apart, undisturbed,
without noise or com-
iilotion. That the ball
might be painlessly paid
for. as it were, Donald
remained away.

Putting up the re-
ceiver he had thought, a
little wearily, that the
excitement of Marga-
ret's injustice waS al-
most worse than the
excitement of the ball
would have been . . .

It was on the night
of the ball that the af-
fair with Paul Derreck
began in good earnest.
Paul was an old suitor
of Margaret's. He was,
incidentally, an old
hand at an old game.
When Margaret, sore to
fury over Donald's im-
agined neglect of her,
poured forth her woes
she found Derreck an
almost tender listener.
His sympathy was as
suave as oil. as gentle
as silk, as unassuming
as a mother's. He said
that he "understood."
He spoke of a rare
spirit. He spoke of
loneliness, of lives like
ships, passing one an-
other, unbailed . . . the

pity of it . . .he spoke of contacts, of might-have-beens . . .
he called Margaret "little girl" and "beautiful child." He left
her with a craving for more of his talk, for his reassurances.

What she craved she had made a habit of getting. She saw
more and more of Paul Derreck. The small, warm comforting
of his understanding kindled and grew into a tlame. And so,
when he asked her to give up everything and come away with
him, to another land, another life, she had no stamina of
refusal.

She said "Yes."

The same night she told Donald of her decision. ''I cant
stand your neglect," she explained ; "you neither appreciate
me nor understand me. I am going away with Paul."

That same night, also, Donald \'ane died.

Minnie Berry was also a commonplace type, at least to the
outward eye. She was a sort of ragged sailor by the way-
side, getting along with the sun when it shone, with the rain
when it fell, with the 'winds when they blew — and they cus-
tomarily did. She gave little fragrance, and the beauty she
had been dowered with rarely shone forth from suds and
steam and the fumes of dreary cooking. Yet within there was
an essential aroma.

Ever since she could remember, life had been more or less
the same for Minnie. Her mother had had many children
and, with each one, increasingly bad health. The burdens
had thereupon fallen to Minnie, and she, being Minnie, had
accepted them. After awhile some of them married, some got
jobs, her mother died, her father lived on in a sort of proto-
plasmic .state, and then Jack P>erry had come along. There
had been a brief period of illusion, spent, mostly, in the movies
or at Coney Island. Then marriage. A further and briefer

(Forty-one)

period of illusion, and then the She said "No!" Then she

children, drudgerv, poverty, the I?'"!., "cif^^'"' T°' y°'

V . 1 .1 • 1 • L 1 1 No" She was strugghng

same reiterated thing which had i„ his arms, still crying

composed the whole of her ex- "No I" when Jack came in—

istence. The illusion, had, per- and finished the struggle

force, to be put away. There '»' «" '»'* finishing Ted

was too much work for very
much dreaming. Which was

well, for, unlike Margaret \'ane, the chances were great that
Minnie Berry would have dreamed. But now and then, in
brief, snatched intervals, her youth and the prerogatives of
her youth would raise their stunted heads and put forth faint,
feeble cries for the sustenance of sun and air and recognition.
Color and poesy and promise had been so dwarfed, so brief.

It was, therefore, not impossible to understand the tempta-
tion that Ted Leach began to possess for the work-worn
woman, who was still hardly more than a girl.

Ted was a chauffeur who boarded with the Berrys, with
the record of a more or less reckless life. Attractive, partic-
ularly to Minnie, chained to her endless toil, her endless wor-
ries, her endless disappointments and setbacks. First, it was
just like a breath of salt air, that and nothing more, to have
Ted come in with his laughter, his hint of outside things, the
tales he told, the things he did. Then, it grew more personal.
Minnie, unheedful of the meaning, began to put away the
wash-tub before it should be time for Ted to return at night.
The one period of idleness in her day would be the fifteen
minutes of attention she gave Ted when he came in. With
Tack, her husband, it was dull and different. Jack never
seemed to want to talk to her — never seemed to care to tell
her anything, or, in fact, to have anything to tell. He didn't
find her good fun any more. She knew this, but didn't resent

MOTION PICTURE

Derreck, with the con-
tempt he invariably
showed for melodrama or
the loss of poise, wrenched
the thing out of her hand,
and then handed it back,
telling her to kill herself
if she wished to kill any-
one

it, acutely — there wasn't time
nor strength. Ted was anxious
about her, too. This gave her a
sort of thrill, altho she didn't
label it as such. It had been a
long time since anybody cared
whether she were tired, whether
she wanted to go out, brought
her, now and then, a magazine
or a flower or a few candies. Ted did all these things.
After awhile Ted seemed to the girl a sort of glowing
bar of light across the drabness of her days, the meanness
of her worries and the fears for herself, for Jack, for her
children. He was something to turn to when other things
pressed too heavily.

He encouraged her about Jack, too, about his inventions.
Said lie would make good, sure as fate! He was awfully nice
and kind about everything. Best of all, it made Minnie know
that she was still young, still attractive, that everything
glamorous and wonderful need not be over. Somehow, she
grew to need the stimulus of it, even tho she never swerved
in her innermost heart from Jack, from the children she

worshipped and brooded over.

He had been boarding with
them for nearly six months be-
fore the real temptation came.
Things had been so hard, the
children ailing, actually sick, not
enough good milk, not enough to
pay the doctor's bill, the rent
behind, coal going up ; Minnie
herself was backachy and al-
most discouraged, Jack toiling
stupidly, it seemed now, stupidly
and endlessly, at the invention
that never "invented."

If it hadn't been for Ted —
Minnie grew to shudder at the
mere idea of losing Ted. The
touch of his hand had grown to
be the thing that made her day
a day.

One of the days Ted came to
her and told her that all the past
six months had been a game he
had played because he loved her,
couldn't bear to see her work-
ing so, killin" herself, it was: he
wanted her to quit the whole
business, to come away with
him. He could make money, he
always had been able to, he
would, for her. She could have
things . . . pretty things . . .
sleep, too, rest and books and
auto rides, everything she had
been going without. He had
to say it ... he had to have
her . . . he . . . He came
over to her atid held out his
arins. His eyes were ablaze and
his voice shook. Drabness took
hold of Minnie's soul ; drabnes.s
and this other thing, this pulse-
shaking, shameful thing . . .
shameful, yes ... he didn't
love her . . . not soberly . . .
not in a way that counted . . .
Jack, working, the children, the
children . . . she would go on,
because she must, she must . . .

She said, "No!" Then she
said it again. "\o, No, No!" She
was struggling in his arms, still
crying "No !" when Jack came in
and finished the struggle by all but finishing Ted

Twelve months. Margaret \'ane living alone, in her coun-
try home, very much alone. People have a habit of dropping
off, after the manner of leaves when the summer of content-
ment is fled. Margaret found that the many guests she had
entertained had been entertained by her very much more for
the sake of Donald than for the sake of her own society. Nor
did they t.ike kindly to Paul Derreck.

Paul had not married her. For a time after Donald's death
he had played the role of very ardent lover. Whenever she
had, tentatively, suggested marriage he had professed sur-
prise at her eagerness as "bad taste." "So soon," he had
said. She had replied that she didn't see that it made any
difference — their union was so, in fact. He had been vague.
He had kept on being vague. His ardor still persisted — after
a fashion. It was a fashion that brought the brand of shame
to Margaret's face. She knew now what manner of love the
man was offering her.

After awhile she grew desperate. Donald — dead. Loyah
hard-working, honest Donald, who had married, protected her,
spun a cocoon of fine silk about her, revered her. And Paul —

(Forty-two)

CLASSIC

for v^'liom she felt this insis-
tent, deathly passion that
gnawed at her, with redness
and remorse, and would not
let her be.

She had few resources. For
all her super-sophistication,
Margaret, like most unthink-
ing, unintrospective souls,
was a primitive. She had
only a limited measure of re-
taliation.

She had never been un-
happy before. She simply
could not accept unhappiness,
either philosophically or
otherwise. A year after Donald':
reck, bluntly, what he intended
caste everywhere," she told him
of this. / am heart-broken, and 1
to think this thing over."

Derreck gave his light laugh,
to think, Margaret," he said; "I
intend doing — nothing. Really,
now, Ii7iy should If

The newspapers bore varied ac-
counts of the final tragedy, but the
facts of the case were that Mar-
garet, growing hysterical, pro-
duced a revolver and threatened
to shoot if he did not reconside:
and right her miserable state by
marrying her. Derreck, with the
contempt he invariably showed
for melodrama or the loss of
poise, wrenched the thing out of
her liand and then handed it
back, telling her to kill herself if
she wished to kill anyone.

Hhe did.

She must have lain in that
darkening room for a long while
after he had left. She must have
thought, and for the first bitter
time, strange, pitiable thoughts.
I'erhaps she prayed, to Donald,
to (lod, to Heaven, to the lover
who had left her, before she put
the bullet thru her brain. Who
know.s — who knows?

Margaret, when life jircssed
upon her, had said "Yes."

Twelve months. Minnie l!erry
and Jack and the children in a
litile cottage, a sort of semi-
bungalow, unpretentious but
thoroly comfortable, in the woody
part of Xew Jersey. After the
apparently ceaseless efforts the
washing machine had turned out
successfully and there was a
steady sum coming in from its
wise commercialization. The chil-
dren, healthy and happy, going
to school, Howers growing, hope
reborn, love, guarded, still burn-
ing ujion the tended hearth . . .

Minnie, when life had pressed
upon her, had said "A'o."

The children, healthy and happy.

g^oing to school, flowers growing,

hope reborn, love, guarded, still

burning upon the tended hearth

••YES OR NO"
Fictionized from the scenario atlaptcd from the plav
!)y Arthur Goodrich. Directed by R. William Neill.
Produced by Jos. Schenck. Released by First
National, starring Norma Talmadge. The cast;

Margaret Vane . . Norma Talmadgn

Donald Vane Frederick Burton

Paul Derreck Lowell Sherman

Doctor Malloy r.ionel Adams

Minnie Berry Norma Talmadge

Jack Berry Rockcliffe Fellowes

Ted Leach Gladden James

Emma Martin Natalie Talmadge

Tom Martin Edward S. Brophy

Horace Hooker Dudley Clements

s death she asked Paul Der-

to do. "I have all but lost

; "my husband died because

am desperate. I advise you

"There is nothing whatever

The bruise on their lives
which there might have been,
had the dint of poverty equalled
the dent of Minnie's morale,
was pas.sed over as an obscur-
ing spot might pass over the
Sim. Minnie looked back on it
now, and shuddered to think
that the day could ever have
been drab enough for her to
pause on such a brink. The
children . . . Jack . . . this
peace . . . this well-earned
peace . . . !

She had never, she felt, been
taught to meet things. She had
just been a haphazard person, drawing on peradventurous re-
sources for her courage to do or dare. She had it , . . or she
did not have it. With the children it would be different . . .
she, by reason of her moments of temptation, would make it
different. There would be no game of blindman's buff for
them to play , . .

( Forty ihref.)

The Screen Year in Review

AN intniit
terestin

inl'niitel) m-
g yen r

u lias been.
one \ ibranl witli
liiu lUDiiiiscs fur
llic future. True,
llie luelve months
luissessed their dis-
;i|i|>()intnicnts. l)Ut.
u]i(iii the whole, the
production averafic
h;i< heon well sus-
laincd.

The wi-akne--
of the American
cinema still remains
man! f est ly t li c

~anie ; i.e.. a lack of literary discernment and -ilory dis-
cruuiiiation. Most of the stuff jiroduccd in this coun-
:rv is .nlisohitely hanal.

The iihoto]ilay i-- develi)]iin(,' its tcchni<iue slowly and
|>ainlully. Here .and there may he detected imlications
of the him drama of tiimorrnu ; vital, human, close to
life and far fioni the averaj;e melodramatic screen en-
lertainmcnt of today.

.\s for direction, the .\merican averajjc is hi^^h — in
].oinl of treatment ,-md studio workmanship. lUu.
while the .average is uniformly hi),'h. the men who can
\i\ifv a story into silversheet lire can easily he mini
hered ujion the hntjers (jf one's han('

I'efore we digress further, let u-
tion of the ten he-l photojilavs of tin
luK

Harold l.lovd's comedies.

â– â– Juhilo."

"Hehind the Door."

''. â– 'Scratch My Hack.'"
It). â– â– ihcSix Best Cellars."

< Uir hijijjesl disappointment of the year lies in the fact that David Wark
( Irifllih has contributed nothing material to the .screen during the twelve
MKinths. l"or the first time in three years he fails to head our list of
best photoplays. Just now. when the photo|)lay needs a courageous
le.idcr more ili.in ever before, he has failed to follow his epic of Lime-
house, "Broken Blossoms," with any-
thing Vk'orthy of himself. "The Idol
Dancer," a trite chase melodrama of the
tropics, came nearest in points of ])(]etry
and beauty, but it fell a thousaml miles
(irilVith had his biggest theme in "The
("treat Question." dealing with the iisycliic prob-
lem of the existence of future life, but he lost
his subject in a maze of stale melodraina.
".Scarlet Days" belonged to the old Biograph
period of Southwest romantic melodrama.

,\clually the most important development of
the year has been the splitting of the
screen world into two factions: inde-
pendents and — but what shall we term
the others' Without ciuestion. Wall
.Street interests are bringing the

hort.

name our selec
lilni vc:ir ending

. l')20:

â– The .Miracle M.ni."
■■•|"he('.a\ Old Dog."
â–  rollyanna "

"W liv (liangc ^'onr Wife!'"'
•■< )n \\ith tlie Dance."'
â– â– M.'de and l-'em.ile.'"
•Dr. Jekylland .Mr. lly-le."
"Z.^'/j Hours' Leave."
'â– Humores(|ue."

Ml-. Drew's '".Xftcr Thirty'" stories
\ -eciiiiil h-l uiiuld con-i-l (<\

â– 'Romance
J. â– ruind I iusbands "

I'he Night oi W.iy. '"

The I )e\irs I'asskev

The Idol Dancer."

^^.

bigger producing organizations
together in what may develop
into a gigantic combine, control-
ling tlie film theaters of .Mnerica,
or possibly the world. There are
indications everywhere of this
movement. While this
has been under way,
the photoplay world
has seen a steady
fiyeaking away of the
liii;gcr forces and the

^

w

III

i

,V

f Fcrtit f^ur)

By FREDERICK JAMES SMITH

fiiniialiuu nt nulu|icmK'iil Dinanizalinii.-. riii> has niaiiifested it.sclf in lliu L'liitcd
Artists, the A>>(jciatcd I'loduceis, etc. It is very clear that InisJTiess interests
canndt easily tie the hands of artistic develoi)nient on the silvcrsheet.

lUit to return to oiir selection. lUit six were original stories written
for the screen and eleven were photoplays in which there were no stars.

Here let ns register another disappointment. King Vidor, who, since
he produced "The Turn in the Road." last year, .seems to us the most
promising single force in films, did not repeat himself. Yet we have not
lost faith in this young crusader for the close-lo-the-soi! drama.

Cecil' de Mille continued along his luxurious primrose ])ath
of sex and divorce. There is no questioning the (lopularity of
this director, who.se eye is that of the theater and not of tlie
sympathetic ohserver of life. Lavish and picturesi|ue is his
style, hut the human note of tomorrow is not
there. Then, too, De Mille is running rife in
houdoir negligee. His dramas are
as intimate as a department store
window .

The one directorial surprise of
the year was l-'rich von .Stroheim,
heretofore a jilayer of Teu-
tonic scoundrels in war
thrillers. \'on .'stroheim
put o\er a flashing — if
soulless- thing in "Blin<i
Hushands" and then dujili-
cated it with another study
in passionate in-
trigue, "The
Devil's Pass
key." Von Stro
heim hrings :
new, Continenla
and uncannily
cynical xiew-
)ioint to our
screen, hence his
sudden success.
His is the eye of
the \'iennese
1) n u le va rd i e r
u ho adventures

I r,iit II fu:f)

l'!l.)lo l.j Al.lu-

in romance, the Parisian

connoisseur in love. He

possesses surprising directorial dexterity, technically second

only to (irihith. The soul of life itself is alone lacking, for

his characters still fall short of the hreath of reality.

Here we turn naturally to Mrs. Sidney Drew, who worked
with Hribail Henley u)ion "The (lay Old Dog," that well-
nigh perfect visualization of l'"dna Ferber's story. Mrs.
Drew also ])rodijced a number of the "After Thirty" stories
of Julian Street. These are all marked with a rare human
note, a fine insight into life and a s])lendid ability to reflect
it upon the screen. Mr. Henley's work u|H)n "The (iay f)l(l
Dog" alone would justify careful ob.servation of his future
progress. Here let us draw attention to the fact that "The
(lay Old Dog" is not rated as a financial success and that
destructive conclusions regarding motion jiicture audiences
have been drawn from it. To which we answer that "The
(iay ( )ld Dog" was released thru a channel familiar with
the handling of melodramatic serial thrillers and the like.
It failed for this reason and none other. ^ We stand firm in
our belief that audiences want the best — if thev can get it'.
It is rather late to comment ujion (ieorge Loanc Tucker,
whose "The Miracle Man" holds first place in the screen year. If Tucker does nothing
else, he has contributed mtich to the |)hotoplay's progress. We judge him as |Josse^sing
a fine sense of the drama, a welcome ili-rcgard of non-essentials and a remarkable ability
to make [jlayers act. Many months have passed and we still await his next production.

(ieorge Fitzmain-ice, master of screen light and shade, is coming along with splendid
strides. He is at the very top of our directorial leaders. Frank liorzage leaped iiUo at
tention with his "Htmiores(|ue." wTnich, if long-drawn-out and tiresome at times, had a
piimiisiiig human touch.

(Coiilinui'it on ptii/c /S)

Bill Hart's Dream
Home

As ue talked, the gay cietoiiiie curtains swayed in the
soft breeze, heavy witli the fragiance ffom orchards
across the road. To the north, the lengthening
shadows were beginning to touch the Hollywood moun-
tains, and over the whole scene brooded the peace and
i|uiet of the late afternoon.

"These twenty-eight I'ages contain all the action for a
picture," remarked William Hart, flipping the closely
written pages he held in his hand. "This makes the
fourth original scenario I have written since July, 'The
Toll Ciate' being the first to be lilmed. I had that story
in my mind for many months before 1 had the time to
make it. I believe a story written especially for the
screen starts out with fifty i)er cent, in its favor. The
technique of ]ilot-building is ditTcrent in novels and pic-
tures, tho many authors have not yet recognized this fact,
n writing a book you begin immediately to work away
from screen requirements. I enjoy buihling and working
up my stories, but I'll admit that it reipiires hard work
on my part and I dig at it many hours before getting
results.

"(ieniusr Nonsense! There is no such thing.
That is the most abused word in the whole language,
eople who acconi' lish things t/riini for them. That
is all the genius i ere is — the determination to stick
until you succeed.' and the great exponent of Western
screen drama tlasiied one of his rare but hearty smiles
across the room at me.

Mr. Hart's study in his little green studio
among the Hijllywood orchards is franimed
with treasures dear to his heart. With
boyish enthusiasm he showed me his
splendid collection (jf firearms, explain-
ing the intricate workings of guns and
rilles. There ar^ several rare horse-
hair lariats decorating the walls, while
saddles, chaps and many Indian curios,
gifts from the star's devoted primitive
friends, fill the room.

Putting the treasures back into their
places. Mr. Hart remarked, wistfully,
".Seems a great |>ity to me that the
three most romantic and picturesque
elements of this great country — the In-
dian, the hardy fronliersman, the buf-
f;do — must give way to the march of
civilization. I am wondering if the
exchange pays."

Watching his sensitive face as he
spoke, I think I came nearer com|)re-
tS® ' ' ■■'£ bending the love he bears his West

f j3t. il'a • than ever before.

It is always interesting to consider
the inlluences that have combined to
m.ike a man what he is. The case of
William Hart ])resenls an especially al-
luring study, for

"^"^^iM'TfliviMifiBfi.rv

"There have been
three vital influ-
ences in my life,"
says William Hart.
"My father . . .
the West . . and
the Sioux Indians."
And it is perhaps
the development of
these three influ-
ences which make
the romance of Bill
Hart so thoroly
convincing

tho the tall, lean
figure and keen
features are fa-
miliar to a mil-
lion picture fatis
t h r uout the
\M)rld, the man
himself is little
known. This is
perhaps due to a
]i r o n o u need
n.itural reserve,

(Forty-six)

By

MAUDE S. CHEATHAM

i-".n};li>h village" —
what do yon siip-

;i

Jiiul _\i't oiuc iiicliuleil iunon^ his acciuaiiUaiHt"-, ihf cliavm and wariiuli
of his winning; nature is irrcsislihle. The somber eves, with their hint of
a ceaseles- search of ideals, uheti illuminated with a cordial smile, invites
the sincere honiaye that is showered upon him.

With this thought in mind, as we resumed our ^eats by the open win-
dovvN. I asked the i|ne^lion. "Wlt.at have been the vital intiuences in vour
life?"

"There have been three." came the C|uick rejily. "my father, the West and
the Si(iux Indians. My mother was jvist — iiiiithfr, that says it all; I wor-
.-hipped )ier '"

".Suiipose you had been reared in ii sm.iU pastoral
his father was lui.ijhsh — "instead of the l.'Jakota prairies
po.so you would have been today!'"

".So different — so vastly different that the Ivvcj of us would not have a
single thought in common. There is no question that environment i
posverful force," answered Mr. Hart, "h'ate seemed to (ilay vvilli me, for it
.itfordcd the two elements necessary for me to produce the kind of pictures
1 want, h'irst, there was the thoro knowledge of the West, gleaned
during those impressionable years of youth. Then" came sixteen
years of active stage training' under the greatest theatrical directors
(if the <hu. So I feel I came to the screen fully ecpiipped for my
work, and 1 am always grateful to the public who have believed in
the West as I know it and am trying to present it."

"How about the new home?" I aske<l, inesently, for he and his
sister. .Mary, have recently moved into a prett)' little I'.nglish cot-
tage. "Vour sister told me that when she incpiired how you wanted
vom" l)e<lroom furnished, vou replied, '.\n iron lied, an Indian rug,
that's all !' "

".Sure, what else do I nei-d ?" and Mr. Hart laughed, jovially.
"f"or the love of Mike, what does a man want with a lot of
fussy things lying around' To tell you the truth, 1 never fee
comfort.ible in lavish surroundings. Mind you, tho, that isn't
a r,-ut home ; it is merely an abiding-place for Mary and
me until )ny dream conies true. Want me to tell you
about that .'"

Lighting a fresh cigar and leaning back
Mr. Hart proceeded to reveal his secret
dreams for the future.

"1 was fifteen when we left Dakota.
Tho I was a big hulk of a lad, I remem-
ber how I clung to my father's hand
there was a wonderful bond of affection
between us — ^and a> the train ])ullcd
out, I asked. 'Dad. when are we coming
hack'' and he replie<l. '( )nly (lod knows,
son.' '

"Vou see. I was lea\int; the only home
1 had ever known and, in my little-boy
heart, the only home 1 wanted. Well,
I'm a man now, but my heart hasn't
changed, .\lways, ii/ti'uv.v, my big desire
has been to come back — to build the
home 1 have dreamed about — here in the
West.

".Now, with that wish ever in my mind
and kitowin.g that 1 am soon to leave
motion iiictures, 1 am constantly forming
plans ;ind buihlin;; air castles as to just
what that home shall be — oh, it is great

flU1.

"It is. of course, to he a ranch out in
!ie big open, far removed from railroads
md civilization. I want to transform
• onie arein de.'~ert waste and give it water
-watch the soil become fertile — watch
the trees grow. I want to see green pas-
lures take the place of cactus and sage-
hush, and I watit to see herds of cattle
i Coiiliiiiicil oil piii/c M)

( Ffrlii seven )

Thru his portrayal of rug-
ged frontier life, Mr. Hart
has kept before the pub-
lic, a picture of the great
West which may be
viewed as historical; he
has been for a great many
years now a connecting
link between the tradi-
tionally separated East
and West

in I

The Turning Point

justly won their place a.^ i;ijnte7>l uinner.-.

Between July rtfteentli and Aut,'u>t first
lies a span of sonii- fifteen days, in whicli
space of time, if you have not already
done so, ample opportunity is given for
you to go to your ])hotographcr and have
some pictures made and sent in to us. All
photographs mailed hefore and on Aug-
ust first will he accepted as entries in the
contest.

This will he your last notification from
the MoTio.N PiCTt'Rf, Classic. In our ne.\i
nuniher, (the September issue), while it
will he impossible to aunoimce the w iuners,
owing to the great amount of work in-
volved in the final selection from the thou-
sands of photographs, nevertheless, wc
shall publish several picl-urcs of >omc of
the leading contestants.

We ask your immediate coo|)eration. If
you have considered entering the contest,
if you have thought over it, hesitated, de-
cided to do so, and then hesitated again,
we urge your (]uick response to this the
last call for pholograjihs, for any ])hoto-
graph mailed after .\ugust first will not
be entered in the contest.

We are quite sure that at this writing
most of our readers have seen the two-
reel feature, "A Dream of Fair Women,"
which we produced last year, and in which
the winners and final honor roll members
of the I'M'* Fame and Fortune Contest
appeared. This picture was especially
constructed for the purpose of giving

riu.lul.) Kmi.iU' Slu.i.M

Do you remember,
uiicn you were a
kid, the intense ex-
citement of the games
you used to play? Do
you remember an espe-
cially thrilling game in
which one of the crowd
liid ill a secret hiding-
place, and the object of
the game was to dis-
cover this place, and as
you drew nearer and
nearer to it. soiiie one
would call out, "You're
getting warmer!" The
contestants are beginning
to feel tl'.at way now.

This copy of the Mo-
â– iio.\ rifTiKf. Classic will not i
fifteenth day of July. On the
I"ame and I'ortune Contest, whi
lure in the history of our three
I'lcri lo; -Maoazi.nk, Tm Mcvri
."^iiAUowLXNii, will come to a
close, and as shortly after
.\ugust first as possible, the
ttinners of the contest will be
announced. ( )nce again we
will be starling off on the
road to success the fortu-
nate contestants who have

I'll,. I.. '; lli.l,. i-Hii

each your hand> until the
first day of .\ugnst, the
ch has been a imii|ue fea-
magazines. Tiir. Motion
OS I'lcTfid'. Classic and

Top, Hilda B. Craw-
ford, Philadelphia,
Penna. ; center, Dallas
Huntley, Des Moines,
Iowa; below, George
Sheldon Smith, Holly-
wood. Calif.

(Fortyc'ujht)

The Closing of the Fame and
Fortune Contest Draws Near

clirt'it and iniinediatt.' o|iiiiiitiiiiity to the ciiiilest;iiii-
lu priive their acting aliility. It cfeated so iimrh in-
terest, however, that it ua^ turned over to the h'ine
.\rts I'ictiires. Inc.. of 130 We.st 4()th .Street, New
York. City, and it lia.s lieen released in iiracticalK
every .'^tate thrnmit the country. If you ha\e not
already seen this picture. };et your cNhihitor to com-
nijnicate witli the above company, and it will he
siiown at your home town theater.

This two-reel feature will give vou some idea of
what we are going to do for the winners of the l'^20
Fame and Fortune Contest. V\'e have already started
production on a fne-rccl drama in which the winner^
and honor roll members of tiiis year's contest will
appear.

"Love's Redemption" is the title' of the picture,
and the story is a strong, gripping one, dealing witii
the shadows and high lights of life. People of world-
wide notability will a|>i)ear in it; two of them being
Edwin Markham, the beloved veteran I'oet, of in-
ternational fame, and Hudson .Maxim, the great
inventor.

Blanche MctJarity and .\netha (ietwell. two of the
winners of the 1910 Fame and Fortune Contest, have
been cast for .strong jiarts in the picture, and some of
the others who have also been assigned roles are
Dorian Romero, F.dward Chalmers,
F.rminie (iagnon, William Castro,
Seymoure Panish, .\lfred Kigali, the
Schwinn twins, Mrs. P". Mayer,
Titus Cello, Clarence \V. Linton,
Lynne M. Berry, Dorothy L, Tav
lor, Arthur W. Tuthill. 'jo.seph V.
Muilaugh, VVm. R. Talmadge and
Ruth Higgins.

Most of the scenes will be filmed
in and around the Brewster estate
at Roslyn, L. I., and the taking will
be continued well into September.
Fach issue of every one of our â– 

several publications will hereafter
contain interesting news of the

this
he
un

Top, Ella Guerite
Maxwell, New
York City, cen-
ter, Madeleine M.
Glass, Toronto.
Canada; and, be-
low, Jean Selkird,
New York City

progres- of
plav.

\'\e feel
sured tb.-it
feature wi
unii|ue and
usual in e\ery
respect. •■ni'I
there u ill he no
e.\pense spared.
The direction will be of the
best, and the play is ;i strong
drama with a very unusual
plot which will hold the at
tention all the way thru.
.\nd the greatest attraction it can have for our readers is that it is being
produced especiallv for them and will muiiber many of them in the cast.
We are, not without reason, jiroud (jf our list of judges who will
decide the winners. These will include such world-famous |>erson;iges
as Mary Pickford, .\lnie. f 'Iga Petrova, Howard Chandlei Christv.
Thomas Ince. j. .'^tuart Ulackton. Maurice Tourneur, ."^amuel l.iumere,
Carl Laemmlc, Jesse l.asky, David Belasco, I'.lanche Bate-- anil I'ugene
v. Brewster.

This month's honor roll is as follows:

From 2103 Pine .'Street, I'hiladelphia, Pa., comes a photograph of the
very-easily-regarded Hilda P.. Crawford. Miss Crawford b.-i'- chestnut
brown hair, Mue eyes and a fair comiile.xion.

Dallas Huntley bails from 2.^ Maury .Street, Des Moine-. Iowa. She
(Coiiliiuir/I nit />«(;(• 7')^

I'liottiKr.-il'll tty Api-ilii

fFnrtynine)

Summer

Behind the

Footlights

Above is a dramatic scene from "Mar-
tinique." the picturesque tragedy of the
West Indies, with Helen Blair and Jos-
ephine Victor. At the upper right appear
Eva LaGallienne and Sidney Blackmer in
the charming comedy of New York in
the early '70's, "Not So Long Ago." At
the right are two of the prettiest "Floro-
dora" sextette girls, Dana Sykes and
Fay Evelyn

frifiji)

High Lowe

By GLADYS HALL

Yor \\(iulil Irki,' l'"(iinuii(l Lowe. He is the i^oiul- fellow
â– ^oii. willi a j,'eiiial smile and a (^vni'il liatnl-shake
and a nmst li(js|iilal)le dressin.i,'-rooni, in persona
welcome and in ]Kiint of i-efreslime\U. lii|>iidacious and
otiierwiss.

He is olnioiisly in love witli life, loo, wliicli is always
])leasant and more or less inspirational. He's in love
with \voi"l<, in Hive with love, r.ither eliummy, so to
sjieak, with the worhl in fjeneval.

lint — there are oilier, more proloimil, less ea.sily
lal<en-accoimt-<pf reascpns for
likini; .Mr. I, owe. To heijin
with:

He is a philosopher, with a
philosophy beyond his years,
uliieh are not nuilliiudinons.

Iwas lalk'inj,', the other day,
with a very famous, a vei'y
popnlar actor of the sjieakinj;
stai;e. p.ast, so to speak, the
first lliisli. He told me that
aije hriiiLis with it, as its chief
conijiensation, a philosophy of
acceptance. In oilier wor '
after youth we ce.ise lo rebel
aijainst the
"sorry stale
of lhini;s."
We fohl
our hand-.,
c o m ]i ose
our features and
le.arn to smile.

•Mr. I. owe has

a philosciphy (if

accejilance /iuti'.

I le ap]iear> to

he nu:rely fim-niakin^'.

He aiipe.ars to be

merely workini;. wiili

no ihouyht of the nxurou .

He appears to be in .and of

lodav, sulVuieiU unto il-ell.

I le is doinn, h;is done and

will do coiisldei-.alile thinkint;. He has ,i clear and re.ison.able mental ci|ui]i-

iiienl. lie is not subject to illusions, still less dehrsions. In the \i'rn.acul;ir,

he know s w hat be is doini;".

We spdke of old aye. I im.if^ined it wcjuld IkjUI terrors for ibis niau sn
viy'dly yoim.L;. "Dont you dread it?" I asked. "Donl \dn luilr it:" 1 felt
soil of sur^iical. sort of \ ivisectional, as I put the i|ueslions.

"Whv h.ite it or dre.ad it'" he asked, with calm. "// .Diiirs We .all
know that. We cant do anythin.n' aliout it. one \\ay or ihe oilier. W by
not accept it jiracefidly. make the most of ii. .is we should ni.ike ilie mosi
of this, live it in its own way, with its own peculiar ll.i\ors, e\en .as we
live youlli. /17/y rebel!' W.asle of eucr.i,'y."

"What shall yi)u i|o." I persisted, "when
af;e comes — imd '.ill this' is oul of the pic
ture '"

.all step out. tiio." be said, "from
the fore!,'round to the b,aek!iroimd. I
shall do it, I hope, without undue fuss ,and
llurry. I shall tjive myself in the mean-
time, tbo, a fjre.at deal to relive, a j;real
deal to reniember. I vwnit want lo be
.articip.atinji — X.ature takes care of th.at.
I'm I shall want to be remembering.
\i\i(lly. happily, fully. I sli.all not w.mt
( C oiiliiiiit'il on piitjc "li)

Edmund Lowe has a philos-
ophy of acceptance which
embraces comedy as well as
tragedy, age as well as
youth, the movies as well as
the stage, wigs. Confucius —
and interviewers. He has
been as successful on the
screen as he has on the
stage; his work with Norma
Talmadge. Clara Kimball
Young. Olive Tell and others
giving him quite a following
among movie fans

frtfiiioiu I

Overalls

Capture the

Sennett

Studio

SfVti.il phutiigraplist.(kei)

twr Thi- Classic

\iy Abbe

r

The overall niovement
has hit the famous sea-
goine beauty battalion
of the Mack Sennett
beaches. Herewith
Irene Tyner. a new
Sennett find, reveals
just how she intends to
meet the H C. of L,
What chance, we ask,
has the H. C. of L
against opposition like
this?

1 ^^^kg^

^^1^

^Hi

^^^^^^^^^^^^1 iV'

THFfp (^

^H

â–  x.

H

'^^^B ^

HHH

^ - 1

Hp|H

(tittnivio)

J

Told in story form

fr<ini the Scl/nicU

phntophiy

M\ki(i\ AiNswiik rii
u;i>. ill tlie ilc'sli,
]ireciscl_v what so-
cifiy reporters mean
u hen they write the
uorrU, "one of the sea-
son's hnds." \'ery
(.lianninj; tlesh it was.
loo. pink and sweetly
curved, and like warm
soft velvet — so one sus-
pected— to' the touch.
Any one of a dozen eli-
i;il)les uduld have been
at her tiny, three-
double-. \ clippers — if it
hadn't been for I'aul
farrington.

"0)1 dil." hinted die
fjossip sheets. "Lucky
i;irl !" sighed the other
debutantes, still wor-
ried with the neces-
â– -ity of fretting engaged
their first season. "She
might ha\e done bet-
u-r." grumbled the
dozen, seeking contir-
mation from their mir-
rijrs! "How did
ihat little feather-
head ever
attract a -
serious
young sur-
geon like
P a u 1?"
ni ar veled
the dowagers
grey marcels.

■•"ven Mrs. .\insworth took
ilie whole atTair for granted and absolutely threw her. so
Marion bewailed, at Dr. Carrington's sleek, dark, well-shaped
head. .\nd yet — the prppo.sal was still forthcoming! (>f
course. .Marion was not in any doubts about Paul's feeling
lowarcl her, being able to read the unwritten language of eyes,
hands that trembled as they touched her in the dance, tho they
were steady enough in the operating room, but still it remained
a tact that the momentous words were still to be said and
heard. It w.is, she decided, ajiparently addressing a bright-
green grasshopper sitting on the golf-bag beside her. simjily
loo ridiculous for anything and iirovoking, too.

"He would have — have — well, he u'citid have in another
moment when we were sitting in the conservatory at the \ut-
leys' dinner-dance last l'"iiday,'' she told the grasshopper,
plaintively, "and then, right in the middle of the most interest-
ing part, that old message had to come from the hospital!
\nd he forgot 7i.'hiil lie was sayimi! 1 must say"— the red lip';

it'iftiillirrc)

shaking dubiou

Bv
DOROTHY
DONNELL

pouted ]iettishly — "it's
hard to have one's only
jiroposal interrujited by
— ])-pills! Oh, dear!
wish Paul was a
banker or a broker or
-omething pleasant— or
I wouldn't mind having
him be a doctor if he'd
have an office on Park
.\venue, all I'rench
grey and silver, with a
pretty, starchy nurse in
uniform to open the
door — not too pretty.

of course "

The moving tlecks of
red and white across
the course meant the
guests of Mrs. Ains-
worth's house party
strolling housew^ard
across the links ; the
far sounds of merri-
ment, Marion decided.
Sensitively, meant that
they were laughing at
liei- unmanned plight,
.'^he felt quite
danger o u s
at the
thought
of the
golden
.1 f t e r -
noon ,t1-
r I' a d y
begin-
ning to
fade into the limbo of the
might-have-been with none
lit its hope« realized because some dirty little newsboy had been
inconsiderate enough to break his leg or some totally uninterest-
ing clerk's wife had taken this op]iortunity to have a baby.

"When I marry Paul.' she declared, sn vindictively that the
startled grasshopper fell headlong off the golf- bags into the
clover. "I shall see that he doesn't neglect me for his nasty
old patients, hut— till I'm married. I dont see what Pm going

to do "

In the dusty distance (he blunt nose of a Rolls-Royce road-
ster had appeared. Manon sprang to her feet, angry with her-
self for the absurd thrill of joy that shot thru her at the near-
ness of him. .\ccording to the rules of the game that a woman
is supjiosed to follow, she should not let the man she wants
sus|)ect her heart, but keep him. rather, guessing until the final
surrender. "He's coming!" cried her heart. "What else mat-
ters ' We are above the need of rules, he and I. There is no
Irickerv about our love!"

MOTION PICTl'RF.

.^ >^

V

A <1iscieet cou^'li ai licr elhow warneH licr that iheiv tciir
illier iici)|)le in tlie world, unfortuiiatcly. The butler biiwed.
'I hejj your iiardon. Miss Ainswortli; I thought that possihly
Dr. CarriuKtou hail arrived. .\ lelephone messajje ha- just
come for hiiu."

Marion felt her joy punctvu'ed hy llie swifl slali of susiiicion.
"(jive me the mcssajje. I'arker." She read the slip of paper he
handed her. with tijjhteninf; throat, cast a swift fjlance at the
approaching; car and made her decision. "I will jjive it lo Dr.
Carringtr>n. I'arker — you need not wait. .\iul you may sa\
to whoever was 'phoning that the niessaj;e has heen deli\ered."
"I riont care!" she justified herself, as she crumpled the
paper into her pocket and turne<l to mecl the car, "1 need him
worse than anybody else! There arc plenty of surgeons >> ho
can perform operations, but there's only one -urycon who can
propose to nic !"

.\nother momeiU and all thoU(;hl of the troublesome bit of
paper in the s\veater pocket was swallowed up in the hit;h tide
of ioy that waslied over her spirit with the clasp of Paul Car
rini;lon's strong, slender hands, the glance of his grey eyes.

"I thought." she laughed, a trifle breathlc-sly. as they turned
back to the car. "that perliaps you didn't care especially- for
tea. .Vnd in that case I might be induced to show you our
view. You'd have to see it sometime, anyway. Manuna is
very proud of the view and always drags our guests up the
mountain to see it, ipiite as tho she were directly res]ionsible
for it."

"I am afraid." Dr. CarringUm smiled <lown at her, "1 am
vi.Ty much afraid that I shant sec the vie«. Hut I'd lo\e lo
have vou show it lo me."

Paul Carrington caught
- her as she fell. "God. why

did you let this woman
come here?" he groaned:
"hasn't she done me harm
enough already?" But.
hate her as he did he was
I he top of the mountaui wa-- a doctor first of all

(piite deserted, save for chatter-
ing sijuiriels and birds. (|uerulous

over the tres])ass into their ancient dnniain. The pine Ircc-'
breath was like incense poure<l from some swinging censer, and
before them the world and the fulness ihereof. .\nd there,
without interruplion. the words .Marion li.id longed for fiere
said, and answered salisfactmily in Ihe uay ihey shoidd be
answered, his lips, awed yet eager, pres-cd upon her lips.
(|uivering and sliy.

.\fter\\aril they s;il long in silence, looking aw;iy at the val-
ley, gilded with the late afternoon lighl. seeing the world with
new eyes, as those just born might sec il. ".\nd lo think,"
Paid -aid presently, with a great sigh of conteiU. "to think
that i almost missed this. There's a very bad case r\e been
walching"- he fell her repugnance — "(lout worry, dear! I'm
not going lo bring the potu' fellow into our afternoon, only il
he'd had a degree more temperature ibi- morning I'rl liavc
had to have stayed and opcr;ilcd."

M.arion moved mieasily. It seemed lo her thai she could
feel the u eight of the bit of paper in her pocket. "I believe."
she accu-ed him. "thru ycju care more .'ibout yo\ir work than
you do about -nie."

He answered gravely, tenderly, but he did not. a- she bail
wanle<l him to den\. "My work is me. .Marion, the best pan
of me, the wiirthicst. It's as much a part of me as my hand-
or my eVes. If you care for me. you nnist care for my pro
fessiim and not be Jealous of it." Hi- eyes reslcd on the bright
head, tlie wistful be.iuty of her. and he grew all lover. .\nd -o
llie afternoon slip|)ed away.

.\ merry group <in the terrace of W'oodwold hailed llie late
ciuners with significant strains of "Here Come- the I'iri<le,"
rendered upon liobby Shannon's ukulele. Mrs. .\inswiirtli.
eNquisitc. a composiU' tribute to her m.iid. her modiste and
corsetiere. moscd lo meet them .'uid icad confession in their

(Fiftiifnurl

I'l.ASSK'

,^\^' A»

fiiccs. A imithcr
feels li;ir<lly less
triiini|ili than Iier
ilau^'lUei' .11 such a
MKinient, ll is in :i siibtli
(Iclicair i''iin|iliiiietlt to her In li)\c
her child. She tnnk Paul's haiuN
l<isl him on the fmehead and drew
1(1 her side, "hriends." she smiled,
dclii,dilcd that you sliniild he the hi
share mir lia|i|iiness."

"I lie.i,' M'lir ]iardi)ii, iliicl(ir. hnl tlii

Paul tiiiik it indifferently, bitt his face chan},'ed as he read
its brief mcss.-ise. "Ha\e wailed an hour since I tele|)honed.
If vnu do not arrive I)y five, I nnist operate my.self. Patient
sinkiiij,' fast. Do not understand your delay, since servant
c\]ilicilly said 'ii'i'^ie messaf^e had been delivered."

I'ace stern, the doctor whirled u]ion the waiting Parker
"What did \ou mean by sayiu}; you deli\ered a telephone mes-
sage to me"- .Some terrible blunder has been made and a man's
life m;iy be the price of it."

The butler forgot discretion for a panicky instant. There
was that in Paul Carrington's face th;it would not be lied to.
"Miss — Miss .\insworth — she said for me to say it had been
delivered," he stammered in the appalled silence. "I gaxe the
message to her — I saw her read it "

"Parker!" Mrs. .Vinsworth sjioke sharply, conscious of her
(Laughter's v\hiic silence, "(in into the house at once"'

"^'es. m;idani," bowed the wretched man, and went, leaving
utier riiul behind. Xone of these welMircd men and women
had been trained for such a crisis. It simjily appalled them,
de]iri\ing them of the jiower to move away, or even to avert
their eyes from the two most vitally concerned.

".M.irion." Paul C'arrington' said, the tinkle of ice in his tone,
"is that truer Did you take ;i message for me — and keep it
from me, a message asking me to return to town and perform
an operation ':"

She made an effort at nonchalance, even I.iughin,g in a higli-
iiitched fashion. "Certainly! There .-ire plenty of surgeons
who cm look after the patienis for 'me afternoon. It's
;ibsuril for you to m-ake a sla\i C'i vnurself this way — I
thought you needed a
holiday ,ind so
you one. That's all."

".Ml!" echoed the
man. heavily, "all!" He
turned abruptly and
without .a back war:
glance, strode down the
steps to his car, leaped

(Fifty-five)

He turned his eyes
resolutely away from
the sight of her, cla(3 in
a woven garment of
reeds, and drifting
light as the foam on
the beach — and he saw
her always before him

MOTION PIC'ltKIC CI.ASSH

"How strong you are,"
marveled the woman soul.
"I was fighting for you,"
answered the map. He
held out his arms and un-
questioningly she went
into them

nvcr the side and drove
the clutch. The sound of
parlure was succeeded
pliasily silei\ce

-iliK'. ."^ ha 111
wc ii" in ;nul
have a 11 1 1 1 1'
ni ti s i c - If
Sennr l\n^^ini
would lie >o
ohhyiny lu u»."

In the K;riin
purlieus of the
iiospiial opcr-
atini; ronni an
h (1 u i- la ler,
Paul ("aniuK-
ton. du<ly. dis-
heveled. .5 icy
of f.acc luider
his IT y \ m e .
faced the jury
of hi^i ])eers.
the old Hr.
Matthews, ulu.
had l)clic\cd in
h i ni a n d his
future, the '.wo
younjj interns
.vho had ad-
mired, envied
and secretly
hecn ie.alous of
his success.
All three woic
t h e u li i I (â– 
a p r o n s a n d
ruhlier jihivc^
of their recent
task, aud there
w e r c .'I n i; i' y
st.'iiiw on the
senior sur-
),'eon'> t;own.
.\ nurse, vvho
had heen de.ii
ing away the
instruments,
fj.ive a q u icU
lool< at the
four a y i m
faces and dis
erectly ilisap-
peared.

"Well, Car-
rington," Ur.
Matthews s.aid
slouly. "you're
a trilie — late.
The patient
waited for you
rather longer
the young man's
ether. It was a

"A doctor is nothing more
or less than a slave,'' finally
said Mrs. Ainsworth. smiling
with stiff lips "Poor, dear
Paul lets his patients tyran-
nize over him shamefully."
She took her daughter's arm
gaily, but with a sharp pinch
of warning, "i do helicve it's
getting hotter, if that's pos-

home than he should have waited, and" — he met
its de- im])loring eyes mercilessly — "he died under
hy a pity that we interrupted your game of bridge, after all."

"Dont!" I'aul bemjed hoarsely. He sank dowji u]ion a

chair, not from volition, but
because he could not hold him-
self upright, and sat. staring
down at his working hands.

"They told us you got our
telephone. ' The younger in-
tern di<l not attetnpl to conceal
his scorn. "Perhaps you would
care to explain ' ( )r were your
society friends more interest-
ing than an intestinal tiunor?"
It was incredible that they
(Cmiliinii'd nil pai/e 87)

(Fifty-six)

MAROOXED HEAkTS

Scenario by Lewis Allen Browne. Produced by Sclz-
nick Picttires. Oirecti'd liy (ieoice Arcliainlirtiid. T!ie cast ;

Marion Ainsworlli. . Zona Kecfe

Dr. Paul Cai-riiiKion Conway Tearic

Mr''. ,\inswortli Ida Darling;

Pclcr Harkiiiv Tom Blake

Cyrus Carter Kric Maync

l)r .Vlatlliews. lleorKf Harkus

CoNl'KSSlON

Wi .iluavs f;u tii sec Alia \azini(j\a with the same old an
liciiiation and we always come away with the same old
disa|i|)oiinmein. Mme. Nazimo\a has the rare ability
t<j Migfjest a rare aliilily.

We detest rural dramas with overdrawn country folk. I'e-
cause we were raised in the country and realize
they aren't overdrawn.

\'\e would walk miles to see Charlie Kay in
anything' and the same distance to see Marie
I'revost in — er — anything.

We adore jane Novak on the screen,
but tlapiiers catch our eye in real life.
On tlie other hand, we cant stand flaj)-
pers in the films.

We refuse to consider Mary Pick-
ford except in terms of superla-
tives.

We know May .\llison bas a
sense of humor, even if she is a
dazzling blonde.

We wish we could under-
stand thie ])opularity of Pris-
cilla Dean.

Bebe Daniels entertains us

Double Exposures

Conducted by F. J. S.

niij;hti1y mi the sihersheet. bm we would pm
our bank r(ill -such as it is--iu our inner
waistcoat pocket if we met a Hebe Daniels in
real life. .\ni\ we'd hasten to accelerate oui
locomotion, too.

Harold Lloyd, Charles Murray and Ben
furpiii are our favorite comedians, but we will come to
blows with anyone who intimates Charlie Chaplin isn't
funny.

We are strong for delicate, subtle comedy tlieoretically,
but we have a secret f.-iiling fen' Mack Sennett and his
bathin;: scpiad.

".vervbodv worships the dranialic beauty of Kalherine
MacDonald. but we have an unadulterated admiration
for Harriet Hammond.

\Ve will sit thru anything l-'.lsie Ferguson does on the
screen and revel in it.

W .' know that (iloria .Svvanson would probably be ar-
rested in real life if she dressed as she does in the De
Mille ]iictures, but we refuse to admit it. (iloria is the
kind of person we'd rob a bank for.

We're sick of seeing celluloid life revolve around six-
teen-year-old cuties. '\'et we swear by Marjorie Daw.

e^e clays, if a mii\ie producer i>uts over a screen hit. he la-
comes a master; if he puts over tu(j hits, he is a genius, and if

But nobody has.

ludging from Lecil <le Mille's recent o|ius, "Why Change Your Wife: '
the biggest motive in modern life is negligee. .\nd love' — it's a mere
matter of discriminating purchases.

Speaking of Cecil de Mille, somebody has just gone him one better by
l)roducing "Why Change '^'our Mother-in-law .'"

'ri'.i.i. Ir Wrrii Tcni.^cco
fat man + 1 big cigar -- 1 politician.
1 chaise longue + 1 cigaret - ! vam])ire.
cowboy + 1 bag of Bull Durham = 1 Hill Hart,
character actor -j- 1 cigar butt — 1 Theodore Roberts,
set of whi.skers -i- 1 corn-cob i)ipe — 1 rural drama.
1 dapper gent + ' cigaret in

an amber holder = 1 Lew Cody.

1 derby â– +- 1 tensely gri])i)eil
cigar =; 1 detective.

Ktc, etc.

(irifhth does believe m real
ism. Hasn't he just added

(Mary) Hay
" 'Way Down

to his
Ivast" ?

Bii. Dka.matic Mo.viknt of thi. Month
Mae Bush in her Ivory soap moments of
"The Devil's Passkey."

Mack Sennett is going to produce a stage
revue built around his famous bathing
girls. We hereby apply for seats for the
premiere, he it in T-os .Kngeles or New
York.

(Cutitinittd (in pU()C 9.s)

I'KO.M BKHIND ITll'. SCi:.\i:.s
By Barhaka Hoi.ms

When Life'sgreat curtain call sli.ill sound.
When at the play's last jiage,

I hope that Time may tind me sull
.An actor on its stage.

.\nd. be mv lot a humble one.

Perchance a servant's part.
I hope I'll still be acting it

With all my min<l and heart.

So. uhen the Prompter gises my cue

With solenm voice intense.
i'iiit\ grant I need not answer linn

prom out the audience.

( ftftyseven)

r

I

A

inimi

.Ml vhtiV'i l<y Ahlic

-M s An hi s \v;i^ uciriii); ,'i t'liniiiiit,' lilllr

fnnk (if |iiiik-;iii(i-uliilc fjiiijili.'uu .'i

j;liiiiru'il i;iii^;h;uii. sofitT mul l(i\c1icr

ilk, a liij;. diddpy hat and white, nmiul-locd

â– , and she Inokfd esaelly what she is. a wlitile-

sdiiie fiirl.

W'c fdLiiul a seal near a hi^ palm, and tlie fra-
(jraiue of oran(,'e-l)lii»>oins and ro^e- Idled llic air.
while tlie innrninH Miii shniie warm and soft.

"This is ;dioiit the first momoiit of leisure 1 have
h.id in five week>." laughed Miss .\yres. "and I feel
like a kitten. 1 like to sit and hlink .al tlie <uu.
ihinkini; how },'ood the world is to me.

'T\e lieen so liii-y Kdli'iK 'o where 1 am th:il re.dl_\ I have not
thought imii-h aliont the steps that hruu>;ht me here." Miss .\\re^ lold
me. (|itile seriously. "( 'nly an impelling desire to accomplish -.ume
ihiiiC really.worth while in pictures has e\er ur),'ed me on.

"I'liiiny," she continued, "how we (jd started on our caieir^. Iloili
father aiid mother were always interested in amateur theatricals, and
at one time mother, who ^ave promise of hein;,' .i second .Macule
Mitchell, slipiicil away from home and, Koinj; to Cairo. Illinois, ua-
nhout to join a theatrical comjiany when her mother jiromptly took her
home and that ende<l her career.' I'crhaps thai l.roken )ih\\-h dream
has made her more lenient in leltiiifr nic try my uini,'s. ."^he ha-
always heen so wonderful, siandiii),' rit,dit h.ick of iiic m cMiMliint;.
and such a comfcu'l. ^'ou see. I'm a real mother^ kIiI."

Mis> .\yres declares that she had never jjiven the Ma;,'c any -peri
thoutjht uiilil one fateful <lay « hen -he visited the l'.s-an.i> --ludio ihc

A New
Twinkler

family lived in Chicago — ;iiul a iliiector
asked if she didn't want to he in a ]iictuic.
This scninded like such .i lark that shi- an-
swered yes, and the neM minute .\j;nes.\yres
became a jiart of :\ moli -cene in a I'rancis
X. lUishman and llevcrly llaync him.

So this is the way it all lies,'aii. She pho-
tographed so well thai they immediately
gave her a place in the stuilio stock com-
pany, and all that summer she played liny
hits in the Ceorgc .\de comedies which
were heing lilmed. I'y this time, she con-
fesses, she had the "hug." and when Xeu
^'ork". the great Mecca, beckoned, she re-
sponded. There she went with the Mutual
I'ilni Company, making live jiictures uilh
Marjorie Rambeau and one with Xance
C )'N'eil under I'"rank I'owell's direction.
Then came \ ilagraph and the O. Henry
-loric-.

It uas as the original < l llciiiy girl tli.it
Miss .\yres hrst won recognition, and in
the twciity-tlve jiictures s!ie maile she --uc
cceded in giving the characters that real
and \ery human touch, with the spirited
gaiety or quiet jiathos with which the
author had invested them.

I'or tv\(i ve.ars she free-lanced and earl)

ill llic wimer c.-uiic to Hollywood to head

the ca-t for the I'amou-

I'layers-Lasky ]iroduc

lion of "Held bv the

iieiii\ ."

Il ua- during this
lime that Mr. K.iufmaii
heraiiic intere>ted in

Agnes Ayres. with
her classic beauty
and distinctive fem-
inine charm, is the
latest twinkler to
have registered, for
she is to be starred
under the manage-
ment of Albert A.
Kaufman

( l-'if::/ , l,,l,l

>r?*?>''^'"!'!BMMB9

By
MAUDE S. CHHATHAM

her ability and sciecii possibilities, signing lier
as his second star, thi.' Allan Hokibar-Doro-
tliy PhilliiJs combinaliiin being already under
his wing.

"A new studio is being built for ns over on
Sunset Boulevard," Miss .\yres told me. en-
thusiastically, "and 1 am lo ha\e my nun
company and, oh, everything is gping to be
wonderful. I am doing a picture for Marshall
Neilan before making the first one for Agnes
Ayres, and I'm thoroly enjoying it. Micky is
great to work with, for his good humor and
lively spirits keep tilings hummin,g and he w ill
sacrifice anything for a good laugh.

"In this picture I ])lay the role of a girl wIkj
(jwns a newspaper, and we took some niglit
scenes at the Los .\ngcUs fixamincr last week.
It was ([uite thrilling— those great i)resses —
they seemed to be alive."

.\ mocking-bird poised on a palm nearby
was practicing some new trills, and we listened
to the sweet notes while we enjoyed the beauty
of the scene before us.

"It is all so glorious lu-re. liciw I lo\e il '"
Miss .\vres spoke suftly, lest we frighten .Mr.
Mocker. "Of cour.se. I am fond of New
Vcn-k ; I had my first chance there and, too. it
means theaters. I do miss
!jiem, vet lierc I am really
Ikiiu). ^ ou .see. I have
been shut up in hotels and ,.,«P"

.ip.irtments for so long th.al
il is positively heavenly to

Miss Ayres first
won recognition as
the original O
Henry girl, giving
to the characters of
the twenty-five pic-
tures she made, that
real and very hu-
man touch with
which the author
had invested them

<:<!»t^K!iw^msv«^r;i999niiaB)Ki9Hrap«ffin^^

â– -*^'>S((JUffht*V,

«>u^

i

be living in a vine-covered bunga-
low in the midst of a rose-garden.
1 bad a great time finding just what
I w.iiited, for t was busier than
ten little bees .ibout then, learning to drive my cir
.ind working hard at the studio. \ow tb.it
mother is here, all my worries are over."

Hugging her devoted companion, a lively toy

I'lOston terrier, "Skooks." with his luie markings

and button tail, the star declared that he had

never lived a real dog's life before — iioji' he has a

whole big g.irden in which to bury choice bones.

"We have accumulated a lot of live stock," remarked Miss .\yres.

between ".Skook's" playful barks. "There are twelve rabbits, seven

chickens, with si.\ eggs each evening f<ir me to find — it's the hcsl

fun! Then there are two I'ersian kittens only a few months old and

a mamma cat we call 'Maciishla.'

"There was a time when I thought emotional and dramatic rc'ilc-
were my forte." She had again settled down to the demands of an
interview. "Rut 1 am beginning to |>refer comedy dramas. They
are so interesting and it re(iuires much skill and finesse to steer such
a play safely along. I like to study my story, visualize the scenes and
then plan my costumes. .So much. oh. so very much depends uiKin
the clothes, for there is no doubt of their ]isychologic;il effect both
upon the actors and the audience.

"I remember once while working on an O. Henry story, the girl
was poor, and I insisted on wearing an old jiair of shoes all run down
{Conlhmed on paijc 71)

{ Fiftji-nine)

From Shorthand to Stardom

B\- ETHEL ROSEMON

Tin "war
(lid it. If
there
had been no
vv a r, tlieie
\\ ould have
been no Lib-
erty Bonds
and Kstclle
Taylor would
now be teach-
ing W'ihning-
ton's young
liow to act.

The new
star .sat in
the n e w
d r e .s s i n g -
room of Mr.
I'o.s's new
studio over
on Tenth
.\\enue and
discussed lliis
new experi-
ence, tbi.s as-
c e n s i o n to
stardom. It's
a long step
from a secre-
tarial school
in Wilming-
ton, Dela-
w are, to a
featured
player with a
large jiicture
corporation,
especially
when one has
to walk the
lies of a
M e t hodist
ancestry, but
I-'.stelle took it
like a trained
athlete. The
exercise has
left her natu-
ral and un-
s])oiled and
in possession
of the good
sense thai
promises to
keep her that
way until the
final reel of
the jiicture.

"It's queer how a |)crson jilans and dreams for years and
years about the thing -.he wants to do mo.st in the whole world,
sees not the slightest chance of ever having the opi)ortunity
and then something that looks like a big evil turns the knob
and savs 'Walk in,' " she began, thoughtfully. "There was
that nervous breakdown. N'ow, if you've ever had one you
realize that you doni put a 'Welcome' on the door-mat fo^" il-
I was attending a secretarial school, stiulying all the tantalizing
clots and dashes and the funny little curlicues when it came
my way. I wasn't very cheerful at the interruption. I was

I'licloiirapli by Ira I.. Mill -Slu.h..

Not so long ago Estelle Taylor, the new

Fox luminary, was attending a secretarial

school in Wilmington. Del. A nervous

breakdown caused her to turn to acting

an.Niou-. lo
master the an
of making a
long conver
sat ion short
and get thru.
I had a goal,
a secret one,
that lay miles
and miles be
yond being
s o m e nice
m a n ' s n i c e
secretary, and
I was impa-
tient of the
delay in my
progress to-
ward it.

"Howes er.
w hen the
physician and
the family be-
gan to d i s
cuss the ne-
cessity of a
change of
surroundings
and occupa-
tion, I sau
the reason
for my 'tem-
porarily dis-
c o n t i n u e (1 '
career. 1 be-
gan to speak
— timidly at
first, but more
boldly as time
went on — of
the restora-
tive qualities
of a course
at a dramatic
s c h o o 1 . 1
w as \ e r y
fond <if chil-
dren, and
thru that my
parents saw a
solution of
the iiroblem
They would
send me to a
d r a m a t i c
school in New
York an d
when I had
completed the
course 1 could hang out my shingle and transfer my learning
to the neighbors' children. That was the [licture that painted
itself upon the family vision. .V far different landscape was
hanging in my own private gallery, but the only thing that
really mattered was that I was to have an opportunity to pre-
pare for the work I was born loving.

"It was smooth sailing while I was at the school, for m\
checks came regularly. Instead of returning home with the
shingle under my arm' on finishing the course, I announced my
{Continued on page 75)

(Sixty)

Y^our nails tell strangers all about you

How you can keep them always well groomed

IT is not only palmists who read
your character by your hands.
Wherever you go — whenever
you appear in public, strangers are
judging you by the ap])earance of
your hands and nails. Some people
do so unconsciously. To many
it is the one sure key to a person's
standing.

(.."arclessly manicured nails cannot
be hidden. The loveliest gown, the
most charming manner cannot
aflfect the impression they give.

Hut there i* a way to correct that
impression. Vour nails can be as
lovelv as anyone's with very little
effort. A few min-
utes of the right
kind of care,
once or twice a
week, is all that
^^^ is necessarv.

Itut it must be the riaht kind of
care. Many of the most neg-
lected looking nails are really
not neglected ; they are badly
manicured. The cuticle is ragged
and overgrown because it has been
cut. The more you cut the cuticle
the worse it looks. It grows
thicker and thicker, the skin heals
in little scars and hangnails form.

With Cutex, the liquid cuticle
remover, you can keep your cuticle
smooth and unbroken, the nails
always lovely.

With a hit of cotton wrapped
about an orange stick and dipped
in Cutex, work around each nail
base. Then wa.sli the hands,
pressing back the cuticle with a

tnwcl.

l-'or clean, white nail tip.s. appK
â–  i little Cutex \"ail White under

the nails. l''inish your n;anic\irf
with Cutex Xail Polish.

To keep the cuticle soft and
pliable so that you need not
ruanicure as often, apply Cutex
Cold Cream at night on retiring.

Cutex, the cuticle remover,
comes in 35 and 65 cent bottles.
Cutex Xail Polish. Xail White,
and Cold Cream are each 35
cents.

Six manicures for 20 cents

I'"or two dimes you can get a
Cutex Introductory Manicure Set.
containing enough of each of the
Cutex products for at least six
complete manicures. .Send for it
today. Address Xortham Warren,
114 West i/tli Street. New York.

// voii li"'c in Canada, address
Xortluun ll'arren, Dcf't. ooH, jno
Mountain Street, Manlreai.

VI;iil this r(iu|ioii Willi 2 liiines lodjy to Northam Warren
m West ITtli Street. New York Citv.

You can f/cl the Clilcx preparations
at ait dntc] and deparlinrnl stnrex in
the Vnited Stales and Canada and a:
ail ehrmists' shops \n F.naland

N.inif

Sircet & Nunilicr
fity & .St.ite

r'.Su-ti/.linr)

Gos'sip of the
Pacific Coast

Bv
TRUMAN B. HANDY

L

trainlond left tin-
All tlie screen-
There were lieil

\m;i:i.i;s. Iai... [ S /^riiiil ) UIi^a rclmva's

('I'cninj,' at the ( >r|ihcuin vaudeville house here was

not as avispicious as peiMiajis it mi.yht have heeii,

liecause nearly half of the lihn colonv lias cilluT hcfii

auay on location or in Xew ^'(lrl^. Australia. T'"iaiici'

and other parts of the world.

'I'he Orpheuni's lirst-ni(;ht lacked a niuiiher of the
picture stars who ^'cncrally occupy the hald-headed
rows on that eventful e\eninf;. In a second-tier ho\ I
noticed Thonia-^ IloUlin.ij and his wife, while L'artcr
lie Haven, Al Christie and Teddy Sanip.son sat in the
pit. I'etrova's dressinj.!:-rooni was hanked with Hower^
sent her hy film jilayers.

Can you possihiy inia<;ine a ]iiclure colon\- niinu>
nearly one-half of its pictin-e celehrities? It's a para-
(fo.N. hut decidedly the ca.se here. lilanie it all on
sprini,' fe\('i'. Hollywood is practically deserted. The
eniiij;ration is only temporary, however, hecause the
stars .all liave contracts callint; for their work in the
\\c^l.

' 'ne .'"'Und.ay moriiin.y: a ulv
.•s.iiii.-i I'r station for Xew ^'ork.
famous were domiciled in one car.
Lytell and liis wife; ( lloria .'^wanson's hushand, Her-
lieit K. Somhorn : Clar.a Kimliall Younjf ; Harry (i;ir-
son ; J.ick Dillon, the director: and June .Mathi>.
.Metro's scenarioist-in-chief. Trecedini; them hy ;i
week was .'^essue Hayakawa, who left Los .\n{,'ele^ to
arran.i;e linal details for his new company, lint Se^
sue felt the need of hurryiufj hack to attend to det.nl-
rc'Iative to the huildin.i; of his new ,'>,M),(K)0 stuilio.

That one-time matinee idol of the films, Wilfred

l.ucas, and liis wife I'lCss Meredith, left some time afjo

to join a company in Austr.alia. Thev will he abro.ul

;i ye.ir. Which reminds me that .\rtliur .'shirley. le

memhered .as tlie liero of "The h'all of a Nation." h.a-

tilso .i;onc To the ,aluipc]dc^ to orj;anize his own com

pany. .\nd William I'lmc-m is aliout to hie liimscif

and company to South .\nicrica to make a serial, ulnle

Anna (J. Xilsson has heen p.-ickini; her trnid^s prejiar.a-

lorv to -.ailiuL; for her n.ative .Sweden. Tsuru .\oki is in Jap.an. hut

is expected htu'k shortly. Rosemary 1 hchy h.as heen in New ^'ork

now for week-;. .Xntonicj Moreno .and his company have heen in the

Xorthwest, seri.alinj,', while Hoh.arl llosworlh and his company li.a\e

heen "shootinfj" scenes for "I'.ucko McAli-ter" in the .'^anta I'ruz

Islands and .-iround San I'ranciscw ll.iy for the p.ast month. M.ahel

.Xininand's comp.-uiy was iti the northern California metrojiolis. tun.

fur .a numliir of weeks, doiufj scenes lor "Ro-a .XK.aro," white

Uoyers and liis tr<iupe have heen in .\rizon.a.

.\nd I'nivers.d City has heen practically

ducin.ii companies -c.iltered all over Californiti "on location." I'.ditI'

Roherls. doiiij; ,a South .Sea Island story ctilled "Marania." wa^ .it

Mniiiere\ ; Harry Carey ha- hien at Xictorville. ne.ar Death X'alley.

for .-I y.iin to he known as "h'if,ditins.; Joh" ; h'rank Mayo has heen a!

I'lij; lli'.ir L.ake; Art .\cord has heen in the Xo>emite. while Jacipic-

laccai'd. producin.i; a series of Xorthwest Mounted I'olicc -torii--

fcaturiny \ ir.^inia h'aire and l.con.ard Claphaiii. has heen tiway in a

fai-ilistani can',(in for weeks. .\nd, to make things more intric.itc.

I'ri-cilla De.an has heen finding life these days just one personal ap

pe.araiice after .another with her lihii. "I'he \'iri;in of .Stanihoul'

S.in I'ranci-eo saw her. So diil San l)ie.i;o and Sant.a I'.arhara.

With the I'luildinj,' of Ids new studio, Kiu),' W. \'idor has developed
nio-t st,ai;i;erin(; plan-. I'or a month now he has heen net,'oti.atin,i,' the
purcha-e of ,i Hock of f.anicd stories, anioni; them Clare Kummer's
-( C'oi!liii:ii'il I'll I'lVH' '^- 1

(Sirtii iirn)

Top. Our Mary proves
ttiat there is more
than one kind of
courage in the world
by deliberately oblit-
erating as much as is
possible of her natu-
ral facial beauty. Evi-
dently she believes
her role as "The
Duchess of Suds"
should be a realistic
one, to say the least.
Center, Viola Dana is
said to be very much
interested in aviation
and its exploiters. Be-
low, King Vidor and
Mrs. Vidor out on lo-
cation for "The Jack-
Knife Man." Vidor's
latest release, now
nearing completion

Will
depopulated, with pro

HEUENE CHADWICK • CLARA WILLIAMS LOUISE FAZENDA RUTH ROLAND RUTH STONEHOUSE - MAY ALLISON

In "III,- !l oiich-r Hook for WrUcrs." 7<<lu,-li nv u'ill sriul .V you A HSO I I ' I' II .) IRI'h. Ilirsr foiiKon Mo-.ir
Sttirs point out llir casirsi zvnx to liirii your idrns into stioir,,- iinil photnf-laxs and l>Cii>nic a snrrrssfiil icrltri

Millions of People Can Write
Stories and Photoplays and

Dorit Know It /

LETTERS LIKE THIS
ARE POURING IN?

■■1 »,.iil.ln'i ti,ko a Miilli'.ii .1 ■!
Iiirv tiT l( â– â–  MARY W VTS(i\

F\lllMt.\T. W Va

â– It K

â– i.rtli III!

â– Ichi

THIS i^ the '-tailltim ;i>v^erti«.n i'niitl>
niiule i)y Mile of thr liiiilie^t p.ud wTiterv
II! tiif w tirld. Ishi-^ ;i>-t()ni shiny stattintiit
true? Canit he pos-ihlc there arc count le'^-;
tltiui^ands 'of people yearnnii; to write. \\h>-
really lihi uimI simph ha'>''n't found it I'ltt .'
Well, cnme to think t.f it, nul^t an\hi)dy ean icU
a story. Why cim't most anyhody urilr n story'
Why is writing supposed to he a rare gift that
few possons' Isn't lliis mily another of tlie
Mistaken Mens the past has handed down to
ns? Yesterday nohody ' earned man could tly.
Tu-d.iy he dives like a -wallow ten thousand
feet aho\c tlie earth jn.d laughs down at the
tiny nmrtal atoms
"f his fellow -iticn
hclriw ! Sc ^'cste^•
day's " imi>os';ihil-
it\ " is a rialilv to
day

"The time will
come," writer the au-
thority fpioted ah. ive.
"when millions of
people w ill he writ-
ers- there will he
ci'untless thousands
of play w ri tjh I s .
novelists, scenario,
magazine and news-
paper -w riter'.— they
arc coming:, eomint;
—a whtile new world
of them '" And do
you know wiiat thc^e
w riters - \o - lie arc
fhiiim now*? Wily.
lhe>' ;ire the men-
armies of them—
youMf,' and "Id. now
doin^' mere clerical
work, in ofTire';.
keepin;,' honks, sell-
ing mcrrhandisf. or
even (hiviti;:: tru.-ks.
running elevators,
street cars, waiting
on tahle''.' working
at harher chair-^,
follow ing llie plow,
or t. â– aching sclu>-'K'
in thr rural di^ •
trict- : and women,
yiiiing and (^Id, hv
scores, nt w pound-
ing txpewriters. or
standing hell i n d

C"M â– â–  C, MdCKWlTX, Nkw
(â– *HTI.K. W^Ri:

"I'.vtTy )>l)«titrle ihnt mi'Tiaic-
*ii((T!is pan he m«stpfcil ihmuch
this tlmnle liut t Im rou c ti
<>>lfm â– â–  -M n s. O I, 1 V K
MieirAl!X, rir*i[i.Knoi, I'A

"It rontolri!! a C'lM mine ft
iflhrnhlp MiKBcMli'ti's." ].KN.\
HAII.KY, Mt Vbiin-.iN. Ii.i,.

"t laii iiiilyaay that 1 ntii iimaznl
Iliiil It is iHrfsihlc In «ct forth
Ihc pflnrltile^i i.r 'liiTt Oury hivI
|ili(ili'[ildy MiitlnR III such n rlp«T.
nun t.tf ni H n niT â– â–  OORUON
M\THK\VS. Mi.NTiiM\t„ Can.
I fpieivetl yiiiir IiOiir Sy^lcln
):imv time ke.i. It K tl'c most
rrinarkiililp tliltic I hrttc ever
«•■. n Mr IivlnK ccrlainly lut^
mmte f lory an.l iilfiy wrltlni;
uiriH/lndy Omiile and ensy."
AI.FItKU UiUlTO. NiAMAT!*
Fait.s, N Y

"Of bH the rdnipi'slUuni T hatr
rpinl mi [hi- ,uhjerl I flri.l ymir*
the m^.| heli-riil t., aspirlnc
aiHh.i* â– ' UAZKL SIMI'.SON

NAYl-OK. LiTKKMtV Kl'lTMll,
Morii>N I'H TIIIK Mai: H7. INK

â– Wiih this vr.lumr before hlni.
the vcil«'l tmvlrp ihouM be able
t<i hiiihl 'torie-s or iihotnulays th«t
Mill flii.l n ri-Bily iiinrkel The
lic«r troalUe nf Its kln-l I liaw
-â– iit.iiinter.'.l in 21 ya.* ..f new:.-
imi'i'r nn.l ntrrary work "
n IMKKCK WKM.KK. M*N-
At.!M. Kiirrf.i:. TiiK HiNn-

"Wheri I flr^t <»iw ynur nd I
was uitrklnu i:: a %h>i|i fnr $110 »
vveek Al«ny* havlnj; wnrke.l
wllh my linml-. 1 .li.iiMr<! my
Riillnv t-i (luikc til iiry wuh my
brain Si- it «as with inmh '.krn-
IK-i-ni ih,il I M-nl for v.ijr Kasy
Mplh â– ! .if Wrilin:;. When the
Sy-tem anufl I rarefuMv ^Iml-
Icl It .i.nit.c- nflei w.irk Within
a (n. nih I Iih'I ci>mi>li'tt'>l ttt'i
Iilay-.niif ,,r uhlrh ^.iM fm ST. (1(1.
Ihr '.tbrr f..r I r.d I u^he^lt^^l-
Incly 'av Ilist I (r«e It alt Ir. thr
Irvlna Ky-lem â–  IIKI.KN KIN-
DON. Ati.aNti.- CITT. .\ J

c. Illinois. Ill rniiiong spindles ui lactinn-, heiid-
ing ■•\ev scuiiig macliiucs. ur doing liou^ework
Ve- >ou may laugh but these are The
\^ liters <tf T'tmorrcw,

For writing i.sn't only for gcniu-es as most
pe.'pie llrink. Di.n'i you hrlic: r the CVi'fJ/"r
Oavi' yva u stoyy-ziritin(/ fa.ully just us Hi' did
the aifiilcsl writer^ Only mayhe you are simply
"lilufTed" h.\ the thought that \uu "haxeu't the
gift" Manv people are simply afrcid to try.
Or if they do try, an'i their first efforts dt.u't
sati':fy. ihc\ simply give up in despair, and that
vut\'i il The\"rc through. They never try
again. Vet if. hx some lucky cliancc. ihcv had
first learned the simple rules of writing, and
then !4i\cu the imagination free rein, they might
lia\e astonished tlv: world'

LISrr.N: a Momlorful rKHH U.nk ha? rc-cenlly bten
uritioM I'll this very subject — a l)onk that tells all.
A alnnii the Irving System — a Startling New Easv
Methn.i of Writing Stories antl Photoplays. This
auLizing hook, eallei! "The IVotidt-r Book for Writers,"
shows how easMy stories and plays arc conceived, written,
perfected, sold. How m;my who ilon't dream they can
urite, suddenly find il out. How the Scenario Kings and
the Story Oueciis live and work. How hrighl men and
i-itTioiH any special experieiire, learn to their own

wnnicn. wiinoin any special experieiire, learn lo tneir own
amazt'inent that their simplest Ideas may furnish brilliant
plots for Plays an<l Stories. How one's own Iinaginalion
may provide an endlcsa gold mine of Ideas that briiiR
Happy Success and Handsome Cash Royalties, How ne—
writers get their names into print. How tn tell if yt
t-IRI'. a writer. How to develop your "story fancv

-- ' Ittvii..(. jot, I 31-11 J

rd pictures anil unique, thrilling, realistic
' your worst jutlRrs. How

iny he :..._ ,

id the pitfalls

Faihn

..eave civ ^.

pI'Hs. How ynin friends
to avoid discoiir;igeiiient
How in If/A/

This surprising book is ABSOU'TnLY l-RHE. X.
charge No otili^atimi. YOl'H ci.pv is w.Tifing for vou
Write for it \0\\ . Cr.r IT. ITS YOIKS. then
>itu can p'Mii >(Mii whole s'JuI into I Ins magic new

BUT two things arc essential in (jrdcr to encliantmeiit ihat has come into >our lift slorv and
hpc.rir -i virit/T Rirct fc W-irn tlic Z''"-^' """'"'y- 1 b^' b""c of it. the love of it. thr luxury
ordmary prUlClplcs of writing. Second, to ,„„iit and pleasure Vou will have this nohlc. absorbing,
learn to exercise vonr facultv of Thinking, Itv nvmey miikiug luw pr..fe5si.m: And all in your i^pare

excvisins a thins y- ,. dcvdup it. >■„,„• In,;,,^- ;■-■ :^;:^'-^.r'£^;'':!i^:''lj::y':^T.^;- .,^n"

nation is scmicthini; like your rifilit arm. I In- w iw s.i.vs >.â„¢ c.in't turn .v.jin- I'lu.uglits huo casii: Who

iniirc vou use it the stronijer it .ijcts. The prin- suj.s >ovi c^m't ii«iki- .vcjur (Irmms comr inic' Noh.jily

eiplcs nf ,vntinp are no more complex than the '"^r- ,^'XJ^'f„f 'JfifV %!^.'Z!:k!;^Z^^r..n,.,.

prmnplc^ of spellin.t', arithmetic, or anv other w.-iitiii^' Simph nil om ilip toniimi l.dow— v.ni'rc not

simple thin'.; that anvhodv knows. W ritcr> learn HVYISC, .nn.vtiiiiii!. .>"ii'><- Kftims ii AhSOiVTELV

lo piece together a storyas ea.iiy a. a chihl sets {;|^,^;; A !;;;^/^;;;,,'™;;„n™- .Jl;--,,^^,,,";^,^-;

Up a mimattire h"Usc with his toy hlocks. It is voting ami ol.I. may learn to turn their spare hours

amazinglv easv after tlie mind grasps the simple into cash:

■•knovv h,;,v." A little stndy. a little patience a lutle „t' iZL '"""n,;," '^.'^.^^^^'^"ri^^iZ.irt'.

coiihdence. and-thc thing that looks hard oltcn T.-momiw' .lusl address The Authors' Press, D.-pi, ] -i \
turns 'lilt to he jii^t as- easy as it seemed dilificult Auburn. New Vork.

Th'iusaJids of people imagine they need a fine /"^^^ *Â¥^ < i^l"\T^^^

eilncatit.n in (^rdrr to write, Nothing i. farther /M%^C^ t^/^/xl^ i^ 1^ r^ m^

from the truth Many nf the greatest wnt.r- X«7j/ij J^ ^/^JXV X AV^L^Aj
were the poorest scholars. People rarelv h a- n ^W

tn write at schools. They may pet the principU <
there, hut they really Irarn to uritr frtmi the
prcat. wide. open, honndless Book of Humanity ' j^^g^^'^A

^ c,:. seetliing all aroiuul you, every da> , ^^iBft ^MbtfttlB^^^H^^K ^fe^

hour, every minute. tlie whirling \orie\ tin ^H^ft 1 VV^Z^^^^^y^S^^H pFJ
flot-;am and jetsam of !.ife--evcn J^Wi^L^aSfcik r ^J ^ P^Wl mil

iiouie. at work or play, are cndle'^s incident* \*n
stfiries nud plavs a wealth of material, a wcrld
'if tliitms happcniui:. Fa cry one nf tlie-e ha- the
'-ced of n '•tory or pla\ in it. Think' It vn
w cnt to a fire, or saw an accident. > mi cmiM
come home and tell the folks all ah-au it. It- .•••---■•t----**---------------

eoits.iniisly >tiu would de'^crilte it all verv reali- J -j-yi^ AUTHORS' PRESS. l>ei't. liy. Auburn. N.
tieally And If snmehodv stf*od hv and wri.tr i „ . .„. , ,..^,., .. „,,nf ..-rt »■ ^ n

down e\aitl\ wiiat \ou saia. >ou tni^nt \n • ,^^ n".-.n-.( This doe« not obligate me in anv un
amn/ed tn find your story would sniind iii'-t as J '

interestiuL' a*- many vou'vc read in magazines or f i\anu-

seen on the screen. \'ow. yun will naturally sa\. â–  ...

"Well, if W ritin;' i«; as simnlc as wni say it is. J

wh\ cati't / learn tn write '" Who savs vnu nitt'tf | City ami Sf<'ir

y^TX/RITERS

(Kl.rtu-lhrrI')

I

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Hinds Cream Tojlet Requisites are selling everywhere or mailed postpaid in U. S. A. from Laboratory

A. S. HINDS, 236 West Street, Portland, Maine

MOTION PICTURE

La Bella Sevilla

{Conliiniccl from fdi/c 33)

FACE POWDER

fragrant iilth

nriary Qarclen

'\Perfumc

la Toilelte"

'y^r.iiO. BORGl-Kl.DrA CO.

fiolin, Kawaliin CuiUf. UkuIeliT'

Caitar, Mandolin, Cornit, Tanor eanjo or Banjo

WondTful ni-w BTitem ef Unrhlnit note luuilc b» mnll. To flr»t
vueila In r,i. h t...jlll>. wB Riva a |;!l) sui.crb Violin. Hanilolln,
tlkalek'. CulUr. I [awitiin CulUr, C-omet, Ten.>r Ilsnjo or Hunjo abiiO'
krt*lr frw. \rty aniiill chares for len.tooa oolr. Wa irunrBnlpc nuc-
cnaorr-ochkfve. (:<>tn[ilrtti uuint trvB. Wrlto Dow. No otillnaUon.

SLINSERUND SCHOOL OF MUSIC, Inc. Oept.28 CHICAGO, lU

.NtiK HI a-h ii-l''li>aliit fi-iii CM-I I I (•
I'. •■\r..M ti'.' Whllrii. .K-rilj Vi-[ it'tii«

u.ihir Will II..I v(M-.ik i;<hiiiini<-i'.i (;m

A>l)u». Hi
b *V M«trr'« Scientific Labo'atorv

'^ SKITSL BLEACH ^

\i.'ar;- nlil, ;i circlfl carryirij,' a dark toiiaz.
riiis heirlniiin lias liceii inheriled from a
ijri'al-ijiaiHliiniilicr, and each jjii'l of the
t'amilv wears it until she marries. When
lieatrice Doniinfjiiez changes her si.r-
uanie, this ring will go to her younger
â– ~i>ler, and then to the oldest daughter of
her oldest sister.

"Nes." she smiled in answer to a query
anent Iter ])recious heirlooms, "my comh
and mantilla," (oh, how she slurs n-.ahn-
teeya, with that swift upward swee). of
luscious hlack eyes, like California cher-
ries, and i|uite as if she were viewing her
own headdress critically!), "are from my
mother's mother. My shawls are from
S|iain also; one is aged one hundred and
eight, the otiier seventy years. I like hest
that picture taken of me at the Universal
-.tndio, fin' they have such a clever pho-
tographer, so patient he is in posing one.

"The background for my favorite pic-
lure was beautiful. l'".verywhere Howers
were painted, and deep cerise silk
cushions were there to be nestled in. 1
\\dre my handsome shawl of white with
reil douers and. colored leaves, and the
coral beads from my mother's family —
and oh, yes, the gay fan from l^evilla. It
was so bright, that picture, I wish it
could be seen in colors."

The sparkling vitality of this girl im-
mediately impresses one. I well remem-
ber how crowds watched her dancing at
.-',•111 Diego, how they jielted her with
I'nuer^ and gifts, for of all the quartet
-111- u.i", undoubted queen. She ha^ re-
ceived so many letters since that time,
for the tourists did not forget La Rella
Sevilla after leaving the coast.

We spoke of her career, a quite iimd-
i>t one so far, Beatrice thinks. She did
"The Moon I^iders" and a serial with
\rt .\cord, until that lively young man
broke one leg in three |)laces and held uji
lirodnction for the past three months.
.Mildred .Moore was compelled to bleach
her hair U> play ojiposite Miss Domin-
iuez, since a wig would have been un-
feasible fur serial work, where rough-
riding .111(1 hard stunts are the rule.

"|)o you indulge in sjiorts. Miss Do-
niinguez r"

'Oil. yes; 1 ->wim, rule, shoot — any-
thing but drive a car. My mother is
afraid I am too excitable and enthusiastic
.'ind that I might have an accident — so
ue have a chautTeur."

N'ow, isn't that a bit of old S]iain in
itself r Imagine riding a horse down all
sorts of rocky canyons, over rough
roads, fording stony rivers — and then
balking' (It the modern innovation, the
inutor-car !

( ine evening, the audience at the ."su-
pcrba Theater, l.os .\ngeles, was charmed
III see Beatrice Dominguez dance before
ilie lilm ])resentation. She does a great
de;il of charity dancing and took part in
I lie "l.ea'.;ue of Nations" entertainment
.11 Whiltier, California.

"1 wish they had cast you as Lasca."
1 murmured. She is the very incarna

lion of that wild, jealous, ardent creation
of lohn Boyle O'Reilly.

".\lniost 1 was cast for the jiart. The
director wanted me, and the management
agreed, but then it was found that I was
a trifle too tall, so it fell thru. I was so
eager for the part. I wish so mucli to
do Carmen some day, too.

"Vou see, .\mericans try to jilay the
part of a .Spanish girl, and they slouch —
is thai what you call it? They drop the
shoulders and sink in the chin. No
.Spanish girl ever does that. She is very
|iroud, her head is held far back, her
shoulders are very straight even when
she dances, never does she stoop forward
or bend carelessly. .She has carriage^
you know what I mean .' "

"Coquetry isn't really intentional with
Spanish people, is it? It seems sponta-
neous." When one has lived in a city of
.Spanish inhabitants for eight years, it is
quite i.iatent that the desire to please the
o()posite sex and pride of family, coupled
with sel i-respect, are res|ionsible for the
arts and wiles of the attractive sei'ioritas.

"Sometimes at the .studio they say to
me, 'lieatrice, again you vainp!' Bah,
how 1 detest that — so vulgar a word.
Never do I wish to hear it applied to me.
1 shake my head — and then they say to
me. 'Well, perhaps not consciously, but
you cant help vamping.' They think
that if one's eyes dance and the mouth
smiles, and one is happy — it must be
vamping. .Spanish |)eo|ile do nfit think
of that.

"Why, even to her death, iiiy mother's
mother had that attractiveness. .She lived
to be one hundred and two years old.

"Yes. and the father of my mother
lived to be almost one hundred and five
years old, enjoying life with us until the
last. He simply fell aslee]i," she coii-
cludid.

"Have you 'oeen playing chiefly Span-
ish ]iarts .'"

"Really, the first time 1 appeared be-
fore the camera was when Douglas Fair-
banks came to the Exposition and filmed
'The -Americano.' You remember, the
Spanish dancers w-ere featured in that?
Then 1 had my picture taken with Mr.
I'airbanks many times — he is so funny,
that Mr. Fairbanks. Dont vou love him?
1 do." Miss Dominguez is delightfully
direct, and yet she is subtle, elusive, so
that one finds it difficult not to stare at
her changing expression.

1 was sjiarrd the task of making a con-
fession. She went on, gaily, "I wish I
could do 'The Bird of Paradi.se' — at the
studio Mr. Howard is trying to arrange
for that ; he wants so much to have me
play Luana.

"Once 1 played opposite handsome
W ;illy Keid, too, in "I.es' Than Kin," "
came the softly slurred title. "Now I
have been in 'The Beach Comber,' and
1 love that jiart very much. It will be
released soon. 1 played a good role with
Mr. Salisbury — he is so big and kind, I
enjoy so much to work with him.

CLASSIC

"1 am (/lii'i that I was nut ailvcrtiscJ
and [nr^bfd into tlie front rank suddenly
— like sumo of the youn;; girls who li^ve
failed. !t is not well to become a star
that way. 1 should not like (o play
ingenues or straight leads. 1 ihink 1
liave been most fortunate in being cast
fur character parts, . for heavies with
strong emotional jiarts. That is real
training in acting. When ;ny time comes
as a star, 1 shall liave had much expe-
rience, and then I shall not he afraid;
I shall only know that it is a time to
work harder than ever to deserve suc-
cess."

Perhajis the most delightful thing
about this beauty of Seville is her lack
of vanity. She is very critical and, like
most analvsts, does not spare herself, but
carefully dissects her motives, studies
her ;ip])earance and strives constantly for
imiiruvenient. There is not the slightest
danger of self-satisfaction in this girl of
twenty-one, who is accejited in the best
society of Los Angeles, who is a belle in
Spanish circles here, and who is un-
usually talented, vvell-educaied and well-
bred. !'erha|>s it is the convent training
which has given Iter the remarkable
poi.se and self-control which so oddly
contrast with her exuberant s])irits and
emotionality.

Outside of studio life, she spends her
time with mother and sister, and. like
many other actresses, has early sIkjuI-
dered the responsibility of earning a liv-
ing for her family. Spanish peojile are
notably hos])itablc, and in the early days
of tiie Pueblo poor relations from every
section of the country were welcome at a
rancho. The Dominguez family has in-
herited this love of entertaining, and
their home is always ojjen to visitors. So
while La Bella Sevilla no longer dances
for a living, she delights her guests with
the old songs and dances, with the play-
ing of guitar and ukulele, in a modern
bungalow.

HITS OF R\X'K

R\' [.,\ ToiTHK. HANCnt K

[)i»wii .inK)nj4 the lieatliei

Harcliells blutitn between;
Tlini the cloudy weather

.â– \ziire hreaks are s?en.
Listen tiien. ye weary.

Learn life's lesson true.
N'ot a day so dreary

Hilt lias "liils of hh:e'"

For the runner faiiini:

hi tile race of life.
For the sohlier pahng

111 its weary strife,
lietlcr ;ire the chances.

iiri^Iiter is the view.
If ^onie loved one's v;Iaiu-es

l^end their "hits of hlue ''"

F.\ery word of Iie.'thiiE

Spoken to tile sad.
F\ery kindl\' feeling

For the heart that's sail.
Help to others given.

Friendship ever true —
These are K'eams from liea'

Little "hits of blue!"

' SkvI fl srrrv I

^

A woman's charm

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The tooth wrecker

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Si* you will ni>t forRet the correct names

MOTION PICTIRH

His Happy Role

{Contitiued from page 35)

the only applause we receive, the only
way we have of knowing just wliat
people like or do not like. The best pub
licity a motion picture actor can have i'^
his work, for it is the public who make
stai's. and you cant f^ol tliein ; thev know
what they want and in-i^t <n\ bavin;; il
t-oo."

Remembering thai .Mr. \\ a^hblM•n'-
popularity has outlived many of his earlv
contemporaries, it mu«t be that hi-
wholesomc methods have pleased the
]mblie who, after all. may not be a'^ tickle
as sometimes rated, but as this star sa\-
they merely know what they want.

"How did yon hapjien to tuin f"
comedy'" I asked. j;l;incin^' at thn^c
funny stills.

"It is really Mabel's fault," and Mr,
\\'ashburn smiled at his wife. ".'>he had
selected several of my be<t stories and
when she found 'Skinner's Dress Suit.'
we were both wild about it. I'"ssanay
couldn't see it. I had not specialized on
comedy and they were afraid to try one
We were so sure it wa^; the right thing
however, that I finally guaranteed the
cost of production. Well, we m;ide it
and it went over."

"Oh, isn't he modest!" cried Mrs.
Washburn. "Why. it went with a hnn(i.'
Made him a star, too, and 1 was so
proud."

"There is nothing like a good laugh. '
observed Bryant.

Glancing thru the open window, I saw
Sonny and his chum. Hob White, who is
George I'eban's small son, playing on ihe
lawn. "Does he enjoy your pictures-" I
asked, nodding toward the child.

"Oh, yes, tho he's not always as appre-
ciative as he might be," chuckled the
father. "Last week we took him to sec
one of my recent films and, after watch-
ing several scenes, he remarked, in a
loud, penetrating whisper, ',\1I right
now let's have Mult and Jeff.' "

The Washburn home is unusual. Its
artistic decorations and furnishings bear-
ing the unmistakable touch of true honu
lovers.

"Buying furniture is I'ryant's hobby.'
teased Mabel. "Even in the first year-
of our marriage every time we managed
to get a few hundred dollars ahead,
Bryant would see a woiidcrfnl piece of
furniture or a gem of a rare book, and
away would go our savings. He hasn't
outgTOwn the habit, either, for he just
found that chair." nodding toward a
lovely quaint thing of the Italian Ren-
aissance with cushions of gorgeous tap-
estry, "and that lamp." pointing to a
stunning floor lamp of wrought-iron in
exquisite design.

"Why should I ?" replied the star, his
eyes lingering on his treasures with the
appraising joy of the true connoisseur.
"Building a home is our principal delight,
this is where we /I'rc, this is where I gain
inspiration for my work."

MuriON HlCTLkt CLASSIC

A Daughter of Neptune

{Continued frum pat/e i7)

kidtliCB, too. Little Jimmy was in 'The
Strange Boarder' and 'Jes' Call Me Jim,'
and he is so like his father that it is
really fuimy."

There is no foolish temperament about
Irene Rich. She is just a normal girl,
giving her best to the work and hoping
some day. when she is ready for it, that
her hill chance will come.

"I like to play good, womanly charac-
ters," ^he confided, "and perhaps in this
way I can lielp the world a little; motion
pictures are such a tremendous force in
molding thought."

Irene was born in Buffalo, New York,
and was educated at .St. Margaret's
Seminary. Not one of all the family
connections had ever been on the stage.
"I'm just an odd chip," she laughed.
"My desire never became definitely for-
mulated ; it all seemed to belong to an-
other e.xi.stence, until I finally made my
break. We all work better under pres-
sure, we must have a big incentive to
drive u> on so that we do not count the
disappointments.

"I went to a fortune-teller the other
day u ith some friends, and she told me
that 1 would reach the heights in my
work and then — I would give it all uj).
Can you imagine anything so silly?
Why, I'll never give it up. I hope some
day to go on the stage and — oh, I have
so many ambition.--." and the sweet voice
trailed aw;iy wistfully.

Watching the lilue ocean blend into the
bluer sky, Miss Rich told me about the
pretty bimg.-dow in Hollywood which she
has iusi bought.

"Mother i.-, with me and we're very
liapiiy. .She's so wonderful, my very
best pal. We have developed a marvel-
ous teamwork with my fan mail She
addresses the envelopes and I autogra[)h
each ])icture. It is such fun to receive
letters from all over the world and brings
me so much encouragement. Some'imes
it seems too funny for words to think
that 1, Irene Rich, am of enough impor-
tance in motion ))ictures to be receiving
letters !" .\nd again came the little laugh,
with a whimsical note this time.

"We're very (|uiet, mother and I," she
went on. ".My greatest pleasure comes
with my work and my flowers. Oh, my
ruses are beautiful, so sturdy and gor-
geous. Mo.st of them are red — I adore
red roses. If I hadn't gone into this
work I believe I would have been a land-
scape gardener. It would be interesting
lo make bare ground bloom into lovely
gardens.

"That is one of the fascinations about
motion pictures. Studying my role,
which at first is just a lifeless written
scrijit, and then building it into a real
woman with a heart and a soul.

"It's been a heavenly day," finally sighed
Irene contentedly, as we turned for a
farewell look at the ocean before start-
ing on the return trij) to the city. "Who
wouldn't be happy just to be alive and
working and hoi)ing in such a wonderful
old world I"

i Sij-lyninc)

w

THE OLD courtly
days had known such
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and Nabisco Sugar Wafers,
what quaint accounts would
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Today, a touch of royal
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these charming aids that await
your service in the famous
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NATIONAL BISCUIT COMPANY

W^.

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Be^iraefc

Every

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At all toilet counttrs or dir-ct Jrom i
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tk^ii

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;<!â–  ,i; I -nftili M .tuK

HALL & RUCKEL, 101 Waverly Place, N. Y.

— SONG WRITERS

H.ivr vou stuip poems' I have best propositi
RAY HIBBELER, D132. 4040 Dickeni Ave. Chicago

ion. I
-â– 't' I

Miss Hiibbs

( CoittiititCil jrum /i(Ji/c 30)

he had >u.si)i.i ic'i. iH-rhap^ hopeil, Miss
Il()bl)S hstened. She hstened, tirst, be-
lansi' she was suriirisocl, a weakness she
would ha\e lheorelieall\ adinilted. She
H^leued, seeiindly, because she loved
niiisu-, ^'(Kid uuisie, Choinu aliove tilt
luusie. She hstened for (|uile ten min-
utes -teu minutes in which odd httle
breakages i>ccuircd in her cardiac re);ion,
and tlien there was a sudden, discord-
ant, territic crash as of heavy hands fall-
int; loi)])il\ uijon the keys. There was
nnihiun else for Miss Hobbs to do. .She
Imrst in upon the reuderer of Cho|)in to
tind his s^reat lenf,'th, his huye. almost
shameless frame, s|)rawle<l across the
keyboard.

.Miss llolibs was, she linped. huuiani-
i lariau. It w;is a weakness, she used to
' preach, to .-issunie poses. .She was
' definitely himianitarian e\en when that
humauitariaiiism was called upon in be-
h.df of man. She made an inade(|uale
attempt to shake the recumbent shoul-
der.

"W'h.al is the matter with you.'" she

aâ– ^kcâ– cl : then, (itute apart from her own

vi>lition, impulsively, "detestably" sb.e

. would have said, she added. ''Il'ho arc

i V('»'"

I here was a little silence; then the
iiiunmier over the keys re))lied, rather
feebly. "I have heart trouble — rather
badlv. 1 -I'm ,i iiiano tuner — by i>ro-
fession. '

.Miss llobbs looked at him with some
.isperity. "Isn't it curious," she enurici-
,ited clearly, "for a — piano tuner, how
eser estimable, to play Chopin- -like
Ihal."

The nuuunier. liis baud stdl clutcheil
to his heart, shook his head, wearily. "1
<lont know that it is," he said; '!even :i
piano tuner nia\ be the tomb of dead
lioi)es. 1 ;un. C )nce, before my — my af-
lliction o\ercame me. t had a dream. It
was to be a concert pianist. Ah, 1
dreamed rarely — then. Hut my heart —
my heart — " Overcome, the would-be
coucertist swooned afjain. and this time
it necessitated Miss Hobbs' boldiu}; the
m:Luly fnuue to her breast until such
time as she could ease him to the door.
t;et water, otherw ise, and rather tenderly,
re\i\e him. .She was surprised, .'inain. at
the little w;ives of sensation that kept
recinriut; and recediufj within her.
What was it "â–  .She \\onld have to take
several lionrs for medit.'ition .and rel!cc-
lion wlien she should have reached the
s.aue precinct of Xew Thought af;;iin. It
v,;is as she b;id alu.iys known — m;ui w.is
a deterrent. She sluiiiltl be ])ackin}i -but
heart trouble after all, man is a fellow
cre.'iture. even thn .su inferior a one.

It W.1-- still more surprisiuL' to Miss
llobbs to find that. Heulah's thiujjs ne.at-
Iv packed, returnini; to .\'ew Tliouuhl
did not hoUl out so inviting' a charm as
heretofore. This disturbing- Chopin,
rellected .\liss 1 lob))S, lirmlv donning' the
horned rims. h;id always had power to
npsi't her. She nuts! be more careful.

.She delesleii feminine reactions to mas-
ctiline advances.

I'efcjre she left, still clmfjinj; to her role
of Miss Hobbs' maid, she had prontised
the "piano tuner" to "walk out" with
hiin on the following Thursday. She
did this, she convinced herself, in the
interest of iiuifcria incdica. She must
not tell the satellites. There were some
abstract interests in which even they
miyht not share. Doubless. the "i)iano
tuner" would be one of them.

The "piano tuner." watchini; the
rounded fifjure down the s 'eet. chuckled,
drew forth his note-book, chuckled
aj^ain and inscribed therein, "Het Percy
llackett and ( ieor^je Jessop a diuuer for
three that / kiss Miss llobbs within a
inoiith."

The day before the Thursday outmj;.
Miss Hobbs received a rather wobbly
note informiu}; her that the piano tuner
was "very low" and he had to fjo to the
beach for the j^ood of his fast failing
health. If he luight dare to hopie that
.she ... He spoke of the resuscitating
effect her presence would have upon an
otherwise doomed man. Miss Hobbs
was, above all, a himianitarian. Site
went to the beach. She took a heart
specialist with her. and Wolff Kingsearl
nearl> had a literal case when the emi-
nent man entered with Miss Hobbs. It
was (miy by ilint of the most strenuous
maneuvering and because the sjiecialist
hapjiened to be. also, a semimentalisl
that the day was saved and the eminent
specialist departed with a fat chuckle
and a fatter check from the well-lined
Kingsearl pocket.

Later in the d.ay, just when things
were going most swimmingly and Miss
Hobbs' humanitarianism was rising more
and more rapidly to the fore of her
other theories, there arrived upon the
arcadian scene W'oltt' Kiugsearl's mother
and little Miss .Mice Joy. the yomig lady
selected by afore.said mother as a satis-
factory and amenable daughter-in-law.

.Mrs. Kingsearl had never heard anv-
thing that she cared to hear about Miss
llobbs. She was, she had heard tell, a
'st.ongiuinded woman." and Mrs. Kings-
■ •;irl being nothing of the sort, the idea of
being brought into daily contact, not to
say combat, with such an exponent of their
joint sex did not aii|ieal to her When
\\ olft endeavored to luake her under-
stand the little game he was playing, and
which he had induced the s]>ecialist to be
l>inty to. he found his mother adamant.
She had Miss Joy with her. and she had
suiiic strength of mind. She told ".Miss
I lobbs' maid" that she had no idea why
her son was masquerading in such an
idiotic lashion. He had alwa\s been, to
h;M' w,iy ot thinking, eccer.iric, Ivit a
pi;ino Inner — really . . .

.Miss Hobbs thought the same. "Real-
ly ..." U'olfif Kir.gsearl — millionaire,
sportsm;in, clubman and much discussed
u'.an about town I Why had he played
this game.' What was his i<lea .' In the

(Sevetitu)

:la,ssic

ourso of llu' (lay .Miss I IoIiIjs discov-
reil a nole-book in tlie sand, where
lify liad I)ffn silting, and in the note-
lOiiU the inscripticin, "i'.et I'ercy IlacU-
t. etc., etc.. ct (il. ..."

.Miss Hol)hs, did. then, a most sdul-
k'striiying, thoory-destroyintj thing. She
rept. .She sdhbcd. She literally cried,
nge. bewildered baby-bhic-eycd Icars.
t got so bad she had to retreat to the
artheniiost corner of the suddenly un-
laniored beach to have it out. There,
till sobbing, bobbed hair awry, horn
peclacles discarded, Wolff Kingsearl
i)\iiid her. He took her in his arms,
'truggling tlini her hazy brain came the
asping thought that she couldn't help
- she was sri weak. lie kist her. "I
new 1 couldn't unless you 'caiilcd me
I. darling," he told her, between many
f 'em: "of roiirsc 1 knew that, .\iiil 1
idii'l know !'•'». you see. 1 Ihoughl —
h, but wh.it <loes it mailer what 1
lioughl — ihen' I'.efnre 1 knew you? 1
adn't begun to think — then. Or feel.
Ir live — or li>:i\" He kist her again,
nd felt two ;u-ms twined about hini,
uii lips crush back tijion his own. lie
avi' a little, hilarious laugh. "()h, Miss
lolibs . . . Miss Hol<bsr be said. [

The satellites returned the ne.tl day ;
ri the bed and board of man

A New Twinkler

[Ci'iitiinud from pui/i' ?>''}

I the heels. The direclcjr laughed at me,
aving that ni)' feel uciuld not show, bill
lial wasn't the point uilli me. I hose oUI
hoes liel]ied nie l)nild up thai character. !
)ne's whole menl.il allilude may be in- 1
luenced by one'-, shoe-, .and ihe uav the '
lair is arranged .'md ibe si\le of the
rocks."

W.arining to the subjecl upon which
he .idmii> she i^ a "cr.ink." .\lis^ Ayre--
ontinned. "When a girl goes to a city

II become a stenographer after living all
ler life on a farm, it is certain that her
ilea of 'style' will be totally ditferenl
rom the girl who has been reared in the
â– ity. who may be working at the next
lesk. while both girls' ide.as change as
hey climb the social .-cile. To show
heir aihance. clothes mii>l be reckoned
villi .as a migluy inllnence 'U indicating
heir worldly growth. Il is .ill so inler-
•sting. isn't it?" and this ne«ly made sl.ar
icamed with eager enlhusia-m.

"My future? Onl\ lliis, I uani m\
iK'cess to be based upi>ii .ibiliu , 1 u.ini
0 eslalilisli my^elf a~ ;in .'ictress. not
nercly a ]ioiti".i\er of t.\pes. Thi- i-. one
if the wonderful ihingv ;ibuul m\ new
:onlracl. for when 1 talked uiih .Miv
\lliert Kaufman I found bi^. ide.is were
;xaclly like my own. .mil 1 am in lia\e
he chance to play in sunng, vital stories,
lot llose selected iii>l because 1 ha]ipen
:n 111 the part.

"Then, some day. 1 hope for an op
lorlmn'ly to go on llie stage. 1 ^Imulil
ike to lie a second Mrs. I'iske — what girl
iMiuldn't?" and \gnes Ayre- Laughed at
her own dreams.

.\fter all. stars ,ire piopelled by siiblle
forces, sii perhaps il i- dreams that are
tlicir guiii'ing ]ioweis, Wlm knows?

ypKM^€'7a4^

It takes but a moment — to mark the career of your choice,
sign your name, clip out and mail.

Yet that simple act has started more than two million men
and women toward success.

In city, town and country all over the world men are liv-
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they clipped this coupon.

In every line of business and industry, in shops, stores, offices, fac-
tories, in mines and on railroads, men are holding important positions
and receiving splendid salaries — because they clipped this coupon.

Clerks have become sales, advertising and business managers, me-
chanics have become foremen, superintendents and engineers, carpenters
have become architects and contractors, men and |

boys have risen from nothing at all to places of re-
sponsibility— because they clipped this coupon.

You have seen it in almost every magazine
you have looked at for years. And while you
have been passing it by more than ten thousand
men and women each month have been making
it the first stepping stone to real success in life.

Will you still lurn away from opportunity' Can you
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^ All weaskis Ihechancetoproveit. That'sfair, isn't
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n

â–  TeAH OUT Htflt-

INTERNATIONAL CORRESPONDENCE SCHOOLS

BOX 6775, SCRANTON. PA.

Explain, withi'iit obligatlnti me. Iiow I can qualify for tbe posi-
tion, or 111 till' ^ubj^-cl, hfUirt which I mark X.

liKlTItlCAL t-\(JI?<EH(
leciric LiKhling tind Kallwiyt
icclrlc Wirini!
1 I'ulcEraph EfiKineei

J I ricphiine V\'ork

].ilKril*M(<il. â– â– \(jiivre;r

jMechatWoul Orahirnan
e Shop Praciitc

] I'ooImaktT
Ju!i Iiifcimi' Opcrallng
11VII. t-.MJM-t-ll
iurvcyiiit ""'I Mapping

lUI\K KnKI'UAS UK t.NIJINEEK

JSI'A'lIUrVlKV f':N<J),Ntt^K

J Murine Enuineei

JShIp Draftaman

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jGontrai-lor and Builder

lArchltrcriiral OraflaniaD

jConccFIc Builder

jStruciurul 1- nitmeer

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jSheei Meial Worker

J Textile Overaeer or Supi.

JCHFMTST

J Navigation

1 SALESMANSHIP
lAUVfcRTlSINC

Trimmer
TShow Card Writer
ISlKn Painier
JKailroad Trainman
IlLLUSTRAUNG
JCarlooning
IRISI.VESS HANiOeilENT
1 Private Secraiary
IBOOKKEEPER
JSienographer and Typlat
ICert. Public Accrounuot
JTRAFFIC MANAGER
vay Accountant

]GOOD ENGLISH

immon School Sub|*c«»
jMethematIca
jCIVIL SERVICE
JKoilway Mail Clerk
ttirOHOHIIiE OP»:RiTIRa
" 8pa«lak

1*at« Rtipalrliir iC
JltillK'tl.iT'UE IQ
iPoolirjIUUlof XZl

iMllaa

50

TO

51 Crn A WEEK WRITING
1 JLF STORIES & PHOTO-PLAYS

NEW YORK LITERARY BUREAU

14S West 36lh St.. New York City

Bring Out the Hidden Beauty

I III.' oolir'.l. ,|i»',
tr. i.H.K niX'll. M<

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llll'

Mercolized Wax |H,,;;"f

â–  yoi

iih

^nriifii W1.0 lii'iT'T
frl<..l H?
imr-k;m.-. will. ilir.T-
s..I,l by ,'ill .|n.i.-ir)«t«

ATHLETES

Gollers, Tennis and Base Ball Playen use

ALLEN S FOOT EASE

Til.- .\iitiseii(ic. Ilcalini,'
i'l.w.lcr lo ^\y.\\iv jtitu Un'
shix's aiui spriiikli- ill tliL"
fi .. it- hui h.bt'caiisf it taki-s
1 he (r in ion fruin thi-shix',
rri'>hi-iis the fcit and
iiiaki-s walking' a Ui'Ml-IiI.
shaki' Allen's Fool-Ease
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(iiiriiiii llic I'litin' day.

'j'lH' (JoVlTtllllfllt SIIJI-
plinl I..')IHi,UiKl|l)S.('r I'ow-
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tionps ilniitiL' tJit' w:ir.

I'.i- ^ure to tret

Allen's Foot-Ease. At

ili',ili'rsfV(T\ whiTu. Sain-

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-vlli-ll S. DliiistL'd,

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)CARMEN

' Complexion

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Gives the dmintint tint — the mott
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and thf Ntw CARMEN-
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TrUl Off-r-Send 12c to cover
poatJUTfl And packlns for pura«
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Send No Money!

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ahi.iliiu -^fTtr t.> il»>. Vtini MdNKV HACK If yull

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watoliM, dlantonds ind oUirr artloli« of Ji-»i'lr\. Even
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"THE HOUSE OF qUALITr"

LWSWEET INC.

1650-1660 BROADWAY. NEW YORK.

ropyrloArrif. 1)130. fly L

The Letters of Mary

(Continufd from page 17)

the ribs — a snowball hurled with the per-
fect aim of a child at the silk top-hats of
Uncle Sam and John Bull.

All this resulted in a new factor which
presented itself in every respectable
household. It began to dawn upon the !
public thai truly it was a wise parent
who knew his own child. After the
weary jjassage of two-score years, man
had accumulated a small store of knowl-
edge at the cost of much sad experience.
.â– \long comes a child of seven or eight
and calmly lays before him a more thoro
knowledge of life — and its issues. We
gasp for breath !

Mary Miles Minter, in a letter to her
mother, written while she was looking
forward to her eighth birthday, writes
the following poem. i,iresenting her vic-«
point on religion :

"Wfin to Chvircli last Night.

('â– ee! What a terrilile PliKht.

The minster Preached —

.And with his Hand.-^ hea\fn Hcadu'd

Declared all were had—

Bless mcl How Very sad!"

Volumes have been written about the
stage, but to us it seems that there is ab-
solutely nothing left to be told after
reading what Miss Minter had to say
about it when she was seven, in her poem,
"Theatrical Life."

She seemed to come to conclusions
very quickly, and having grasped the
knowledge that certain factors made uji
the mystery called life, she calmly pro-
ceeded to take them for granted and in a
matter-of-fact way included them in her
daily existence. All this tended to a cer-
tain a|)lomb which somehow almost over-
comes one. You stand awed before the
iconoclastic manner in which she treats
the emotions. Her ]ioeni, "Reminding, or
a Chinese Puz7.1e," will serve to convince
you tliat you, with your grey hair, have
gotten no further with the solution of
life:

kemixdi.m;

or
.A CHINESK PL'ZZI.E

Life rcniinds me of a Chinese piizzli-

And if you dont look sharp

You'll net into a imiz/.U*.

It \sil] Krip ytm, ami hind you

-Xud often rcniiiu! you.

That Temptation'^ arc many

(iood things, scarcely aiiv.

But what riyht has a man,

To gral) al! lie can,

.And then not content.

iiiit on more greed lie is oeiii.

Till he is full to the brin

With hi> folly and shi.

.And Thus, the Hand of Fate proclaims —

Too Late — too late.

There is no denying the fact that if
iiiolion pictures h;i(I not happened along
al this time, .Mary .Miles Nliiiter might
have de\elope(l into one of the shining
lights of literature. We feel sui'e of it.
Howc\cr, there is an old saying that —
er - er — murder will out — and we have a
sneaking hope that some day when the
golden hair is tired of being curled and
the Klieg lights have lost their purple
fascination. Mary Miles Minter will
again take up the pen — and perhaps
another Mr. Salteena will be created.

Z(//idf Vo moy (/sp

'vc ihj'. tj-i-Lllf"l. lift. 'i:ierv-wlili.'h«hv-^l(ln niiiltl,-

•■PRETTY LITTLE WHITE NOSES'

».<rii|erriil iireuoritlhin- TSc >nil 112^ tlzen *t •Irilcr.

tir -llrfrt by niHll,

I'Md i (iimct far o .Vinlolure Vl'cddlnp Day Srouty

Hnt ronrainmi; Secrn U'ondcr* Tnr Scuulv.

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UINE

Name "Bayer" Identifies genuine
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BAYER-TABLET
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A!(iilrln h Itie trade murk of Bayer MinurBclure \A
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ahi'35b100aW<

BECOME A PBOf ESSIONAL

PHOTOGRAPHER

Bin opportuntlle* NOW. Qudlfy for
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— Portraiture
Cami»a* and Mi%«i\9U /urnlikvtf /rrc.
I'JucTiCAL iMBTBUnTiOK ; modern

e'julpmeiil. Day or evening ctaitei: eai7 termi. —

IteroitniMd Superlfirtl/, Call or wrlle for complete caHlug Nn, 18.

N. Y. INSTITUTE OF PHOTOGRAPHY
141 W. 36th St., N. Y. SOS State St., Brooklyn

Get Well.-Be Young-Grow Tall

rtl- [Inlvnrpilv dlarovrry U th» mrml tmpurUnl f>i'«lth InvrnUon if the C"nlur»
Urpmi»ke»«ndrcJ.iv»n«tc»thc Human B«iy It produeon normal Bpin.. It (r»<-t
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Irculalh
THE"yANb"C(5LAf0'R"C0.. ISI« Proapact Avt.. Ctavelud. 0.

Iticrcaac th« booy'a'lvnsth.
pj^

(Scvcntif-two)

M

MEZZO'S

HAIR-DRESS'

Mil* B*tlvP.

Adopted by Screen — Stage Society

n*rnu*i> Jl:ili Dii-.h Mill lm.l.f llH' I'H'i'l St lllilli'l li iMir slUV l|ia

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Oontc solves the prnhlem.
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undesiralile hair. Imt al^n
prevents its return, as it
works uniler as well as
ahove llie surface Donfe
will not injure the most
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<mnofh and in perfect cnn-
(lilinn. Donte is endnrseil
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heautiful on the head, hut nowhere else. No
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Put Donti nn Your Dressing Table

r.Oi ami (I. on u jBf Bl Dfiiii uml DeiiBriment Stores. If your
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275A Troy Avenue. Brooklyn, N. Y.

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— write what the heart dictates,

then submit your poem to us.

We write the music and guarantee publish*

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Ml*. Leo Friedman

one of America's well-known musicians, the author
of many song succtJ'ses, such as "Meet Me Tonight
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when I Dreotr. of Old Erin^" and others the palw
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CHESTIIl MUSIC CO."°'br^''»J***'ChlMw;ill.

f Seventy-three,

A Little Bit of Bohemia

I Ci'iiliniii'd from pafic 21)

very, very rc^iicctfiilly. Me was l)last\
iip-stajjc. I thc)Ui;lU, and I was even niDrc
CDcUy and indt'|iendoMt lli;in I am now.
\\ hen uc were introduced he asked nie
|i> ecmii' over In the stiidio and sec him.
I had heard that he wanted a leadini;
uonian, but I told him indifferenlly that
1 woidfl \Hien I could find the time. ( >t'
cou'^e. when I t;"t home I told my chum
.ill about it" (she w.is living with a sister
ol' M rs, .\l,-irsh;dl .Veilan), "and -he u.i-
wildly excited. lint 1 didn't i;o imlil
llnTc days later.

"lie continuc<l to act in a r.'ither aloof

«ay, as tho lie felt himself sujierior.

Towards the last of nur convcrsatifin, be

asl<ed me if I would jjo to <linner with

him the next evening. I -aid, '.\11 riybl,'

.as I had nothinfj else to do, Inil that per-

haps he had better call iiie on the 'phone

in the morning and m;ike -lu'e. lie

j looked absolutely slunnecl. 'In other

I words,' he remarked, 'yon wont go with

I me if you Hnd something el-e to do ih,-ii

you like better,' and 1 an-wered. 'Xain

'rally !' "

'; Hut they became firm friends. lie

would call for her every morning and

take her to her studio, the Reliance

j .Majestic, and take her home evening-.

I F.ach found that the other possessed a

\ keen sense of huinor an<l that there were

a great many things at which they coulil

laugh together. They were married al a

little ehmxh in San Iliego, where tbe\-

had gone with a crowd of hini peoiile to

see the opening of the exposition,

Cho|)S were just being hrnuglit on
when we heard a prodigious honking,
followed by a joyous cowboy veil —
b'.-e-e-e ! — and Rosemary Thebv bur-t
into the room. She rushed over to her
chum and hugged her. "I've got it !" -he
said. "The dandiest jiart! In 'Michael
and His Lost Angels' with C'onwav
Tearlc ;" -he added that she was going to
get a certain very tiny, very expen-i\e
wrist-watch that she had been wantin':
for some time. She had pulled off her
hat and joined u- at 'table, but she w.as
too excited about her new part to think
of anything else, even eating. .Vfler
luncheon Mr. and Mrs. Dillon droiijied in
"Ry the way," said Mrs. Dillon, "i- il
true that Viola Dana i- married to ( Miner
I.ocklear'"

"\o!" the chums exclaimed toiielher,
and Teddy added, "It's onK- a pvess
story."

It was al this psychological moment
that many "feet.steps" were heard on ihe
front |)orch.
"Who is there?" called Tedd\'.
"Mr. .-ind Mrs. I.ocklear," came ibe
answer, ;md the announcement w.i
greeted with a -torm of laughter.

It was not only ".Mr. and Mrs. I.ock-
lear" who entered, but .\nna (J. .\il--Mii
as well. I'or a while the convei-.-ilion
turned on a little bit of everything. Mi--
Xilsson had to be congratulated liv
everybody on the exquisite work she did
as Ruth in "The Luck of the Irish."
\'iola Dana told of how, that mfuning,
-he had called Maxwell Kargcr on the
telephone and, when the girl in hi- office

r ^5 /^

IFYOULIKETODRAW

Write for Free Book

'How to Become An Artist"

ll\ .1111 lli-»' liU'lli.ul nr Ifiirliili'.- Iiv mull Mill r-.lli li-iiiii

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lliiiiilii'iU .â– ' .mi'-i'i'Hiriil itiiili'ins <iiiil k-r.tiiiiiili-fi uri' imw
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$100 for One Drawing

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iiUi'il ;in>l i<<|iiiltililo M-Ii<ii>l i>f 11 rt. Srii'i'liil liTtiin 1<i n
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^.iliif-hi'il f.iii|ion or »rlli' a vi>^Ui\ mxl \u' v.\\\ n(>iiiI ^^

4"ii. Hi. r.n.'o a IirnniHut ItiM.kli>t ^â– \\.^yv fo II.' ^*

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y FREE
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48 Pliiitos of movie Stars

..â– |.i..ililcr.l Ml iKiIf Inn,-, On c;ii.|.
It'MI'il. snil.-llOf iuv fr.'lininR. Ar.
I'lK-klr. ll.n.,1. rii:ipli.i, I'ickfdHls.
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H..rli iniilc null iVlii.ili' .STAR.S an-
M \\rii: ill CI.ASSY POSE.S. By
Mviil ]K)sl|i;iii1 15 cents. Sl.1ini)8 '.r

ARDEE PUBLISHING CO.

DepI 150 Slamford. Coi

STRAIGHTEN YOUR TOES
^BANISHTHATBUNION

W

ll.l.ir^

Perfection

Toe

Spring

w..

n Bt nltfht. w
for

th auvUlar

â– PDllanca

Removes IK

B Actua

1 Cause

of tl.
• PpfQ

•niarnil l.,l
• 1. M-.n-r b
ullin»nrr.><>l
rt for «»k kr
AWf y«rltr«fa

U'lf'^r.^t""'
U.. mi Im

p. a.rf atf,^

on. Sent on
rapre.antfd.
r.>*adlnalap

C. R. ACFIELD. Int StKiltin. Dili Sn I
imifoadwlf ind I? Wut 3ltt Stiiit Nn rotk I

ff-

How to Find

the Cream

You Need

Stand in a good light —
examine your face care*
fully in a mirror, and
then —

Study this Chart

Acne Cream — for pimples
and blackheads.
Astringent Cream — for oily
s^ins and shiny noses.
Combination Cream — for
dry and sallow skins.
Foundation Cream — for
use before face powder.
Lettuce Cream — for cleans-
ing in place of soap and
water.

Motor Cream — for skin
protection, before cxf>osure.
TissueCreata — for wrinkles
and crows' feet.
Whitening Cream— for
freckles and bleaching.

You do not experiment
when you use Marinello

Creams. Their value has
been established by use in
more than 4000 Beauty Shops
and employment by milUotis
of women.

The advice of Marinello Ex-
perts may be secured at oOr

Weium Office :

1404 Mailers Bldg.
Chicago

Eastern Ojpct

366 Fifth Avenue
New York

%

Marinello Toilet Prepara*
tioQS may be had at all
Drug Stores, Department
>toreB and Shops.

nsl;(f(l ulin was caH'iif;, had said ".Mrs.
I.ocklcar" . . .

"They rcaj'ly are crazy over each
other, .ireii't theyr" some one uliispercil.

Still laiighini;. tlie crowd left to fro to
the field with Lieutenant l.ocklear and
watch him lake chances with his life that
\\nul<l make most people shudder to even
think of. Fatalists — the rijjht kind of
fatalists — all of them, helicving, with
the fatalism of the yonnj; and successful,
tliat what is to he. will l)e, and that it will
be good.

I almost forj^ot to say that Tecldy
.Sampson does not diet. On the con-
trary, she cats anything she likes and be-
cause she likes it, drinks milk with every,
meal and only weighs a hundred and nine
pounds, .\notlier thing, when two he.''U
tiful women have been chums for fnc
years, you generally expect to find that
one is a blonde and the other a brunette.
In this case both arc brunettes, and they
get along together very nicely. Teddy
Sampson is n(jw tnaking .Sujireme Come-
dies at the Christy studio. .Some of her
late pictures are "Her Novel Idea,"
"Room 222," "\ Four-Cvlinder Frame-
Up." "Her Nearly Husband," "The
Little Wife," "Our Honeymoon's Happy"
and "Good-Night, Judge."

The Baby-Talk Lady

(Continued from /'age 19)
thinking done. That is not intended as a
personal inference about any one. Of
course, there are very real peo|>le in jiic-
turedom who do- very real thinking — I'ud
lots of them. But it is a truth thai the
screen frequently creates a jiersonalitv
that may .ictually not exist. Sometimes
this is accidental, sometimes deliberate.

"The other day a feminine interviewer
dropped in to see me and she was genu-
inely surprised to find me, as she ex-
pressed it. a business-like tailor-maile girl,
when she had expected to discover me
curled up fluffily upon a chaise longue
with a box of candy. The films have
created a certain sugary personality for
me, giving me the mental status of Booth
Tarkington's 'baby-talk lady' in his Billy
Baxter stories."

We frankly admitted the injustice.

"I do not definitely know just what
.sort of roles are mapped out for me,"
she went on, discussing her new .Selznick
starring contract. "I would like to do
the sincere, close-to-life sort of drama,
but I rather think I am to do piquant and
frothy, Connie Talmadge sort of comedy.
You see. it fits my cinema personalitv—
and one must live up to one's film self."

I NEVEK HAD
Hy Bf.ttv Eari.k

I never had a friend like you
With all your loveliness,
,\nd when you smile so trustingly
.^nd all your face is close to me,
I hardly know what I should do —
Keep silent or confess.

Confessing love's a little queer

.\ni\ sort o' strange, I guess.
One should not love a friend so dear

For all her loveliness;
But when you put your arm about
And swift my heart turns inside out —
I hardly know what I should do—
I never had a friend like you.

GIRLS! GIRLS!

Purify and Periiime
Your Sldn With

CUTICDRA

TALCUM

The most fascinatingly fragrant
and healthful of all powder per-
fumes. Antiseptic, prophylactic,
deodorizing, fragrant and refresh-
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and dusting powder. Convenient
and economical, it takes the place
of other perfumes for the person.
A few grains sufficient. One ol
the indispensable Cuticura Toi-
let Trio for keeping the skin
clear, sweet and healthy.

Soap. Ointment and Talcum 25c everywhere.
Sample each free by mail. Address post -card;
Cuticura L«borBtorieft. Dept. Z, Mftlden, MaM.

'*. ^]M- f

FREE

For 10 Days Wear

tinif, ir-num,- Wniu- C,.-r

diiinu,..J. •i-nd It bBrk '

Ho. I. »i>l Id vo Id

dcnlsn lliil wid
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I* to (lend too i40>rr of lh<<4i« wnfiderrul, dar»-
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o. 2. ^)«iirl (culd 1 H*.3. Solid Koldai
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tcm BlinoNl a ohtbI. ' ' e*r«tTn ntae,'

pnd ntj-lp of paper ntUna lu-niinil â– ci^ond joint of flnrer. If
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Th« Tllnft» Gem Co.. Dgpt 7io, Chicago

( Scv c tit }i- four)

MOTION PICTURE CLASSIC

From Shorthand to Stardom

(Continued from page 60)
intention of going on the stage if the
managers would let me. Then I found
my supply was cut off suddenly but effi-
ciently. Now, of course, managers may
admire ambition and that sort of thing,
but they are slow to discover star stuff
in a wan, starving actress, so it was
'Good-by, Liberty Bonds,' or 'Good-by,
Career.' The bonds were an accumula-
tion of birthday and Christmas gifts, and
I hated to part with them, but I did, one
by one. I couldn't take my time about
finding an engagement, either, for Lib-
erty Bonds, even the best intentioned
ones, wont hold out forever. It was a
race between the bonds and me — and I
won," she concluded with a smile of
triumph.

Her first engagement was with "Come
On, Charlie," and Charlie came on for
sixteen weeks. Then some one sug-
gested pictures and Miss Taylor started
the rounds of the studios. Her debut on
the screen was as a double for one of the
Paramount stars. This was followed
shortly by engagements with the World
and Vitagraph and leads in "The Star
Rover" and "The Return of Tarzan,"
and finally the step that was the turning
point in her career, her selection to sup-
port William Farnum in "The Adven-
turer."

"Mr. Farnum gave me so many valu-
able suggestions and really brought me
to Mr. Fox's notice," Miss Taylor said.
"I feel that I owe this opportunity to
him." â– 

Next came the lead in "When New
York Sleeps," in which she was working
when I called upon her.

Of course, Washington's Birthday,
Fourth of July and even Christmas come
to Wilmington, Delaware, just as they
do to other communities, but any one
will tell you that the really big day of
the year is when a Fox release brings
Estelle to town. Then every seat in the
theater is filled with a proud audience
that boasts in no low whisper :

"I knew her when — "

MOVIE ENCYCLOPEDIA

J. H. P. — No, I am not insured. I've saved
up enough to bury me, but I have no insur-
ance. Insurance sellers, please look the other
way. Insurance is an effort to discount death
and destiny. Build up your own insurance
surplus by right living, simple eating and
plenty of sleep and exercise. You'll find. too.
that your enjoyment of things is less forced
with good health and spirits back of you. Yes.
he is a director. Florence Reed is not mar-
ried.

Rochester.— You must have the eyes of
Argus to see so many virtues in this depart-
ment. William Farnum is playing in "The
Orphan." Your three favorites among the
men are Eugene O'Brien, Richard Barthel-
mess and Thomas Meighan, and among the
girls. Norma and Constance Talmadge and
Viola Dana. You choose well. Elaine Ham-
merstein remains with Selznick for seven
more years.

Irish. — Thank you, Irish. "William Duncan
played in "Smashing Barriers." Darrell Foss
will play onnosite May Allison in "Held in
Trust." Metro. That's it. The eternal ex-
clamation for man is, "I !" The eternal inter-
rogatory for woman is, "He?" Write me
again.

(Seventy-five)

"Tonight I'm going Decollete,
thanks to Electric Massage!

DOES your figure
permit you to wear
the prettiest of
evening frocks ? Then
resolve that this embar-
rassing condition is going
to be changed/ In the
privacy of your own
boudoir soothing electric
massage brings back the
roses of youth into your
cheeks, keeps your hair
and scalp in fine, healthy
condition and develops
your figure into one of
graceful lines and girlish
contour.

The woman of fas-
tidious tastes, young or

strenuous life." Muscles
are sure to become weary
and congested unless they
get relaxation. And com-
plexions are certain to
suffer unless properly
taken care of. Home
electric massage is recog-
nized as the building-up
process nearest to Na-
ture's.

The Star Vibrator
should be your "beauty
parlor." Used and en-
dorsed by stage and
screen celebrities for
beauty helps, and fatigue,
nervous headaches, in-
somnia. Ideal after mo-

old, realizes that beauty toring, golfing or bathing.

is but a natural reflection Keeps your skin iit its

of health. Wrinkles, best! On sale and dem-

"crow's feet," eyes that onstrated free of charge

have lost their youthful at most drug, department

sparkle, obesity and other and electrical stores. Or

unwelcome facial blem-
ishes are, to a great ex-
tent at least, brought on
by what we term "the

direct from us. Fitzger-
ald Mfg. Co., Dept. 216,
Torrington, Conn. (Ca-
nadian Price, $7.50.)

STAR Vibrator

/or Wrinkles, "Crow's Feet" and
Dull, Colorless Complexions !

OPPORTUNITY MARKET

AGENTS WANTED

MEXICAN DIAMONDS Hash like penuine, fool experts,
â– tand teats, yet sell for l;50th the price. Few live
ftKonts wanted to sell from handsome sample caoe. Blc
prortta. pleasant work. Write today. Mexican Dia-
mond Imptg. Co.. Box CA. Las CruceB. N. Mex.

"INS'i'DE TIRES — Inner armor for automobile tlree:
prevent punctures and blowouts: double tire mileage.
L.lberal profits. Details free." American Acceflsoriee
Co. Cincinnati. Ohio. Dept. IIT.

COINS-STAMPS

"OLD MONEY WANTED." !:; to JSOO each paid for
hundreds of coins dated before 1895. Keep all old
money. Send 10c for new illustrated coin value book,
size 4x6. You may have coins worth large premiums.
Get posted. Clarke Coin Co., Box 165, Le Roy, N. Y.

FILMS DEVELOPED

Miiil us 15c with any size Him for development and six
Velvet prints. Ur send six negatives, any size, and 15c
for six prints. Or send 3ac for one SxlO mounted en-
largt-mcnt. Prompt, perfect service. Roanoke Photo
Finishing Co., 207 Bell Ave.. Roanoke. Va.

HELP WANTED

RAILWAY M.\IL CLERKS WANTED. Examinations
evervwiicie Auuust U. Big pay. List vacancies free.
Fratiklin Institute. Depi. W 115. Rochester. N. Y.

DETF.CTIVES EARN big money.
ever>'where. Excellent opportunity,
cnce unnecessary. We train you.
Write American Detective System,
New York.

Great demand
Travel. Experi-
Partlculars free,
latis Broadway,

RaHway Trolfle Inspectors earn from $110 to $300

per month and expenses. Travel If desired. Un-
limited advancement. No age limit. We train
you. Positions furnished under eTJaranlee. Write
for Booklet. CM 64, Standard Business Training In-
stitute. Buffalo. N. Y.

WAJiTED LMMEDIATELY — Several hundred men.
women, ^rla over 16, to prepare for U. S. Government
Positions. J100-$160 month. Pleasant work. Short
hours. Long vacation with pay. Common education
sulflcient- Complete list positions free. Write imme-
diately. Franklin Institute, Dept. W 115. Rochester,
N. Y.

DETECTIVES "AND INVESTIGATORS make bie

money. Be one. We show you how by home study.
Write American School of Criminology, Dept. C, De-
troit, Mich.

WANTED — Men — women, over 17. Hundreds Railway
Mall Clerks. Examinations everywhere Aug. 11.
tl300-Ji;i50. Vacancy list free. Write immediately.
Franklin Institute, Dept. W 77, Rochester, N. Y.

JEWELRY. ETC.

CASH FOR OLD FALSE TEETH — We pay up to $35.00
per set (broken or not>. Also buy discarded gold
Jewelry, gold crowns, bridges, platinum, diamonds,
watches and sliver. Send now. Cash by return mail.
Packages held 5 to 10 days for sender's approval of
our offer. U. S. Smelting Works, Dept. 40, Chicago.
III.

MAGAZINES

BACK ISSl'ES OF MOTION PICTLIRE CLASSIC, Mo-
tion Picture Macazine, Photoplay and all publications
for sale by Boston Magazine Exchange. 109 Mountfort
St.. Boston. Mass.

MAIL ORDER BUSINESS

$30 a Week EveniniCM. T made It with a small Mall
Ord^r Pusine3.«t, Started with J3. Free Booklet. 2c
postage tells how or send 25c for Sample and Plan.
Atpc Scott. CohoeS. N. Y.

MISCELLANEOUS

WRITE THE WORDS FOR A SONG. We revise
poems, write music and Kuarantee to secure publica-
tion. Submit poems on any subject. Broadway
Studios. 107M, Fitzgerald Bldg., New York.

YOU WRITE WORDS FOR A SONG— We write the
music, publish, and secure a copyright. Submit poems
on any subject. The Metropolitan Studios, 914 S.
Michigan Avenue, Dept. 1^4, Chicago, 111.

MOTION PICTURE BUSINESS

MAKE MONEY FAST. Small capital buys profoa-
slonal machine and complete outlit. Easy payments.
No experience required, Openings everywhere. Cata-
lojT free. Monarch Theater Supply Co., Dept.
tZ*. 407 Ells^vorth Bldg.. Chicago.

$3r).00 PROFIT NIGHTLY. Small capital starts you.

OuttiiR sold on installments. No experience needed,
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MOTION PICTURE

High Lowe

{Continued from page 51)

undone things, lost opportunities, work or
play foregone. I shall have a farm, I
hope, the wide country about me. It will
be a mild sort of fun. Why not?"

I said that I couldn't imagine it.

He said, "Why bother to? It comes.
Take it easily. I5ring on the next!"

I asked him, he seemed so serene,
whether he was self-confident.

"Sufficiently so," he said ; "too much is
bad. Worse than too little."

"Isn't it indispensable," I inquired, "in
your work? I always thought so."

"Too much is bad," he reiterated ; "im-
mediately we become self-confident to
any set degree we cease to grow. We
know it all. Our work stands still be-
cause we become rigid. We cannot be
taught. We cannot absorb, and that is
fatal. A great many in this profession
and in others would still be lighting the
skies if they had not become too much
inflated in their own esteem . . . and
blah ! Self-confidence does not make
for work. And work is the ingredient of
success."

I asked him whether he liked his role
in "The Son-Daughter."

I found that he did — for two reasons,
chiefly ; the wigs and Confucius. He
had, it seemed, studied both. He evinced
a great admiration for Confucius. If
it had been a week-end instead of an
hour's interview, I might have come
away a Confucianist professed. Only
lack of time and setting circumscribed
the outpouring of the Confucian doctrine.

The wigs — the wigs he wears as the
young prince in "The Son-Daughter" — •
were more easily explained, being visible.
He handled them with reverent hands,
showing how even the pseudo forehead
is attached so that the blending may be
super-perfect. He took a deep and lov-
ing pride in those 'wigs.

A day or so later I saw Mr. Lowe at
a musical comedy. He was having a
ripping sort of time. I thought of Con-
fuciusand the philosophy of acceptance,
and smiled — corroboratively. He has, I
reasoned further, the very fullest sense
of the philosophy of acceptance — it em-
braces comedy as well as tragedy, age as
vi'ell as youth, the movies as well as the
stage, wigs, Confucius, good sherry and
interviewers!

MEMORIALS
By Charlotte Becker

The songs men make todav shall reach
Eves whicli they do not dream of yet,

And with sweet, haunting music teach
Soii'.s yet unborn life's alphabet.

The creeds may totter, grave beliefs,
Like witliercd blossoms, fall away;

Tbo beauties fade to ancient griefs
And prophets change from day to day:

Tho wars may scourge the nation's marts
And kings and kingdoms rise and fall,

Sheltered within a myriad hearts
A lyric shall outlast them all.

(Seventy-six)

CLASSIC

"Some Boy, That Frenchman!

(Continued from page 22)

Georges kept on fighting and winning
until he became champion at every
weight, from paper to heavy. As soon as
he began to earn real money, he started
to invest a large part of it in educating
himself. When you talk to him you'll
find out what an intelligent chap he is —
Carpentier gone out for the day? — Gee,
but that's luck for you ! Come over to
the studio tonight. They're going to
stage a fight. No women allowed, but,
then, you dont count."

"Thanks," I replied, as I took my de-
parture.

If you want to get all the men together
in one place, advertise a fight. Uncle
Sam tried it and Robertson-Cole fol-
lowed suit. When I arrived at Fort Lee
that night, I found the huge Solax studio
packed to the doors. Men suspended
themselves from the roof, draped them-
selves over neighboring church steeples
and supported themselves upon telegraph
poles and telephone wires. Carpentier,
the European champion, was to fight,
and the dream fighters for miles around
assembled for the event. Of course, it
was only a moving picture bout in which
Director Adolfi took pains to explain
that the villain would be victorious for a
few rounds and then Virtue, in the form
of the hero, would triumph, and, whoof,
we would see how champions really do it.

After a few moments' waiting, Car-
pentier entered the ring, and the great
audience, from roof to telephone wires,
stood on its feet and cheered. He was
not my preconceived picture of a fighter
as he stood there bowing his thanks. He
was not the stage and screen idea of a
Frenchman, either. Had he applied for
an engagement in that role, many direc-
tors I know would have shaken their
heads and exclaimed:

"Not the type, not the type! Nothing
like it."

He is blond, decidedly so, with hair
that seems to find no inducement to stray
from the straight and narrow, with blue
eyes, a very blue blue — so the publicity
department informed me. I could not
distinguish spots of color from my par-
ticular beam. When he removed his
bathrobe and stood there in his fighting
togs, an exclamation of envy and admi-
ration went up from that assembly of
men. Translated, it meant, "Some boy,
that Frenchman !" In another instant,
Director Adolfi blew the whistle and
Georges started to fight. As the former
had predicted, his opponent, Herbert
Barratt, knocked him out in the first few
rounds.

"Ah, this fight's fixed," a newcomer to
my beam murmured in disgust.

Thru it all the champion was like a
young race-horse straining to keep him-
self within bounds, longing for the signal
to start in earnest. The wild feints he
thrust at the air came thick and fast,
and when it was Virtue's turn to triumph
he made short work of the villain.

"Hang around," the publicity depart-
ment advised, noting the adeptness with

(Seventi/scven)

which I had clung to my beam. "Maybe
you can catch him before he leaves."

So I hung, this time around the cham-
pion's dressing-room door. I saw stars
of the ring pass over the threshold, and
still I continued to hang. A few £eons
later a blond boy in a grey business suit
appeared. I made a wild dash in his
direction.

"Come, Georgette,'' the blond boy
called, as I clutched the air.

I turned just in time to see an answer-
ing smile in the eyes of pretty Georgette
Carpentier, who had come to this coun-
try, a bride, just a few weeks before,
and, lo, the Carpentier family had dis-
appeared somewhere in Fort Lee.

"Gus Wilson, his trainer, says you may
talk to him at nine o'clock tomorrow
morning at the Biltmore," the publicity
department whispered in my ear.

We were there on the dot, the depart-
ment and I.

"Tell me about Carpentier and the
war," I suggested, while we were waiting
for suite 120 to answer.

"He was in it for four years," the de-
partment answered. "He was fulfilling
some fight contracts in England when it
broke out. He hurried back to France
and entered the air service. Of course,
he started doing stunts immediately. He
didn't win his medals, tho, as quickly as
some chaps. The commander wanted to
be sure there would be no room for an
accusation of partiality to the young
aviator, the favorite of France. One
day he, the commander, was watching a
fight away up in the sky between a
French plane and two German planes.

" 'When that fighter comes down —
whoever he is,' he said, indicating the
distant dot, 'we'll decorate him.'

"When the French plane landed he
found that the dot was none other than
Georges Carpentier.

"For about a year Georges was on sick-
leave and acted as physical instructor to
the men in back of the lines.

"Word from suite 120. Mr. Carpen-
tier will be sleeping until ten o'clock,
then he must go out immediately. Other-
wise, he would gladly see you. If you
will return at six this evening "

At six I was again at the Biltmore,
armed with a letter from Robertson-Cole
to prove that I had no designs upon the
young fighter's life or upon the Bilt-
more's silverware. This time I suc-
ceeded in invading suite 120. From my
position in the tiny outer reception-room
I heard sport topics passed back and
forth by male voices in the adjoining
apartment. Presently Trainer Wilson
and Manager DesCamps indicated that
they were at my service. In the other
room I could discern, "as thru a glass,
darkly," young Georges reading the fight
news. I threw a question into the air.
It landed somewhere in the suite. Mr.
Wilson caught it and translated it to Mr.
DesCamps. He listened and then smiled.
I waited. I tried again — the same result.
{Continued on page 79)

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MOTION PICTURE

The Celluloid Critic's Sklec-

TION OF THE TeN BeST

Photoplays

1.

"Cabirin."

2.

"Judith of Bethulia."

3.

"The Birth of a Nation."

4.

"Intolerance."

5.

"Broken Blossoms."

6.

"The Miracle Man."

7.

"The Gay Old Dog."

8.

"Shoulder Arms."

9.

"Revelation."

10.

"PoUyanna."

(

Xot ill order of importance)

The Screen Year in Review

{Continued from page 45)
The season's histrionic level has been
singularly high. First of all, we place
Betty Compson's superb playing of the
greedy and sensuous Rose of "The
Miracle Man," the underworld girl
whose spirit finally awakens. Here was
a vibrant and human portrayal worthy
of the highest praise. Mary Pickford's
dear and touching Pollyanna wrung our
hearts. Shall we ever forget the moment
when she steps from her wheel-chair and
walks ?

There were other admirable perform-
ances. John Cumberland's lonely and
sacrificing Jimmy Dodd in "The Gay
Old Dog" was splendid in its subtlety.
Charles Ray invested a half-dozen incon-
sequential plays with life thru his match-
less sincerity.' Bert Lytell was excellent
as the arch-cynic, Charles Steel, in "The
Right of Way." John Barrymore con-
tributed a flashing and haunting perform-
ance in the ghoulish "Dr. Jekyll and Mr.
Hyde."

Then, too. we might mention several of
Thomas Meighan's characterizations.
Striking, also, were Vera Gordon's lov-
able Jewish mother in "Humoresque" ;
poor little Clarine Seymour's piquant
half-caste girl, rife with the love of life,
in "The Idol Dancer"; Mae Murray's
butterfly Russian in "On With the
Dance' ; Mae Busch's playing of the gris-
ette in "The Devil's Passkey"; Myrtle
Stedman's sincere Cherry Mellotte in
•'The Silver Horde" ; Xoah Beery's well-
thought-out characterization of "The Sea
Wolf" ; Lon Chaney's remarkable charac-
ter work in "The Miracle Man" and
"X'ictory" ; Gibson Gowland's primitive
French-Canadian in "The Right of Way"
and Lewis Stone's dual playing in "The
River's End." Also we would add Hedda
Hopper's playing in "The Man Who
Lost Himself."

Probably the biggest individual ad-
vance of the year— at least in the item of
popularity — was registered by Harold
Lloyd, whose farces have hit a high aver-

age. Lloyd is rapidly overtaking Chap-
lin. Wallie Reid has been growing stead-
ily in favor, now that he is devoting him-
self entirely to swift-moving comedy.
Charles Ray has lifted himself to the
acting leadership of the drama, this in
the face of fearful vehicles. Richard
Barthelmess is fast developing along the
lines of romanticism — and he is now a
star. Thomas Meighan made steady
progress all year.

Of the feminine contingent, Clarine
Seymour seemed most promising, just
when death entered the field. Wanda
Hawley, Gloria Swanson, Bebe Daniels
and one or two other promising younger
folk of the previous year already have
their names in stellar electric lights.
Constance Binney, to our way of think-
ing, bids fair to achieve limitless popu-
larity if she guides her celluloid career
carefully.

Here a few words about the cinema
leaders are in order. Mary Pickford did
her finest work since "Stella Maris" with
"Pollyanna." Douglas Fairbanks is still
young America's idol. Charles Chaplin
did nothing in particular all year. Here
is comic genius going to waste. Please,
Mr. Chaplin, do something about Char-
lie! William S. Hart is still the reform-
ing bad man. His nearest above-the-
average vehicle was "Wagon Tracks," at
least atmospheric of frontier days.

Xorma Talmadge has had one namby-
pamby character after another all year.
Right now she should be at the zenith of
her career. We repeat our words of last
year with added emphasis. Miss Tal-
madge needs real dramatic material or —
How long can she maintain her present
popularity if she persists in milk-and-
water vehicles? Nazimova has done
nothing distinctive all year. Here is an
instance of temperament running wild.
We have well-nigh given up hope of ever
seeing another "Revelation."

Now for specific comments upon the
various releasing organizations :

Famous Players-Lasky still easily
maintain far and away the best average
in general workmanship. The once so
popular Marguerite Clark seems to be
voluntarily dropping from sight, having
deliberately chosen retirement. Elsie
Ferguson, sometimes lacking stories and
other times failing to have sympathetic
direction, has gone backward rather than
ahead. Her best vehicle was "The Wit-
ness for the Defence," well done by
George Fitzmaurice. Charlie Ray was
steadily handed inane scripts, but he
triumphed thru his own unique ability.
Wallie Reid is at last getting the right
sort of stuff. Dorothy Gish's bright and
boisterous comedy methods did a lot to
overcome fearful material. Dorothy
Dalton continues her way thru hectic
emotionalism, minus her old clinging ap-
peal. Ethel Clayton is still the victim of
the scenario department. Robert War-
wick, no longer a F. P.-L. star, appar-
ently failed to "get over." \^iolet Hem-
ing as yet has not established herself at
all definitelv. Brvant ^\'ashburn sud-

The Celluloid Critic's Selec-

tion of the Ten Best Bits

OF Screen Acting

1.

Henry Walthall in "The Birth

of a Nation."

2.

Mae Marsh in "The Birth of a

Nation."

3.

Nazimova in "Revelation."

4.

Lillian Gish in "Broken Blos-

soms."

S.

Richard Barthelmess in "Brok-

en Blossoms."

6.

Charlie Chaplin in "Shoulder .

Arms."

7.

Dorothv Gish in "Hearts of the

W^or'ld."

8.

Mary Pickford in "Pollyanna."

9.

Betty Compson in "The Miracle

Man."

10.

Mary Pickford in "Stella Ma-

ris."

denly began to get good stories just be-
fore he left the fold. Another "Six Best
Cellars" would have lifted him to the
forefront of comedians. Mrs. Irene
Castle still appears now and then.

Enid Bennett has somewhat improved,
but at no time has she electrified in any-
thing. The Maurice Tourneur produc-
tions have been interesting series of pho-
tographically beautiful tableaux — and
nothing more. "Treasure Island" was
his best, "Victory" his worst. The last
completelv missed the spirit of Conrad.
Douglas MacLean got away in a flying
start with "23j-j Hours Leave" and
hasn't equalled it since.

Metro — Every effort seems to have
been made to put over Bert Lytell, who
at first seemed rather light for the big
material entrusted to him. But he justi-
fied their faith with "The Right of Way"
and did very well with ".Alias Jimmy
Valentine." Metro believes it has a real
find in Alice Lake. So far we pronounce
her competent — and nothing more. Metro
started the year by seeming on the verge
of doing interesting things, but. with the
entrance of new capital, the trend is now
franklv towards melodrama. We cer-
tainly wish they would give better oppor-
tunities to May Allison. Viola Dana
continues about the same. We have
already commented anent Nazimova.

Selznick — A youthful battery of stars
appearing in passable stories directed by
less passable directors. Our chief interest
in the forthcoming year centers in Wil-
liam Faversham's work under the direc-
tion of Hobart Henley and in what
Louise Huff may do. The stolidly
piquant Olive Thomas is apparently the
most popular of the Selznick constella-
tion, altho the powers-that-be there seem
to expect big things of Elaine Hammer-
stein. We doubt it. Eugene O'Brien —
my ! my ! Owen Moore — we like him
better than we did last year.

First National — Of Norma we have

spoken. Constance Talmadge continues

along the line of thin-ice comedies, to

which she lends a sparkle and verve.

{Continued on page 88)

(SeventyeigM)

CLASSIC

"Some Boy, That Frenchman!"

(Continued from page 77)
Finally, I plunged desperately into the
details furnished by the department. I
repeated tlie story of the champion in-
structor's paying the boy's daily wages
to Pere Carpentier, only to learn that
there was some mistake, that the latter
had always cooperated in the boy's train-
ing. Another good human interest touch
switched onto a busy line.

"y\sk him about his bride, Madame
Carpentier," I pleaded. "How, when
and where did he meet her? Was it a
childhood or a wartime romance? Was
she ?"

But my "French in Twenty Lessons"
was alread}' repeating my question.

"He says he would rather not discuss
his private life," was the answer.

"No, no, gentlemen ; I appreciate the
honor, but I really cant accept Mr. Car-
pentier's croix de guerre or his military
medal. Yes, yes, I shall be delighted to
drop in at the Carpentier Villa, Lens,
France, for lunch some morning the Big
Chief can spare me from the office."

With that I cast another lingering look
at the blond back of George's blond head
and exited with the other members of the
chorus, smiling.

The Turning Point

{Continued from page 49)

has brown hair and grey eyes, while her
complexion is fair.

Good-looking enough to cause a flutter
among the feminine contestants is George
Sheldon Smith, of 5612 Fountain Ave-
nue, Hollywood, California. George has
had some stock experience and has played
small bits in pictures. He has blaclc hair,
brown eves and olive complexion.

Ella Guerite Maxwell, of 22 E. 48th
Street, New York City, is a Ziegfeld
Follies beauty, with black hair, blue eyes
and verv fair complexion.

Madeleine M. Glass. Box 532, To-
ronto, Canada, has had a small amount
of stock and film experience. She is a
very pretty blonde with dark-blue eyes.

A Swedish beauty now living at 50
Cathedral Place, New York City, is Jean
Selkird. Miss Selkird has had some
vaudeville experience. Her hair is a
natural golden blonde, her eyes are dark
blue and her complexion is fair.

THE MOVIE ENCYCLOPEDIA

Elizaceth R,, \V.^SH.— You ask if Olga
Petrova ever played on the screen with Rich-
ard Barthelmess. They both appeared in the
opening scene of "A Dream of Fair Women,"
Tliat's all. Madame Petrova is expected back
in pictures. We hope she comes back.

Canadian Admirer. — Yon say you like the
Classic better than the Magazine because we
have had Blanche Sweet, Grace Cunard and
Mabel Normand on the cover. You want
Grace Cunard back in a serial. She is playing
in a two-reel western. Remember how she
could ride a horse? So you think Chaplin
ought to change his make-up now. I dont
know. Easter Walters was Hilda in "The
Tiger's Trail."

Rose S. Bremerton.— You are right, mv
mistake. I stand corrected. Thanks for all
the good things you say about me.

(Seventy-nine)

August Nights

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MOTION PICTURE

The Low- Brow Playwright Speaks

(Continued from page 26)

I did not know a continuity from a
fishing-pole. .

••I foresee the steady lessening of the
director's importance and the steady as-
cendency of the author. Of course, these
writers must learn the technical details of
scenario building. It will not be neces-
sary for him to work out a complete con-
tinuity, but he should be able to take the
finished script and point out every weak-
ness, . , , ,

"The successful dramatist can quickly
master this. What director except the
two or three leaders, perhaps— knows
more of audience psychology than James
Forbes or Winchell Smith. The tech-
nique of laughter, for instance, is just
the same on the screen, depending upon
the sudden turn from grave to gay, or
the funnily developed situation.

"Stage farces do not adapt to the films
for the reason that they are too fast.
The screen demands a simple story -
without involved characters. On the j
other hand, the success of a foothght 1
farce depends upon swift movement, the
ramifications of plot and clever dialog or
characterization. The most valuable
stage laugh comes from a quirk of char-
acter.

"In the films there seems to be no time
to develop characterization. Just as in a ,
rapidly moving stage melodrama, there is i
no time for sidelights, character phrasing
or tricks of manner,

"To my way of thinking, one of the
two greatest weaknesses of the present-
day photoplay is the lack of clearness of
characterization. No one seems to have
thought it necessary. Of course, the
brevity of a photoplay makes this diffi-
cult But it is becoming steadily more
necessary. The plays that Hve on the
screen are the ones possessing clear-cut
characterizations.

"You know the fundamental question
that the scenarist must ask himself is the
same that the playwright puts to him-
self 'Will they believe it?' Both ot
them must lav their story foundations so
that the audience will travel with the
characters, feeling their emotions and re-
actions. Then the audience will believe.
The only wav to achieve this is by clearly
drawn characterizations, so human that
folk out front will say, 'Why, I know

"The other great weakness of the 1920
photoplay is the slowing up of the story
thru close-ups and unnecessary shots.
The close-up should be used rarely— only
to accent. I know the close-up is the
safeguard of the incompetent director,
for the cutting man can use it to bridge
over all sorts of slips and gaps. I also
know that stars 'demand' close-ups. l.ut
stars are not so awfully important in the
films nowadays and they are steadily
irrowing less important. I know a lot ot
players will resent that statement, but 1
believe it." ,

Mr Veiller does not think that the
thought picture will ever be popular
"Where is the audience for the thought

(mghty)

M

CLASSIC

drama in our spoken theater? I honestly
believe a good play has very small chance
of success in America. The success this
season and last of such plays as 'Abra-
liam Lincoln,' 'John Ferguson' and 'Jane
Clegg' I attribute to the American reac-
tion against the conventional stage piece.
Americans are not mentally suited for
the propaganda or slow-moving psycho-
analysis stage drama. It is possible
abroad — in older countries — but here the
theater is a thing of amusement and not
of education. If our playgoers com-
plain, they have but themselves to blame.
Today there is plainly no definite place
for the intellectual drama in this coun-
try. Some excellent plays have suc-
ceeded in New York. But what happens
when they start out from the metropolis ?
'John Ferguson' wilted away after a
couple of weeks in Boston, Philadelphia
and Chicago.

"No, I am sure the theater is just an
amusement for Americans. I believe the
same thing is absolutely true of the
screen. But, of course, I am a very low-
brow person. To me the ideal motion
picture play — or spoken drama — is one
possessing a measure of beauty and
speed with a consistently told story."

Mr. Veiller discussed the widely ex-
pressed fear that the screen is gripping
the stage and sapping its vitality, thru
the fact that stage producers are now
only presenting plays which they can sell
to the screen. This, they reason, will turn
the stage into a sort of foundry for melo-
dramas adaptable to the films. Mr.
Veiller disposes of this fear briefly.

"There is no question that the average
stage producer can now operate without
a single possibility of loss entering into
his calculations." he says. "If a play
fails on Broadway, he can sell it to the
screen for at least the amount he lost
upon it in footlight form. On the other
hand, if it succeeds, he can sell it for a
high price, even as much as $100,000.

"But, remember, if stage producers
present only plays of a certain movie
mold, they will quickly court failure on
the spoken stage. No sane-minded man-
ager is going to do that. He will pro-
duce the thing that will succeed behind
the footlights, knowing that the films will
take it for a high price and adapt it
anyway."

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MOTION PICTURE CLASSIC

Gossip of the Pacific Coast

(Continued from page 62)
play, "A Successful Calamity." In ad-
tiitio'n, he has loaned his wife, Florence
Vidor', to Thomas H. Ince to play oppo-
site Lewis Stone in "Beau Revel." And
there have been persistent rumors that
Vidor is to do that high-speed comedy
of Winchell Smith and John Golden,
"Turn to the Right." Which, consider-
ing that Vidor has pledged himself to
manufacture only four film dramas a
year, is bound to keep him more or less
actively engaged.

Another famous stage success that
has been photo-ized is "The New Hen-
rietta," and William H. Crane was se-
lected by Metro as the logical star. The
famous actor is now wed to picture-
making and has finished a second pro-
duction, called "The Saphead." And, by
the way, Mav Allison's first appearance
on the screen was in the Famous Players
production of "David Harum" with Mr.
Crane. Now she's a first-magnitude
star and Mr. Crane is working on the
same lot with her. You simply ought to
see them eating lunch together m the
studio cafeteria!

But what has created more public in-
terest perhaps than anything else hap-
pening latelv in the film colony was the
contest conducted by Thomas H. Ince
in conjunction with a local newspaper.
The idea, as worked out, was to secure
new types for the Ince pictures— to have
readei^s of the daily appear at the studio
for screen tests. Ten persons were se-
lected. Ince has said that he will give
them the fateful opportunity before the
camera. Whether or not they make stars
remains to be seen, but the entire scheme
occupied so much space in the newspa-
per that even blase, movie-saturated Los
Angeles sat up and took notice.

And speaking of Ince reminds me that
the co-star team of Douglas MacLean
and Doris Mav have split professionally.
MacLean is now starring in his own
right and I haven't been able to find out
what' Miss May is going to do. At any
rate, Mac's initial starring vehicle is a
yarn to be known as "The Yancona Yol-
lies" which has something to do with
barnyards, country life and fancy
chickens.

\nd Maurice Tourneur has a riew
leading lady— Barbara Bedford. Miss
Bedford is a delightful, wholesome sort
of girl, who looks so much like PrisciUa
Dean that she is continually being mis-
taken for "The Virgin of Stamboul
heroine. Whereby hangs a tale. For
months she was an "extra on the Uni-
versal lot. She wandered over to the
Tourneur set to watch the exotic
Frenchman direct. He liked her intelli-
gent looks, made a screen test of her,
signed her for three years and now the
publicity man is working overtime to get
her picture into the papers. Such is the
leap to stardom— and such, may I add,
is the good fortune of but one of about
every twenty thousand screen honor
aspirants.

(Eighty-two)

The

Motion Picture
Magazine

Every person thruout the
country, who is at all in-
terested in the movies, will
rejoice over the September
issue of The Motion Picture
Magazine.

It exceeds each previous
issue in a great many respects.
It has a larger number of
interesting stories; it carries
the most beautiful photo-
graphs of the stars ever pub-
lished; it furnishes a news in-
terest about the players that
will delight the reader, — in
short, it will mark an epoch in
its own interesting history.

You will laugh over the
funny interview that Gladys
Hall had with Connie Tal-
madge not so long ago.

You will be thrilled at the
intimate biography which
Ethel Roseman writes of
William Farnum.

You will admire the new
photographs, and become very
interested in the history of
Marion Davies as written by
Adele Whitely Fletcher.

James Fredericks has inter-
viewed Hobart Henley, the
director who now stands in
the foremost rank of directors.

The popular vampire,
Louise Glaum, has been inter-
viewed by Betsy Bruce.

The novelizations are of
the b.e s t pictures of the
month; the photographs are
the most artistic that can be
obtained.

Ijhe emotion 'Picture ^M^agazine

175DUFFIELDST. BROOKLYN. N. Y.

Bill Hart's Dream Home

(Continued from page 47)

contentedly grazing over those pastures.

"I'eing practical. I am making an ex-
haustive study of irrigation as the
means to the end of realizing all this. I
love Dakota, the land of my boyhood, but
the long, cruel winters cause so much
suffering among the cattle, I couldn't
stand that, so I am turning my eyes
toward the Southwest. Here the one
difficulty is lack of water, but irrigation
solves that."

"And it must be cattle?" I asked.

"Oh, yes, absolutely; that is part of
the big 'dream.' There is just one draw-
back to that business, the," and the se-
rious eyes looked squarely into mine. "I
know very well that when I have watched
a herd of cattle grow until they have be-
come splendid specimens of beef — that I
will never be able to part with them — to
think of having them killed," and the
big-hearted man laughed a little ruefully.

"Seriously, will you ever be able to
give up motion pictures?" My question
was prompted by a glance around the
little study, which bore silent witness to
the many triumphs of this film idol who
has blazed an artistic trail by establishing
a true type of Western character. He
has portrayed the rugged life of a dra-
matic period of the country's develop-
ment which is now fast disappearing,
and thereby causing his pictures, those
.splendid pictorial studies, to be viewed in
the light of historical episodes.

"Absolutely," and Mr. Hart's reply
was emphatic. "Not that I do not ap-
preciate them ; in fact, that is the very
reason I am giving them up. When a
man has put every ounce of energy,
every thought center into his work for
over twenty years, you must realize that
he cannot keep it up forever — I'm going
to quit while the quitting is good. This
is not alone for my own benefit, but for
the very thing I try to represent — the
virile West. If I were to let up in my
efforts, that which has been my life work
would suffer, and I know nature too well
not to know that it will demand a price.

"There will be many interests to fill
my time. Probably Sister Mary and I
shall both write. She is such a very
wonderful woman. Her well-trained
mind has the keenest sense of dramatic
values. I have alwaj'S considered her
my best critic, confident that she really
knew. We're great pals, too," and he
beamed upon the portrait above his desk.

So William Hart is cheerfully plan-
•ning a future — with his dream ranch — a
desert waste reclaimed thru irrigation —
his real home — his herds of cattle — and
his pen!

THE MOVIE ENCYCLOPEDIA

Violet Feathers. — You have a wrong idea
of me. Words are but shadows, and one can-
not tell whether a man is black or white from
his shadow. The Answer Man you refer to
is not an old man at all. but a younj? lady. I
would not thus give away on her if her de-
partment was not deliberately copied after
mine. Oh yes, I am living in my hall room
as peaceful as ever. These rent profiteers
cant touch me. Billie Burke will play in "A
School for Scandal" next season on the stage.

M.MIRTJHriHTIHriBTgtHriai]HIIHtil^

Xramtng ^r /Tuthorsliip

HoWio Write, What to Write,
and Where to sell.

Culti\?a1:e your mind, Dc\'elop
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for many years editor of Lippincott's Magazine, and
a staff of literary experts. Constructive criticism.
Frank, honest, helpful advice. Jieal teaching.

One papil has received oVef $5,000 for stories and articles
turltten mostly in Spare time — "play Work," he calls It.
Another papll received oVer $1,000 before completing
her first coarse. Another, a busy Wife and mother, is
averaging oVer' $75 a tiieek from photoplay ttiriting alone.

There is no other institution or agency doing so much for
writers, young or old. The universities recognize this, for over
one hundred members Of the English faculties of higher institu-
tions are studying in our Literary Department. ' The editors
recognize it, for they are constantly rfeommending our courses.

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(Eighty-three)

Chet Withey: Builder of
Romance

By
FAITH SERVICE

tic searchings of the Chatham, is heard to observe plaintively that she had
'phoned Mr. Withey at Mamaroneck eight times that very day. She hadn't
been able to reach him any one of the eight times, but then . . . Respon-
sively, the patient interviewer with the Christian martyr air is heard to
reply that she might have expected this sort of thing from a star . . . but
from a director . . . She concludes, with a sigh, that she supposed he
has temperament. The P. A. remarks that she never would have thought
it, he has always acted so normal . . . but then . . .

At about nine-thirty, rather limp, the P. A. and the interviewer drift
into the dining-room. Disconsolately, they order scallops, the while the
P. A., with grim intent, supplies the intei-viewer with some sort of
article by Director Withey on the dignity of the films. Between scallops,

the interviewer perused the digni-
fied article on the subject of dig-
nity. And between reiterated trips
to the 'phone booth the wild-eyed
P. A. supplied fragmentary bits of
informative knowledge anent Mr.
Withey.

".\t present," she said, "he is di-
recting 'Romance,' with Doris
Keane. He is most enthusiastic
(Continued on page 86)

Chet Withey begaii his career as
an actor, usually playing villains,
then he began to write photo-
plays and play in them. He
did this for two years at the
Griffith studio in Hollywood,
and there his loyalty and real
ability came to the fore, and
direction was the inevitable next
step. Above, Mr. Withey, him-
self. Center, directing Doris
Keane in "Romance," and, be-
low, going over the script with
Norma Talmadge and Conway
Tearle in "She Loves and Lies"

WE hesitated for some time as to
whether the following had best be
narrated to a gaping and incredu-
lous public in the form of a one-act play,
a treatise, a diary, a lamentation or a
psalm. In any of these directions there
were possibilities ajiparent.

The time was eight-thirty of a mild
evening in early .\pril. The place was
the lobby of the Hotel Chatham, and the
characters participating, or supposed to
be participating, were a wild-eyed P. A.,
an interviewer with a patient smile and
the general attitude of I-am-used-to-
this-sort-of-thing, and a young and rising
director conspicuous by his absence.

The wild-eyed P. A., in between fran-

(Eighty-fcur)

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(Eighty-five)

STRONGFORT
The Perfect Man

Get The Grit Out
of Jbur Mac/line

You can't expect the won-
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or last any length of time
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r( il'NTS — and there won't be any
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Make Yourself Fit

It's the only way to win out —
it's the only way to get any real
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covering the points you are particularly Interested in.

LIONEL STRONGFORT

Phus'cal and Health SpeclalUt
1338 Stronsfort Institute. NEWARK. N. J.

MOTION PICTURE

Chet Withey, Builder of Romance

(Continued from page 84)

•---"CUT OUT AND MAIL THIS COUPON----'

Mr. Lionfl Sitronoffitt. Sticark, fi, J.

Dear Stroncforl;— Please »end me your book, "Promotion
and Coniervatlon of Health. Strength and Mental Energy." for
noslajie of wlilrh I emUnse thre<' 2c stamps to cover malllrui
expenses. I have marked (X) before ttao subject la which I

tm Interested.

(1338>

. . Colds

. Imomnla

. Weak Eye*

..Catarrh

..Short Wind

.Falling Hair

..Adhma

. Flat Feet

Ga§trltli

. ,Hay Fever

Stomach

. Heartweakneis

. Obesity

Dliorders

. Poor Clrcufatloii

. Headache

. Conitlpatlon

. Skin Dliorders

. Ttilnneu

. BMIouinesi

Despondency

. Rupture

. Torpid Liver
. Indlgeitlon

. Round Shoulders

Lumbaao

. Lung Trouble!

. .Neuritis

. Nervouineii

..tncreaied Height

, NeuralQla

. Poor Memory

Stoop Shoulders

..Flat Chett

. Rheumatism

. Muicular

- .Deformity

, Bad Habit*

Oevelopmenl

(deicrlbB)

..WeakneuM

fJ4KB

Of-cnoiTioM

Cirt

Statv

over this and over Miss Keane. He be-
gan, you know, as an actor, usually play-
ing villains, but once, be tells this with
great pride, playing the role of a Father
Superior of the Franciscan Order.
Then he began to write photoplays and
play in them. He did this for two years
at the Griffith Hollywood studio, and
there his loyalty and his real ability came
to the fore, as such things do, and direc-
tion was the inevitable next step."

The phrase "next step" then suggested
the 'phone booth again to the P. A., and
when she returned it was with a beati-
fied countenance to inform me that she
had "got" him and that he would be
right over. "He has an apartment in
town, you see," she explained, "besides
his home in Westchester. It's only
around the corner. He'll be here- at
once."

\Yhat with the record just partially
supplied me and the dignified article, et
a!., I expected a reverend person with
many theories and much demeanor . . .
Well . . . !

Before the arrival, however, (which,
by the way, was not "at once"), I gleaned
the further arresting knowledge that Mr.
Withey co-authored with Roy Summer-
ville in writing "The Devil's Needle,"
featuring Norma Talmadge and Tully
Marshall ; that he directed "The Old
Folks at Home," starring Sir Herbert
Beerbohm-Tree ; also "On the Quiet,"
with John Barrymore, and "She Loves
and Lies," another Norma Talmadge re-
lease. "He just keeps rising," supplied,
informatively, the persistent P. A.

"Yes," assented the fortified inter-
viewer.

It seems that he does keep rising.

He had just arisen from bed.

"I suppose I should have a story
ready," observed Mr. Withey, with a
touch of sardonicisra, subsiding into the
vacant chair and ordering beef and salad
and coffee with considerable gusto ; "I
suppose I should be ready with the glib
recital of the woes of a director, the
many appointments, the endless details
accounting for my delay. I know that I
owe an apology. I make one. However,
I am naturally veracious, and I am bound
to state that I fell asleep and was getting
along quite nicely when Miss Living-
stone here called me up."

(Sickly smile from Miss Livingstone.)

"Or you might have put it down to
temperament." I suggested ; "that covers
a multitude of things."

"But I hoTC none," objected Mr.
Withey, rumpling his rather belligerent-
looking shock of hair; "I have none. I
was just asleep." He added, "I still am."

"Promising field for an interview," I
said, hopefully.

"Not at all," he remarked, agreeably.
"We'll just sit tonight. Interview some
other time." Hence, I, too, being vera-
cious, feel bound to remark that this is

not Mr. Chet Withey's idea of an inter-
view.

However, being conscientious, and
having come all the way from far Long
Island for the express purpose of the
interview, I was not to be wholly gain-
said. Still, it was difficult, with a hu-
morously ironical person, fresh from a
profound slumber, eating a young and
healthy meal, wholly undisturbed. I be-
thought me of the dignity of the "fillum,"
as expounded by himself. Here, I
thought, is a line.

"What," I suggested, hopefully, "would
you suggest to further uplift the dignity
of the screen?"

"My resignation," he said, promptly.

Later on, going to the Long Island
station in Mr. Withey's car, there was
a word or two exchanged.

We had been talking about the recent
attack on the screen by George Jean
Nathan in a current issue of Smart Set.
Said Mr. AVithey, with the vein of light
sardonicism that flicks without cutting
thruout his entire talk. "Of course, Mr.
Nathan is bigger than the whole of the
motion picture industry. This being the
case, why not agree with him and let it
go at that ?"

Speaking in a graver tone, he said,
"Part of the attack is quite doubtless
true. There is the trite saying about the
good and the bad in all things. The
screen is too tremendous to escape its
share of dross. However, the worst
thing in the world is destructive criti-
cism. To my mind, there is no such
thing. If criticism is destructive, then it
is not criticism. We cannot tear down
unless we can build up a better, a dif-
ferent thing, in replacement."

I asked him if he felt the worth-while-
ness of the thing he was doing.

He said, "Absolutely. More, it is the
only thing I could do. I feel with the
pictures something like what an architect,
or one of a group of architects, must feel
with some tremendous building. We can
only do our little part, day by day, week
by week, the best and the finest we know
how. Then we, in our turn, must give
way to another shift of workers to carry
on our yet unfinished task. One man can
only be a part of so gigantic an enter-
prise, an art, but each man, in his ap-
pointed place, can give his uttermost, as
he sees it. That is what I am trying
to do."

If it had not been for the sardonicism,
the nicely tempered humor, the semi-
mocking, semi-kindly touch of compre-
hension, I would have been moved to
remark what a zvorthy young man . . .
I felt that that would not quite apply . . .
still, on the other hand, what zvould . . .
so many things. I felt that to Mr.
Withey no one attribute could be ap-
pended with conclusion. Like and with
life he keeps growing and growing and
will not stay labeled . . . obviously, this
will have to be a case of a series of con-
secutive talks that we may keep apace.
(Eighty-six)

CLASSIC

Marooned Hearts

{Continued from page 56)

should believe that he deliberately shirked
his duty for a moment's pleasure. Anger
that they should dare to believe such a
thing of him prompted his reply. "No !
I have nothing to say." And then he re-
membered Marion, Marion's wretched
selfishness — and the fact that Marion
must be protected from her own act.
Quixotic ? Yes, but Paul Carrington
was not the man to hide behind a
woman's skirts. And so he sat silent
until all but the old doctor who had loved
him had gone.

"Paul! I cant believe it of you! You
dont realize what this means !"

"I realize, all right." The young
surgeon thrust his thumbs down in a
significant gesture. "I'm done for — here.
I shall go away, as far away as a ship
will carry me" — his grey face quivered
with ghastly mirth — "where society will
no longer tempt me. To the Jarvis
Islands, probably, where I shall go on
with my experiments on gland tissues — I
shall simply disappear — alone."

An orderly stood hesitant in the door-
way. "Beg pardon. Dr. Carrington, but
Miss Ainsworth is calling you. She says
it's very important."

With a hard look in his grey eyes that
gave them the gleam of one of the steel
knives in the case, Paul Carrington re-
plied, "Tell the lady that I am occupied,"
he spoke deliberately ; "tell her that I
e.xpect to be occupied whenever she
calls."

The world's memory is short — luckily,
for most of us. A day's wonder, a
night's gossiping, and it turns to some
other, fresher happening. It wishes only
the very latest thing in broken hearts.
At tlie end of a twelvemonth only a few
people so much as remembered that there
had been a promising young surgeon
named Carrington, whose career had
been untimely ruined by an unfortunate
scandal.

Dr. Matthews was one of those who
remembered. Sometimes, as he bent
over a particularly desperate operation,
the thought would flash to his brain of
the slender, steel-strong fingers that had
dropped their tools so recklessly. "But
there was more to it than we knew," he
insisted stubbornly, when other doctors
sneered at the "Society Sawbones," "and
he'll redeem himself yet — if he's still
alive."

If he was still alive! It was this
thought that beat at Marion Ainsworth's
brain like pounding fists, and made her
look, as her dear friends whispered
among themselves, positively haggard.
"If she doesn't marry soon, she will not
be able to make a decent match," they
murmured, "but I think her mother will
be able to land Bob Carter."

It was wholly due to the silent, inces-
sant pressure of Mrs. Ainsworth's will,
with its hurtful impact on her bruised
spirit, that Marion finally consented to
become engaged to young Carter, a pleas-
antly wealthy, averagely personable
(Continued on page 91)
(Eighty-seven)

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MOTION PICTURE CLASSIC

The Screen Year in Review

{Continued from page 78)

She's doing nicely, thank you. Anita
Stewart seems to shp more and more
with each production. Mictcy Neilan's
productions tlucluated. from the well-
sustained .\rclic Circle melodrama, "The
River's I'.nd." to the awful farce, "Please
Dont Marry." We have commented else-
where upon other First National stars
and productions.

Goldwvn — Radical changes are going
on here. Of all the "eminent author"
stuff emanating from these studios, we
like the Rex Beach productions best.
Gerry Farrar and Pauline Frederick have
ceased to be Goldwyners. Tom Moore,
Madge Kennedy and Mabel Xormand
â– continue uneventfully. Jack Pickford is
spending money lavishly but without par-
ticular effect. Goldwyn is wasting Will
Rogers in conventional melodramas.
Give him a chance, as in "Jubilo," and
watch him bum up the road. Going back
to the trio we just mentioned, Tom
Moore is slightly bettering his average of
1919. Miss Normand is retrograding.
The early "Edgar" short juvenile come-
dies of Booth Tarkington's promise
something delightful.

Mtagraph — \\'ont somebody do some-
thing about stories and directors there .''
\'itagraph apparently refuses to believe
that the photoplay has advanced since
1915. Alice Joyce and Corinne Griffith
continue to be wasted in features and
Tony Moreno, the most picturesque of
all male film stars, is buried in serials.
They allowed the promising Gladys Les-
lie to depart after manhandling her ca-
reer. Earle Williams and Harry Morey
are still present. Vitagraph certainly
needs a far-seeing and vigorous directo-
rial hand to lead it out of its cobwebby
retreat.

Pathe — Serials seem to be the piece de
resistance here as before. We pass on
hastily, for our endurance balks at se-
rials. The best things on the Pathe pro-
gram have been the Harold Lloyd farces
and Mrs. Drew's comedies, vastly dis-
similar, but each admirable in its in-
dividual field. We have spoken anent
"The Gay Old Dog." Blanche Sweet is
waning.

Fox — W'e hear that changes are under
way here and that the trend will be away
from melodrama. Pearl White's first
Fox features have not yet been released.
Shake-ups have been regular events until
ap])arently only a star or two remain.

Robertson-Cole — This organization
seems to be handicapped by various
things, including a difficulty in getting
into the leading theaters. Sessue Haya-
kawa is easily its ablest star.

Co.smopolitan — AH interest is centered
in Marion Davies. Which makes us
realize just how difficult — or shall we
say impossible? — it is to manufacture a
star. .\lma Rubens has had little oppor-
tunity thus far.

Universal — h'rich Von Stroheim's pro-
ductions are the biggest factors by all
odds. The one other big "U" produc-

tion, "The \'irgin of Stamboul," will
make lots of money, but it is inconse-
quential from a literary or directorial
standpoint. We fail to see Priscilla
Dean. Of the numerous other "U" stars
we cannot talk authoritatively.

LInited — The stellar fever seems to be
breaking up the Griffith family. Lillian
Gish is going a-starring. Bobbie Har-
ron and Dick Barthelmess are becoming
stars. Who will be the Griffith players
of the coming year? Other L'nited stars
and productions are mentioned else-
where.

Hodkinson — As presented in "Sex"
and other vehicles. Louise Glaum is not
the seductive siren of Triangle days.
Doris Kenyon is pretty and pleasant to
look upon. J. Warren Kerrigan is quite
the same, altho practically minus popu-
lar interest.

Realart — We are betting on Constance
Binney. Mary Miles Minter is doing her
best, but she will never approach Mary
Pickford. That's definite. Alice Brady
is a plugger. Allan Dwan's productions
have been workmanlike, but not meteoric
anywhere.

Many screen stars seem to have been
absent most of the year. Theda Bara
has been devoting herself to stage work.
So has Alice Brady. Dorothy Phillips
has done nothing since leaving Universal.
Mae Marsh is back before the Cooper-
Hewitts, but her first vehicle is yet to be
released. The same refers to Bessie
Love.

We pause to consider film farce. We
have been noting our enthusiasm regard-
ing Harold Lloyd. "Fatty" Arbuckle
has been improving. The Sennett come-
dies continue along their own way.
Charles Murray stirs our risibilities as
possibly no else does. And there's no
two ways of looking at Ben Turpin's
natural comedy. The Christie comedies
are ambitious but purposeless. And Wil-
liam Fox's Sunshine comedies — ye gods I
Words fail us !

The Celluloid Critic
The Month's Photoplays in Review

By Frederick James Smith
"Romance," (United .A.rtists), Chet
Withey's screen adaptation of Edward
.Sheldon's drama, appealed to us strongly.
To our way of thinking, Mr. Sheldon
penned one of the most noteworthy love
plays of the last two or three decades
when he wrote this vibrant story of Rita
Cavallini, the gay little opera diva, and
Tom Arm.strong, the young rector of St.
Giles in New York's picturesque sixties.
We can understand where "Romance"
may fail to completely capture or hold
the average audience. Mr. Withey and
the scenarist. Will Hastings, lacking phys-
ical action, have played too much upon
the one string of passionate emotional-
ism. It is possible to do this behind the
footlights, where dialog vivifies and per-
sonalities lend variety and color. A great
film director might well be able to plumb
the emotional and mental depth.s — but
Mr. Withey is not yet a great director.

Frequently in "Romance" he slips into
the obviously theatric. But let us give
him credit for facing unusual difficulties
in making "Romance."

To our way of thinking, the screen
ver.sion of Mr. Sheldon's drama succeeds
because of the basic strength of the
story — the vivisection of human passion
with an uncannily searching and sym-
pathetic eye. ^^'e admit that the celluloid
"Romance" stirred us and held us, de-
spite its film limitations. Yet we did
miss the superb Sheldon dialog.

As, for instance, the diva's pagan defi-
nition of love: "I tell you what love is I
Love is de 'unger for anoder's flesh — a
deep-down t'irst to dreenk anoder's blood
— Love is a beast dat feed all t'ru de
night an' vhen de morning come — Love
dies !"

And again : "Yesterday — it is a dream
ve 'ave forget. Tomorrow — jus' de 'ope
of some great 'appiness — some joy dat
never come I Before, behin', all clouds
an' stars an' shadow — nodings, nodings
is real — only de leetle meenute dat we
call today !"

We tremendously admire Doris Keane's
performance as Cavallini. She has been
extremely well handled photographically,
via soft focus, careful posing and so on.
The diva — this "gleaming little humming-
bird," with her bewitching mannerisms
and her infinite charm — is a superb role,
and Miss Keane makes her live on the
silversheet almost as effectively as she
has been doing for some years on the
stage. We neither liked nor disliked
Basil Sydney's playing of the impas-
sioned Tom Armstrong, but we found
Norman Trevor's portrayal of the
worldly and understanding Cornelius
Van Tuyl to be most praiseworthy.

How we regret that Griffith did not
make "Romance" !

Erich Von Stroheira has duplicated his
adroitly built story of intrigue in the
Alps, "Blind Husbands," with another
screen story study in intrigue, this time
in picturesque Paris at lilac-time. Mr.
Von Stroheim calls his newest contribu-
tion "The Devil's Passkey," (Universal).

The present tale, written by the Bar-
oness de Meyer and the director himself,
revolves around the extravagant wife of
a moderately well-to-do American play-
wright residing in Paris. The woman
falls into the meshes of a fashionable
dressmaker, one Renee Malot, who lives
upon the weaknesses of her sex. When
the bills reach huge proportions, Mme.
Malot suggests an interesting American,
an army captain, as the solution of the
financial difficulties. The modiste, it
seems, maintains a dc luxe suite of
rooms where such difficulties are ad-
justed. However, nothing wrong en-
sues, altho the story gets into a Parisian
scandal weekly and — here is the dramatic
twist — the playwriting husband hits upon
it as a promising plot. His play scores,
while all Paris laughs at his innocent use
of scandal about his own wife. The
whole thing narrowly misses tragedy
{Continued an paoe 96)

(Eighty-eight)

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Date

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175 Duffield Street, Brooklyn, N. Y.

Gentlemen : Kindly enter my subscription to the
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(Eighty-nine)

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Unlets you are sincere in your desire to /jet i» tht
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"The Griffith studio family seems to be
breaking up," began the Gossip, as he
leaned back in his porch chair and studied
the summer moon; "Lillian Gish is to be
starred by the Frohman Amusement
Corporation at $4,500 a week. Bobbie
Harron is alread\' at work upon his first
star production, to be released thru
Metro, and Dick Barthelmess becomes a
star, too, as soon as he finishes work in
' 'Way Down East.' "

"That always comes with development
and progress," sighed the Philosopher,
studying the glow of his cigar.

"Of course, they will all keep on work-
ing under the Griffith eye, making their
pictures at the Mamaroneck studios, but
the old ensemble will be gone," went on
the Gossip. "Harron is now working
with Chet Withey as director. Mean-
while, Griffith seems to have a find in
little Mary Hay, who succeeded to poor
'Cutie Beautiful's' role in ' 'Way Down
East.' Miss Hay was in the Ziegfeld
Midnight Frolic, but she has given up
that work to'devote her entire time to the
films. They do say, you know, that Miss
Hay and Barthelmess are to be married
in the autumn."

The Philosopher smiled.

"Griffith is hard at work on ' 'Way
Down East,' " rambled on the Gossip.
"It is said that it will cost him around
$750,000 before he fini.shes. Only the
other day he used his biggest set since
the Babylonian scenes of 'Intolerance.'
It was a huge reproduction of a smart
ballroom. And he has two almost com-
plete villages built, one on Long Island
and the other on the Mamaroneck prop-
erty. They tell me that Creighton Hale
plays a comedy character in ' 'Way Down
East' and that he is going to make a big
hit."

"Players take surprising turns under
Griffith's direction," remarked the Philos-
opher.

"Griffith has just bought back the pro-
duction originally called 'Black Beach'
from First National for $400,000," the
Gossip went on. "They say he is going
to use it as part of his repertoire at a
New York theater in the fall. It will be
called 'Tlie Gamest Girl.' They say that
Carol Dempster makes a remarkable hit
in it, so great that members'of the First
National call her the biggest find in five
years."

"Speaking of family dissolutions," re-
marked the Philosopher, "what about the
division of the De Mille organization?"

"Yes, indeed," answered the Gossip.
"Bebe Daniels is now a Realart star and
is being billed as 'the good little bad .girl.'
They're going to present her in a series
of baby vampire roles. Gloria .Swanson
has just signed as a Famous Players-
Lasky star, and her salary has jumped
from around $600 to something like
$1,2.50. And Thomas Meighan, of
course, is already a-starring."

"One thing really touched me," said

the Philosopher, "and that is the way
people ha\e welcomed Doug and Mary
on their honeymoon. I'm mighty glad."

"Great, wasn't it ?" smiled the Gossip.
"All the way across country, people in
every village, town and city turned out
to welcome them. Maybe their stay in
New York at the Ritz wasn't one round
of royal welcomes. Why. their appear-
ances on the streets were the signals for
veritable riots. Police reserves had to be
called out to get them out of Wall Street
one day and, when they went to the
tlieater, the audiences stopped watching
the play."

"It must have touched their hearts,"
said the Philosopher, softly. "Surely
they deserve happiness. Think of all
they have done for others on the screen !"

"I see that Theda Bara has gone to
Europe for a rest," went on the Gossip.
"They say she's to have a new play when
she returns and New York will see her
again next fall behind the footlights.
This trip is her first real rest. Her sister
is making the trip with her.

"Speaking of trips abroad." continued
the Gossip, "reminds me that Mamma
Talmadge and Natalie Talmadge are now
on the other side, and they say that
Norma and Constance are going over,
along with Dorothy Gish. Maybe they're
going to do a picture or two ovir there,
who knows? I hear that Norma may
revive 'The Garden of Allah' very soon
on the screen. You remember that it
was done a long time ago. Anyway, the
revival is being talked about,"

"I would like to see Norma Talmadge
in a big drama," sighed the Philosopher.
"She surely needs better material."

"It's hard to get, tho, these days,"
laughed the Gossip. "Look at the way '
they're all frantically searching. King
Vidor's father and manager, Charles
Vidor, was in New York for weeks re-
cently looking for stories. They do say
that King Vidor may do Winchell Smith'S'
'Turn to the Right,' "

The Philosopher's interest was aroused.
"Vidor is the most promising director on
the screen," he saiti. "You interest me
very much, for no one could do 'Turn to
the Right' better than he."

"Micky Neilan has been in New
York," the Gossip ran on. "Bert Lytell
is here. Going to do a stage play this
fall, besides keeping up his screen work..
Madge Kennedy is going to return, at
least temporarily, to the footlights. You,i
of course, have heard that Al H. Woods,
who presented Miss Bara on the stage,:
made an offer to Bill Hart, which was
rejected. Bill is going to retire from
acting, they say."

"Personally, I cant think of anything
more interesting than the return to New'
York of S. L. Rothapfel," interrupted
the Philosopher. "There is a man to
whom the whole industry owes a great
deal — and who isn't half appreciated by
{Continued on page 9S)

(Ninety)

Marooned Hearts — (Continued from page 87)

youth who had two passions in life — his
yacht and Marion. 7\nd the next society
heard was of a trip to Japan on the Sea
Cull, with its owner, his fiancee and her
motlier aboard.

Meanwhile, "It's been one year ex-
actly," wrote Paul Carrington in his
diary, sitting in his palm-thatched hut
and looking out over the shimmering blue
fields of the Pacific, "and I have not seen
a human face in all that time. My ex-
periments are progressing so well that
another three years ought to complete
them, and successfully, please God. If
they shall save a single human life, it
will be my atonement "

The pen fell from his fingers, he leaned
forward with a roaring in his ears not of
the surf. "It's — not true, of course," he
whispered ; "she's a thousand miles away,
playing golf in imported tweeds "

The girl in the doorway leaned heav-
ily against the lintel. The thing .she wore
had been a silk crepe evening gown once,
but now hung about her in sodden wisps,
leaving her arms and bosom bare. Her
hair was dark with sea-water, and she
was laughing softly, senselessly. "He
thought — that I was more afraid — of the
ocean than of — him, the sailor with the
pockmarked face" — she shuddered, as
at some memory, incredibly vile — "and
the other boats were gone — so I was
drowned ..."

Paul Carrington caught her as she
fell. "God, why did You let this woman
come here?" he groaned. "Hasn't she
done me harm enough already?" But,
hate her as he did, he was a doctor first
of all. When Marion Ainsworth opened
her eyes, it was to see the face she had
dreamed of so often bending above her,
but she had never dreamed that his eyes
could be so mercilessly cruel. She tried
to rise.

"I — did not pick my route, Paul."
Her lips quivered in a painful smile.
"The yacht — was wrecked. One of the
sailors took me in a boat. We lost the
others, and" — a burning blush swept her
whiteness a moment — "I had to choose
between that man — and the sea, so I
jumped overboard. I suppose the tide
swept me ashore here, but — I'll go
now "

He laughed harshly. "Go? Where?
We're marooned here together, you and
I. My steam yacht broke from its
moorings, six months ago, in a tropic
storm. We may be picked up at any
time, or we may spend our lives on this
island."

They looked at one another long. Her
lips quivered into speech. "You — have
never forgiven me, Paul ?"

"I do not forgive easily," the man an-
swered briefly. "Make no mistake. I
shall build you a hut close enough to
mine for your protection, and I shall
draw a line upon the ground between.
That line shall separate our lives as tho it
were an ocean lying between us. You
have destroyed my life once. I came
here to piece the broken bits together,
l^nd — you shall not destroy it again."

(Nineiij-one)

In the long weeks that followed she
saw no sign of relenting. He built her,
as he had promised, a hut, and, as he had
promised, he drew a line between their
worlds. On the one side he worked si-
lently over his retorts and glass slides,
apparently not seeing her, never speaking ;
his face a grim, grey mask hiding his
thoughts from her wistful, seeking gaze.
If she could have known them, they
might have gone far toward easing the
pain that lay always under her heart.
Frivolous she had been, thoughtless and
selfish, but she had loved this man, and
now that she had lost him she was like
one who, having lost life, still remains
forlornly alive.

And he? The glass slides under his
fingers were meaningless now. He still
thought that he hated her and raved
against her in his diary, yet her slim
loveliness would not let him be. He
dreamed, tossing on his restless bed, of
the cool softness of her lips. He turned
his eyes resolutely away from the sight
of her, clad in a woven garment of reeds
and drifting, light as sea-foam on the
beach — and he saw her always before
him.

What the end might have been there is
no guessing, hut the sailor with the pock-
marked face played god of the machine.
For days he had hidden like a wild beast
in the jungle growth, watching, with hot
eyes of desire, the wdiite wonder of
Marion's body dipping, morning and eve-
ning, in a sheltered pocket of the sea.
Since his boat had drifted ashore and
landed him marvelously near the woman
he had craved, he had been waiting for
his moment, and presently he thought
that it had come. But he had not reck-
oned on Paul.

In the white glare of the tropic noon-
tide the two men fought, while the
woman watched breathlessly, as it was
in the beginning. The sand beneath
their laboring feet was trodden red when
at last Carrington flung the other at full
length on the beach, and stood above
him, bruised, bleeding, exultant. "Get to
your boat," he told the cringing creature
at his feet, contemptuously, "and steer
away from this island. If you try to
crawl back here I'll kill you! You'll
probably drown, but I warn you that's
better than what I would do to you I"

The sailor did not try to rise. He
squirmed away on his stomach, an abject
thing of fear, hke a monstrous black
slug, leaving two for whom, strangely,
the world was changed. The past had
slipped from them like discarded gar-
ments and their naked souls stood face to
face.

"How strong you are!" marveled the
woman soul.

"I was fighting for you," answered the
man. He held out his arms, and unques-
tioningly she went into them, and the
world followed time into the limbo of
things that were not. and there were only
themselves under the sky, themselves and
the murmurous mother sea.

(Continued on page 95)

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Second Prize

Fourth Prize

Ninth Prize

THE new Popu-
larity Contest,
unusual and en-
tertaining, is already
the object of great
interest — unfailing
and rife. If you
have entered it or
have read the announcements
which have appeared, and will ap-
pear, from time to time, containing
the rules and regulations, you
know it is actually a double con-
test— a contest in which both the
public and players are equally in-
terested.

The prizes depicted above and
below were selected after much
careful thought and attention and
each one is destined to make some
one happier, from the beautiful
Crescent phonograph which sug-
gests a twilight hour with the
gems musical genii have given to
the world, to the Marble nickel-
plated axe which brings to mind
a jolly time in some invitingly
green woodland.

Perhaps you have not yet de-
cided to enter the contest — if not
do so now. Dont lose an oppor-
tunity of enjoying the unique en-
tertainment it affords or of captur-
ing one of the lovely and useful
awards.

Popularity Contest
Awards

Sixth Prke

FIRST PRIZE

Crescent Phonograph, piano mahogany finish
(value $160). Plays all makes of disc records:
Victor, Columbia, Pathe, Edison, Emerson, etc,
without the use of extra attachments or intricate
adjustments; a simple turn o( the sound-box is
all that is necessary in changing from a lateral
cut record to playing a hill and dale cut record.

A Crescent owner can enjoy a repertoire of
the greatest opera singers, popular songs, dance
music or anything that is turned out of the
disc record. The tone of the Crescent is full,
round, deep and mellow. It has a large com-
partment for records.

First

Prize

SECOND PRIZE

Movette Camera and
three packages of films
(value $65). Compact,
light, efficient, easily op-
erated. Think of the
possibilities during your
vacation trip — your
canoe trip — in pictures

—pictures of your family or friends — living pic-
tures that you can project at any time in your
home. A priceless record of your life.

THIRD PRIZE

Corona Typewriter with case (value $50) ; an
all-round portable typewriter, light enough and
small enough to be carried anywhere, and strong
enough to stand any possible condition of travel.
It is trim and symmetrical and does not give
one's study the atmosphere of a business office.
Fold it up and take it with you anywhere.

FOURTH PRIZE

Sheaffer "Giftie" Combination Set, consisting
of a Sheafifer Fountain Pen and a Sheaffer
Sharp -Point Pencil, in a handsome plush -lined
box. Gold filled, warranted twenty years. Can-
not blot or leak. A beautiful and perfect writ-
ing instrument.

FIFTH PRIZE

Bristol steel Casting Rod agate guide, cork
grip, strong and durable. Packed in linen case.
Can be easily put in traveling bag.

SIXTH PRIZE

Loughlin Safety Self-Filling Fountain P'-n.
No extensions to remember, no locks to forget.

SEVENTH PRIZE

Star Vibrator, handsomely finished in nickel
plate with three attachments. Alternating cur-
rent. Excellent for massage. Use it in your
own home.'

EIGHTH PRIZE

Same as Seventh Prize.

NINTH PRIZE

Marble nickel-plated pocket axe of tool steel,
carefully tempered and sharpened. Indispens-
able in camp or woods.

a]

Greatest of All Popularity Contests

Unique Competition in Which the Voters Share in the Prizes

WHO IS THE ONE GREAT STAR OF THE SCREEN?

Is it CHARLIE CHAPLIN or ELSIE FERGUSON?

Is it RICHARD BARTHELMESS or WILLIAM S. HART?

Concerning this matter there is great difference of opinion. Every fan, in fact, has his own idol. The Wall
street broker swears by MARY PICKFORD; his wife thinks TOM MIX is the best actor the cinema has
produced; the office boy has a "crush" on THEDA BARA and the stenographer collects photographs of
DOUGLAS FAIRBANKS.

What do you think? If you had a vote would you give it to NAZIMOVA or to LILLIAN GISH? Would
you vote for a man or a woman or for little BEN ALEXANDER?

Shadowland, Motion Picture Magazine, and Motion Picture Classic — the three great magazines of the
Motion Picture world^have decided to refer this question to their readers by taking a popular, world-
wide vote. In regard to matters concerning the stage and theater their audience is the most intelligent and
discerning; the most wide awake and well informed in the world today. If any picture patrons can pick
out the leading star, it will be those who read Shadowland, the Magazine and Classic.

The coupons will show you how to enter your own name and the name of your favorite player. But you
may vote on an ordinary sheet of paper in Class Number 2 provided you make the ballot the same size
and follow the wording of this coupon. We prefer the printed coupons for uniformity and convenience in
counting.

There will be prizes for voters and prizes for stars.

Votes registered in Class Number 1 will probably be cast by favor. Votes registered in Class Number 2
will call for a wide knowledge of the Motion Picture business, keen powers of perception and skill at de-
tecting the trend of popular favor. You cannot guess the winner offhand.

RULES OF THE CONTEST

The contest began on December 1,
September 30, 1920.

There will be ten b.illots as follows;

1919. and will close on

December

January

February

March

April

May

June

July

August

September

1919 ballot

1920 ballot
1920 ballot
1920 ballot
1920 ballot
1920 ballot
1920 ballot
1920 ballot
1920 ballot
1920 ballot

3. The result of each month's ballot will be published in each one of

our magazines the second month following such ballot.

4. No votes win be received prior to the opening date or after the

date of closing.

5. Each person entering the contest and observing the rules thereof

shall have the privilege of voting once in each class, each month,
for each one of our magazines. Vou may send us one vote in
each class for Shadowland every month, and the same for
Motion Picture Magazine and yet again the same for Classic.
Thus, you will have three votet in Class No. 1 each month, and
three votes in Class No. 2 each month.

Class Number 1

Shadowland. Magazine and Classic:

175 Duffield Street, Brooklyn, N. Y.

I consider

the most popular player in the entire field of Motion
Pictures.

Name

Street

City

State

Country

(Dated)

Class Number 2

Shadowland. Magazine and Classic:

175 Duffield Street, Brooklyn, N. Y.

I believe that

will win the Big Three Popularity Contest with
votes.

Name. . .
Street...

City

State

Country.
(Dated).

Remember! This is the greatest player contest in history.

(Ninety -three)

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This department is for information of general interest only. Those who desire answers by mail, or
a list of the film manufacturers, with addresses, must enclose a stamped, addressed envelope. Address
all inquiries to The Answer Man, using separate sheets for matters intended for other departments of
ibis magazine. Each inquiry must contain the correct name and address of the inquirer at the end
of the letter, which will not be printed. At the top of the letter write the name you wish to appear.
Those desiring immediate replies or information requiring research, should enclose additional stamp or
other small fee; otherwise all inquiries must await their turn.

David L. — Thanks, chappie, for the fee.
Viola Dana's husband passed away recently.
They both changed their name, but they are
sisters. VVrite him at Los Angeles. Yes, life
is half spent before we know what it is. It
is a hard nut to crack and very few of us get
out of it alive.

H. L. M. — Dont forget that theatrical life is
fantastic and unreal. Elsie Ferguson is play-
ing in "Sacred and Profane Love" at the
Morosco Theater, New York City. Alice
Joyce with Eastern Vitagraph, Brooklyn, and
George Walsh with Fox, New York City.
June Caprice is about 21; Lila Lee. 17; Lillian
Gish, 24, and Dorothy Gish, 22. All old ladies,
you see.

Joe B., B.\v City. — No, m' dear. I do not
do up my hair in curl papers as Lord Byron
did. Look me over up above and tell me — do
you see any hair? You want to see Elliott
Dexter and Gloria Swanson play together. I'll
try and arrange it. Yes, Priscilla Dean is
married. No, no, Madlaine Traverse is not
Peggy Hyland's sister. Oh, you're welcome.

A Loyal Fan. — That's the way to be. Be-
ware of love at first sight — always take a sec-
ond look. Why, Corinne Griffith is in "The
Garter Girl." Oh, for a clasp of that garter —
it would look so handsome in my collection
of curios. E. K. Lincoln in "The Inner Voice,"
American Cinema. Niles Welch is with West-
ern Vitagraph. So you like Elliott Dexter
and Norma Taimadge. and Charles Ray and
Wallace Reid next. No, they take a substitute
and not a real house.

H.ALF Past Sixteen. — The DeHavens can
be reached at Paramount, 481 Fifth Avenue,
New York City. Surely I want you to write
me again. Enjoyed your letter a lot.

Bka Vo. — Yes. I was there and was glad to
see the Brooklyn Dodgers win. A pitch in
time saved the nine. Thanks for the verse.
Does it run fluently by you? Dustin Farnum
in "The Big Happiness."

Ura Cootik. — How do you make that out?
Harrison Ford? I will tell you all about him
some rainy afternoon. You tell me to always
wear my rubbers when it rains so as not to
get the flu. I need some one like you to look
after me.

Db'DE. — Whom the gods love — die young. I
am 79. so you know what that means. There
was an interview with Gloria Swanson in the
February, 1919, Classic. Charles Ray in "Ram-
sey Milholland," a Booth Tarkington story.
Yes. Bill Farnum in "The Big Happiness."
You say you dont believe that a crow lives
100 years. Why dont you buy one and find
out?

Ura Peach. — No. night does not bring out
the stars; it simply brings us out of our light-
produced blindness so that wc can sec them.
Very few of the studios allow visitors. Gladys
Brockwetl in "A Sister to Salome." Arline
Pretty with Selznick in "The Valley of
Doubt." Oh. I dont mind answering a few
questions. Write me again.

Just June, — I have mailed your letter.
Jean S. — So you have deserted Earle Wil-
liams for Eugene O'Brien. Oh, fickle jade!

"Twas ever thus. The heart of a woman is
like the moon, ever changing, but there is al-
ways a man in it. You can reach Ethel Clay-
ton at Paramount, 485 Fifth Avenue, New
York City. Her last picture was "The Lady
in Love." You want to see an interview with
Wanda Hawley and Tom Moore.

Idealist. — Your clever letter received. You
must write me again.

Betiy, Adelaide.— Well, Betty, most girls
want nothing but husbands, but when they get
them they want everything. Send Interna-
tional Coupons, valued at five cents each. See
above for Elsie Ferguson. Mary Miles Min-
ter, Los Angeles, Cal. Yes, I agree with you,
but make love while the moon shines.

Marion. — Why didn't you sign your name?
Glorious Divine Talmadge. — You refer to
"Pals First" and Rubye de Remer pl?yed with
him. So you liked Monroe Salisbury in "The
Eyes of the World." It's rather a tedious job.
but since you ask me how to rid your pet dog
of his fleas, here goes, again. Fill your bath-
tub with boiling water; immerse the pet dog,
being careful that only the end of his tail pro-
trudes above the water. The fleas will crawl
out on his caudal appendage to keep from
drowning, and you may take your time in
capturing them one at a time. What will hap-
pen to the pet dog? That's his look-out. He
probably will drown, but you have succeeded
in relieving him of his little playmates.

Edith C. S. — Yes, Mahlon Hamilton is at
Hampton Studios, Los Angeles.

U. R. A. J. — Elsie Ferguson was born in
New York in 1883. She is Mrs. Thomas B.
Clarke. Hope you win your bet. No, I can-
not prevent thoughts coming any more than
I could keep birds from flying over my head,
but I try to prevent their building nests in
my beard.

Rosalind R. — Nothing is ever so good as it
seemed beforehand that it was going to be —
or, anticipation is greater than realization —
provided you have a good imagination. Dont
you find it so? Eugene O'Brien at Selznick,
729 7th Avenue, New York. Ethel Clayton in
"The City Sparrow." Do I drink? Yes. but-
termilk. What else is a feller to do?

Betty R.. Pittsdurg. — So you say Nazimova
is about 41 years old. You're trying to bribe
me to find out whether I am a male or a fe-
male. I'm wise to you. Certainly you may
come and see me in my cage. It is more
blessed to call than to receive.

Red Rose. — You here again? Now. it isn't
up to me to tell you whom to vote for.
The most scientific way is to put them all in
a hat and pick out one. You are more apt to
get answered in the Classic than you are in
the Magazine. I know, but a very masculine
woman is liable to usurp most of the mas-
culinity of the husband and leave him effem-
inate. Shirley Mason is playing in "His Har-
vest." Yes, Cleo Ridgely has returned to the
screen to play in Lew Cody's "The Mischief
Man." Come again.

CupiE. — Send a stamped, addressed envelope
for a list of manufacturers, also a list of
corresponding clubs.

(Ninety-four)

MOTION PICTURE CLASSIC

Double Exposures

(Continued from page 57)
The Big Events of the Cinema Year

1. Mae Murray's — er — pedal extremi-
ties in "On With the Dance."

2. Eugene O'Brien's left eyebrow in
"The Perfect Lover."

3. Betty Compson's bath-tub in "The
Miracle Man."

4. Bebe Daniels and her victrola in
"Why Change Your Wife?"

5. Gloria Swanson's morning plunge in
"Male and Female."

6. Constance Talmadge's depiction of
Annette Kellermann in "Two Weeks."

"Women !" reads an advertisement
anent "The Devil's Passkey." "What
does Von Strohcim know about women ?
Too much — the women think. That's
why they love him and hate him — and
pack the house to the fire limits." It's
sure the day of the he-vampire.

Our Political Choice
We dont care particularly who gets
elected this year, as long as it isn't a
Democrat. But we are very particular
about the next cabinet. Here's our idea :
Secretary of State — Charlie Murray
Secretary of the Navy — Mack Sennett
Secretary of Agriculture — Charles Ray
Postmaster-General — Lew Cody
Attorney-General — Ben Turpin*
Secretary of the Interior — Fatty Ar-
buckle

Secretary of the Treasury — Mamma
Pickford

Secretary of Commerce — Lewis J.
Selznick

Secretary of Labor — Will Rogers
Secretary of War — Bull Montana

*He could see both sides of every legal
question.

Gossip of the Eastern Studios

(Continued from page 90)
the industry, it seems to me. Yet, when
the Capitol Theater failed to get over in
a big way, they have to call him back to
New- York to save it. And, in one night,
he turned the biggest movie house in the
world into a success. Interesting, isn't it ?"

"You bet," responded the Gossip.
"Why, Rothapfel originated the present
de luxe way of showing photoplays.
He's done more for the motion picture
than anv half-dozen producers, except
Griffith.'''

"True," said the Philosopher. "But
you know the old proverb about the lack
of appreciation in one's own land !"

Marooned Hearts

(Continued from page 91)

Afterward they spoke brokenly . . .

"You have forgiven ?" "Yes ! — Have

you forgiven 7ncf" — "I was wrong" —

— "And I !" — "I love you, I always have,

always shall" — "Kiss me again "

"If we should stay here always, would
it matter — now ?" he asked her, and she
answered, head on his breast, dreamily,
"It would not matter — so long as it were
together "

(Ninety-flve)

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Blue = jay

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MOTION PICTURE

The Celluloid Critic

{Continued from page 88)

when the dramatist learns the truth, but
he comes in time to reahze that he loves
— and needs — his butterfly wife despite
everything.

Mr. Von Stroheim presents his story
with a Continental observation of men
and manners, a dexterous camera sense
and the same directorial skil fulness that
lifted "Blind Husbands" into the unusual.
As yet, Mr. \'on Stroheim's characters —
in the main — do not have the breath of
life. Just one character of "The Devil's
Passkey" really lives. It is the cocotte,
Odero, realized with fine Parisian verve
and piquancy by Mae Bush. Her
Odero is as French as La Vie Pa-
risicnne. Sam de Grasse and Una Trev-
elyn are adequate as the American hus-
band and wife, Clyde Fillmore is the
army officer who wavers humanly be-
tween the good and the bad, and Maud
George is Mme. Malot. The Paris at-
mosphere is admirably attained and
maintained.

Rabelaisian in its humor is "Scratch
My Back," (Goldwyn), written and
adapted for the screen by Rupert Hughes.
The hero is a rich young chap who al-
ways does what he wants to. Obeying
that impulse, he leans over at the opera
and scratches the decollete back of a
voung woman who is too polite to do it
herself. Forthwith his adventures begin,
for the object of his unique attention not
only does not resent it, but selects him to
save her from the machinations of a
blackmailer. Just to show his originality,
Mr. Hughes has the hero enter and leave
a bachelor. The story itself is not par-
ticularly humorous, but it is very
shrewdly adapted to the screen and pos-
sesses delightful subtitles, captions which
"kid" the action without hurting the
story. The result is something new in
film technique — a sort of after-dinner
story told with dry celluloid humor.
T. Roy Barnes, a former "nut" comedian
in the varieties, stands out of "Scratch
My Back" like a house afire. You'll
hear more on the screen of this Barnes,
or we miss our guess.

William Faversham is making his re-
turn to the screen in "The Man Who
Lost Himself," (Selznick). This story
of a British nobleman and a penniless
American who look exactly alike, sug-
gests "The Masquerader." The English-
man is in the grip of creditors and black-
mailers, and he commits suicide secretly,
leaving the American in his place. The
newcomer solves all the difficulties — ex-
cept the earl's wife. Love enters here
and — But why tell the denouement?
"The Man \\'ho'Lost Himself" held our
interest very well. Mr. Faversham does
distinguished work, too distinguished,
perhaps, to suggest a down-and-out
.American suddenly thrust into an earl's
shoes. He touched the role here and
there with a deft comic hand, which
leads us to speculate upon Mr. Faver-
sham's film possibilities in high comedy.
Hedda Hopper contributes a genuinely
fine performance as the wife, a well-

bred, worldly and understanding woman.
At last a heroine who possesses some-
thing aloft besides curls ! George D.
Baker's direction is very workmanlike.

"The Sea Wolf," (Paramount), as re-
vived with Noah Beery in Hobart Bos-
worth's original role of Jack London's
caveman of the North Pacific, struck us
as being 'way above the average, li you
are not familiar with London's virile and
tragic tale of "Wolf" Larsen, seal-hunt-
ing schooner skipper, you should be.
Here is an unusual novel of the primitive
in man in combat with the mind.

We want to congratulate Mr. Beery
upon his performance as the Sea Wolf.
A mighty good bit of work it is, care-
fully and skilfully shaded. Mabel Ju-
liene Scott and Tom Forman are satis-
factory as the two scions of the rich
stranded aboard "Wolf's" hell-ship.

Olive Thomas is more interesting in
"The Flapper," (Selznick), Frances
Marion's boarding-school opus, than in
any vehicle we have )'et obser\'ed her.
Miss Marion endeavors to hit a feminine
"Seventeen." satirizing girlish adoles-
cence as Booth Tarkington did with cal-
low boyhood. The trouble here is that
the picture is entirely too long for its
story and, again, that the director mis-
takes burlesque for satire. The tale fre-
quently becomes preposterous. The crook
element, for instance, is dragged in by
the ears and does not ring true. The
plot? The kid romance of two young
people in adjoining boarding and military
schools. Rather weak.

Will Rogers' latest. "Jes' Call Me Jim,"
(Goldwyn). is quite fearful. Here Rogers
is made to fit a trite old melodrama, with
the result that his human and humorous
qualities are engulfed. Thru a conspiracy,
an inventor is kept in a wretched asylum
cell. How he is rescued and restored to
health by Jim, (played by Rogers), forms
the theme, such as it is. W'e like Irene
Rich as the girl of the drama. The
director, Clarence Badger, gives no credit
for an audience's imagination. And,
judging from the eternal flashbacks, he
thinks they cannot remember, either.

"The Silver Horde." (Goldwyn), based
upon Rex Beach's romance of the salmon
industry in Alaska, sounds a healthy
outdoor note. We are quite sure it will
interest you. "The Silver Horde" con-
cerns the efforts of the salmon-canning
trust to get possession of a certain valu-
able river property at any cost. But the
plotters are foiled and. when the silver
salmon horde sweep up the Kalvik River,
the fighters win their battle. Myrtle
Stedman stands out of "The Silver
Horde" thru her splendid performance
as Cherry Melotte, Rex Beach's fasci-
nating heroine of the Northland. Betty •
Blythe is effectively present, too. Frank
Lloyd's direction is praiseworthy.

.Anita Stewart did not at all interest
us in "The Yellow Typhoon," (First
National), based upon Harold Mac-
Grath's romance of twin sisters, one bru-
nette and fearfully good, the other blonde

(Ninety-six)

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175 DUFFIELD STREET BROOKLYN. N. Y.

We Believe in Everybody Who Believes in Himself

(yinety-sevcn)

and — well — ! Miss Stewart plays them
botli, the golden-haired adventuress, Ber-
tha, alias "The Yellow Typhoon," and
the dark-tressed Hilda, who serves Uncle
Sam in the secret service. Miss Stewart
cannot remotely suggest MacGrath's
siren of the lonely spots. As for the
story, it is the veriest piffle.

Bryant Washburn has another amus-
ing comedy in "Mrs. Temple's Tele-
gram," (Paramount), nowhere near as
good as "The Six Best Cellars," but pos-
sessing its laughs. Adapted from the
well-known stage farce, it revolves
around the efforts of a young husband
to explain his all-night absence from
home. He has been innocently locked
up on a department store roof with a
feminine customer — but he doesn't dare
own up to this. All sorts of complica-
tions result, of course. Wanda Hawley
is an excellent foil as the wife.

Breezy and entertaining is "The
Dancin' Fool." (Paramount), in which
the redoubtable Wallie Reid plays a jug
salesman by day and a cabaret dancer
by night. No doubt you read the story
in a recent issue of The Classic Bebe
Daniels lends colorful aid as Junie Budd,
'Ves' Tibbie's dancing partner. Reid isn't
always spontaneous in this comedy, for,
in the early scenes, he is required to play
a homespun lad from the hinterlands.
If there is one thing Reid cant do — it's
this. The hay-,seed atmosphere here ex-
ists only in the "B'gosh!" subtitles.

As a screen story. Zane Grey's "Riders
of the Dawn." (Hodkinson), based upon
his "Desert of Wheat," is a bit out of the
beaten track. It deals with the wheat
farmers of the Middle West, the so-
called destructive machinations of the
I. W. W., (altho they are at no time
called by name), and the ultimate triumph
of a returned soldier-farmer over the evil
element. Roy Stewart is the stalwart
hero. A passable photoplay.

We looked forward with unusual in-
terest to seeing Louise Glaum in her
latest, "Sex," (Hodkinson). "As ye
siren, .so shall ye reap," seems to be the
thesis, for the vamp, played by Miss Glaum,
wins a married man away from his happy
home. But, when a rich youth appears
on the horizon, she tosses her married-
and-about-to-be-divorced admirer aside.
She herself marries and, lo and behold,
another adventuress lures him off. Thus
is the ex-siren paid off in her own wiles.
Married life, according to "Sex" and the
De Mille dramas, seems to be just one
darned vampire after another. Which
we rather doubt. "Sex," by the way,
paints a picture of New York night life
such as it is supposed to be and isn't, a
maze of mad parties, with chorines
dancing upon tables, youthful million-
aires drinking — whisper — champagne
from slippers, etc.

'Sex" may cause a gasp or two in the
provinces, but it is really pretty dull
screen fare.

"A Modern Salome," (Metro), with
one Hope Hampton, comes pretty near
meeting our idea of the worst picture of
the celluloid year.

fashion says
the use of

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UH a. ►•nuiTT ncs»

(Ninety-eight)

FEBRUARY 19^

I Sun Moti Tue Wed Thu ft, ll

\\ 23456;
8 9 1011 12131

^ MAY 1920

V, •y'ue Wed Thu Fri S^

INSURE THEI
APPINE

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as Free From Care as
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Q ACTION PICTVDt
ASSIC

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SEPTEMBER

\

ANITA BOOTH

e£S'»(?Ii:<^c.Jp^.

/

-,**/.».

If you would have your skin delight-
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that fine, velvety delicacy and radiant
glow you admire so much in other
women — then begin to-day to give your
complexion the famous "Star" home
massage treatment! You'll be delighted
to see how your poor, neglected skin
responds to this stimulating building-up
of the tissues. And, almost instantly.

you will note a marked improvement in
your color.

The "Star" softens, cleanses and re-
lieves the tiny pores of dangerous germs,
alleviates irritation, soreness and rough-
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to bring back the pure, colorful com-
plexion of youth.

Your favorite screen and stage stars
use and enthusiastically endorse. the Star
Vibrator as an indispensable aid to

health, as well as to beauty! Try the
"Star" for your hair and scalp; fatigue;
nervous headaches; insomnia; sore, stiff
muscles; rheumatism, etc. For sale and
demonstrated free at drug, department,
and electrical-goods stores. Or direct
from us if not at your local dealer's.
Price $5 complete (in Canada, $7.50).
Fitzgerald Mfg. Co., Dept. 216. Torring-
ton. Conn. We also make The Star
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to bathe. Get one. $5 complete.

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(Three)

OF THE LATEST
PARMIOUNT PICTURES

ALPHABETICALLY LISTED

JOHN BAERT5IOBE m

"DR JEKTLL ANn MR. HJDE

Di;eotea by John S. Robertson

KOBEKT W. CHAJnSERS-

Grentest Novel

•THE FIGHTING CHANCE

Directed by Clmrles Mnigne

"THE COrPERHEAD"

With Lionel Bnrrjinore
Directed by Charles Blaisme

CECIL iT^eMILLES

Production ^,^„„

"WHY CHANGE YOl'B WIFE.

nlLLIAM DeMILLE'S

Production

"THE PRINCE CHAP

WITH THOMAS MEIGHAN

"EYERY^YOMAN"

Directed by George II. Melto'd
With All Star Cast

GEORGE rrriMAURICES

Production
"ON WITH THE D.\NCE:

WTLIX4M S. H.\RT in

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A William S. Hart Produel.on

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Productittn

"THE SEA WOLF"

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Production
"HICKLEBEBBY FINN

Let us off at that

PARAMOUNT sign'

DOESN'T matter where you get on. The thmg
istoknowwhereyougeto#. All trolley cars
stop at theatres showing Paramount Pictures.

That's where they unload the pleasure-loving
families. That's where the coins tinkle tnernly on
the little brass plate that passes you m to the
witching time with Paramount.

The eleven thousand or so theatres that are
lucky enough to have Paramount Pictures, an-
nounce it in lobby, poster and newspapers.

Keep your eye open for the name. That's
what tefls you where to find the kmd of enter-
tainment you seek.

Paramount ff^lcture^

(Four)

BREWSTER PUBLICATIONS

Love on the
Mexican Border

Sweetly siie smiled into the eyes of both, kisses
(he took from botli — the ruddy American and the
iark-skinned Mexican. And in tlic strong arms
)f the man from the North, was ft any wonder
:hat for the moment she forgot that Pedro would
soon be there? Her punishment? Men of the
North laugh coldly and pass on, but the Southern
brother below the Rio Grande loves, as he hates,
mXh a singleness that knows no mercy. On this
jrring woman, going so gayly to her fate, O.
Henry could look with excuse and pity, as he
lid on the weaknesses of women always, every-
where, for he knew their small shoulders bear
)urdens that would break the backs of men.

0. HENRY

More people arc reading O. Henry today than
;ver before. They read him because he has the
flavor of life as we know it, the tang, the zest,
the lireathless. careless haste, the ironic, happy,
tragic irresponsibilities which go to make up life
IS it is really lived.

FREE-SS^^e" 7 Volumes

The Ooly Complete Set of Sherlock Holmes Storiei Ever Published

If ynu want excitement, ai^veiiture, mystery,
am! the most skilful unraveling of tangled
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uurkaday world, get the complete series of
Sherhx'k Holmes stories that is here given you
FREE — the only complete set that has ever
been published.

Your Last Chance!

< iiving away books in these days of high

[need paper is giving away dollars, and we can

.i-Mire you that if we had to buy the paper for

these books today we could not give them to

you; but it happens that we did buy

a limited amount of paper some time

ago which we set aside, and this paper

is to be used for these Sherlock

Holmes stories. There can be no

more purchased at any such price, so

there can be no more given away.

Your chance is now — now, while you
are looking at the coupon, tear it off
and mail it today — now — at once.

THE REVIEW OF REVIEWS ca

PublisKers of tho Am«ncan Kev.«v, of Rrviewa

:P.Cla!m. 0-20
•view ot Reviews Co..
30 Irving Place. New York City.
I Send nil' on aiiprnval, cliari^i-s paid liy you, 0. Henry's works In
; »oliuiiL-s. Iiminil 111 silk cU'tli. valli gold tops. Also the 7
â– lumo s>t of Connn Dnvk-'s "Sherlock Holmes" stories, bound in
Oth. If I keep tbt' h'H'ks. I v'\\l remit $l.r.il in r> days, and then
' LOO a month for 14 ni<iiiths fur tiie O, Henry a<-t only, and keep
I 8 7 volumes or .^lierlofk lInLnifS FKKE. Olhenvise I wiU,
Ukla 10 days, rtrturn both seta at your espenst'.

Vol. XI

SEPTEMBER, 1920

No. -1

THE GIRL ON THE COVER
(.Painted by Leo Siclke, Jr., from a Photograph by Apeda.)
There is no gainsaying the fact that the judges certainly showed an
unusual power of far-sightedness when they chose as one of the four
winners of the Fame and Fortune Contest of 1919, Anita Booth. Miss
Booth has proved her screen adaptability and talent by her work for the
Selznick Picture Corporation lately, and the latest rumor to reach our
always-attentive-where-Anita-is-concerned ears, is to the effect that she
is about to sign with the Famous Playcrs-Lasky Corporation.
The Classic will always keep an interested eye on the cinema progress of this little
Southern beauty, — and without hesitation, prognosticates that Anita wdl go far!

Rotogravure Gallery of Players. Full-page studies of

Monroe Salisbury, Dorothy Dalton, Harriett Ham-
mond, Mildred Harris Chaplin, and Doris May

"Bessie, Love." An interesting analysis of the pecu-
liar appeal of Bessie Love Elizabeth Pcllrcl

The Photoplay of the Proletariat. The realism of

Frank Borzage, director of "Humoresque," is

explained Harrison Ha.'^kins

The Menace of the Movies. Whitman Bennett decries

the influence of Wall Street upon the photoplay ... .Frfi/frii'/; James Smith
The Joyous Pagan. Josephine Hill, petite LTniversal

star, possesses an unusual philosophy Willis Goldbeek

Another Pickford Star. In which Jack proves that

sometimes talent runs in the family Maude S. Cheatham

Silken Cotton. Lucy Cotton is her own critic and,

strange to say. an unprejudiced one Faith Serviec

The Youngest Movie Magnate. Otherwise Myron

Selznick James Fredericks

The World and His Wife. The famous old play retold

in fiction form from the scenario Faith Service

Beatrice from Paree. Transplanting a little French

girl. Miss La Plante, to the American screen Emma-Lindsey Sqnier

Ann o' the Vikings. The story of Ann Forrest, Cecil

de Mille's newest leading woman Frilzi Remoitt

Kathleen's Anchor, Miss Kirkham's anchor being

somewhat different from the usual species Elizabeth Peltret

Little Miss Rebellion. Dorothy Gish's latest release

told in amusing story form Dorothy Donnell

Celluloid Critic. The month's photoplavs in revisv/ .. Frederick James Smith
The Home Stretch. The grand finale of the 1920 Fame

and Fortune Contest

The Shakespeare Specialist. Which reveals the strange

fact that there is a student of Shakespeare in the

screen world Pearl lilalz'eni

The Dauntless Anita. The interesting story of the Girl

on the Cover of this month's Classic Lillian Moiitanye

Midsummer Theater Days

Double Exposures Conducted by F. J. S.

Trumpet Island. Fictionization of the most recent

Vitagraph super-feature Dorothy Donnell

Photoplasmic Peregrinations. Louise Glaum writes an

amusing account of the latest doings of the movie

folk at the coast

The Movie Encyclopedia The Answer Man

Look for the last minute features among the advertising pages

Subscription. $2.50 a year, in advance, including postage in the U, S., Cuba, Mexico, and
Philippines; in Canada, SJ.OO a year; in foreign countries, $3.50. Single copies, 25 cents, postage
prepaid. One- and two-cent stamps accepted. Subscribers must notify us at once of any change
of address, giving both old and new address.

Entered at the Brooklyn, N. Y.. Post Office as Serond-class Matter.
Copyright. 1920, by Brewster Publications, Inc., in the United States and Great Britain, a New
York corporation, with its principal office at Brooklyn, N. Y. Eugene V. Brewster, President and
Editor-in-Chief: E. M. Heinemann, Secretary: Eleanor V. V. Brewster, Treasurer.

STAFF FOR THE CLASSIC-

Frederick James Smith, Manag:iDe: Kditor

B. F, Wilson, Editor

Dorothy Donnell Associate Editor

Guv L. Harrington Business Manager

Duncan A. Dobic, Jr Director of Advertising

Ruf us French, Inc Eastern Manager

Archer A. King, Inc Western Manager

Metz B Hayes New Ln^land Manager

MOTION PICTURE CLASSIC ... 175 Duffield St., Brooklyn, N. Y.

hS
19
20
22
24
26
27
32
34
36

39

44

46

4S

50
51
52

53

57
66

10 morp sumpluous three- fiiiarler Kcratol bindlnc of O. Henry
lU only u few wiit.s iimre a vnlumo and has proved a favorite.
* » set of ihls more luxurious l>indinc, dianRe lim termg to
.00 In 5 days, and then §3.00 a month for 12 months.

(Five)

This magazine, published monthly, comes out on the ISth. Its cider sister, the Motion Picture Magazine,
comes out on the first of every month. Shadowland appears on the 23rd of each month.

Poivl:^

rWbrdi

Stage Plays That Are Worth While

SELECT your own -__
subject — love, patnotism

— write what the heart dictates,
then submit your poem to us.
We write the music and guarantee publish-
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Mr. L€0 pplcdmaii

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The School of

Write the Words
For a Song

Write the words for a sonp We revise
song-poems, compose '""='V'°^''l"l;ra
ffuarantee to secure publication on a
foyaUy basis by a New York music pub-
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Mail your song-poem on love, Peace viC"
"?y or any other subject t°."S tof^.
Poems submitted are <==^='mined free.

BROADWAY COMPOSING STUDIOS
IKT-E Fiu..r.lJ BU... Br..dw., .1 T,... S,«r.. NEWTORK

LEARN

Movie Acting

X ...clnatln. P7,'"';,°;,e"S'.P?ed''.o''lM. ^op
,ou like 10 know It '»" .'"Hour T»leat-Te.Ul' or
Send lOe lor °"' ,„T,"i'',7,„d". and And whether
Kej to MoT(» *'^",';fj*J'„',ake up Movie ActlnB.
or no: you are lulled to taKe up ^_.^ ^^^

j,„n;^...^f f^a^^„:"if„', 'i^ji'jdnrrA'^".

BoolU.-'-t^ot So Long Ago." A fragile ^n^
charming httle comedv by a newcomer. Arthur
RichmZ telling a story of P-'"''"?"'^, ^ew
York in the e.rh; seventies^ "I'l^ralhennc
lichtful. Finely plaved by Eva Le Galhennc,
Slauev Blackmcr .ind an excellent cast^

Câ„¢/,<ry.-'Florodora." The much-heralded
revival of the widely popular m"^'"' ^'^"'^ °'
'ome twenty vears ago. Done with charm,
distinction and'humor Eleanor Primer ssing-
iniv stands out v vidly and George Hassell s
hum^r is highly diverting. Then, of course
there is the famous "sextette. Here is a
revival that really revives. ,. , , .,

Cn,U.rv Pn,nu--,.d..-New VorWs newe^
dinner and mi,dnight entertainment, 1 he Cen
fury Review" and "The Midnight Rounders^
Colorful girl shows for the tired business man.
A delightful place to eat.

Co/ia«'.r.— "The Hottentot,' with Willie Co
her Typical one-man farce with the inimit-
able farJe'ur, Collier, at his best Arm Andrews
lends pleasant assistance Full "/..'^'JS'^', â–  .^
Cohan a„d Kam.r.-"Honey Girl. J-';<='y
musical comedv built about the brisk race-track
Tr^edy, "Checkers." This has speed and
humor-as well as an. excellent cast.

Corl.— "Abraham Lincoln. \ou should see
this if vou see nothing else on the New York
stage John Drink-^vaterâ– s play is a noteworthy
t'efary^ and dramatic achievement, for he
makes the Great American I've agam^ Abra
ham Lincoln" cannot fail to make you a better
American Moreover it is absorbing as a play.

J, -lod?ama of the lonely Northwest wUh
^Helâ„¢ M^iKellari: afmirable as the piquant
'^^^:^<^^:' S. John Er^nes

drab but brilliant tale of middle-class English
life Superbly acted by the best ensemble m

""nZfrnier^s Tft.a...-"The Famous Mrs
FaYr " Able drama dealing with the femimne
nroblem of a career or a home, bk ituuy
wrkteTby James Forbes, with unusual playing
by Blanche Bates. Henry Miller and Margalo

Gilmore. . . t- -i c* .=...-

ii„;^_"Foot-Loose," with Emily Stevens
Norman Trevor and O. P- Hegg.e^ ^^ ^,T.
wellâ„¢ one modernization of the old melodrama,
••Forget-Me-Not." Tallulah Bankhead scores

'''N.TAtur^an, Roof.-fe.i.U 9.o'clock
and midnight revues Colorful entertainments
unlike anything to be f°""'l,.J7^^^y,'= ;"'!!,
Here, too, are the most beautiful giris in all

New York. . „ » i_

Nora Baycs T/ifOtfr— "Lassie. A charm-
ing and pleasantly tuneful little musical com-
edy of Scotland and London m the picturesque
sixties Based upon Catherine Chisholm Cush-

S "I^tty MacKay" Tessa Kosta sings
oleasantly and Mollie Pearson and Ro and Bot-
?omlev are prominent. Dorothy Dickson and

Ca^lffyson contribute some delightful dance

'"Tri"?"'Garrfc...-"Cinderella on Broadway."
Typical summer girl entertainment designed
fo? he tired business man. The extravaganza
his year is based uuon the fairy adventures of
CindereUa. Plenty of girls, passable music,
attractive costumes and a little humor.

Postpaid

Halted InfUIn

Sexual Knowledge

ILLUSTRATED

B, WINFIELD SCOTT HAIX. M.D..Pb.D.
SEX FACTS MADE PLAIN

*"•' e"'." >°»"° «'"m.'"''.T..uU k»-»

What ""r, oannl Ihould knew
«MI!1C*N*Pm CO.. 9«' W""" '''"'"■ ""1"'^'''''

ON TOUR THIS AND NEXT SEASON

"The Fall and R.sc of Susan i';''°:«-,-."-Weak
adaptation of the David Graham Phillips novel.
Alma Tell in the stellar role.

"iVa»(fa/."-Co5mo Hamilton's daring dranria
whfch Constance Talmadge play-ed on the
screen Francine Larnmore and Charley
Cherry have the leading roles in the excellent
footlight production. „ . ■ a

•Mr yoii Were" with Irene Bordoni and
Dick Bernard. A delightful musical show in
which Miss Bordoni dazzles as the various

sirens of history. Pleasant music and a pleas-
ant chorus lend effective aid. ^. â–  . , â– 

"The Purple Mask." with Leo Ditnchstein
A stirring, romantic melodrama of the days of
^,e First Consulate in France ; tense colorful
and highlv interesti^ig. One of the best eve-
ning's fntertainments of the season. Mr, Dit-
r ichs ein is dc-lightful as the royahst brigand,
the Purple Mask; Brandon Tynan is admirab e
asthe republican police agent, Bnsquet; Lily
CahUl is a charming heroine, and Boots Woos-
ter makes her bit of a peasant girl stand out

"The Sion on the Door."—K very good melo-
drama which boasts many instances of the un-
expâ„¢ed-and Marjorie Rambeau in highly

emotional scenes. • , ,- -i t .„„ A

"Look iriw-s Here." with Cecil Lean A
<^ns«able musical entertainment that entertains
?,hen Mr Lean and Cleo Mayfleld hold the
center of the stage. ^ , a jj

"SmiVm- Through." with Jane Cowl. An odd^
but effective drama which purports to show
how those who have gone before >"«"-"« and
watch over our lives. Miss Cowl '^ exceed-
inglv good as a piquant Irish g"-l/nd^'=° f^
a fpirit maid whose death occurred f^fty years
before. "Smilin' Through" will evoke your
smiles and tears. .

"The Ouija Board."— Crane Wilbur s thriUei
built around spiritism. Real spooks >nvade a
fake seance, solve a murder mystery and pro-
vide plenty of surprises. Guaranteed to keep
you on edge. Excellent cast includes George
Gaul, Howard Lang and Edward EUis.

"My Golden GirU'-h passable musical en-
tertainment with a score by Victor Herbert^
A chorus girl, Jeannette Dietrich, scores the

'^4^{;,^^K pleasant bucolic , entertain-
ment based upon Joseph C. Litjcoln'.s familiar
Cape Cod stories. Harry Beresford is featured
in a gentle, whimsical characterization. .

' 'Mamma- s Affair "-Rzchel Butler's admir-
ably written comedy-a study of that deadly
human species, the hypochondriac who fancies
herself suffering from all sorts of i "s- Done
with distinction and fine discernment. Ida 5t.
Leon scores and important members of the
cast are • Effie Shannon, Robert Edeson, Kath-
erine Kaelred and George Le Guerre.

"The Little lVhoPfer."—Uvt\y and amusing
musical comedy with tuneful score by Rudolf
Friml. Vivienne Segal P'easantly heads the
cast which also numbers Harry C Browne,
who does excellent work, Mildred Richardson
and W. J. Ferguson. . . â–  ui ,

"IVcdding Bells:'-K bright and highly
amusing comedy by Salisbury Field. Admir-
ably written and charmingly played by Mar-
garet Lawrence and Wallace Eddinger. One
of the things you should see. . , â–  u

"Al>hrodite"-H\gh\y colored and lavish
presentation of a drama based upon Pierre
Louys' exotic novel of. ancient Alexandria
Superbly staged adaptation of the play that
caused a sensation in Pans. Dorothy Dalton,
the screen star, returns to the stage in the prin-
cipal r61e of the Galilean courtesan Chrysis
and scores. McKay Morns is admirable m the

^'^^I^Msof im"-G. M. (Broncho
Billy) Anderson's girl revue. Lively, speedy
musical show with a large measure of vulgar-
ity, but many pretty girls.

'"The Roval l'agabond."~A Cohanized opera
comique in every sense of the words. A tune-
ful operetta plus Cohan speed, pep and brash
American humor.

Lcnv's N y. and Loew's American Roof.—
Photoplays; first runs. Daily program

Locu-s Metropolitan. Brooi/y/i. - Feature
photoplays and vaudeville.

Ca/>i/o/.— Photoplay features plus a de luxe

''"4""-E"e''ruxe"photoplays with full sym-

changes everv week. „ ;

Strand. - Select first-run photoplays. Pro-
gram changes every week.

(Six)

i

.^

>1ELENE CHADWICK - CLARA WILLIAMS .- LOUISE FAZENDA - RUTH ROLAND - RUTH STONEHOUSE ' MAY ALLISON

In "The Wonder Book for Writers," which wc will send to you ABSOLUTELY FREE, these famous Movie
Stars point out the easiest way to turn your ideas into stories and photoplays and become a successful writer.

Millions of People Can Write
Stories and Photoplays and

Dorit Know It/

THIS is the startling assertion recently
made by one of the highest paid writers
in the world. Is his astonishing statement
true? Canit be possible there are countless
thousands of people yearning to write, who
really can and simply haven't found it out?
Well, come to think of it, most anybody can tell
a story. Why can't most anybody write a story?
Why is writing supposed to be a rare gift that
few possess? Isn't this only another of the
Mistaken Ideas the past has handed down to
us? Yesterday nobody dreamed man could fly.
To-day he dives like a swallow ten thousand
feet above the earth and laughs down at the

LETTERS LIKE THIS
ARE POURING IN!

"I wouldn't take a million dol-
iHi for It.-'— MABY WATSON.
Fairmont, W. Va.

"It is worth Us weight In
fold,'*— Q. MOCKWITZ, New
Castle, Wabh.

"Erery obstacle that menaces
â– uccesB can be mastered through
this simple but thorough
■yatem "— M R S. OLIVE
MICHAUX. CuABLE&oi. Pa.

"It contains a gold mine of
Tiluable Buggestlons." — LENA
BAILEY, Mt. Vernon, III.

"Icanonlyaay that I am amazed
that it 19 possible to set forth
the principles of short story and
photoplay writing in such a clear,
concise m a n n e r," — GORDON
MATHEWS. MONTEHAL. CaN.

"I received your Trying System
â– oine time ago. It Is the most
remarkable thing I have ever
leen. Mr. Irving certainly has
made story and play writing
amazingly simple and easy."—
ALFRED HOBTO. Niagara
Falls. N. Y.

"Of all the compositions I have
read un this subject. I find yours
the most helpFut to aspiring
authors." — HAZEL SIMPSON
NATLOB, Literakt Editoe,
Motion PrcTutiE Magazine.

"With this volume before him,
the veriest novice should be able
to build stories or photoplays that
will find a ready market. The
best treatise of Its kind I have
encountered In 2 4 years of news-
paper and literary work." —
H. PIERCE WELLER. Man-
aging Editob. Tbh Bing-
HAMTnN Press.

"When I first saw your ad I
was worltlng in a shop for $30 a
week. Always having worked
with my hands, I doubted my
ability to make money with my
brain. So tt was with much skep-
ticlsm that I sent for your Easy
Method of Writing. When the
System arrived. I carefully stud-
led It evenings after work. Within
â–  month I "had completed two
plays, one of which sold for JS'OO,
the other for $450. I unhesitat-
ingly say that I owe It all to the
Irrlng System."— HELEN KIN-
DON, Atlantic Citt. N. J.

tiny , mortal atoms
of his fellow-men
below! So Yester-
day's " impossibilr
ity " is a reality to-
day.

"The time will
come," writes the au-
thority quoted above,
"when millions of
people will be writ-
ers— there will be
countless thousands
of playwrights,
novelists, scenario,
magazine and news-
paper \vr iters — they
are coming, coming
— a whole new world
of them !'* And do
you know what these
writers- to-be are
doing now? Why,
they are the men —
armies of them —
young and old, now
doing mere clerical
work, in offices,
keeping books, sell-
ing merchandise, or
even driving trucks,
running elevators,
street cars, waiting
on tables, working
at barber chairs,
following the plow,
or teaching schools
in the rural dis-
tricts: and women,
young and old. by
scores, now pound-
ing typewriters, or
standing behind

counters, or running spindles in factories, bend-
ing over sewing machines, or doing housework.
Yes — you may laugh — but these are The
Writers of Tomorrow,

For writing isn't only for geniuses as most
people think. Don't you believe the Creator
gave you a story-writing faculty just as He did
the greatest writer? Only maybe you are simply
"bluffed" by the thought that you "haven't the
gift." Many people are simply afraid to try.
Or if they do try, and their first efforts don't
satisfy, they simply give up in despair, and that
ends it. They're through. They never try
again. Yet if, by some lucky chance, they had
first learned the simple rules of writing, and
then given the imagination free rein, they might
have astonished the world!

LISTKN! A wonderful FREE book has recently been
written on this very subject — a book that tells all
J about the Irving- System — a Startling New Easy
Method of Writing Stories and Photoplays. _ This
amazing book, called "The Wonder Book for IVriters,"
shows how easily stories and plays .are conceived, written,
perfected, sold. How many who don't dream they can
write, suddenly find it out. How the Scenario Kings and
the Story Queens live and work. How bright men and
women, without any special experience, learn to their own
amazement that their simplest Ideas may furnish brilliant
plots for Plays and Stories. How one's own Imagination
may provide an endless gold mine of Ideas that bring
Happy Success and Handsome Cash Royalties. How new
writers get their names into print. How to tell if you
ARE a writer. How to develop your "story fancy."
weave clever word-pictures and unique, thrilling, realistic
plots. How your friends may be your worst judges. How
to avoid discouragement and the pitfalls of Failure.
How to WlNf

This surprising book is ABSOLUTELY FREE. No
charge. No obligation. YOUR copv is waiting foi* you.
Write for it AOIt'. GET IT. ITS YOURS. Then
you can pour your whole soul into this magic new

BUT two things are essential in order to enchantment that has come into your hic^story and
1 „.:♦.. Tr;..^f *_ ia-i.-« tUa t'^'^y u-nting. The lure of it, the love of it, the luxury

become a writer. First, to learn the 'of it will fill your wasted hours and dull moments with
ordinary principles of writing. Second, to profit and pleasure. You will have this noble, absorbing,
learn to exercise your faculty of Thinking. By money-making new profession! And all in your Sparc

exercising a thmg you develop it, Your Imagi- ^^ ;T^'r)^"^^'l,j:^-'^l^'yit b.'^iS?

nation is something like your right arm. Iha Who says you can't turn your Thoughts Into cash! Who

more you use it the stronger it gets. The prin- says you can't m.Tke your dreams come true! Nobody

rinlpc nf ivrltlno- arp no mnrp rnmnlpv than the Unows— BUT THE BOOK I! ILL TELL ) OU.

ciples ot writing are no more complex tnan ine g^ ^i^^ ^^^,^ ^^^ ^^^^ ^.^^ wondering, dreaming,

principles of spelling, arithmetic, or any other waiting? Simply fill out the coupon below— you're not

simple thing that anybody knows. Writers learn BUYING anything, you're getting it ABSOLUTELY

tn r,;,.ro tnarthpr :> ctnrv as pasilv a<; a child 'iets FREE. A book that may prove the Book of \ our
to piece together a story as easily as a cnua sets Destiny. A Magic Book through which men and women,
up a miniature house with his toy blocks. _ It is young and old, may learn to turn their spare hours

amazingly easy after the mind grasps the simple into cash ! ., ^ ,

•'\^T,.^r„ hAtx, " 'a littl*. ctiirlv a littlpnatipnrp a little *^^^ y°^^ letter in the mail before you sleep to-nieht.

know how. A llttie Stuay, a lltt e patience a lltlie ,^^^ knows— it may mean for you the Dawn of a New

confidence, and the thing that looks hard often To-morrow! Just address The Authors' Press, Dept. 186,

turns out to be juit as easy as it seemed difficult. Auburn, New York.

Thousands of people imagine they need a fine ^^^^. T^ 1 I *l'^l ^1 '

education in order to write. Nothing is farther / i^^mc* f^/^/^lT' F^ %■£ T* X^
from the truth. Many of the greatest writers ,££i.J[^ ^3^J^Jx^ X. |\ L) L^

were the poorest scholars. People rarely learn ^

to write at schools. They may get the principles

there, but they really learn to write from the

great, wide, open, boundless Book of Humanity ! ^^Kg^^'^i

Yes, seething all around you, every day, every HlBlBUHittHI^HJIHiB Al

hour, every minute, in the whirling vortex — the ;HBA f n^^^^^TpSP^BBri

flotsam and jetsam of Life — even in your own BaBH^^^Ui^M^ p ^/ ^ fidiiB ^ki\

home, at work or play, are endless incidents for

stories and plays — a wealth of material, a world

of things happening. Every one of these has the

seed of a story or play in it. Think! If you

went to a fire, or saw an accident, you could

come home and tell the folks all about it. Un- ■»■■■■■■■■■■««■■■■■■■-■■■■■■■■■

consciously you would describe it all very realis- J .pjjj. AUTHORS' PRESS. Dept. 186, Auburn, N. Y.

ticallv. And if somebody stood by and wrote | „„„„ „,,, ,„ . „ ._

rlrvivn Pvn.-tK- what- vnii' said von mii^ht be I Send me ABSOLUTELY FREE "The Wonder Book

down exaaiv What \ou said you mignt Oe \ f„ iv,^,^,,: This does not obligate me in any -way.

amazed to find your story would sound just as J

interesting as many you've read in magazines or | Name

seen on the screen. Now, vou will naturallv say, i

.iiirtf.riir.. • -' 1 ■.' I Address

Well, if Writing is as simple as you say it is. J
why can't / learn to write?" IVho says you can'tT i City and State

^^^^iIers

(Seven)

Oh, You Skinny!

Why stay thin as a rail? You
don't have to! And you don't
liavo to go through life with a
cl*cst tliat the tailor gives you;
with arms of childish strength;
^vith legs you can hardly stand
on. And what about that
stomach that flinches every
time you try a square meal?
Arc you a pill-fceder?

Do "you expect Health and Strength
in tabloid form — through pills,
potions and other exploited piiTle?

You can't do it; it can't be done.

The i tily way to hr well is to build
up ynur lin.ly — all (>f it. through na-
ture's methods — not hy pampering the
stomach. It is not falc that is makinu
you a failure: it's that poor emaciated
hmly of yours; your halt sickness shows
plain in vour face and the world loves
luaUhv people. So be HEALTHY—
STRliXG— VITAL. That's living.
Don't think too long; send three 2c
stamps t'l cover mailing expenses i>i my
book "Promotion and Conservation
of Health, Strength and Mental
STRONG FORT Energy." written by the strongest
Th« Perttct Man phvsical instructor in the world.

LIONEL STRONGFORT

../ tlcalll, Instruc

1377 StronKfort Institute

NEWARK. N. J.

\ ^1 Made to your measure,

\ \/ payable after received

jPcrfect iU. fineeoodaand tailoring.

'JO saving, aU guar-antt'ed ornopay.

amples Fr««. Every m.T,n wanting to

0^3 wtli ami save mont.y should write

I onro for our beaatiful frio book of

rdoth earn[)k-3 Bad correct faehiona, explain-
ing cvtirythinif. Write Ic-tter or postal.
ist sav "dcid me yonr Bamplee" and get
t-rythin^t hv retuminail free. Important
!o Vi rv m-in. Wrilo today euro.
PARK TAILORING COMPANY
Derjl 227 Chicago, ILL

«<

OPPORTUNITY MARKET

STAMMERING

Ifs CaMse aj\d Gire "

ho .jiilPkU- nirtd If you stamm.-r Send 10 cents

-tiimi.ii, for 2$S paEe clolh Ixiund book on Stam-

rA Suitti-rlriB. It l"-ll8 bow I cund "iv'*'-''' af'''''

- 11." an.l StmtHrlTi-' fnr 20 ycnrs. BENJAMIN N.

. BOr.UE. 3050 Boouo Bultdlne. Indlanapolli, Indiana.

Bowlegged Men

Your legs will appear straight
when you wear

Straightleg Garters

Rcmarkal'to 1 nt en Uon—Combl nation hce»-
flULportir and pant-In StxaiBiitfner--
Quickly adjuited to fit varloui dcoreet of
bowleg! : as *aj<y to i>ut on and o-mfort-
Bhlr ir. wi'.ir ii.t uoy ortUnary gartvr — ^no
harnni or padded formi: jwsl an InitenlouB
Fif'ial KWi*T t<T liowUii«c<l mm— improie*
nil-, ur.iiii" wtmilertully. HiAvli-BKed men
'T' ni*li)Tit ar>' wearing thorn: vnlhtislasUc
Write Tor free booklet, mailed In plala

^c

S-L GARTER CO.

CWATruetCo.BldK.. DAYTON. OHIO

ART

WHY NOT no Oil- PAINTING AT HOME? Write
ior inatruetlori Liindsenpe. Annnit, Sketching and other
arts. Ben. H. Griep, S09 Oak St., Carthage, Mo.

AGENTS WANTED

^IKXICAN DI.VMONDS tlash like genuine, fool experts,
siand tests, yet sell for l/50th the price. Few live
agents wanted to sell from handsome sample case. Big
iToflts. pleasant work. Write today. Mexican Dia-
mond Imptg. Co.. Box CA, Las Cruees. N. Mex.

COINS AND STAMPS

"OLtD MONKY WANTED." ^i to $S00 each paid for
hundreds of coins dated before 18y5. Keep all old
money. Send 10c for new illustratci coin value book,
size '1x6. You may have coins worfi large premium*.
C.et posted. Clarke Coin Co., Box 155, Le Boy, N. Y.

FILMS DEVELOPED

MAII.. IS 20c with any size film for development and
six velvet prints. Or .send six negatives any size and
•JOc for six prints. Or send 40c lor one S x 10 mounted
fiilargement. Prompt, perfect service. Roanoke Photo
I'^inishing Co. 1207 Bell Ave.. Roanoke. Va. '

HELP WANTED

'RAn.WAY TK-AFFIC INSPKCTORS earn from $110
to f-'OO per month and expenses. Travel if desired.
Unlimited advancement. No age limit. We train you.
Positions furnished under guarantee. Write for book-
let CjM-6 4. Standard Business Training Institute,
Buffalo. N. Y."

r. S. GOVERNMENT WANTS hundreds men — women
over IT. Permanent positions. SlOO to 5200 month.
Paid vacations. Common education sufficient. List
positions open — free. Write immediately. Franklin
Institute, Dept. A77. Rochester, N. Y.

DETECTIVES AND INVESTIGATORS make bifi

money Be one. We show you how by home study.
Write American School of Criminology. Dept. C, De-
troit. Mich.

HELP WANTED— MALE

THE WAY TO GET A GOVERNMENT JOB is through
the Washington Civil Service School. We prepare you
and you get a position or we guarantee to refund your
money. Write to Earl Hopkins, president. Washington,
D C for book RJ 20S8 telling about government posi-
tions with lifetime employment, short hours, sure pay,
regular vacations.

DETECTIVES EARN big money. Great demand every-
where Excellent opportunity. Travel. Experience
unnecessary. We train you. Particulars free. Write.
American Detective System, IS

; Broadway, New York.

JEWELRY, ETC.

CASH FOR OLD FALSE TEETH— We pay ?1.00 to
S35.0O per set (broken or not). Also buy discarded gold
jewelry gold crowns, bridges, platinum, diamonds,
watches and silver. Send now. Cash by return mall
Packages held 5 to 10 days for sender's approval of
our offer. U. S. Smelting Works. Dept. 40. Chicago.

III.

MAIL ORDER BUSINESS

S30 a week Evenings. I made It with a small Mail
Order Business. Started with $3. Free Booklet 2c
postage tells how or send 25c for Sample and Plan.
Alpc Scott. Cohoes. N. Y.

MISCELLANEOUS

MOTION PICTURE BUSINESS

PATENTS

PATENTS. Write for Free Illustrated Guide Book.
Send model or sketch for free opinion of its patentable
nature. Highest References. Prompt Attention. Rea-
sonable Terms. Victor J. Evans & Co.. 621 Ninth,
Washington, D. C.

YOU WRITE WORDS FOR A SONG— We write the
music, publish, and secure a copyright. Submit Poems
on any subject. The Metropolitan Studios. 914 S.
Michigan Avenue. Dept. 141. Chicago. Ill-

WRITE THE WORDS FOB A SONG. We revise
poems write music and guarantee to seeure publica-
tion Submit poema on any subject. Broadway
Studios. 107M. Fitzgerald .Bldg.. New York.

S-ilOO PROIIT NIGHTLY. Small capital starts you.
outfits sold on installments. No experience needed
our machines are used and endorsed by Government
InBtitutlons. Catalog free. Atlas Moving Picture Co..
A2G Morton Bldg.. Chicago.

NEWS CORRESPONDENCE

EARN K25 WEEKLY, spare time, writing ^o^ news-
papers, magazines. Experience unnecessary; detalli
free Presd Syndicate, 560. St. Louis, Mo.

PHOTOPLAYS

Exchange Pints for SS. Photoplay ideas accepted any
form; revised, typed, published, copyrighted, sold.
Advice free. Universal Scenario Corporation. Western
Mutual Life Bldg., Los Angeles.

WRITERS! Have you a song-'poem. story, photoplay
to sell? Submit MSS. now. Music Sales Co.. 42. St.
L.ouis.

SALESMEN WANTED

Ln'E S.'VLESMEN WANTED. We are located in the
heart of the great Oil Field of North Texas and recom-
mend only the best companies. We furnish bank refer-
ence and pay our salesmen well. Harwell Brokerage
Company. Central Stock Exhange Bldg., Wichita
Falls, Texas.

SHORT STORIES

STORIES AND PHOTOPLAY IDEAS WANTED by 48

companies; big pay. Details Iree to beginners. Pro-
ducers' League, 441, St. Louis, Mo.

FREE TO WRITERS — A wonderful little book of
money-making hints, suggestions, ideas; the ABC
of successful story and movie play writing. Absolutely
Free. Just address Authors' Press. Dept. 14, Auburn. N.Y.

STORIES, POEMS. PLAYS. ETC., are wanted for
publication. Good ideas bring big money. Submit
MSS. or write Literary Bureau, 134. Hannibal, Mo.

EARN $25 WEEKLY', spare time, writing for news-
papers, magazines. Experience unnecessary; details
free. Press Syndicate. 5fi0 St. Louis, Mo.

SONG POEMS

SONG POEMS NEEDED — Good cash prices. No publi-
cation fee. Write on any subject and send poem to
U3 immediately. Jackson Publ. Co., 6242 B South Park
Ave., Chicago. III.

WRITE THE WORDS FOR A SONG. Any subject. Wo
write the music and guarantee free publication. Bub-
mlt words today. Chicago Music Studios, Dept. 204,
725 N. Western. Chicago.

YOr WRITE THE WORDS FOR A SONG, We'll
compose the music free and publish same. Send sons
poem today. A. F. Lenox Co.. 271 West 12oth St.,
New York.

WRITE THE WORDS FOR A SONG. We revlso
poema write music and guarantee to secure publica-
tion Submit poems on any subject. Broadway Studios,
107H. Fitzgerald Bldg.. New York^

YOU WRITE WORDS FOB A SONG. We write the
music, publish and secure a copyright. Submit poems
on any subject. The Metropolitan Studios, 914 So.
Michigan Avenue. Room 104. Chicago, 111.

WRITE THE WORDS FOR A SONG. We write mueic
and guarantee publisher's acceptance on a royalty
basis Mr. Leo Friedman. THE COMPOSER TO THE
AMERICAN PEOPLE, is our leading composer. Among
his well-known hits are such songs as "Meet Me To-
night in Dreamland" and "When I Dream of Old
Erin." Submit poems on patriotism, love or any sub-
ject. Chester Music Company, Dept. 324, 920 South
Michigan Ave.. Chicago. III.

WHITE THE WORDS FOR A SONG. We revise poema,
compose music for them and guarantee to secure pub-
lication on royalty basis by New York music publisher.
Our Chief Composer is a .-^ong-wrlter of national repu-
tation and has written many big song-hits. Submit
poems on any subject. Broadway Studios, 107A Fitz-
gerald Bldg.. New York.

SONG WRITERS

WRITE THE WORDS FOR A SONG. We write the
muBic and guarantee publisher's acceptance. Submit
poems on patriotism, love or any subject. Chester
Music Co.. 920 S. Michigan Ave., Room 18B, Chicago.

YOr WRITE ^TIE WORDS FOR A SONG. We will
write the music, publish ajid secure copyright. Ed-
ouard Hesselberg. our chief composer, has to his credit
the great hit "If I Were a. Rose." and other famous
songs. Submit poems on any subject. Send for our
Song Wrltfr's Guide and submit poems at once. Met-
ropolitan Studios, 914 South Michigan Ave.. Dept. 142,
Chicago, Illinois. .

SONG-^VRITERS* MANTTAL AND GUIDE sent free!
Cont.alns valuable Instructions and advice. Submit
song-poems for examination. We will furnish inuslc.
copyright and facilitate publication or sale. Knicker-
bocker Studios. 310 Gaiety Bldg.. New York.

VAUDEVILLE

GET ON THE STAGE. I tell you how. Send Gc post;
age for illustrated booklet "All About Vaudeville
and full particulars. LaDelle. Sta. 302. Jackson.
Mich.

(Eight)

MOTION PICTURE CLASSIC

Wearing the End

The Popularity Cnntest is nenrinp^ its end.
Everywhere tiie keenest interest is being shown
in the outcome and. judging from the increased
number of votes tiiat are poiu'ing into our of-
fices daily, the last moments seem to be the
most desired ones in which to bring this unique
contest to the grand finale. Here are the re- |
suits at the time of going to press:

Marv Pickford, 75.306; Norma Talmadge,
40,112; Pearl White, 26,558; Mme. Nazimova,
14.419; Constance Talmadge, 8,502; Eebe Dan-
iels, 4,941 ; Viola Dana, 4,617; Mary Miles Min-
ter, 4,331; Elsie Ferguson, 4,249; Theda Bara,
3,342; Lillian Gish, 3,303; Dorothy Gish, 3.157;
Ruth Roland, 3,121; Marguerite Clark, 2,714;
Anita Stewart, 2,561 ; Ethel Clayton, 2,317; May
Allison, 2,146; Olive Thomas, 2,059; Shirley
Mason, 1,917; Dorothy Dalton, 1,421; Baby
Marie Osborne, 1,342; Ann Little, 1,251; Pau-
line Frederick, 1,223; Gloria Swanson, 1,211;
Olga Petrova, 1,173; Irene Castle, 1.115; Ger-
aldine Farrar, 1.082; Alice Joyce, 1,002; Alice
Lake, 958; Marion Davies, 929; Mae Murray,
861 ; Wanda Hawley, 808 ; Alice Brady, 801 ;
Edith Johnson, 753 ; Katherine MacDonald,
729; Doris May, 720; Marie Prevost, 715;
Margarita Fisher, 660; Priscilla Dean, 638;
Vivian Martin, 571 ; Blanche Sweet, 568; Phyl-
lis Haver, 511; June Caprice, 476; Betty
Compson, 469; Madge Kennedy, 464; Jane
Novak, 460; Kathlyn Williams. 459; Clara K.
Young, 447 ; Dolores Cassinelli, 438 ; Gladys
Leslie, 434; Marie Walcamp, 426; \\'inifrcd
Wcstover, 423; Pauline Curley, 376; Juanita
Hansen, 370; Eva Novak. 355; Billie Burke,
351; Mildred Davis, 339; Corinne Griffith,
331 ; Violet Heming, 326 ; Doris Kenyon, 322 ;
Enid Bennett, 291; Marjorie Daw, 289; Mar-
guerite de La Motte, 284; Lila Lee, 277;
Dorothy Phillips, 271; Mildred Reardon, 268;
Betty Blyth--, 264; Mildred Harris, 260; Peggy
Hyland, 257 ; Bessie Love, 235 ; Mae Marsh,
232; Jean Paige, 226; Constance Binuey, 192;
Louise Glaum, 183 ; Ruth Stonehouse, 174 ;
Mary Thurnian, 169; Fannie Ward, 166; Vir-
ginia Lee Corbin, 151; Mary Garden, 144;
Louise Lovely, 143; Marguerite Marsh, 139;
Carmcl Myers, 137; Eileen Percy, 135; Cath-
erine Calvert, 83; Lina Cavalieri, 80; Grace
Cunard, 7S; Helene Chadwick, 71; Louise Fa-
zenda, 68; Kitty Gordon, 64; Mollie King, 59;
Lois Wilson, 51.

Wallace Reid, 26,705; William S. Hart,
24,869; Richard Barthelmess, 19.217; DoMglas
Fairbanks, 11.501 ; Eugene O'Brien, 7,414; Wil-
liam Farnuni, 6,227; Charles Rav, 3,959; J.
Warren Kerrigan, 3,916; Tom Mix, 3,404;
Charles Chaplin, 2,521 ; Thomas Meighan,
2,108; William Russell, 2,055; Gaston Glass,
1,986; Douglas MacLean, 1,977; William Dun-
can, 1,661; Tom Moore, 1,642; Ralph Graves,
1,564; Owen Moore, 1,550; Kenneth Harlan,
1,534; John Barrvmore, 1,520; lack Pickford,
1,509; Rodney La Rocque, 1,463; Bert Lytell,
1,430; Antonio Moreno, 1,319; Harrison Ford,
1,202; Harry Northrup, 1,167; Earle Williams,
1,014; Elliott Dexter, 982; Lloyd Hughes, 931 ;
George Walsh, 919 ; Lewis Stone, 857 ; Eddy
Polo, 772; Robert Harron, 768; Robert War-
wick, 760; Harold Lloyd, 734; Marshall Nei-
lan, 721 ; Louis Bennison, 663; Conway Tearle,
654 ; Lon Chauc\', 641 ; Tom Forman, 627 ; Ed-
die Lyons, 619; Bryant Washburn, 607; Harry
Carey, 552 ; Wesley Barry, 527 ; Monroe Salis-
bury, 468; George Fawcett, 463; Henry G.
Sell, 460; Webster Campbell, 441; Theodore
Roberts, 436; Joe Rjau, 430; Sessue Haya-
kawa, 417; Creighton Hale, 354; Monte Blue,
347; Robert Gordon, 339; Jack Holt, 337;
Emory Johnson, 33S; Percy Marmont, 329;
Lee Moran, 322; Francis X. Bushman, Z'jS;
Albert Raj-, 265; Sunshine Sammy, 260; Mil-
ton Sills, 260; Fatty Arbuckle, 241; Lew Cody,
234; Kavmond Hatton, 231; David Powell,
225; Will Rogers, 220; Thurston Hall, 189;
Mahlon Hamilton, 179; Frank Keenan, 166;
Charles Meredith, 160; Henry B. Walthall,
151; Jack Dempsey, 117; William Desmond,
112; King Baggot, 82; Nigel Bairie, 74; Lionel
Barrymore, 65; Cecil B. de Mille, 63; Harry
Depp, 61 ; Francis Ford, 61 ; Edward Earle,
60; Cullen Landis, 58; Elmo Lincoln, 54; Lou-
Tellegen, 51; Neal Hart, 47.

(Nine)

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I Nothing so quickly creates an im-
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For your skin is constantly chang-
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Perhapsyou sufFerfrom that embar-
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Every night with warm water
work up a heavy lather of Wood-
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Apply it to your face and rub it into
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Rinse with warm water, then with
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Use this treatment regularly every
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it gradually makes in your appear-
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your skin becomes under this care.

Special treatments for
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This is only one of the famous
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use the treatment for your individual
type of skin.

Woodbury's Facial Soap is sold at all
drug stores and toilet goods counters
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Get a cake today — begin your treat-
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for a month or six weeks of any treat-
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"Your treatment for one week"

Send 25 cents for a dainty miniature set of
Woodbury's skin preparations containing
your complete Woodbury treatment for one week.

You will find, first the little book-
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then a trial-size cake of Woodbury's
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of any treatment; a sample tube of
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// you live in Canada, address The
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(Ten)

MONROE SALISBURY

Photo by AUrcd Cheney Johnrton.

DOROTHY DALTON

Th. beauteous Dorothy Pulton wHo last ^nte.prove^^^^^^^^^^^^ as^good

?h"e's?«?n"ln°<{ i^^o'w^rin^at'woTk ll« ttThe Famous Playcrs-Las.y Corporat.on.

PhoM 1)> Alilie

HARRIETT HAMMOND

Mack Sennett, the Flo Ziegfeld of the screen, has no priz beauty of whom he.
18 more proiid than the blonde Harriett Hammond. Miss Hammond is an example of
such unusual pulchritude, that the chains she wears across her shoulder are entirely
unnecessary for the enslavement of her beholders

MILDRED HARRIS CHAPLIN

Mildred Harris C. ap.in 'sfas. de e.o^n, into one of .he^^^^^^^
^C^irnia,fn-d ^sTn^^'lf'Vet^oT'Xr T.". s°Hadow-p.avers.

Phntnl.y Wili-rl. I.. A.

DORIS MAY

A star over-night is the past history of Doris May, the better-half of the Douglas
MacLean-Dons May combination, which has so successfully ridden the top waves
of popularity lately Miss May is the kind of girl who makes you think, no matter
how blase you may be, that after all this old world has some things in it which are real

"Bessie, Love"

chaperon and perfect propriety were lurking
in the immediate background.

I found Bessie Love in her dressing-room,
fastening at the neck a suit cut in a girlish
fashion with a bolero jacket and a skirt suffi-
ciently tight for her to feel that it was restrain-
ing, for later, she pulled it up over her knees,
with a laughingly apologetic "You dont care?"
and sat tailor- fashion on the edge of a chaise-
longue in one corner of the room.

She had just finished making some tests of
costume and make-up for "The Old Curiosity
Shop." She came towards the door, one hand
holding in place the still unfastened blouse and
the other extended in the customary greeting.

I was surprised that she should be so small;
smaller by far than she looks to be on the
screen. Her hair is dark yellow and very fine.
You would notice her broad forehead and large,

oval-shaped eyes

BcBsie Love is tiny,
delicate and appealing
in appearance, but not
weak. She makes you
think almost irresistibly
of Riley's "An Old
Sweetheart of Mine"

the more strongly
for the slenderness
of her face from
her temples to her
.slightly rounded
chin. Her eyes
and cheeks still

All [ihotos Hoo\er Art Co.

H

i:r name is Juanita Horton. but they call her Bes-
. sie. Lo\e. just like that, as tho it were written
with a comma. Or sometimes they pronounce
it Bessie Love, as tho it were all on? word, with the
accent on the last syllable. But, ln^F-'-wcr they may
say it. they say it all. \o one ever thinks of abbre-
viating it to Bessie.

She's Bessie. Love, to her father and mother, her
aunts and uncles, and even her cousins, many of
whom she has never seen.

If her name is to be abbreviated, they will tell you,
let it be abbreviated to Love; "Miss Love" for
strangers. One fancies that the masculine stranger,
at least, must have an irresistible desire to take her
hand and say. "Little girl, let me protect you," this
in spite of capable-looking eyes that, most unmis-
takably, have .strength of character behind them,

Bessie Love is not weak. Tiny, she is, delicate and
ajipealing in ajipearance, but not weak. .She makes
you think almost irresistibly of Riley's ".\n Old
Sweetheart of Mine"; not .so much of any particular
ver.se as of the entire poem and the s|)irit of it.

You will remember "that in the beginning he spoke
of spicing the good a trifle with a little dust of harm,
and then in the end there proved not to be any harm
at all : Bessie Love reminds one of that.

You can imagine her as being slightly unconven-
tional, hut you would also feel quite certain that a

V .

(SUcteen)

By
ELIZABETH PELTRET

showed the traces of a make-up hastily re-
moved, making her look, somehow or other,
like a mischievous elf from a Maxfield
Parrish picture.

"I believe," she said, "in, as nearly as pos-
sible, absolute realism when it comes to get-
ting atmosphere for a picture. When we
were making 'The Sawdust Ring,' I spent
three weeks with a circus. The first few days
I enjoyed, but after that I grew dreadfully
tired. We were always on the go, moving
all the time, and it wasn't very pleasant to
get up and catch trains at any old hour of
the night as a regular thing.

"And it was rather funny, too. I dreaded
going, because I thought, in a vague way,
the same thing of circus people that some
from the outside seem to think of the
people of the screen. Of course, when I
mentioned this to professional friends, I
was laughed at. They explained that there
is more devotion to the family shown among
circus people than in any other class, and I
found it so. I grew to love some of the
'cooch' dancers . . . they were the dearest
girls . . .

I

Miss Love was featured
as a "Griffith find";
played opposite Bill Hart
m her second picture,
"The Aryan"; was with
Douglas Fairbanks in her
Tiext two, "The Good-Bad
Man" and "Reggie Mixes
In" — and in her fifth pic-
ture, "Sister of Six," she
became a star

"And now we are going to
London on location for the ex-
teriors of 'The Old Curiosity
Shop.' We'll probably have to
come back here for the interiors ;
I've heard that the studios in
England are impossible !"

Having spent almost her en-
tire life in Los Angeles, Bessie
Love has seen comparatively
little of the world outside the
Western city. But. unlike most professionals, she loves to
write letters, and she has carried on an extensive correspon-
dence with numerous friends, relatives, fans and exhibitors.
She did not make her first visit to New York until she was
an established star.

"But I found that I had friends, not only in New York, but
all along the way," she said.

"Of course, most of them knew me very much better than
I knew them . . . isn't it peculiar how well you grow to know
people from just seeing them on the screen?

"In connection with that, an exhibitor, visiting here, told me
ratlier an amusing thing. He said that he had been showing
Bill Hart's pictures in his theatef for so long that Bill Hart
became to him the most familiar figure in the world. And
then, several days ago, he came face to face with Bill in the
lobby of the Alexandria.

" 'Do you know, I was absolutely offended with him for a
moment because he hadn't recognized me,' said this exhibitor.
{Continued on page 86)

(Seventeen)

The Photoplay of the
Proletariat

By
HARRISON HASKINS

YoL- wh.i saw -HimuHesque" know uitli what mulcrstaiul-
i„g an.l svmi'alhv l-rank Boi/.ajje. the director, presented
the -other half 'of New York's l.hetto lencnietns. And
no doubt you wottdered just where Bor.age ohtau.ed h'.^^'"?""
lar insight into the real selves of the city s soid.d cl.tt-
dwellers.

The answer is simple. , r r ^

B rz^ge hin.self ca.ne up from poverty. One of four een
children, his father a laborer, Borzage fought h.s way to suc-
ces, gainst seemingly insurmountable odds. He worked as a
hod-carrier he labored in a mine, he was a member of a ratl-
«°.y gra^k gang, in turn. But all the time that somethtng-
that divine fire of ambition— was burnmg inside

Let us return to the beginning, «°"fg^ ^f^'her is Uhan,
his mother Swiss. He was born in Salt Lake City. At twelve,

IMi.ito U.V (.'aitipliell

mti,

■■•**V1lff*/"

necessity forced him to
leave school and become
one of the bread-win-
ners of the large and
struggling family.

The lad's first labors
centered around a build-
ing gang, for he worked
with his father. Then
he became a worker in
the Silver King mine.
.\11 the time he had one
thing in mind — he want-
ed to be an actor! Just
where he gained this idea is oiie of those
inexplainable twists of humanity.
{Continued on fagc S8)

The future of Frank
Borzage will be a matter
of distinct interest to
the world of the cinema.
"I intend to do stones
of the people." he says.
"I know the folk who
go to motion pictures
are interested most of
all in the problems, the
joys and the sorrows of
their own daily life, and
I hope to bring to the
films a reflection of all
this"

Since the beginning of all
things, the most powerful cry
of humanity has been "of the
people and for the people."
Frank Borzage believes thi»
fact to be the greatest force
in the motion picture indus-
try— and intends to devote all
his energy to genre portray-
als of the movies. Left and
below, Borzage directing
"Humoresque"

(Fighteen)

The Menace of the Movies

Bv
FREDERICK JAMES SMITH

Is a iji-eat Wall Suei't colossus rearing itself in motion pictures —
a colossus that will he blind to progress, initiative and all that is

artistic' So believes Whitman Bennett, now an independent
photoplay |)roducer, hut for years a foremost cog in that huge lilm
machine, the Famoiis I'laycrs-I.asky Corporation.

Relieving this. Mr. Bennett has withdrawn from the citadel and
cast his fortunes with the independents. His reasons form a va.stly
illuminating glimpse into the modern making of the silent: drama.

"The making of motion pictures is rapidly reaching the point
where it will be dominated by one or-
ganization, ju.st as the theatrical world
was once held in the hands of Klav\
and Erianger. Charles Frohman and
other leaders of the 'Syndicate.' As
yet this film organization constitutes
no out-and-out menace
to photoplay progress.
Remember that the ol<l
stage syndicate did not
begin to obstruct dra-
matic progress until it
absolutely controlled the
country's theaters. Then
its greed as.serted itself.
"I believe this motion
picture combine will
number the Famous
F'layers. Goldwyn and
Metro forces, I do not
place the blame on any
of the leaders of the?e
companies, such as Rich-
ard Rowland or Jesse
Lasky, whom I highly re-

I'hf.to hy White Studio

"The making of motion
pictures is rapidly reach-
mg the point where it will
be dominated by one or-
ganization, just as the
theatrical world was once
held in the hands of Klaw
and Erianger, Charles
Frohman and other lead-
ers of the 'Syndicate,' "
says Whitman Bennett
who has cast his fortunes
with the independent pro-
ducers. At the top and
bottom are scenes from
Mr. Bennett's first pro-
duction, starring Lionel
Barrymore

sjiect. Rut Wall .Street inter-
ests have been slowly seeping
in and actpiiring control.
"Wall .Street is always a
ttle slow. Remember that it
was the film [lioneers who went
out and secured the money to
bring pictures to their [iresent
'evel. They worked up the
credit and backing. Then
Wall .Street began to take no-
tice, to study the business and
to 'get in.' Right now I be-
lieve the opinion in the .Street
is that 'the motion ])icture
business is cooked and ready
to eat.'

"Wall .Street cajiital has
never been necessary. Knough
money passes thru the country's
box-offices to support the industry,
if pro|ierly handled. Kxtravagance,
mismanagement and business er-
rors, coupled with over-ambition,
have brought Wall Street into the
field. The result is that the men who fought
all these years for the best in pictures are
being crowded out. .Affiliations of and
interests of Kuhn Loeb, the Morgans and
the Duponts will control the photoplay.

"The outcome is self-evident. It is the
difference between the showman and the
speculator. Money interests are out to get
the most out of the business with an outlav
held to minimum. What does Wall .Street
care for art — for the progress of the photo-
])lay ?

"The screen, like the stage, is a segre-
gated artistic business. It has never and it
can never thrive commercialized. You can-
not take your audience behind the scenes
and let it .see the wheels working and still
be .successful.

(Continued on paije 84)

The Joyous Pagan

TiiK blonde pagan! It sounds like one of Berta Ruck's
novels or a Universal picture, but in reality it's a descrip-
tion of Josephine Hill. For that tiny person, eighteen in
years but eighty in wisdom, has evolved a philosophy and a
religion all her own. It first manifested itself to me in the tip-
tiltedness of Josephine's nose, which caught my attention im-
mediately upon our meeting.

"But it was just good luck that I had that kind of a nose!"
declared Josephine — and thereby hangs a tale — the tale of the
aforementioned philosophy.

Upon a pedestal in a corner of the room reposed a curious
carving. It was a small idol, apparently, a cross between a
Billiken and a Buddha, hewn from ivory. And when my eyes
were not engaged with Josephine's nose, they were hovering
about that strange image. She noticed it, of course, and her
mouth crinkled up into a delighted little smile.

"That," she e.N|)lained, "is Korsukan, my god of luck. Every
morning when I get up and every evening before I go to bed, I
bow before him! Isn't that funny!'" She giggled at her own
caprice — and yet, was it a caprice? As I learned more of this
strange god, I began to suspect that his solitary worshiper had
discovered a page from the Book of Wisdom.

But I had not come to discuss newborn philosophies ; rather
to unearth the life story of this, new light in the cinema
heavens. Her marriage with Jack Perrin, the Universal star,
was the talk of the day. I could scarcely believe that the tiny
girl before me was a wife.

"But now, I suppose, you bow before a greater power — the
god Husband ''" I suggested.

"Indeed. I do not!'' Her eyes widened indignantly.
"We've been married only three days, and he has left me
already !''

â–  Oh !" I began to suspect that I had said something unfor-
tunate.

"But I cant really blame him," she continued hastily. "It's
the awful company he's in!" ' There was a distinct break in
her voice. I mentally belabored myself for having ventured,
into matrimonial subjects and prayed for a return to safe
ground.

"They've sent him on location way off in the mountains !"
she finished.

I gasped with relief and hurriedly switched the conversation
back to Korsukan. the god of luck.

"Long ago, when I was a very little girl indeed," she replied
in answer to my questions, "mother used to tell me that there
was a little fairy named Korsukan, who would always help me
out of difficulties if I would only repeat his name to myself a
number of times — Kors-u-kan. Kors-u-kan — course-you-can.
Do you .see? .\nd I always found that if I said Korsukan
enough, I always could!"

"But the image itself?'' I enquired. "Where did that come
from ?"

"Oh. I had that made when I found that Korsukan came
thru every time. It was the decent thing to do, dont you
think?" She looked at me rather anxiou.sly.
I nodded gravely.

"And when it came time for me to make my own living, I
found that my little god was quite as faithful as ever. For a

long time I traveled with father
and mother on the vaudeville
circuits, doing baby roles. But
when I got big" — she flushed a
little when she saw me glance at
her feet ; they barely touched the
floor as she sat in the big rock-
ing-chair!— "I wanted to go by
myself. Mother was a little
worried by the idea. I think she
was afraid I couldn't succeed.
But I just said Korsukan over
and over and went to see Gus
Edwards. He was very nice to

Josephine Hill has a re-
markable philosophy all
her own, in which a tiny
idol, a cross between a
Billiken and a Buddha,
figures rather prominent-
ly. His name is Korsu-
kan— and when Josephine
wants anything very bad-
ly, she repeats the idol's
name several times — and
gets her wish. Try it
yourself, and see what
happens

Pholoh/Frculich, L. A.

(Twenty/

By

WILLIS GOLDBECK

nie, and when I left I had been engaged to play a
part in his famous 'School-days' tioupc! I played
« ith him for many months and finally, when Lila Lee
left to enter the movies. I took her jiart. that of
'Cuddles.' It was lots of fun." .She smiled happily
at the memory.

"Rut how did y(ni happen to enter jiictures?" I
asked.

"Oh, 1 got to thinking about it when Lila left.
.\nd when things turned out so nicely for her I felt
even more eager to try it. I felt kind of doubtful in-
side, but Korsnkan said yes.

"The first man I went to see was l^dgar Lewis. He
was looking for a leading lady for "Love and the
Law.' I determined to hit high and so I walked in
and asked for the |)art. When I saw all the other
girls who were there, I felt a little weak, but that
darned heatlien god kei)t insisting. I put up a good
argument and when the afternoon was over,' all were
eliminated but myself and one other. The only great
difference between us was the fact that her nose was
(irecian while mine was 'pug.' Mr. Liiwis couldn't
make up his mind, so he called his wife. For some
reason, she came out strong for the pug. .So you
â– iee. I won by a nose."

Mrs. Lewis was
sjieedily justified in
her choice. Josephine
outdid herself. Rut
she was still in the
l'"ast when the picture
was completed, and
California, the movie
cent e r , w as three
thousand miles away.
So she declined all
.>tifers, packed her
bag. and in two week.s
was searching for a
home in Hollywood.
.She was engaged by
Universal and for ,1
time played two-reel
Westerns o]]posite
Neal I'lirns, and later
Jack Perrin-. She
built u]) an enormous
following among the
cowboys and ranchers.
(Continued on pat/c
80)

Photos tiy

Miss Hill's recent
marriage with Jack
Perrin, the Univer-
sal star, was the
talk of the day. It
was extremely dilfir
cult for ye inter-
viewer to believe
that the tiny girl on
the chair, her feet
escaping the floor
by a space of several
inches, was a wife.
Just to the left, you
will not fail to notice
that our heroine is
a real fisherman in
every sense of the
word, tho we won-
der what sort of fish
she can hope to
catch in this exact
spot, unless it be a
mud turtle!

Left, Josephine in a somewhat
difficult situation in her most
recent Metro success, "Parlor,
Bedroom and Bath," in which,
as leadmg woman, she gives an
unusually clever characteriza-
tion

(Twenty one)

>\v^"

Pliotograph tiy Woodbury. I

Wi: were all there, Mary Pickford, ^Trs. Pick ford, Jack
Pickford and myself. Now, I thought, this will be a
fine time to interview Jack, for he is very diffident when
it comes to talking about himself and has a clever way of side-
stepping questions, but, with his mother and sister present
there would be little chance for this.

Xow, the most noticeable characteristic of this young actor
is his contagious laugh.

Beginning deep in his throat as a chuckle, it ripplingly
ascends the scale, striking each jolly tone, and I am willing to
wager that no one could i)ossibly resist its boyish merriment.
His speaking voice is unusually soft, with a little drawl sug-
gestive of the South. However, he was born far from the
Mason and Di.\on line, away up in Toronto, Canada.

Jack is the baby of the Pickford family, Mary being three
years his senior, Lottie two. He was less than a year old when
his father died, and he followed his sisters onto the stage as
soon as he could walk.

Admitting that the process of growing uj) requires some
time, there is frequently one year when the transition seems
very marked and the hoy suddenly becomes a man. Jack Pick-
ford has just ii.issed thru this kind of a year and, tho he still

At the right is a slimpse
of Jack Pickford in
"Tom Sawyer" and
across the page, in "The
Little Shepherd of King-
dom Come." Jack is
the youngest o' the
Pickfords, three years
younger than Mary. He
went on the stage as
soon as he could walk

Another

Pickford

Star

represents the spirit of eter-
nal Youth, he has taken on
the way of a man.

We who recall his splen-
did work in "Tom Sawyer,"
with its roguishness and
whimsical charm, fervently
hope this boyish quality will
ever abide with him.

"That was a great story,"
he remarked, when he spoke
of it. â–  "I became so attached
to Tom that I was down-
right sorry when it was fin-
ished. 1 think that it will be
refilmed every ten years, for
it will always delight be-
cause of its youthful expe-
riences, I only hope that the
ne)ct Tom Sawyer will enjoy
making the
picture as
much as I
did. I didn't
have a chance
for much play
of that kind
when I was a

(Twenty-luo)

By
MAUDE S. CHEATHAM

kid. so I threw myself into the work and
had all llu' fini I could to make up for
what I had missed."

jack's career in motion pictures began
at the age of twelve, n hen he trotted
aloiij.^ with sister Mary into the old Bio-
graph studio in New York and stood
around, solemn-eyed, hoping some one
would notice him. Of course, in those
days there were few roles for him, and
he hecanie general utility man of the
company, jilaying messenger and news-
boy and helping out in all the "mob"
.scenes. During his years before the
camera he has played with most of the
film luminaries. He was with Mar-
guerite Clark in her first picture, "Wild-
flower, ' and again in "Little Sister of
Jose."

He ]ilayed with
his famous sister
in "Fanchon, the
Cricket," and
cheerfully re-
m a r k e d that,
"Mary and I stage
a real rough-and-
tumble tight in
that picture, and
we didn't stop
when the camera
did, either, but

"mm

Pliotographs liy Hartsook. I.. A.

Jack's screen career began
at the age of twelve, when
Mary became a player at
old Biograph. He played
messenger and general
utility boy around the
studio in those palmy days
— and little thought of
stardom

went right on, rolling over
and over down the hill un-
til we landed in a nice
little stream. Do you re-
member that, Mecca de
Shush?" he asked, using
his own little pet name
for Mary.

"Do If" echoed Mary,
with emphasis, and sister
and brother laughed gaily at the recollection.

It was in "Little Pei)|)ina," as Miss Pickford's foster-
brother, and as her brother in "The Girl of Yesterday,"
that Jack had his first im|)ortant roles.

Then came that series of youtlrful romances in which
he and dainty Louise Huflf won all hearts as they rol-
licked thru film after film. Now he is no longer rated as Mary
Pickford's clever brother, for he has signed with the Goldwyn
Company and is being starred in the boyish sort of stories in
which he excels.

"We've just finished a corking picture, 'Little Shepherd of
Kingdom Come,' " Jack told us. "In the beginning I am a
crude mountain boy, and you know how I always like those
roles. The story covers a ])eriod of about ten years and .so
furnishes a lot of variety and contrasts, and we had some
mighty interesting scenes. Gee, I thought we would never
finish up I You wouldn't believe so many things could happen
{Continued on page 82)

(Tu:eii(ii Ihreel

The
Silken
Cotton

Photograph fay Buhraoh

I WISH that I might, with some
authoritative marshalling of
facts, give the contra-distmctivc
values of silk as silk and cotton as
cotton, the hetter to illustrate the great descriptive value of
my title. Not. however, being scientifically informed beyond
the rather general, third-grammar-grade knowledge that cot-
ton grows in the Southland and is picturesquely picked by
hand by transplanted Africans, and that silk is fearfully and
wonderfully spun by delicate and specially nurtured worms,
I must be content to r^)eat that I employ the title illustratively,
I might say symbolically, because I think of silk as something
lustrous and smooth, something resilient yet firm, exquisitely
fine, pleasing to the eye, to the touch, to the general sensibili-
ties, something with a super-elegance. And of cotton as the
firmer texture, the durability making the delicate resilience pos-
sible, the sturdiness and substantiality without which the bloom
of super-elegance is but evanescent, not really lasting nor
worth the having, a more basic quality ...

Perfectly, to my mind, does this contra.sting title describe to
me Lucy Cotton, within whose slender, equipoised person the
contrast becomes at once a blend, subtle, yet firmly knit.

Cotton and silk are conscious products. They are the results
of growth, of tending, of a planned and ordered development.

They mean somclhini/.
They are iiilendcd to mean
something. There is
thought back of them;
there is cnre ]iut into them. They
have a definite mission, a definite
fulfilment to attain, and from
them stabilities take shape and
form, and dreams are spun . . .
Lucy Cotton, if I may employ
the simile, is a conscious product.
Her rise into recognition and ac-
claim has not been mere hap-
hazard chance, brought about by
some lucky turn of the wheel, by
her pretty face, by a box of
tricks. She is the conscious
product not only of her own
careful work- and play, but also -
of her mother's hopes and plans
and the wise execution of both
of these. Lucy Cotton and her
mother have been building ever
since Lucy, very tiny, pirouetted
before a mirror in a manner that,
tho the foreca.st was long, sug-
gested to her discerning mother
an atmos-
phere of
footlights and
Cooper-Hew-
itts . . . since
there were no
Cooper-Hew-
itts, we will
ascribe that
to interview-
er's license.

To really
know and ap-
preciate Lucy
Cotton and
what she has done, is doing, hopes to do, you would have to
know Lucy Cotton's mother. You would have to talk with her
mother. H you gained nothing more — and what you didn't
gain would quite certainly be your own lack — you would come
away with a wider conception of the possibilities of mother-
hood than the one, wide enough at its least, we think of in the
everyday.

"Lucy," her mother told me, over caviar sandwiches and
coffee in a remote corner of the Biltmore. "is the projection of
my early thoughts and desires. I have always been interested
in the stage and, before I was married, had my own personal
aspirations in that direction, but those were the days of implicit
filial obedience and my father's mandate to the contrary was
final to me. When I married, however, I determined that if
ever I had a daughter who show-ed the slightest inclination for
dramatic work, everything possible should be done to cultivate
and to develop that tendency, and so when my three little girls
came along and Lucy, particularly, began to give little hints in
her unconscious way, I began at once a consistent preparation.
"I tried, first of all, to instil into her, into all of them, the
miracle of self-development, that which comes from within.
The balanced, poised, full expression of the individuality."

Lucy interpolated softly, "And there is nothing so wonder-
ful," she said, "as to feel yourself growing, day by day, broad-

(Twentii-four)

Lucy Cotton
was bom in
Houston,
Texas. She
came to New
York and
studied under
Theodora Ur-
sula Ervine at
Carnegie Hall.
She made her
first distinct
hit in "The
Quaker Girl"

By

FAITH SERVICE

ening, learning, fulfilling
yourself. Of course,
some day, I hope to
marry, to have children of my
own. I think every real
woman does — that is a part,
a great part of the develop-
ment of the whole. But for
the present I want just self-
e.xpression, the best that I can
give. I want to perfect in so
far as perfection is possible
this stage of me before I pass
on to the next."

Lucy's mother took up the
thread, in her grey eyes a
whimsical reminiscence, ten-
der yet not devoid of humor.
"I tried to bring them up in a
world of poetry," she said. "I
read to them a great deal —
Longfellow, all of the poets,
fairy-tales, myths and legends.
I tried to
have them
live a life
of the im'
agination,
a sort of
mental
fairyland,
seeing the
beautiful
in all
things, be-
lieving in
the beauti-
ful in all
things.
Just by
way of il-
lustration,
I recall an

Few people
know t h e m •
selves — and
Lucy is one of
the few. She
is her own
critic. She
has allowed no
outside influ-
ence to dis-
tract her from
the pathway
which she has
marked for
herself — and
she walks
upon it, paus-
ing only when
and where she
wills

a m using

little incident that occurred when all three children had the
measles. A caller came one afternoon and Lucy was left with
her alone in the drawing-room while I was momentarily called
away. When I returned I found the caller removing traces of
recent mirth. Lucy had informed her, she told me between
gasps, that the little red spots on her face and hands and other
visible portions were 'red flowers growing on me.'

"We lived in Houston. Texas, you know — Lucy was born
there — and, of course, she went to school, dancing school,
studied music, did all the usual things a little girl does do.
Later she studied for the stage under Alma McDowell,
and then, when we felt that Houston had no more to offer us
in the way of advantages for advancement, we gave up our
home there and came to New York. Here, Lucy studied under
Theodora Ursula Ervine at Carnegie Hall and then began to
have her practical experience, the stage itself." 'Most every-
body knows about Lucy Cotton and, logical consequence, 'most
everybody knows what she has done.

"One of the things I love most to do," Lucy said to me, in her
effective, delicately modulated tones, "is to give credit to every-
one who has helped me on my way. I never forget any one of
them or any one of the things they do for me. Everyone has

(Twenty-five)

been, oh, so nice. Ariadne Holmes Ed-
wards, for instance, was responsible for
my introduction to Ina Claire, which was
my first success, the opening door . . . Miss Edwards by the
way, has written, among other songs, 'God Bless You, My
Dear, sung by De Luca . . . and after that it has just been
a series, one thing after another, not just from my coming to
New York, but from the beginning— the beginning of mother's
planning and my working— and I have worked. The first night
I took Ina Claire's part in 'The Quaker Girl,' for instance so
many people asked me if I suffered very much from stage-
fright. I hadn't a vestige of it. I was prepared, you see.
That IS what training, self-development, conscious preparatioa
loes for one, for anyone. I believe it was the happiest night
of my whole life. I just felt that here, at last, I was doing the
thing I had been born to do, the thing I had worked and
planned to do. and I was glad. One isn't frightened when one
IS as happy as I was then.

"And I am happy in pictures— I have been fortunate in
being cast happily. I love to give the touch of poetry half
illusion and half fact. The atmosphere of great loves and
{Continued on page 73)

Photo liy I.umierf

The Youngest Movie
Magnate

Myron Selznick Is Just Twenty-One
By

FREDERICK JAMES SMITH

MYRON SiLZNiCK is just tweiity-one. Which makes him
\>y long ndds the youngest magnate in tlie screen world.
While Dtlier young men of his age are freshmen and
sophomores at college, with their business dehut some years
ahead, Selznick is guiding every detail of the destinies of a

big producing organi-
* zation. which, inci-

dentally, he created
himself.

Because the young
Mr. .Selznick is a son
of Lewis J. Selznick,
it is commonly as-
sumed that he is but a
juvenile figurehead
for his father. Noth-
ing could be further
from the truth.

Myron Selznick
really directs every
item of the produc-
tion of Selznick Pic-
tures. In other
words, the making of
Olive Thomas, Klaine
Hammerstein, Louise
Huff, William Faver-
sham, Eugene O'Brien
and Owen Moore
productions. ".\nd I
am going to take on
two or three more
stars this year," he
adds.

It is interesting to
note the daily routine
of the youthful My-
ron Selznick.

At 10 o'clock he
arrives by motor at
(Ci'iiliiiucd nil paqc
SO)

Because the young Myron Selz-
nick is a son of Lewis J. Selz-
nick, it is commonly assumed
that he is but a juvenile figure-
head for his father. Nothing
could be further from the truth.
Myron Selznick really directs
every item of the production of
Selznick Pictures

(Tii-eii iisLtJ

The World
and His Wife

By
FAITH SERVICE

Fictionized from the Cosmopolitan
Photoplay

TitK World and his Wife must talk.
There is no help for it. What is
more, when they have exhausted
fact, they will dip into fiction, and he
who listens may profit more or less, but
just so long as there is talk, just so
lone are there ears to receive the talk . . .
ana so it goes . . .

When Feodora became betrothed to
Don Julian of Seville, the World told his
Wife that it was a "money match.''
Don Julian is too old, the tongues
tattled, too old for the beautiful Feo-
dora. She should have a lover young as
a sickle moon, and slender, with a guitar
in his hand and songs upon his mouth.
Feodora is making a mistake. She is
not following the dictates of her maiden
heart. No good will come of it. His
Wife echoed back the World's gossip.
No good will come of it, she predicted.
She might have added, "So let us keep
on talking. Don World, and see what
ninv be seen."

As usual, the World and his Wife
were wrong. Long, long before Don
Julian told the beautiful Feodora of his
love for her she had entertained a high
and holy passion for him. The dreams
she had dreamed . . . the prayers she
had offered up . . . the beads she had
told . . . watching, many times, his
tall figure riding past the courtyard of
her home. She had never dared to
think that he would turn the eye of his
fancy upon her.

It had been a rather beautiful love,
tender, deep, or would have been if the
World and his Wife had quieted their
tongues and let the matter rest.

It began with an act of humanity
on the part of Don Julian. Don Sevillo
had been his oldest and dearest friend.
When he came to die, some few months
after the marriage of Julian and Feo-
dora, he begged Don Julian to keep an
eye on his only son, ICrnesto. "He shall

come to us." Julian promised; "you need have no fear for his
future, I give you my oath."

I'>nesto came to live at the Casa Cranda. At first he was
deep in the dregs of his sorrow for the father who had been
more than father to him. In his sorrow I'eodora ministered
to him, for his sake, but more for Don Julian's, who implored
her to give the boy her tenderness for his wound's sake. After
that she continued her talks and walks with him. her rides and
moonlight strolls, because he told her of a vast book world in
vvliieh he had mo\eil and had his being since first he could
remember anything, and Feodora. avid, but not overly in-
formed, drank in the strange atmospheres, the enchanted places
and peoples, and seemed to expand with the far-ofi' perfumes,
the vibrations of other hearts. Don Julian, watching, was, at

(Tivnity-seven)

first, content. He loved Feo- It had been a rather beau-

dora with the love that was '""'.l"":*' ^'"t"' ^".^-.u

... , , ,, would nave been, if the

content to have her have the world and his Wife had

desires of her heart. He per- quieted their tongues and

ceived that it was not Krnesto let the matter rest

to whom she listened, but the
things of which he told her.

.\nd he knew, or thought he knew, that Feodora loved him.
If. now and then, it came to him that Feodora and Frnesto
were mutually young, that their hlood beat dizzily in their
veins, while his. Don Julian's, was slowing down, hf remem-
bered, too, the vows Feodora had made him on their wedding
morn, the passion in her voice, the pulses in her lips. .Such
things do not lie. I'acts might speak, but the instinct of a

MOTION PICTLIRK

They paid him a visit, and lover should go deeper, know

watched Ernesto and more truly, sense more fully.

Feodora together jj ^^^ ^^.^^,j ^„j ^^-^ ^-^^

had maintained the dignified si-
lence they should have main-
tained, the sand of Seville might not have been streaked with
tragic blood and bruised hopes and sorrows. Don Julian
might still be — but this is going ahead of my story.

The World did begin to talk. At first in a whisjier, then,
louder and louder, until the echoes came close to the little
circle in which Don Julian and Feodora and Ernesto so peace-
fully and unharmfully moved.

The World began first in the persons of Don Severe and
his wife. Mercedes, living in a distant town. They heard of
Ernesto's presence in their brother's home, and they had very
little else to do or to think about . . . They paid him a visit,
and watched Ernesto and Feodora, deep in some legend they
had come upon together, the dark heads close bent, the fore-
finger of the girl tracing out the magic, all but indecipherable
words for the eager, dark eyes of the man.

"It is bad. Julian." Severo said, and shook his head.

"You have forgotten your youlTi. Don Julian," the Dona
Mercedes sighed ; "you are blinding your eyes and closing
your ears."

Julian shook his head imi)atiently. "You are both absurd,"
he said ; "they are bookworms, the pair of them. They take
pleasure in talking together, in poring over books, in arguin^
abstract subjects I have long since forgotten. What harm in
that, can you say?"

"The questions are abstract, my dear brother," Severo made
reply, "but those young heads . . . those warm hands, all but
touching, those soft lips lingering over enchanted .syllables . . .
ah, Julian. Julian, how you have lost sense of the call of the
blood! You ... sly one . . . who knew it, once, so
well ..."

That was the beginning.

The next day, while the pair were reading, Don Julian com-

plained of headache and
did not go for his usual
ride. It seemed to him,
then, that the tracing
forefinger of Feodora
lingered overlong on the
difficult page, until that
of Ernesto came to meet
it. When, later, they
strolled away together,
he thought their shoul-
ders touched and did not
pull away, and it hurt
him, for the first time,
that they did not insist,
demand that he accom-
pany them. He seemed
to himself, too, to be
cumbersome and un-
gainly. The slim height
of Ernesto gave him an
unaccountable pang. He
was a dotard ! Listen-
ing to the paltry sus-
picions of his brother
and his wife, who had
never had, nor ever
would, anything better
to spread than slander.
Ernesto was his father's
son, the sword blade,
cleanly kept, of honor.
And Feodora . . . why,
Feodora was . . . Don
Julian leaned back and
closed his eyes against
the piercing sweetness
of what Feodora was
to him, the vivid flower of his heart . . .

But after that Don Julian went no more to ride when the
afternoon readings took place, and when Ernesto and Feodora
rode or walked he did not wave them jovial farewell, but
watched them, thru wistful, half shut eyes. - They wore their
mantles of innocence securely or shame would have made them
see the pain his heart was nurturing.

The riper beginning came when Don Alvarez, a supposed
friend of the three, remarked to Don Julian one afternoon at
their club that he had seen Ernesto and Feodora riding in the
morning. "These young people," he said, with a sneer, "ride
solitary paths, it seems to me, and linger overlong, Don Julian,
for friends on literary pilgrimages bent."

It may have been the way he felt, but on the way home it
seemed to Don Julian that Ernesto was no longer his young
friend, his father's son and their good comrade, but the venom-
ous enemy that lay ready to snatch from him the flower of his
heart. Youth spoke to him with its many beguiling tongues.
He had been a blind fool . . . solitary paths . . . dalliance
. . . what flowers had they picked, those twain, on what
sequestered paths . . . who knew ?

When he had reached the house his rage and fear and roused
suspicion had all but consumed him. It was not tempered by
sight of Ernesto playing a guitar, lazily, while Feodora lay at
full length in a hammock and hummed a low, accompanying
tune. They loved, he told himself, insanely; they loved, the
young two of them, and he, Julian, was left outside, barred
away from them, alone and cold . . . With his temples ham-
mering and his tongue twice its habitual size, he told Ernesto
that he was a wife robber, a snake in the grass, a knife in the
back, a menace, a curse. "I give you my trust,' he snarled,
beside himself at sight of the bewildered young faces; "I give
you my trust, a sacred thing between man and man, and that
is not enough for you . . . you take my wife, too. Steal her —
thief! Low-down, damnable thief !"

"Julian !" Feodora's voice was anguished, shocked, too,
incredulous, but Julian did not, would not hear that . . .

(Tu-enty-eiffht)

k

Ydii lie, Don Julian," ICrnesto said, "and I think you know
it. I think von zcill know it when those red mists of other
tonjjues ha\e passed away. Von were my father's friend.
^'on have been, until this hour, my {,'ood friend. You are an
iilder man. The least and the most I can do for you, Don
Julian, is to leave this country."

If the wagginj; timjiue of the World had jjiven Ernesto time
to make jjood liis departure, the ensuing' events would be em-
bryonic haiipeninys, but one of the essentials of tongue-wag-
i,'ing is the amazing inojiportuneness with which it 0])erates.
iunesto was dining alone at his club. Like most keenly sen-
sitive, imaginative persons, he was suffering, not so much at
ihougln of separation from I'eodora as at the injustice dealt
him by his life-long friend. Far, so far that no malice could
be imputed, beneath all other thoughts, Feodora's darkly lovely
face kept recurring U> him as it had never recurred to him
before. A melancholy seeped thru him and his eyes burned
with unshed tears. It was strange to him, the whole of it.
I'eodora . . . why, it was ab.surd. And yet, these recurrences
of her image . . . the t(jnes of her voice . . . the sudden and
somehow stinging mem-
ory of her ineffably ten-
der palm laid on his
arm . . . memories . . .
how infinitely are they
more potent to disturb
than facts ! ]'"or memo-
ries are numbered not
among the <|uick, but
among the dead . . .
who. being dead, still
live . . .

"The melancholy lover
broods alone." At first
l-"rnesto did not hear the
mocking voice nor so
much as sense the fact
that Don Alvarez was
addressing himself to
him. A little later, and
with infinite implication,
it was repeated. "The
melancholy lover broods
alone . . . "'

The blood pounded in
Frnesto's head. Don
Julian was one matter
... he had housed him
and fed him and his
suspicions were not
without their basis in a
jiossible suffering. But
Don Alvarez, knowing
nothing, caring less,
spattering his noisome
mud on the spotless
robes of Feodora . . .
the image of her face
shone brightly before
him, and he did not
know what he had done
when he had knocked
Don Alvarez down and
challenged him to a duel.
The duel would be a
fatal one to Ernesto.
The solitary scholar and
])oet had no more chance
than a wisp of straw be-
fore the adroitness, the
skilled professionalism
of Don Alvarez. It
would have been laugh-
able had not the matters
of life and death been

the stakes. "It is sheer murder," said friends of Ernesto.
And even the followers of Alvarez showed their teeth and
shook their heads, and some made the sign of the cross. "He
was full of promise," they said of Ernesto.

The red mists may have cleared away, or Julian may have
realized that the impending duel meant that Ernesto was de-
fending the honor of his home, or it may have been merely a
strong man's sense of the necessity of fair play. The motives
that actuate the great deeds of man and men are obscurely
conceived. Julian gave no motive for deliberately insulting
Don Alvarez and thus taking Ernesto's place in the duel.

To F'eodora the two days
seemed to be a mist, a sea of
blood thru which she, unwitting
cause, walked sickishly, dizzily.
This duel between Don Julian
and Don Alvarez could prove to
watching Seville but one thing —
a fundament of truth in the talk
about her friendship for Ernesto.

The motive! that actuate
the great deeds of man
and men are obscurely
conceived. Julian gave
no motive for deliberately
insulting Don Alvarez and
thus taking Ernesto's
place in the duel

(Ttijenty-miic)

MOTION PICTURE

If he could only go, take his far tri|) before the duel. If, after
the affair were settled, Ernesto were gone, the gape might soon
be healed, things might then go on as tho this storm had never
been. I'eople would forget, with the spur to their remembering
gone, tione . . . the word hit, unawares, on her consciousness
anil stayed there, and chilled her . . . She shook it off. Shi;
had become used to Ernesto, to their talks and walks, to his
way of doing things, to the worlds he had opened up for her
mental and imaginative exjiloration. And still, gone . . .

If she could only see him. beg him to flee the place, leave it
all as it had been . . .

There was no other motive in her seeking him out in his
rooms and making her plea. "For all of us," she said. His
somber eyes had somehow warned her against the more ])er-
sonal "for me." There were plans to make . . . and they had
had, always, so much to say to one another. There had prob-
ably, they had often remarked, never been two persons with
so great a mental fund, the one for the other. When they
were together, time fled by them, noiselessly, unheeded. It
was so on this day. They had been sitting in separate corners
of the room. Ernesto was telling of what his new life would
probably be in South America, the readjustments he would

have to make, the way in which he would make them. He
spoke of the severance of ties, the tug at the heart because of
the association of places and people. There had been nothing
said of the Thee and Me. Into this scene Don Julian was car-
ried, all but mortally wounded. Don Alvarez was dead.

There was a horrible scene enacted in the dim room, the first
shades of night dropping down on the colorful city without,
the hush of night stealing on, the three white-faced, hurt people
in the laden room.

Julian had seen with his own eyes. He needed, he said, no
further jiroof than this. Feodora, in Ernesto's rooms. Lovers
. . . while he. her husband, had been defending the honor of
the twain of them with his own life. It was a grim jest, he
said. It came of a man with the flush of youth gone playing
the fool of love. The velvet fingers of the heart were power-
ful to strangulation. He had waited all this time to gather
the vivid flower that was piercing him to death with hidden
thorns. The bitterness of his pain and hurt poured otit upon
them in a venomous flood that could not be abated. Feodora
knelt by him and wept over him and bathed his wounds with
her tenderest ministrations. Ernesto forgot the ])ride of his
manhood and outrage and pleaded with him. The World and

his Wife had talked over-
well. The seed of sus-
picion had grown until
its fungous growth had
conquered the man.

In the morning Er-
nesto came, for the last
time, to the Casa. Don
Julian was unable to see
him and he asked for
Feodora.

"There is only one
thing for me to do, Feo-
dora," he told her. "and
that is to end the miser-
able life that has been
the cause of the tur-
moil— my own."

Feodora cried out,
"What good could that
dor li wo VI Id cause
more heart-break ! It
would be an open admis-
sion of something so
dreadful you had to die
to cover it. Oh, Ernes-
to, I pray you, do not
think of such a thing!
The sunlight will come
into this again, will come
to us again. Julian

will "

What Julian willed
was never known. There
was a mad rush, as of
some infuriated animal
on the stairs, and Don
Julian, red with his
wounds and his rage,
was upon them. The
devastating names he
called them, the anath-
ema he hurled was but

There was a mad rush as
of some infuriated ani-
mal on the stairs, and Don
Julian, red with his
wounds and his rage, was
upon them. The devas-
tating names he called
them and the anathema
he hurled was but half
heard

(Thirty)

I

CLASSIC

lijilf hc-rnd. 'I'lie liloud lie h;ul
uiitra,i!<-'<l I'lmked his tliroat atul
wilhiii an liuiir at'lcr llie scene
lie was (lead.

An liuiir later --till Onn Se-
vere and llie wditliy Ddi'ia Mer-
cedes had tinned the (iffendinj;
]iair out upon the streets.

"Yon are murderers." they
(Uiiounced them, "and <>( what
hesi<ies ue will spare you the
details. Let us .see no more of
you ill my poor hrother's liomc.

".(■•'roni the beginning," tluy
added, with a \enom that in-
creased and ),'aiiicd in momen-
tum as it went alonjj. "from the
hefiinning of his mad, his idiotic
infatuation f(jr you. Dona I'eo-
dora, he was a lost sold, a s;oue
man. We said anionj; ourselves
llie day lie married you that he
was eudinj; his life as a man.
We knew that it is folly for n
strong man .such as he to give
the greatness of him.self to a
girl with notliing but dreaming,
the folly of dreaming in her eyes
and entanglement in her hair.
N'ou were not a meet mate f(n-
^nch as he, who had arrived at
the ri])e time of life when love
had ceased to be a toy and had
become (he sum and substance
of his daily life.

"You were a cheat to him.
^'ou were a snare and a delu-
sion. The first youth to come
along with jnetty words and
nimble feet you fell for. as the
\oung pale grass is mowed by
the tirst slender sickle. We use
the language your poet lover
ii.sed. .\nd from the day he
<anie. my brother's death was
set. We .said it among our-
selves. You used his love of
you to blindfold him. ^'ou
laughed into his eyes, but you
siihhcil against the breast of Im-
nesto — and sobs are more potent
than laughter ..."

"It ... all this is not so . . ."

"Be still, popinjay! It is so.
It is so much so that my broth-
er's body lies chilling in that
darkened room and outside
this door is summer and sun-
light— moonlight presently —
and you — you and your
lover are going forth to meet
it. Just this much it is so.
and what is more .so? Tell
me that. Out with you, out
u|)on you . . . the infa-
mous, cruel pair of you . . .
an<l may love smite your
hearts even as you have used
it to smite his !"

The long hours of the
night l'"eodora and Krnesto
spent in wandering over the
countryside, talking in
strained, hushed tones of the
conspiracies of fate and

(Thirty-one)

THE WORLD AND HIS WIFE

Fictionized from the scenario of Frances Marion, adapted
from the screen \ersion of the original by Charles Freder-
ick Nirdhnger, founded on the dramatic verse by Jose Esche-
^aroy. Prodnced by Cosmopolitan Productions, for release
thru Famous Players-Lasky. Directed by Robert G. Vignola.
The cast ;

Keodora Alma Rubens

Don Julian Montagu Love

Don Severo Pedro de Cordoba

Don Alvarez Charles Gerard

Ernesto Gaston Glass

Captain Townshend Byron Russell

Don Julian's Friend Peter Barbier

Don Alvarez' Friends \ ^/.^^°" 'tt"'^T

t Vincent Macchia

Ernesto's Father James Savold

Mercedes Margaret Dale

Old Nurse Mrs. Allan Walker

Ernesto's Mother Ray Allen

The world awoke and with the
awakening of the world came
an awakening in their hearts,
triumphant over Death, tri-
umphant over Life — Victorious !

love, of hate and injustice,
of talk and jealousy.

The day was waking, pale-
ly. A crucifi.x halted their
long vigil. Together they
knelt there while the world
awoke, â–  and with the awak-
ening of the w'orld came an
awakening in their hearts,
triumphant over Death, over
Life — Victorious.

I'hoto I'y I.ujeaii ^ ^- *• • I

IT was Monday— indigo Monday. ^>I,_J7
I had run out of gas on the way
to the Rohn studio at Culver
City been browbeaten by a motor cop
when I tried to make up for lost time
and had been severely criticized by the
studio watchman for parking my car in
front of the gate. Therefore I wasn t in
a fitting mood to interview Beatrice La
Plante; I felt like asking the routine
questions regarding age. disposition fa-
vorite picture and leading man, and let
it go at that, grouching my way home-
ward at twenty miles an hour to avoid
further difficulties with the speed cop.

But scarcely had I entered the con-
fines of the studio when, from a long gal-
lery above, came a throaty voice that
spoke in clipped, childlike sentences and
down the staircase flashed a small figure
bundled from head to foot in a crimson
bathrobe Two amazingly large brown
eves a piquant nose and apple-red lips
were framed by a fluff of bobbed hair,
and before' I could speak, two tiny hands
had one of mine, and Beatrice was telling
me all in a breath— her English fasci-
natingly sprinkled with French cadences
and idioms— that she was so glad I had
come— would 1 come up to the dressing-
room while she did her make-up .'-MoH
dku! she was smothering m the bath-
robe—had T seen her pictures with
Hayakawa. and did I ever see such
damhot weather? . • . u.r

I followed hor up the stairs to her
dressing-room, done in grey and blue.
The indigo shade of the day had already
given way to a lighter hue. I defy any-

^•y

Beatrice
From
Paree

one to have a grouch
with Beatrice La Plante
in the vicinity.

"Sit down, do, please
— zvila!" she urged, un-
ceremoniously clearing a
chair of heai)ed-up gar-
ments with one sweep of
her arms. "Now we

"I was born in Paris in
1900, at eight o'clock in
the morning ... I do
not remember about it,
but they tell me I wai
there!" said the audacious
little Parisienne to the in-
terviewer. Gloria Swan-
son introduced her to C.
B de Mille, but "he
couldn't see her for dust,
to use her own highly
prized American slang

Jh^

Photograph by Shirley Blanc, L. A.

(Thiriji-tiio)

By

EMMA -LINDSAY SQUIER

will talk while I grease-paint the face
— n'est-ce pasf"

I said we would, and while I was
thinking what I wanted to ask first,
she forestalled me, talking with her
lips, her eyebrows, her shoulders, and
occasionally gesticulating with a stick
of "fleshing" with which she was
plastering her cheeks.

"You want to know am I French,"
she said positively. "Everyone a.sk
that. But yes, I am born in Paris, in
1900, at eight o'clock in the morning —
I do not remember about it, but they
tell me I was there !" The audacious
brown eyes dared me to dispute it.

".\nd in France I was not an ac-
tress. I was in school — and very strict
school, too. I was not naughty
Parisienne — until I came to America.
People here like to think French girl
as 'oo-la-la' kind — is it not?'

I admitted it mostly was, but Bea-
trice had plunged into her story once
more, pausing now and then in the
middle of a word to critic-
ally examine her make-up
in the mirror, or to ex-
change the grease-paint
stick for an eyebrow pencil.

"I came over to America V4 u

Photo by Witzel. L. A.

V®

rliotogr.Tph by Shirley Btanc, I- A

Miss La Plante's first real
chance came with Sessue
Hayakawa in "The Beggar
Prince" and after that she was
featured in "The Stranger."
She now has a contract with
Pathe for one-reel comedies

to be with my sister, who
married a colonel in the
.American army, but when
they left California. I de-
cided to stay and work.
English — no, I did not
sjioke it. I understood a
little, but I was afraid of
getting the ha-ha's, so I
kept still. The first word I
ever speak — you could not
print it — some taught it to
me before I knew how it
meant."

She paused, eyebrow
pencil suspended, almost
ready to quote the unprint-
able word, then she thought
better of it and began
beading her eyelashes with

{Continued on page 71)

^r»irtj/-t/ire(f.)

Ann o' the
Vikings

and thought ponderously of the many mispro-
nunciations of her inherited cognomen. Then
William the Conqueror spoke holdly.

"Ann, you should have a name that people
can rememher and pronounce. I'm going to
give you that name and" — looking about the
scenery carefully for inspiration, then up at
I'.right Angel Trail, and tne great trees sil-
houetted against the sapphire and amethyst
veils far above them — "I herewith christen you
'. Inn Forrest.' "

F.ight years ago .Xnn 'vas going to school in
Denmark, her birthplace, and learning English
and I'Vench rapidly. She si)eaks without ac-
cent, in deep alto tones, entrancing in quality.
\ isitors never can believe that the voice they
hear from the distance belongs to a little girl
like Ann.

When Mr. Kroman lost a fortune abroad,
the family decided to emigrate as it was try-
ing— in a country where caste rules strongly —
to be half poor. The parents, with five chil-
dren, came to Tacoma, Washington, and two
and one half \ears ago, .\nn began her screen
career. -She lost over eight months of that

rhotOKraph hy Kv.ins. L. A

I'llotORr.TpIi by WooiU

Ann Forrest first be-
came interested in pic-
tures in her native city
in Denmark, where old
Broncho Billy pictures
were shown. She would
attend with her school-
mates, and often washed
that she might act. Now
her friends are all in-
terested in her success

By way of para-
dox, a wag of
t h c studios
nicknamed .\ n n
Kroman " T h e
.MelancholylXnnc, '
for w h e n .\nn
weeps the work is
fo thoroly done
tliat f)nl()okers fur-
trvcly fish for
handkerchiefs,

'l"om Moore had a way of making .\nn laugh
just when she was sujjposed to be at her weepi-
est, but one day when 1 hapiicneil on to Stage
4 at (ioldwyn. the little Danish girl had her
revenge. .She had withstood the engaging,
genial Irish smile of Mr. Moore and, clasped
in his arms, was doing her "scene" so thoroly
that the synip.ithctic star forgot everything
hut .Xnn's seeming suffering, and the very next
thing was a close-up of Tom .Moore with big
tears dribbling ilovvn his cheeks— a thing not
written in the script at all!

Since that time, Tom Moore hasn't at-
tempted to make .\nn spoil rehearsals.

( )h. 1 forgot — you were wondering how Ann
Kroman came to be named .\nn b'orrest,
weren't you !'

It was.down at the bottom of ( irand Canyon.
William I'arnum looke<l over the five-foot-two
of blonde, Huffy leading lady from Scandinavia

(Thirtilfour)

By
FRITZI REMONT

time, lioucver, because of a wonderful visit
in Xew ^'ork. sinlitseeiii};, studying pictures,
going to theatrical i>erforniances, attending
lectures and shopjiing until lier eyes were
dazzled with the splendors of I'iftli Avenue.

Ann'> eves arc (lce|i baby blue — spark-
ling with the ice-crystals of her north coun-
try— remarkable eyes, always elusive and
subtle in expression. She has a perfect
snow-maiden complexion and uses no make-
up otT-stagc and very little on. Her spun-
gold hair is wavy, but she wails that it is a
trifle darker since she came to sunny Cali-
fornia, which with its alkali waters does have
a tendency to change the shade. Mahlon
Hamilton hapi)ened along while we chatted
and said: ".\nn, you're the first real blonde
I have known. 1 never saw such baby-gold
hair as yours before!"

Saucy, sparkling Ann, who speaks. Eng-
lish .so rapidly that one has ditticulty !n fol-
lowing her, laughed back with a Hash of

I'hotogriiph by Kvaiis, L. A.

Pliotograi'li hy Wooillntry. I.. .^.

Ann speaks four lan-
guages fluently, has a
talent for writing, and
is to study voice cul-
,ture as soon as time
permits. She's a very
melancholy Dane when
really blue — but tliat
happens so seldom that
one's impression of
Miss Forrest is of a
wonderfully magnetic
personality set in a
beautiful exterior

perfect teeth. "Ves — Jioii'.'
r.ut I may have to conte
to the ba-lilc yet!" That
little accent on "bottle" was
.•iliciut the only Scandinav-
ian toucli T had noticed.

Ami Forrest s i a m i I \
life is ideal. The p.ircnts
are )Oung still, h a v i n g
)nai ricd al niiulicn, Tuo
Ol the l)o\ s were studying
a rchitecturc w hen l hey
were called to the great
war, and served almost three years witlinut injury.
Now they are in the prodticlion end of the film in-
dustry, li,-i\ing decided that ihis would offer greater
opportunities than the rather dull field of architecture
in a country where bungalows are supreme.

One of Ann'i sister^ has a \ery lovel)' contralto
voice, so Miss Forrest is pa)ing for her musical edu-
cation in Lo5 Anftclrs. Later, .Mabel will go to .\'ew
^'ork 10 study under the best master^. Tlie ihinl
sister is a school-girl.

"W'e ha\e llu- best times at home." s;iid .Miss h'or-
resl. ".\l night. Hheii we all assemble fin' dinner, ue
are a tremendously hungry family, for we are ;dl
hetillhy aiid'yi'un'.;. incluiling dadd\ ;uid mother. W'e
eat xoraciniisly. almost silemly for Iwenlv minutes —
fin' all of us liave worked hard all <la> . Then some
one begins to relate .something — another follows —
daddy draws us out, mother makes comments — and so
( Continued on f'uiic 78)

/A.rf., i,,; ,

Kathleen's
Anchor

At first there seemed to be much difficulty about
her getting a suitable story.

"No one wants to take too many chances on a
new star," she said, "but still we felt that we had
to have a good story — and good stories come high.
At last, one night, when I couldn't sleep from
worrying about it, a story came to me in complete
continuity. Not just a scene, or a suggestion for
a climax, which is the way stories have come to
me before, but a perfect story; L could almost see
the action, scene by scene, from beginning to end."

It was a godsend, she added, a sort of miracle.
(Of course, that was inspiration.) Those who
have read the story say that there are two femi-
nine parts in it of almost equal strength and that
the story is unusual as well as dramatic. (Who
was it said that when an actor can write at all, he
can write well?)

No, you would not call Kathleen Kirkham
flighty, but you would not call her phlegmatic,
either. As a matter of fact, .she is a very femi-
nine young artist, delighting in her work, but
easily discouraged, for the moment, at any breath
of adverse criticism, no

n

Kathleen Kirkham is
as clever a writer as
she is an actress. She
says that when she
gets too old for pic-
tures, which to her way
of thinking is the age
of thirty, she intends
to make a profession of
writing

matter from whom it
comes.

"I think," she went
on, "that I will take up
writing as a profes-
sion as soon as I leave
the screen." She has
promised herself that
she will leave the

PhotoRraph by Hartsook, L. A.

Photograph by Jack Freulich

KATHLKKN KiRKiiAM is se-
curely anchored to the af-
fairs of every-day life by
a husband who is si.\ feet two
inches tall and every inch a
business man.

This doesn't mean that Kath-
leen is overly inclined to flighti-
ness. Far be it from me to
suggest such a thing! There
is about her an air of capa-
bility that you would notice
the instant you met her. .She
is five feet eight inches tall,
graceful, well-groomed. The
.sort of actress who would care-
fully plan her effects rather
than leave them to the inspira-
tion of the moment.

.She thinks, and to some pur-
po.se. If all goes well she will
be producing at the head of her
own company before this ap-
pears in print. At this writing
she is negotiating with two big
distributing firms, neither of
which I am at liberty to name.

(Thirty-six)

By

ELIZABETH PELTRET

screen when she is thirty years old.
"But I dont know whether I could
do it or not ! Sometimes I think
that I haven't the patience. I would
rather write short stories than sce-
narios, and I know that I would
never write a novel. It seems to
me that I would have to dash off a
story in a single night, not stop-
ping until I had finished it, or I
would never finish it at all. With
stories running into four and five
thousand words, as nearly all of
them seem to. that would be diffi-
cult, to say the least !'' she finished,
with a laugh.

But I was telling you about her
anchor.

The VV. H. Woodruffs, as Kath-
leen Kirkham and her husband are
spoken of in the society columns of
the Los .\ngeles papers, live in a
pretty, artistic eleven-room house
on the outskirts of Los Angeles.
Kathleen
Kirkham is
very proud of
her home,
and well she
may be. The
only trouble
is that they
are situated
directly be-
tween two
aviation
fields.

"I do hope,"

Kathleen has an
anchor in the
form of a six-foot-
two husband. He
is every inch a
business man, and
serves to keep
Kathleen's fancy-
loving soul o"n
earth instead of
in the dwelling-
place of pink-
tipped clouds to
which it would
otherwise fly

1

said Kathleen Kirkham, "that some one will in-
vent a muffler for aeroplanes soon ! But that isn't
the worst ! You can never be sure that some
reckless driver isn't going to come into your
house by way of the roof."

With them are Kathleen's mother and father,
the latter a successful artist and photographer, and the two
children of a sister who is dead. A little boy eight years
old and a little girl six whom their actress-aunt is taking
care of as if they were her own. Mr. Woodruff is in the
marine insurance business — a professional pessimist, as it
were.

"It is his business to find faults in what appears to be a
perfect chain." his wife said, "and so, when I get overly
enthusiastic and .start ballooning towards the sky, he calmly
pulls me back to earth again." She is, by the way, only
twenty-four years old.

Another member of her family of whom she is very

proud is Mitchell Leisin. now designing sets and costumes

at Lasky's. He is a cousin of hers, still in his very early

twenties, and he came West at her suggestion with the idea

(Cotilitiued on pac/e 74)

L

(Thirly)even)

"Herb

"flow d" you
[~l say it i ii

y (1 uv 1 a n -
giiajic cohiil ov
ktiiil."

It \va> llie first
til in;; tliiiteeii-
year-old Herliert
kawliiisoii asked
of till' first per-
son he iiK't when
he 1 a n d e d in
.\ ni erica. He
learnt that it was
kdiil and it's never
hecn cdliiil >ince.

At a neii;libor-
in<; table in the
Algonciuin, a he-
sjiaited gentleman
had jnst ordered,
midst unintelli-
(jihle "haws" and
"hems," "cahnt-
islilv" from Leon,

By

C. BLYTHE
SHERWOOD

trellised cottage
that had an im-
mense oi>en fire-
place, and gravel
paths weaving a
design ontside
thru the green.
He did reniemher
the gravel |)atlis!
And the hedges !
(I prayed it
would not be the
duty of Leon to
clear our table
and note the ar-
chitectural at-
tempts.) But
"Clovevilly" was
visited only at
year-ends, as he'd
been sent across
the Channel to
school ill France.
Oh, yes, there was
(Coiirniurd on
paqt 76)

the head waiter. "1 have no use for any one who lias
lived in this country for a number of years and still per-
sists in hean-ing 'been' and sade-ing 'said'!" Kawlinson
wasn't contemptuous, but outraged.

His father was a Piritisher. His mother very strik-
ingly resembled the ]ireseiit (Jueen. He was born in
luigland himself. .\nd yet one does not come in contact
with him without thinking — ".\ Yankee, thru and thru!"
,\ whole-heartediiess. youthful enthusiasm, sincere en-
thusiasm, definite enthusiasm — tlicse mark at once his
\ ibrant personality.

"Perhaps it's because I'm not a sentimentalist. I
cant be. crini-prnliig I'.ncfland. It would be hvpocritica
There really weren't any home ties.'

.\nd then he went on to tell me, in a straightforward
manner, witliout sujierlatives or emotion influencing one
way or the other, that there are two sisters whom he has
never -^eeii wlm ;ive now in .\ustralia ; and a brother he
can harilly recall; the governor li;icl been ;i \er\ bu-y
real estate business man ;
and mother, whose head of
close-cropped, mischievous
ringlets had just been
brought to mind, was never
exceptionally robust. Of
comse. there was an attach-
ment to the memory of
"Clovevilly," (he began to
.sketch the outline on the
cloth), a charming, ivy-

"Herb" (as his friends call
him) Rawlinson was born
in England, and yet one
does not come in contact
with him without thinking
— "A Yankee, thru and
thru." He is one of the
pioneer players in filmdom
— and one of the few
whose popularity has
grown with the industry

(Thirti/eiffhtJ

Little

Miss

Rebellion

By
DOROTHY
DONNELL

Told in story form from

the Dorothy Gish-
Paramoiint Photoplay

HER Grace the Grand
Duchess Maria
Louise sat at
luncheon, a very small
island totally surround-
ed by very large flunkies
whose chests seemed
made for the purpose
of wearing gold braid.
The picture of the
Grand Duchess taken
for Sunday supple-
ments and souvenir
post-cards showed her
as a stately young per-
son in eight yards of
satin train and wearing
a crown haughtily ; but
with the train laid away
in camphor, and the
crown at the imperial
jeweler's for repairs,
(she had flung it to the
f^oor in a temper), the
most noticeable thing
about HcrGraceat
present was her scowl. |i

In one less exalted
by birth, such a scowl
would not have been

remarkable, but Maria §^-

Louise had nothing to S

scowl about, as Jen- *:

nings, the English gov-
erness, often pointed

out in her maddeningly ^^tafcai

reasonable way. "Her wSw^

Sublime Grace," Jen-
nings would drone, "is
most fortunate indeed.

Has she not lands, jewels, a summer and a winter palace and,
above all — blood?" (It was positively gruesome how Jen-
nings gloated over this item!) "And she has but to issue an
order and it is fulfilled, if, of course, it is suited to Her Sublime
Grace's royal position," the latter hurriedly added in view of
the fact that Maria Louise's latest wish to have a hurdy-gurdy
and its performer added to the court retinue, had most em-
phatically not been fulfilled.

To which her sublime charge had retorted most unroyally
and concisely, "Piffle !" Despite all urging, she persisted in
using English rather than her own tongue, because of its
greater opportunity for picturesque expressions of this kind.

Now, the Grand Duchess, as we have said, sat at luncheon,
and scowled over the dainty food served upon china of
ethereal translucence, and drew small devils upon the priceless
napery w(th the point of her restless fork. She looked gloomily

%::

The picture of the Grand
Duchess taken for Sunday
supplements and souvenir
post-cards showed her as
a stately young person in
eight yards of satin train
and wearing a crown
haughtily

at the wooden retainers, whose
greatest pride was not to show
the faintest symptom of being
human ; she looked about the
great room, hung with tapestries,
smothered in velvet and carved
oak ; she looked down at her
plate, with the royal arms of
Transmania stamped on it in gold, and

"Oh, damn !" sighed the Duchess, drearily.

The shocked retainers pretended not to have heard this ter-
rible lap.se of royal decorum, but Jennings, at the farther end
of the table, humbly below the salt, was so grieved that the
tip of her bleak, spin.sterly nose became empurpled. "Oh, Your
Grace !" she moaned. "Such an expression ! In all my con-
nections with the nobility — and they have not been few^ — I do

(Tliirtii-iiine)

MOTION PICTURE

The Grand Duchess sat at not recall liearine such a phrase,

Sh/'tloVcTVoomn^'lt ?,'"- H- F.xal.e.I Highness, the

the wooden retainers, 1 rince ot Kutabagia, at moments

whose neatest pride was of extreme irritation, used some-

not to show the faintest times to remark, 'Tut ! Tut''"

symptom of bemg human ..^01 strong enough." Maria

Louise rebelled. "I'm not irritated.
Jennings; I'm something much
worse — I'm bored. Just think, out there." she flung out a reck-
less arm toward the window, "beyond that ten-foot wall, life
is going on. and I'm not there to see it! Just because I hap-
pened to be born on the wrong side of that fence. I have to
live with a lot of rusty armor and moth-eaten tapestries and
never, never have any fun!"

"Fun — oh, V'our Grace !" the governess spoke the plebeian
word with loathing, folding her outraged lips tightly about her
bluish-china teeth. "A Duchess must not desire fun; she must
be above such common things; she must remember that her
great-great-great-great-grandfather was a King!"

Maria Louise arose with what, in a less blue-blooded young
woman, would have been called a pout, and passed out of the
dining salon between rows of motionless footmen. She found a
moment's amusement in wondering what would happen if she
should suddenly shout "Boo!" at them; then grey lassitude de-

scended u])on her. Listlessly she
allowed her ladies-in-waiting to
assist her into her riding habit,
which, in spite of impeccable cut
and tailoring, gave her slim little
figure the apjiearance of a rather
rowdyish boy ; she allowed the
I'irst Groom of the Royal Stables
to help her mount her staid
horse, which was quite aware of
his place as bearer of a Sublime
Cirace and moved with the cir-
cumspect self-consciousness of a
steed on a stained glass window.
The retinue left the palace
gates, turned down the Mall and
entered the Royal Park. The re-
hellion smouldering under the
black curls of the small Grand
Duchess flared higher into seeth-
ing flame. Always, every pleas-
ant day since she was able to sit
upon a horse, she had ridden at
jirecisely the same hour along
precisely the same dull, uninter-
esting avenue, to be stared at by
owl-eyed tourists, clutching Bae-
dekers and huzzaed by the pop-
ulace with stereotyped cheers,
like the chorus in a musical com-
edy. On either side small,
wooded paths beckoned her
imagination into the realms of
romance and adventure, but.
being a poor, unfortunate Grand
Duchess, .she must ride past

them

The thread of Maria Louise's
ruminations broke off with a snap.
Lender the hanging branches of
one of these by-paths she saw
.something that held her fasci-
nated gaze — a sVnall. knock-
kneed donkey, ridden by a lout-
ish youth whose long legs
dragged upon the ground on
either side. She cast a quick
glance around, tugging on the
reins — no, Grafin Schmidt was
engrossed in looking haughty,
and Griifin Oppe was occupied in
looking indifferent, and the others were too far ahead to notice
her defection. With a jerk Maria Louise swerved her disap-
proving mount aside into the by-path, running completely over
the remonstrant .shade of her great-great-great-grandfather,
the King.

"Quick!" she jjanted. sliding to the ground and laying vio-
lent hands upon the bewildered owner of the donkey. "I want
that donkey! I never rode on one before, and I'll never have
a chance to again. Hold my horse, and if any one asks where
I am, tell them I've run away."

Sheer amazement at her impudence led the donkey to carry
the Grand Duchess .some distance before he knew exactly what
was going on. then he stopped. Stopped with such sudden-
ness that the Duchess shot neatly over his head, reached wildly
for his ears and missed them, and landed in a very unroyal
position indeed, facing him. uix)n the ground. They regarded
each other appraisingly. Maria Louise's chin grew grim. She
arose laboriously. In the long line of her progenitors was one
Knight Geoffrey of the Iron Will, who, it was legended, fought
with a dragon and overcame. Knight Geoffrey looked out of
her dark, defiant young eyes now, as stealthily she approached
the donkey. "I'm going to ride you," she declared; "you cant
do that to me again."

It was five minutes before this long-eared dragon knew that

(Forty)

â– CLASSIC _

It was oveicoiiie. In that tii^ie the Grand Duchess had assumed
many odd positions, sometimes sitting facing his head, some-
times his tail, but she had hung on. Her hair was loosened
from its royal braids, and hung aliout her crimson cheeks in
little-girl tousles, her habit was torn and mud-splotched and
her knees, when she descended from a thoroly licked little
donkey, gave une.xpectedly and wobbled her into a fallen tree-
trunk, where .she sat panting, laughing, gloriously alive, but she
was happy.

"I wont go back — ever !" she cried, "or not for years and
years, till I'm old and too tired to play. I'll "

A howl of pain from around the bend of the path brought
her back to reality ; they had found her horse ; they were beat-
ing the poor, clownish lout becau.se he couldn't or wouldn't tell
them where she had disappeared. Maria Louise ro.se, the smile
slipping sidewise on lips that quivered, but she did not hesitate.
"Noblesse oblige — drat noblesse !" she murmured, as she moved
reluctantly back toward the old life she had escaped from for a
few stolen moments. It was a muddy, bedraggled" little figure
who faced her retinue furiously, tossing her wild, dark hair
from her flaming eyes, every one of her few inches a Grand
Duchess.

"Stop! This instant, cowards! Or I'll have you flogged —
flogged "

They quailed before her red wrath, like serfs li.stening to
their Iiege lord, and none of them — Maria Louise least of all —
realized the absurdity of her words. Then, head held high
despite the derby askew upon it, the small Duchess swung
upon her horse and led her stricken retinue into the bridle path
beside the Mall. Gratin Schmidt no longer arranged her
doughy features into an expression of hauteur ; the Grafin Oppe
looked distinctly worried. Presently, as they pas.sed a squad of
American doughboys swinging hilariously along to the refrain,
"Say, darkies, have you seen de massa wif de mufstache on his
face?" Grafin Schmidt leaned toward her companion.

"Did you see him stare at Her Grace — the one in front ?"' she
trembled. "Did you see him look at Her Sublime Highness
I)recisely as tho

the eyes of royalty is an insult. But what is the world coming
to when such things may be ?"

After the affair of the donkey, Maria Louise found herself
more closely hedged in by ceremonies than before. Her Prime
Minister, a stout man with a mighty mustache, at which he
continually tugged, hinted that it was time to be considering the
question of a husband for her, and brought her a portfolio of
portraits of marriageable Dukes and Princes, varying from the
stripling heir to the tiny kingdom of Monarcho, a chinless
youth of seventeen with weak eyes and five wilted blond hairs
upon his lip, to the thrice widowed old Duke of Prascovia, bald
as a roc's egg and a great-grandfather.

"Any of these," he tugged, "would be a suitable consort for
Her Gracious Grace. Her Sublimity is nearly eighteen ; it is
time" for her to consider her — h'm — her duty to the state "

But Maria Louise flung the portfolio furiously to the floor
and stamped one small foot. "I will not grow up, do you hear,"
she stormed, "not until I have at least had a chance to be
young! And as for a husband, when I marry" — and she col-
ored gloriously — "it will be for love, and love only."

"Where did Her (irace get such plebeian notions?'" de-
spaired faithful Jennings. "Love! What has that to do with

marriage for a Duchess .' l am
such heresy from nie!"

Sitting sullenly in her splendid
chamber, the little Duchess felt
as tho life were closing in on her
relentlessly. Today she might
defy them, tomorrow — but in the
end they would have their way,
for they had the past with them,
and tradition, and what small
white girl soul is brave enough to
oppose these? Her heart beat
madly ; her breast ro.se on the
swell of a cry, "I must have some-
thing to remember — afterwards.

sure she never learned of

The tale of how the Grand
Duchess of Transmania,
Hereditary Countess of
Blatatski, had run away
from her palace to play
baseball with a dozen
American doughboys, ran
like quicksilver th^u the
courts of Europe and al-
most lifted the crowns
from scandalized royal
scalps. Another atrocity!
Would the horrors of war
never cease? What next?

girl
roy-

she were a
instead of
alty?"

"I saw," nod-
ded Grafin
Oppe, her double
chins agitated;
"that is what
democracy does !
It destroys one's
respect for one's
betters I"

"See! He is
saluting her! He
touches his cap !
He smiles — he
actually smiles
at Her Sereni-
ty !" The good
Grafin rocked
in her saddle at
the sight of such
sacrilege. "And
she — did you see
her?"

"I saw," nod-
ded her friend,
dolorously.
"The Grand
Duchess is very
young. He was
not bad-looking,
either, and he
did not seem to
know that the
glance of a com-
mon soldier into

(Forty-one}

The Celluloid Critic

ni.'ikes his characters Mve. The old ri»er man of Fred Turner, for
instance, is a linely limned creation, so real that nowhere does it
seem like acting. Florence Vidor appears hut briefly, yet her tno-
nicnls with Mr. Turner are among the vital ones of "The Jack-
Knife Man." There are photographic moments in the visualization
that are veritable camera lyrics.

"Suds," (United .\rti.sts), Mary Pickford's newest screen ve-
hicle, left us rather cold. It is a drab tragedy told largely in terms
of Keystone comedy. Based upon a whimsical stage comedy, " 'Op
o' Me Thumb," written by I'rederick I'enn and Richard Bryce, it
is a tragic story of a London laundry slavey — a pathetic little
drudge who weaves a weird romance around a shirt left by a myste-
rious stranger. The tale lifts her to imaginary hapjiiness — until
the idealized stranger calls for his shirt. With her dream gone, the
end of "Suds" finds the shabby little slavey sol)bing out her heart on
the laundry steps as the other workers hurry away upon a holiday.

This is one
of two end-
i n g s. The
other —the
happy de-
nouement—
shows the
slavey finding
happiness in
the love of a
faithful laun-
dry driver.
We did not
.see this end-
ing.

Ki.\<; N'iDOR has proved
hiniself again. Mr.
\'idor it was who
startled the celluloid
world somewhat over a
year ago with his "Th
Turn in the Road," which,
despite certain weak-
nesses, revealed its jiro-
ducer as ])Ossessing a
.singularly human touch.

Being sure of his ability, we ha\i' waited for Mr. Vidor to
do something bigger.

The bigger thing has occurreil — Fllis I'arker liutler's
"The Jack-Knife Man," ( h'irst National). Here is a
gently drawn little genre study, finely conceixed and done
with admirable workmanship and an excellently restrained
syni])athy.

Briefly, "The Jack-Knife Man" is simply the talc of t\Mi
old men's love for a baby. One is a i|uaint old fellow
li\ing a solitary existence on an old river boat. The other
is a derelict hobo. The baby is the daughter of a cast-off
town girl removed by death from the sordid depths.

Oddh'. there is a comiielling grip to the fragile fabric of
this story — to the little jealousies and hopes and dreams of
the old men for the child as they drift aimlessly in their
battered rixer-going haven. In the end. busybodies take
the child away from them, but — —

We will not relate the story, because we want you to see
it with a fresh view-point. "The Jack-Knife Man" is
worthy of your attention, for it belongs to the photoplay
school of tomorrow. Xo pasteboard melodramatic ch;irac-
lers. no machine-made jilot development, no trite metliod>
111 screen telling are here. l"or .Mr. N'idor — we are sure of
tJiis now — i> just finding himself and before long he is
going to turn out a big and human celluloid document.
Indeed. "The Jack-Knife .Man" in itself is a splendid thing.

.\lr. Virlor touches 'he heart in scores of ])laces. .\nd he

Top, Mary Pickford
as the romantic slavey,
Amanda, in "Suds,"
which is a drab
tragedy told in terms
of Keystone Comedy.
Center, Douglas Mac-
Lean, in the hands
of the village vampire
in "Let's Be Fashion-
able," Below, a scene
from J, Stuart Black-
ton's "Passers - By,"
with Herbert Rawlin-
son and L o u i s z i t a
Valentine

(I'' II 1 1 II four)

The Newest Photoplays in Review

By FREDERICK JAMES SMITH

At first glance, "Suds" might seem to be a grey and shadowy
tragedy, but in reality it is told with broad slapstick humor.
There is, for instance, an episode where the slavey takes an old
cart-horse out of the rain up to her second-story tenement room.
Aside from this, there are all sorts of comic incidents in the
laundry basement.

Personally, we do not believe "Suds" will make the broad
appeal of the more popular Mary Pickford vehicles. It runs too
strongly in the single key of drab farce. Not that Miss Pickford
does not give a very carefully drawn portrayal of the slavey. No
other feminine .star would hide herself beneath the fearful make-
up of Amanda. And only once does she discard the dirt and
grime of the laundry drudge, in the brief flashes of the slavey's
imaginary romance built around the shirt. Nowhere, however,
does she achieve the poignancy of her Pollyanna. We liked
Harold Goodwin's playing of the slender role of the laundry
driver.

Douglas Fairbanks topped any of his recent productions with
the whirlwind, "The Mollycoddle." (United Artists). Here may
be found thrills, adventure and a swiftly moving back-
ground. Richard Marshall starts off as a spineless in-
dividual— until
he meets The
Girl at Monte
Carlo. By the
time he has pur-
sued her across
the ocean as a
stowaway and
fought his way
across the desert
of the South-
west, he is as

Top, Dorothy Gish in
"Remodeling Her
Husband," which was
directed by Lillian
Gish, who reveals un-
usual directorial possi-
bilities. Center, Doug
Fairbanks in "The
Mollycoddle," his
best vehicle in a long
time. Below, Wallie
Reid and Bebe Daniels
in "Sick-a-Bed"

any
The

strenuous a hero as
maid could desire,
whole thing ends in a ter-
rific fight in a Hopi cliff vil-
lage. The hero leaps from a
high ledge ui)on the villain in
a tree, and the struggle coii-
,tinues as they dro]). tier by
tier, thru the adobe cliff huts
until, on the crest of a land-
slide, they plunge into river
rapids at the bottom. It is
as startling a fight as you
will ever see on the screen, .\ndif there is a funnier scene
tlian Doug's adventures in the villain's fish-house, we would
like to observe it. '

In a sentence, "The Mollycoddle" is a winner. Doug has
turned out but two or three better comedy melodramas in
his whole celluloid career.

.\fter observing Dorothy Cish's "Remodeling Her Hus-
b.-md," (Paramount), we are confident that Lillian Gish
could easily develop into a director of fine originality..
This is the little comedy drama in which Miss Lillian di-
rected her si.ster last winter.

It is the old, old o]5us of the bride who sets out to cure
her hubby of his flirtatious tendencies. Of course, as soon
as he feels that he is losing his wife, he re])ents — and things
end in a reconciliation. There are dozens of touches in
which one can recogfiize the delicate and gently lyric hand
of Lillian Gish. such as the delicious moment where Doro-
thy, as the angry Jane Wakefield, hurries thru the jiark and
demonstrates how she can attract masculine attention.
Dorothy Gish lends her inimitable humor to the proceed-
ings, but Lillian is the real star, even if she does not once
appear on the silversheet.

Charles Ray gives another superbly human performance

in "Homer Comes Home," (Paramount), another tale

which would be conventional plus in any other hands.

Once again he plays a country lad who goes to the city to

(Continued on J>acje 91)

(Forty-five)

The Home Stretch'

LIKE a throng of eager spectators at the finish of a
race, our readers crowd against the fence and
anxiously await the outcome of the Fame and For-
tune Contest of 1920, which has been running in The
Motion Picture Classic, The Motion Picture
Magazine and Shadowland for some time past. The
contest closed on the first day of August, 1920, and every
one interested in it— and that is saying thousands of
people from coast to coast — await the decision of the
judges with much anticipation. , , ^ ,, ^,

The judges, consisting of Mary Pickford, Mme. Ulga
Petrova Howard Chandler Christy, Thomas Ince, J.

Stuart Blackton, Maurice
Tourneur, Samuel Lumiere,
Carl Laemmle, Jesse Lasky,
David Belasco, Blanche
Bates and Eugene V.
Brewster, will meet the
honor roll mem-
bers of the con-
test at the I.ong
Island estate of
Eugene V. Brew-
s t e r and will
watch the con-
testants while
they are given
a t h o r o cam-
era test. The
lucky winners
will then be
chosen, and, as
soon after as pos-
sible, the an-
nouncement' will

(Vorty-six)

The Honor Roll Winners For
August

be made in all three of our publications as to the outcome.

To the winners there will be given every opportunity to
gain screen fame and fortune. They will immediately step
into international fame by reason of the publicity given
them in all of our publications. This will include inter-
views with the winners and pictures which will not only
ajipear in our publications, but will also appear in all the
leading news|)apers. and periodicals thruout the country.
The winners will lie launched on their careers under the
most auspicious occasion jiossible.

Not only the winners of the contest, but the final honor
roll members will be given an immediate ojiportunitv to
show how much screen talent they possess, for there is
being produced in connection with the Fame and Fortune
Contest a five-reel feature drama entitled "Love's Redemp-
tion." The story is one of the triumph of love over vice,
and there seems no doubt of its being a dramatic success,
for no expense is being spared in the production of this
play. The cast will be one of un-
usual merit, including the following
well-known [)eople:

I'"dwin -Markham, the world-
famous poet; Hudson Maxiin, the
famous inventor ; Dr. Carroll Leja
.Xichols.

( )ctavia Handworth, the jiopular
him ]ilayer, who has recently been
absent from the .screen, has been
engaged to I'kiy one of the leading
roles, and we are (|uite sure that
her return to the silversheet will be
an event of great interest to all
film lovers.

, l'.unt\
ignon.

Manly
•".dward

Top, Miss Helen Trigg. Valiant.
Okla. ; center. Miss Evelyn
Yvonne " Hughes, McKeesport,
Pa., and, below. Miss Ester
Marie Ritter. Los Angeles, Cali-
fornia

C)thers who make up the
cast are Blanche McGarity,
.\netha Getwell, Dorian Ro-
mero, Lvnne Rerrv, Katherine
i'.assett,' William R. Tal-
madge, Arthur Tuthill, Cecile

xlwards. William Castro,
Fllsworth Jones, .'^eymoure
I'anish. Joseph Murtaugh,
Dorothy Taylor. Fffie Law-

.\Ifred Rigali.
Chalmers. Charles Hammer,

Photo l>y Wil^cl, i. A

rence Palmer

l-".rniiiiif C:., , _ _., ,.,

Jr., William .\. White. Clarence Linton, Sophie De Leske,
.Mrs. 1. .v. (iagnon. Mr. Hammer,' .Sr., Mr. McCabe, Doris
Doree, Mrs. F. Mayer, Colonel Hervey. deorge Costa, Titus
Cello. Mrs. Dale, Marion Dale, the .'^chwiiin twins, Ruth
Higgins and Marjoi'ie I.ongbotham.

This month's honor roll for Till'. L'l.ASSlc i^ probably the
nio^l interesting one to date. As is usual in contests of thi-.
-ort, the finale always brings in its wake a tremendous in-
crease in the number of photographs .sent in. It is doul)ly
difficult to cho(>sc the right ones from so great a number,
and it i-^ only by great care and deliberate judgment that tlic
honor roll winners are chosen. The lay-out will, wc think,
con\ince you that the judges arc going to have some little
difficulty in making their choice. The entries number
among them some of the most beautiful girls in the whole
coimtry, and we feel assured that the final winners will
( Ciiiilhntrd nil piujc '•'))

(Forty seven)

photo Tiy T-umk-rt'

MoNTAcr Liivi: is a hero to liis valet.
I Iiavc trieil for three weeks to got
away from that outstandiii;; fact that
I iiiislit, as )icr my mission, i'X])atiate on his
Shakespearian ]ilans. ideas, ideals, heliefs.
cl <i/'. • T went there for said Shakcs|)carian
linrpose. I came away with the ojieninj;
jiaragraph Tsee ahove) howlinj; in my cere-
helkini. It will not be j^ainsaid. \or
downed. Perchance, if I get it out of my
system via tlie Underwood, it will let me
be, and I can then get on to the Rard of
.\von as eNpoinided by Mr. Love.

I talked with Mr. Lo\e at his al>artnient.
In the room with us besides books, two
libotographs of small boys and a fireplace,
was a dinner-table set for six, rose-shaded
candelabra and all. .\ dinner party was im-
])ending. Hovering over Mr. Love, lighting
his cigarets, supplying his sundry needs.
even to occasional gap.s in our conversa-
tion, was Victor. \'ictor is the last word
of the opening paragraph. (See above.)

Some years ago. it seems, Mr. Love
rescued him from a street accident and
look him to his home. The_ accident left X'ictor
crip|)led and devoted. His devotion was charming
and very real. Wherever Mr. Love moved, there the
eyes of Victor followed, wistful and adoring. When-
ever Mr. Love said a humorous thing, a reflection
of the huiTior touched
V' i c t o r ' s sensitive
mouth. Re fore Mr.
L<ive could utter a be-
hest, the nimble lingers
and swift foresight of
Victor had sui)plied it.
There is poetry in such
an adoration. There is
psychology. There is
so ntiich of psychology
that your iier.sonality

The Shakespeare
Specialist

interviewer would need go no further than Victor to take the
measure of the man. Such being the case, let us consider the
measure of Montagu Love taken and pass on to the next.

The "next" is the P.ard of .\von. again (or yet) in the lime-
light. If bis stones — I inean bones — be disturbed by such a|i-
jiarent flipjiancy, let him observe that in this day and age frail,
flaunting jjoppics grow on sacred graves.

Mr. Love reads, breathes, inhales and exhales William Shake-
speare. He is an enthusiast on him for the stage. He is also
an enthusiast on him for — something new is about to burs'
u])on you — for the screen.

He ought to know. He has studied Shakespeare as, probably.

no other actor ever has or will. He has studied him in sections

and in toto. .\nd what is more, be has played him, all of him.

I asked him what made him believe that Shakespeare would

"go" on the screen.

He bad a diversity of reasons for his belief, .\mong them :
"I know be would be wonderful for the screen," he said; "in
the first place, he was himself, first of all, before he was any-
thing else, an actor. He wrote
play.s with a capital 'P.' and hi,s
plays were piet\irc.i, surcharged
with color, with rhythm, with ac-
tion and emotion. These are all
I)icture (|ualities. The screen rc-
iiuires the sitiry first of all. It re-
(|uires characterizations. It re-
(juires situations. Shakespeare
knew all there is to know about all
three. He knew all there, is to
know about the presentation of all
three. Think for a moment of 'The
Mei'chant of Venice' or 'Othello.'
I'.very line is a word i)icture. F.vcry
paragrajib is a situation. livery
character is a character. There isn't
a person in the cast who wouldn't
have a definite opportunity. There
is some controversy on the subject
because of the fact that the Shake-
spearian jilays are costume plays.
That is, of course, footless. Con-
sider 'The Piinb of a Nation' or
'Dr. Tekyll and Mr. Hyde.' Cos-

Ptiplo l.y A Simpsnu

Mr. Love reads, breathes,
inhales and exhales Wil-
liam Shakespeare. He is
an enthusiast on him for
the stage — and also for the
screen. He has studied
Shakespeare as, probably,
no other actor ever has,
or will

Photo by A, K. Korsdyk,

f Forty-eight)

By

PEARL MALVERN

tumes arc pictures, and pictures arc wliat we
want. We must not underestimate the pictorial
quality, even when it comes to the individual.
After all. the appeal is, on the surface, optical.

"Shakespeare on the screen is what I want to
do. Also on the stage. I have always wanted
to do this. Consciously, all my other work has
been in preparation for the greatest of them all.
I believe, what is more, as a sop to commercial-
ism, that Shakespeare on the screen would be
successful. I am not egotistical, but I have
studied my job and I've never been wrong in my
judgment of a play for the screen. I'm willing
to back my judgment now. Shakespeare is a
pretty sound bet, you know."

I reminded Mr. Love that he had been called
the Mansfield of the screen, and I asked him
whether he had any objections, for the reason
that Mansfield was essentially a character actor.

Said Mr. Love, "What difference does it make
what one plays when one is an actor, first of all,
and 'all the world's a stage' ? I love every form
of acting, whetlier it be stage, screen or panto-
mime. I get something, and I hope I give some-

thing to every role I play, juvenile or character
actor. I've played Ras])utin and I've played the
roughneck, and the'only rote I go by is the rote of
progress, the arrival at some sort of goal. My goal
has been Shakespeare. In a sort of way I may be
said to have reached that goal, having played Shake-
speare as I have, liut I might put it in the sense that
I should like to be a specialist in Shakes]ieare, giv-
ing him to the screen as I believe it could be,
should be done."

"Assuming." I said, "that your plans go thru,
what role will you give to the screen first?"
Mr. Love towered above me. massive.
"Titania, I think," he said, with an immense
gravity. "What do you say, Victor''" he added.
It is his characteristic addition to any speecli.

"Yes. Mr. Love," said Victor, giving me a
small, highly appreciative wink. He would, I

know, have said "Yes,
Mr. Love." if the
amicable Love had
proposed a jolly little
jaunt into the nether
regions, and have
given that same little
wink, as tho to say,
"Isn't he having his
little fun, God bless
him !"

The specialist in
Shakespeare plus a
hero to his valet.

Montagu Love has been
called the Mansfield of
the screen, and has played
a wide and varied role of
characters. All the way
from the role of Rasputin
to that oi a roughneck, he
has never lost sight of his
goal, and that is the por-
trayal of Shakespearian
characters on the silver-
sheet

Photo by A. K. Kersilyk.
Cape Town

(Forty nine;

The Dauntless Anita

By

LILLIAN MONTANYE

THi ki: is a Iradllion to tlie effect that Southern women are
the chngiiig vine variet)— sweet, lovable, accomplished,
ornaments to the home and society, but unaggressive, not
given to asserting themselves, unambitious so far as fame and
glory for themselves are concerned, a bit mystified at the trend
of modern women toward careers and economic independence
— things that their mothers and grandmothers would have con-
siderc<l entirely out of the sphere of a gentlewoman. But
slowly and surely Southern women are breaking the shell of
tradition or environment or whatever it is. They are going
in for suffrage, careers, inde|iendence. For instance, there is
.-\nita Booth.

She was born in \'irginia, on an old estate that has been
in the family "always." she says. There's a big old Colo-
nial house with wide verandas surrounded by well-kept
grounds, conventional flower-beds with old-fasliioned posies
and tall trees with sweeping branches that hold in their
massive trunks the secrets of centuries. There is a typical
Dixie father. There was, until a few years .:go, an idolized
mother — a real Southern gentlewoman. There was a family
of happy girls and boys. .

.\nita, the youngest of the family, was educated in Wash-

Nothing venture, noth-
ing have, decided Anita
one day — and as she
wanted to have dra-
matic experience more
than anything else, she
set out to get it. And
she did. We fearlessly
predict that the combi-
nation of Southern
beauty and determina-
tion will carry Anita a
long way on the road
of success

Pli01nu"Pl> ''y fatli Broi.

Photograph by Apfiia

ington, D. C, at a day school
that permitted her to return each
night to the home she so much
loved. Despite her environment
female ancestry that has been
"ladies" for generations — there was
none of the clinging vine about .\nita.
She must have been
born with a clear per-
spective, because,
sub-consciously, she
saw things clearly,
herself included, and
knew what she want-
ed— and being the
youngest of the fam-
ily and of beguilini;
personality, she usual
ly got it.

During her school
days in Washington
she attended the thea-
ter fre(|uenlly. always carefully chaperoned.
Critically she watched the characters live the sfory
on the stage, in her heart, feeling that she could
do it quite as well, and decided that, more than
anything else, she wanted to be an actress. Hut.
she knew that she could not at once shake off the
old traditions and she bided her time. Then the
mother died, the family scattere<l here and there,
as families will, the father retired from his busi-
ness of coffee expcn'ter. and. leaving the old home
for a time, he .and Anita made their home in
Washington.

It happened that last summer, when The I'anie
and h'ortune Contest conducted by Tin-: Motio.n
'I'uTiKi Mai;azini'., Tiik Motio.n' Pictl'rk Clas-
sic and .SiiADOwi.ANi) was nearing its end, Anita
I'ooth saw the announcement and "just for fun"
sent in a photogra]ih. It was most favorably
received, hut too late for the honor roll, even too
kite for publication in one of the magazines, but.
with iwenly-four fither girls. Miss Booth received
an invitation to come to New York for a test
before the camera. The letter followed her to
(Continued on page 70)

(Fifty)

Above, Alma Tell, as
the persecuted heroine
of "The Fall and Rise
of Susan Lenox," based
upon David Graham
Phillips' posthumous
novel. Right, Norman
Trevor and Emily
Stevens, in Zoe Akins'
" Foot-Loose, " based
upon, the old melo-
drama, " Forget - Me -
Not"

Mid-
Summer
Theater

Days

(Fiftyoiiej

SJB.

Double Exposures

Conducted by F. J. S.

Courtesy Muck Sfiiiiftt Conicilu's

an-

il ciin\'s|)(in(lent, "jii'
the leadiiii,' liirectnr:

"T ¥ AS il f\er iiccmred in yim."
J~~J Ikiu >liari>l_v (ilti'erentiatfd
nictlKxls of attack ?

"Take Shakospcaro's 'Romen and Juliet.' lor instance.
]). W. Ciiit'tith woidd |irnl)al)ly sliow the maid of Verona hiding
in .1 cu]il)oard to e.scape her brutal father and later on there
would he a chase to |irevent the lovers from taking the fatal
|ii)i>on. C"ecil de Mille would feature a startling scene in
Juliet's boudoir, and he would (irobably give historical flash-
backs to various famous lovers of history. He d probalily call
it 'Why Change ^'our Potitju

"(.icorgi- l-'itzmauricc would do the whole thing with glorious
light and sh.ide |>liotogra]ihy and with Mae Murray as a new
type of X'erona cutie. King Vidor. on the other hand, would
humanize every incident. He'd probably center upon the nurse
and her lo\e for Juliet. The Hard of .\von's jiassion uuuld
be transformed into spiriturd uplift.

"lint if Mary I'ickford e\er tried it. no doubt she'il do the
thing as a sort of dual role, jilaving Juliet along with a sla\ey
in tile Capulet kitchen. But if Doug tried it! There wcjuld
be a landslide, a Hood and an carth(|uake to enliven the pro-
cpe<lings. No doubt Hull Montana would play the friar.

"Probably they'd make two endings. Of course, there would
have to be happy conclusion for the exhibitors who firmly be-
lie\e their audiences 'dont uant no
-ad endings.' Probably they'<l change
the title, too. Can you imagine an
eNhibitor booking a til-em with two
peoples' names as a title?

"It's a great life, if you dont
'ken."

the b'rench pugilist, saw his i>icture. "The Wonder Man." in his
own Pullman, en route across country. We envy Georges.
I'ancy being able to sleep comfortably at a photoplay — and yet
be getting somewhere.

The White Hou.se seems to suddenly have become a movie
theater dc luxe.

I'.y next year we predict that both houses of Congress will
have symphony orchestras and feature ])ictures. Imagine the
trade papers. "The .'senate is now playing Paramount Pictures
exclusively" or "Metro ])roduction now feature House of Rep-
resentatives jirogram.''

TlIK

The I'.ducational I'ilms
bathing-girl comedies.

Hii;iii-.K Ed-
Corporatioi

lias started releasing

The screen has reccivec
ter stories are being filmed

1 its ultimate uplift.- The Nick Car

w<-;

TniNcs Wk'ri-; iNTtKi-.sirn in
Sl.KINC.

" 'Way Down I'".ast."

lietty Compson's tirst starring pic-
tine.

Charlie N.n's "4S Minutes from
I '.roadway."

King X'idor's next.

The forthcoming Fitzmaurice-
.\lurray production.

Bv

() >h:uk-<l r<ia(l ln'sidc the se.i.
Voiii hilly, wiiulinj; ways I know;
Aiul vvh\' you waiuU'r wild an<I fret-
So near the eddies' risi- and (low.
V\ heri* white-winded craft- sail tn ami fr

^'l)lIr howercd \ale, x\ith jti\- is filled,
\nd nndi-^tnrhed \uur peace h\' strife:
On e\ery hand j-our fieUU are tilled
With trnstfnl -onys of simple life.
Where hearts oi sacrifice are rife.

() sca-kist road, your sacre<l charm
Surpasses all that man portraN^;
Let here no hand destroy the ealin
Tliat streains like nuisic thru \iuir ways,
\\ here dark-c\e(I poets chant yon Ia\'s.

.-\ P.A.s La Passion
The state hcjard of censors of Penn.sylv;mia insisted upon
changing the title of Loui.se (ilaum's "Sex' to ".Sex Cruslied
to l-"artli," What are they going to do with:

"Madonnas and .Men"
"The Restless ."sex"

"The Inferior .Sex"

"Passion's Plavground"

".Sick-a-Hed" '

"The Mother of His Children"

"The X'irgin of Stamboul"

"llodv and Soul" .'

.\ KO.-\l)

Lk iiAKON COOKK

.\t last the dream of o\ery press
agent is realized. In .\llan Uwan's
".\ .Splendid Hazard." a prima
donna's jewel-box is actually rifled

We note that (ieorges C.npciitier,

()y\< I'"avoi(Iti>; Mojtf.NT or Tin-:
Month

Dorothy (iish's flirtati\c prome-
nade thru the |)ark in "Remodeling a
Husband."

(Fift!/-two)

Trumpet Island

Told in story form trcjiii the Vitagraph
photoplay

By
OLIVE CAREW

Wi: live in a world of strangers. So
near each other tliat arm touches
arm, yet an invisible wall separates
us from those who might be our friends,
our patrons — perhaps our loves. Its name
is Convention. Some braver souls dare to
scale this wall, but for most of us it is a
barrier impassable. Eye meets eye, quick-
ening with a message from soul to soul,
but the lips are silent, and we pass —
.strangers.

Eve de Merincourt was thinking of a
man, and it was not of the man whose en-
gagement to her was to be announced that
night. She did not know what his name
was, indeed, or anything at all about him,
save the important fact that he was tall and
young, and that for one moment of spring-
tide wonder he had gazed into her eyes
thru the iron bars of the convent gate.
Then Sister Marie, the pretty nun, had
come quickly and hurried Eve away, but
she had not scolded her, and her grey eyes,
under the soft folds of her veil, had been
misted with tears.

Six months ago. and she remembered
him as tho she had seen him every day
since, as ])erha])s she had. .\ thinnish
young face, a trifle grim; thick, strongly
growing hair and a way of walking like
young Sir Galahad, he was the illustration
of her secret girl-dreams. The fact that he
had been .shabbily dressed she had not no-
ticed at all. He might be, for all she
knew, a butcher, boy, a poet or a tramp.
What was the difiference to eighteen, so
long as he was tall and strong and vibrantly
a man ?

And now she was going to be married !
-She felt like one in a troubled dream when
she thought of the jumbled whirl of events
in the last two months, since her father had
sent for her at the convent to meet the man
he had chosen for her. Eve laughed aloud
when she pictured Henri Caron as she had
seen him that first night, fat. in spite of
desperate corseting, scented, i)inkly bald,
with red-rimmed little eyes that had
yellow whites and looked at her in a way
that made her feel ashamed and strangely
naked.

"He's a horrid little sausage," she had
written Hilda that night, "but he's rich, and
daddy says we can have everything in the
world we want. So I'm engaged. He kist
my hand and put a ring on it, a diamond.
It's lovelv, brighter than the altar with all
the candies lighted, but the kiss was hor-
rid. I shall slap him if he ever does it
again. He has a beautiful face to slap . . ."
Eve de Merincourt looked down at her
diamond cloudily. It would be nice to be
rich, for richness meant fur coats and pink
silk underclothes and an automobile and
breakfast in bed, and all the candy one

(Fifty-three)

MOTION PICTURE

The shoulder of her dress wanted ; and being poor meant

I'Zf^A ^'a^u^ 'Af^'i unpleasant things like scrubbing

sound and she felt avid n t-.jjij j iT

lips on her neck and arm """""s. Uaddy had said that

they vv'cmld be very, very poor
unless slie married tlie little fat
Frenchman who had made millions out of the war with, his
aeroplane factory. She did not want to be poor. But she did
not want to marry Henri Caron. either, for she suspected that
marriage would give him a right to kiss her hand and would
take away her right to object. She didn't know exactly what
being married was, of course — they didn't speak of such things
in the convent. All the same, there had been stray hints — a
newsjiaper blown across the wall, a book of poems one of the
â– girls had smuggled in. There was one jioem Eve had read and
reread, feeling the heart beneatli her young bosom pounding
furiously, she did not know why —

"To be a sweetness more desired than spring —
A bodily beauty more acceptable than the wild rose tree's wreath that
crowns the fell — "

Xo. She was (|uite sure there was something^ about mar-
riage that meant that that detestable little man witli the yellow
eyes could kiss her — and she simply couldn't bear tliat ! Now.
when she heard the sound of her father's stejis on the threshold,
she turned and Hung herself upon him, trembling. "Daddy!
I — I dont want to marry an old. fat. dreadful man. I would
rather have a young, thin husband. Please, please find me one.
There was a man like that I saw once beyond the convent
gate "

Jaccjues de Merincourt was horrified. The very notion that
.she should have looked at a man without an introduction drew
dow-n his lip-corners, brought his thin, conventional brows
together. "My chi)d !" he exclaimed gravely, " a stranger —
one does not marry slrain/ers! Henri is my friend. He has
courted you properly and you have given your word. .\11 is as
it should be. Trust your father to do what is best for you." He
did not finish, "and for himself" ; he preferred not to admit that.

/\ n d so V. V e went
down reluctantly to the
gaiety and the lights and
music below, a childish
figure in her fragile net
frills and sashes, who
smiled bashfully at the
congratulations of her
father's friends and
trembled like a child
when Henri Caron
minced dapperly to her
on his high, varnished
heels and laid a jeweled
vanity case in her hand,
bowing Mi that she saw
the shiny seal]) at the
to]) of his head. "For
the most beautiful I'eau-
tiful in the world," he
said, but his look said
other things.

She danced. The mu-
sic was very different
from that of the convent
organ that made one
think of solemn proces-
sions and dark, wide
skies and mighty wings.
This was hot and swift
— it made her uneasy
and rapturous and dizzy.
To try to think, she
slipped from the arms
of her partner — his
fingers burned hot thru
the thin sleeve — and
went to the window,
drawing the long velvet folds behind her that she might lean
her throbbing forehead against the cool glass. .\nd, leaning
so. she looked into the face of the Stranger Man for the second
time. .

He was standing on the sidewalk, beneath tlie window, with
a curious look of waiting, as tho he had ex|iected her. The
dark was all around him. except fgr his face, lifted, faintly
smiling. Her lips parted. Her father had called him a
stranger. ' .\bsurd ! Why, she knew him better than she did
Henri, even if she had not sjioken ; she knew him better

than

"Ah,- here you are, cherie!" her betrothed was purring in her
ear: "they've gone in to supper — Fve been looking for you
e\ erywhere. Naughty to run away from its Henri I"

The curtain folds fell across the black square of the window,
like a relentless hand pushing her back from her glimpse of
life. -She felt as if she must scream, must struggle in the soft,
strangling net of fate closing about her, but the futility of it all
kept her silent. What, after all, could she say — that she had
.seen a ])asser-by in the street whose eyes had spoken to her
tyes .^ That she would leave all her safe past, her conventional
l)resent, her golden future gladly to go out into the unknown
dark with him ? Her father was right — they were strangers.
Strangers!

"Your neck was made for a rnan to kiss!" Caron's voice
had thickened. She looked at hitn wonderingly. with a stir-
ring of fright as she saw his congested face and the glitter in
liis lired/ watery eyes. .Suddenly her heart's thudding almost
<ut¥ocated her. She began to creep away from him with jiite-
>.u- jjrecaution. like .some little hunted animal, but with a short
liark of laughter he was holding her in his stubby, muscular
arms. "Dont play with me. Eve! I've got a right to you. Fm

tired of having only the tips of your fingers "

The shoulder of her dress ri]i])ed "with a jagged sound and
she felt avid lips on her neck and arm. In the convent she
had dreamed of hell, and the dream had been no more dreadful
than this struggle against his animal strength and lu.st.

(Fifty-fovr)

CLASSIC

Five moments later a man.
standi g drearily by the
water-front, staring down
into its muddy lethal stream.
saw a wild little figure in
torn lace and crushed net
flounces running along the
quay. His thoughts were
l^aralyzed, but instinct acted.
She screamed insanely once,
twice, when he reached her,
and tried to spring, but he

dragged her back. He had '

never felt anyone tremble as

she trembled now against

him. and then she lifted her white, hunted face and for the

third time their eyes met.

"I — thought you were — thai iium!" she panted, clinging con-
vulsively. '"I didn't know — you see — what he wanted, and
when — I found out. 1 knew I would rather die. Oh, much
rather!"

He drew a slow breath. Two derelicts of life, brought to-
gether almost at the point of shipwreck by the tides, the dark,
strong, silent tides of fate that
move resistlessly. In the last
two months these tides had
tossed him hither and yon in
sport, from the depths of despair
and poverty, to sudden, un-
dreamed-of riches, thence down
into the depths again — of self-
loathing and broken nerves and
the sick desire to escape him-
self. There must be .some mean-
ing to it all, when the one girl
he had ever really looked at had
broken thru the bars of the con-
vent and come across the months
into his arms !

"Eve!" They had neither of
them noticed that a limousine
had drawn up behind them and
two men lea])ed out. until the
older of them laid authoritative
hands on the girl, and the other,
glaring, pushed her rescuer away.
".'\11 this excitement has been too
much for you ! Come home, my
darling, and you shall rest. It's
nerves. Caron — a totally inexpe-
rienced girl suddenly brought
face to face with the facts of
life. But she'll come around —
be i)atient with her!"

"I shall be patience itself, \non
cher Jacques!" the shorter man
assured him. as they led the
shuddering, speechless girl away
between them, "she is worth wait-
ing for "

The .Strange Man looked af-
ter them, seeing, instead of two
gentlemen in conventional eve-
ning clothes helping a girl into a
costly car, two satyrs dragging
their victim in triumph between
them. Then the great machine
sprang forward into the night
and was gone. But the .Strange
Man did not return to his fixed.

He groaned. "God!" said Richard

to the sea, "how am I going to

stand this seven months longer?

It's asking too much of a man!"

( h'ifiy-five)

TRUMPET ISI-.'^ND

Fictionized from the story adapted l>y Mr. and Mrs. George
Kandolph Chester from the book of the ^amc name by Gouver-
neur Morris. Directed by Tom Tcrriss. A Vitagraph Master-
feature presented by Albert E. Smith. The cast :

Eve de Merincourt Marguerite De I.a Motte

Richard Bedell Wallace MacDouald

Allan Marsh Hallam Cooley

Jacques de Merincourt Joseph Swickard

Henri Caron Arthur Hoyt

Hilda .• Marcelle Daly

Valinsky. Percy Challenger

morbid questioning of the
water. He had no idea of
dying now. As long as that
girl was on earth, he could
not leave it. Preposterous,
of cour.se ! A stranger — but
he knew that he had not
seen the last of her; that,
once again, under some sky,
beside some far waters, they
would stand together as

now, and then

"And then," he said aloud
to the night, opening his
arms violently, "then I shall
be what I was when I first saw her. I shall go away, to some
empty place, and win back what I have lost these last accursed
weeks. When I see her again I shall be a man, and that time
I shall not let her go !"

If Jacques de Merincourt had expected hysterics, stubborn-
ness, defiance from his daughter, he was surprised by her
attitude, after she had recovered from the first shock of the
night's e.xperiences. Something seemed to have gone from her

MOTION PICTIRE CLASSIC

about her
waist, touch-
ing the buckle
reassuringly.
Rut she was
in no hurry.
Three hours
more of the
sunlight and
the strong,
fresh air in
her face, and
then — she
would keep
the tryst she
had made . , .
Two days
later a ])retty
young nun,
face seamed
with crying,
fluttered' like
a frightened
grey moth
into Jacques
de Merin-
court's com-
P I a c e n t
(Continued
on page 68)

fnd' ^v^^:^":::, Z7. re"fr"".''^'- '^^^ !]">"'y ^-^^^

ing, they looked into the. ^" unharmed and she was very
muzzle of his leveled re- gentle, very humble, making no

volver and into two eyes plea when he urged a hastened

loaded w,th trouble marriage. Indeed, she seeme.i to

desire it. for some unexplained
, . reason of her own. There w:i-

only one wrsh that she expre.ssed, and that was that imme-
diately after the ceremony Caron would take her on a honev-
rno(jn m one of his fast-traveling passenger aemnlanes to -i
famous winter resort on the coast of I'lorida.

On the morning of her wedding dav. Eve wrote a note and
mailed it. .\fterward she was almost gav and there was not a
trace of shrinking when Henri Caron 'put his ring on her
hiiger. not even when he kist her and called her greeililv "Mv
wite." Jaccjues de Merincourt, with a fat check in his'iiocket
and peace in his heart, watched the bridal couple ascend
smoothly int.. the sky and presently disaj.pear into the blue
void, and felt that, all things considered, he had put in the be~t
day s work of his life. To be sure. F.ve did not seem to c;,re
for the man she had married, and, as a matter of truth Henri
Caron might be a trifle passe and emotionally frayed but tush '
•No well-bioughl-up girl wouhl even think o'f her'probable pre-
decessors in her husband's arms. After a short while he
would doubtless leave her to herself; she would have iiosition
money--and independence. What more can a wife desire'
-No. no; he had done his parental best for F.ve. of a certainty
In the seat of the flying car the bride, smiling with strange
hxity. looked down, looked up. looked away. She did not
glance at the squat figure at her side. In the panoply of flying
?car Henri Caron was even more repulsive than be'f.ne. 'His
i;o-gles gave hini the aspect of some giant beetle bis voice
-ame to her ears, thin and
i<jueakiiig, abo\e the roar of the

>Nbaust. -At this rate, in three she lifted her face to him,

lours we U sight the coast ! .And rosy with the new day,

hen the honeymoon begins !" *"d the new joy within

Her smile deepened Stealth- *"■■ „'°!^- "Perhaps you

ly one hand wen, to the belt ""' {'l\„tD'i:i.t'' ""'"

(nftyrix)

Photoplasmic

Peregrinations

By

LOUISE GLAUM

Being the first of a series nf literary rambles thru the
Hollywood screen colony

I AM sure there are no more interesting streets in the
world than I-iroadway, New York, Chicago's Michi-
gan Boulevard and the Hollywood Boulevard of Los
Angeles, where all the motion jiicture folk promenade o'
nights.

It is a iiicturcsque houlevard, this Via Cinema, as it
might be called.

Here the business man from Los Angeles or the visit-
ing millionaire from Kansas City who hajipens to be so-
journing in Pasadena have full opportunity to see pic-
turedom en faiiiillc, so to S|)eak.

From the contents of the mass of "fan" correspon-
dence which reaches me at the studio, it would seem that,
had each motion picture devotee an Aladdin's lamp, he
and she would wish themselves at once upon this ])ath-
way of the famous, and yet Hollywood Boulevard might
be said to represent disillusionment to the layman, for
along this highway one can see Charlie Ray, with the
youthful Mrs. Ray in the Ray supermobile, and write the
folks at home that now he knows for sure that Charlie
is married, et cetera, and immediately Oshkosh or Gallup
will be inundated with a saline flood from the tear-ducts
of "eligible femininity."

Here, again, one will see Charlie Chaplin in his off-
scene riile, (so well known to the screen colony), of the
melanchf)ly Dane.

He will see Anita Stewart, Enid Bennett, Jack (J.
Warren) Kerrigan and VVallie Reid, with Mrs. Reid and
the Reid Kiddie, hobnobbing on terms of delightful
intimacy.

Xow, some people have told me
that the public consider the mov-
ing |)icture .star possessed of an
extreme hauteur and a quite, regal
self-consideration. This, I assure
you, dear readers, is not a, fact.
ALiybe I am disillusioning you in
telling you this. (In the other
hand, perhaps I am doing my
Jirofession a great service in re-
lating to you the human qualities
of the ])eople who make up the
screen colony in Los Angeles. For
here in Hollywood, one discovers
the BohemianisiTi of the West.
The screen colony is not only the
exclusive qiiar'tier of motion pic-
ture players — it also embraces the
allied arts and professions, for
screen artists are really the most
gregarious animals in the world,
anrl the most democratic at
heart.

Before I wrote this article, the
editor of this publication seemed
to be interested in my story of the
way the ]iub!ic's silversheet fa-
vorites live, and so in our rambles
thru Hollywood, I am going to
try to give you an intimate glimpse
of the rcnl.

(Coitliiuicii mi f^aijc 91)

(Fifty-seven)

Niles Welch,
leading man for
Mayflower Pro-
ductions, pauses
a moment in his
motion picture
activities to rest
on top of a Cali-
fornia hill. Cen-
ter, Mildred
Davis, Harold
Lloyd's leading
woman, sets off in
so demure a fash-
ion, the charm of
ye Quaker gown.
Below, Allan
Dwan makes an
intimate investi-
gation concern-
ing his leading
woman, Mary
Thurman, while
his assistant,
James Hogan,
looks on and
oilers suggestions

ti!

V

Photo Ijy \Voo<]tiur.y, L, A.

Photos by Hartsook, L. A.

I "I'm so happy and pleased that the critics
J^ seem to Hke my role of Grace Good-
wright in 'The Devil's Passkey,' " said
Una Trevelyn and smiled contentedly.
"That was the second picture I ever made,
the first being a small bit with Bessie Barriscale.
One day I went out to the Universal studio to see
the casting director, and the instant he saw me he
exclaimed, 'You're just the girl.' He sent for Erich
von Stroheim, and when he came in he took one
long look and repeated the remark with emphasis,
'You're just the girl.' It seems they had been look-
ing for a certain type — I was the type — so they
signed me then and there to play the leading role
in Von's second big production.

"If I climb to the heights of film fame," she
continued, merrily, "it will be thru a vale of tears,
for in this play' I wept for fifteen solid weeks.
Really, I becanie so depressed that I would wake
up in the middle of the night, sobbing bitterly.
It was a splendid part, tho. sweet and sympathetic,
for, you see, the trouble was cau.sed thru no di-
rect fault of mine and I could easily throw myself
into it.

".\fter all the misunderstanding and misery, there
is a pretty ending — with a bright new hope — the
scene being at dawn. We tried for six week.s to
catch the sun at just the right place for that final
scene.

"Detail is Erich von Stroheim's first, second and
last name," went on Miss Trevelyn. "Why, he even
took me along when he selected the furniture, colors

Temperamental
Una

and perfumes to be used in my boudoir sets —
to insure the personal touch!

"He is very temperamental — how we used
to clash — our two strong wills!" and Una
laughed in memory of frequent tilts. "How-
ever, I fully appreciate all I learnt from him."
she went on, seriou.sly, "for Von makes you
7t'ork. He expects you to throw yourself into
the rehearsals as completely as if the camera
was going, and by the time I had gone thru the
action several times I became so imbued with
the spirit of the scene that I hardly realized that
I was acting a part — I was actually living it.

"Following 'The Devil's Passkey,' I made a
picture with Lois Weber, 'What Men Want.'
In the role of
Renee, I played a
dope fiend, a vicious
sort of girl, and
had some strong
dramatic moments.
It is always easier
to do a big scene
than one requiring
less emotion —
somehow you urge

Una Trevelyn was
born of English pa-
rents, in English
waters, on an English
boat. She is a gradu-
ate of Ward-Belmont
College of Nashville,
Tenn., but after her
graduation, she ran
away from home and
came to New York

(FiftyHght)

By

MAUDE S. CHEATHAM

yourself on when there is a demand for a crash-
ing, thrilhng situation."

Una Trevelyn was born of I'.nglish parents, in
English waters, on ail Knglish boat, and is a
daughter of the United Kingdom, tho she has
never set foot on English soil. Her father, being
a younger son of the well-known Trevelyns,
decided to answer the call of wider opportunities
offered by the United Slates, and it was a few
hours after her (larents had set sail for this coun-
try that Una's arrival in this world occurred.

After remaining in New York for a short
period, the family went on down to Memphis,
Tennessee, where they established their home.

Una spent her school-days at the exclusive
Southern college, Ward-Belmont, in Nashville,
where .she was graduated. All this tirne, deep w^ithin
her heart, stirred the ambition for a stage career.

Tho reared in the strictest home atmosphere,
where the theater was never mentioned, Una
says that her mother has often told her that when
she was a wee girlie she was always acting.
Whenever she was corrected, the child would
stage a big. emotional scene, the mother knowing
all the time that Una herself was conscious that
she was acting.

rhotus bj Hartsook, I

Miss Trevelyn first
joined a stock com-
pany which was play-
ing in Sioux City, and,
after that, "just hap-
pened" into pictures,
by reason of the fact
that she was ordered
West on account of
her health

Several times \
uring the sum- j
ler vacations, I

dii
mer

Miss Trevelyn
dabbled a little
with local stock com-
]ianies. but the fam-
ily's opposition was
so pronounced that
she realized she must
seek fame at a di.stance, so, after graduating, she
ran away to New York.

"Odd thing, to look back on one's first steps,"
mused Una, one afternoon as she told me the
story over a cup of tea in the cool tea-room at
the .Mexandria Hotel. "Before I had a chance
to become discouraged in New York, I met a
chap I had known at home, and he intioduced
me to a friend who was forming a 'stock com-
pany to take out to Sioux City. Well, I fibbed a
little about my experience, and he promptly
signed ine.

"After I had settled down in .Sioux City,
thinking everything was lovely and wondering
how I should break the news at home, the family
found me thru detectives — you .see, I was still
under age. This .served to make me more de-
termined than ever, and at Detroit I eluded the
detective who was taking me home and went on
to New York. There I reached mother by
'phone and tried to make her see my side of the
question. i Continued on paije 96)

(Fi fill-nine)

"My Irish Molly-0"

Bv
ELIZABETH PELTRET

HAvr. you ever imai^iiied wliat il would be like to
meet a girl out of a ])o]Hilai" Irish song.' If you
have, it was probalily with an inner feeling that
no such thing could ever ha])|ien, which is, of course,
all wrong. I'"or instance, take Molly Malnne.

You would know that she was a girl out of a song
the instant ymi looked at her. She is a tiny girl . . .
about five feet small, you would guess . . . with fine,
thick, bobbed hair, which is often in rebellious di.s-
ordcr. and large, expressive brown eyes. And she has
all the (|ualitics jiortraycd in those songs, too! Impul-
sive, sometimes lo the pcjint of being headstrong,
and warm-hearted and sincere and plucky and
lovable. She has a way of looking up at you
thai makes you want to grab and hug her, it is
.so reminiscent of a very serious si.\-year-old
child. Hut to get to my story:

She had not expected to work that week
but was called to the studio on the day of
our appointment just too late to let me
know, so 1 arrived to find her not at home.

"I can tell you all about her." her mother
suggested, hojiefully. 1 said that I was
afraid that thai wouldn't do, hut we chat-
ted for a while, anyway, before I left to go
to the studio.

lUu luck was with me. Just as I was

Molly Malone was, all
press-agent stories to
the contrary, not a suc-
cess at first in pictures.
Tt was only when she
had failed completely
and started all over
again from the very
hottom of the ladder,
that she really began
to make progress. She
is now being featured
in a series of Supreme
Comedies, the first one
being named "Molly's
Millions"

leaving the
bungalow-
court, where she lives,
I met Molly Malone
and we turned back
to the house.

"I didn't, have my
week's vacation after
all,'' .she said; "I've
been working all
morning." .She w'as
without a hat and the
long mauve cape that
she wore accentuated
her girlishness.
impressed with the suitability of
ilace for her to live.

1 was suddenl
that bungalow court as a
.'^landing at the entrance of it as we were, it looked
more like a toy village than anything else.

There are seventy quaint little houses, all exactly
alike, from the number of stairs leading to each
front door to the width of each tiny square of lawn,
all set facing a narrow court with a fountain in the
center of it. Inside, these little bungalows are as
cozy and pretty as you could ask for.

"Tho," said Molly Malone, "there is too much
figured stuff." One of ber many ambitions is to
become an interior decorator. .She has a great
many books on the subject and she really studies
them and talks about them with lively interest.
I'"or instance, she described her ideal room. It
would be done in I'"rench grey with hangings of
flame. Soft lights and a flame-colored sofa-cushioii
on ,1 grey lounge.

"1 ihink that makes the prettiest color combina-
tion imaginable." she .said.

So, you see, her childishness is only skin deep,
{Coiiliinu'il on j^(ii/r HH)

fSiita)

Ho\v to keep your

nails fashionably

manicured

This season's fashions
are built to display the hands

B

RILLIANT fans to permit a each week to this simple, scientific
graceful motion of a perfect method of caring for your nails,
hand. Sleeveless gowns that j'ou can keep them always exquisite.

lead the eye down the slender arm
to rest on the finger tips. These
and a dozen other pretty fancies
this season are especially designed
to display the hand.

Never before have hands been
so conspicuous. Nev^er before have
women given so much thought to
their care.

The chief beauty of the hands is
the nails. The cuticle must be slen-
der, even, firm. It is unpardonable
this year not to have perfectly kept
nails and cuticle.

Fortunately, it is no
longer hard to keep the
nails lovely.

An easy, quick, safe way
has been discovered tor
manicuring your nails! A
way which thousands of
women are using regularly.

With fifteen or twenty
minutes given regularly

Cutting the cuticle leaves a
ragged, irregular edge. The more
you cut it, the more rapidly the
cuticle grows — the tougher and
more uneven it becomes.

With a bit of cottoi' wrapped
around the end of an orange stick
and dipped in Cutex work gently
around the base of the nail. Now
wash your hands, and, as you dry
them, push the cuticle back.

For snowy white nail tips, apply
a little Cutex Nail White under-
neath the nails. Finish your

^j/^

9

manicure with
Cutex Nail Pol-

^^

1

fl^

Cutet tolttn* 'ind rnin,iff
lurplus e^liclc Quickly and

haTtulmi'lii

CmH§ WoU White pir.>

tnotrv nail tipt

1

}mZ

ish. To keep the cuticle soft and
pliable so that you do not need to
manicure as often, apply Cutex
Cold Cream at night.

Cutex is on sale at drug and
department stores in the United
States and Canada and at all
chemists' shops in England.
Cutex Cuticle Remover, Nail
White, Nail Polish, and Cold
Cream are each 35 cents. The
Cuticle Remover comes also in 65
cent bottles.

Six manicures for 20 cents

Mail the coupon below witn 20
cents and we will send you the
Cutex Introductory Manicure Set,
containing enough of the Cutex
protlucts for six manicures. Send
for It today. Address Northam
Warren, 114 West 17th Street,
New York City.

// you the in Canada, address
Northam fFarren, Depi. ()og, 20Q
Mountain Street, Montreal.

Mail this coupon and 2 dimes today to Northam Warren,
114 West nth St., New York City.

(Sixty-one)

David Warfield, the beloved veteran of
the dramatic stage, marvels with Cecil
de Mille at the wonders of an old-
fashioned picture projector — the kind
you used to see providing amusement to
visitors in the office of the country den-
tist. Center, Anita Stewart has discov-
ered a new way to alleviate the burden
of Uncle Sam's postal clerks. Below,
King Vidor, the promising young direc-
tor, discusses the script of his latest
picture. "The Jack-Knife Man," with
Harry Todd and Fred Turner, who both
appear in this play

Pacific Coast Paragraphs

Bv
HAZEL SHELLEY

P.Mii-ic is the most |)ro])er and fitting title for anything and every-
thing pertaining to tlie West Coast studios. That is, on the sur-
face . . . Peace, the perpetual sun and a layer of dust reign
supreme. Desultory stage hands whack at a solitary nail, the safety-
.[lin of tremendous .structures, as if it mattered not at all whether
tomorrow came or went. In the yards hundreds and hundreds oi
automobiles are parked, a slight layer _of yellow dust soiling evei
the most pretentious, as if, indeed, they had waited here long an(
long forgotten their claims to speed.

On the stages themselves a few actors are being measured fo
]iroper camera focus; directors stroll aroupd ; a Sabbath quie
envelo]is the gardens where motion pictures are grown.

.\ peaceful lethargy .seems to enfold the studios in a benignani
calm : the [leace of the Pacific. ,

Out here I miss the hurry of Xew York — so far I have knocked
dcjwn ten persons on the Los .\ngeles sidewalks in my mad endeavor

to create a little speed.
Here time and tide
wait for every man —
and tomorrow will do
as well as today.

.\nd yet under this
brooding calm, great
tilings are hapjiening
. . . enormous plans
are being formulated.
The King is dying, long
live the King — for in
these peaceful Pacific
places, new stars are
being born — new gen-
iuses being given a
chance.

And speaking of
chances, another erst-
while comedy queen is
about to come into her
own under the magic
De Mille management.
Ora Carew is the latest
pretty bathing girl to

park lier bathing-suit in moth-balls forever and aye — having just
affixed her name to a contract by which she becomes William de
Mille's leading woman. Her first picture under the direction of Mr.
de Mille will be "His Friend and His Wife,'' adapted from Cosmo
Hamilton's novel.

And while speaking of the De Milles, Cecil, that wonderful expo-
nent of silken lure, has chosen Forrest .Stanley to .succeed Thomas
Meighan and Elliott Dexter, as his leading man. Both of these splen-
did players have graduated to stardom, you know.

Yesterday, while discussing the addition of Stanley to his forces,
Mr. de Mille said. "He has youth, intelligence, ability and the sort
of experience which I am certain will, combine to place him s|)eedily
in the forefront of screen ]ilayers."

What picture Cecil de Mille will make next is not yet ascertained.
He has two stories, one by Jeanie MacPherson and the other by Hec-
tor Turnbull, both of which he will film, with the question of jirece-
dence the only one now to be determined. One is a satire and the
other a spectacle — and it all depends ujion Mr. de Mille's mood which
he selects to make first.

The most active jierson out at the Metro studios these days is the
doorkee])er. It matters not how often I journey to the other end of
Los .\ngeles for the express purjiose of visiting the Metro stars, eacli
and every time he eyes me with distrust ; nay, more . . . every one
of his muscles quivers, as he jumps up and down madly in his wild
desire to throw me out. And always just in time, the publicity depart-
ment comes to my rescue and I am permitted to pass.
{Continued on page 94)

(Sixty-two)

I

\ How to overcome the

H

havoc wrought by sun,
wind and dust

THE exposure of the skin to
summer weather often in-
flicts deep, permanent injury on
the delicate cells of the skin.

Repeated sunburn over-stimu-
lates the oil glands and gives the
skin a greater tendency to shine.
Wind coarsens the texture of the
complexion. Dust works deep
into the pores and irritates them.

However, with a little intelli-
gent care you can overcome these
ill effects.

TO o\ercome the tendency to
shine caused by sunburn, you
must counteract the over-secre-
tion of oil. This oil may be
absorbed and discouraged by
constant contact with a good face
powder. But to bring results you
must apply the powder in such a
way that it will stay on the face.

I'tcp mil' //i,' f^ores the crafty
titist sfi^ck.1 work. You nccit
a different cream lo get them
• III — a cream u-ith an uil hose.

If pondering is to be at all last-
ing, the thing to do is always to
apply a powder base. For this
a special cream is needed, a
cream which disappears instantly
and will not reappear. Pond's
Vanishing Cream does just this.
It is made entirely without oil.
r he moment you apply it, it van-
ishes, never to reappear. Before
you powder apply just a little
Pond's \'anlshing Cream. It
holds the powder to the face
twice as long as ever before and
prevents it from shining.

THE coarseness due to the
wind may be gradually over-
come by the use of a special
greaseless cream during the day,
to soften the skin and protect it
from further injury.

Pond's \'anishing Cream con-
tains an ingredient famous for
years for its softening effects.
Before every outing, apply a bit
of Pond's ^'anishing Cream. It
will protect your skin and grad-
ually make it finer in texture.

DUST is the worst enemy of
your skin. It quickly works
deep into the pores and darkens
and irritates them. To restore
clear color to the skin, you must
give the pores a deep cleansing
with an entirely different cream —
a cream ziilli an oil base. Pond's
Cold Cream has just the amount
of oil to work deep into the pores

PON DS

Cold Gram <£r*
^anLshino Cream.

Oiu- u-ilh>iiil any oil and one xcith .,n ml hasc

Do n\.t live in Irrrt'r of the
t^cwdcr coming off. rv.caling
a shiny face. Hold the foxx.-
der on with the right grease-
less f^ou-der base.

and thoroughly cleanse them.
Before you go to bed cleanse the
face with Pond's Cold Cream.
In a few weeks, your skin will be
clearer in color, finer in texture.

Stop today at any drug or de-
partment store and get a jar or
tube of these creams. Every
normal skin needs both. You will
be surprised to discover how
quickly they will enable you to
o\-ercome the injury of sun, wind
and dust.

Mail this coupon today
Pond's Extract Co.. 116-E Hudson St., New York.
Please send me, free, the items checked:

A free s.imple of Pond's Vanishing Cream.

A free sainjile of Fon<rs C<.i,l Cream
Instead of the free samples. I desire the items checked
Iteluw. for which I enclose the required amount:

A 5c sample of Pond's Vanishint; Cream

A 5c sample of Pond's Cold Cream

Name _

St reet

'•')• State

(Su:ty-lhree)

Gossip of the
Eastern Studios

Easti:kn screen interests now seem to center in
David Wark Griffith's forthcoming film rep-
ertoire season at a New York playhouse to
be named later. Mr. Griffith's .seasons are now
annual events — and things to be looked forward
to. Recall that his last season at Cohan's Theater
produced "Broken Blossoms."

This year Mr. Griffith will start, some time late
in .August ijrobably, with " 'Way Down Kast,"
which he has been shooting since before last
Christmas. The total footage ran to between
600,000 and 700,000 feet, and, at this writing, the
cutting has brought it down to 26,000 feet, or 26
reels. As the production will, it is e.xpected, be
released in eight reels. Mr. Cjriffith still has quite
a task ahead of him. Prominent in tlie cast are
Lillian Gish, Dick Barthelmess, Mary Hay,
Creighton Hale. Burr Mcintosh, Kate Bruce and
others of prominence.

Another feature of Mr. Griffith's repertoire
season will be "The Love Flower," origi-
nally produced as "Black Beach" and the
production which the director bought back
from First National to elaborate and en-
large. Carol Demp.ster has the leading rule.
Bobbie Harron is doing nicely with his
individual productions, made at the Griffith
Mamaroneck studios and which are to be
released thru Metro. The first of the star
series is "Coincidence," directed by Chet
Withey. June Walker, who scored last
season on the stage in "My Lady Friends,"
with the late Clifton Crawford, is leading
woman.

Film fans will be interested to know
that Betty Compson's new pictures, begin-
ning with "Prisoners of Love," will be re-
leased thru Goldwyn channels. Miss Comp-
son is the young actress who scored so
sensationally in "The Miracle Man."
Bessie Love has been visiting in
New York. Ethel Clayton has been in
the metropolis, too, prior to departing
for Ei'rope.

By the way, nearly every American
star will be on the Continent or in the
Orient before the year is over, it
.seems. Mary Pickford, Douglas Fair-
banks and Theda Bara are in England,
The Talmadges and Dorothy Gish
plan to tour Europe. Elsie Ferguson
has gone to Japan.

The first seal of the new Motion
Picture-Theatrical Association of the
World was awarded to "Suds," Mary
Pickford's latest vehicle. The presen-
tation was made on the stage of the
Strand Theater, New York, on June
27th, by Frank Bacon, secretary of
the organization. As Mary was ab-
sent in London, the gift of the replica
in gold of the seal was accepted on
her behalf bv her mother, Mrs. Char-
lotte Pickford.

Rcalart announces its newest star to
be Justine Johnson, well known to the
stage. Her first picture will be (ieorge
Scarborough's "Moonlight and Honey-
â– suckle."

(Sisty-four)

_ trenuous

1)ELICHTFULLrC00LING

l^siNOL Soap

Because it contains the sooth-
ing, healing Resinol properties,
Resinol Soap is unusually quali-
fied to stimulate and refresh your
burning, tired skin. Even if used
with a cold shower its lather is
generous and pleasingly fragrant.

Besides being soothing and cool-
ing, Resinol Soap is an ideal skin
cleanser. It lessens the tendency
to enlarged pores, by ridding them
of impurities, and it relieves ex-
cessiveoiliness and redness, while it
in no way injures the skin's texture.

RESINOI Soap allays the
inflammation of sunburn,
and is a valuable aid to the
woman who wishes to keep
her complexion unharmed
through summer's heat.

Ax ail drug

and toiXel goods

counters

,<^-

^

How to Find

the Cream

You Need

Stand in a good light —
examine your face care-
fully in a mirror, and
then —

Study this Chart

Acne Cream — for pimples
and blackheads.
Astringent Cream — for oily
skins and shiny noses.
Combination Cream — for
dry and sallow skins.
Foundation Cream — for
xise before face powder.
Lettuce Cream — for cleans-
ing in place of soap and
water.

Motor Cream — for skin
protection, before exposure.
TlssueCream — for wrinkle*
and crows* feet.
Whitening Cream— for
freckles and bleaching.

You do not experiment
when you use Marinello
Creams. Their value hds
been established by use in
more than 4000 Beauty Shops
and employment by millioiis
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The advice of Marinello Ex-
perts may be secured at our

Wtfjwm Offiu :

1404 Mailers Bldg.
Chicago

Eastern Office :

366 Fifth Avenue
New York

Marinello Toilet Prepara-
tions may be had at all
Drug Stores, Department
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[^ by [^^ "^

"^Anave^Aan"

Mystery Ci^RL. — W'liy. 1 lie^an my career a^
a very little t>oy. "Love's Redemption" is the
name of the play tliat we arc producinR, Yes.
on the New Amsterdam Roof. 42nd Street,
New York. Mary Pickford's "Op o' Mc
Thumb" has been rhan^icd to "Suds," ^'es. 1
know that many <if the women and children of
Siam are clay-eater>. Me for Siam if the b. c. 1.
keeps up.

Adfl.mde N. — There's no fool like the old
maid, they tell me. So you liked Cullen Lan-
dis in "Pinto." R. A. Walsh is directing for
Mayflower. Elaine Hammcrstein in "The
Shadow of Rosalie Byrnes."

Tennessfk. — You say. "Why be so hard-
hearted? Why not publish a full-page picture
of your^^clf in Shadowland — if you really
want t(t help the magazine along — so all your
admirers will see* just how handsome you
really arc?" Boy. oh boy! Do you want me
to ruiTi the Brewster Publications? Pegg^'
Hyland is in England now. No, she is not
married. Yes. we gave a special subscription
price for all three. Let me hear from you
again.

W. S. E. W. — I know for a fact that w^hat
you write about Mary Pickford is not true.
A lie has no legs and cannot stand long with-
out many other lies to help it, but it can run
fearfully fast and cover a lot of ground.
Rudolph Cameron is Anita Stewart's husband.
William Russell and Francelia Billington in
"Slam Rang Jim."

GERTRrDE P. — Ruth Roland, Hollywood.
Cal.. will reach her.

Inqiisitivf. Jess. — Had some time trying to
decipher your English. You ask, "Who is the
greatest motion picture player oh the field?"
Pretty hard. Give me another field. Dustin
Farnum played in "The Squnw Ma'n." "Cameo
Kirby" and "The Littlest Rtbcl" on the sta^e.

GERTKrnE li, — My, it took me some time to
wade thru pages and pages of green ink. You
can write to the Rlacklon Productions. 25 W.
45th Street. N'ew York City. Oh. thanks, aw-
fully! I can return the compliment. Human
beings who reside in crystallized domiciles
should not project geological specimens. Ciet
me? Send un some more green ink, Gertie
B., and then exchange names with "Irisfi,"

A SorTHERN Bki'nette. — Your first letter?
Welcome to the sanctum. We liave three dogs
now, Corot. Ranger and Zorko. Shep isn't
with us any more. Yes, I have framed pic-
tures of the players on my walls, Lm a regu-
lar movie fan. Yes, I have been in love. You
say it is iictter to have loved and lost than
never to have loved at all. Not so. It is a
misfortune for a woman never to be loved,
but it is a humiliating calamity to be loved
no more. Wss /»«.'

ToTo Mac. — Thanks for yours, write mc
again.

Anxexint. BiLt.. — Sorry, but I cant give you
any information about Lieut. Locklear, who
played in "The Great Air Robbery." I under-
stand he is quite smitten witli Viola Dana, but
there may be nothing to it. Yes, your ques-
tions are a little out of my line. I have no
air-line.

Liu.iAN R. — No. no, Norma Talmndge does
not live at the studio on 4Kth Street. She iias
a real home of her own. I think it is true
that actresses who cry easily are the best ac-
tresses. They are the most emotional. It is
also true that widows who cry easily are the
first to marry again There i^ nothing like
wet weather for transplanting. Wow I Bring
on the fan I \'iola Dana in "Dangerous to
Men," Not to mc. Viola.

Fot'R Bei.i.s.— That's what you get for stav-
ing out all night. You say that if your shoes-
would e\er acquire the shine your uo?-^ docs,
you would be in 10 cents every day. Why
vshould you not he just as proud of a shine
on your nose as you are of a shine on your
shoes? Samuel i.umiere and Charles .\lbin
are our official photographers. Shadowlaxd
is 35 cents.

Dere Mari.e. — I am quite sure you have the
wrong Marion Da vies.

Phyllis. — Baby Marie Osborne played in
"Baby's Diplomacy." "Tears and Smiles." "The
Little Diplomat." "Sawdust Doll," and "The
Evidence." You will see Wesley Barry play-
ing in leads when he grows up. Surely a girl
living in Canada may join the Fame and For-
tune Contest. Why not?

Jack. — Yes, I like your stage name. You
ought to hob your hair. I ha\(e been thinking
seriously of doing it. King Baggot played op-
posite Alay -A-llison in "The Cheater,"

The Quakers. — The ghost walks around
here every two weeks. You know why they
call it that name? Because it makes our spirits
rise. Yes, to your Constance Talmadge (lues-
tion. She has been in here lots of tirrtes — we
all love her.

Classic. — Milton Sills is in California now.

EsTELLE. — Short and sweet is right.

SuNSHiN'E. — Paidine Frederick is released
from her (ioldwyn contract. Her last two pic-
tures are "Roads of Destiny" and "Madam
X." Anita Stewart is playing in "Harriet and
the Piper." Irving Cummings and Charles
Richman in the cast. Perhaps we admire a
lieautiful soul more than a beautiful face,
but we dont run after it quite so hard.

Fairuanks. — Thanks for the clipping. It
wasn't reviewed as severely as that in the
East,

Bn'E Eyes. — Honestly, if Norma Talmadge.
corresponded with all the people who asked
me that (luestion today you would never see
her on the screen, because she would have to
spend all her time writing. Have a heart
girls, and boys, too; you expect too much of
the players.

Dana, anh That .^men Glv's Wife. —
Good luck to yon, girls, aiid remember your
oath at the altar. Obey!

Ln.A Lek Fan.— I am not sure whether
Mary Miles Minter has a brother in Los An-
geles, but I <loul>t it very much. Ralph Graves
is not married. Yes, this seems to be a very
disordered world of ours. Some are over-
worked, some do not have to work, some are
being worked by those \\ ho do not ha\e to
work, and some who want to work, cant find
work.

fSixty-aix)

La Crtole Liguid Shampoo

La Creole Hair Tonic

Right care means plenty of good looking hair

Men and women both should have it— but many do not

It is really MirprisiiiK that men aiul women so
coniTTKnily permit their hair to lose its good looks
;ind actually to fall out in luisiKhtly quantities.

Men's hair heeomes tlisa^reeahly 01 1 \' aiul
â– -trinKy and gets thimur and thinner. Women
vuffer with falling hair and dandruff. Their liair
loses its life, heauty and luxuriance.

AH thi^ can he easily prevente<i. Plain neglect
is the cause. \o more care than is given the
teeth will assure ahundant. vigon)us. heauiif'ul
hair if the care is wisel}" directed.

Simple directions

Kegnlarly, two or ^hree times a week, apply
"La Creole" Hair Tonic, using the halls of the
fingers to rul> it into the scalji with a rotary mo-
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of hair.

Scientific endorsement

Scientific authorities endorse "La Cre<de," No
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An important ingredient is "Eu-
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of the American Medical Associa-
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and unhealthy scalp conditions
Scientific tots ancl actna]^ use
hoth prove the results "La Creole"
Hair Tonic hrings in tlie new
heauty and health of your hair.

Use this superior shampoo

At last the ideal >hampoo Iia-^
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"La Creole" Liquid Sliampoo is
a recently achieved formula hased
on long experience an<i now ad<ie(l
tr. the list of "La Crecde" products.
It hrings a conihination of stimu-
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tiefore attained in a shampoo.

Madcvowelle L« Creole

The wonderful hair ci( tht-
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Its base is a mentholized cocoanut <.>il — an ab-
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Creole" is thus a;.sured. Its delightful, stimulat-
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At rcffular intervals, every ten days or two
wc^ks. the hair should he washed thoroughly
with this >u|)erior shampoo.

It keeps the glands and ports of the scalp
glowing with clean health and vigor to function
properly.

It makes the hair soft, lustrous and tlufTy, It
puts hair and scalp in ideal condition. After its
use added benefits follow from the unfailing ap-
plication of "La Creole" Hair Tonic.

For gray hair

For hair that has grown gray, gray streaked
or faded "La Creole" Hair Dressing is prepared.
It is a treatmt'iil for the gradual restorati<m of
the liaii 's natural color — lightest brown to deep-
rst black, whatever the natural
color was — in from three to six
weeks. It must not be confused with
cominon dyes. It <loes not give the
hair .1 dyed loi>k, it cannot stain
the scalp and there is nothing to
wash or rub ofiF Refinement ap-
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bring back the hair's c<'lr)r or
moTiey refunded.

All La Creole preparations are noted
for their' excellence.

At Drus Store* and Toilet Counter!

La Creole Hair Tonic, 75c

La Creole Liquid Shampoo, 50c

La Creole Hair Dretting, $L00

I ( your <Iealer can't supply you, write
us ilirt-cl. W'f will see that you are
siiiiplied.

LA CREOLE LABORATORIES

317 Tenth Street, Mcmphia, Tcnn.

f i>i.itif'iit'ri-ii )

miMlUW I'lL 1 L Kb (.I-ASJjlC

Trumpet Island

for Diamondr

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Catalog. IT IS FREE!

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A cream and powder combined,
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you. we will mail it to you postpaid on receipt of 63c.

ROSEEN TOILET CO.

1299 McAlliater St. San Franciico. Cal.

Write the Words
For a Song

Write the words for n song. W'c revise

song-pocins, cnmfiosc iiiusic for them, and
giinrjiniee lo scctirc puhlicntion on a
royalty basis ))y a Xew Vork music pnb-
lisbcr. Our Lyric F.ditor and Cliiel Com-
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Mail your song-poem on love, peace, vic-
tory or any other snhject to us today.
Poems, submitted are examined free.
BROADWAY COMPOSING STUDIOS

107-F Fitutritd BIdf.. Bfoadwar ■! Tiai«i S«uar<. NEW YORK

FILMS

rOROS FOTO STUDIO

.;...! 1 1".- ]-. r r..]l.

\U n>i irriiil> ^>l .1 .Mill 4r
.:uli. ll.t a ''sll ciilargv
nirtlt <if \i>iir lii'sl lilinn

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Beautifully Curly,
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Liquid Silmerine

II ipplicd u ciijhl wilh • cletti toolh bruih. Ii neither
Uicky noc gieny. Perfectly hiimleu Seivei ilso ai •
iplettdid dieiiing tor the h«ir. Diiectioni with botlle.
At your diug^tu'..

I C'liifiiiiuu/ /

|)iesencc and l:i'il .-i criiiii|ileil Icttci- in
ills hand. He read ii and went jjliastly
wliite. "When ymi ivad ihis. 1 'iliall

j he Ijeyond VDiir iiaeh and his. N'oii

' have chi)sen a hushand fur nie. hul I
have the rij,du In chiwise tnr myself, and
llie only hushand I shall ha\e is Death.
'I'liat is why I asked fnf the acfoplane.
It will be very easy tn Itidseii the hnckles
(if the safety belt. l idixl-hy, daddy.

I I'or.tjive nie. init I couldn't. He wciuhl
want tci kiss nic. he umild say he had a
ritjlit — and it i- far ea-ier to die. — l'".ve."
Then there were lelejiranis. reporters,
search parties. news|i.-i|ier sob-siories and
finally for^'et fulness. Jac(|ues had a
ert!']ie band sewed aliont his coat-sleeve

I aiul cashed his larjje check niournfnlly.
.\nother candle burned on the convent
.•dtar and the world waij^'ed on its way.
lUit on a small, deserted island many
miles otY the coast of I'liprida. the story
th.it was he^'nn with the meetinj; of two
pairs of eyes tlirn the coment jjate went
on to another chapter, as it was meant to
j;o on from the bej;innin}; of the world.
Richard liedell. \(iluntaiy exile, had
deliberately destroyed the boat that
broii<,'ht him to this wild, uinisited .spot,
knowinj,' that until his year of refjenera-
tion was oxer and his friends had come
to find bin), as they had promised, he
uipuld see no other human soul. Hut
man cannot ijet aw.av from fate, tho he
travel to the ends of the earth, and so,
one sparklini; mornin',', he h.ad come out
of the hut he had constructed for him-
self, his dot; ;rt heel, to tind that he had
,1 \isitor who h.id fallen from the very
skies.

In a cruiupleil heap imder the tree
\\liich contained the' frafjments of the
aeroplane, h.ve lay as tho she were asleep.
.\s he bent over her she stirred drowsily
and her eyes unclosed. His liearl leajied
as site lookeil up into his face, then sank â– 
like a stone, for her s,'.aze was shallow
and empty and ol.icidly luirememberinj;.
The shock of the fall li.-id left her beau-
tiful hotly miraculously intact, but h.'id
taken her mind away! It was a cruel
jest of fate. .Somewhere in the limitless
void, he could imai,'ine perils of cosntic
mirth, mockinj; them.

l-",\e fountl herself in a puzzliiif; unrlil.
The ]>uzzle « as not why or how she
c-imc to be there. That seemed ijuite
nalural. She .accepted Kichartl, the hut.
the island contentedly, but she could not
uuilersland u hy he would not let her d.j
llu things she wanted to do. There was
the matter of clothe^, .'^he h;iled the
ones that she uure. hea\y. cluiusy thint,'s
ih.al uave her .-i str;iu;;c sort of I'c.ir when,
she looked iloun ;it them. So at nti;hl,
\v hen she was aloiu' in the hut .incl Kicli-
.iril u:i-- sleepini; in ;i ^belter of |jou},'hs
ouiviile. she took them off and was
ple.ased and delighted to di-cnver charm-
iiii; pink, snfi thin.i,'s undcrne.itli. liut
uhen slie r.iii to him in the morning,
cl.'ippinf; her li.-mils with ple.a-ure in her
~eif. he lich;i\cd very -tran.yely ami even,
-he thou[;lii. .ilmo-l unkindK.

roui I'aijc ,s())

He told her, with his back turned, lo
|Hil on her dotlies, and she answered,
triuiuphantly. that she h;id burned them
liecause they were nasty. Then he founil
.1 much,-too-larj;e shirt and a Jiair of
trousers and dressed her in them, rather
clumsily, because his fingers fumbled
i|ueerly over the task. .She saw th.al he
u.is anj,'ry and her lips quivered. "I'.ve
ilidn't mean to be naughty!" she befjued,
"Hut why is it naughty to wear pretty
things instead of ugly things!'"

He groaned at that. "(iod!" -aid
Richard to the sea, "how am I going to
stand this seven months longer? It's
asking too much of a man !"

,She was frightened. She climbed
u]ion the rock beside him and kist him
\\\\\\ the ojien, care'.ess li]is of a child.
He looked at her with suffering eyes,
bent his head and clenched his h.nids at
his sides. When he lifted it at last there
was sweat in beads on his forehead, l)Ut
he was smiling ])atient!y, "No, no,
h'.ve!" he said, in a tired voice. "Mustn't
do that, dear. That's naughty, too,
Xow let's go fishing! I'll let you holt!
the rod."

The days drifted away into eternity,
the suns rose in opal and ametliysl, set
in crimson and i)urpk'. the moons grew
red and swollen beyond the moss-beardetl
trees and Richard liedell felt the ohl
strength and ]iride tjf rewon nianhooil
setting in a strong tide thru his veins.
Three ye.'irs in the Flanders trenches,
two months of discouraging se.'irch for
work, two more months of unbridled di>-
sipation hail added years, but fierce phys-
ical toil, hewing of trees, the m.'iiching
of his body against the elements aiitl
Nature sloughed theni off again.

Thru it all F.ve was ever-present, run-
ning barefoot on the sands, dancing nilil
little dances, singing formless songs,
laughing the laugh of a three-year-old
child wilh the ri|)e, fervid, glowing lips
of a wiiman. Slie was a bell made lo
give forth rich, vibnint music, but, thru
an invisible Haw, forced to tinkle instead,
.She was made for the de.'ir ofllces of
line, and yet she coidd only be pitied anil
protected. It was a situation to test the
mettle of ,'t ]ihilosopher, and at twenty-
eight a man does not live on the dry
crusts of philoso]ihy, I'.ut Richard
*t.'ir\ed himself and kept his guardiaM'
-hip imlarnished by a single word or act
th.'ii might reveal the jient human
hungers within him.

.\nil then, one night, si.\ months .'ifler
the one in which the splinteretl aeroiilane
had pitched out of the sky upon his
i-land, Richard awoke, his ears ring-
ing with the echo of a scream. He lis-
tened, groping for the Iti.'ided Colt which
he kept alu.'iys at his side. Thru lire
crevice- of his shelter he saw a light in
the hut beyond and struggling shailow-
llung ihi'u the single window .'icross its
|i,'ith.

The two men in the hut were loo intent
upon their business to hear the sminds
( Coiiliimctl oil fitii/r '*2 1

(Sixiiitiijlili

CARTOONISTS

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In this weary old world, e^erjoiie from
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may have ideas that arc
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Krliniard 1! c.>sclbi.Ts,

Our k-adiii« Coiiiposcr. is a
,\.irld*s lam.. us pianist. ai|-
pi arin« in concerts wiln
such c.lclirale.l singers .ns
Siiiibricli. .Ni.rilica ami de
Ucszkc. .\inonK his great-
, St song successes are.

•IK I WKKK .X UDSIJ'^
.f winetl a lllilliotl copies
iKive been fU.
/'â– tii't lei another day ffo
'.- witli'nil si'''niitti»!J a

!•' ,-11, /,. „.< /',' If f,'iy>iv.

The Metropolitan Studios

Department 138
016 S. Mich. Ave.. Chicago

The Dauntless Anita

(Continued from page 50)

Atlantic City, where she and her f^'^^'.
were spending a few weeks. "Ihat 1
was suriirised at the invitation is cx-
tiressiiifj it niilfUv," she said, •'but I per-
suaded daddy to let me come to _New
York to sec what it was alt about.

She arrived late one afternoon and was
conducted at once to the editorial sanc-
tum a pink-cheeked, starry-eyed, ra-
diantly expectant vision. The editor was ,
obviously interested.

"You must come out to Roslyn to-
morrow with the other girls for a test,'

he said. ., . , . -.

"I shall be delighted, ,said- .\mta.
•iUit i must go back to .Atlantic City
loniglit and explain to daddy and get
s„nie clothe<. I brought nothing with

nie. ' , , •

"But you cant possibly go to .\llaiuic
Citv and 'get back in time. Cars for
Kiiilyn will leave the ofticcs promptly at

III"'-'-" . • , ,- 1 .1

"Oh, ves. I can." she said confidently,

"See if i dont !"

Arriving at the offices next morning,
we found girls, girls, girls. Girls blonde
and dark." Girls merry and taciturn,
(iirls confident and apprehensive as to
what the day might bring forth. .And,
seated quietly in one corner, but with a
personalitv so magnetic that all eyes were
attracted to her, was .\nita P.ooth.

"How did you get here?" we wanted to
know.

"1 flew." slic said calmly.
"You li'liat.'"

"I flew over in an aeroplane. It was
the only wav there was to come and get
here in time— and 1 just had to come.
So. 1-.ist night when I got back to .\tlantic
City. I made arrangements and — I flew
back this mornilig. It didn't take long."
.\nd that's .\nita I'.ooth— as we met her
—as we have found her always— prac-
tical, self-reliant, splendid in licr voung
and unvaiuiuishcd ambitions.

,\t Mr. I'li-ewster's estate at Roslyn.
Long Island, that day, .\nita P.ooth was
in high favor with the contestants, the
news]iaiier men. the celelirities gathered
there for the momentous occasion. She
was friendly, confident, alert, nothing es-
caped her.' She knew nothing of the
mysteries of inake-n|i but was anxious to
le.arn. She posed before the cameni.
alone and in groniis of girls. She tcle-
plioned her father at .\tlantic Citv for
permission to stay over another day.
She stayed. She did her individual bit
and she' went back to daddy.

Many weeks jiassed. and one d.iv ihere
breezed into our oflices .\nita I'.ooth.
chic, smilin.g. altogether captivating. She
liad come to say "How do you do imd
iliank vou." \Vhen it \\;is olficially an-
nounced to her that she had been chosen
one of the winner> of tlie contest, slie
cried. Xot because she w.i- one of the
uinners — of Citiiisc not Iml because she
uas glad and happy and. moM of all.
surpri-ed.

.\n(l then the powers that be told her
lli.it in accordance with the plan- :ind

j.romises of the Brewster I'ubhcations
a position would be secured for her.
It might take some titSe- if iirobably
would. But she was not to worry. A
"job," and a good one, would be hers in

time. , r , r

"That's perfectly wonderful ot you.
said Anita," and 1 cant »cll you how much
i apin-eciate it— hut I came back to New
York two weeks after the contest closed
and got myself a job. In fact, I have
already finished one picture with ^elz-
nick and ,am soon to begin another!
\nd she had. and she ditl^and then she
did two more. lilaying oi)posite Ralph
Ince in "The Law Bringers" and " 1 he
Isle of Pines." She also uA a picture
with h'.laine Hammerstein— a rather
vampish part which she didn't like a bit.
she says, and now we hear that she is
lilaying a stage engagement with a stock
company for "experience and disciiihne.
"^'ou' see," she confided to me re-
cently, "daddy is quite willing now that
I take a chance at doing uhat I want to
do He knows my heart is set on making
a success on the stage and screen, and I
think he really likes my pluck. Ht; en-
joys going about with me and will be
wi'th me a great deal. He likes New
York, especially in the oj.era season.
That's where I get my love for music.
Opera is my favorite pastime, you know.
Last winter, when I • was working so
hard at the studio, making those terrible
trips to Fort I.ee in the storm and sleet,
T would hurry home and dress tor the
opera instead of going to ned as I should
have done. But daddy says that good
music is 'rest for the liody aw) food tor
the soul!' and he is right. Isn't it funny
how things come about 1 T. .\tiita Booth,
country born and bred, here m New
York and actually acting- or trying lo-
in pictures!"

" \nd do yon think the I-ame .and I'or-
tune Contest really started you upon your
career-" . . , .

"Well it may have hurried it up some-
what--but sooner or later 1 should have
started." said the dauntless .\nita.

li'

IX .\ MIST

l.|, llMillN ClIllKI

\ siUcvid niisi sorciii- u-
lint thru tlio â– slfiukT sliaits
I vciKC your prfsiiici-
Like tlic iieanifss of I m".

\iul luar your vnicc.
\ iliraiil ;is :i liell
C:illiiiu iiu- to -crvK-c.

:\UYIX'
•,j P.i.ii\ Kn

;i \M-l' tolliullt.

.\ W'F.l-.

Wiarviii"

Wiiiiilcrin' :iloiu-.
WisliiiT for 111! old (IoIikIu

Til 111- .ill 111' own ;
W aiitin' little' loxiii' worils

Flutter roiiiiil in' liiiirt like
I'.aliv liiriL tliiit liitlf ;i wee.

Soft anil warm and white :
VVislfiil all ill' heart o' me

Waiiderin' toinulit-
WMiideriir if .M>n could he
Weariiil' a wee.

hirds

{flrir:il!0

CLASSIC

Beatrice from Paree

(Conlinued frcin page 33)

the quick, decisive movements character-
istic of her.

"Anyway. I jiicked up some little
F.nglish, and thoufjht of (lictures. I had
exactly one hundred dollars, and I
thought until that was gone — I should
have a worry — so (Iloria Svvanson and I
took a house — it cost eighty-five dollars a
month — can you imagine that ? — and I
got down to three dollars hy the clock.

"Ciloria introduced me to C. B. de
Mille, hut he didn't like me — couldn't see
me for dust" — she emphasized with a
candor typically (iallic and a slang typi-
cally .\merican — "hut 1 got in tlie ^Iad-
laine Traverse picture, 'Rose of the
West.' and then Rill Desmond engaged
me for 'Dangerous Waters.'

"Then I had my first real chance with
.Sessue Hayakawa in 'The I'leg.gar I'rince,'
and after that I was featured in 'The
.'stranger.' "

"And now?" I (|ucried, as she drew
hrealh.

Her tip-tilted hose wrinkled slightly.

"I have a contract with I'athe for one-
reel comedies." she said hriefly.

"They tell me it is good experience,"
she added, with a resigned shrug of a
slim shoulder. "And no doubt that is the
truth ; hut I waiit to cry, to make the
emotion — to make big name for nivself —
and then I am push off barns and hid
under tiger-skins — can you beat it 'l"

I sympathized, but Beatrice's lightning-
change mind was already on another
sirliject.

"When you describe me," she .said ear-
nestly, "dont say my e3'es are like deep
jiools of muddy water or that my lip.s are
like Cuiiid's how — just say that when
(iod made curly hair. He left me out; I
have to put it up in curling kids at night,
anil I feel like I sleep on marbles."

Her plaint was real enough, but there
was a glint of laughter in her eyes. It is
impossible for her to take anything se-
riously— even "slee()ing on marbles."

As a matter of fact, I hadn't had time
to consider whctlier she was beautiful or
not. Her startling brown eyes, which
'ire liy turns na'ive as a child's and .sar-
donic as those of a woman of the
world, her flexible eyebrows, u hich move
with every change of expres'sion. her lips
turned up slightly at the corners as if she
were forever on the verge f)f a laugh —
perhai>s at your expense — her whole
vivid jiersonality. combined with an
am.Mzing frankness and a delightful sense
of hiuuor. entirely cajitivate one .and put
the (|ucstion of mere beauty into the
mental background. Her I-'.nglish vo-
cabulary has been acquired from a hun-
flred .sources, not all of them pedantic.
She catches up every slang jihrase with
the avidity of :\ child and swears upon
occasion with utmost naivete.

"Xow. I am ready for tny costume,"

she pronounced, flashing a last critical

look at iierself in the mirror. "There is

not nuich of it— I. am a model in this pic-

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MOTION PICTURE

Little Miss Rebellion

(Continued from page 43)
mechanical dolls worked by strings as
far as he was concerned. He left the
theater, hopeless but hungry. Youth
may sufTer, but it inusi be fed, and at the
window of the nearest white-nled eating
place he stopped, staring with unbeliev-
ing eyes. For there, before the griddle,
struggling with a spreading puddle of
pancake batter, stood a small, boy-slen-
der figure with masses of dark hair es-
caping untidily from under the cocky
little cook's cap. .

Richard dived thru the revolving door
so tempestuously that he sent the stout,
respectable citizen in the next compart-
ment reeling in a disreputable manner
along the pavement. Unheeding the ef-
forts of a blonde beauty to lead him to a
seat, he leaped the brass rail by tht
griddle and treated an enthralled audi-
ence of homegoing theater patrons to tht
interesting spectacle of a young mar
taking the cook in his arms while thi
1 batter blackened merrily, unturned.

.•\fter-a moment, however, it did occu
' to Richard that there was something odi
and perhaps uncalled for in his attitude
and he released Maria Louise. "Why-
^^-hat— who— when ?" he babbled. ">o
—in New York— working in a hashery,

(."ii-and Duchess " .

"Not anv longer, Richard! Man
Louise smiled sadly. Then the sadne^
vanished. "Do vou know the reason 1 a:
in New York, Richard? l',ecause— ihi
day so long ago you told me it was whei
vou lived.''

Another total eehp.^e of the cook wi
threatened, but an interruption m tl
shape of an irate manager intervene
"Wha's all this!" he began belhgereiitl
â– Comin' in here an' burnin' up niv gri
die. D'you want me to call a cop r

Richard drew himself up splendid

^o far as is known, his great-gre;

-reat-grandfalher was not a king, but

butcher in Keokuk, Iowa, but he siio

! :is royalty might address a mem

1 â– â– Tliat'wiU do, mv good fellow! 11

voiing Indv is no longer in your enii>li

Maria Louise, take off that aiiron a

cai) and get on your things. 1 am goi

i to take vou home."

\iul Maria Louise, enraidured at he
i (irdered about, as all women, whetl
' C.raiid Duchesses or waitresses, are
i raptured when they tinti a man who \
, Inillv them, obeyetl.
1 'I'here is no doubt that the thslance^
New ^'ork are great, and that the s
wav service is nol all il should be. s
even admitting this, it dues seem a ti
odd thai it should have taken Rich
;ui<l hi- little e.s-lirand Duchess i
hours lo go from l-'iirty->econd Strec
Thirlv-niiuh! .\nd there, in the di
lillle >itling-room of Maria Louise's di
little Hat, they found a stoutisli gei
man, -with a drooping and dispirited n
lachc. slumliering, an alarm clock se
midnight in one hand.

"I'oor .\rneau will insist on i:on
for me everv night." Maria Louise
lilaiiK'd. .-IS they g;ized down at the

Prime Minister. "I think the dear old
fellow feels it very bitterly because I
dont wear a crown to work. He is old,
Richard, and he doesn't understand the
new world. Come, let us wake him and
lell liiin the news,"

When the ex-I'rimc Minister saw the
joy in his eN-Ouchess' face, he spran;,'
u|i and hrouyht his tired old body sliarpl)'
W salute. "Vou have liad anod news!'"
he asked breathlessly. "You are tioing
lo lie ("ir.'uid Duchess .afjain :"

"1 have belter news than that, I'apa
Arneaii !"M;iria Louise laughed, ;ind drew
Richard close to her side. "I am )i"'"K
to m.-uTV Ricliard tomorrow as soon as
the niarryini;-iilacc is open, and 1 am the
h.-ijipiest fjirl in ;dl the world!"

The <^](m of ho])e f;ided from the old
man's counlen.aiice, hut his eyes, upon
the two radi.anl ymuijj faces before him,
were resif;ned. ll was unthinkable, but
after all. so IdU).; a^ she was happy

He bowed. m;if,'nilicently, from the
w.iist. "It shall be as N'our Sublime
Hiflhuess desires." sij,died the ex- Prime
.Minister.

The Silken Cotton
{ Ct'iiliiiiH'd I'rDiii I'ci/i' 2S j
stronj; faiths aii(i dreams . . . thin(;s
such as 'The I'roken Melody.' for in-
stance."

I left Lucy Cotton and her niotiicr
with the happy sensation of Iiavin^; Icrrti
firniii under my feet the while m\ hea<l
was encircled with the softness of
dreams. I felt that she was remarkable.
I felt th.it she had achieved. .She hiiow.<
herself, ."she has made .a study of her-
self, .'she is her own critic. .She has al-
lowed nu outside influence to detract her
or distract her. She has marked her-
self a ])atliway and she walks upon it,
liausinj; only when and where site wills.
-She is ^'entle and she is lirm ; she is ten-
der, yet one knows that she is strong.
.She loves her work, loves her family, her
mother first and foremost, of course, her
sisler> and her one little nephew, who
dec];ires th;it he is ijoins to "marry you,
Lucy, when I .i;et bii;." His companion-
ship." she said, in her silken-cotton way,
"ine;m- more to me than I cm ever say.
I Kel, oh. so much out of it."

She Kcls something,' from evervthing.
Lucy Cotton, somethini; beautiful, be-
cause somelhini; in some way construc-
tive. The ijannents of illusion have
never drop]ied from her. The candid
eyes from imdcr the level brows still .see
in poor pl.'iin measles red (lowers, ^row-
mi: . . .
. Hajip)' Lucy! Happy world! .\men !

â– J TtfK NF.W I'OKTS

Vty Wkii.iit !-'ii,i.|i

hi iIk' dIiI il.ivs

Ro5c Ikti- ami tluro a ^'iaiit o;ik. wiik-li thrust

It^ sli:ui"\\ nil tin- fiM-tluT CL'iiliiric-i thru:
Bin. save fur these, the liarmi i-.nth. a-ihi-I.

Thirsted for hcauty. as the rcntiirifs i;rcu.

hi tlu'se new (l;i> s

Thr oak uixi'S i)1:k-i' tu huniMtT wro^idc irt-t's.

Tlu- thrill c.f life is fi-ll ill i\cry il..il;
N'nw s, Ilia's, like llll^^^â– lll1>, ^)iriii|.; lo c\cr>
hrec/e —

.At last till- i-oninioii pcopU- talk v\itli doil '

(Seventy-three)

1 hese are the Hom-s that vJount-

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tl tOMOItll,!': iirfFtiTINH
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The Lashes Tell

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a

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MOTION PICTURE

Kathleen's Anchor

(Continued from page 37)

(if becoming an actor. But the costumes
lie designed for "Male and Female"
cau.sed so much admiring comment that
he has definitely decided to make design-
ing his profession.

"I wanted to be a designer at one
time," said Miss Kirkham, "and I think
I would have made a really big success
at it . . .1 certainly didn't have any
great gift for the stage. Marshall Stead-
man once told me that I would never
make an actress."

She feels that all her dramatic abil-
ity has been developed by work and ex-
perience. She has ajipeared in over thirty
moving pictures. ,eleven of them made
last year. In many of these she played
the "heavy."

"I've been married to almost every
character man on the screen," she said,
"and I've been the mother of many a
young girl who was really older than my-
self, or. anyway, just one or two years
younger.

"I'ut really. I've had a very easy
time — almost t(3o easy a timer There
used to be nights when I would actually
jiray that my parents would lose every-
thing they had so that I would have to
work for a living! That sounds terrible,
I know, and yet there were times when I
would refuse calls I really should have
accepted. Afterwards. I would feel sorry
about it and wish that I might lie like
some of the girls I knew, so poor that I
would ha\e to work whether I wanted to
or not !

"I'ut now I can see how my financial
iiidei)endence was really a protection.
Unlike the girl who has to be careful of
her iob, I didn't have to take any insuhs
from anybody — I coyld always quit.
And in this, as in practically every other
kind of work, it is true that nothing suc-
ceeds like success. The girl who looks
.as tho she doesn't need a position is gen-
erally the one who gets it."

Kathleen Kirkham v\as born in Me-
nominee. Michigan, in 1893. .\s a little
girl she was in stock for a while at Lake-
side. Wisconsin. In the same company
were Walter Long, now at Lasky's, and
Matt Moore. She was also- with Dustin
I-'arnum in "The .Squaw Man" and "The
Virginian." Following a ])eriod of trijin-
ing in two Los .\ngeles dramatic sch(;ols,
she started free-lancing around the
studios.

"I have never jilayed atmosphere, ex-
.ictly," she said, "but I have never been
under contract. I worked for quite a
while at Universal and getting on very
well, I thought, so I offered to sign a
contract with them for as long a term as
they liked at a salary of $15.00 a week
;md they turned me down!" This was
only a little over four years ago.

"It was 'The l-'yes of the World' that
established me as a 'heavy,' " she went
on, "and I dont regret it in the least! At
that time there were only about five
'heavies' in Los Angeles and no end of
work. Often I u.sed to wish that there
could be a lillle more corppetition .so thai

(Seventy-fourJ

CLASSIC

life would be more excitinjj. And then
when a new girl would come up. I'd say
to myself, 'Kathie, you'll have to look out
now ; you'll have to work a little harder !'
and I loved it !

"And then I became a star, you know,"
she smiled, "at Balboa."

"How much did they get you for?" I
asked.

"Only two weeks ! That was because
I had made a rule never to wait more
than a week for my salary. I've always
said that if my salary wasn't ready for
me on a Saturday night, I wouldn't go to
work Monday morning.

"They weren't what you would call
exceedingly good pictures. I remember
one day I took my family to see one of
them at a nickel theater on West Pico
Street. There were six or seven mur-
ders in it. I played a sort of vampy
character who had to faint in just about
every scene.

" 'There .she goes again !' the man in
front of me would say every time I
fainted. But the funniest thing was my
entrance !"

It seems that some man in the audience
drawled in a high voice, "Gawd, look
who's here."

"After all," she remarked, thought-
fully, "I haven't gone ahead as rapidly
as many of the girls I know and started
with. But then, speed is only relative . . .

"That reminds me of a story my
mother tells about her first automobile
ride. It was in one of the first automo-
biles ever made and my mother was
leaning back, enjoying the rapid motion
and the feel of the wind in her face.
Finally, overcome with curiosity, she
leaned over and touched the driver.

â– ' 'How fast do you think we are
going?' she asked. And he answered in
an awe-struck voice :

" 'We're going fifteen if we're going a
mile!' "

Some of Miss Kirkham's pictures that
come most readily to mind are the three
she did with Douglas Fairbanks, "He
Comes Up Smiling," "A Modem Muske-
teer" and "Arizona." Others are "For
Husbands Only," "The Gay Lord
Quex," "When Dawn Came" and, latest
of all, Angelica in Screen Classics' "Par-
lor, Bedroom and Bath," the last named
something new for her in that it is farce
comedy.

Beatrice from Paree

(Continued from page 71)

ture, and I do a dance of seven veils —
with six of them in the wash."

Sorry as I was to miss the dance of
the seven-minus-six veils, I had to go
back to town. But, inon dieu, what a
difference! It wasn't blue Monday at
all, I discovered. The gateman apolo-
gized for his remarks, the car started
without a cough, and on the way back to
town I saw the motor cop, who waved
his hand to me. Perhaps it wasn't all
Beatrice's doings, but I'm not so sure.
Anjrway, I reconmiend her as a cure for
the blues — even the Monday variety.

fSeventii five)

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MOTION PICTURE

''Herb"!

{Continued from page 38)

anolher brother, Stanley. Stanley mingled
with the English lads at the conserva-
toire, he with the French. Stanley was
rather vague.

As a youngster, Master Rawlinson
showed none of the signs of being the
physical culture specimen he is now.
His languid condition so worried the
elders that, after completing his elemen-
tary cour.se in French, tlie Isles lacking
beneficial climate, a farm in Canada was
designated for his future habitat. Ar-
riving here, an adolescent, alone, without
a mission other than to grow into sturdy
manhood, his wonder at the vastness that
was before him, his awe at the oppor-
tunities that awaited, culminated only in
the greeting, "Well, here I am ! Do your
darndest. I'll do mine !"

That he was an actual farmer I do not
conclude. All I could grasp from his
unconnected, happy, rapid phrases,
(Rawlinson doesn't talk in stories; he
hasn't time, especially about himself),
was the mention of fields and sunshine
and ecstatic sensations of dogged fatigue
when he came to the end of perfect days.
He couldn't have been a thorobred har-
vester, because there were plays he'd go
to see and circuses in which he wal-
lowed. In truth, one circus absorbed
such vital interest that glowing, growing
Herb forsook the hay for the sawdust
and ran off with another chap to join the
troupe.

That started it. Then came the lure
of the stock companies. And one, of
which he happened to be very much a
part, ceased meandering for a while
when it reached Los Angeles, long
enough to give a moving picture director
the chance to see Rawlinson and ask him
if he'd ever thought of becoming cine-
matically entangled. Rawlinson hadn't
thought, but he had a laugh. The figures
financially confided by the M. P. D., that
screen work would involve, choked Raw-
linson's chuckle at its zenith. The com-
parisons of the salaries of a stock com-
pany actor and a moving picture actor
weren't odious, but serious. The minstrel
band next week continued its tour with-
out its popular juvenile.

That was quite a while ago. "Floro-
dora's" sextette can claim its originals,
and also the Klieg-light industry. If
ever a boast is to be made, the director
who spied Rawlinson need not only label
him.self a pioneer, but add the laurel of
having vision. It's all right to start
something and better to finish. But what
is more wonderful — it shows in the ca-
reers of overnight stars — is to start and
not to finish. Rawlinson has come thru
with this man's predictions materialized.
The phenomenon is that he still is coming.

And no wonder. At this season's
Lambs Gambol, presented at the Metro-
politan, the excitement of the evening
was credited to him. Not once on the
program did he appear, after a lengthy
absence from the stage, but twice — in
specialty numbers. It is good the first
was scheduled when it was, an act, alone,

( Seventyeix)

CLASSIC

with a ukulele, some songs and snappy
nionolog. The second, a dranialet, de-
manded of him to box another chap, and
he once more "did his darndest," fought
too joyously and vigorously for footlight
illusion, and answered the clamor of his
curtain-calls with a felicitous black eye.

That night set him thinking and his
telephone ringing. Managers called to
ask him to talk over with them a "great
part in a new' play." And the fellows at
the club would exclaim, "Rawlie. why,
to sing and dance and play the uke the
wa)' you can, you'd be crazy not to go
into musical comedy."

Pals in the hotel would enthuse, "Raw-
lie, why, to 'emote,' and act and be able
to use a voice like yours, you'd be crazy
not to go back to drama."

He doesn't know what to do now. At
present he's working on J. Stuart Black-
ton's "The Soul-Spinners," because he's
well aware of the fact that hell knows no
fury like desires torn, and to be ener-
getically steeped in labor is to ease one's
puzzled self. He's "sure of the movies.
Even has contracts pending. There's
pecuniary advantage. And he's faithful
to the screen public," etc., etc. Yet the
personal audience, the applause, the
triumph at the Metropolitan "got him" —
and who can blame him, or restrain old
blood from tickling?

At any rate, not until he has an offer
of the right vehicle will he be moved
towards Longacre. He doesn't want to
rush things or to be rushed. His con-
viction is that everything will come in its
right time and place.

About Rawlinson there are three dis-
tinctions: a laugh, a boyishness, a ra-
diance. Humor, to him, is as elusive as
a firefly to the moon. In the same
pace that pursuit is laid for the will-o'-
the-wisp, he chases a joke and goes in
quest of fun. The glory, then, to have
captured ! "Come on," he cries, "let's
go!" And where does he go? Just off,
into the merry roar of Rawlinson. His
exuberance is intoxicating.

Boyishness, because of his spontaneity.
He doesn't â– Zi'all to like or dislike. And
he'd much rather "like."

Radiance, if from nothing else than
health, and being dazzlingly clean and
trying to be happy.

There is nothing of the superfluous
about him. He is sincere. One is .sure
of his dependability. There is nothing
of the extreme, other than a complete-
ness in balance. He is normal, a red-
blood. No tantrums, no temperamen-
talities, no mopes, no under-the-weathers
and up-in-the-skies for which every one
else is expected to pay. A vigorous law
unto himself. A radical.

MY MEMORIES

By Le Baron Cooke

My memories
Cleave to me.
Like an old garment
Stained with many
Bright and sober
Spots.

A face in the dark that
brought $200

'E

th(

H±i never saw tne gir
again.One moment's
glimpse â– was all he caught
— the swift impression of
a frightened-looking girl
with staring eyes and a
white face pressed to the
rainy window pane.

The incident was nothing. But he carried
home with him the memory of her face. He
wondered what made her look like that, what
sort of a girl she was.

Slowly an explanation took shape in his
mind : details fell into place, and, one rainy
night which reminded him of the other.

he sat down and wrote "The Girl in the

First Floor Flat."

JnJ he sold the story for $200.

It didn't matter that the true explanation was

far different ; he had caught the glimpse — the

hint — he needed, and his trained imagination

had done the rest.

You, too, can learn to write
short stories and photoplays

If you have ever wondered about the beggar
to whom you gave a dime ; if people's faces make yoj
wish to know the secrets that they hide— then you have
in you aory-telling poiver. For anyonewho has this spark
of interest, the ability to write is a question of training —
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Ann o' th' Vikings

{Continued from paijc 35)

each evening we spend two hours or
more at the dinner-tahle.

Ann was named after her grandmoth-
ers, great-grandmothers and — hut, they
are traced back to 1630 clearly — all Anns.
I'urthcr hack, she comes of a Viking
strain. That gives her the courage, en-
du.-ance and great love of all out-of-door
work. She rides, swims, golfs,
"tennises" (as she calls it), skates, shoots
— and just a few weeks ago brought
down her limit of wild ducks at Great
llear Lake, California.

"Next December, my parents and I go
to Denmark for a real old-fashioned
Christmas — with plenty of skating and
home-baking and spicy trees, and the
game we shall shoot, for daddy is a great
sportsman, too."

.\nn first became interested in pictures
in her native city, where old Broncho
Piilly pictures were shown. She would
attend with her schoolmates on Wednes-
davs and Saturdays, when pupils have
half-holidays over there. Often she
wished she might act — and now her
friends are all intensely interested in her
success. They go to see Ann's plays, and
can scarcely wait until she arrives in
Denmark for the Yule festival.

"I'm afraid some young Dane will
want to marry you and keep you over
there now that you are famous," I ven-
tured.

"That's what daddy is afraid of. He
says they will spoil me. But I say: 'No!'
I marrv only an American. I love the
old country, but not to hve in any more —
niv parents feel the same about that. But
I'll tell you my ambition. I want to
marry in America and have lots of chil-
dren. I think all those who were raised
in a big family, want big families of their
own, dont you?" I didn't, but that's
neither here nor there and far be it from
nie to spoil Ann's idealism.

Miss Forrest has a prized trophy — the
whip with which she was beaten in
"Dangerous Days" — inscribed by every
one connected with the production. Mary
Roberts Rinehart cried at rehearsals —
and some one thought her displeased or
disappointed, but she said intensely: "Oh.
no, I'm just crying over that dear child's
acting. She is the very embodiment of
mv little heroine." Airs. Rinehart in-
scribed a copy of the book to Ann arrd
wrote on the whip : "In memory of a very
great piece of acting done by Miss For-
rest."

Another inscription read: "From your
brutal director." The scenario writer
penned the words ; "We always beat the
thing we love."

Miss Forrest has a unique collection
of film cut from every production in
which she has appeared. One of the
men on the lot has assembled these as
she gets them and so now they may be
run an\-time -Ann wants to see liow she's
getting along. But mostly —

"Yes, mostly, I want to keep them for

mv grandchildren, and when I am an old
lady in lavender and real lace, I want to
show the little folks how their grand-
mother looked in her teens, when she
played with handsome men — most of
them long dead now!" Ann looked de-
cidedly romantic. Perhaps she has cause
to, for no longer is she to be forced to
play ingenues. She has betrayed so
versatile and adaptable a nature, such
great histrionic development, that Ann
Forrest henceforth will be cast as an
emotional lead, playing characters from
up-to-the-minute novels. Gouverneur
Morris is to write a special story for her
one of these days. He takes a keen inter-
est in her work.

Miss Forrest cares nothing for clothes.
She buys handsome frocks for her pro-
ductions, but as garments, she loves them
not. She is essentially feminine, frilly,
but she's courageous enough to do any-
thing that a Diana would attempt. She was
one of the first women to ascend in an
aeroplane, having gone up with Silas
Christopherson, a compatriot of hers, in
Tacoma, about seven years ago. Ann
drives a Stutz and has done her 75 miles
an hour without facing a judge or part-
ing with a fine.

She has played the part of a twelve-
year old child in "The Prince Chap,"
switched over to an abused little German
girl in "Dangerous Days," played a lead
in "The Rainbow Trail," with William
Farnum, a thriller with Houdini, and is
well on the way to celluloid heaven with
its meteoric possibilities and special res-
en'ations for new stars.

Ann speaks four languages fluently,
has a talent for writing and is to study
voice culture as soon as time permits.
She's a very melancholy Dane when
reallv blue — but that happens so seldom
that one's only impression of Miss For-
rest is that of a wonderfully magnetic,
charming personality set in a beautiful
exterior.

It's not a bit difficult to know Ann
Forrest. .She is so cordial, well-read, en-
tertaining and lovable that if a watchful
wardrobe woman were not present on the
upstairs tier of dressing-room row, one
would surely outstay the time set by
Dame Decorum,

So when the estimable matron strolled
in with a huge bouquet of yellow roses,
laburnums and heliotrope, saying "Miss
Forrest, these just came oiT a set. will
you take them home?" and plunged into
a conversation about silver lace, beads
and charmeuse, I knew it was about time
for me to stalk off like Hamlet's ghost.

But the memory of a bewitching little
face, with eyes like an aurora borealis
and teeth like the snows of her native
land, remained with me for hours after-
ward . . . for with sweet graciousness,
.Ann Forrest had pressed the flowers into
my hand, saying: "You will enjoy those,
I know, and I would love you to have
them."

(Seventy-eight )

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MOTION PICTURE CLASSIC

The Youngest Movie Magnate

{Continued

his office in the Selznick Fort Lee
studios.

Between ten and one o'clock he goes
over the multitude of details of his pro-
duction, scenario and business depart-
ments. He is here, there and every-
where; one moment conferring with a
director on a stage, at another checking
up production charts with a chief of that
department.

At one o'clock he has lunch in his office.

Until six o'clock he handles further de-
tails.

At six o'clock he usually motors to
his New York offices to glance over any
problems that may arise there.

Then he goes home, most of the time
with two or three scenarios under his
arm.

He admits that he is so occupied with
business all week that he finds little time
to devote to scenario reading. He usually
goes to the Gedney Farms in Westches-
ter County over the week-end and there
reads script after script.

It is interesting to note that Myron
Selznick has more producing units work-
ing under his personal direction than any
other man in the whole film field. To-
day his activities keep four studios in
and near New York busy: the Selznick,
the old Biograph, the Peerless and the
Solax studios. Until recently he was
producing on the coast also. But he
came to the conclusion that the cross-
country distance prevented intelligent
and adequate team work.

Myron Selznick exhibits no particular
pride over his achievements. He is a son
of his father, that's all. And his father
is, as we have just related, Lewis J. Selz-
nick, one of the screen world's foremost
sales organizers.

"I heard photoplays talked all my
life," smiles Myron Selznick. "I guess
my father has marketed some five hun-
dred pictures. What was more natural
than that I should enter the game ? My
dad wanted me to go to college and I
did — to Columbia for two months. But
I couldn't contain my restlessness any
longer and I told my father I wanted hira
to give me a chance.

"He smiled — and I guess he decided to
cure me. At least he put me to work the
following morning in the film-examining
room at \Vorld Fihn. The work-day
began at seven a. m. and I received five
dollars a week. It was a strenuous job,
for it meant carefully looking over film
in a dark room, watching for flaws and
defects. At the end of a wxek I could
hardly move my fingers, they had been so
cut by film.

"I stuck," laughed Myron. (Which
rather sums up his character.) "Father
moved me thru his purchasing and ad-
vertising departments. 'You'll learn the
whole game,' he grimly told me.

"Then business changes came about
and father disposed of his interests. The
post of managing Norma Talmadge's
studio was offered me. That instilled an
idea. I wanted to carry on the name of

from page 26)

Selznick. I resolved to produce and I
signed Olive Thomas. That's all, for I
have been steadily adding stars ever
since.

"Please make it clear that I direct
Selznick Pictures. Dad hasn't been over
to our studios twice in a year. True, I
frequently talk over things at night with
him, as is quite natural, but I manage my
own companies in every sense of the
word.

"My methods?" Myron Selznick
paused. "Nothing more or less than to
make entertaining photoplays and to
build up and maintain the best organi-
zation with that end in view."

Here we pause to note the youthful
atmosphere of camaraderie about the
Selznick studios. Nearly every one —
from star to carpenter — is young. "I be-
lieve in youth," says Myron, whose
twenty-second birthday comes next Oc-
tober.

"We're one big family and there is no
red tape about our organization," he went
on. "Anyone can get to see me at any
time. That's why I have my office in my
studio rather than in Times Square.
We're all working together, and I'm here
to be seen."

All of which is true. For instance,
they have a baseball team at the studio
and Myron plays short-stop upon it.
There is nothing up-diamond about him,
for chauffeurs and electricians who play
with him talk to him forcibly and natu-
rally about his playing without thinking
of him as their employer. It's all part
of the spirit of the Selznick studios.

"I've made something like fifty pro-
ductions so far," Myron Selznick con-
cluded. "I know their faults. But I'm
learning and I think we are steadily
working ahead. Anyway, it's great
fun !"

The Joyous Pagan

(Continued from page 21)

But Western pictures did not appeal
to her as a permanent thing. After per-
sistent requests, she was cast to play op-
posite Frank Mayo in "Burnt Wings."
LTniversal believed that they had discov-
ered a star and offered her a five-year
contract, with the assurance of an imme-
diate twinkle. For various reasons, she
refused. After that came the role of
the innocently sinning wife in the Metro
production, "Parlor, Bedroom and Bath."

"So you see," said Josephine, "I have
done quite a bit, if I am only eighteen.
Korsuhan is a relentless slave-driver!
I suppose that is very ungrateful."

Her eyes wandered about the room.

"I do wish Jack would come home,"
she sighed.

"Did your heathen god have anything
to do with brin.ging you Jack ?" I en-
quired, somewhat rashly perhaps.

"Oh, indeed yes ! When he first
wanted to k — to hold my hand, he didn't
feel sure whether he could or not. so I
just said, 'Korsukan — and he did !"

(Eighty)

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Another Pickford Star

{Continued from page 23)

to delay us, and every day seemed a
week to me, for I was afraid my trip
ICast would be spoiled."

â– â– How can you ever leave your aero-
plane even for New York?' I asked,
knowing that he spent every spare luo-
ment with his new six-thousand-doUai
machine.

-Olive'" he replied, simply, but the
lone spoke xolumes, and I remembered
that his wife, Olive Thomas, was still
making her pictures ,n the fast and he
was planning a visit with her m New

°'Tack is so reckless," sighed Mrs
Pickford, smiling fondly at the boy. It
frightens me to think of him flying He
comes over the studio and seems fairly
to touch the telegraph poles.

â– 'Nonsense, mother; I'm miles above
them'" He spoke soothingly, while he
winked mischievously at his sister.

"I believe I have always been battling
his speed craze," went on Mrs. Pickford.
-Sure, mother, for it began a long
time ago. When I first went into pic-
tures I begged for a motor-cycle, but you
told me you would never buy me one.
You were so emphatic I knew you never
would. I determined to earn the money
and buy it myself, but, by that time, 1
was all over my motor-cycle notion and
bought a Stutz roadster. Only had it a
couple of weeks when I had a terrible
accident. We spun around four times
then landed in a heap, and, tho I craw ed
out unhurt, the car was a total wreck.

There have been many cars since
then, each of a greater speed but he
longed for even a swifter machine and
wa? among the first of the film colony
to become interested in aeroplanes, now
possessing one of his very own.

"If you hadn't followed your sister
into pictures, what do you suppose you
would have been?" I asked, watching
him smooth his hair with both hands, one
of his characteristic movements. i

••Dont know," he replied cheerfully;
"run a street-car, I guess."

"No you would probably have bet;n a
baseball player," chimed in Mary. "He
passed thru a serious attack of baseball
fever." , _

"Maybe," assented Jack, easily. I
think the first ambition I ever had was
when we were plaving with Chauncey
Olcott. I wanted to be a stage carpen-
ter They gave me fifty cents a week
for helping set the stage, and I remember
the big hammer I carried around m the
hip pocket of my small trousers."

The Pickford family have had many
interesting experiences, and we sat there
for a couple of hours, while Jack and
Mary recounted their childhood pranks.
As I was leaving, Jack caught my
hand, whispering, anxiously "You wont
put in all that stuff, will you ? He looked
^o like a little boy as he stood in the
open door, and there was a hint ot
Mary's wistful appeal in his dark eyes,
1 so I promised.

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Jl'mld t rlnB?.et with a l-!li Hawaiian Im.
itl^nfondlln l,|utlful rln. ^bo. pc««e Pali

',ij;Ii'e"T„S 'ad^rtisln.. b^U.^ etc. H
EZ S toll 11 roni a real diamond return and
money tetunded. Only 10.000 iSren aâ„¢- ^fend
no money. Answer quick. Send alio ol finger.

KRAUTH & REED
Dept. 320 Maujnic Temple, Chicago

Wanted: Screen
Faces for the Movies

Hundreds of All Types Needed. You
May Have Perfect Screen-Features

•4^.

For the first time in the history
of moving pictures it is now
possible for you to get considcra-
iion from the big film directors.
No matter yvhere you live, we get
your photograph before the di-
rectors, many of whom are in
urgent need of new "screen-faces.

Tlalpb Inoo. famous Selznlck dlreclor.
says: -riiero are many youne Bhls
who could make Bood In the movies. I
wUl he very Blad to taUe advantage ■—
"r youJ seSlef." Marshall Nellan. known everyvvh.T, or s
work iVi dlri'CllnB Mary Plcliford. says: "I am convinced that the
mice yoi Scr screen asnlrants oirera many n;",^j;S"''â„¢?
10 niovlnu Picture directors." P. A. Powers, of U"""'"';, ."Y,"'
"A new crop o( Mm stars will be needed at onco to supply the

'"withM;ra°"s1.t.nc„ of famous director, and ">o<l™ '•'f"™
,ta . l-o have prepared a printed BUlde -The Now Ro«d " Film
Fame." which tells you what to do and s ves full ^J"™. "'„„,.
U also contain, endorsements of our se"â„¢ .'r?"" .f^""' lX2t
alatements from dlroetors. lortralla ol celebrated star, and direct
advice to voU from MolUe Kmn. , . , , ,„ -non'i mlaa

Thl« is a rascinallnK profession paying big salaries. Don t mlas
thl^ opwrtunllv Send len cents (Poslago or Coin) to cover poa-
aie aiS wrapping this new guide Get », »' ""^ J. »i'^^
aurl VOU on the road to tame and fortune. Sereen CaitlniJ Ul-
rectori Service. Dept. B-5. Wllirilnotor. Delaware

Unlcis y>« are miccre ill yo«r dcstre to get •» tn»
moviei please do not send for Ikts printed guide.

(Eighty-two)

^'X^*<^::dj£,4-e£LXjJ'

Utj^Joi d^citJtZcUJ>^OL^^,y^^^

---&-£-cc _^a^

-A.O-VIAJ! /wjiooV" -Uj-eJi-V>^\ Xvtd^ '^^^o^'^<n>-^<,'.

irtLA,^*^v>?j_

*A- iWtr ^ x^ i<Jii^,^n*_ •(4'^°;^^ ^i^fei (^'Ja'^^ '%|^"~

"Vou know you ought not to read any more of Marjorie's
letter — because you're almost sure what the rest of it is, and
you wouldn't want everybody to read your letters, or pry into the
intimate little memories and vague longings that are brought to your
mind by this "picture."

Queer what music, or the mere thoughts of music, will do to a person's
mind— yet not so queer after all. Music is so intimately personal, no

wonder we automatically associate it with the things that are nearest and dearest.

But think of the barren places in the lives of those who do not know the joy of
making music! Yet even these are just as human as we — they get the same thrill
from i\Iarjorie's letter and the picture — but it's a thrill with

something missing.

^/^„

Instruments

We want to tell these folks about GIBSON instru-
ments, the most intimately personal of all musical in-
struments. Because they bring self-performed
music within the reach of everyone, — whether the
taste be for classic, popular, or
the dashing "jazz" of the day, —
GIBSONS are universally
known ag "ideal home and com-
panion instruments." Easy to
play, entirely satisfying in every
""*»/*>. respect, superb in workmanship,

^J^t^ finish, and tone.

GIBSONS have played a part
in hundreds of little roman-
ces— confidential human his-
tories— about which we shall
be glad to tell you. ."Mso the
GIBSON Book and free trial
proposition sent for the asking.
These will help you to become
better acquainted with the GIB-
SON family.

Teacher Salesmen wanted; wonderful field;
ask for details. Write us!

GIBSON MANDOLIN-GUITAR COMPANY

€09 Panons Street Kalamazoo, Michigan

The only exclusive manufacturers of high-grade fretted
instruments. Developers of Mandolin Orchestras

(Eighty -three)

aEARYOlSKiN

SMYOHIR

WITHCUTICURA

Daily use of Cuticura Soap,
assisted when necessary by
Cuticura Ointment, promotes
a clear skin, good hair and
soft white hands in most
cases when all else fails. Al-
^ways include the exquisitely
scented Cuticura Talcum in
your toilet preparations.

Soap ZSc. Ointment 25 and 50c. Talcum
2Sc. Sold throughout the world. For
sample each free address: "Cuticura Lab.
ormtories, Dept. K, Maiden 48, Ma«B."
BiVCuticura Soap shavci without muff.

MOTION PICTURE CLASSIC

ihi

Tarrous FRENCH Depilatory

for removing hair

A delicately perfumed powder; removes
hair. leaves skin smooth, white : for arms.
limbs, face; 50c. also $1.00 size which
includes cold cream, mixing cup and
spatula. At drue and department stores.
Send 10c for trial sample and booklet.

HALL ft RUCKEL, 101 Winri; Place. N. Y.

The Menace of the Movies

{Continued from page 19)

"The effect of this huge growing film
octopus is already evident. On every
side you see the big forces — the leading
directors and stars — withdrawing to 'go
it alone.' Suppose that the coming com-
bination could find it possible to substan-
tially eliminate all outside production.
How much of art would be left ? Where
would the photoplay be without its Grif-
fiths, its Inces, its Neilans and its Pick-
fords ?

"The result of such a colossus would
be a similarity and sameness of product.
That would be inevitable, since the pro-
ductions would be decided upon by one
body of men. Thus you would see the
creation of two or three kinds of screen
production and the loss of all artistic
individuality.

"If such a film organization could grip
the country, you would quickly see a
falling off in quality. It is inevitable and
human, if the theaters could be shackled
and screen production dictated to audi-
ences, that the whole thing would be
brought down to the point of paying the
biggest dividend. Do not forget how the
theatrical syndicate gained such a grip
and then demanded so high a percentage
from stage producers and from theaters
that artistic productions were well-nigh
impossible.

"I know of what I speak. In my posi-
tion with Famous Players-Lasky, I
worked hand in hand for the very ideas
which I am now fighting. Indeed, I
created some of them. But I did not
realize the menace of Wall Street.

"I was, for instance, one of those to
first instil the idea of producing stage
plays, thereby controlling ultimate screen
rights and getting all the profits from the
outset. I know the attacks this scheme
has attracted. But I see no menace in
it — even from my present view-point.
It is charged that it will bring a lowering
of the stage's artistic level and that it
will mold our stage drama into melo-
drama, since motion picture producers
will present only plays of action, these
being fitted for later film purposes.

"Let me answer this specifically. I
cannot see where the stage — man for
man — is higher artistically than the
screen. In answer to the direct charge, I
say that film-footlight producers will
bring a vitality to the stage by injecting
action, while, at the same time, the screen
will gain along the lines of the thought
drama. I believe that both will be
gainers.

"But to return to the menace, as I see
it. The time is ripe for an independent
movement and already it is appearing.
The First National Exhibitors' Circuit is
t'.. : one big organization as yet. This is
a combination of exhibitors.

"The independent movement must
come from the exhibitor. At present I
find that certain far-sighted exhibitors
and exhibitor organizations realize this
in a measure. Unfortunately, the word
independence to some people seems to
mean a lack of organization. When we

cast off from England, our colonies did
not remain disorganized. They united
for the common cause. Exhibitors must
do likewise, if they wish to gain their
independence — the right to have a say in
those things in which they are concerned.

"I know the attacks that are made
upon the exhibitor. It is customary to
call him the weak link in the photoplay
chain. But it isn't true in 1920. I have
been studying the exhibitor at first-hand
and I have observed his tremendous im-
provement. The old-type exhibitor is
disappearing. Nowhere is this clearer
than in the Middle West.

"The independent movement must
come from the exhibitor. That is clear.
The exhibitor must guarantee theaters to
the producer, so that the producer, in
turn, can be sure of a market and can
guarantee artists and authors theaters
in which they can secure a dignified rep-
resentation. Today an independent pro-
ducer could not sign a reputable star
without being able to guarantee him a
reputable channel of release.

"Thus the independent movement must
start from the source of the photoplay.
IVitJi exhibitors organised, the photoplay
could in evcrv sense of the word be inde-
pendent of Wall Street. And in no other
way can the photoplay advance."

SORROW-BIRD
By Betty Earle

Late I heard the nipht-wind sighing, sighltig.
Slipping thru the dim leaves, dripping white
with dew;
Pitiful voti listened ; turned then, crying.
And all because a hurt bird struck its harp
for you.

And all because a wild bird wanting, wanting —
Lonely for the lost mate only robins knew.

Thru the halls of anguish haunting, haunting.
Opened up its sorrow-heart and sobbed for
you.

Blindly then you clutched me, hoping, hoping—
Leaping into glad arms, weeping, too;

Dimly as the night-wind lips reached, grop-
ing—
Wistfully the bird went but we never knew.

IDEALS
By Vara MacBeth Jones

He untwined the star-glow strands from the

fabric of a dream
Where were woven Life's ideals, as to eyes of

Youth they seem.
And rewove its shiinmering glory wliere

silversheet lights gleam.

And it mirrored Hearts redeemed from the

stain of worldly dross.
And the bubble myth of Gain that is blown

at Honor's loss.
And Achievement's height that's reached in

the shadow of a cross.

But the pen was vitriol dipped that the critic

used to flay,
And the mocking crowds but came to see a

visionary's play ;
Yet among the throng that came to scoff three

remained to pray.

For the soul of a Scarlet Woman writhed at

the birth of shame.
And a Renegade of Honor felt the acid-sear

of blame:
While a Hopeless One glimpsed afar the glow

of hope's bright flame.

(Eighty-four)

PaflieiComedies

Harold Lldyd—.From Coast to Coast the Trail of
His Comedies is Swept With Gales of Laughter!

iofi

Real comedy is the

hardest

I

' all forms of motion pictiires to write, enact and direct.

Is it not remarkable, then, that many dramatic critics and theatre men state In pos-
itive terms that theJHarold Lloyd comedies give more entertainment and are more
popular with audiences than the "feature" pictures which are supposed to be the
backbone of the average motion picture show?

"Lloyd is a bi4 league comedian, his company ss bi^ league, and whoever does the directing
is big league," says a magazine critic of these wonderful comedies.

" Lloyd is the chief bulwark of the Strand (New York) program this week in 'An Eastern
Westerner,' a two-reel comedy," says Variety, a leading theatrical magazine, "In this
laughing delight. not a foot is w^asted from start to finish. One laugh chases another con-
stantly up the throat. In short this issue is a corker and should continue Mr. Lloyd on
the pleasant trail of ten thousand weeks, which is understood to be his speed. " .

"Astonishingly fresh and diverting." — N. Y. Tribune. _ "Lloyd made a hit." — N. Y. Globe.
"The audience roared. 'Haunted Spooks' is the funniest comedy of the season," — /V. Y. Sun.
"The man who discovered Harold Lloyd deserves a vote of thanks." — Minneapolis Tribune.

What SO many have found to be astonishingly clever and diverting is worthy of special effort on
your part to see; ask the manager of your theatre the days on which he shows a Harold Lloydl

Pa the Comedi^es — Mo t i on Pictures at their Best

is scoring an even greater success on the screen ihan in

'various theatrical productions in Broadvtray theatres.

MRS.SIDNEY DREW TWb-REEL COMEDIES. clever ROLIN COMEDIES, featuring "Snub" Pollard and tha

HAROLD LLOYD TWO-^EEL CQMEDIES. master-
pieces of mirth, one every month, produced by Hal Roach.

screen portrayals of the famous "After Thirty" stories by
JulianStreet. JOHN CUMBERLAND'S "JimmyWickett"

funny little darky, "Sunshine Sammy." One one-reel
comedy every week, produced by Hal Roach.

(Eighty-five)

A thousand

separate joys

Each serving dish of Puffed Grains contains a thousand separate joys.

Each grain is a bubble, thin and flimsy, puffed to eight times normal size.

A hundred million steam explosions have occurred in each, blasting
every food cell.

The airy globules are crisp and toasted. They taste like nut-meats
puffed. The morsels seem like fairy foods, almost too good to eat.

Yet these are the utmost in scientific foods. Two are whole grains,
with every food cell fitted to digest. They are the foods that children like
best, and the best foods they can get.

Serve with cream and sugar. Mix with your berries. Float in every
bowl of milk. Crisp and douse with melted butter for hungry children in
the afternoon.

They are nothing but grain foods. The nutty flavor comes from toast-
ing. The flimsy texture comes from steam explosions. The delights are
all due to scientific methods.

Serve morning, noon and night in summer, between meals and at
bedtime. The more children eat the better. What other food compares
with whole grains puffed?

Puffed
Wheat

Puffed
Rice

Corn
Puffs

Also Puffed Rice Pancake Flour

The new pancakes

Now wc have Puffed Rice Pancake Flour,
self-raising, mixed with ground Puffed Rice.
The Puffed Rice flour tastes like nut-flour,
and it makes the pancakes flufi'y. This new
mixture makes the finest pancakes that you
ever tasted. Trv it.

T^e Quaker Qals G>nipany

Sole Makers

MOTION PICTURE CLASSIC

"Bessie, Love"

(Continued from page 17)

'It was fully a minute before I realized
that he had never seen me before in his
life.'"

It will he noticed that Bessie Love
talks more Hke a "fan" than an actress
and so she impresses one. She is an
actress, of course, and a very clever ac-
tress, but she is essentially a product of
the screen. She has never been on the
stage nor very closely connected with
the stage in her life. She could, I think,
be described as Griffithian, tho in her
case the Griffith mannerisms are softened
and changed by her own personality.

"I just wanted to go on the screen
thru having seen so many moving pic-
tures in company with my father," (a
Los Angeles physician), she said. "My
mother wasn't at all interested in pic-
tures at that time ; the photography was
bad and the flickering figures hurt her
eyes. But they interested my father as
they did me, and we went often.

"I hadn't the least idea how to go
about getting on the screen, and it didn't
occur to me that there should be any par-
ticular difliculty. I decided to go and
ask Mr. Griffith for work. It didn't
occur to me that there would be anything
unusual in my asking for Mr. Griffith
personally. I thought that it was the
thing to do.

"Mr. Woods told me a funny thing
just a little while ago. He said that Mr.
Griffith had started to leave the studio,
but stopped when he saw me talking to
the gateman. He knew by my manner
that I wanted work. He gave orders
that if I asked for him, I was to be ad-
mitted and then went back to his office
and waited for me !"

So the little "fan" was featured in her
first picture as a "Griffith find" ; played
opposite Bill Hart in her second picture,
"The Aryan" ; was with Douglas Fair-
banks in her next two, "The Good-Bad
Man" and "Reggie Mixes In." and in her
fifth picture, "Sister of Six," became a
star.

Now her own name of Juanita Horton
is almost forgotten, even by those who
gave it to her. If you were to meet Mrs.
Horton, she would probably tell you that
she is "Bessie Love's" mother. Bessie
Love is as much Bessie Love at home as
she is on the screen.

She has no brothers nor sisters, is not
married, and lives with her father and
mother in a pretty bungalow in Laurel
Canyon.

Of all her achievements. I think Bessie
Love is most proud of having succeeded
in graduating from the Los x\ngeles high
school last year.

"I left school when I started to work
with Mr. Griffith," she said, ."but I
wanted to finish so dreadfully, that with
all the work I had to do, I didn't neglect
a study. And so, last year, I was able to
show that I had completed my entire
course and, after passing my examina-
tions, graduated with the class."

And there you have Bessie Love, the
girl Griffith waited for.

(Eighty-sic)

^

^Jm

w

Jfc.

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It you OKLY want Cataloa. put X below!

D tmm Sura ud JtwtliJ â–¡ Mtn'fc Wnnaii'i ud ttiltan-iCIoilun

(Eighty-seve^)

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Hermo "HairlLustr"

(Keeps the Hair Dressed)

FOR MEN AND WOMEN

Thf hnlr nill itny dressed atu-r Hornio â– â– JIAJH-
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fashion satfs
the use or

is necessary so lon^ a

sleeveless feowns and sheer fabr

sleeves ore worn. It assists freedom of move-
ment, unhampered ^race, modest ele^nce and
correct style. That is why

"they all use Delatone*'

Delatone is an old and \7ell known scien-
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Beauty specialists recom-
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removal of objectionable
hair from face, neck or
arms.

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Dcpc 3 Auron, III.

MOTION PICTURE CLASSIC

The Photoplay of the Proletariat

(Continued from page 18)
workers laughed at his violin returned with an artificial hand in

His fellow
oddity and made sport of his ambitions.
But Borzage was determined and he
saved every cent with this end in view.
An advertisement of a dramatic school
in Salt Lake City lured him to its doors
and, when the man who conducted it told
him that he was about to take all his
pupils on tour, Borzage fell into the trap
with enthusiasm.

"My mother wept, as all mothers do,"
said Borzage, reminiscently, "and my
father was quite furious — but I went.
At that dad came to the train and, as I
boarded it, slipped a roll of money —
fifty dollars — into my hand. When you
stop to consider what fifty dollars meant
to him, you can realize his sacrifice for
something he could not understand.

"Of course, the company went broke,
altho the manager borrowed my fifty. I
had just enough money to get home and,
without letting my father know, I slipped
into my old bed.

"Early the next morning father
pounded upon my door. I pretended to
be asleep, but dad rattled my bed. 'I
just got home,' said I, sitting up and
rubbing my eyes. 'Yeh,' growled father.
'Get up ! It's seven o'clock — time to go
to work!' So I went back to mixing
mortar.

"How the men did kid me I No gentle
kidding, either. But I saved up again
and tried another company. This time
we stranded in Montana. I was broke
and nearly starved to death. Finally a
man gave me a job on a railroad grading
gang in the hills, and that put me upon
my feet. I went back to the stage and
worked in endless stock companies, play-
ing character parts — all sorts of roles,
big and small. Eventually I landed in
Los Angeles.

"I went to Thomas Ince — and, right
here, I want to say that I owe everything
to him. He looked at me and said, 'I'll put
you on salary at twenty-five a week until
i can find a leading man's part for you.'
'But I'm not a leading man,' I answered ;
'I play character roles." 'All wrong,' said
Ince. 'You'll be a lead from now on.'
And he made good, giving me my first
film role in 'The Wrath of the Gods'
with Sessue Hayakawa and Tsuru Aoki.

"I went on and on from that point. I
gained a lot of screen experience in act-
ing. I went to directing, combining act-
ing and directing, and went to the Ameri-
can studios. Then back with Ince at
Triangle and next to doing specials for
state righting. I tried to keep on acting
and directing, but I finally realized that I
couldn't do both — and do them well. So
I decided that directing meant more to
me. 'Humoresque' gave me my oppor-
tunity, that's all."

Some confusion exists regarding "Hu-
moresque." The story of the New York
Ghetto, as written by Edna Ferber, ended
with the departure of the young musician
for France. Borzage wrote the screen
storv as it stands, altho it originally had
a different ending. The genius of the

the original celluloid version and the tale
worked to an unusual climax. But the
celluloid powers that be changed the
story to its present "happy" denouement.

Borzage's future will be a matter of
distinct interest to the world of the
cinema. "I intend to do stories of the
people," he says. "I know the folk who
go to motion pictures are interested most
of all in the problems, the joys and the
sorrows of their own daily life, and I
hope to bring to the films a reflection of
all this.

"Of one thing I am sure — the photo-
play has been too far from the realities
of life. Screen people haven't breathed
with life. Their film experiences have
been false and artificial adventures. I
want to go beneath the surface of things.
I think the photoplay of tomorrow lies in
that direction."

Borzage speaks with sincerity. There
is nothing of the artificial about him.
The rugged directness which carried him
from the Utah mines to success has not
been lost in transit. He knows life and,
unless something unforeseen shifts him
from his course, he is going to bring it
to the screen.

^Ve asked Borzage about his dad.
"What does he think of it all?" we
queried.

The director laughed. "I guess it
puzzles him. But he is happy, for I have
the whole family comfortably fixed out in
California. I guess he simply sits — and
wonders."

"My Irish Molly-0"

{Continued from page 60)
after all. A psychologist might say that
in all probability the color combination
of French grey and flame expresses her
nature ; that she would incline to ex-
tremes of seriousness and gaiety. How-
ever that may be, she has plenty of Irish
pluck and Irish luck to carry her thru to
the "top o' the world."

Molly Malone was born in Denver,
Colorado, in 1897.

"But I dont remember much about
Denver," she said. The most vivid rec-
ollection of her childhood is of a visit
she and her mother made to her uncle,
who is chief metallurgist of the Van Ryn
gold mine in South Africa. This was
when she was about eleven years old.
.She was there for a year, and then her
mother brought her to Los Angeles and
she was given her first protracted taste
of the discipline of school. Naturally,
she didn't like it.

"I hated arithmetic and I was always
wanting to do something differently from
the way in which I was told to do it."
So it was that as a student at Polytechnic
High School she took six art periods and
made up her mind to become an actress.

One day she was at the Vitagraph

studio, talking with another girl who, like

herself, was applying for work, when a

man high in authority saw her and or-

(Continiicd on page 90)

(Eighty-eight)

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"My Irish Moliy-0"

{Continued from page 88)

dered that a test be made of her. Her
loveliness photographed perfectly and
she was given a leading part in a picture,
with a promise of a big contract if she
should make good.

(Yes, I know you have read that para-
graph before. As a rule, it would go on
to say that she was a success from her
first moment before the camera.) But
Molly Malone was not a success. On the
contrary, she did what ninety-nine out of
a hundred girls would do when suddenly
placed in a leading part without previous
training. She very humanly and natu-
rally failed. (As a rule, the stories of
girls who become famous "overnight"
are only half truths. If you look into
the facts deeply enough, you will gener-
ally find that months — perhaps years — of
training have gone into the making of
that "sudden" fame.)

".\fter that," said Molly Malone, "I
went back to school again."

We sat on a chaise longue with our
feet tucked under us and a box of sweets
conveniently within reach.

"My next attempt to go on the screen,"
she said, taking another piece of candy,
"was at the very bottom of the ladder. I
went to Lasky's and just stayed around
there, doing nothing in particular for
eight months. I wasn't given a part
there at all. Then I played leading parts
at Universal City." (Among others, for
George Cochrane and Harry Carey.)

"I love drama and I want to go back
to it some time. But, I realize how
much the comedy training means. It
gives you lightness, dont you think ?"
She was quite serious. I, for one, expect
to see her follow in the path of many
another comedy favorite as, for instance,
Betty Compson, Alice Lake and Gloria
•Swanson.

After leaving Universal, she played
leading parts for the late "Smiling Billy"
Parsons. Like Alice Lake, she was lead-
ing woman for Roscoe Arbuckle — "The
Hayseed" and "The Garage" are two of
the pictures that come most readily to
mind — and she is being featured in Su-
preme Comedies, the first three being
"Molly's Millions," "Molly's Mumps"
and "Artistic Temperament." .-\ fourth
had not, at this writing, been named.

I think I should have forgotten how
very little and childish she looked if it
had not been for an accident which might
have come out of one of her own come-
dies. On the day I saw her, she and her
mother had just moved back to the court
from 'Venice, where they had spent the
summer. They had been unable to get
the same cottage that they had last
winter, and among other things wrong
with the one they did get was the tele-
phone, which was much, much too high
for Molly to reach. It rang just as I
was leaving, and her mother, who had
answered it, called, "This is for you,
Molly," and hastily pushed a little box
underneath for her to stand on. But the
box wasn't strong enough and Molly
went thru it, skiiming her nose on the
edge of the 'phone as she fell.

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(Ninety)

MOTION PICTURE CLASSIC

The Celluloid Critic

(Continued from page 45)
make his fortune. Two years later finds
him still the thirteenth clerk in the em-
ploy of a prosperous firm. Homer de-
cides not to wait for future success, but
to go back to Mainesyille with his three
hundred dollars savings for a vacation.
He electrifies the old town into believing
him a millionaire by indulging in all
sorts of extravagances, from engaging
the village taxi for two weeks to occupy-
ing the hotel's bridal suite. And, of
course, he hits upon an idea which brings
him to sudden success and wins the vil-
lage belle away from the hotel owner's
surly son.

^Ir. Ray invests the role with a hun-
dred and one subtle touches of humor
and humanness. Between Mr. Ray and
Jerome Storm's direction, "Homer Comes
Home" becomes decidedly likeable.

In his visualization of C. Haddon
Chambers' "Passers-By," (Pathe), J.
Stuart Blackton does two things better
than he has ever done before. He
catches the damp greyness of the foggy
London streets better than he has ever
captured any photoplay atmosphere be-
fore. And his camera work is better,
frequently being finely artistic. But it
seems to us that he misses the heart note
in this moving drama of Chambers, in
which a young bachelor invites three
passers-by into his rooms out of a
storm — and finds one of them to be his
sweetheart of years before. "Passers-
By" is not especially well cast, William
J. Ferguson, the sterling old character
comedian, simply running away with the
film as a whimsical old rogue of a valet.

Tom Moore gives a hkeable celluloid
performance in Ben Ames Williams'
"The Great Accident," (Goldwyn).
Moore plays a harum-scarum youth who
is finally awakened when the great acci-
dent comes — i.e., when he is elected
mayor of his town as a practical joke.
The action moves thru a series of fear-
fully trite melodramatic incidents, but
Moore maintains a certain interest. Jane
Novak is an effective heroine.

"Married Life," (First National), is a
five-reel Mack Sennett farce done in the
broadest slapstick fashion. We admit
our liking for two-reel Sennetts, but, in
truth, this five-reeler bored us, altho
there are many ingeniously devised
laughs. "Married Life" is described as
a domestic satire, but in reality it merely
relates the episodic adventures of "a
man's man," played by the slant-eyed
Ben Turpin. The thing is ridiculously
amusing — at times. But two reels is
enough of this sort of thing.

Douglas MacLean and Doris May
have yet to duplicate their little comedy
classic, "23j/ Hours' Leave." Their
latest, "Let's Be Fashionable," is a mild
comedy revolving around the efforts of a
loving young couple to ape the domestic
indifference of their surburban colony,
where every hubby is faithful to a wife —
of someone else's. You will find "Let's
Be Fashionable" fairly entertaining — and
little more,

(Ninety-one)

To our way of thinking, Wanda Haw-
ley got off to a bad stellar start with
"Miss Hobbs," (Realart), remotely
based upon the old Jerome K. Jerome
comedy. It is the much-used idea of the
fair man-hater who is eventually won
over to love. Here Miss Hobbs gives
herself to barefoot classic dancing in the
morning dew. futuristic bungalows and
mannish garb, until the piano-tuner, alias
a rich youth in disguise, appears on the
horizon. Then fads are forgotten.
"Miss Hobbs" is piffling stuff. More-
over, it forces the gently pretty Miss
Hawley into an affected, unreal and even
unsympathetic role for her first starring
production. We. thought Donald Crisp's
direction rather unimaginative.

Pinotopiasmic Peregrinations

(Continued from page 57)

Here is a little incident that may illu-
mine you regarding one man who has
been for many years the idol of screen
fans the world over — Hobart Bosworth.
You remember, of course, his immortal
characterization of Jack London's "Sea
Wolf" — in the original production, of
course — and I am sure those of you who
saw him in "Behind the Door" will never
forget his vivid portrayal of Krug.

Hobart, good fellow that he is, drove
over to a little restaurant in Hollywood
the other day ; he was in his overalls, be-
grimed and greasy, for he had been tink-
ering with his new machine. After or-
dering breakfast, he was addressed by
the proprietor of the place, who evidently
did not recognize in Bosworth the fa-
vorite of millions of moving picturegoers.

"Want to make a little extra change?"
asked the restaurateur.

"What doing?" smiled Hobart.

"Well," the man explained, "I have a
leaky pipe in my cellar that needs repair-
ing. It will only take a few minutes to
fix it. I'll take you down right after
breakfast and show it to you."

Henry Kolker, the director, happened
to be passing Hobart's table and ex-
plained to the cafe owner that he was
talking to Hobart Bosworth, the famous
actor.

"My Lord !" ejaculated the fellow.
"How could I tell ?" pointing to Bos-
worth's overalls.

"Dont you see the beautiful car out
there?" said Mr. Kolker. "That belongs
to- "

"Oh, well !" interrupted the abashed
proprietor. " 'Most every plumber has a
swell car these days, but, of course, if
Mr. Bosworth isn't a plumber, I wont
bother him any more about my pipe."

"Dont you believe it," roared Hobart,
thoroly enjoying the situation. "I work
just as hard in my profession as any
plumber, even if I dont make so much
money as some of them. Come on, now !
Show me that pipe !"

And, would you believe it, here was
this great actor voluntarily playing
plumber, with the help of Mr. Kolker
and the restaurant man ! And I under-
stand he fixed the pipe just as well as
any professional could have, too !

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MOTION PICTURE CLASSIC

Trumpet Island

[Continued from page 68)

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nf liis; coming, or even to notice wlicn he
stood, dangerous as a taut trigger, upon
the threshold. One, a smallish, stoutish
man with a limp, uncurled jauntiness about
him. had his hands on Eve's shoulders,
while he spoke down into her terror-
twisted face gloatingly, "So you pretend
you dont remember me, eh ? Of course,
a husband cant expect his wife "

Eve screamed again. "Wife !" she cried
in a suffocated tone, like one coming out
of ether. "Wife! There was a man
once called nie that ! I dont want to re-
member— oil, Dickie !"

She tried to break away and run to
him, and, turning, they looked into the
muzzle of his leveled revolver and into
two eyes loaded with trouble. The man
holding Eve was disconcerted, but he did
not release her. "I beg your pardon,"
he began, elaborately sarcastic, "if I'm
intruding, but you see this lady you have
been entertaining happens to be my wife.
I ain Henri Caron, and we were married
on the morning of the day my machine
broke a wing-brace and threw me into
the ocean. A tramp coaster picked me
up. It was bound for South America,
and didn't boast a wireless. There was a
revolution on when we arrived, and for
one reason and another, I was not able
to make a search for Eve until very
lately."

There was the ring of truth in his
words ; even Richard, hating him as he
did. had to admit that. His revolver
wavered, dropped to his side. He looked
at Eve and she saw farewell in his gaze.

"Her father is waiting on my yacht
yonder." the suave voice continued, en-
joyingly. "Perhaps you will allow me to
take my wife with me. We are very
grateful, of covirse, for any services you
may have rendered her, but a stranger's
claims "

"A stranger's!" Eve had torn herself
free at last and stood by Richard Bedell's
side, soft young bosom heaving. "Never!
Something has happened — like waking
out of a happy dream, I had forgot-
ten— but now I remember everything I I
remember that I wanted to die rather
than be your wife! I even remember
things that I dreamed these last months
— and the man who did these things, kind,
wonderful, tender things, is not a
stranger! Oh, Dickie! Dickie! Why
did I have to wake up?" She leaned to
him, desolately, and very gently he patted
her bowed head.

"He is right, I suppose," he said
slowly ; "he has the law and convention
and all the smug habits of humankind on
his side. I cant ask you to defy the
whole world. Eve. There is nothing be-
tween us e.xcept — everything !"

They went out of the hut and to the
cliff's edge, Richard walking beside the
girl, who wept in long, silent shudders,
but made no further plea. It was as tho
the two were caught in the inexorable
grip of some senseless but terribly pow-
erful machine called civilization and felt
themselves whirled into its crushing

maw, helpless to save themselves. Henri
Caron, watching the way her slender
body leaned to the tall, straight figure at
her side, thinking perhaps how she
shrank from his, touch, felt himself
swept by the bitterest jealousy known to
jealous mankind, that of the going for
the coming, that of tired age for youth
that can still feel and thrill, of surfeit for
the old, undimmed wonder of desiring.

On the edge of the cliff, where Rich-
ard had cut a steep, ladder-like flight of
steps down to the beach far below, he
broke his lifelong habit and let his emo-
tions have full control. Shaking with
baffled fury at the savorlessness of his
triumph, he sprang to Eve's side and
brutally flung her away from the other

man. "If I thought " he panted;

"she seems infernally sorry to leave —
if I thought "

"I advise you," Richard spoke levelly,
"not to think. All men aren't like your-
self, you know. There might even be
one whose notion of love might inter-
pose itself like a drawn sword between
his baser sclT and the dear honor of the
woman he loved."

"A likely tale !" shrieked Caron, and
lunged at him, blind with hate. The
earth crumbled under his heel ; for a
single instant he reeled against the sky,
clutching frenziedly at nothing, then
pitched backward and was gone. Rich-
ard motioned the other man, a common
seaman, toward Eve. "Take care of
her," he directed briefly, and let himself
down upon the stone ladder. When, long
moments later, he reappeared, he spoke
quietly. "There is nothing that can be
done for him. Row out to the yacht at
once and bring the others. Explain how
Caron met his death. Tell her father
that Mrs. Caron is here, safe and well."

Side by side they waited, while the
sound of oars melted into the eternal
monotone of the sea, while the stars
faded and the east grew pale. They did
not speak. There are things that can be
said better without words.

Morning grew luminous all about
them ; the little, eager waves had tips of
flame. "Eve," the man said, at length,
with a deep tremble in his voice and a
deep awe, "Eve ! Eve !''

"My man," she answered, and her
voice was like a muted string. Below,
across the morning sea a little boat raced
fussily toward the shore, its motor bark-
ing like the voice of Custom baying at
the Cosmos. But they did not hear or
see. They rose and stood against the
golden glory of the sky, alone in the
universe.

"You have lost me three times,
Dickie," she reminded him, tenderly
chiding, "you wont let them take me
away now ?"

"Not even God could take you away
from me now !" he cried, with the splen-
did insolence of young love, "not Life
nor Death nor any creature." He looked
down at her, the new, strong lines of pa-
tience cutting deep down about his mouth.

(Ninety-two)

The Anniversary

Number
of Shadowland

The September issue of Shadow-
LAxn is tlie anniversary number of
this magazine. It is just one year
old — merely an infant in arms as
yet — but showing symptoms of
prodigious strength and growing
abihty.

l"o show our gratitude for the many
kindnesses received at the hands of
our friends and readers, we have
made this anniversary number the
best and most beautiful one yet
issued.

We have a story on the new Rus-
sian ballet by Oliver M. Sayler who
has written several well-known
liooks on the subject.

We have a humorous satire on the
movies by the popular writer, Ben-
jamin de Casseres;

We have a prophetic forecast of the
coming theater season ; articles of
unusual merit by Louis Raymond
Reid, Frederick James Smith, Lisa
Ysaye Tarleau, and other well-
known writers ; — the pictures have
never beeen equalled : the color-
plate photographs are of such
beauty that you will have them
framed, — and all in all, the Septem-
ber number will be one that you will
read — and read again.

SHADOWLAND

1 75 Duffield Street Brooklyn, N. Y.

Let Me Prove I Teach Piano
In Quarter Usual Time

Write for my free booklet. Ask for the names and
addresses of accomplished players of piano or organ
near you who obtained their entire training from me
by mail. I have students in all parts of the world
and scores in every state in the Union.

Although my way of teaching piano was laughed at
when I first started in 1891. yet I now have far more
students than were ever before taught by one man.
Could I have fought my way up against prejudice like
this, year after year for over a quarter of a century,
unless my method possessed REAL MERIT?
Investigate^ is all I ask.

I'll teach you piano in quarter the
usual time and at quarter the usual
cost. If you have not previously heard
of my method this may seem like a
pretty bold statement. But I will soon
prove to you that it is not in any way
exaggerated if you'll simply send me
your name and address on the coupon
below.

My way of teaching piano or organ
is entirely different from all others.
Out of every four hours of study,
one hour is spent entirely azvay from
the keyboard— \earn\ng something
about Harmony and The Laws of
Music. This is an awful shock to
most teachers of the "old school,"
who still think that learning piano is
solely a problem of "finger gymnas-
tics." When you do go to the key-
btjard, you accomplish tzvice as much,
because you understand ivhat you are
doing. Studying this way is a pleasure.
Within four lessons I enable you to
play an interesting piece not only in
t^^, ^"-^ ^ the original key, but in all other keys

HH[|^to|^^^!p|[ as well.

^^^^^Pm^^r^ I make use of every possible scien-
^^^^^^^^W ■ *^fi^ '^^'P — "lany of which are entirely
^ - ii™« '-'A - unknown to the average teacher. My
patented invention, the COLORO-
TONE, sweeps away playing diffi-
culties that have troubled students for
generations. By its use. Transposi-
tion— usually a "night-mare" to stu-
dents^becomes easy and fascinating.
With my fifth lesson I introduce an-
other important and exclusive inven-
tion. QUINN-DEX. Quinn-Dex is a
simple, hand-operated moving picture
device, which enables you to see, right
before your eyes, every movement of
my hands at the keyboard. }'ou actu-
ally see the fingers move. Instead of
having to reproduce your teacher's
il finger movements from MEMORY —
I which cannot be always accurate —

'^JM

'â– i\v^

h I'l ^.^

m

^â– |LO

ft

'^

^

!|

"^IwT^lP

Dr.QUINN^ AT HIS PIANO— From the famous sketch
by Schneider, exhibiled at the St. Loxiis Exposition.

you have the correct models before you
during every minute of practice. The
COLOROTONE and QUINN-DEX save
you months and years of wasted effort.
They can be obtained only from me and
there is nothing else anywhere even
remotely like them.

Men and women who have failed by all other
methods have quickly and easily attained success
when studying with me. In all essential ways
you are in closer touch with me than if you were
studying by the oral method — yet my lessons cost
you only 43 cents each — and they include all the
many recent developments in scientific teaching.
For the student of moderate means, this method
of studying is far superior to all others; and even
for the wealthiest student, there is nothing better
at any price.

Tou may be certain that joup procress la at all times
In accord with the best musical thnuuht of the presemt
day. and this makes all the dlfFerence In the world.

My Course Is endorsed by distinguished muslclaos,
who ivnuld not recommend any Course but the best. It
Is for befilniiers, or experienced players, old or youiu;.
You advance as rapidly or as slowly as you wish. All
nercsaary nmsic is supplied without extra charge. A
diploma la eranted. Wrlle today, without cost or ob-
ligation, for 64-page free booklet, "How lo Learn Piano

Marcus Lucius Quinn Conservatory of Music

Studio KI, 598 Columbia Road BOSTON, 25, MASS.

,..._.. FREK BOOK COUPON .._««.»

i QUINN CONSERVATORY. Studio KI

' 598 Columbia Road, Boston, 25, Mass.

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I Name

\ Address

GREATEST OF ALL POPULARITY CONTESTS

WHO IS THE ONE GREAT STAR OF

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Prizes for Voters and Prizes for Stars

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your own name and the name of your
favorite player. But you may vote on an
ordinary sheet of paper provided you make
it the same size and follow the wording of
these coupons. We prefer the printed cou-
pons for uniformity and convenience in
counting.

THIS IS THE LAST BALLOT

RULES OF THE CONTEST
1. The Contest began on December 1, 1919, and
closes on September 30. 1920.
2. There will be ten ballots as follows:
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January 1920 ballot June 1920 ballot

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The result of each month's ballpt will be pub-
lished in each one of our magazines the second
month following such ballot.
No votes will be received prior to the opening
date or after tlie date of closing.
Each person entering the contest and observ-
ing the rules thereof shall have the privilege

of voting once in each class, each month, for
each one of our magazines. You may send us one
vote in each class for Shadowland every month,
and the same for Motion Picture Magazine
and yet again the same for Classic. Thus, you
will have three votes in Class No. 1 each month,
and three voles in Class No. 2 each month.

Class Number 1
Shadowland, Magazine and Classic:

175 Uufticld Street, Brooklyn. N. Y.

I consider

the most popular player in the entire field of
Motion Pictures.

Name

Street

City

State

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(Dated)

Class Number 2
Shadowland. Magazine and Classic:

175 Duffield Street. Brooklyn, N. Y.

T believe that .

will win the Big Three Popularity Contest
with votes.

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Street

City

State

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(Dated)

(Ninety-three)

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MOTION PICTURE CLASSIC

Pacific Coast Paragraphs

{Continued from page 62)

Be a "Movie"
Photographer

Ein KO to $200 w,Mj

F..«tiutiii£ work tjiklnf vou u> ail oaila

E. BRUNEI COLLEGE
OF PHOTOGRAPHY

1269 Broadway. New York
29 Eait Madison St., Chlcaao. III.

DaT or night cI&bspi. 3 months' course comt.
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Call or tend totUy for Booklet S.

itructlon In General
LBn.loracameru. Eipci
puratca 20 tl\iato» io Nsi

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Money returned If rot (atlsfled.
M«lcra Sclentlflo Laboratory
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1 u ^

r^'r

1

The Metro studio, like an extremely
hardy weed, has grown and grown. Its
roots .stretcli over acres and acres of dis-
similar architecture. The newest sprout
is its section of office buildings and dress-
ing-rooms, which boast a fresh coat of
white paint.

On the stage, I followed my ears in-
stead of my nose, and by the wail of a
violin found myself in a Klieg-lighted
scenic hallway, where Winifred Green-
wood, wearing a lovely clinging frock of
dark blue beaded georgette, was "emot-
ing" under the tutelage of Phil Rosen
for a scene in "Are All Men Alike .'"
:May Allison's new starring picture.

Miss .'Mlison, who is the most beloved
person about the studio because of her
cheerful disposition and her kindness to
everyone, which extends even to the
smallest extra and the studio dog, was
removing her grease-paint in her ivory-
and-blue dressing-room preparatory to
departing to her beautiful new home in
Beverly Hills.

Here I met Viola Dana for the first
time — and if anyone can meet that tiny
cut-up and not fall irresponsibly in love
with her — well, show 'em to me.

Miss Dana is about five feet tall — in
her French heels — and the most irrespon-
sible, mischievous, pert, tomboyish ticket
I have ever seen. She was wearing a
heavenly evening frock of jade-green
velvet combined with green-and-gold
brocade. She couldn't resist spreading
her trim little feet apart and dancing
around to show me the pantalette effect
of the skirt as she pirouetted about ; her
bobbed locks flying, her rounded shoul-
ders and small feet jazzing, she reminded
me of nothing in the world so much as a
naughty little boy dressed up in sister's
best dress.

She told me, with a wave of her de-
lectable arm, "I've been made up like
this for the last three hours — supposed
to start on my new picture, 'Blackmail' —
and nozi' they send 'round word that they
wont need me today, I can go home —
fine stuff, I'll say!"

I called her attention to a new joke
sprung recently by Roscoe Arbuckle
when he was watching Lieutenant Lock-
lear, noted airman, do his famous flying
stunts above the Lasky studio.

"Wonder how he does it ?" cried a lady
visitor.

"Why," remarked "Fatty," "Locklear
vv-asn't born ! He was hatched !"

At my recital, Viola dramatically placed
a hand over her heart.

"My word !" she said. "I get a real
thrill every time I hear his name."

Miss Dana, you know, spends most of
her spare time in the air with Lieutenant
Locklear.

The Brunton studios are practically a
gold mine these days. Because of their
tremendous size and excellent facilities
for making pictures, each new company
that is formed trots over to Mr. Robert
Brunton and rents space, offices, accoutre-

ments in his studio to make their pic-
tures, which is much simpler than build-
ing new studios of their own. Here
Mary Pickford makes her pictures — and
I walked down the street which was built
for "The Hoodlum" — remember. East
Side, New York? It was silent and woe-
begone, dusty and deserted — it seemed
sad that its usefulness was over and that
the puppets who played down its alleys
had long since departed.

Just around the corner from this de-
serted section I bumped into a street of
Old Mexico — here greasy Mexicans, the
real article, were playing Black Jack, or
some game with cards, while they waited
to be called to take part in Brunton's new
serial, "Double Adventure."

A little farther on I was introduced to
Josie Sedgwick. You will remember
her principally for her splendid work op-
posite Will Rogers in "Jubilo." Miss
Sedgwick is a remarkable woman. One
reason is that she doesn't like to be called
Josephine, her real name, but prefers the
simpler one of Josie ; another is that
when I asked her about this new serial
in which she is playing the lead, she said,
"It stars Mr. Hutchinson, you know !"
Miss Sedgwick admits that she is
happy — contented ! She enjoys acting in
serials as well as in feature pictures, be-
cause she loves her work. She played
also in the Jack Dempsey serial and
praised him in glowing terms.

"He is a splendid fellow — in every
way," she said.

On the Brunton stage, which boasts a
surface of 39,000 square feet, scenes
were being shot of Roy Stewart and
George Fisher for "The Devil to Pay,"
Brunton's initial all-star production.
Contrary to my expectations, Roy Stew-
art appeared to belong not at all to the
wild West, but rather to the eft'ete East. 1
can imagine him tea-ing at the Ritz much
more easily than parading the plains.

The greatest activity and expectation
was being exercised over a set being pre-
pared for Marion Davies, who is ex-
pected out here to film her next special
feature, "Buried Treasure," for Cosmo-
politan Productions.

Here also the famous Mayflower pic-
tures are being filmed. It was here that
the last scenes for Robert Chambers'
story, "Athalie," were shot. Syd Frank-
lyn's special production, which has Rose-
mary Theby and Norman Kerry in the
cast.

Speaking of the handsome Norman —
he recently married an extremely charm-
ing W'estern heiress and is busy at pres-
ent honeymooning. Nobody knows when
he will return to work.

Betty Compson. who scored such a tre-
mendous hit in "The Miracle Man," has
completed her first starring picture,
which will be released this fall. Miss
Compson plans to do six or eight pic-
tures a year and her ambition is to have
each screen play present a girl of abso-
lutely different character.

(Ntnety-four )

The

Motion Picture

Magazine

For OCTOBER

BIGGER-
BETTER—
BRIGHTER—

than ever, the October issue of the
Motion Picture Magazine will greet
you, on the first day of September,
with a grin of pride in its own merit
which will just border on the smirk of
complacenc}'. You're sceptical?

Well, as a teaser to your imagination,
we want to tell you of a few things
which will be in this boasting number ;

Judging from the number of ex-bathing
beauties who have de\'eloped into stars
of the celluloidian drama, it seems that
salt-water comedy training, as studied
under the learned tutelage of Mack Sen-
nett, fits one perfectly for the more
warmly clad rendition of drama. Like
Gloria Swanson, Bebe Daniels ct al.,
Marj- Thurman has followed the instruc-
tions of Mr. Sennett — and now look at
her. In the story which Hazel Simpson
Naylor writes of Mary, we learn a good
deal about the refining process of the
beach.

The much-admired Rudyard Kipling
once quoted, very sententiously, that the
East was the East and the West was the
West — and the two could never have
anything in common. Well, just the
other day Adele Whitely Fletcher de-
cided to find out for herself how much
significance lay in the Kipling remark —
and returned with a story of an inter-
view she had with Sessue Hayakavva —
and all we shall say about it is that it is
in the October issue of the Magazine.

The popular Irene Castle talks to Gladys
Hall and Gladys tells you what she had
to say in a very amusingly-written in-
terview, illustrated with some beautiful
portraits of the well-known dancer.

Girls, watch out for this number! Why?
Because — Maude S. Cheatham, one of
our coast correspondents, has cornered
the heart-thrilling Wallie Reid in his
own home, and in a very much-at-home
mood.

There's a fictionization of "The Molly-
coddle," Douglas Fairbanks' latest pic-
ture; there's new gossip of the players,
new pictures, and, in other words — the
October issue of The Motion Picture
Magazine is a sure winner.

Order your copy in advance.

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{Continued from page 59)

"Well, she just wouldn't sec, insisting
that I had disgraced the family and feel-
ing that in some way she had been to
blame — my father was no longer living —
and she came over to New York and
took mc home. Then began a series of
arguments, but when she did at last real-
ize that she could never turn me from
my purpose, mother proved what a game
sport she was by taking me back to
Sioux City herself.

"They gave me a hearty welcome and
in a short time the audiences sent in peti-
tions to have me play the lead. I was
there eight months and we put on a new
play each week. Work! I slaved, and
how that manager coached and drilled
me for hours and hours. Yovi see, I had
really had so little experience and knew
absolutely nothing about dramatic tech-
nique."

Una Trevelyn is a striking-looking
girl, with lovely fair skin, blonde hair and
deep, expressive eyes. She is slight, al-
most fragile, and one wonders where she
keeps her all-indoinitable spirit.

"Pictures? Oh, I just happened into
them," and Miss Trevelyn grew thought-
ful. "I had been with A. H. Woods for
two years, playing the leading roles in
'Common Clay' and 'Cheating Cheaters'
on tour, and was called to New York
to be starred. When I reached there I
was a wreck, weighing only ninety-six
pounds. The doctors decreed that I must
go West iminediately. That was a year
ago, and I came to Los Angeles, where
I gained from the first moment. I re-
member that I inet Mabel Normand a
few weeks later, and she gasped, 'I heard
you were dying ! Why, you look fine !' "

The big interest in her life is her
twelve-year-old nephew, Everett, whom
she legally adopted four years ago when
her mother, who had been the child's
guardian, became seriously ill.

"When the courts gave him to me,"
Una spoke solemnly, "I mentally folded
him in my arms and claimed hiin for my
own — somehow I feel that my sister
knows how dearly I love him. I have
suffered for him, too ; perhaps that is one
reason I adore him so, for when he was
four he was terribly burned, and I gave
my own skin to be grafted on his leg,
which saved it."

Everett is with lier in Los Angeles and
is a student at the Harvard Military
.*^chool, and when her mother comes out
this summer, she is planning to select a
site and build a home. .She wants a hill-
side, with winding roads, inany flowers
and tall trees for the mocking-birds to
make their nests.

Miss Trevelyn is an expert golfer,
having won the woman's Eastern cham-
pionship four years ago at the .Seaview
Club, Atlantic City, where the Trevelyns
have a summer home. Tho she seldom
plays, she can still make a splendid
record. She is a motor enthusiast and
her greatest little recreation is buying
cars; she has had half a dozen during
the past year.

MOTION PICTURE CLASSIC

The Home Stretch I

(Continued from page 47)

cause a flutter not only among the spec-
tators of tlie contest, but also among the
stars who have been occupying their
celestial homes on the silversheet for
some time past.

We begin with:

Miss Juliette Compton, of 340 West
85th Street, New York City. She is a
member of the "What's In a Name?"
company. Lyric Theater, and a South-
erner by birth. Miss Compton is very
unusual to look at. She has black hair,
grey eyes and fair complexion.

A belle of Brooklyn, N. Y., is Miss
Gladys Stetson, of 404 DeKalb Avenue.
She is an eccentric dancer of no mean
ability, having appeared with "Hitchy
Koo," and is the possessor of a pair of
brown eyes, a inass of brown hair and a
fair complexion.

The little blonde Westerner is Miss Al-
lene Ray, of 2248 River Avenue, San
Antonio, Texas. Miss Ray has had some
musical comedy experience as well as
some screen experience. She has hazel
eyes, golden blonde hair and fair skin.

Miss Mary Louise Lizare, of 502 W.
Washington Street, Sandusky, Ohio, has
never had any previous stage experience.
She is a brunette with the brownest of
eyes and the brownest of hair and a fair
skin.

Altho we have never heard of Valiant,
Oklahoma, we herewith wish to state
that our ignorance is of much deeper im-
port than we had thought, for froin Val-
iant comes little Helen Trigg, who,
while she has never had any stage or
screen experience, is a contestant who
causes one to sit up and take notice.
Miss Trigg is a brunette with brown hair
and large brown eyes that look out on a
very pleased recipient, the world.

Miss Evelyn Yvonne Hughes, of 2916
Shady Avenue, McKeesport, Pa., is an-
other honor roll member who bids fair to
put up a good argument for the final
honor awards. She has never been on
the stage or screen, but a girl with blue-
grey eyes, chestnut hair and fair com-
plexion who wants anything — stands a
good chance of getting it.

From the sunny skies of California —
or, to be more explicit and less poetical,
from 141 West 4Sth Street, Los Angeles
• — comes this photograph of Miss Ester
Marie Ritter, who desires motion picture
fame and fortune. Miss Ritter has had
no former stage or screen experience and
is a brunette of the "Nut-Brown Maid"
type, with black hair, olive skin and
dark-brown eyes.

SALVAGE

By Barb.\ra Hollis

You rescued a rose from the dust of the road

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LOUISE HUFF

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OF THK NEW

Paramount Pictures

ALPHABETICALLY LISTED

Roscoc ("Fatly") Arbuckle in

â– â– The Round Up"
A George H. Mdford Production
*Enid Bennett in

"Her Husband's Friend"
Billie Burke in

â– 'Frisky Mrs. Johnson"
Ethel Clayton in

"A City Sparrow"
Ethel Clayton in

"Sins of Rosanne"
A Cosmopolitan Production

"Humorcsque"
A Cosmopolitan Production
"the Restless Sex"
Dorothy Dalton In

"Half An Hour"
Dorothy Dalton in

"A Romantic Adventuress"
Cecil B. DeMille*s Production

"Something to Think About"
Elsie Ferguson in

â– â– Lady Rose's Daughter"
George Fitzmaurice's Production

"Idols of Clay"
George Fitzmaurice's Production

"The Right To Love"
Dorothy Gish in

"Little Miss Rebellion"
William S. Hart in

"The Cradle of Courage"
A Wm, S. Hart Production
* Douglas McLean in

"The Jailbird"
Thomas Meighan in

'â– Civilian Clothes"
George H. Melford's Production

'â– Behold My Wife!"
An All-Star Production

"Held By the Enemy"
*Charles Ray in

"An Old Fashioned Boy"
*Charles Ray in-

"The Village Sleuth"
Wallace Reid in

"Toujours de I'Audace"
("Always Audacious")
Wallace Reid in

"What's Your Hurry?"
Maurice Tourneur's Production

"Deep Waters"
Bryant Washburn in

"Burglar Proof"
Bryant Washburn in

"A Full House"

*A Thos. H. Ince Production

"^^S."^'

>!^^-..^ m.^.

s^"^"^

,<â– â– >â– .

i.i â– -â– â– â– â–  â– 

I see by the papers-

He sees by the papers that his thea-
tre is showing a Paramount Picture to-
night.

That's all the regular fan needs to
know about a show.

He knows it means a great cast, a
notable story, a first-rate presentation
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You don't have to take a chance
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Simply "see by the papers" that it's
Paramount — and go! Millions are on
to it now.

(Four)

BREWSTER PUBLICATIONS

The

Fortune

Teller

"I see a man — a dark man. He is talkins
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CRAIG KENNEDY

ARTHUR B.REEVE

He is the detective genius of our age. He
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(Five)

Vol. XI OCTOBER, 1920 No. 2

THE GIRL ON THE COVER
{Paitilcd by Leo Siclkc, Jr.)

Louise Huff has long held a corner all her own in the hearl of the moviiis
picture world. She is a Southerner hy birth and came North to go on the stage
After three years of dramatic work she decided to go into pictures and joined
the old Lubin company, with whom she soon became leading lady.

She has since been starred by several companies and vyas long a popular
member of the Famous Players-Lasky Company forces. VVith her light, fluffy
hair, shadowy grey eves, and delicate oval face, this hve feet of quaint charm
is one of the cinema's most appealing personalities.

Rotogravure Gallery of Players. Full-page studies of P^f''-

Ricliard Barthelmess. J. W. Johnston, Thomas

Holding. Marie Prevost, and Betty BIythc "-' =

Carol and Her Car. The Griffith find. Carol Dempster. ^ , . , , ,. . . ,,.

and her newest hohby Frederick lames South V'

That Youth from Second Avenue. Vincent Coleman r-...-., m

moves to Broadway in one leap I'atlli .â– ^errii-t ij

American Royalty Abroad. Mary and Dong in Europe -

How Young is Anne? If a woman is as old as she

looks, .'\nne Cornwall should still be "playing „ ,, , ,,

jIqIIj,'' Truman B. Handy 11

In the Summer Revue. New York's dramatic refresh-

ments for the hot-weather spell - -

This. That and the Other Thing. Otherwise an unusual r- ■„ c- y-

intcrview with Bert Lytell ^""" Servtce -^

Way Down East. Interesting fictionization of the ^.

GrilTilh celluloid sensation of the year l.ladys Hall -i

Mr. Tearle on Ambition. Conwav proves a startling , ,, , 55

exception 'J the ambiticus rule of stars J ''a" iWa'-''-''" â– '-

They Aren't Satisfied with the Pacific. Two Mack Sen-

nett stars prefer marble nools' .............. â– 

Screen Impressions : ^"""^ i'azenda 35

Letter of a Leading Man to His Interviewer. The in-

terview different— with Charles Meredith Olga Sliazv 3b

A Grown-Up Ingenue. Showing that they do emerge—

as Bettv Bonton-from the "cute" stage Elizabeth Peltrct 38

Parlor, Bedroom and Bath. The successful screen com- c- 1 m

edy hit told m story form Esther Steele 39

Autumn a la Sennett '

And They All Wept! Full many a tear was shed when

Richard Barthclme<;s married little Mary Hay â– *â– *

The Celluloid Critic. The month's best photoplays m

re^.jew Frederick James S mtth 45

The Convictions of Conrad. Mr. Nagle startles the

interviewer with his serious viewpoint on life Elt:abelh leltr,t 10

A Pictorial Avalanche. Thousands of photographs

flood the F^me and Fortune Contest headquarters '♦^

The Glass of Youth. Otherwise Gaston Glass, a French

vonth who at present stands in the limelight O'.V" â– ^'""^' '^

Her' First Interview. The very first time that Viora

Daniels ever faced an interviewer Maude Cheatham 51

Athalie. Absorbing story version of the Mayflower ,, n , „ .;; ■;;

photoplav •■■■.■••" i ^"'•""'i' ^'"""" "

The Coming Collier. The serious-minded oflfspnng ot

William Collier tells of his ambitions â– /â– '^- F'-' I u i r ^ W

Double Exposures Couduetedby F. J S. 59

The Movie Encyclopedia The Ansu'cr Man 84

<;„l,<rriT,tlnn ".^ ^0 a vear in advance, including postage in the U. S., Cuba. Mexico, and
Pliilim nes in Cana'da $3 00 a year ; in foreign countries. $3.50. Single copies. 25 cents, postage
plepai'd One" and two -"en t stamps accepted.^ Subscribers must notify us at once of any change

of address, giving both old and new address. .

Entered at the Broolilvn, N. Y . Post Office as .Second class Mp^'ter^
Copyright, 1920. bv Brewster Publications. Inc.. in the United States and Creat Brit=i>^N J,, '"'^
York corporation, with its principal office at Brooklyn, N. Y. Eugene V Brewster, President and
Editor-in-Chief; E. M. Heinemann. Secretary: Eleanor V. V. Brewster. Treasurer.-

=TAFF FOR THE CLASSIC-

rrederick James Smith, Managing Editor

B, v. Wilson, Editor

,, ., TA It Associate Editor

Dorothy Donnell • ...Business Manager

Guy L. Harrmglon . • director of Advertising

Duncan A. Dobie. .Tr Eastern Manager

Rufns French, Inc Western Manager

m" '"^B Ha v'e"^' " â–  'â–  â– 'â– .â– 'â– '-'-â– ..â– ..... New England Manager

MOTION PICTURE CLASSIC - - 175 Duf field St., Brooklyn,. N, Y.

This magazine, published monthly, comes out on the 15th. Its elder sister, the Motion Prr.TUaE MagaziSe,
comes out on the first ot every month. Siiadowuand appears on the 23rd ot each month.

ji training jor /luthorsliip

'*' ''"^^^ HoWtoWiite.-WKaHovOrSe,

and whereto sell.

CulKOote your mind. DcVelnp
[ yourtilerary gifts. Master the
artof sclf-e?:pression.Make
J your spare Hmc profitable.
' Tiirn your ideas into dollars.
Courses in Short-Story Writ-
ing. Versitication, Journalism,
Play Writing. Photoplay
— Writing, eta. taught person-

Dv.EsenWein ally by Dr. J. Berg Esenwein,
, for many years editor of Lippincotfs Magazme. and
a staff of literary experts. Constructive cnticism.
Frank, honest, helpful advice. Keal teaching.

On. pnpJI has r.c»lf .<( op.r $5,000 for mrlaand "•I'l'f

' Another p„pll r.c./f td ot;<rr Sl.OOO brfcrt ""•">''"'•'
h,r first toorjf. Another, a bnSF »'/« ""^ mother. Is
oleLnln, of.r J75 » li.«k from photoplas, t.,rltlng o/one.

There is no other institution or ngency doing so much for
writers voung or old. The universities recognize this, for over
one hundred members of the English faculties of higher institu.
tions arc studying in our Literary Department. The editora
recognize it. for they are constanUy recommending our courses.

W. poNLh )*. Wnl,f;iMn,Ty, IJ volum

.; .lMcilpllv»bookl.Hr».. W. »1» pnbll.ll
Cor lll.r.fT -oik.n; Mmpl. topy 10.. .nniKl
M, w. oO.i â–  m.ooKrtpt crliKlim a.rvlc* ,

ISO.pase illustrated calalogue free.

"Cfte Home Correspondence School ^^

Dep't. 112. Sprinofield.Mass. ReB

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Write the Words
For a Song

Write the words for a song. We revise
song-poems, compose nuisic for them, and
guarantee to secure publication on a
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Mail your song-poem on love, peace, vic-
tory or any other subject to us today.
Poems submitted arc examined free.

BROADWAY COMPOSING STUDIOS

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HAIR SPEtilALTY CO. Oept. B.__21J._2l.t^St.,_N.W_Jforit

/;,),)(;i.— "Not So Long Ago." A fragile and
chaiiuing litlle comedy by a newcomer, Arthur
Richman, telling a story of picturesque New
Vnrk in the earlv seventies. Genuinely dc-
hulitful. Finelv plaved by Eva Le Galliennc,
Sidnev Blackmer and an excellent cast.

/;,,o„._'Thc Charm School.' An appealing
liubt comedv with music, based upon Alice
Dtier Miller's storv of the handsoiiie yoting
bachelor who inherits a young ladies finishing
school. Minnie Diiprce runs away with tne
production as an old maid teacher while James
Gleason, Sam Hardy and Mane Carroll are

''^BnW/nir.tf. - "Come Seven." Amusing
adaptation of the Octavns Roy Cohen negro
stories which have been appearing m Ilw Sal-
,,rrf,.v Ez-cwg. Post, All the characters are
negrbes plaved by white players. Funny, but
of little depth. Arthur .^ylsworth is excellent
as a shiftless darky. Gail Kane and Earle
Foxe pliiv the colored lovers. .

Cnitnry Prow cnade.— New \orks newe.;t
dinner aiid midnight entertainment. "The Ceiv
mrv Review" and "The Midnight Rounders.
Colorful girl shows for the tired business man.

A deliahtlul place to eat.

Cc./ia» a„d Harns.-"Horiey Girl. Lively

musical comedv built about the brisk racc-tracl.

' comedy, "Checkers." This has speed and

humor— as well as an excellent cast. ,,

Co/iaii'i.— William Rock's "Silks and Satins
Another summer re\'ue, but we doubt if it will
even appeal to the tired busmess man. Lrnes-
tine Mvers, the dancer, stands out.

Corf -"Abraham Lincoln." You should see
this if vou see nothing else on the New York
stage John Drinkwater's play is a noteworthy
literary and dramatic achievement, for he
makes the Great American live again. Abra-
ham Lincoln" cannot fail to make you a be ter
American. Moreover, it is absorbing as a play.
Frank xMcGlvun is a brilliant Lincoln. ,

Fullon —"Scrambled Wives.' Another typi-
cal farce built on a series of rnisunderstaud-
ings A divorced couple try to hide their first
wedding from their new marriage allmnces.
Rather bright and amusing. Roland Young

is excellent. . .,^ 11 r lo^n"

G/o6c.-George White's "Scandals of 1920.
Livelv and well thought out summer revue
vM: lavish and swiftly changing scenes, plus
many pretty girls. Paint succeeds stockings
and tights in several numbers. Ann Penning-
ton is the shining light of this revue.

Cajiiio.— "Lassie." A charmmg and pleas-
antly tuneful little musical comedy of Scot-
land and London in the picturescpie sixties.
Rased upon Catherine Chisholm Cushing s
"Kitty MacKav." Tessa Kosta sings pleas-
antly and Mollie Pearson and Roland Bot-
tomlev are prominent. Dorothy Dickson and
Carl Hyson contribute some delightful dance
interludes. „„, „ T.r^„

Henry Millers Theater— "The Famous Mrs.
Fair " Able drama dealing with the fem'"'"-
problem of a career or a home. Skilfiilly
written bv James Forbes, with unusual playing
by Blanche Bates, Henry Miller and Margalo

Gilmore. ,,__., c-,.

Z,,„/f _"Foot-Loose," with Emily Stevens.
Norman Trevor and O. P. Heggie ^Th ^"''
well-done modernization of the old melodrama.
"Forget-Me-Not." Tallulah Bankhead scores
in a difficult role. , , , „ .1 1

Kezi' Amsterdam Roof.— Z\eglM 9 o clock
and midnight revues. Colorful eutertamments
unlike anvthiug to be found anywhere else.

ll'iiiter Garrfcii.— "Cinderella on Broadway
Tvpical summer girl entertainment designed
for the tired business man. The extravaganza
this vear is based upon the fairy adventures of
Cinderella. Plenty of girls, passable music,
attractive costumes and a little humor.

Superbly acted by the best ensemlile in New

"The Holleiitot." with Willie Collier. Typi-
cal one-man faro; with the inimitable farceur.
Collier, at his best. Full of laughs

"/•"/ororforo."— The much-heralded revival of
the widelv popular musical show of some
twenty years ago. Done with cliarm, distinc-
tion and humor. Eleanor Painter's singing
stands out vividly and George Hassel! s humor
is highly diverting. Then, of course, there is
the famous "sextette." Here is a reyival that
really revives. ., , , , , c

"The Storm."— A well-told melodrama ofc
the lonely Northwest with a remarkable stage
effect of a forest fire. Helen MacKellar is ad-
mirable as the piquant French-Canadian hero-
ine. , , „ ... .
"The Fall and Rise of Susan Leno.r, —Weak
adaptation of the David Graham Phillips novel.
Alma Tell in the stellar role.

"i'raiirfir/."— Cosmo Hamilton's daring drama
which Constance Talmadge played on the
screen Francine Larrimore and Charles
Cherry have the leading roles in the excellent
footlight production.

"As You Were," with Irene Bordoni and
Dick Bernard. A delightful musical shovy in
which Miss Bordoni dazzles as the various
sirens of history. Pleasant music and a pleas-
ant chorus lend effective aid.

"The Purl'le Mask," with Leo Ditrichstein.
A stirring, romantic melodrama of the days of
the First Consulate in France; tense, colorful
and highly interesting One of the best eve-
ning's entertainments of the season. Mr. Dit-
richstein is delightful as the royalist brigand,
the Purple Mask ; Brandon Tynan is admirable
as the republican police agent, Bnsquet^; Lily
Cahill is a charming heroine, and Boots Woos-
ter makes her bit of a peasant girl stand out.

"The Sign on the Door,"— A very good melo-
drama which boasts many instances of the un-
expected—and Marjorie Rambeau in highly
emotional scenes.

"Look Who's Here," with Cecil Lean. A
passable musical entertainment that entertains
when Mr. Lean and Cleo Mayfield hold the
center of the stage.

"Tmi/i'i' Through," with Jane Cowl. An odd
but effective drama which purports to show
how those who have gone before influence and
watch over our lives. Miss Cowl is exceed-
ingly good as a piquant Irish girl and also as
a sp'irit maid whose death occurred fifty years
before. "Smilin' Through" will evoke your
smiles and tears.

"The Onija Board"— Cram: \\ilbur's thriller
built around spiritism. Real spooks invade a
fake seance, solve a murder mystery and pro-
vide plenty of surprises. Guaratiteed to keep
you on edge. Excellent cast includes George
Gaul, Howard Lang and Edward Ellis.

"Mv Golden Girl."— A passable musical en-
tertainment witli a score by Victor Herbert.
A chorus girl, Jeanuctte Dietrich, scores the
hit of the show.

"Shaving,'!:'—A pleasant bucolic entertain-
ment based upon Joseph C. Lincoln s familiar
Cape Cod stories. Harry Beresford is featured
in a gentle, whimsical characterization.

"The Little Whol'l^er."-Uvc\y and ainusing
musical comedv with tuneful score by ^ °u
Friml Vivienne Segal pleasantly heads the
cast, which also numbers Harry C Browne,
who does excellent work, Mildred Richardson
and W. J. Ferguson.

Bring Out

Hidden Beauty

Benc«h U» .olleJ. '"i^""<;'''''tix%r!A"liS^>'ST>^
oiie fiUr to look upon. Mccollied "«« irrauuaiuj. « J^.^^

8orl» the dcltallird ■urf'™ ,■;""• ''l.'l,i,Z.i, who prrfer

SS'l'o^'VJ^iTn-S^ralJr 1, .'Ti^u ^eS" 1. ,

ON TOUR

"Jane Clegg."-St. John Ervine's powerful
drama, presented by the Theater Guild has
been running here all season. A drab but
brilliant tale of middle-class English life.

Lcezi''s N Y. and Loeiv's American Roof.—
Photoplays; first rims. Daily program.

Loeu's Metrofolilan, Brooklyn. -Feature
photoplays and vaudeville.

Co/'i/o/.- Photoplay features plus a de luxe
program. Superb theater. . , , „ „,„

RiToli.—De luxe photoplays with full sym-
phony orchestra. Weekly program.

Rialto. — Photoplays supreme. Program
changes every week. _

i'/raitrf. — Select first-run photoplays, Pro-
gram changes every week.

(Six)

"OH, MOTHER

II story's accepted! "

OUT of "the rainbow gleams of her youthful
dreams" has come The Great Reward! The
happy sequel to all her burning hopes — her eager
aspirations! The magazine editor has accepted her
story. His letter brings the happy news.

She moves as one in a daze. "Can Jt really be
true?" she asks herself over and over. And all the
while she glows with the pride of authorship, her
aspiring spirit transformed in the bewilderment of
this new triumph. 'Tis life's deepest moment for her.

She has crossed the Golden Ruhicon .' Enthralled,
she stands upon the threshold of a New Life! She is
at last— "AN AUTHORESS!" • The story she has
written, filled with fresh, bright realism, stirring inci-
dent and sparkling dialogue — written out of her very
heart — painted in glowing words upon the Screen of
Romance, will be read by thousands, thousands!

But yesterday. In her girlish fancy, she deeply en-
vied those who live and move in that fascinating
sphere, the Realm of Authorship. But yesterday her
hopes mingled with her fears, ner doubts of herself.
her simple lack of faith in her ability "TO WRITE."
But yesterday she deemed well-nigh impossible the
triumph that has come to her to-day!

But yesterday her life was a dull, drear grind in a
department store. In her little niche behind the
notion counter her girl's soul was slowly shriveling.
The drab, grey life was deadening every spark of hope
within her. Thinking of her youth and yearnings,
she would oft hopefully repeat to herself those lines
from some beautiful book, "It is the Spring! It is
the Spring! And Life is so FL^LL of Flowers! Ah,
surely some of them are MINE!" But there was the
monotony, the dull servitude, from H to 6 — it never
varied — it went on and on and on— a dumb fate that
seemed to stare her in the face forever, just as it
might be pictured in a story by O. Henry.

Not that all girls are unhappy who woric in stores,
but she — she dreamed of higher things. She wanted
more out of life than the grey, humdrum existence.
Why should Success be a thing OTHERS could attain
and not she ? She had two good hands and a brain
— she was intelligent, observing, and though not a
genius, surely, she told herself, she could learn to write
stories as good as hundreds she had seen.

One day her sweet-faced mother noticed a small
advertisement in a magazine. It said : "Free to
writers — this wonderful hook. Tells How to Write
Plays and Stories." "Here. Dorothy dear," said
Mrs. Dean, "here is something about writing stories
and plays. Here's a concern offering a free book on
the subject. Why not get it? See what they can do
for you? You never can tell — maybe you really can
learn how to write the way you've dreamed so long,
and just think how wonderful that would be!"

The Authors' Press has this young woman's letter
on file. She wrote for our free book — and the picture
above tells the happy sequel.

This is a trttc story, as startling as it is romcntic,
and here is the most startling thing of all — a re-
markable discovery that will thrill ambitious men
and women of alt apes thmufjlwut the -H'orld f The
discoz'erv is that: MILLIONS OF PEOPLE CAN
WRITE' STORIES AND PHOTOPLAYS AND
DON'T KNOW IT!

(Seven)

For years the mistaken idea prevailed that you had to
have a special knack in order to write. People said it
was a gift, a talent. Some imagined you had to be an
Emotional Genius with long hair and strange ways.
They vowed it was no use to try unless you'd been
touched by the Magic Wand of the Muse. They
discouraged attempts of ambitious people to express
themselves.

Yet only recently a great English literary authority
declared that "nearly all the English-speaking race
want to -ufritef It's a craz-ing for self -expression, char-
acteristic of the present century."

So a new light has dawned! A great New Truth
that will gladden the hearts of "all the English-speak-
ing race who want to write!" Astounding new
psychological experiments have revealed that "the
average person" may learn to write! Yes, write
stories and photoplays; thrilling, human, life-like; filled
with heart-throbs, pathos, passion, pain.

Yoii may learn it just as you may learn anything else
under the sun ! There are certain simple, easy prin-
ciples to guide you. There are new methods that
produce astonishing results for beginners, A re-
markable New System, covering every phase of writing,
has been perfected by a great literary bureau at
Auburn, New York, now busily supplying this infor-
mation broadcast. And this New Method of writing
stories and photoplays is everybody's property. Not for
the select few. Nut for those specially gifted. Not for
the rich or fortunate, but for men and women of
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— thousands who don't even dream they can write!

This institution at Auburn Is the world's school for
inexperienced authors — a literary institute f<.r all
humanity. And everybody is taking up the idea of
writing. The fascination has swept the country by
«;torm ! People ate dumbfounded at the ease with
which they learn to write!

You know it was Shakespeare who said: "All the
world's a stage and all the men and women merely
players." Lite's stage all around you is filled with
people and incidents that will make stories without
number. From the great Screen of Humanity and
its constantly changing tide of Human Emotions —
Love, Hatred, Jealousy, Happiness — you can create
endless interesting plots for stories antl photoplays.
There is never a lack — it flows on in an Endless Stream
of Circumstance — like Tennyson's brook — forever I
Every person you know is a type, a character.
"Every house has a story." And those who dwell within
have impulses, ideas, hopes, fears, fancies that furnish
material for you. The daily newspapers are filled
to the brim. The Footlights of Fate reflect scenes and
incidents for the Pen of Realism.

There is nothing in all this world that so dominates
the heart and mind as the fascination of WRITING.
It gives you a new power, a new magic, that charms
all those around you. It lends a new attraction to
your entire personality. Authorship carries with it
new honors, admiration, respect — in addition to glorious
material rewards.

THERE TS A NEW BOOK AWAITING YOU
THAT AMAZES EVERY READER— and the most
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is pouring glad sunshine into the lives of aspiring people

who want to become writers. Within its covers are
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have caused a sensation everywhere, because it is
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guod news that is dear to the heart of all those aspiring
to write; illustrations that enthuse; stories of success,
brilliant instances of literary fame coming unexpect-
edly; new hope, encouragement, helps, hmts — things
you've long wanted to know!

"The Wonder Book for JVritcrs" tells how stories
and plays are conceived, written, perfected, sold. How
many suddenly realize they can write, after years
of doubt and indecision. How the scenario stars
began. How they quickly rose to fame and fortune.
How ordinary incidents become thrilling stories and
piays through these New Easy Methods that simplify
everything! How one's imagination properly directed
may bring glory and greatness. How to really test
your natural writing ability. How stories and plays
are built up step by step. How to turn Uncertainty
into Success.

This book and all its secrets are YOURS! You
may have a copy absolutely free. You need not send
a penny. You need not feel obligated. You need
not hesitate for ANY reason. The book will be
mailed to you without any charge whatever.

There is no need to let your laudable ambition
stand still — no need to starve the Noble Flame that
burns at the Altar of your Dearest hope — no need to
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Your brilliant opportunitj' yuur golden chance, is
HERE AND NoW! Get your pencil— use the
coupon below. This little act may prove the big,
lucky stroke of your Destiny!

The Authors* Press, Dept 193, Auburn, N. Y.

Send me ABSOLUTELY FREE "The Wonder Book
fvr Writers." This does not obligate me in any way.

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weQ as rhyslc;il. your money will be refunded Without
(jueHllon, plus viiur uutloy for iHKtla;:e.

PAUL VON BOECKMANN, Studio 137, 110 West 40th Street, New Yorh

MOTION PICTURE CLASSIC

Contest Draws to a Close

The remaining days of the Popularity
Contest are growing fewer and fewer as
this book goes to press. While interest
has been rife thruout the entire contest,
it has never quite equalled that mani-
fested during the last week or so — with
everyone — everywliere working frantic-
ally to give their favorite a boost before
it is too late. There are many changes
in the positions of the players, but there
is nothing final to be surmised until the
last vote is counted and the ultimate tab-
ulation completed. To arrive at the re-
sult may take longer than is expected,
but an announcement will be made as
soon as possible.

Here are the results at the time of
going to press:

Mary Pickford, 92,656; Norma Talmadge,
51,38/; Pearl White, 31,422; Mme. Nazimova,
16,263; Constance Talmadge, 9,817; .Bebe Dan-
iels, 6,406; Marv Miles Minler, 5,25S; \'iola
Dana, 5,004; Elsie Ferguson, 4,855; Lillian
Gish, 4,716; Tlieda Bara, 4,469; Ruth Roland,
4,164; Dorothy Gish, 3,857; Anita Stewart,
3,812; Marguerite Clark, 3,559; Ethel Clayton,
3,250; May Allison, 2,307; Olive Thomas, 2,262;
Dorothy Dalton, 2,203; Olga Petrova, 2,024;
Shirley Mason, 1,928; Pauline Frederick, 1,361 ;
Gloria Swanson, 1,547; Irene Castle, 1,526;
Marie Osborne, 1,462; Geraldine Farrar, 1,451;
Wanda Hawley, 1,305; Ann Little, 1,262; Alice
Bradv, 1,254; Marie Prevost, 1,213; Edith
Johnson, 1,151; Alice Joyce, 1,007; Alice Lake,
974; Marion Davies, 934; Blanche Sweet, 921;
Mae Murray, 899; Priscilla Dean, 864; Kath-
lyn Williams, 815; Katherine MacDonald, 766;
£)oris May, 739; Vivian Martin, 730; Margar-
ita Fisher, 675; Betty Compson, 646; Clara K,
Young, 611; June Caprice, 559; Madge Ken- '
nedy, 527; Jane Novak, 478; Phyllis Haver,
525; S\-lvia Brcamer, 473; Bessie Love, 464;
Enid Bennett, 460; Juanita Hansen, 455;
Gladys Leslie, 451 ; Marie Walcamp, 447; Do-
lores Cassinelli, 44(3; Winifred Westover, 434;
Rosemary Theby, 431 ; Pauline Curley, 382 ;
Eva Novak 370; Mildred Reardon, 369; Lil-
lian Hall, 364; Marjorie Daw, 360; Mildred
Harris, 357; Billie Burke, 357; Mildred Davis,
351 ; Corinne Griffith, 342 ; Violet Heming, 337 ;
Doris Keinon, 330; Lila Lee, 324; Marguerite
De La Motte, 301 ; Dorothy Phillips, 285 ; Grace
Cnnard, 276; Mae Marsh, 272; Betty BIythe,
270; Peggy Hyland, 266; Marguerite Conrtot,
259 ; Jean Paige, 238 ; Virginia Lee Corbin,
217.

William S. Hart, 38,453; Wallace Reid, 36,-
961; Richard Barthelmess, 24,213; Douglas
Fairbanks, 13,104; Eugene O'Brien, 9.319;
William Farnum, 7,111; J. Warren Kerrigan,
4,460; Charles Ray, 4,402; Tom Mix, 3,756;
Gaston Glass, 3,223; Charles Chaplin, 2,807;
Thomas Meighan, 2,664; William Russell,
2.451; Ralph Graves, 2,346; Antonio Moreno,
2,309; Rodnev La Rocque, 2,160; Tom Moore,
2,114; Douglas MacLean, 2,071; Bert Lytell,
1,916; John Barrvmore, 1,862; William Duncan,
1,758; 'Harrison' Ford, 1,613; Jack Pickford,
1,606; Owen Moore, 1,567; Elliott Dexter.
1.554; Kenneth Harlan, 1,548; Harry Northrup,
1,401; Earle Williams, 1.225; George Walsh,
1.051; Ben Alexander, 1,043; Lloyd Hughes,
981; Eddy Polo, 916; Lewis Stone, 869; Har-
old Llovd, 855; Conway Tearle, 812; Robert
Harron, 787; Robert Warwick, 770; Marshall
Neilan, 731; Sessue Hayakawa, 719; Louis
Bennison, 670; Monte Blue, 666; Monroe Sal-
isbury-, 661; Lon Chanev, 660; Br_\'ant Wash-
burn, 657; Harry Carey, 652; Tom Forman,
637; Eddie Lyons, 633; Wesley Barry, 607;
Charles Meredith, 517; George Fawcett, 478;
Henry G. Sell, 475; Percy Marmont, 464;
David Powell, 450; Webster Campbell, 449;
Theodore Roberts, 445; Joe Rvan, 440; Harry
Morev, 416; Ben Turpin. 367; Jack Holt, 363 ;
Crcig'bton Hale, 360; Robert Gordon, 355; Al-
bert Ray, 354; Emory Johnson, 346; Mahlon
Hamilton, 340; Lee Moran, 338; King Vidor,
326; Francis MacDonald, 320.

(Eighl)

OPPORTUNITY MARKET

ART

WHY NOT DO Oil. I*A1\TIXG AT HOME? Write for
Instruction landsi'ape. Aninut. sketfhlng and other
arts. Ben. H. Grlep. .son (Jak St., Carthage, Mo,

OLD COINS WANTED

•'1»I,I> MONKY WAN'TEIJ." 52 to S'.O0 each paid for
luiiuiieds of coins dated before 1S95. Keep all old
irmiiey. Send 10c for new illustrated coin value bonk,
size 4xC. You may have coins worth large iiremiuins.
Gt-'t posted. Clarke Coin Co.. Box 15.t, Le Roy. N. Y.

HELP WANTED— MALE

THK WAY TO GET A OOVEKNMEXT JOB is through
tin- \\'.i.shin&ton Civil St-rvire School. We prepare you
and you gft a positinn uv we gruarantet^ to refund your
ninnev. "Write to Earl Hopkins, president, Washing-
li.u. D. C. for books RJ-20SS, telling about s<nernment
linsitions with lifetime employment, short hours, sure

l>a>'. regular vacations. ^^^___^^__^

l>ETECTn'ES AND INVESTIGATORS malie big
niciriev. Be one. We show you how by home study,
\\'iile" American School of Criminology, Dept. C, De-

t rnjt, Mich.

WORK 1-OK Y01.:R GOVERNMENT. Hundreds of
iii.n — women over 17 Wanted ianmediately. Pleasant,
lasy work. Commence JlOO to $150 month. I^ist posi-
liaiis open free. Write immediately. Franklin Insti-
tute. Dept. B77. Rochester. X. Y.

K.\ILW.\Y TRAJrriC INSPECTORS earn from SllO
lo SJOO per month and expenses. Travel if desired,
Unlimited advancement. No age limit. We train you,
I'nsilinns furnished under guarantee. Write for Book-
let CM-G^. Standard Business Training Institute,
i;ulVaU.. N. Y.

MAGAZINE

B.VtK ISSIES or MOTION PICTl RE CLASSIC, Mo-
tion Picture Magazine, Photoplay and all publications
fi>r sale by Boston Magazine Exchange. lO'J Muunlfort
St.. Boston, Mass.

MAIL ORDER BUSINESS

$30 A WEEK EVENINGS. I made it with a small
mail order business.' Started with ?3. Fri^e booklet,
lie postage tells how or send 25c for sample and plan,
Alpc Scott, Cohoes. N. Y.

MISCELLANEOUS

ol WRITE WORDS FOR A SONG. We write the
isic. publish and secure a copyright. Submit poems
on any subject. The Metropolitan Studios. 914 So,
Michi^'an Ave., Dept. 141. Chicago. III.

«KITE THE WORDS FOR A SONG. We revise
pnt-ms, write music and guarantee to secure publica-
ti'in. Submit poems on any subject. Broadway Studios,
inTM, Fitzgerald Bldg.. New York.

MOVING PICTURE BUSINESS

MUSIC

RREAM CASTLES IN THE AIR.

waltz and two more popular songs ;
:.r. Chas. E. Hochberg & Co., 717
l;inMklvn. N. Y.

PATENTS

PHOTOPLAYS

PHOTOPLAYS

EXCHANGE PLOTS FOIt $$, Photoplay ideas ac-
tppti'd any form; revised, typed, published, copy-
righted, sold. Advice free. Universal Scenario Cor-
pL>ration. Western Mutual Life Bldg.. Los Angeh-s.
FREE BOOKLET containing G5 helpful suggestions
on writing and selling photoplays, stories, poema.
songs. Atlas Pub, Co., 306, Cincinnati, Ohio,

SALESMEN WANTED

This beautiful
ent postpaid for
Sacknian Street.

IHERE'S A LONESOME GIRL SO FAR AWAY," a

-â– -11!^. postpaid ITic, Anthony Ketroy. 161S No. lllh
-t . SpringOeld. 111.

NEW CORRESPONDENCE

EARN §25 WEEKLY. SP.ARE TIME, writing for
n-'wspapers, magazines. Experience unnecessary; de-
l;iils free. Press Syndicate, 560, St. Louis. Mo.

REE TO WRITERS — A wonderful
noney-making bints, suggestions, ideas
f successful story and movie play writing.
^Ust address Authors' Press, Dept. 14,

LIVE SALES.MEN W.VNTED. \V.- are located In the
heart of the great oil tield ol North Texas and recom-
mend only the best companies. We furnish bank refer-
ence and pay our salesnien well, Harwell Brokerage
Company, Central Stock Exchange Bldg,. Wichita
Fails, Texas.

SHORT STORIES

STORIES. POEMS, PL.AVS, ETC., are wanted for
publication. Good ideas bring big money. Submit
MSS. or write Literary Bureau. 131. Hannibal. Md.
WRITERS! Have you a song-poem, story, photoplay
to sell? Submit MSS. now. Music Sales Co., 42, St.
Louis. ___^^

SONG POEMS

YOr WUriE THE WORDS I OK A SONG. We'll com-
pose Ihr music fr.-i' aiiil puMisli sanj.-'. Send Song Poem
today. .\. V, l.f-ii.i-.: "'o, JTI \\ ''sl ]i;ath St., New York.
WRITE THE WORDS TOK .V SONG. We write music
and guarantee publislier'a acceptance on a royalty
basis. Mr. Leo Friedman, THE COMPOSER TO THE
AMERICAN PEOPLE, is our leading composer. Among
his well-known hits are such songs as '"Meet Me To-
night in Dreamland" and "When I Dream of Old
Erin," Submit poems on patriotism. love or any sub-
ject. Chester Music Company, Dept, 324, 920 South

Michigan Ave,. Chicago. III.

WRITE THE WORDS FOR A SONG. We revise
jjoenis, write music and guarantee to secure publica-
tion. Submit poems on any subject, Broadway Studios,

107H, Fitzgerald Bldg-. New York. ^

YOl' WRITE WORDS FOR A SONG. We write the
music, publish and secure a copyright. Submit poems
on anv subiect. The Metropolitan Studios, 914 So.

Michigan Ave., Room 104. Chicago, 111.

AVRITE THE WORDS FOR A SONG. We write the
music and guarantee publisher's acceptance. Submit
poems on patriotism, love or any subject. Chester
Music Co., 920 S. Michigan Ave.. Room 185. Chicago.
SUBMIT YOFR SONG POEMS for our consideration.
Publishers anxious for good material. Chas. E. Hoch-
berg & Co.. 717 Sackman St.. Brooklyn. N. Y.

WRITE A SONG POEM — Love, mother, home, comic
or anv sub.iect. I conipose music and guarantee pub-
lication. Send words today, Edward Trant. 633 Reaper
Block, Chicago.

E.ARN S50,00 NIGHTLY — No experience required.
Small capital starts you with professional machine.
Complete equipments for traveling or stationary use,
Easv payments. Here's your opportunity. Large cata-
log free." Monarch Theatre Supply Co., Dept. 534, Ells-
worth Bldg., Chicago.

$35.00 PROFIT NIGHTLY. Small capital starts you.
(mtfits sold on installments. No experience needed.
Our machines are used and endorsed by Government
institutions. Catalog free. Alias Moving Picture Co.,
426 aiorton Bldg.. Chicago.

SONG WRITERS

SONGS PITBLISHED ON ROYALTY. We revise, com-
pose, arrange, engrave, proof, print, publish, copyright,
advertise and sell music. Write for our royalty music
publishing offer. Do not send us poems until you
have received offer. We are music publishers, not
mere composers and arrangers. We attend to every
detail from receipt of poems until regular copies
are ready for display and sale in music stores.
Brennen's" Music House. Suite 201, 2 West 123rd St.,

New York.

SONG WRITERS — If you have song poems write me
immediEitelv, I have best proposition to offer you.
Ray HibbeliT. D, ^"?.. 40-in Dickens Ave.. Chictgo, III,
YOr WRITE~rHE WOitOS FOR A SONG, We will
writ-' tht' music, luibli.sh and secure copyright, Ed-
ouard ilcsselberg. our i.liicl' composer, has to his credit
the great hit "If I Were a Rose," and other famous
songs. "Submit poems on any subject. Send for our
Song Writer's Guide and submit poems at once. Met-
ropolitan Studios, SI14 South Michigan Ave., Dept. 142,

Cliiiii;-''!. ininnis^

WlilTK THE WORDS FOR A SONG. We revise poems,
coinpMsi- music for them and guarantee to secure pub-
lication on royalty basis by New York music publisher.
Our Chief Composer is a song-writer of national repu-
tation and has written many big song-hits. Submit
poems on any subject. Broadway Studios, 107A Fitz-
gerald Bldg., New York.

STORIES WANTED

I'.\TENTS. Write for Free Illustrated Guide Book.
^â– â– nd model or sketch for free opinion of its patentable
nut u re. Highest references. Prompt atti.-ntlon. Rea-
sonable terms. Victor J. Evans & Co.. 621 Ninth,
Washington. D. C.

< OIRSES IN PHOTOPL.4Y WRITING are generally
: lid for S20 to ?30. We offer complete Instructions and
1 MI I, rm Jit ion. not only in how to write motion picture
pl.iys. but also how to sell tbein, and where the best
~ Tiarkets lie. This valuable book, prepared by a writer
stage director of wide experience, sent on receipt
$1,00. Sano Sales Co., Dept. C. Box 1404, Dea
BMoines, Iowa,

little book of
; the A B C of

Absolutely free.
Auburn, N. Y.

EARN $25 WEEKLY, SP.VKE TIME, writing for
newspapers, magazines. Exp'Ti. -nre unnecessary; de-

tails free. Press Syndicate. :.•;<). St. Louis, Mo.

STORIES~AND PIIOTOPI-AY IDEAS WANTED by 48

companies; big pay. Details free to beginners. Pro-
ducers League, 441, St. Louis. Mo,

WRITERS

ATTENTION Get your manuscript typewritten.
WRITERS. Fifty cents per thousand words.
One carbon copy. L. Davenport, 634 Dayton Street,
Flint. Mich.

VAUDEVILLE

GET ON THE STAGE.

I tell you how! Send tic postage for instructive,
illustrated stage book and particulars. C. LaDelle,
Box 557, Los Angeles. Cal.

POPULARITY FOLLOWS THE

UKULELE

If yon play auaint, dreamy Hawaiian musiO
or latest songs on the Diculelo you will
foe wanted everjTvhere. We teach by
mail 20 simple les-ions: kSto you freo
with everj' course a. genuine Hawaliim
Tkulde. music, everytbins — no eslras.
Ask us to send the story of Hawaiian
i,sic. Ynu will lovo It. No
katlon, alwolutiMy fri^e.
The Hawaiian Institute of Music, 1400 Broadway, Dept. I«1

^^fl

LEARNPIANO

iikly and Ihoiuuybly: in oai booklet. "Tho

MustL-r Key" (sent ou rtquusD- America's

M Idlest wa.ltz writer and cDuipostir shows you

liLiu [11 bcctiiiie a sKillL-a piariu and oi-gan player

ill your own home, hy a uew, slmplo, cftlcieiit.

" yet lilHliiy eiiUorsea and Inexpensive method. LKvUtN

' tile art of ciassio jilaylit^ and ALL llio SCIENCE uiiii

TIUCKS of JAZZ and ItAU-TlME cffect-s.

"Tlio Mafilcr Kev Uiml.Ua'* til)'* all about U In com-
ritieie detail. No otiier niilliod <v.r written ever told wj
idainlv the real WHY and HOW I" heronio an expert piano
nlu er md ci.nipoaer. All nmsi.- fiuiiishcd free. Diplomas
Svui. send rnr "The Ma.t.r K.V tml.iy-NOW.

COSMOPOLITAN CONSERVATORY OF MUSIC
U3I Broadway Suite 416 New York Clly

Learn to Dance!

Ton can learn Fox-Trot, One-Sfcp, Two-Step,<
Waltz and latest "up-to-thc-roinute" aociety
dances I'li your own home by tho wonderful
Peak System of Mail Instruction.

New Diagram MetUod. Easily learned;
no munic oecdL-d: thoueanda taucht Bucci'sufuily.

Write for Special Termw. Send to-tau
for FltEE inf->miatlon and BurpntiinBlv low offer -

WILLIAM CHANDLER PEAK. M. B.
Doom 4S2. 821 Crttsc«ntPlac«-CI)lcaso,ill.

§etonthesta(;e

I Ten You Howl Stage Work and Cabaret Enter*

talnlnSBUCceBsfulty taught by mail. Your BIG oppurtunUy. Trav-

1, BCQ tho world as vaudcviJlo actor or actrtua. My Great

.Frofcsaional CoarKO — only ono of its kind — COVERS ALL

BRANCHES. Dovelo^a Personality, Confidence, ShIII

tells you iust how to ^.-t on the Stage, Si.>nd 6c poBtatfo

for ilIustrati?d.bookk-C. "Ail About Vaudeville." Statu oko

and occupation. Write for this free Stoce Book today)

FREDERIC U DELLE. Box 667-B LOS ANGELES, CALIF.

WRITE A SONG

Love, Mother, Childliood, comic, or any
subject. I compose music and guarantee
publication. Send words toda)'.

EDWARD TRENT
661 Reaper Block Chicago

THE PHOTOPLAYWRIGHT'S

PRIMER

By L. CASE RUSSELL

Author of ^' Hers Ltes'^

A clever, little bonk that will be appreciated
by those interested in becoming a successful
photoplay writer. Remember, *'Poor plays,
like chickens, come home to roost."

FIFTY CE3^TTS

BREWSTER PUBLICATIONS. Inc.
175 Duffield Street - - . . Brooklyn, N. Y,

DEAD
MEN
TELL

NO
TALES

(Nine)

TKe33Gst "Way to Select a ^Phonograph

There are many good phonographs from which to choose. To find the one
you like the best compare the leaden in the following six fundamentals:

This is
Adi'ertisement "Ho. 2
of a Series

T^/Tany "sweet voiced" instruments can only play one make

of record and tone is worthless without repertoire. Your

musical enjoyment is limited to a narrow list of artists and selections.

Make sure the phonograph you choose can play all records and
play them "weU.. You will find that the CRESCENT not only plays
all records but plays them at their best and without any intricate
attachment. Any CRESCENT dealer will be glad to demonstrate
this wider range of repertoire in direct comparison with other
instruments.

WRITE FOR:

PHONOGRAPH

This interesting booklet describes how to choose the ONE phonograph that
â– you will like best from among the many that you might choose. Write for
? complimentary copy. Address: Crescent Talking Machine Co., Inc.,
7 White Street, New York City.

Crescent Talking Machine Co. Inc. NewYork I

P eSTABLISHED 1313 J

I'Ten)

I'hoto Uy Ahhe

RICHARD BARTHELMESS

Ab David Bartlett in the much-anticipated D. W. Griffith version of
"Way Down East."

I'hoto © by Ned Van Buren, N. Y.

J. W. JOHNSTON

One of the popular leading men of the cinema since the early days of the old
Eclair Mr. Johnston has appeared opposite nearly every fenunine star of note.
He is now playing in Jack Noble's forthcoming production, Cardigan.

Photo by Kreulich

THOMAS HOLDING

With an unusual theatrical background, composed of years of experience
with the most famous English players, Mr. Holding has been winning popular
favor with his screen work for Universal.

MARIE PREVOST

While BO manv ex-bathitiK beauties have been weaned over to the dramatic
aide o{ the Vuv^"heet little l5ariePrevo8t still continues to uphold the pu^chri-

?idinou. traditions of thr^^^^ "">f'",1*" »~<^'°'''-»"'^ ^'''^ ''»"■'"■

eye," we should lay she's doing very well, indeed!

i

Photo C Houghton Monroe, I.. A.

BETTY BLYTHE

Each month we vow not to print â– nottier portrait of Betty, but by the tune
we get ready to go to presi, and her neweit picturea are before u», lomehow or
other we weaken. Remember, we are only human! MUa Blythe recently created
quite a flutter among film-lovers ai a foil for the wilei of the irrealatible Lew Cody.

^ Carol
and
Her Car

V

Photos Ity Alil.e

Carol Dempster has been
a Griffith player for two
years. Mr. Griffith has
unusual faith in her and
he has been allowing her
to develop slowly under
his tutelage — to gather
technique and atmosphere
without forcing. You can
understand the Griffith
faith after meeting- Miss
Dempster. She can think

AN interview is a trying mat-
ter at be.'it, but a chat with
an actress who has just
purchased an automobile is —
well, difficult. That was just the
problem that confronted us upon
meeting Carol Dempster.

Miss Dempster has just pur-
chased a car. And her thoughts,
to mildly express it, were
wrapped up, centered, absorbed
and completely engulfed with the
aforementioned purchase, a Chandler coupe.

Miss Dempster has been a Griffith player for two years, but
in that time she has appeared in but three productions: "The
Girl Who Stayed at Home," "Scarlet Days" and the much-
t.nlked-aboiit Griffith photoplay, "The Love Flower," not yet
vcliasnl. Mr. dilVilli has unusual faith in Miss Dempster and

he has been allow-
ing her to deveUip
slowly under his
tutelage — to gather
technique and at
mosphere without
forcing, as it were.
We can under-
stand the Griffith
faith in Miss
Dempster after
meeting her. She
can think. She
talks crisply and
unaffectedly. Her
viewpoint is fresh
and girlish. She is
ambitious. But,
most of all, she is
untouched by
things theatrical —
or shall we say
cinematic

Miss Dempster
was born m Du-
luth. Minnesota.
Her father was a
Great Lakes cap-
tain. "From him
I get my love of
the water," Miss
Dempster told us,
as we sat on the
|X)rch of the Grif-
fith studio at Ma-
maroneck. over-
looking the Sound.
\ sloop was drift-
ing picturesquely
thru the grey haze
oceanward. "I
couldn't live w'ith-
out the restlessness
and placidity of it.
"We moved to
California when I
was four," went on
Miss Dempster.
â– 'There was noth-
ing interestmg about that period. Just the usual .school girl-
hood.

"Then the dance idea hit me. I wanted to be an interpreter
of the classic muse. Probably the athletic side of it appealed
to me. You see, I'm an outdoor girl. That's why I love

motoring. Now, my car "

"Yes, go on," we reminded.

"Well. I became a pupil of Ruth St. Denis at her studio
estate, Denishawn. in California." continued Miss Dempster.
"I studied with Miss St. Denis for a year and a half. That
was in 19'6and 1917.

"Of course. I intended to seriously follow the dance. With
seven othe.. girls, I was going on tour with Miss St. Denis and
mother was going along as chaperon. Included in the eight
were two now rather well-known dancers, Florence Andrews,
now known as Florence O'Denishawn, and Ada Forman.

"I have often read that Mr. Griffith first saw me during the
production of 'Intolerance.' when he used the St. Denis ballet

(Sixteen)

By FREDERICK JAMES SMITH

in the Babylonian scenes. In reality I first met Mr.
Griffith when he came to visit our classes and
to watch us work. Miss Andrews and I did play
bits in 'Intolerance' — and very inconsequential bits
they were. I didn't think then that I would be a
Griffith player, with a car earned upon my own
salary, but — — "

"You were just about to explain how Mr. Griffith
discovered you." we ruthlessly interrupted.

Miss Dempster went on. "Mother's sudden ill-
ness prevented my tour with Miss St. Denis and I
obtained my opportunity with Mr. Griffith. He first
used me in 'The Girl Who Stayed at Home,' but I
was new and crude to the screen. My make-up was
not even p&ssable. I was a bit better used to the
films when I had my chance in 'Scarlet Days.' The
story of 'The Love Flower' appealed to me when I
heard it first, and I was delighted when Mr. Grif-
fith gave me the opportunity to do it."

"The Love Flower" was done by Mr. Griffith at
the time he made his nearly ill-fated trip to Bermuda

Photos l)y Al.l

At the left is a
glimpse of Miss
Dempster on th<
running board ol
her new car. Miss
Dempster started
out to be a classic
dancer and studied a
year and a half with
Ruth St. Denis at
Denishawn

(Seventeen)

last winter and at
the same tiine "The
Idol Dancer" was
filmed. "The Love
Flower" was first
called "Black
Beach" and was to
be released by Mr.
Griffith some time
ago. Rut the story appealed to the pro-
ducer and he purchased it back from the
First National Exhibitors' Circuit, to which
it had been turned over. Upon the conclu-
sion of "Way Down East," Mr. Griffith
set about shooting new scenes and com-
pletely rebuilding the production.

"I like 'The Love Flower,' " continued
Miss Dempster, "because it gives me a
human role. I do not want to just be an
ingenue. They are very sweet and pleasant
to the eye, I know, but I want to mean
something more. I hope I can always do
regular girls — the healthy kind. I have no
lyric qualities and I would be angry if any-
one said I was cute."

There are not many Carol Dempsters in
the realm of the silversheet, we admit.
She has. for in.stance, been devoting a large
part of her time recently to becoming a
highly proficient swimmer. That is, all the
time she had not given her car.
(Continued on page 83)

That Youth From
Second Avenue

wouldn't sound like hyperbole, which has no
place in a tale concerning him, I should say ex-
cessively, and certainly, surprisingly, young.
His extreme youth impressed me first of all, to
the exclusion of other things. I found out, by
dexterous inquiry, that his years number twenty-
four.

He bears a resemblance to many of the pho-
tographs of Rupert Brooke, in a certain sensi-
tiveness, a certain expression. There is, too, a
marked likeness, especially photographically, to
John Barrymore. Incidentally, Mr, Coleman
has an immense admiration for Mr, Barrymore,
particularly for the lack of ostentation with
which he bears himself personally, "He is a
very great artist," said the younger man,

I asked Mr. Coleman what he thought anent
the .subject of artists being born rgther than
made, or vice versa. He said that he thought
artists were born and that then it resolved itself
into a question of finding one's self. "To me,"
he said "that seems to be the all-important
thing.

I asked him about himself in this particular.
"Was there any motivating impulse theater-
ward?" I wanted to know.

"I had an uncle," Mr. Coleman said, telling
me his name, "who was quite a famous Shake-

'1 AM pholoiSr Townsen.l. N. Y.

The uncle of Vincent
Colemin waa quite â– 
fimouB Shaketpeirein
ictor in hit time, ind
one of the Urgeit in-
fluence! on Vincent's
early theatrical ambi-
tions waa the gift of
three trunkfuls of
Shakespearean c o s -
tumes given to him by
said uncle

THERE are some
few persons who
make one feel
that one is in the
presence of artistry,
in the immediate vicin-
ity of the much ex-
ploited but seldom
realized temperament.

Vincent Coleman is such a one.

Curiously enough, despite the best propaganda
to the contrary, temperament is evinced rather
by simplicity of speech, of manner, of thought,
than bv the eccentricities of any of these. The
true artist does not, because he feels no need,
acquire an accent, a new brace of parents, or a
country. He neither renames himself nor does
he remake himself. He has essentials to deal
with, and the logical development thereof.

To wit;

"I was born on Second Avenue, says Vmcent
Coleman; "my mother taught Sunday-school
around the corner from my birthplace, so it was
quite a family neighborhood for us." He
laughed, (we had been discussing, amusedly,
temperamental acquisitions). "Someone once said
to me, in speaking of the taking on of foreign
accents, that all I had ever done was to drop the
'devs. dese and does." "

Mr. Coleman is extremely young. If it

rEw'^frtn )

By

FAITH SERVICE

spearcan actor in liis time, but all I can recall
his tellint; about in my extreme youth were
the hardships of stage life. Of course, he was
at his prime in the days when everything was
made just as hard for an actor as things could
well be. He narrated dismal horrors of one-
night stands, lacU of funds, lack of engage-
ments, blasted hopes and blighted ambitions,
and he was rather successful than unsuccessful,
at that. Somehow, I wasn't daunted ; on the
contrary, I believe my appetite, or my natural
inclination, was augmented. .Still, I hardly
believe I can attribute my desire directly to
my uncle, either, unless subconsciously . . .
for farther back than his remembered talks,
when I was the tiniest sort of a chap, not more
than four or live, I used to play theater.
I'laying theater consisted of a wooden stage I
had my father build for me and a number of
wooden spools reiiresenling the actors. These
sjiools I would move, back and forth, speaking
for each one in turn. It was an endless and
a tireless pastime. Later on, reciting in front
of peojile took the place of the stage and the
wooden spools. I think I never had the dif-
fidence so many children have. In fact, when-
ever we had company, I was quite insistent
upon taking the floor and deliveritKr myself of

111

Vincent Coleman a
acting last season in
'Martinique," the
Broadway success,
and his recent pic-
tures with Con- some .sort of ad-
m^rkh^i^^/'aTouVh ^ress. My father
of unusual ability ^"° was daunted
by his brother's
dreary tales of
stage life, did all
he could at this stage of the game to di's-
courage me. He began to recognize the
force and seriousness of my ever-growing
passion for the theater, .\fter I had re-
cited something I especially liked and be-
lieved I had done es])ecially well, he would
draw me aside and say, 'That was awful,
Vincent, perfectly awful. I wouldn't try
it again if I were you.'

"When I was twelve I began to corral the
children of the neigliborhood and stage what
I thought to be elaborate productions;.
That same year, a memorable year for me,
my uncle, who saw, no doubt, being of the
stage himself, that I was predeistined, pre-
sented me with his trunks, three in all, of
Shakespearean costumes. You can imagine
the riches these were to me I I immediately
induced my next-door neighbor, who was
the possessor of a rather good camera to
photograph me in the different characters
and I posed all over the jilace. With the
{Continued on pa/ie K6)

(Xifictetn 1

American
Royalty
Abroad

Top, Doug
and Mary
coming
down the
gang - plank
at South-
ampton
Right, Brit-
is h fans
break thru
the dock
lines to wel-
c o m e the
stars

rhoto by
The Dail)

(Twenty)

When Doug and Mary-
Visited Europe

Photo by International, N. Y.

Doug and Mary bow to the thou-
sands from their railway carriage

Photo by The Daily Mirror

Top, the honey-
mooners reach
Waterloo Sta-
tion, London.
Left, Doug saves
Mary from the
crowds at the
Queen Alexandra
Rose Festival in
London

Photo by
Central News
Service

(Twenly-one)

rhoto liy Freulich. L. A

I How Young Is
Anne?

Sarah in the acting line. A few, I will
confess, have whispered that they're in
the game only for the money, and they
dont care a whoop for a seat in the Hall
of Fame — but I've always discovered that
these are the ones who pay good money to
personal press agents.

The ages? Well, they differ, but I've
never yet heard of a screen actress who
will admit to being more than twenty- four.
And the marriage part of it ! Screen
stars, in the ultimate, are just as human
as their unstarred brethren. They're all
more or less an.xious to have a home and
family, altho — and I must confess again!
— marriages in the cinema colony are not
always guaranteed to last But, then what
of it?

All this preamble — this innocuous
piffle — is merely an introduction lo the
very newest Universal star, a tiny little
mite of a girl who's almost as
much like the beloved Mae
M .rsh as M. M. is like
herself. For Anne Cornwall,
when you corner her on the
"set" or sit opposite her at
luncheon, just merely laughs
when you pop the four intro-
ductories at her — large-
ly, more or less, to get
acquainted — and says
that she is prepared to
advance only such in-
formation regarding
herself as all the Mary
Pickfords and Charlie
Rays before her have

JcsT what do you like to do ?
What is your ambition?
How old are you ?

And whom would you
marry ?

The foregoing, you will ad-
mit, are more or less direct
questions. But, being an in-
terviewer, the foregoing are
the questions you always think
to ask the motion picture
celebs when you journey into
their native haunts to put them on
paper for any such publication as
The Classic.

And, the funny part of it is, you
nearly al.vays get the same answer
to every (|uery from -every celeb
you meet. It's always the penchant
of a screen star to be either literary
or athletic ; to be a motor enthu-
siast or a baseball fan ; to be do-
mestic and cook and sew, or to he
an ideal hul)by or wife.

Ambitions run along the same
track. All the photo-famous whom
I've ever met always wish to be
still more famous. \\'ithin them is
a burning desire to out- Bernhardt

Around the studio, the
diminutive Anne is just as
normal as any girl could
be. Stardom hasn't af-
fected her a bit. She stands
on stage-corners talking
to extras and property
men. and even allows the
supernumerary kiddies to
sit on her lap, . . . quite
unheard-of procedure from
a real star

(Twexty two)

By

TRUMAN B. HANDY

Miss Cornwall is. I will admit, a trifle "different." She has
an infectious smile, a spontaneous little way of saying witty
things. She's not the typically ingenue type, but a girl whose
very self-consciousness and record of theatrical achievements
prove that this new little five-foot sparkler has, as the vul-
garians say, a lot under her hat beside her ears.

Her ambition is — and always was — to make a name for her-
self in theatricals. In fact, about three years ago she left a
very comfortable home in the East to go into the chorus ranks
of the musical comedy, "Oh, Lady, Lady ! ' And her ambition
now is to do as good work on the screen as she possibly can.
to make all the money she possibly can and to be as w'ell liked
as is possible.

When I lunched with her in the stuffy little
commissary across the road from the Universal
studios, she wore a plain, dark-blue organdy
with one of those trick rolled collars. Her hair
was done up rather high on her head, to make
her, said Miss Cornwall, as tall as possible. She
hates being little, arid when Charles Hertzman,
the "U's" publicity man and, by chance, an old,
old friend of the Cornwall family, kidded her
about her diminutiveness, Anne pertly stuck out
her tongue at him.

What impressed me most about her is her ex-
treme similarity to Mae Mar.sh, She has the
same sort of wistful smile, the same way of
arching her eyebrows, the same sad-happy
little chirp in her voice, the same somewhat
nervous way of tugging at her handkerchief.
She's more sprightly, however, than the famed
little "screen sister," and not so pensive. She's
never met Miss Marsh, but she thinks her .
"perfectly adorable."

And not that she'd care to imitate her,
either, because Anne doesn't care to imitate
anybody. Ingenues — and she admits being
one — are so stereotyped, she declares. Find-
ing something new and yet cute for an in-
genue to do is like looking for violets in De-
cember. .-\w fully difficult ! And vet, because

Kreu!;.!,. I,. A.

Anne Cornwall always
had wanted to go on
the stage. So one day,
she got herself a job
as a chorus girl and
learned to dance. She
danced and san^ for
two seasons until she
went into pictures with
Alice Brady. Her por-
trayal of the ingenue
role in "The Copper-
head" with Lionel Bar-
rymore established her

a girl's small, she
hasn't any chance of
being anything else
than a flapper.

"When I get old,'
went on Anne,
thoughtfully, "I hope
that I'll have money —
enough not to have to
work. I'd hate to be
a screen mother and
always be reminded
of the time when I
was young ami could do pretty nearly as I
pleased, so far as health was concerned.
I'd hate to look in the glass and realize that
I wasn't so fresh-appearing as of yore. I
think I'd cry. Then I'd spoil my make-up
and get bawled out by the director. .\nd I
do so hate to be bawled out !"

No one would ever think of bawling out
Miss Cornwall. Around the studio she's
just as normal as any of the girls who pur-
vey soup in the hash-house. Stardom hasn't
affected her a bit. She stands on stage-
corrlers. talking to extras and property men,
and even allows the supernumerary kiddies
to sit in her lap — quite unheard-of prqce-
dure from a real star.

.\1I her life she's wanted to be an a tress.
Finally the desire got so burning that she
couldn't stand it any longer. She simply
announced that she was going to try her
luck in the chorus, got herself a job and
learnt to dance. Her first season was in the
Xew \nrk ensemble. Next season saw her
doing a small singing and dancing bit in
another musical comedy, "Oh, Look!" in
which the Dolly Sisters and Harry Fox
were featured. And then one day she
(Continued on page 71)

fTiirnipthree)

Left, Rosie Quinn, one of the favorites
of the Century Roof revue

In the

Summer

Revues

rra D. Schwarj

(Twenty-four)

This, That and
the Other Thing

By

FAITH SERVICE

'"T-'ins." said Hert Lytell. over the

I honcycievvs and iced tea we had
l)een consuiiiing at the Claridjje,
"is not an interview — surely''"'

"What's in a name?" I said. "I
must write sometliing."

"But what can you write?" he per-
sisted. "We have been talking about
blonde ingenues, custard pies — and
me."'

"I came to talk about you," I agreed
attably, "and, as for the rest of it, we
ha\e been exceedingly catholic Mi our
range of subjects. If I remember
rightly, we have touched upon the
aforementioned blonde ingenues, cus-
tard pies, fret love, prohibition, of
course, work in the scheme-of-thing>-
entire. love in
and "

"And have ar-
rived— where?"
he asked.

"Do you," I
said, "believe that
the average per-
son does 'arrive'
so very defi-
nitely an y-
â– bjh e r e . Do
you. for in-
stance, have
tabulated and
set ideas and
philosophies
on this, on
that, on the
other tiling?"

"No. I dont,"
he said, can-
didh ; "I an

same

All iihoios'c) Ira 1.. Hill

"The only worth-while
persons in the woild,
be they men or women,
are the persons who
are doing things, creat-
ing things, getting
somewhere, fired bv an
idealism," says Bert
Lytell — and we quite
agree with him. Mr.
Lytell answers the re-
quirements of a
"worth-while" person
perfectly

extremely undecided about al-
most e\erything. So are most
of us. adinitte<lly or otherwise.
With the many avenues there
are to the many thoughts it
could not thouiihtfully be
otherwise. I have come to
one conclusion, however, one
and one only- -that I know
absolutely iwthhui about a;iv-
tliinfi — with one exception. I
do believe that I am begin-
ning— and only beginning — to
learn something about my work. I am beginning to learn
something about myself in connection with that work. I
am beginning to disco\er what it is I want to do and how
it is_ I want to do it. That is a very great stride."
"Tell me.'' I said, "more specifically, I mean."
"Well, in the -first place, loving my work as I do, I
believe that it is the greatest thing in life. What is man
without work? I believe, for the matter of that, that
work is the greatest thing in the life of all men. ' It is
.the rcallv great thing, taken from more than the purely
commercial or professional aspect. It is the great thing
from a sorial valuation."

"Social?" Pictures of humming studios, dusty loca-
tions, strenuous continuity desks, etc., etc., presented
themsehe- to my dreiseristically realistic mind.

t Tii-i nfihpve)

"Social, certainly. You know, the only worth-
while persons in the world, be they men or women,
are the persons who are doinf/ thiiu/s, crentiny things,
getting somewhere or at least imbued with the belief
that they are, fired by an idealism, how formless does
not matter in .he splendor of the person. The dilet-
tante— the society 'bud' — the jjrofessional do-nothing
— what are they? What can they give? The crea-
tors of something or other are the persons I want to
be with, anyone wants to be with. Theirs is the mag-
netism," theirs the chafm. This holds almost more
than true of women. As a man emerges from the
high-school stage, (when almost anything does, so
long as the eye is somewhat beguiled), he becomes
discriminating, as it were. The thing that matters,
then, in a woman, is w'hether or no she is a good
sort ; whether she is, not mentally attractive, or phys-
ically attractive, but teinpcramcnlalty attractive. To
my mind, 'tem|)eramentally attractive' sums up the
whole. I would rather talk with one woman a year
than flit from tea to tea, and ingenue to ingenue.
There is no stimulus in that sort of thing for me.

"You cant be with the doers of deeds if you are noi
of them. In that field, the fields of activity, like at-
tracts like more than in any other iirovince. .\ drone
is almost terrifically eliminated.

•'That's what I mean by the social, or contact, end
of it.

"And then the work itiielf, the solidity of it, the
satisfaction, the way it will stand bv you when all

MOTION PICTURE CLASSIC

things have failed. It is of you, you yourself,
emanates from you, is wholly your own. It's
a sort of bread and staff and cannot be over-
estimated."

"What specific thing do you want to do?" I
asked.

"There's one specific thing I doiit want to
do — or be," he said, with one of his frequent
lapses from gravity into ingenuous humor,
(I'd call it "boyish humor," only I stand in
awe of one of the custard pies he has in store
for certain of my species of the blonde
variety).

"And that?" I [>rompted.

"A matinee idol. There is almost nothing 1
would not rather

Altho he has quite re-
cently come to the
front, Bert Lytell finds
his greatest happiness
in continuous work,
and no sooner does he
finish one picture than
he sets to work on the
next. His recent work
in "The Right of Way"
and "Alias Jimmy Val-
entine" will not be for-
gotten soon by film
lovers

be than that."

He literally spat
forth the words.

"I think you are
infinitely more a
villain," I vouch-
safed, with con-
summate tact.

He ap]5eared to
be comforted.
(Continued on page
74)

(Twenty tix)

*^Vi

'Way Down East

Fictionized from the D. W. Griffith Phutofilay

By

GLADYS HALL

"I DONT think I understand ..." the girl slirank into tlie
1 chair. Suddenly Sanderson's kisse.s had acquired a dis-
taste for her, a shrinking of some super-sensitized hbers
within her of which she had become, suddenly, aware.

The man laughed. How hglit his laughter was! No vi-
brancy, none of that timbre making laughter either sonorous
or imbecile.

"What dent you understand, fledgling? ^'ou are here, with
me. We are not married. The ceremony thru which your
virtue dragged me was a mock ceremony, a sop to your
scruples, that my hours of loxe might not he dimmed by re
proachfulness. A reproachful woman is an abomination,
probably to the Lord. Now, now I am being frank, truthful.
We are not married, we never were. You are the timid coun-
try lass ; I am the suave, mustachioed villain. I have roo-ned
you !"

Anna put her fragile hands oxer her ears. Every added
word was a stroke, hurting her. .\nd when she stopped listen-
ing, memory assailed her — and that was worse. To a woman,
memory is, no doubt, of all things, the most unbearable. Es-
pecially where her heart has been involved ...

It had all been .so sudden a tempest in so dreamful, so tran-
quil a life. She had gone, after her father's death, to her

(Twenty-seven)

wealthy aunt's in Boston to borrow some money for a course
she had planned to take. In a sense, it had not been borrow-
ing. The dead man was solely resiionsible for his sister's af-
fluence, and .\nna was, by every moral right, entitled to, not
bounty, but rightful heritage.

She had arrived in Boston at night, and when she arrived
at her aunt's munificent residence a ball had been in prog-
ress. There had been introductions, among others, Lennox
Sanderson. She had not realized how quaint a figure she had
cut, or how, in the medley of perfumes and powders, bo.xed,
hoaxed beauties, her fragile ap[)eal had shone forth, bell-like,
wistful, clear . . . Lennox Sanderson had lost his head. That
he was in the habit of losing it and that it was a none too
steady appendage to his six feet of svelte good looks was not
conveyed to Anna's unenlightened perspective. She only knew,
very simply, that he thrilled her when he bent over her and talked
to her as the poets had written, the poets who had thrilled her,
too, in her romantic garret, back home ... So she had
dreamed that, some day, a man would talk to her. She had
dreamed, too. that he would bear the general manner of Lennox
Sanderson.

When he asked her to marry him she gave him her heart,
with a little, throaty "Yes."

MOTION PICTliRE

He pleaded that his love was consuming, and that he feared
obstacles, hence his whirlwind plan to carry her off, at once,
and make her his own. The fact that her annt had refused
her the aid she asked ; that she felt very much alone and very
sad; and that Lennox Sanderson made her nerves dance like
tiny wires when h? came near her; these things together had
urged Iter to go . . .

And then, after a fortnight, this . . .

"Do yoii understand nozi.'?" lie was asking. He seemed to
take, today, as keen, as thrilling a delight in probing the wound
he had inflicted as he had, a short time ago, delighted in lulling
her with the lights of his fervency.

"I dont see why ..." Anna stared up at him. He had
said her eyes were the blue of forget-me-nots. They were
dimmed to grey today, with the tears she kept in her heart.

"My dear child, strive for some savoir-faire. Take the
world as the world is. Men as men are. With so many
women . . . butterflies . . . roses . . . exotics . . . surely
you could not suppose a man of my type and taste would tie
himself for the rest of his days to a field flower, however
charming? Surely ..."

^â– f^' ^ - -

r ^ -sfij-

;3fe^r5^ x^^J-:!^.;^

Rut Anna did not hear him. She had fainted, and when she
returned to consciousness, Lennox Sanderson, bag and baggage,
had gone.

After her baby's birth, Anna sought the country, for work,
for some sort of relief from all the dead things pressing in
upon her, and about her . . .

The baby was dead . . . her faith was dead . . . her heart
and all its bright romantic dreams was numbed . . . She felt,
solely, a craving for the feel of cool grass, the smell of new
flowers when the spring should be enough advanced, the heavy
repleteness of midsummer in the country when fields and for-
ests and gardens and homes were ripe and refulgent.

The city ground her down like a monstrous heel. Even as
it had. with literalness, ground her . . .

And then there was work. She had to find work. The only
thing she could do, now, was some sort of housework. She
and her father had lived very simply, out of preference. They
had kept no help, and she had always been able to please him.
He had been fastidious, too . . . Once, she had thought she
might write, write verse. That had been when all her illu-
sions were singing, gossamer-
winged, in her heart. _ It was
quite different now. Lennox
Sanderson, sneering, mock-
ing the sweetest gift she had
had to give him . . . Her
baby, dead . . . Tne
dreary, endless months just
passed . . . Yes, the coun-
try was best. The country —
and work.

The Bartlett family were
more or less known to Anna
by hearsay. They had lived
in a neighboring town, at
one time. She had heard
that they were a God-fear-
ing, kindly sort of family,
and when she applied and
they agreed that she could be
helpful, she felt an immense
relief.

From the first she warmed
to them. The Squire, with
his ponderous voice, his pon-
derous, omnipresent Bible,
his dire threats of the Law
and the Prophets — and the
twinkle in his eyes. Mother
Bartlett, shrewd and com-
fortable. Kate Brewster, a
cousin who lived with them,
merry, robin-like, jolly, with
a glow for the whole world
arid a solid sort of belief that
the world held an answering
glow for her. The "butter-
fly professor," who sort .of
gamboled about the fields
with his scientific and ac-
quisitive butterfly net and
who cast, from his remote
and vision-seeing eyes,
sheep's glances at the buxom
Kate.. And David— —

"I dont think I understand . . ."
the girl shrank into the chair.
Suddenly Sanderson's kisses
had acquired a distaste fcr her,
a shrinking of some super-
sensitized fibers within her of
which she had become, sud-
denly, aware

( Twenty-eight)

CLASSIC

David was differ-
ent. He was differ-
ent from his family.

He was different,

Anna thought, in her

newly grave, ab-
stract sort of way,

from the whole

world as she had

known it. He was

l)ractical. He was

romantic. He was

kindly. He was safe.

There could be no

harm in a life, she

thought, where the

men were Davi<ls.
If her baby had

lived and had grown

up to he a woman.

she would have liked

her to have had for

a friend a man like

David.

When she could

not sleep at night

because the past

pressed against her

with sharp, poisoned

finger-tips, Anna

would think of Da-
vid's face, reassur-
ing, infinitely .steady.

and she would be

calmed . . . and

sleep . . .

She did not think of it as being love.

?^he did not think of it because she felt so done, so dreary,
of all emotions. Love had been a blast from an evil-smelling
furnace — it had seared her and then cast her forth — so much,
so little for love. But David had not been seared. His had
been a tine reserve and a high dreaming. Thus far in his
simple, hard-working life no person had touched this reserve
or pierced this isolated dreaming. It had taken Anna's deli-
cate white face, her dream-hallowed, dream-emptied eyes, her
uncertain, yet .skilful white hands, her fragile body wherein, he
thought, dwelt a waxen white flower in lieu of a soul . . .
The Bartlett family had taken it for granted, after the
matter-of-fact manner of such ])eople. that David would, one
convenient day. wed Kate Brewster. It was so obviously and
comfortably the thing to do.
Kate was on the premises, in
the first place. They had al-
ways been chyms, in the sec-
ond place. Thirdly, she would
make a good, sensible wife for
David, who was a bit inclined
toward the whimsical, and a
capable, lovely mother for his
children. In the minds of the
Squire and his good wife -the
wedding was as good as con-
summated.

They were little given to
subtleties, the Squire and his
wife, and youth was very far
behind them. They did not
bethink themselves that the
healthy comradeship of David
and Kate was the most power-
ful obstacle to their marriage;
nor did they sense the drift of
things with the "Butterfly
Man," as they called thi; young
scientist, with the eager eyes

(2'u-e7iti/-nine)

â– WAY DOWN EAST
Fictionizcd b>- permission from the D. W. Griffith

photoplay, adapted from the story by Lottie Blair Parker.
Directed by D. W. Griffith. The cast :

Squire Amasa Bartlett Burr Mcintosh

Louisa Bartlett, his wife Kate Bruce

David Bartlett, their son Richard Barthelmess

Kate Brewster, their niece Mary Hay

Professor Sterling, a summer boarder. .. .Creighton Hale

Hi Holler, chore boy Edgar N'elson

i^nna Moore Lillian Gish

Lennox Sanderson Lowell Sherman

Martha Perkins Viva Ogdcn

Reuben Whipple, .the \ iUage constable. .. .George Xeville
Seth Holcomb...'. Porter StronR

Prolog

.\unt Mary Josephine Bernard

A society lady Mrs. Morgan Belmont

Her neighbor Patricia Fruen

M rs. Elliott Florence Short

Anna's mother Mrs. David Landau

A landlady Emilv Fitzrov

A gossip Myrtle Sutch

and the mellifluous voice. Kate's She only knew very sim-

interest in him was. to them, in- P'? *?* '}« thrilled her

.. I T3 1 u J when he bent over her

consequential. Blushes and and talked to her as the

tremors escaped them . . . Kate poets had written

was a sensible, likely girl and

meant for their David. So be it.

Certain persons, it w'ould seem, move in certain circles.

However divisible their interests, their hearts, their essential

lives, their paths seem to twine and intertwine with an almost

deliberate insistency.

Lennox Sanderson happened to have a country place almost

adjoining the Bartlett farm.

He also happened to be occupying the place, which was an

infrequent occurrence. He was occupying it for a twofold

reason. The first was a sort
of necessity. He had been hit-
ting rather a desperate pace, in
town. He wa.sn't as young as
he had been. His physician
had advised him . . . rest . . .
perfect quiet . . . the usual
routine. He had rested and
had been quiet, and then he had
seen Kate Brewster. .Xfter the
first sight, he assured himself
of a second, then a third, etc.
The second time he beheld her
with her Butterfly Man. They
had been skimming over the
fields together and Sanderson
had not got a look at her eyes.
They had been on the Butter-
fly Man, so he couldn't. If
he had he might — might — have
had the discrimination to back
out. There was love shining
with a glowing frankness in the
eyes Kate turned to the lovable,
whimsical Birtterfly Man.

And then he had seen
Kate Brewster. After the
first sight he assured him-
self of a second, then a
third, etc. The second
time he beheld her with
her Butterfly Man

Later on, Sanderson made the
acquaintance of the Bartlett.s.
Kate was his motive. .She gave
him a freshened-up feeling. Af-
ter the languid, orchidaceous
growths he had been run-
ning about with in town —
after Anna Moore, with

her pallor and her forget-me-not eves

Like all small natures, he hated the persons he had
hurt. He hated them unreasonably, and because he knew
it to be unreasonable he hated the'm all the more. Anna
he hated peculiarly. She disturbed him in the most pri-
mary ways. She came between him and his later amours.
She came between him and food, between him and sleep.
She was the motivating reason for his having to seek
the farm. Whenever he saw a baby, he cursed.

The first day he went to the Bartlett farm he saw her.
First, he could not be sure. It was as if across tlie bright
g:leam of a pearl an irreverent hand had drawn a veil.
She wore black, too, and across the palpable invitation of
her youth there had been an invasion . . .

The whole thing was abominable to him. He felt out-
raged and personally insulted. Resides, he had other tish
to fry — what would the buoyant Kate Brewsfer think ':
Kate, with her untarnished \ision of men and things -
What would young David tliink. the Squire, the Butter-
fly Man. if this girl's sordid tale got out among them :
.\nd it would. Inevitably, it would. Women could never
keep a secret. A moment of hysteria, a touch of enif)-
tionalism . . . .V small town, too . . . the gossips
would ferret it forth. There was the Perkins person,
Martha Perkins, who lived on the dregs of the sins of
others . . . Martha would have it, assuredly. .Already,
no doubt, the slim, black-clad figure of .\nna Moore,
moving about with the wi.stful smile, the eyes, still blue,
but hurt with "her broken dreaming, already Martha

MOTION PICTl'HE

Perkins was
fitting some
sort of past to
Anna Moore.
Sooner or later,
the past would
fit Anna . . .
and himself,
Lenno.s San-
derson.

It was easy
to draw .Anna
aside. Her
first glimpse of
him had hyp-
notized her,
with the fear a
bird feels of a
snake. He had
hurt her so
that helpless-
ness enveloped
her at his pres-
ence.

"You must
leave here," he
told her. the
rasp of his im-
patience rough-
ening the silken
tones of his
customary
voice; "you
have no right,
my poor girl,
to foist your-
self as what
you ai'e not
upon these people. You must know the i^quire's opinion
of . . . of . . . well, of unconventionality i n general. Espe-
cially with a young girl' on the premises — a nd a young man.
Where are your sensibilities, my good — er — .Anna?"
Anna raised her hand. Because it quivered and she could

(Thirty )

CLASSIC

not stop its quivering, she
felt a loathing of herself.
He. being he, would attrib-
ute the quivering to quite
an erroneous vvell-siiring.

"You." she managed, at
length, "it is you who must
go." ' *

"I? I? But, my dear
girl, how absurd ! I have a
home here. I — I have in-
terests here."

"So have I. I — I have
to live."

"Of course, of course.
That goes without saying.
But not here. Not among
this sort of people. Not —
surely I do not have to be
franker than I am?"

"You are here — among
this sort of people "

"That is quite different.
I am a man. You have
not, it seems, quite 'caught
on' yet. There is the ques-
tion, too, of desirability."

Anna set her small chin,
and into her blue, forget-
me-not eyes there crept
something akin to steel.
David's face came before
her, with its unquestioning
tenderness, its calm, its in-
effable assurance. "I am
not going," she said, and
was saved further dispute

by the boisterous arrival of Kate Brewster, her Butterfly Man
in tow.

Nevertheless, with the perspicacity of persons to whom
mental sewerage is the everyday fare, Sanderson was right when
he presupposed that Martha Perkins would "get a-hold" of
Anna's past. He had never, however, been so optimistic as to

And love is the con-
queror, and there is both
a quick and a dead . . .
her eyelids fluttered under
his breath; her hands
stirred to meet his; her
lips moved and uttered his
name . . .

suppose that .she would only get
a-hold of ha\j of it — Anna's half.
Such was the case.

How Martha found it out, by

what channel. Sanderson did not

know, nor does it matter. The

outstanding fact was

painfully sufficient unto

itself . . .

Anna had been with the Bartletts for nearly a
year — it would have been a year in the spring.
During that time there had grown across the rough
edges of her hurt a sort of healing j)eace. David had
placed it there. His touch had been sweet and sure.
Not once had he failed. His sensibilities were deli-
cately fine and unerringly true. The day before
Martha Perkins' visit he had told Anna of his love
for her. Sitting before the fire, she had dreamed the
dream he sketched for her in the glowing of the
coals — and had said good-by to it. David was too
sweet ... too sweet . . . Like wants like . . .
She, she who thru him had learnt love, real love, to
come to him dragging the tatters and remnants of her
griefs as offering . . .

"I wish that I could," she told him wistfully.
"Then you dont, dear?" he had asked, so scfftly.
He seemed, always, to
know that she needed a
gentle touch . . .

"Yes, I do." They
dealt in simplicities. "I
do . . . but that isn't
the jiart that mat-
ters ..."

"It is all that mat-
ters . . . Why. Anna,
love ..."
{Cniitiiitied nn page 78)

It seemed, to the stricken
group at the table, al-
most as tho a wraith, a
ghost, an unreality, were
passing from them. She
went so noiselessly, so
unprotestingly, so vaguely
and yet so definitely, that
it did not seem as tho it
could be she, delicate as
had been, invariably, her
presence among them

(Thirty-onr.)

Photo by Witztl. L. A.

Conway Tearle is a
radical departure from
the usual run of film
players. He refuses to
sign a long-term con-
tract because he can-
not tolerate the bond-
age of such a contract.
He dislikes, personally,
the electric-sign rating
of the stars, for, as he
says, "I'd never know
whether I were Con-
way Tearle or a break-
fast food"

TIE gentle art of
interviewing
holds many
temptations, even
for the most sea-
soned. One resists
or succumbs ac-
cording to one's
individual resistive
powers. I have
just encountered an
overwhelming
temptation and,
modestly enough, I
may add, have resisted it.

I was tempted to call this interview "Wh<i
Took the Tea Out of Tearle?"

It is only fair to Mr. Tearle, to the gentle
reader, not to mention myself, to again re-
iterate that I haz'c resisted, not without,
however, succumbing to the lesser evil of
narrating the con(|uered Waterloo.

It all arose, the temjnatinn and the vic-
tory, too. from a remark made by Mr.
Tearle as we sat. and / sipped tea at Rei-
senwebcr's. where, for the past ten years,
Mr. Tearle has stopped while in New York.

I had commenced my tea, having had
reason to suppose, from a conflict of time,
that Mr. Tearle was not going to appear.
When he did, a bit out of breath, with
rumpled hair and his wife reminding him
that she had /'rrnoK.s/y reminded him of
this, I said, "Wont you join me!'"

He replied that tea was one liquid he
could never learn to imbibe, and this despite

Mr. Tearle
On Ambition

the fact of having been bred in T.ngland. Just shows
what the individual can do with environment.

"There are three things." he said, rather in the man-
ner of a reverie, "that I cannoi understand — tea, col-
lege men and society girls."

I didn't care very much about the psychological
aversion to tea. but college men . . . and society girls
... I made inquiries.

".'n England," he said, "all men are college men, so
to speak. The term a college man, said, in .America,
with such a mark of differentiation, always amuses and
rather puzzles me. It is the same with 'society girls.'
What arc 'society girls'? Which are they? How is
one to know them? By what earmarks are they
distinguishable? I fail to get the nice discrimina-
tion."

"Speaking of girls," I said, "what sort of girl do you

prefer? Not
to be so banal
as to say
blondes or
brunettes; I
mean the am-
biguous so-
ciety type,

the "

"Actress-
es," he cut in
quickly, "I
ke actresses
best. Just for
the matter of
that, as I like
actors best.
My w i f . e
often tells me
that I should
cultivate
other people,
people I
know outside
the profes-
sion. But I
say, why
should I
bother with

(Thirty-two)

By
PEARL MALVERN

them ? What can they do for me
if they dont interest me? Actors
and actresses are mine own people.
I know them because I have been
of them for the past twenty-two
years, (a give-away on my age,
but I'm wonderfully well preserved,
dont you think?), arid my family
have been of the itage for God
knows wlien. Knowing them. I
understand them, and, understand-
ing them, I love them. That is all.
What can I get from persons who
do not interest me ? Mutual inter-
est is, it seems to me, the only coin
of advantage in the human relation-
ship."

"Pictures?" I said, and paused
suggestively. I surmised that the
single word would open up a held
of spoken thoujrht. Mr. Tearle has
a habit, a handsome habit, we ad-
mit, with obviousness, of sort of
gazing into space and putting some
naive thought into words.

"At present," he said, "I'm free-
lancing it. Selznick wants me to
sign up, but no three-year contracts
for mine. I'd hate the bondage,
I'm afraid. Nor electric signs,
either." He added, 'I'd never
know whether I were Conway
Tearle or a breakfast food. It
would prove confusing."

"But ambitions?" I per-
sisted.

He said, irrelevantly,
"I've a country place, and
I get my pleasure there.
That's ambition,
of a sort. Per-
haps the truest.
Of course, I

Photo by W'itzel. L. A.

"I played Hamlet when I
was eighteen. What am-
bition could I have now?"
asked Mr. Tearle — and
the interviewer, hardened
by past experience, gasped
with surprise that there
existed a film player who
had no desire to out-
Herod Herod!

wouldn't want to lie down and do noth-
ing. The punch of pleasure would forth-
with go at the same time. Still — ambi-
tion— I played Hamlet when 1 wa;^
eighteen. What ambition could I h;ive
now ? ' I played it abominably, no doubt,
but I played it, nevertheless. I had one
other ambition, but it was nipped in the'
bud — by John Barrymore. I wanted to
do Jekyll and Hyde for the screen.

Otherwise " He waved a disclaiming hand.

"How about financial ambitions?" I urged.
"I dont know anything about them," he said. "These Alad-
din Lamp salaries are all out of my line. I've worked for my
living and I've never had any mint poured into my pockets for
so doing. I dont know how they do it. I dont know anything
about it. .'^ome one wrote an interview with me once and
called it 'Hard Luck Tearle' — and that will tell you a story in
it.self. It's like tlie Jekyll and Hyde episode — sheer hard luck
plus hard work !"

There then appeared Mrs. Adele Rowland Tearle w^ith an-
nouncejnent of the car and an impending date, and "Hard
Luck Tearle" excused himself.

(Thirty-three)

They
Aren't
Satisfied
With
the
Pacific

There's no pleasing these comedy bath-
ing girls. No mere Pacific Ocean seems
to meet their tastes. Teddy Sampson and
Helen Parling, the two Christie cuties
here caught in aquatic attire, insist upon
a bathing pool — exclusive, shaded, marble-
tiled and all that sort of thing

We sort of suspect
that Teddy — very
much at the left of
the right-hand pic-
ture— is about to
push Helen into Mr.
Bryan's favorite
liquid. And Helen,
we must admit, acts
l(ind- 0 f -reluctant-
like. Maybe Helen
doesn't approve of

wa But perish

the thought

(Thirty f'jur)

Photo by Monroe

Photo © Lumlerc

Screen Impressions

By

LOUISE FAZENDA

LOUISE GLAUM— Robert Hichens' hero-
ines— White lotus — Peacock feathers — In-
cense and myrrh — Smoke of opium — Fu-
turism— Spider webs on a white rose

BEBE DANIELS — California poppies —

Chime of old mission bells — "La Paloma" —

Odor of crushed flowers in warm lanes

DORIS KEANE — Sunlight thru stained

glass on marble — Miniatures — Magnolias —

Pressed flowers — Minuets on the spinet

ETHEL CLAYTON— Young widows alone
in Egypt — "Divor;ons" — Dinner at Rector's
— Palm Beach — White parasols on board-
walks

DOROTHY DALTON — Hollyhocks and
peonies — Alexandria — Cleopatra on the Yu-
kon— Waters of Lethe

Photo by Alfred Cheney Johnston

I'h„tn;9Un.k-r,v.

I>y AKhe

I Thirty five)

Letter of a
Leading Man to
His Interviewer

f :

Leading Man, et al.
Recipient /of letter)

Charles Meredith
. . Olga Shaw

LAST week I went to tin
Talmadge studio to in-
terview Charles Mere
ditli. leading man for Cor>
stance Talmadge.

I did — so to speak.

That is . . .

Charles Meredith is a
very serious young man.
He is a worker, and it
was quite glaringly ap-
[larent to me, desiiite his
regrets and his infallihie
courtesy, that his work
comes first and his pub-
licity second. Which is,
after all. being the true
devotional to the ( i. .\. P.
(Great American Pub-
lic)

In other words, we
had a few snatched
words in between scenes
and close-ups and stills
and various other inte-
gral parts of an actor's
day in a studio. I would
achieve a "Do you believe
in the uplift of the "

And he would say, "Well, now, I'll tell

you " And then some stentorian

voice would roar, "Mr. Mer-e-dith I"
And there I would be, interrogatively
suspended in mid-air.

This continued for three or four
hours. It had something of the effect
of a mental treadmill. Also an endur-
ance test. When that petered out, I said,
desperately, "Constance is waiting for
you now,' Mr. Meredith . . . I'll tell
you . . . suppose you twite me . . .
write me a letter . . . just telling me, im-
pressionistically. some of the things we
have tried to enunciate, not to say eluci-
date, today."

Mr. Meredith,
lorjking rather
worried, as-
sented. "I'll do
that," he prom-
ised; "I'm aw-
fully sorry
about today. I
hope you wont
think — things go
this way some-
times, you

know "

I left him
still wearing
the worried
look. He is a
conscientious
person,
you know.

Charles Meredith
studied architecture
in college, and it was
while applying for a
job to do the scenic
"investiture" of a
Broadway produc-
tion that he was of-
fered a good part
for the stage, which
began his profes-
sional career

(Thirty-six)

A feu- days later his letter came. It is now here, on my desl<. It

Ms written in green ink upon hotel stationery. It covers several

pages and keeps all its ])roniises. Because of these and other things,

it tells something of him better than I could do. Here are a few

excerpts :

First, he observes that for one of the "literati" to express them-
selves thru the medium of ink may be all very satisfactory and well,
but . , . ".\s for an actor," he writes, "really interesting the pub-
lic thru another medium than his chosen one — well, it is too much
to expect." He adds, ".\s for one really saying what one thinks of
any art popular in our jiresent stage of civilization — well, it would
be extremely easy to become as unpopular as Schopenhauer is with
a debutante."

After a few further remarks anent the inability of hiuTSelf in par-
ticular to ])resent a picture of himself in words, (we adtnit the difii-
culty thru precedent, but not by .â– ichievement), he becomes agreeably
autobiographical.

Hid says: "1 ha\e only done ten pictm'es. but have been \ery
haiipy and fortunate in being with very hue and lovely peo])le, and,
of course, this made the last eleven months more than enjoyable.
These so-nice ]ieo])le are Marguerite Clark, Marjorie Wilson. Mr.
King Vidor and his charming wife; lilancbe .Sweet. Mary Miles
Minter. Constance Talmadge and the lovely Ethel Clayton.

"I, like everyone else in the profession, perhaps, am looking for-
ward to the time w hen I can be a p.irt of an organization presenting
]iictures in which 1 might play, but in which I might also have a
large ]iart, sucli as selection of story, of director and organization
and a sort of general interest and super-
vision of the entire production.

"As I spent a number of years in col-
lege, studying architecture, I feel
I have a right as well as a desire to
put my knowledge of this subject to
some use. .\lso,
I designed the
scenic 'investi-
ture' of a num-
ber of Broad-
way productions

Mr. Meredith feels that
the personal elements
in the life of an artist
should be given to the
public only thru the
work that artist does

l.y r.v.ms. I.. A.

of a cou]>le of years
ago. That, in f;ict. is
how T started in the
]irofcssion. I went to an of-
fice to in(|uire f r a commis-
sion of this nature, and as I
entered the 'man at the desk'
exclaimed that I was just the type he wanted and offered me a
good p.irt at a too-generous salary — and here I am! .\fter that
engagement I played in various |)roduclions on Broadway for
almost two years, culminating in the leading role in William Fav-
ersham's production of '.\llegiance' al the Maxine l'".lli('t Theater.
I baxe Ijeen out of college — Carnegie Institute of Technologv at
Pittsburg — three years this June. There — now you have mv long
.â– ind 'interesting-to-110-one' career, but / have enjoyed it, ami espe-
cially the fine peo|i!e with whom .1 have asMiclated in the prn-
fession."

Mr. Meredith goes on to say that he feels the personal elements
in the life of an artist should be given to the |)ublic only tliru the
woik lh;jt artist does. It "tells." he says. He says: "Whether an
actor should 'feel' the emotions he iiortrays has been an ojien
(|uestion as long as there has been a theater, but there seems to be
some agreement to (he fact that he must be capable, at any rate, of
ex|)eriencing these emotions to a uinsiderable degree. The crux
of the matter is not the fact of it. but the capahllitv of fact.
Therefore, any innate refinement of, and sensitive reaction to, emo-
tions in geiier.'d could best be seen in an actor's work, ]irovided Iiis
part were in any degree ailequate to his skill."

There follovvs another plaint ;\bout the inade<|uacy of the written
vMiicl in this specific instance, then Mr, Meredith launches bravelv
(Ciiiitiiiucd on /â– (///(â–  70)

(Thirttj-seiipn)

m^^

riioto by Evans, L. A.

A Grown-Up
Ingenue

By
ELIZABETH PELTRET

So, being of a superstitious temperament, I sat quite
still, near the Fifth Street entrance, and watched the
crowds come and go, paying particular attention to
those girls who were small and young and fluffy.
This was more in the nature of a pastime than any-
thing else, for she was to have me paged as soon as
she came in.

There were a number of amusing false alarms. One I
remember particularly — a girl wearing a bizarre little hat,
made-up face, blouse practically sleeveless, skirt about
two inches below her knees and stockings of so open-
work a pattern that they looked more
like a species of very wide cobweb
than lace. A man sitting across from
me looked at the stockings at the same
time I did, our eyes met, and we both
laughed. The girl went directly to a
bell-boy, standing over against a post,
and I waited to hear my name called.
But she was looking for some one else,
and I settled back in my chair again.

I was not surprised that Betty Bou-
ton should be late. .She was leaving
for New York within the next two
(ContiiiKt'd on page 72)

I

/

vl

MACK Sf.nnp.tt recently told Betty Bou-
t(in that there was one thing wliicli
might disqualify her from making a
n-ally great success in moving pictures.

•'What is that?" she asked.

"You liave too much education,'' he an-
swered.

However, that, as Ruddy K. might siy,
is another story. This is the record of a
meeting which came very near ne\er taking
place at all.

Three o'clock, tlirce-fiftccn, three-forty,
three-hfly-five, the minutes i)assed while I
sat in the lobby of the Hotel .Mexandria in
Los .\ngcles waiting for Betty li(JUton and amusing myself
by >ceing if I could identify her on her entrance. At this
ti'me, 1 had never seen her either on or off the screen or
stage. 1 had heard, of course, that she had distinguished
herself, not only bv her work in su]iport of such .stars as
Mary Pickford, Marguerite Clark, William Farnum and
Douglas I'airbanks, but also by the way in whicli she played
ii leading iiart in tlie Mar-hall Xeilan production, "Dont
I'.ver Marry," which had n(jt been given its Los Angeles
showing.

We had agreed to meet on the balcony at ' the -Me.x at
three o'clock, hut I arrived to lind the balcony closed for
repairs and tlic lobliy crowded, not only with guests and
pc(*ple frtini outside there by
appointment, lait with work-
men in white overalls who
seemed, literally, to swarm all
o\er the place. One could not
turn one's head williout a
scaffolding appearing in the
line of vision, nor move with-
out being in some danger of
walking under a slepladder.

Betiy Bouton has distin-
guished herself by her
screen work with Mary
Pickford. Marguerite
Clark, William Farnum
and Douglas Fairbanks.
She is a college girl and
takes a keen interest in
the woman's rights move-
ment

fTMrty-eight)

Parlor, Bedroom
and Bath

Fictioiiized trom the Metro Photoplay

By
ESTHER STEELE

SAID the M. K. to the Town Tattler,
' Polly, Reggie Irving is in
trouble with his wife."

Said the Town Tattler to the
M. E., "Heavens, they've jiist vyent
and did it. What's the racket?"

"That's just it. There isn't any
racket."

"You mean . . . .'"

"I mean that Angelica Irving was
and is a sensation seeker. She mar-
ried Reggie because, to the best of
her fond belief, he was a devil. He
turns out to be — a husband. An-
gelica is throwing fits."

Polly Hathaway, known as the
Town Tattler, with a perfectly repu-
table reputation for doing and un-
earthing disreputable things, ele-

Then followed perfumed
notes. The perfume was
what might be described
as violent. It assailed the
nostrils in whatever part
of the house one happened
to be in

vated her perfect e)c
brows. "What," she
demanded, "and where
do I figure in ?"

The M. E. f^xed her

with a contemplative

eye. "Cant you . . .

er . . . write him up.'"

he suggested. "Your colyum has given more than

one man a scarlet aureole. '

"But this — this must be all imagination. I demand
an increase in salary. I have to manufacture the
man's sins for him. Idiotic !"

Nevertheless, Polly got busy. After a bit of work
the situation took ho'ld of her imagination, and Polly
was llicre with the imagination — especially when it
came to scandals. The idea of Angelica wedding
Reggie for the thrills he could give her, only to be
confronted with the daily and nightly view of carpet-
sli])i)ered respectability, was enough to jirod her femi-
nine sympathies. None J<new better than she what
life would be like without scandals. No doubt An-
gelica had been dutifully brought up. Polly had
been. Such being the case, scandal in one form or
another was her just meed and due.

Polly took pen in hand and waxed eloquent.
Result: the colyum called "The Tattler" of The-
Suriety Xcws fairly blazoned innuendo, some of it
none too veiled, anent the doings of the "debonair
dilettante, Reggie Irving."

Reggie, in his slippers, feet slightly elevated above
the ground, was astounded and indignant. He waved
the paper at Angelica, his voice quavered, he de-
nounced the iniquitous press and vowed he would
institute libel proceedings, his face was very red and
his hands pawed the air. Angelica was secretly
ecstatic. Reggie, she thought, was acting perfectly
(/uilty. After all, she had not been duped nor de-

(Thirt;i-nine)

Reggie agreed to the
party. It was to take
place in the most noto-
rious place along the
coast. "No one who goes
there is quite the same
afterwards," said Nita, en-
thusiastically

ceived. The man she had mar-
ried was a perfectly good devil.

He was fast. He was dissolute.
He was a heartbreaker. a home-
wrecker, an insidious Lothario.
He had married her . . . well,
put it down to infatuation. Her
job would be to see that the fu-
ture affairs did not go too far.
If all "The Tattler" said were true . . . heavens, how had he
accomplished so much in the past fortnight, home as he was
practically all of the time. What a consummate villain he
must be! The "debonair dilettante" . . . just what she had
thought him! And he was hers! She regarded him witli a
thrill of ])ride in her own prowess. Not every woman could
have so neatly caught and impaled this butterfly on the wing !
Kverywhere, no doubt, he had trodden upon the hearts of
women . . . hers he had not been able to trani]ile under foot.
What romance il wa> lo have this love o' women for her very
own. lo bear his name, to introduce him to a languishing femi-
ninity as "my husband."

She thought of her own mother's domestic life. Her unim-
peacliable father! The endless monotony of home evenings.
The dish-watery drabness of it ! I low had her mother cmhued
il? ./»y woman could ha\c held her father, could have caught
liini. in the rtr.st place. It took lur, .\ngclica. t<> caiili\alc tlie
elusive, the cajMivaling. the devilish Reggie, ."^lie wepl aloud
•mil dirided him for his infidelities. It was her role. Slie must
luver U-l him know that, secretly, she gloated over his \ ices.

MOTION PICTl.RE

"But. darling." he was protest-
ing, (still nervously, still nerv-
ously, noted Angelica, thru the
corner of her eye), "you kno-M
these are infamous lies. Why,
I've been with you every minute.
It's that damned Hathaway girl
— always stirring the mud up
somewhere. / know. I'll go
down to their offices tomorrow
and force them to substantiate
their statements. Worst of it is,
there aren't any statements . , .
just a lot of nasty implications a
man 'd Iiave to lie a worm t6
wriggle out of. It's outrageous,
that's what it is! It's ..."

Angelica went to bed with the
mien of a martyr and the heart
of a seraph. She was happy!
Reggie was a devil and he was
making a devil's explanations.
Life would be just one thrill after another.

There followed perfumed notes. The perfume was
what might be de.scribed as violent. It assailed the nos-
trils in whatever part of the house one happened to be in.
Angelica took them to come from some exotic . , , a
Peruvian, she thought most likely. Reggie hid them,
rather obviously, .\ngelica thought. She almost always
saw him hiding one with an air of ostentation. Probably,
she comforted herself, he was more than customarily
desi>erate over "this one" . . . hence the lack, or loss, of
discretion. The matter required thought, and Angelica
called in a handwriting expert. She made the most of it.
It gave her a magnificent opportunity to wear willowy
negligees and wallow in eau de cologne. .She also acquired
a plaintive voice and found that reddening her eyes, ever so-
slightly, was not unbecoming. Angelica had never had so good
a time.
. The handwriting e.xpert ruined it. He nearly ruined her
ife. To go further, he all but ruined the marital life of the
lair. He informed .Angelica, after much research and com-
parative study, that Reggie himself had written the ])erfumed
notes. He added that he had jirobably ferfumed them him.self
as well. Not a houri, he said, would anoint letters like that.

Angelica's eyes were reddened in good earnest. Now, now
indeed was she deceived, misled, made ridiculous. Here, while
she bad been living in thrilling proximity to a devil, there had
dwelt by her side a pasty angel, with not a liaison to do him
credit and her proud. She could never condone him, who had
never sinned. She could never be forgiving, with nothing to
forgive. She could never pity her mother, whose own fatuous
fate was worse. Diable! .She had married a hypocrite, whose
thin veneer of evil slipped from him and revealed a jilaster
saint,

Polly, doing her best in the colyum of "The Tattler," was
unable to counteract the damage the handwriting expert had
done. -Angelica's faith in her spouse's evil ways was irre-
trievably shattered. .She was again disconsolate. God knew
where, now, she would seek the thrill Reggie had failed her in.
Polly, admonished by the M. K,, sensed the fact that it was her
duty as a liumanitarian and a sister in the sex to avert .An-
gelica's [irobably direfully impending fate,

Polly '[ihoned Reggie. Polly had a way with her. She con-
tinued Reggie's worst suspicious in no uncertain tones,

"My boy," she said, "you've got to cut up, that's all there
is about it. The safest thing for you to do, since you cannot
seem to achieve anything that isn't safe, is to do it with ine.
We — you and I — will beat it together. We'll go to a summer
liotel. I know of no place better calculated to scandal and
wifely suspicion. Take it from me, .Mso, I'll see that 'The
Tattler' narrates the worst. Wm on!""

Reggie, rather palely, consented. He felt a certain faith in
Polly Hathaway.

"We'll register as man and wife," jiursued Polly, "and

(Forty)

CLASSIC

Friend Wife will happen in upon — the register. It ought to
last her for a while. It should pass by the summer months
quite pleasantly for both of you. It will take you a month to
break down her injured pride. It will take her another to
grant her forgiveness. It will take another for the pair of
you to mush the thing over together. Still another will be
consumed by a honeymoon of reconciliation. And there you
are!''

"I dont understand women," moaned Reggie.

"That's obvious," agreed Polly, briskly. "I dare say, how-
ever, that you will come to some sort of an understanding after
you and I are — er — discovered."

Reggie had a sort of terrified thrill when he recalled some
of the things he had heard about "newspaper women" — this
newspaper woman in particular.

However, he did love Angelica . . . and so . . .

And so he let himself in for more than he had bargained
for — more, also, than Polly herself had bargained for. He
discovered in the very beginning that there was more than one
marital complication extant. He further discovered that his
fame had gone before him. Literally awaiting him on the
front porch of the hotel they had selected was Nita Leslie, one
of the members of the set in which he had been wont to move.
Nita was a clingy, effusive young person, with what might be
tactfully described, had she been literary or professional, as
"temperament." Being neither, what possessed Nita was not
nominated in the bond — save by her husband, and then none
loo delicately, as Nita tearfully e.xplained upon Reggie's as-
tounded bosom. Polly, watching from the window of "their"
suite, chuckled. Angelica, she foresaw, would get her bargain
full this time.

"Fred has been a ]ierfect devil," Nita was explaining to Reg-
gie ; "the last time it w-was a b-blonde chorus g-girl. I know
it! The very worst variety . . . and I said to mommer, and

inferred, 'not alone,' and I thought, "No, I should say not. I'll
go, too, and Reggie and I will go h— go to — you know, Mister
Irving, be naughty together." Nita smiled sweetly and wished
the hero of her deviltries would not perspire so or look so
perceptibly wilted. Reggie, at present, did not answer "The
Tattler's" word pictures of him at all. Still, she might have
known ... a pack of lies . . . newspapers . . .

"But, Mrs. Nita," spoke up Reggie, then, "how is all this
. . . er . . . between you and me ... to ... to solve your
husband ?"

"He'll be jealous, of course," explained Nita; "he'll prob-
ably be so jealous he'll commit a murder or do some sweet,
adorable thing like that, and then I'll know he really loves me.
It's all quite simple."

"Yes, I see," said Reggie, putting the overworked handker-
chief into play again, "yes, of course. It is. It is quite simple.
Oh, very."

That evening Nita planned a party. By night Reggie had
cunningly concluded that Nita was in reality the "Town Tat-
tler," masquerading. No living woman, he averred, could be
such a fool as Nita, so-called,
had represented herself. He had
heard, too, that the "Town
Tattler" was rare at covering
her tracks. She was, no doubt,
covering them now.

The party was in progress

in Reggie's room when

Polly trailed in

mommer said, 'Well, you would do it'
desjierate, and it came to me that
there is only o-one person to
settle one's troubles in this ^ale
of t-tears and t-that is one's self,
and then I read about you in
'The Tatder' . . '. that perfectly
frightful column in The Society
News . . . and it all came to
me . . . oh. Mister Irving!"

Reggie mopfied a brow with a
handkerchief. His voice had de-
serted him.

"W-what was it that — came to
you ''" he demanded.

Nita opened her eyes roundly.
If, cogitated Reggie miserably,
Angelica's sea-green eyes were
not so persistently, so everlast-
ingly before him, he, being a
reasonable man with a pair of
eyes of his own. would have
conceded the really |ierfect baby
blueness of Xita's. .\s it was
. . . damn it all . . . why were
women like Angelica tlirust upon
the earth to thus muddle up the
cardiac regions, not to mention
the cerebellum, of a man like he,
Reggie .'

"\\'hy-ee," Xita was saying,
"I read about your carryings on,
and I heard someone say you
were rather — well, indiscrimi-
nate, and I looked 'indiscrimi-
nate' up in the dictionary and
found it meant that you ran
around with almost anybody, and
then I heard that you were com-
ing here, and, 'The Tattler'

(Forty-one)

and then I just got

Reggie found himself em-
bracing Polly . . when
Angelica entered, accom-
panied by Nita's outraged
and palpably murderous
husband

"I dont see luiw she can \vv
The parly was in progres
trailed in, accoutered with
scatter ahout "their room."
pa);ne, and the haunting (|ual-
ity of Angehca's too-green
eyes had lost some of its
poignancy. I'olly was deuced
attractive. It penetrated the
haze in wliich he moved that
she was the "Tattler." Site
had been clever enf)ngh to
plan all this. He recognized
her, remembered her voice
now. He ne\er had been
good at voices, anyway. What
did it all matter!' . . . jolly
time . . . pre' girls . . .
'specially Tolly . . .

He found himself em-
bracing I'olly. telling her she
had wicked hair . . . wicked

He agreed to the party. It
was to take place in the most no-
torious place along the coast.
"Xo one," said Xita, enthusias-
tically, "no one who goes there
is CTcr the same afterward. It's
delicious."

ite," growled Reggie,
s in Reggie's room when Polly
ingerie and other "evidence'' to
Reggie had been having cham-

P.\RLOK, BEDROOM AND 13ATH
Fictionized ])>â–  permis-iicin froin the Loew-Mctro produc-
tion, liasetl on tlie scenario by June M.itliis and .\. P.
Younger, adapted from the play by C. W. IJdl iind Mark
Swan. Directed by KdwarH Dillon. TIic cast :

Re^sie Irving Eugene Pallette

Polly Hathaway Ruth Stonehonse

AuKclica lrvin^f Kathleen Kirkham

JelTcry Haj wood Charles H. West

Virginia Irving Dorothy Wallace

Leila Helen Sullivan

Kerdie Eaton ," Henry Miller, Jr.

Kred Leslie George Periolat

Nita Leslie Josephine Hill

Uarkis Graham Pettie

MOTION PICTURE CLASSIC

hands . . . was altogether the
most heavenly little devil he had
ever had the gr' goo' fortune to
put his arms about , , . He
loved brains, he said ... she
had 'em . . ^ a girl like her with
brains . . . Lor' . . . umminm!
Upon the "ummmm" entered
Angelica, accompanied by Nita's
outraged and palpably murder-
ous husband.

There was sincerity in the
"umnim." No amount of explain-
ing could ever explain tliat away,
felt Angelica. She had a pang
at the tableau. Not quite so
pleasurable as some of the others
had been. Polly's arms, for in-
stance, were wound with a rather
desperate intensity about Reg-
gie's soft collar. She seemed to
be playing up nobly to the
"ummmm."

Nita, in a corner, was weep-
ing. She was declaring that
Reggie Irving was a worse devil
than he had ever been pictured.
He had, she informed her hus-
band and Reggie's wife, kist her
and tossed her away. ''He's
broken my heart," was her cham-
pagne-made moan, "the beast,
the pig, the pirate . . . oooohh !"
This was all Fred Leslie
needed. He had suspected the
worst. This was '' he worst."
The notorious creature had not
only lured his Nita to a shady
summer hotel, kist her, but he
had thereupon thrown her in the
discard and "taken up" with an-
other woman, before Nita's very
eyes. He had come to murder
him. He would be exonerated
under the unwritten law. This
he had ascertained before making
the trip. He would jjroceed to murder him on sight.
\ chase ensued.

Reggie, or Reggie's champagne, or the fortuitous combina-
tion of the two, led him into the bedroom of a solitarily
sleeping woman. The woman thought r\eggie her 'husband,
who had these methods of home-coming at night, and held out
her arms to him. They were amjile arms and afforded a shel-
ter, a screen. Reggie took to them. Hard upon the taking,
her husband burst in upon them. The din and clatter caused
by \itn. Polly, (on the track of her story), and Fred was
increased by the clamor set up by the irate hu.sband, who was

observing what horror he

called the gods to bear wit-

ness to.

In the midst of it all, Reg-
gie disentangled himself from
the ample arms and again
made good his escape, to fall
into the clutches of three
house detectives, who loudly
proclaimed that they were
bound to arrest the notorious
Reggie Irving.

"S'our escapades, sir,'' they
said in unison, "are enough
to give any house a black eye.
â– ^'ou are a disg;-ace to this re-
spectable hostelry, to your
(Continued oti paijc 7S)

fForiy-twn)

»"-"•"

'••;->:-
'••».

Autumn

a

la
Sennett

Some day a poet is going to
immortalize the Mack Sennett
bathing beach in autumn. Until
then observers will have to con-
fine themselves to cold, prosaic
prose

The bathing beauty
with the hat atilt
and the checker-
board— er — attire is
Marie Prevost

The young woman just ab.ive,
carrying the fur to gui'rd
against autumn drafts, is
MariePrevost. She is in the
act of signalling a sea-going
taxi. At the left are, reading
from left to right, Jane Allen,
post and Sibye Trevilla

Z'Fortythret)

They
All Wept!

By HARRISON HASKINS

Photofraph by GaJslerS Andrevn. NY.

Tiii.Y certainly wepl! All the feiiiiniiic f;iiis cast of the
I'acitic Coast and west of sixteen, l-'or wasn't Richard
Hartheliness — the adorable Yellow Man of "Broken I'los-
sonis" — bein;; married ? Conld anythinfj he worse:

Of course, Dick didr.''. think so. For he was marrying "his
ideal girl." as he termed her, otherwise (as ]ier the weddini;
announcements). Mary Hay C'alduell.

The wedding took i)lace, to be exact, on June ISth, at the
Chuivh of the Heavenly Rest in New \'c)rk. And. at tlie exact
hour, motion picture theaters in every part of the country
played a wedding march. In fad. no one had .ever before
b?en so widely married.

In reality, Dick was married twice that week. The earlier
wedding was — whisper — to Lillian (lish. I'ut it was only a
make-believe one for David (iriffith's 'A\'ay Down l^ast."
There is a big double wedding scene in this rural play anil,
while Dick was being joined in cinema wedlock witli Lillian.
Mary Hay was marrying Creighton Hale, ^'ou see, Mary was
also ])laying in "Way Down F.ast." The make-believe ceremony
create<l all sorts of merriment around the (Irillith Mamaroneck
studio, for the real wedding was to take place the d.iy after.
The real one was very sini|ile and formal.
No, Dick did not meet Mary in motion pictures. Their
"meeting" was the oddest on record. I'or Mary met Dick in
the Philippines, while Dick met Mary on the Ziegfeld rimf.
N'ou see. it was this way. Dick w;is a shadow character in a
Marguerite Clark photojilay when Mary first glimpsed him.
And Dick first saw ^L'lry on the New .\nisterdam roof, where
she was a member of the Ziegfeld revue.

Mrs, liarthelniess (nee Hay) was only on the stage .a vear
or two. ."she is a daughter of
Colonel and Mrs. Frank Merrill
Caldwell. (Which explains
Mary's aforementioned stay in
the Philippines.) .She studied
dancing with Ruth .St. Denis at
Denishawn in California and,
oddl\', pl;iyed a small role in
( irillith' < "Hearts of the World."
(Co'iliiiiird nil l^iii/c S.i)

(Fnrhi f,.m-' .

At the left is a glimpse of
Mrs. Richard Barthelmess
as she appeared in the
Ziegfeld Nine O'clock
Revue. The other two
snapshots were taken close
to the honeymoon bunga-
low on Rye Beach

The Celluloid
Critic

The Newest Photoplays
in Review

By
FREDERICK JAMES SMITH

TiiK early summer dog days ucre not
quite so dull as usual this year.
Take Basil King's "I'"artlibnund."
((ioldwyn), for instance. This is .ifoing
to cause discussion. It is going to be
widely overrated. In reality, it is un-
usual. With the whole world delving
more or less into the psychic, the motion
picture has been slow to deal with it.
David ( niffith started in "The (ireat
Ouestion" and then lost courage. "liarth-
bound" dashes full length into the ques-
tion.

Remember the story of "On With the
Dance": two men and a woman, the

murder, the subsequent trial and the regeneration of the woman's soul thru
the way she .saves the murderer by her testimony in 0])en court. George
Fitzmaurice treated the story from an emotional an<l wholly materialistic
\ iew-iK)int.

Oddlv, Mr. King's story has almost an identical groundwork, but the treat-
ment is whoUv from the spiritual angle. We see the spirit of the murdered
man, at first defiant of God, moving thru the scenes of his earthly activities —
1 figure of bate. But, as he ccimes to realize the limitlessness of the other
world, he brings about the woman's regeneration thru his unseen influence.
Then, having adjusted two broken homes as best he can, he shakes off his
earthhound shackles and moves on into the infinite — that is, via camera tricks,
he walks over the tree-toiis in the generally accejited direction of heaven.

Mr. King's story is not only a jisychic one, but it preaches a certain doctrine
(â– 1 right living. The lives subsequently torn a])art by murder are linked by a
false and dangerous theory of life. "No (iod — no sin — no future life" has
been the college creed of the two comrades, and Mr. King deiiicts how this
destructive theory brings its inevitable disaster.

"l'".arthbound" was a tremendously difficult thing to visualize. We under-
stand that T, Hays Hunter, the director, was months working it out at the
(Ioldwyn coast studios. It
'was a vastly hard thing to
show the .spirit of the mur-
dered man moving thru reel
after reel and yet keep the right
s]iiritual tem[)o. A false ste]i
anywhere would have meant a
slip into the ridiculous, .'some-
times Mr. Hunter lajised into
the banal and obvious, and
sometimes the theatric is bald-
ly apparent, hut, on the whole,
it is an elusive thing rather
well df)ne.

"I'.arthbound" held our in-
terest strongly. It is a vivid
clash of human passions and
the spiritual. It is not our
]iro\ ince to debate Mr. King's
lisychic theories here. They
command thought, whether or
!iot viiu dismiss them as banal.
.\nd we believe that the aver-
:ige person will get a message
of uplift from "blarthbound."
iCoitthincd oil piuic SS)

t h'orttf firfj

Top, Thomas Meighan
finds that a monocle
is of great service in
revealing the charms
of Lila Lee, who
comes back quite ef-
fectively in "The
Prince Chap," Mei-
ghan's first starring
vehicle. Center, Pearl
White still serials in
"The White Moll";
below, a close-up of
the popular variety, of
Ethel Clayton and
Jack Holt in "Crooked
Streets"

Photo by Woodbury, L. A,

CONRAD Xackl suggested lunch at the Gar-
den Court.

"Mrs. Nagel will be there, too," he said
over the telephone.

But Mrs. Nagel couldn't come, after all.

You see, they had just bought a house. Not
a blatantly new house, but a big house with a
"homey" air, such as a house only gets when
it has been built for quite some time.

( The rose-bushes were bearing heavily.
One especially, a red climber, on the side-front
porch, was a riot of full-blown blooms. And
there was a white bush, too, in the center of
the front lawn, so covered with flowers that
you could scarcely see the bush for the roses.)

We drove around to see the house after
lunch.

"I wont ijromise how Mrs. Xagel will look,"
her husband said on the way, but, from the tone of his
voice, you would have felt quite certain that Mrs. Nagel
could never look otherwise than perfectly adorable.

By this time, if you didn't know it before, you have
probably g\iessed that Conrad Nagel is married. He is. More
than that, . ; is a newlywed, and not a bit ashamed of it.

His wife r' a non-professional ; a sincere, generous, com-
radely sort of girl, not beautiful, as beauty is known in
Hollywood, but rather more than that — wholesome-looking.
She has an exceedingly ex|)ressivc face, large, dark eyes
and dark hair. Conrad, on the contrary, is a blond. His
hair is taffy-colored, his eyes blue and his complexion
rather i)ale. He is six feet tall.

But if I am to begin at the beginning, which is the logica
place at which to begin, I'll have to get back to the (iar-
den Court. We were seated at a little table near a French
window overlooking the Hollywood hills. Luncheon began
with a fruit cup, progressed thru lamb chops. French frie '
potatoes and string-beans, to strawberry parfait and coffee
at the end.

The Convictions of
Conrad

.\t first, Conrad Nagel's conversation was all of the house.
They had rented it furnished and grown to love it so much
that they bought it just as it stood. Of course, now that the
house belonged to them, innumerable things were to be done.
Certain uncomfortable, old-fashioned pieces of furniture that,
he said, reminded him of his childhood in Keokuk, Iowa, had
to make way for furniture more modern and comfortable.
New draperies were to be selected and the front porch was
to be arranged so that they could almost live on it and still
retain some privacy. Included in their plans were a vegetable
garden for the back yard and more flowers for the front.
One gathered that, as much as possible, they wished to do
all this themselves. They are enjoying the romance, only too
often denied newlyweds in the profession, of
making their own home.

There would, in all probability, be fewer di-
vorces, both in and out of the profession, if more
young married people could start this way in-
stead of as flat
dwellers, moving
around from place
to place, with all
the sense of irre-
sponsibility to-
wards each other
and towards the
community that
comes from not
having a thing to
call their own.

Conrad Nagel is the
incarnation of
Youth in real life.
He is impulsive, ear-
nest and realizes
keenly his responsi-
bilities towards the
world. He has not
permitted his profes-
sion to absorb him
to the exclusion of
other interests

tFcrty sill

JMBK.

By

ELIZABETH PELTRET

The Conrad ^'agel^ are not going to be like many young
married i)eo])le. spending every ])enny tliey get as fast as
ihey get it witli nothing to show for it after it is gone.
Rather, they have the pro])erty-o\vning fever and are putting
their surplus into real estate . . . and Los Angeles real
estate at that. They discovered the West, literally, in a day,
and loved it on discovery.

"It is really funny." he said, "that both of us should have
become converted into Californians so suddenly. I think
our hou.se must be respcjnsible. because I hated Los Angeles
at first and made uj) my mind tliat we would go back to
New York as soon as I could finish with Mayfiower. ( He
was making "Athalie.") We even secured our reserva-
tions." He drew from his jiocket two tickets for New York
which, he remarked, he could probably sell to some one.
"Then we rented our house, the neighbors made us wel-
come and, before we had been there a week, the corner
groceryman knew us by name. Why, if your corner gro-
ceryman called you by name in New York, you'd fall over
from astonishment !

"Not only that, but we had room and freedom. You've
no idea how strange it seems to look out of your window
and see attractive lawns and flowers and know that friends
and acquaintances are all
around you, when you've
been living cooped up in a
New York apartment with-
out even knowing the people
next door."

Nevertheless, he had a
clause inserted in the five-
year contract which he re-
cently signed with Famous
Players-Lasky to the effect
that he should make at least
one picture a year in New

The father of Conrad
Nagel is a composer of
note and also dean of
the Highland Park Col-
lege, of Des Moines,
from which Nagel re-
ceived his bachelor's
degree when he was
seventeen years old

(Forty-nevenj

!'.,..!.. L, ',\,,o.ll,..ij. I-. A.

York and that lie
may apjiear on the
stage if he so de-
sires.

"After all," he
remarked, "one
should keep in
touch with the cen-
ter of things."
Conrad Nagel [)layed Youth in
"Kxperience" for two years, and he
certainly looks the incarnation of
Youth in real life and acts it, too.
He is impulsive, earnest and realizes
keenly his responsibilities towards
the world. He has not yet permitted
his profession to absorb him to the
exclusion of other interests. On the
contrary, he talks politics entliusias-
tically and his religion enters into his
daily life and influences all he does.
He says, quite frankly, that whatever
success he has gotten, or may get,
will be due to his faith.

"I do not think an artist lias any
more right to shirk responsibility
towards the community in which he
lives than has a man in any other
walk of life." he said, emphatically.
"For instance, take the matter of
voting. I think that a man who has
a vote and doesn't use it is as bad as
the man who has a vote and sells it."
He is also, by the way, an advocate
of total prohibition.

(Continued OH piu/c 74)

Top, Dorothy
P e a b o d y,
Berkeley
Cdlif. ; center,
Marion Mac-
Donald, Syra-
cuse. N. Y.
Lower left,
Violet de Bar-
ros. New York
City; and,
lower right,
A 1 m e d a
FowUr, New
York City

A Pictorial Avalanche

maili-il after Alienist fii-st. there has been no let ii]i in the receipt
(if photcifirajihs from all ]iarls of the country. It would be
rather interestini; to our readers, we are ([uite sure, if they
couUl drop ill and see the editorial offices these days, literally
snowed up under an avalanche of photo^rai)hs.

Inasmuch as the most difficult |)art of the contest is the fair
and impartial jud.sjment on these same photographs, and the
rmal seleclidu of the honor roll winners from them by the
iudfjes, it is nee<lk'Ss to say that tjuite some time is iet|uired in
tliis selection. Despite the faclthat we have announced in all
three of our inaj,'azines that the final decision of the judges
would be published just as quickly as possible, this has made
no ditterence to all those interested in the contest, for daily the
:ditorial (iffices receive overpowering barrage attacks of tele-
plume cajls, telegrams, special delivery letters, etc., all con-
t.'iiiiing in(|uiries as to the outcome and all frantically desirous
if knowing whether or not the sender has lieen made one of
the winners.

We are cpiite re;idy to concede that it is e-xtrcmely difticult
fur tlio-^e interested in the contest to overcome their desire to

know what the outcome of
the contest is to be, but as
,, we have stated before, the

final announcement of the
winners will be made just
as soon as possible. The
cultivation of patience is a
meritorious occujiation !

b'very Sunday there has
been a swarm of contes-
tants out at the Brew.ster
estate at Roslyn, Long
Island, where a thoro
camera test has been given
every honor roll member
and all others who were
notified to appear.

lust as soon as the com-
mittee finish theirlaborious
task of separating the
wheat from the chaff among

I'liologr.iph l.y A. M. .\miis

BY the time :his magazine goes to jiress the I"anie ami I'ortune
Contest of 1920, which has been conducted by Tiir. Mo-
Tio.v PirTiRi, Mao.vzini., 'I'm-. Ci..\.s.sic and SiiAHOw-
i...\M). will have been finally closed so far as the receiijt of
plicitcigraiihs is concerned, .\ltho there has been a definite
warning issued in each one of our |iul)licatioiis to the effect that
no photographs will be entered in the contest which have been

Phfitograph
(? by
Strauss-

roi"ti

( Tony -eight)

Last-Minute Photographs Inundate
Editorial Offices

the ])Iiotof;ra|)hic mountain now Idominj; befori- thc'in. the final
honor roll members will be selected, and from these final honor
roll winners, and all of those who liave already appeared in
Till-. Motion PicTfRi'. Mac.azini:. Tiii'. Classic or Shadow-
land, there will be chosen those contestants who will be the
fortunate winners of the contest.

The judges wlio will make tliis momentous decision are
Mary Pickford, Mme. (^Iga Petrova, Howard Chandler
Christy, Thomas Ince. J. .Stuart Blackton, Maurice Tourneur,
Samuel Lumiere, Carl Laemmle, Jesse Lasky, David Relasco,
Blanche Hates and lui.gene \'. Ilrewster.

The honor roll winners for this issue of the Classic are as
follows :

Dorothy Peabody. Z(i2Z College Ave., P>erkeley. Cal., who
has had some amateur dramatic experience, is a brunette, with
brown eyes and light-brown hair.

Marion MacDonald, 102 Shonnard Street, Syracuse, N, Y.,
is a student of voice culture who has appeared in amateur
theatricals. Miss MacDonald is the proud possessor of blue
eyes and da-rk-brown hair, while her com[]lexion is very fair.

Violet de Parros, 217 West 1 lOtli Street, New York City,
has ha«l some dramatic e.\|ierience. She has green eyes, light-
brown hair and fair com])lexion.

.\lmeda Fowler. 340 West With Street. New York City, has
liail some musical comedy exjiericnce. Miss Fowler has brown
hair, hazel-colorecj eyes and fair coir.])lexion.

Fknence Campbell, 44 P.oylston Street, P.()st,<)n, Mass.. ha>
never had any previous dramatic expe-
rience. Miss Campbell has brown hair
and blue eyes.

Helen Richardson. P. (). P.ox ISl.
Los Angeles. Cal., has done some extra
work with various film com|ianies. Miss
Richardson is a blonde with very dark-
blue eyes.

Hazel Donnelly, 122iS Morris .\venue,

I'h.il'Brai.h liy :\\w,U. .\. V.

Top. Hazel Donnelly, New York
City; center, Florence Campbell,
Boston, Mass., and lower left,
Helen Richardson, Los Angeles,
Calif.

New York City, is a member of
the Xiegfeld "Follies.'' She has
chestnut-brown liair and blue
eyes.

We are i|uite sure that ;dl of
the c>in test ants and their
friends will be greatly inter-
ested to know that for some
time past we have been receiv-
ing visits from the personal
representatives of the very
largest and tnost famous mo-
tion jiicture companies. These
representatives are following
the Fame and Fortune Contest
with close attention, and have
informed us that they are willing to take care of the future of one of
the final winners.

This fact is of the utmost imiiortance. and should add greatly to the
entlnisiasm among those who are taking part in the contest, for it
means that the lucky winner who is chosen by these men will be imme-
diately signed uji on a contract with a substantial salary, and the future
film success of the one who is selected is iira'.nically assured.

Owing to the success of last year's contest, there were four final
winners chosen instead of one. as was originally planned. Up to date,
we find it impossible to state just \> hat the number of winners for the
1920 Fame and Fortune Contest will be, but this announcement will be
made at the earliest moment.

The filming of tlie five-reel feature drama, "Love's Redemption,"
is progres.sing rapidly.

liii-itiiif)

The Glass of Youth

By

OLGA SHAW

Whatever it may be. it is inlicrent and will iidt lie
marred nr decreased hy tlie inevitableness of lii^
success.

He is the true artist. One feels that, or senses il,
ratlier, in his own sensitiveness, to you, to im|.iressions,
to other persons.

Having been, or being, whatever the tense, no mat-
ter, the godson of .Sarah Bernhardt has been, no
doubt, a molding, a finely molding factor. I asked
im about her, and his face lighted up with the fervor,
.he keen-edged interest a responsive [lerson just natu-
rally portra\s for all truly great thmgs of life, of art.

"She is a tre-
mendous per-
son," he said,
with his still un-
tiaued accent;
"a great, a i-ery
.great woman as
well as artist,
.'she gave me all
my training and
what I am, what-
ever I shall be.
whatever there
{Continued on
l>aiie 90)

Gaston Glass is inc
godson of Sarah
Bernhardt, and it
was from her that
he received his dra-
matic training. He
has only been in
America a little
more than a year
and still possesses a
charming French
accent.- His work
in "Humoresque"
has proved him to
be a player of the
first rank

IT was a sultry afternoon. .\'ni that the sultriness
or the time of day has much ii^ do with it. save

that the sultriness was forgotten in the quality of
the ensuing talk, atmosphere in tutv, etc., etc.

1 went to a predirected address in one of the West
-tO's near th' -\venue. and rang a bell inscribed, neatly.
"I'arthelmess-tilass."

The former of the twn names had, impulsively, a pencil mark
thru it. The simple line denoted the fact that Rarthelmess had
flown to a new", a hymeneal nest.

I ascended some stairs and was admitted by a neat-ajniearing
colored maid with a cajiable air, who directed me to an ample
chair in the shaded li\ing-room and told me that Mr. ( llass would
join me immediately.

In the brief interim, (he is not the sort to keep one waiting).
1 glanced about me. I couldn't help but >upii<ise that this room
bad been the shrine of many dreams and ambitions, of many,
many talks and introspectio.is, of jihilosopbies and iinolerances
and preiudices and the many-hued, many-colored faiths and un-
faiths of youth. "Hartbelmess-tilnss" had had, no iloubi. much of
mutual sympathies and aims.

The room itself was. comfortable and tmobtrusive and in excel-
lent taste. There was a piece or (wo of sculpture. There were
books on low racks, one or two good ]irints. a huge desk, a huge
couch, smoking conveniences, and thru a flutter of immaculate
scrim curtains a glimpse of an equiiified kitchen showing the
ingredients of a domestic menage.

Then Gaston Glass came hastily in.

I had an imjiression, (vN-hich remained), cf sweet and enthu
siastic youth. lie seemed to be eager with hope, with ideals, with
aspirations, with opinions. He was charmingly unassertive and
delicately self-depreciatory. In his interest in himself, (and, of
course, ^le has it, else he would not be an artist or a man), there
was a delicacy of touch sans all irritation to the mere listener.
It may be. I thought, the French birth and breeding of him.

(Fifty)

Her First
Interview

By

MAUDE CHEATHAM

Viora Daniel, by her pretti-
ness and promise, has made
fast strides in the realm of
motion pictures, for after
being in the Lasky Stock
Company less than eight
months, she was selected to
play opposite Roscoe Ar-
buckle

and refresh

Tiii.v uere liaviiij; a ]jany.
riiere were music and Hnue
ments and everytliing.

The d'crytluHf/ consisted cliieriy in noise, for tlie
laufj'hter and merriment conld be heard to the far
corners of the LasUy lot, wliile everyone wlio could
possibly slip away from his jiost was crowding
about the set to enjoy the fun.

"'I'hcre's \'iora Daniel,"
they told me. "That little
gir! in pink over in the cor-
ner with Koscoe." Eager-
ly I looked at the point
mentioned, interested to see
this new feminine lead r\l
the rotund comedian.

I saw a slip of a girl whose
vivid, sparkling face was framed
in dark curls which were caught
U]! in a huge satin bow. The frilly
skirts just touched the round, bare
knees, while pink socks and Mary
lanes completed her "little girl"
costume.

A scene from "The Life of the
Party," Irvin Cobb's humorous
story, w as being transferred to the
screen, and Koscoe was in the act
of pulling \ iora about the set
while the orchestra jazzed a merry tune
and the camera clicked.

P'atty, or Koscoe, as he is called now
that he is making feature comedies in
stead of the old two-reelers, was a scream in
lilue gingham rompers, a child's round hat
a-top his solemn face and "cunning" socks
that failed by half a yard or so to hide his
battered and brui.sed knees.

He must slajistick. and if not on the
screen, it creeps in between acts and he
tuiuliles about like a rubber ball. He is con-
tinually interjiolating bits of hilarious com-
edv into his work — his strenuosity is remark-
able -that keeps everyone in a roar, for there
is no denying that Koscoe .Xrlnickle is just
naturally funny at all times.

When the lui'.ch hour was called, Viora and
I >iarled for her dressing-room. "()h, look!
'I'here's Tommy Aleighan. Isn't he uJor-
ahti'.'" she eNclain)ed, grasping my liand, and
we stopped to watch the liandsome Thomas
.md Kathlyn Williams during a tender little
scene in a N'enetian garden.

"I'nc ne\cr met him," confitled \'iora, "but
I'xe made up my niind that I am going to
|ilay with him some day. He is just my ideal
of .a hem," and she tiiglied romantically, e\en
while her eyes danced.

remember I used to go and see Koscoe's
tdms, and how 1 did enjoy them, but, of

(Fifty one)

^<â– l^^ llircc (Ircain-liciuks,
.ainciue 1 hipi''^ "Iiiilin's

Wdiiian : hDv lumk^ arc
was ilecideillv unuMial.

.MIiriON I'lCITKIi CIASSK

!;oi)(l luck, and 1 tmicli tlii> even nmniiiif; licfore I f^n in
work. 1 was sii afraid sciinetliiiif,' wcjidd liappcn lo llu-m
llial I t(irc thciii apart and keep mic at Imnie, one in my
lianklioiik and one lu-rc at the sttidin. 'I'lial makes it jiretty
^atc. doesn't it!'" and llie ^mooili l)row wrinkled in concern
as she spoke.

"( )h. I'm lerrilily superstitions — that's mv chief charac-
leiistic." and \ ima laughed at the joke. "I look in the
dream-liook the lirst tiling every niorninj; and read the sij,'ns
— and I ha\e a hundred and one tliin|,'s thai 1 do liefore 1
lief,'in a new hit of work."

(ilancini,' ahout the little ro<im.
a \olume of Kiplinj^'s poems and
Love Lyrics."

What is slie. 1 tlujuijht. cliild m
revealinj;. ami this comhinalion
Oueslionini; her a little re^ardin^ the lyrics, wliich had been
puxzle lunnlier one. 1 decided she uas child — with a child's
lo\e ipf lic.iuty .uid e\t|uisile rhyllnn. with the romantic
(|u;dity hij;hly dc\eloiie(l, which, of coiu'se. is in keepinjj
with her emotional temperament.

N'iora is a native dati!i;hter of Calif ornia, liavinj; been horn
insi cij;liteen years ai;i) on a ranch near S.an Luis Ohispo.
Lo>iui; both father and mother while still .a baby, she has
hut one relative, a brother, in the h'.ast. While .attendini:,' the
I'leur d'.Mene t'ollej^'e up in Idaho, she met a little jjirl fresh
from Xorway. l.cn'rie Larsen, who also is alone in the world,
and these two have been the closest frienils and chums
e\er since.

They ha\e .i prelly little bunijalow u]) in Laurel Canyon,
where they live all by themselves.

"The house is on- the side of a hill,
with a mouinain stream miming thru
the j;arilen. We ha\e a bal-
cony dinin.y-rcKim and. oh. it's
(Cniiliiiucd nil /'ai/c 9.s)

course, I ne\er once dreamed ih.ii 1
would ever be /•/iiy/ii;/ w itii him. It
is all so wimderful — sometimes I
»\on<ler if I'll w.-iki- np .and tind it
isn't true. "

It is inileeil wonderful, and
\ iora Daniel, by her prettiness
and promi-e. h;is ma<le fast strides
in the re.ilm of motion jiictures,
for, .after beiuf; in the l.asky slock
coni]iany less than ei.nht months,
she was selected to ]ilay opposite
.\rbuckle.

"This is my lirst lead and my
first interview — w h.il sh.dl I do.'"
she asked, h.ippily. as we entered
her dressing;- room.

It was an ( )rienlal shrine with
};orj;eous Chine.se han}jint;s. Chi-
nese prints and several good speci-
mens of iheir art needlework

adornint; the walls, while the dressinj;-table was cpiair
treasures from the countries beyond the I'acilic.

"I'm crazy ahout the < 'rient and 1 lo\e every one i
excLiimed. enthusiasticidly. "My };reatest joy is to pr
shops, and I know if I ever t;et to |a]ian or China 1
and probably be put into jail, for I'll never be .able to
all those lovely things about.

".^ee. this is my good-luck fe.ither. " and \ery care-
fully she handed n.e a tiny, narrow , white feather. ''It
has an interestint; storv . The lirst picture I made was
with Jack Cardner in 'So This Is .\merica.' and we
spent some time np in N'ellowstone I'ark. There was a
Hawaiian there who used to sjo ahout with us, and
when k\e left he promised lo send nie-.a rare gift from
the islands. Sure en<iugh. he sent me three feathers.
Thev art from some sacred bird ih.il brings the owner

if these things." she
ciwl ahoiU the cmio
leconie light-tingered
control mvself with

Viora is a native daugh-
ter of California, hav-
ing been born just
eighteen years ago on
a ranch. Her debut
into filmland was made
thru a small part with
Robert Warwick in
"The Fourteenth Man"

(/''iftii two)

Told in story form from the Mayflower Phoiopiay

By
DOROTHY DONNELL

Piiii'i.r. in I'iiiepoit said that Aihalie (Ircensleeve was ''dif-
ferent"; some of them whispered that she was "queerhke
in her liead, seed thinf^s as warn't there to see." There
uere odd instances they could brinj; up to prove their conten-
tion, the time she sat on the tavern steps and told a posse of
e.Ncited farmers that they would find the lost Higfjens baby
under a juniper hush on Blueberry Mountain: the time she
warned old Hill h.dwards not to go tishing, and he went, scoff-
ing, .ind was drowned.

"The moon shone on her cradle out of a stormy sky," the
old wives whispered ; "her mother died the same moment she
was born. She's got the look o' the other world on her!"

Certainly .\thalie, at eighteen, was not like the other, jilump,
noisy I'ineport damsels, with their red. hard cheeks and their
big hands, always ready with a slap not ton (hscouraging for
the lirsl sign of "freshness." .She was rather unusually tall
and slender, without being meager, and her oval face, with its
amazingly large, luminous blue eyes and frame of soft brown
hair, was ordy faintly tinted. I'>ut her white, beautifully cared-
for hands could work as deftly as any hands, and her rnoutli,
tho usually sweetly grave, could smile as it smiled now under
Henry I^aidlie's adoring gaze.

"Henry! You promised!" she re]iroached him, drawing
back sliglitly from the great, importunate bulk of him into the
syringa-scented shadow. "You know I told you two years ago
tliat I wasn't the girl you would marry."

"You're usually right, -\ttie." the big fellow beside her on
the porch said, grudgingly, "but I aint wiUin' to leave this thing
u|i to the sperrits! It's too almighty important to me — t' both
of us. I want you, dear — I've wanted you for years, an' I'll
he good to you, .\ttie ; I ]>n)mise you that before my Maker.
Now mother's died and the tavern's got to close. You cant

(Fifti/three)

stay here and there's nowhere for you to go. 'Sides, why
should you go to traipsing over the earth, trying to earn enough
to kee[) soul and body together, when I've got plenty, and I
need you so?"

He was wily. big. earnest Henry, in appealing to her thru
liis lonely need, his forlorn, uncared-for state, but still she
shook her head, dimly shining in the fragrant dusk.

"No. dear. I couldn't, truly. Why. Henry, we've been
brother and sister, alniost ever since we were children I"

"Rut not since we w^s grown," he countered; "you're too
puny, Attie. so jiurty it makes me feel like being in church,
somehow, looking at you. You wa.sn't made to take care of
yourself, but for a man to take care of. .\ttie, say you'll let
me take care o' you !"

15ut still she smiled, and shook her head, and suddenly he
cried, with the violent tongue of a long-hoarded jealousy,
"Who is it, then? That city feller who was so sweet on you
two year ago, and skip[)e<l out without even saying good-by?
Day your father died, that was — 1 thought then all those tears
you cried on my shoulder warn't for th' old man! .\re you
still thinkin' of him, .\ttie — when he didn't give you no right
to think of him ?"

The chair had stop|)ed swaying. It was quite still f(jr the
space of an entire moment on the ixirch. then, tiredly. "Dont,

jilease — speak of — him " she controlled the tremble in her

voice gallantly. "It is strange, Henry, when I can see so far
ahead for most people, that I cant see into my own future at
all, but I think — I have a queer certainty that I shall never
marry."

Henry Laidlie nirule an uncouth noise; a sob. strangled
fiercely. She saw t.ie big, shaggy head twist downward against
the low, white moon, then lift resolutely. ".\!! right, dear,"

A\01ll)N PICILKE

hf s;ii<l. with ;i j;i'c;\t ln'calh, "uliiUcwr you s;iy. I woiu bother
you afiain. Ami now. what are you f,"'i".i; '" ilo?"

"I'lni f;oiii^' to \ew Yoi"k," Athalie said slowly. The moon
was full ou her lifted faee. and he saw tliat it wore the look
of "dilYcreniness" he had learnt to dread and hate because it
seemed to se|iarate her so far from him. Her eyes were fixed
u]ion something; beyond reality, her tips ino\ed stil'lly as tho
without lier \olition. "l-have work to do there. I dont know
e.saetly what it will he. but I know that 1 must jjo."

l'inep(nt folks shook their heads over her f;"'"^- ^'" '"'ed.
they murnuued, for 'Cius ( ireensleeve's girl to i,'o away from
home to earn her li\ in'. New York was no i)lace for a female,
except maybe onct or twice a year to see the Hi])])odronie
show or do a little shopjiing. There'd be no };<iod come o' it —
mark their words! .\nd after a little, for lack of news of her,
their tongues ceased to wag, and .\thalie was forgotten, except
bv one big, silent man wlio had an irritating way of starting up
sometimes out of a reverie and looking around him as tho he
had heard a call, a way that e.xceedingly irritated his wife—
for Henry I.aidlie allowe<l himself submissively to be married
by one of the efiicient. red-cheeked damsels of Pineport a year
after .\thalie went away.

When she took the train for the city on that afternoon in
midsummer, it was as tho .\thalie Clreensteeve took the train
out of the world, for it was another woman who got off in
the Grand Central. In her fotir hours' journey she had gone
over all possibilities and made her decision. She could not do
anything which |)eople would pay her for doing, except to "see
clearly," to glimpse events as \ct undreamed of. She had a

childlike f.'iiih in her own powers. X(jl a single tainting sus-
]iicion of dishoiHsly troubled her — more than that, slie fell
something akin to the exaltation of one who is "called to
preach." liod had gi\en lier a strange, very precious gift, and
she must use it for Him. 'I'h.-it was all. \'ery sim|ile, surely!
'Slie spent ihe first disillusioning, agonizing week in seeking
a room, shuddering aw.iy from some of the women who an-
swered her bell. ' )nce she electrified a rouged slattern by
bursting into tears. "Xo. no! Xot tluU room! 1 couldn't —
alter what had happened there!"

The woman turned ghastly under the purpit paint. "How'd
you know?" she muttered, widi ^titif lips. "Vou couldn't
know I" Hut .\thalie liad gon- .-uid the woman went in, cow-
ering as if from the metiace of black, rushing wings.

Presently she found a dark, dingy front parlor on :\ once
]iretentious street, with a faded landlady who called her "child"
and offered to make her a cup of tea. The room had belonged
to a fortune-teller, and was hung with the cheap ami tawdry
stage setting of her ]n-ofession, dusty, velvet draperies, charts,
and on a table stood .'t crystal like a drop of \>u\e light in the
d.ink. dreary room. ".Madame l.a Rene had a very high-
class cle-antel." the faded landlady assured her, in the whine
that served for a voice, "but she drank u]) all she made, ]ioor
dear, and was t<iok away to I'edloes screaming something ter-
rible. .\re you a second-sighier. my dear?"

.\thalie did not c|uite know what she was. For three days

she sat in the terrible room, among its theatrical tinsel, with

folded hands, waiting to be shown what she should do. On the

morning of the fourth day there was a rap on the door and an

old man, immaculately dressed, stood

hesitating on the threshold. He

stared down at her with ludicrous

amazement at seeing such youth and

loveliness in a place like this.

"Madame La Rene — but, good
God! It's impossible!" he hurst out
finally. "I came here because I am
so des|>erale that I am willing to
])lunge my hands into the vilenes'- of
];rofessioiial charlatanism, but I
must have come to the wrong place."
He was turning, but her soft voice
called him back.

"^â– ou wanted to know about the
chilclren- yes !"

"You've heard.'" He was actual-
ly panting with excitement. "()f
Course! They told me all medium^
;nul star-gazers had a card catalog
of the easy marks. Yes, I came
.about my grandchildren, who disap-
peareil iwu years ago in this cit>.
What cm \ou tell me? Hut, of
conr-.i'. you cm tell me nolhing!"

"< )nly th.it -thev are in I'elgiuni."
Alh.alie spoke bewild. edly. .as if she
repealed something whose meaning
-he cotdd not guess. .'>he nio\ed to
ilu table. -Kiod staring down into the
crvsial. "At a convent —yes. a great
slone building on a hill — near I'rus-

-el^ " .She sank suddenly down

at the i.ible, passed her hand across

her eve- and looked up at him

b 1 a n k 1 V .

1

"She — loves you?"
AthaHe asked, "that
woman with the
red hair and the
red sparks in her
eyes?" "No! She
never did," Clive
groaned, "she
wanted my name,
and she will cling
to it"

"What wa
saying? I
cant renuin
her— only 1
seemed to see
— it all — so

clearly "

Her word-
were the reg-
idatinn cant

fFifljifnuri

CLASSIC

of the mediums, to wliidi lie
had grown accustomed thru
disheartening days, hut Iter eyes
were different, like the jHU'est
water in the sun. Ehsha Symes
had not lived for seventy years
without heing ahle to judge
peo[ile. He laid his hat me-
thodically on the tahle, with a
hand that trenihled. and sat down
opposite her. "\ow, suppose
you tell me ahout yourself," he
suggested, trying to speak cas-
ually. When her soft voice
faltered to silence presently, he
leaned toward hei". "Tell me,
<lid vou ever hear of a man
named Dane ':"

.Vthalie half rose. Her deli-
cate face Mas twisted as with
sudden pain. "Dane — he was
an explorer? Ves, I knew
hinv. He — he came to my
father's inn one summer with
a friend — a friend of his, to
ihoot ducks. He told me he
â– .vas going to .\frica, and I tolti
nim" — she touched her fore-
head with fingertips wearily—
"I told him to he careful of
the injury he would rece've in
his arm."

"The same man !" her visitor
gave the effect of .shouting, al-
tho it was his look that clam-
ored, rather than his tone. "I
had luncheon at the cluh with
him yesterday, and he wore his
right arm in a sling from th^
effects of a lion's claws. He
inld me of you — said if anyone
could help me, it would he
little -\thalie "

The girl was swaying, hand
at her tliroat. "Did he speak —
of anyone else? Any friend'
The — man who was with him
that summer at Pineport ?"

Rut Klisha Symes. unheed-
in.g, was intent u]ion his own
affairs, .\fter weary months
of seeking, he had found : after
days of douhting he helie\ ed !

He went away from the dingy front parlor. ;ifter having liis
generous check gently refused. Hut he had exacted a promise
lliat .\thalie woidd let him find her better (|uarters, worthy of
her great gift.

!>he was settled in these, a hit awed al the quiet luxury of
the apartment which old Symes had leased for her before he
~et sail for lielgium. "I'm going to find my darlings, I know
it!" he told her, "and I shall bring them to you as soon as I
come back ! Meanwhile, help others as you have bellied nie."

The news of the beautiful girl with the strange powers
spread, and the chai'ming grey-and-mahogany drawing-room
on the Drive .was filled with the curious, the anxious,, the de-
spairing. Sometimes it was a stout, elaborately u])holslered
woman with a Pekingese and a tale of missing jewels, some-
times a white-faced girl whose lips faltered out some sordid
storv of wrong and misery, .\thalie made no jiretenses with
them all. "I dont know whether I can -help you, but i will
try," she told them, gently. "1 cant always see ahead. .Some-
times there is a veil between

f)ne day. Dane, the cx]ilorer. came and hlullly renewed his
ac(|uaintanceship ; his eyes, reddened by the suns and winds of
strange, far places, watched her ]iale face with a .sort of won-

"He's seeing that fake for-
tune-telling woman almost
every day," she told
Arnold Wayne, viciously,
just after they dined to-
gether at the Ritz, "and
last night, what do you
think? He actually came
to me and asked me to
release him!"

tier. "You're looking tired," he
declared, as he was going; "too
much seeing ! Vou need a vaca-
tion. I.'ni having a house ]iarty
at my lodge in th'e .-\dirondacks
this week. I'll expect you."

"Oh. no! I — I couldn't," she
began breathlessly; "Pm not —
one of you. I'm only .\thalie."

P>ut he brushed her objections
aside, in the ruthless way of a man who is used to denying
difficulties. "Xonsense!' Do you good — besides. I'm having
someone vou used to know — young C'live Bailey! That's
settled ! I iood-by till Saturday, .\thalie."

It was the name that brought her, the name that she had
shut away in her heart for four denied years, as a woman shuts
away dried roses or other remenibrances. There was a nev\'
beauty ahout her when she stejipeil into the hall of Dane's great
lodge and looked about the group gathered before the blazing
fire. So a woman looks wdien she comes to meet love with out-
stretched hands.

Manv of the visitors stared, hostilely; some whispered, for

her rc-putation had preceded her, and slie was aheady
lalieled a curiosity. I'ut there was one wlio anticipated the
liost's advance of jireeting. 'I'all. hthe. with a leasinj; look
ahout^ him as of a faim startled at finding liimself in evening
clothes. Clive I'ailey had leaped to lier. her name hlazinj; on
his lijis. "Athalie! \nu — after all these years!"

An instant the hnddle<l irroup of mortals, holdin.i; sickly,
sticky cocktail jjlasses in hejeweled tinkers, had a lilindinjj
jrlimpse of what happens when the i^odf. meet, tlie amazing
simplicity of it. the hlindin;; j^kny on their faces; then, hcinj,' a
woman, Atlialic' came hack to earth lirst.

"Why, has it heen so Ion;,' as that? It's nni;allant of yi)U to
remind me!" she smiled falsely np into his dullinf; face. "Ci])-
lain Dane telN me yoii\-e heen too Inisy shootinj; lions to care
for ;inythin>; as tame as (Kicks !"

The k'l'inp hlinked. and hefj.an to chatter as tho to cover up
somethinu'! A slrikinf; youni; woman with a dark, sullen pret-
liness which the arts of the ni;isseuse and hair-dresser had
co.ixed into heaiity. came up ;md took t live proprietarily hv
the arm. Iler chin was held just a fraction too hi};h. her voice
was a l)i) too suj;ary as she adrlressed him. "C"li\e, dear, do
present nic ! .\ wife has so much in common with a man's old
-weelhi-art.s "

The suri;e of the sea w.a- in Ath.ilie's e.ir-^ a^ sin- heard his
xoice. intleclionlcss. at a ureat disl.nue, ".Mr^, ll.ailcy — .Mrs.
l.aidlie "

'I'liev call men k^'H-'i"! ^^''o perish without crying' out on the
h;itlleheld. l.ul there is no med.al for the wom.in who comes
hravelv thru the af^cmy of a momcnl like this without wincini;.
.\thalie l:un;heH. <|uite ;;aily, (|uite naHn-all\. "( ih, no, not
Mr-. Anvthin};,"' she eorrecle<l, "onlv Miss ( ireensleeve "

.slie caui;hl the stricken look on C'live"s face. I'erhaps il
j;,ive her ,i siranfje comfort to feel her Mifferint; was echoed
in him.

It uas hound to come, of course, llie cNplanatioU. the futile

MdlKiN I'lCTl'KI-:

"So small . . ." the strange
tone was saying yearning-
ly, and Athalie held out
her arms as a woman to a
child, "so sweet! But it
needs someone to love it!
Babies must be loved or
they die . . ."

reineniheriu};. "Vou
went without a word —

after that kiss I

saw you in Henry Laid-
lie's arms. What should
1 think?" "Me was com-
forting me — my father
had just died and we
were like brother and
sister."

While Dane's guests
lilayed hridge within the
great room. .Athalie and
Clive walked the length
of tlie |>iazza many times
tmder a cold, winter
moon that was like the
corpse of the palpitant
moon under which they
had kist four years ago.
"I married Winifred be-
cause I wanted to forget
that I had lost you," he
told her, lips set in a
white line, "and as soon
as I had done it the
thought of you came and
lived with us. What-
ever we said or did, you
were there ; it was as
tho I had put another
into your rightful place. Marriage cant make it right for
peojile to live together always, and my marriage i.s wrong —
wicked and wrong !"

"She — loves you?" Athalie asked, "that woman with the red
hair and the red sparks in her eyes?"

"Xo! .She never did," Clive groaned; "she wanted my
name, and she will cling to it. We may as well face fact. She
wont let me go, .\thalie, and I cant stay. What are we going
to do with the mess I've made of our lives?"

He was humble, like a sorry little boy, and she did jiot
reproach him, tho she knew that he was right. It had heen his
blunder, his lack of faith that had made life for him regret,
and, for her. remembrance. "We are going to do nothing."
site told him (|uietly; "there is nothing we can do. I shall go
on with my work, ^'ou will make Winifred as happy as you
can, and we'll lea\e the rest to God."

"Vour work!" he fumed. "I — yes, I hale your work. It
takes you away where I cant follow. I'm .so earthly, .\thalie —
men are creatures that live pretty close to the ground, and I
cant substitute dreams and ideals for things 1 can touch. I — I

w;mt to touch you, .\thalie "

Htit he held his hands rigidly at his side, and only his glance
kist her lifted face. l*"ven in the days that followed, when he
came to her grey-;ind-mahogany drawing-room again and again,
because there was no strength in him to stay away, he never so
nuich as laid a hnger uiion her hair, tho the want to do so
shook his great frame piteously. .After a hit she gave up beg-
i.'in'; him to stop coming. .She lived such a strange, unworldly
life ;nnong her crvslals and visions that it did not even occur
lo her ]ieople could think unkindly of his coming. Hut Wini-
fred read in their friendship the evil of her own suspicions,
.ind, being an essentially practical young woman, determineil to
coin the -ituation t<i her own advantage.

"lie'- -ceing ih.at fake fortinie-tclling woman almost every
d;iy '" -he loM \rnold W'.iyne \iciou-l\, just .aflcr thev had

(l--ifltj-.iix)

CLASSIC

<line(l tiij,'ellier at tlie Kitz,
"and last night, what do yon
lliinkr He actually came to
nie and asked nic to release
him! He said we weren't
niakinf; each other happy —
happy! 1 told him I was sat-
isfied with my end of the har-
yain, and was livinij up to it" —
she cast a glance at the hand-
some, cynical face opposite,
almost eager — '"if — if you
wanted it, tho. Tony."

Wayne lighted a cigaret be-
fore he answered. His eyes

avoided hers. "Oh. come now, Winnie! I thought we'd
argued that out long ago! Things are pretty comfortable as
they are, what's the use of changing at this late day.' It isn't
as if — there were any reason, you i<now."

The light went out of the sliallow eyes, like a blown candle,
lea\ ing them cold and dark and empty. "No, there's no reason
— now," Winifred agree . lifelessly beginning to draw on her
gloves. Her face hardened. "\'ou men make me sick! N'ou
think yuu can toss a woman aside whenever you're done with
lier, like an old shoe. But I'm not going to be tossed! .\nd
what's more, I'm going to drive that irctitnrc out of town!"

She was a vindictive wnman. and she hated Clive because
i=he was married to him and not to aiKJther. There was no
one she could hurt except .\thalie. and the pent rage of dis-
appointed love and humiliation must find an outlet. So she
went deliberately ;il)out the ta>k of Inirtiny .\thalie. The news
]iapers were temporarily out of a sensation, the district at-
torney needed political backing. ,in<l the ni.atter was really
(|uite simple, after all. .\ test of .Xihalie's mediumistic pow-

.•\'fH.M,IK

Kicliotiized from the scenario by Jack Cohen a(lai>tcd
from the iiii\el I)\ Robert \\'. Chanihers. Directed liy
Sidney -X. l-'r:ink]in Prudiiced !)\ Mrixllow cr, TIic c^-^t :

.\thalie (ireensleexc S\ Kia Hreanier

Clive li.iilev ....('Miirad \ai;Ie

.â– \rni>l(l Wayne Kc.lierl Cain

Captain I )anf Sam Dctirassc

Winifred llaile> Kusemary Tbelfv

Mr. Hailey. Sr Kdward Martindcl

I%li''ha Syme-- I'red Warren

ers was demanded and .ar-
ranged for, despite Clive's
white anger.

"Let me take voti out of

tl

tear

he raged, while they
waited for the others in the
little drawing-ro(nii. "There's
still time! What do «e care
fin- any one else in all the
world.' We'll go to I'.urope,
to Italy, to b.gypt. where we
c.-mt hear anything they say —
come with me now, .\thalie!
Doni submit to this test! It
will kill you — let me take vou
out of this ! Sow!"

r.ut she iiut him aside, gently. "I .im init afniid, Clive. I've
never [iretended an)thing. I'xe only tried to hel]) people when
I could. \\'hate\er liappens, 1 k>iow — I know it wil' be all
right."

She faced the battery of ciuel eyes with un.issuming sim-
plicity. "What do you w.ant of me?" she asked lliem, llio she

triumphant f.-ice.

looked straight at Winifred
show you what you ask r"

"Hy telling us," Winifred answered vindictively, 'Isoniething
that has already happened, something that no one knows except
the one whotn it concerns. The future wont do for us. It
cant be i)ro\cd, and you will
have to pnK,- yourself, .M.-id.imc
.\thalie!"

".Something — that is passed,"
the girl's tone was dreamy. Her
gaice, still on the handsome.
(CoiU'nnicd on pai/c 04)

"If you love me, Clive,
you cant lose me," she
said. "I'll be near you all
your days and nights. Be-
cause the love part of me
wont die"

(l„,usr,r,,J

The Coming Collier

By
C. BLYTHE SHERWOOD

IT was my first day in Hollywood — and, incidentally,
my first day of sunshine. Months of slush and storm

had passed since last I'd romped, a pagan of the sum-
mertime, abandonedly in exercise and perspiration. A
bov passed bv in comfortably soiled flannels and a ditto
sweater. He was swinging a dreadnaught drive'-,

"Is there a tennis court near here?" I asked.

"Indeed, in hack of the hotel — nice and sunny, too.
If you want to jilay. I'll be there with a friend of mine,
and you can join u.s."

A mussed rush on the trunk followed, and a general
scurry ; and on the courts this chap offered that we
double up. "Let's take the sunny side," he advised.
"Sunburn will do you good."

"Rut your nose '" It was extravagantly peeling.

"What's a little grease-paint, more or less?" he re
torted and started the volley.

.\ few points., a few faults, a few games, the
usual deuces and the usual darns, then, "Where
do you come from, jiartncr'"

"Kew York."

He dropped his racket, "lireat Scott! Now
we can form an Eastern club." He picked up his
racket. "That's my country, too!"

photographs by Lifshey Anderson, X. Y

Buster Collier, whose
pictures used to run in
all the magazines sit-
ting on his father's
knee, is now a player
of great promise. Be-
ing the son of William
Collier, one of our best-
known comedians. Bus-
ter naturally displays a
deep tendency to the
serious side of life, and
expects some day to
become a great pro-
ducer

The young Mr. Carr opposing us.
single-lianded. was from Washing-
ton. For the moment, he didn't
count at all.

"How's the new^ 'Midnight
Frolic'?"

I told him and he served into the
net twice.

"How's 'The Hottentot' going?"
I reported. He cut a gorgeous
slam.

"Ciee. it's great to meet someone
who can talk your own- language."
and he suggested that we quit play-
ing. Under the shade of a sheltering palm he continued, "How's Fd
Wynn? Who's ahead for the h^iuity president' Have you seen Dick
Ra'rthelmess ? He'soneof mvbest pals? How'sMary Hay .' Where'r, . . . '
"Sav, Collier, I think I better be going. So long, old man," and our
Washington victor, (the score was something like 50-40), disappeared.
"Collier?" I stared at him.
"Yes."

"Buster Collier, whose pictures useil to run in all \he magazmcs
sitting on his father's knee.'"
"The same."
"William Collier. Jrr
"No other."

"Oh. Lord!" ... (I had been playing such rotten tennis.)
Ry fanning his racket, he brought me to . . . He was impatient to
iiear more. "Tell me ..."

Rut when my voice returned, I managed to summon enough strength
to inquire. "Why your mention before of grease-paint? What are you

doing here?"

"What everybody else does — movies. I am
{Cnntinucd nn page S2)

under contract with

(Fiftii riqht)

1 notniKJUS

ni'ver real.

tliiir -iceiia-

llieir first

steal ('\ery

use
alwav

Sltl

mega-

i wear

ill the

in his

'I'iri' CliNKMA

Crkdo
1 \rilh all due apol-

(u/ies to Messrs.

Menken and

Xnthan)

That every movie
star either has a
divorce or is get-
ting one.

Tliat vampires
always luirn in-
tense arouiKl their
homes.

That villains are
always kind to their uives

That It'adini; men lead
liM-s.

That cinema kisses are

That directors tear ii])
rios hefore "shontinn"
scenes.

That scenario editors
i,'ood plot that apjiears.

That directors always
phones and camera-men
their caps reversed.

That douhles always d
darinjj stunts while the star
limousine.

Thai interviewers always
limes with the stars — said
liciiifj omitled from said interviews

That home i)ictures of the stars are
faked and that anyhody's home is bor-
rowed for the eminent one to pose in
front of.

That Mack Sennett bathing girls cant actually
swim.

That scenario writers never on any occasion
read the novel from which they make their script
adaptations.

That feminine stars go to bed at nine o'clock
because any dissipation shows the next day.

That tears are always produced by onions or
glycerine.

Thai a screen star cant walk down the street
wilhoul drawing a crowd.

.\ FARKWl-.LI.
Hv Jon .\ II.A.M.o.N

Ilarletpiin and Columbine.

Hand in hand with yesterday,
\'anish o'er the sunset's rim,

Dancing all the way

( )nce love kindled at her laugh.

Maidens' eyes were soft for him.
Hearts were young then ; now. alas.

Memories grow grey and dim

.yt^v:

Double Exposures

Conducted by F. J. S.

o u k f a v o r i t f.

momknts of ti"^

Month

.\ dull harem af-
ternoon as depicted
in "The Kight to
Love."

Mae Murray's
robe dc unit in the
same.

; have gay
gay times

"What Do
Women Love?" i.s
the title of a new
,' |)hotoplay.

.\nil the advertising offers the fol-
lowing suggestions: "Kisses' Clothes?

Jewels? Cavemen' Home?
dren ? Romance ? Adoration "'"
Take your choice!

Chil-

And
come.

the desert island cuties still

1 f the cinema has (iroduced any-
thing more apjiealmg than those close-
ups of Lila Lee in the final moments
of "The Prince Chaji,'' we want to
know about them.

Thinos Wi'.'ri-: Tiri:i) Of —
Close-ups of bottles of home brew
exploding.

Vera Stedman in Christie
Comedies

.\llan Holubar. the director, cnMrib-
utes the following advice to extra>"
attending a movie reproduction of a
Kitz recejition :

"Do not lift your dancing partner by her ears.
"Do not drag back your right leg in making a bow.
"Do not nucjge your hostess in the ribs to .ittract her
attention.

"L'nder no circumstances must men playing 'diplo-
mats' engage in fist fights while the camera is clicking.
"Dowagers must not shoot craps with the property
men ; it interferes with their work.

"Dinner guests must not eat all the food until it is
certain that a retake will not be necessary,"

THE END OF SUMMICR
Hy Tiii-xMA Stii.i.son
I never knew a dance could be

So sweet a thing before —
The viol's throbbing ecstasy.

The gleaming stretch of floor,
llu' little breeze whose melody
Crept thru the opened door —

Harle([uin and Columbine,

Uncrowned rulers of romance,

F""ade like half- forgotten dre.-ims.
Dying in their final claiice.

Hut the world heeds not nor cares —
Days of dreams are done for ay-

.\nd the player folk ])ass on,
Hand in hand with yesterday.

That pl.iyers really use the
things they approve of in the
magazine advertisements.

'I'hat stars never say the
things credited to them in in-
terviews.

That a st.ar frequently
changes the whole motion
jiiclurt story .-iround. if it
doesn't suit her or somebody
else gels a good chance.

That (iriffith directs his pic-
tures, from notes written on
his cuff and that he never
uses a script.

' lulside I knew were starlit skies
.\nd summer's scented dusk ;

Hu*, gazing U]), I found your eyes.
/\ f'-agrance sweet as musk

I'pbore me into Paradise.
The world was but a husk

I never knew what fragile things
Life's fairest treasures are;

How fleet the wave whose passion tliiig-
Hcr beauty on the bar;

()ur love, as frail as moon ninlh's win;;^,
Was dust upon a sl.ar.

I I'iftij ninri

Johnny Jones

By FRITZl REMONT

When told to stand for a "still," he looked about eagerVj- for a
stick to whittle into some pet toy, and whipped out a tremen-
dous jack-knife, the sort one gets as a gift when purchasing
"American Boy" clothes. Johnny would make a fine magazine
advertisement for ready-to-wears. He photographs heauti-
fullv, with his bright, big grey eyes, which are as alert as those
nf a sipiirrel. and his brown hair slays in place jWii';; he slicks
it down with lots of soapy water, he admits.

There's no neglect of Johnny's education, for the Los
.\ngeles school-hoard has set aside a number of teachers who
look after the three K's for the studio kiddies. Johnny dotes
on Sallie Svkes. his schoolmarm at (ioldwvn. ."rounds like a

Hli..l,>i!r:ipli liy ClarciKc S. Hull

'ii.vr i-^n
his II a 1
k n o w ,
c.iu^e it i

mcmlicr. i^ lypic
.\mericaM..uid please^
I'.oolh I'arkingtnn. who
wrote "I'.dgar" especially tij
lit the licihlwyn boy-star.
Ii.-ill so think of him.
I'.ciidcs. the i«n\ers that be
wont divulge liis real name.

and all that one knows of Johnny Jones' previous history is that
he <liil a bit with Mary Pickford aiicc. and appeiired in some
of the I'ranklin kiddie ]iiclures. Xobndy knew much about
lohunv. but he iirescntcd himself among about four hundred
i.tber iitlle hovs for Booth Tarkington's critical ins|)ection.

The author' had in mind a well-behaved little boy, one who
w<ndd be pepful and thoroly .\merican. but oliedient. able to
act :ind r|\iite original. Casting director and Mr. Tarkington
sorted thru the entire aggregation and finally hit on Johnny
\„i\v<. whom ihev bad seen in '"Hie Walls of Jericho."

jobmiv's famil'v consi.sls of a well-to-do business man father,
a V.iung mother' and a tiny sister. He 'has been sensibly
"rai-eil" an<l still retires at eight-thirty without a munnur.
Ili< parents have taught hiin to be •^elf-reliant without, resort-
ing to forward behavior, and I'apa Jones is always saying:

".\"W. Johnny, dont get a swelled head because you are an
actor. lust remember that there are hundreds of other little
bov-^ wlio coidd do the part just as well as you. and the minute
voii think vou are )/, vou are going to be fired and one of those
'other liov^ will lill vour place. All you have to do is to be
thankful' for this ojiportunity and the interest Mr. Ho|>pcr
• :ke- in vou."

I belie'xc Johnny Jones would be plain and witlwnit conceit
wn uiihiiul p.-irental ;ulnionishmcnls. He's just all boy.

Johnny Jones, the Goldwyn
boy-star, has been selected
by Booth Tarkington for his
"Edgar" comedies because
he, (Johnny) is one hundred
per cent American boy. That
is to say. he is a well-be-
haved, scientifically inclined
youth who adores fishing,
hose-battles, chasing inno-
cently-protesting cats thru
back alleys — and the lavish
expenditure of all his spare
change for ice-cream sodas,
which his leading lady, Lu-
cille Ricksen, accepts most
graciously

stage name, doesn't it;
lust the same. Miss Sal-
lie was born that way.
There are not many in
Johnny's regular class,
Init I ho he's the oldest,
he dnesn't lord it over
I Ci'riiiiiiril III! I^itiic 7(i)

Another
Comedy
Deserter

The Christie Studios follow an interest
inff and unusual custom in loaning their
comedy players to various dramatic
organizations. Following out this idea.
Dorothy DeVore was recently 'farmed
out" to the Charlie Ray company. Now
Miss DeVore is playing the leading role
ot Mary in "Forty-Five Minutes From
Broadway"

Miss DeVore estab-
lished herself in Chris-
tie comedies and, if she
scores in Mr. Ray's vis-
ualization of the George
M. Cohan drama, she
will very likely follow
in the footsteps of Bebe
Daniels, Gloria Swan-
son, Alice Lake, Betty
Compson. Mary Thur-
man and many other
comedy charmers now
dedicated to Art. (with
a capital A)

(Si.rh, I

Pacific Coast Paragraphs

By
HAZEL SHELLEY

â– >TUi)ios spring up as quickly in Hollywood as do

5 dandelions in our best kept lawns back East.

l-".speciallv now that almost every star and star-

irectnr has his own studio, is one amazed at the

increasinjj number and size of the shadow-stages.

( )ut on beautiful Santa Monica Boulevardis the
Hollywood studio, very large and imposing and
really cliarmingly encased in its light pink stucco
exterior. Here Marshall Xeilan is at work on his
newest ])icture, and Dorothy Phillips and Allan
Hokihar started work on their first independent pro-
duclion, only to be interrupted by a severe cold
wliich settled in Miss Phillips' throat and brought
on a nasty attack of bronchitis.

Half a mile beyond is the Jesse D. Hampton stu-
dio, glistening in its white coat of stucco. Here
the einotional Hlanclie Sweet is com|ileting "That
(lirl Montana." H. H. Warner and William
Desmond pictures are shot here also, but
Warner was taking a fishing vacation with
Mr. Hampton and William Desmond had
been "loaned."

.Still farther out is the new King \'idor
studio, a quiet tan-and-brown structure fur-
nished very tastefully. Mr. Vidor is anx-
iou.sly awaiting just the ri(/ht story before he
begins another production. He has two
stories on h a n d,
hut neither ()uite
suits him. Mean-
while, Florence
\'idor is emoting
at the I nee studio.

Down on Sunset
Boulevard is the
rambling, ram-
shackle, green,
wooden Ha worth
studio, which used
to be the famous
old (iriftitli studio ;
it is now fairly
oozing Orientals of all sizes and ages who
parade the streets during every momentary
lull in the screen production of Otis .Skin-
ner's "Kismet," which Ciasnier is producing
there. .\nd just op|iosite is the Charlie Kay
studio.

Kay is a very serious worker, and for that
reason objects to any visitors whatsoever.
The other day I was made one of the fortu-
nate eNce))tions. and when I slipped in on the
ban(|uet scene for "l-'orty-rtve Minutes from
Broadway." I was very interested 'n seeing the charming Kay
bent over a piano, playing the same tune sturdily over ;nid
over again, while he waited for some lights to be adjusted. It
seems that he had to play the piano in the jiicture, so he look
essons and wasn't satisfied until he could play the exact piece
correctl)'. Persistency is one of Ray's chief characteristics.

When the Hglits were repaired, he acted a scene at the table
w ilh I'.ugenie Bes.serer, that excellent actress. He has a way all
his own f)f going over and over his comedy business until he
attains the exact result he wislies.

n direct contrast to the slow, careful, pain.staking manner of
Kay is llie (piick, heartv method of Donald MacDonald, who
sup|iorting Charles Kay in his "Forty-Rve Minutes from
roadway." Donald MacDonald is a native of Brooklyn; in
fact, used to live o])posite our very own editor. .Mr. Breu^ter,
(Coiiliiiiicil on f'lii/i' '>2)

Top, Bessie Barris-
cale's foundation of
success; center, Mil-
dred Moore, Univer-
sal leading woman,
whose life is one thrill
after another, stops to
powder her nose be-
fore taking the next
leap; below, Eileen
Percy, Fox star, en-
hances the beauty of
the California beach

(Sixty-two)

Why his downcast eyes spoiled her evening

Has this ever happened to you?

WHAT ;i good time she was having!
I'.verv minute she was growing more
elated b\' her success. Her partner was
absorbed in her conversation, charmed with her
chic, enthralled by her beauty.

Little by little she grew conscious of other
eves. She glanced to the right. The man at her
other side was gazing intently at her hand.

Quickly she doubled up her fingers. How long
hud he been staring at those nails? Had other
people also noticed them?

Gone was her peace, her unconscious gaiety.
Every eye seemed fastened on her rough cuticle
— on that one wretched little hangnail. What a
horrid evening !

You can never know when people are looking
at your fingernails. Every day, often when you
least suspect it, you are being judged by them.
People no longer excuse ill-kept nails. They
know that nowadays it is very easy to keep your
nails lovely.

Thousands of busy women the country over
are learning to look after their nails with the
same regularity that they do their teeth and hair.

Fifteen minutes' care, once or twice a week,
will keep your nails looking always well groomed.

But do not cut your cuticle. The more it is
cut, the thicker and tougher it grows — the more
sore and unsightly it becomes.

You can keep your cuticle smooth, firm and
even if you manicure your nails the right way.
Wrap a little cotton around the end of an orange-
wood stick and dip it into the Cutex bottle.
Then gently work the stick around the base of
the nail, pushing back any dead cuticle. Wash
the hands, pressing back the cuticle when
drying them.

For snowy white nail tips apply a little Cutex
Nail White underneath the nails. Finish your
manicure with Cutex Nail Polish.

To keep the cuticle soft and pliable so that
you do not need to manicure as often, apply
Cutex Cold Cream at night

You can get Cutex at all drug and department
stores in the United States and Canada and at all
chemists' shops in England. Cutex, the cuticle
remover, comes in 35c and 65c bottles. Cutex
Nail White, Nail Polish and Cold Cream are
each 3Sc.

Six manicures for 20 cents

Today send two dimes with the coupon below
and we will mail you a complete Introductory
Manicure Set large enough to last a month. Ad-
dress Northam Warren, 114 West 17th Street,
New York City.

// you live in Canada address h'orlham Warren, Dept.
ijio. 200 Mounlain Street, Montreal.

Mail thiB coupon with two dimes to Northam Warrea,
Dept. 910, 114 West 17th Street. New York City

Street ami Numl)er.

City ami State.

(Sixtji-three)

Where the Brook
and River Meet

By
MAUDE S. CHEATHAM

Till: windows of Lila Lee's dressing-
room at the Lasky studio in Holly-
wood open right into the pejiper trees
that line \'ine Street. Here hundreds of
mocking-hirds build their nests while they
spend their hours in joyful songs and
carols.

"It is quite like 'Swiss Family Robin-
son,' " laughed Lila, "and we are all very
chummy in our little world up among the
trees. Hear those lovely notes !" and,
breathlessly, we listened to the softly
repeated tones with their pensive
sweetness.

"No wonder they sing so beauti-
fully," whispered Lila, "for they prac-
tice and practice — their patience seems
infinite."

rhotORraph t)y Karl Sliuss

The dressing-room itself was a veritable gar-
den, with its glowing pink walls and draperies,
while the fragrance of roses from a huge bowl on the
table furthered the illusion.

Then, there was Lila. looking like a lovely flower in a
gorgeous pink negligee, its satin folds clinging to the slim,
girlish form. Hattie, the efficient and popular colored
hair-dresser of the studio, was diligently curling and
twisting the long, dark hair into wonderful puffs and
rolls, for Miss Lee explained she was scheduled to have
som; pictures taken and "had to be all dressed up."

"Of course, I like to dress up once in a while, but it's
an awful nuisance," .she cheerfully confided. "I always
enioy wearing ginghams and calicoes in my pictures,
they're so comfy.

role in 'Male and Female,' the
best of anything I have done,"
she went on. "That is the kind
of character I like to play —
something serious, but still
comedy — do you know what I
mean ? Yo,u see, all the events
meant everything in the world
to me, yet they were funny to
anyone else. Like Mary Pick-
{Continued on page 80)

(Sixtij-four)

"I loved Tweeny, my

Lila Lee was the big
screen find of 1918, and
for seven years before
that was known to the
admiring "public as
"Cuddles" of vaudeville
fame. Her role as
Tweeny in "Male and
Female" will not be
forgotten soon by film
lovers

Three common mistakes
that mar the skin

Much homeliness is caused by
three common little mistakes

FIRST of ;ill many women
powder the wrong way.
Then they are troubled
all the time with an ugly
glisten.

If pow<lering is to be at all
lasting, the thing to do is
always to apply a powder base.
For this a special cream is
needed, a cream which dis-
api>ears instantly and will not
reappear. Pond's Vanishing
Cream does just this. It is
made entirely without oil. It
\anishes the moment you applv
it, never to reappear in an un-
pleasant shine. Before you
powder, take just a little Pond's
N'anishing Cream on the tips of
your fingers. Now powder, and
don't think of it again. Pond's
\'anishing Cream holds the
jiowder fast to vour face two or

three times ris long as ever
before.

ASFXOXD mistake that
many women make is
failing to protect the com-
plexion from the wind, sun and
dust. Wind dries and roughens
your skin ; sunlight darkens
and coarsens it ; dust works
into the pores and injures them.
You can protect your skin from
this injury by applying the
right protective crearn.

For this purpose, as for a
powder base, of course you
must have a cream that will
disappear and not reappear.
Pond's Vanishing Cream dis-
appears instantly and will not
crop out again in a hateful
shine. It has a special softening
ingredient which protects the
skin. Before every outing
lightly touch your face and
hands with Pond's Vanishing
(.ream. It leaves your face
smooth and protects it from
wir d sun and dust.

BECAUSE you have learned
to depend upon Pond's
\'anishing Cream for a powder
base and to protect the skin
from the weather, do not make
the mistake of forgetting the
im[iortance of cold cream. The
verv oil which makes cold

cream imjiractical for use be-
fore going out is what the skin
requires at other times. ' The
pure, cream oil base, in Pond's
Cold Cream, makes it the most
perfect cleanser you have ever
known. Before going to bed,
cleanse your face with Cold
Cream. You will be horrified
to see how much dirt comes
out. Do this regularly and
your skin will be kept clear
and free from dullness.

Pond's Cold Cream has just
the consistency that is perfect
for working well into the skin,
giving a wonderful massage.

Get a jar or tube of each of
these two creams today at any
drug store or department store.
Every normal skin needs both.

PON D S

Loid Cream ^
Vanishing Crea/n

One ivith an oil haxr and one without any oil

POND'S EXTRACT CO.. 116 F Hudson St.. \.Y C.

Please send me, free, the items checked :

Sample of Pond's Vanishing Cream
Sample of Pond's Cold Cream

Instead of the free samples. I desire the larger
samples checked below, for which I enclose the
reiniired amount :

A 5c sample of Pond's Vanishing Cream
A 5c sample of Pond's Cold Cream

City.

State.

iSi£ty-five)

At the left is Dorian
Romero in a character
study as he appears in
â– 'Love's Redemption,"
while Blanche McGar-
ity. who has the lead-
ing role, is to

at the right

"Love's
Redemption
in the

Making

Edwin Markham, the poet,
appears prominently in
"Love's Redemption." Mr.
Markham in a scene from the.
photodrama

a

^^Bk^^^B^^j^Is^I

. -1

'. ,

h

^ My MM

1

2â„¢

^y

^v-v-c^...,,!

A group of
Fame and
Fortune con-
t e s t a n t s
watching the
film-ng of a
scene from
"Love's Re-
demption"

Siiiiial jihnloKf.iphs lt> Alliin

('S>.j(,/:si.li

ff

1 I

S^or^lJfWer/dicP

TOILET ARTICLES

Select your next gift of solid hory Fiberloid
TT engraves beautifully— and may be inlaid
with contrasting enamels. Will not dent,
break or tarnish. Sold in sets or singly by
high grade dealers.

Fiberloid stamped on each piece like "Ster-
ling" on silver, stands for solid goods and
superior workmanship.

The booklet "Beautiful Fairfax" con-

uining facts for the fait, will be sent

upon request.

The HBERLOID CORPORATION

Advertising DeptiTtmew

INDIAN ORCHARD. MASS.

Sales Rooms; Dominion Ivory Co.

55 Fifth Ave., New York Toronto, Canada

(Sixtf-seven)

f *%f

JSI

Eastern Studio Gossip

Above. George Fitzmau-
rice directing Mae Murray
and David Powell in a
scene from "Idols of Clay."
the much-expected Fa-
mous Players production.
The scene is being filmed
on the Florida coast.
Center, Mme. Olga Petro-
va at her Great Neck,
Long Island, home. Be-
low, Creighton Hale as the
Butterfly Professor, hiding
from a prospective catch
in "Way Down East"

Kl

llial M.ic Miinay li:iv
liiii>lK'(l her l:i>l ( iforijc
ilzinau licc |iv<i(liu"liiiii,
"Idul-i III (."lay." anit sailed fur
I'.ur(i|)c, ciinsiderablc interest
eciilcr- in llie ne\t )ilK)t(i|ilay In
lie nindc by llii- master (if li^'lit
and shade. It-; title lia^ nut yet
hern annimnced. hut it is known
that Diniilhy DieU-im, the
daneei'. lia-^ a leadini; rnle. I'en-
ihvn .^tanlaus, the artist, is
,if,'ain ,i>^i^tinj,' I'itznianriec nn
thi> iniKhutinn. uliieh is heiti;;
"slict" at the l'"il'ty-se\enth Street l';i-
nidus Players stndici in New \iiyk (.'ity.
Lillian dish has started u(irl< ui>'in her
lirst I'rohnian Anutsenient (.'or|Mirati(iii
priiductiiin. and her initial screen et'fiirt
away from the (irillilh hand. Her first
vehicle is an orij^inal .stiiry by .\nthnny
I'anl Kelly, alllii). for a time, she con-
tcmpltited doinjj a romantic costume
comedy. Miss (iish is working at llie
I'lioifraph Hronx stndio.

( )nt at tiie (Irit'fith Maiiiaroiieck studio
I'obbic Harron is busily at work on the
\'ance romance, "The lirass lioul," with
I'.lmer Clifton directinfj. This is his sec-
ond Metro star ]M"oduclion. and ( iladys
Hulette is retnrnin<,' lo the screen as his
leading; woman. C'het W'ithey, who di-
rected his llrst Metro vehicle, is Icavins;
the (iriflith staff. Mr. (iriflilh liimself
has been linishinfj "The Lo\c flower."
with Carol Dempster and Richard l!ar-
thelmess in the le.'uN. .Ml interest here
has centered in the (iriffith repertoire
season at the l-'orly- fourth Street 'I'hea-
ter, where "Way Hown l'a--t" li.ad il-
premiere.

{CkIIIIIIIU'iI 1)11 piiiji- ^1 )

(Si.rtii-riiiht)

TRUMPET

T-RDiVIPJET
ISLAND^

V;,\\

»

This picture, the biggest in the history of Vitagraph, is a magnificent
and thrilling story of love and adventure, fashioned into form for the
screen from one of those delightful and inimitable stories of Gouverneur
Morris. The picturization was made by Lillian and George Randolph
Chester and the master hand of Tom Terriss directed its making on a
stage that had as its boundaries the Atlantic and Pacific Coasts.

Coupled with this effort to give it the very last touch of realism
is an all-star cast, months spent in the making of it and an expenditure
of more than a quarter of a million dollars. It is probably richer in
spectacular value than any story ever transferred to the moving film.
"Trumpet Island" tells the story of Richard Bedell, Eve le Merin-
court and Valinsky. the human derelict. Bedell goes through a period
of hardship and deprivation in which he can find neither work nor the
hand of good fello-wship. He becomes bitter and discouraged. Eve
is taken from the quiet seclusion of a finishing school to wed a man
she loathes. Valinsky, with a perfected invention for airplanes and
starvation staring him in the face, cannot find anyone who will con-
sider him seriously.

Thus these three travel the roads that Destiny has put them on —
Bedell, the Stony Path seeking Success and Fame; Eve, the Road of
with its thorns and Valinsky, the Road of Mud and Muck,
many windings and twistings these three

bringing happiness and content

to Eve and Bedell, while Death

looms for Valinsky at ihe end of

his journey.

Bedell's metropolitan orgies —

his dissipations resulting from a

too-bountiful Luck and a hope-
less Love — his trip to Trumpet

Island to become a man once

more — Eve's fateful marriage —

the airplane honeymoon — the

storm — the wreck — the meeting

which results in the strangest.

the most alluring love story ever

told — from this point on. sensa-
tional levels are touched in the

unfolding of the story of

Trumpet Island.

Roses
After

roads

converge

TRUMPET ISLAND

f Sixty nnir }

TRUMPET ISLAND

M4 .r^^ *-— t. ^ '.-.iTs*.

'-k

One lump, or two lumps?
With or witliout cream?
Whatever the fancy, a cup
of tea is always better
for being served with
Nabisco.

X-

And ice cream tastes bet-
ter, too, with Nabisco.
The cool, creamy inner
layer blends deliciously
with the cream itself.

And, as for beverages,
from lemonade to punch,
whoever would think of
offering them without
Nabisco, sugar wafers in-
comparable?

Sold in tht jamous In-tr-seal
Trade Mark package

NATIONAL BISCUIT COMPANY

Letter of a Leading Man to His
Interviewer

(Conilmicd frotii paije 37)
forth ajjain, sayinj; : "1 siiould like to
take advantage of this opportunity to
state my opinion as regards photographs.
In the coi\rse of one's labors, one often
receive ■• many requests from the most in-
dulgent .iublic for a photograph of one's
self. Of course, one would like to com-
ply with these kind requests, but what to
do in )ny ca.sc, I dont know. I loathe
photographs. I haven't had mine taken
in years, except in my work. That I dont
mind, for then one isn't one's self, prop-
erly speaking, but to a large extent one
lias assumed the personality of the role
he happens to be playing. ... Or photo-
graphs tliat have an artistic substance,
irrespective of being reproductions of
line's features . . . these may be worth
while, but one meets very few of them.
'Hie tragedy of the photograph is that
only the features are re|iroduced, and
the real person is entirely omitted. I have
no jihotographs of my friends. I have
better jiictures of them merely by closing
my eyes a moment and seeing them as I
know' them. If I am like my photo-
grajihs, I dislike being reminded of the
fact."

He concludes, (I mean almost con-
cludes—there are tv\-o postscripts), by
remarking, with rather masculine plain-
tiveness, that he is sure he hasn't said
.â– inything interesting or clever, as one
should in "this sort of thing," but that
"perhaps it is your kind office to make
living substance of even the driest old
bones."

I dont know about the kind office, but
then, neither do I know about the old
bone's . . . Mr. Meredith is a very stal-
wart, very robust, rather Herculean
young man, and there is nothing of the
shrinking violet about him, save the es-
sential qualification of modesty, which
he does seem to possess, quite largely.

The aforementioned postscripts arc as
follows: "I have just received word
which makes it look as tho I am going to
have a sort of company of my own. It
is really thrilling."

The second observes, naively, "I thmk
it looks terrible to say an actor loves
music and literature and is kind to his
mother, etc., even tho this is probably
the case. The discerning know these
things without being told; the others
wouldn't understand anyhow— and there
you are."

A third postscript is mine own. I ac-
cept the responsibility, tho I dont know
why I should. When I talked, or en-
deavored to, with Mr. Meredith, he was
a bridegroom of, I think, five weeks'
standing, and one of the nicest things
about him was that he admitted it with a
blush and the very proudest smile, say-
ing, hopefully, "Dont I look it?"

EUREKA

For tliree days he had licen poring over a
big book, oblivious to the world about Tiim.
Suddenly he gave a piercing cry of triumph.

The movie press a((cnt bad discovered an
adjective never before used liy bis rivals.

(Srvcnli/)

CLASSIC

How Young Is Anne?

{Continued from pac/e, 23)

surprised her sisters in the cliorus hy an
nouncing her intention of "breaking into '
pictures. She went to the World stu-
dios in the East and was cast in a very
small part with Alice Brady. After that
.she went back to her show, danced some
more, and got a call to be in another
picture with Miss Brady. Almost every-
thing Anne has ever done on the screen
has been with her — until she played the
ingenue role in "The Copperhead" with
Lionel Barrymore.

That role, of course, established her.
The Universal peojile .saw her work and
decided to "im|iort" her to their West
Coast studios. .\nd there she was, work-
ing in one of those downtrodden-factory-
girl parts in a story called "The Girl in
the Rain" when I saw her.

One of her outstanding characteristic-
is her un])retentiousness, a somewhat un
usual trait to find among the film-famous.

Her frank admission of her defi
ciencies is one of the most tady delightful
things about her, She admitted that she
bought a small car because she couldn't
aflford a more commodious one; that hei'
"flat." as she styles her apartment, isn't
done up in the most ex])ensive kixur\' ;
that she hasn't a maid at the studio he
cause she's not yet one of the screen's
larger luminaries; that she's always mcirc
or less gripped with heart failure when
she goes into 'he projection room to view
the day's "rusi'es" or film footage. She's
very much in apprehension lest she will do
a "flop," as she terms a failure, and yet
the one thought that buoys up her hopes,'
she remarks, is that she cant absolutely
"flop" until her contract expires — ;it
least, she'll draw her salary until then.

.She isn't very much interested in mat-
rimony, althc) every time she gets a "fan"
letter from a man it gixes her a thrill.
Vet, when she is around men, she says
that they always treat her so like a child
that it makes her furious!

It's .\nne this, and .\nne that ; Anne,
have you your rubbers, and .\nne. aren't
you afraid that you'll catch cold?

All of which makes her think that if
you're small, you must be a baby.

.\nd all of which prompted me to ask
the (|uestinn, "How old is .\nne ?"

That .\mie refuses to divulge. Her
eyes sparkle, she laughs her infectious
little chortle and shakes her head.

"Old enough to know better!" she
•-assed back. "And old enough not to
tell my age."

But at that, with her natural cbirpi-
ness, her bird-like i)hysical qualities — and
the fact that she wont eat certain things,
among them rye bread, which children
dont like — makes me venture a guess.

.\nne is nineteen.- I thought she ua^^.
but when I asked her, she shook her he.id
and mumbled an ominous "Nti-o-o! Lots
older." But I asked Joe Martin, the
monkey, and he shonk his head "ves"
and grinned hjs broadest. And Joe M,-ir-
tin is the wisest birfl on the Universal lot.

He can even tell you what kind of |)er-
fume Pri^cilla Dean uses!

{Seventxjone}

"Keep Your Eye on Jim!*'

"It's not aione what a man does cfurm^ working hours, but ou/s/i^e of working
hours — that determines his future. There are plenty of men who do a good job
while they're at it, but who work with one eye on the clock and one ear cocked
for the whistle. They long for that loaf at noon and for that evening hour in
the bowling alley. They are good workers and they'll always be just that — ten
years from now they are likely to be right where they are today.

â–  **But when you see a man putting in his noon hour learning more about his work, you see
a man .who won't stay down. His job today is just a stepping-stone to something hotter.
He'll never be satisfied until he hits the top. And he'll get there, because he's the kind we
want in this firm's responsible positions.

"Every important man in this plant won out in the
same way. Our treasurer used to be a booUkeeper. The
sales manager started in a branch office up state. The
factory superintendent was at a lath a few years ago,
The chief designer rose from the bottom in the draftinu
room. The traffic manager was a clerk.

"All these men won their advancements throuch
â– pare time study with the Internationai Correspondence
Schools- Today they are earning four or five times —
yes, some of them ten times as much money as when
they came with us.

"That's why I say that Jim there is one of our future
executives. Keep your eye on him. Give him every
chance— be"ll make good!"

Employers everywhere are lookinir fdV men who
really want to get ahead. If yoa want to make more
money, show your employer that you're tryinif to be
worth more money. If you want more responsibility,
show him you're willing io prepare yourself for it.

For^Syearsthe International Correspondence Schools
have been trainine men and women riKht in their own
homes after supper, orwhenever they had a little lime to
spare. More than t\vo million have stepped up in just
this way. More than 110,000 are studyintf now. Ten
thousand are startinif every month. Can you afford to
let another priceless hour pass without making your
start toward something better?

Here Is all we ask— without obligation, mark and
mail this coupon, It's a little thing that takes but a
moment, but it's the most important thing you can do
today. Do it now!

n

INTERNATIONAL CORRESPONDENCE SCHOOLS

BOX6751-B,SCRANTON. PA.

Explain, wittidui obUgatins me, how 1 can (luallty for tha pofll*
tlon, or In the subject, hffore whicti I mark X.

QKl.K.i TKll'Ab ^.^OI,NKI'l(

I'.lrcinc l-lRhllngind Killwayi
^tleclric Wiring

l>l«Braph Entcinccr
T Telephone W ork
n.i1l-:('IUM( t'. KMilNERR
Mechunicj] Oraft-iman
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Rine Opctallng

"It

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(lav>. she h.iil tuld iiic over the tolepliDne,
;iii(l tliere were still n miinher i)f scenes
to sluiot for "The Mollycoddle.'' which
she was niakin;; with Douglas l";iirbanks.
The ]iictiire ha<I been draK.i,'i"f; "" f^f
.111 iinconseional)Iy lont,' time, until the en-
lire company were ])rol>ably sick to death
of it. DouK had liroken a finger and .so
h.ad been unahle to work for several
weeks. Then had come his marriajje to
Marv Tick ford and tlie Nevada suit to de-
clare the marriage illeijal by anniiUinji her
divorce from Ciwen Moore. The entire
]Hofession was almost as indignant over
this as were the principals. Thousands
of people have gone to Xevada e\cry
ye;ir for no other reason than to gel
divorces and nothing said. T5ut jtist be-
cause they arc famous. Mary I'ickford
and Douglas Fairbanks may not he al-
lowed their happiness. This was the
general tenor of the conversation wher-
ever the subiecl was discussed, and it
was lieing discussed everywhere. Un-
(loubtcdlv, this notoriety played its part
in delaying the T'airhanks jirodiiction.

\'o. I wasn't in the least sur]irised that
Hetty liouton sliould he late and I de-
cided to wait for her as long as possible.

It was five minutes of four. For per-
haps the ninth lime. I glanced at the girl
sit'ing next to me. a pretty girl with
large, dark-brown eves, set rather far
' a])art. and chestnut-brown hair. Slie.
too, was obviously waiting for some one
' who was very late. It occurred to me
that a conversation with her might re-
I lieve the tedium.

' "I'ardon me," I said. ".\re you, by
; ;iny chance. Miss Ronton?" It was on
I the ti]) of my tongue to add, "I'm sorry,
a chance resemblance," when she an-
'i swered. "Ves, I am," and we shook
1 hands, laughing. !t seems that she had
been there since ten minutes of three and
1 had had me paged four times! .\h, well,
the carpenters had been making so much
noise . . . !
I In the tea-room, we selected a little
I table against the wall, where we could
I talk undisturbed, and while the waiter
I was getting our tea and toast, "cut thin"
I — ("That is a little trick I have learnt
] here,'' she said. "If you order it cut
! thin, they have to make it fre.sh ; other-
w ise vou are as likely as not to get toast
I left over from breakfast'') — I had a
I chance to really look at her for the first
j time.

She wore a dark-blue suit and her
1 blouse was of a lighter shade of blue
linen simolv trimmed will', pleating and
rows of hemstitching. .She wore a con-
servative little hat and veil.

The daughter of a successful inventor,
I'etty P.oulon was born in I'liiladeliihi.i
and educated at the I'niversily of Penn-
sylvania. She and her sister botli took,
.and. for that matter, still take, a keen
and active interest in the woman's rights
movement.

"Fill not much of a moving picture
fan," she said, frankly, when we wen'
iliscussing recent jiiclures.

MOTION PICTURE CLASSIC

A Grown-Up Ingenue

( Ciiiiliiuicd from f'at/c .W)

She doesn't know how long she'll stick
to the acting (ihasc of the industry.

"I'd like to go into a scenario depart-
ment and write continuity," she said,
seriously.

"I'ecause you are tired of acting?" I
asked.

"Xot exactly! But I've been doing it
for a year and a half, and I've never
stayed so long with anything else in my

life.

"I was in Morosco's ])lay-reading de-
Iiartnient for a while. I've also been a
in'obation officer, a social investigator
for a psychological clinic and a secret
service agent, the latter during the war.
"My first job was as an investigator
for :i charity organization in jackson-
\ ille, I'lorida. at a salary of sixty-five
dolkirs a month. It was a very large
.salary for a woman ; every one in the
office told me so. There was one man
esjiecially who didn't see how I could
possililv he worth .so much !

".\nd how we had to work! We even
had dicta] ihones installed so that we
couhl work on Sundays. It was just
case after ca.se of illness and ijoverty.
until I could almost have believed that
iliere w as nothing but misery in the world.
"I began my stage work by going to
.Sargent's dramatic school in New York,
and my first Jiart was with Xat (lood-
win in 'The Merchant of X'enice' as Jes-
sica." .She smiled ;it the recollection. "I
just romped thru that ]iarl, without any
knowledge of its traditions, just enjoying
every moment of it! I shall jirohably
never enjoy a |iart that much again."

h'ollowed ".\marilly of Clothesline
.\lley" and a season of stock at the Shu-
bert' Theater in Newark, N. J. Her
most recent stage ajipearance was with
lierlha Kalich in "The Riddle — Woman."
On the screen, she appeared in "Three
Men ;md a (lirl" with Marguerite Clark;
"Daddv Long Legs" and "Heart of the
Hills"' with .Mary Pickford; "Man's
Fight" and "The Man Worth While"
w ith William Farnum ; "The Final Close-
Lp" with Shirley Mason; "Dont Fver
Marry" for Marshall Neilan and "The
Mollycoddle" with Douglas Fairbanks.

It was during the making of "Dont
Fver Marry" that she married Arthur
Jackson, whom she met in the Alexandria
tea-room thru Rose Mullaney, a Los
.Xngeles casting director.

"I've been married for three months,"
she said, "and I've scarcely seen my hus-
band for as many days! He had to go
to New York to write his new show,
'Scandal,' and I had to stay here and
finish my work with Mr. Fairbanks.
Rut I'm going to join him at last. I
haven't any jirofessional ])lans at all —
just a great many ideas about marriage
that I intend to put into effect at once."

Doubtless, that was just a mood of
the moment. I can hardly imagine her
dropping the thread of her professional
life; she appears much too ambitious for
anything like that.

(Sfrnili/firn)

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MOTION PICTURE

The Convictions of Conrad

{Continued from page 47)
Conrad Xagel was born in Keokuk,
Iowa, in 1890. His father is a composer
of note and also dean of the Higfiland
Park College of Ues Moines, from which
.Xagel received his bachelor's degree
when he was seventeen years old. His
mother, too. is a musician — a singer.
Conrad Xagel drifted naturally to the
stage. While in college, he was con-
stantly producing plays and acting in
them liimself.

In athletics, he won several medals foi
sprinting. An interesting coincidence is
that his first part on the professional
stage was that of a sprinter. He was
supposed to have fallen and had to come
running on with a bad "cut" painted on
his leg. Exactly the same sort of acci-
dent had ha[)pened to him in real life and
tile cut was (lainted over an actual scar.
His first professional engagement was
with a stock company in Des Moines, of
which Fay Hainter was also a member,
t-ollowcd "The \atuial Law." "Expe-
rience," "The Man Who Came Back"
and "I'orever After." While he was ap-
])earing on the stage in New York he was
also making pictures — a strenuous ex-
istence for any one who wants to try it,
working all day and half tlie night into
the bargain. Pictures he has made are
"Little Women"; "The Lion and the
Alouse." with Alice Joyce, "Redhead,"
with Alice Brady ; "The Fighting Chance,"
a Robert W. Chambers story, for Fa-
mous Players-Lasky, and "Athalie." an-
other Chambers story, for Mayflower.

Mrs. Nagel has made one appearance
on the screen, because the director
wanted jtist her type, but she does not
expect to enter the profession.

This, That and the Other Thing

(Continued from page 26)
Incidentally, and this may carry more
weight than even I am aware of, he
admitted it.

"But the .specific thing?"

"Oh — that. I'm looking for a play.
In the market for a play. A speaking
play, something with a character role —
just so long as: " He waved ex-
pressive hands, indicative of the banish-
ment of the aforementioned idol. "A
play that will amuse, first of all," he went
on. seriously, "for, after all, that is what
the theater is for ; that is what life is for.
.\ great play, to my mind, is a play that
thrills, that makes the man or the woman
watching it forget, even if for the mo-
ment, the burden that is pressing upon
him or upon her' 'hat makes that man
or that woman feel a sort of flaming,
sorrowful but wonderful contact and
sympathy with the whole world of tears
and laughter^and the great artist is the
artist who makes that play alive ; the pur-
jio.se of it an animate, vita! one. Forget-
fulness with inspiration is the work the
theater has to do and can do better than
.iny other institution known to man. and
to carry on that work is the gift given to
every artist, to every man and woman in
the drama."

(Seventy- four)

CLASSIC

\Vc talked of a great many otJier
lliings. Marriage, for instance. Mr.
L\tcll believes in the infinite possibilities
of ninrriaye. He thinks the very young
marriage is the serious deterrent to suc-
cessful consummations. The getting-on-
in-life folk not knowing their own minds,
how can the hardb- more tlian adolescent
be expected to? They cant be. And
there you have it ; have most of the trag-
cmJv, most of the divorce, most of the un-
hap]iiness. Not marriage, but the age of
marriage, is the point.

The rest of it nuist go under the titular
heading. It Iea\es a great deal to the in-
dividual imagination, which is what
every good writing should do, to be good,
and which is what every man should do,
to be interesting, and which is precisely
what Mr. Lylell did, to be quite honest.
.\nd there you have it! Exert your
imaginations and let them run riot! You
wont go wrong and you probably wont
go right, but as you wont know the dif-
ference in any case, it wont make any
difference, and Mr. Lytell will still be the
subject of your intensive wondering !

Parlor, Bedroom and Bath

{Continued from pac/e 42)
county, to your state, to your country
.and to your God. sir. We arrest you in
the name of a violated law which means
order. Order! Sir!"

There Avas a sob from the onlookers.
The sob was from one lone onlooker.
.Said onlooker was said wife. She crept
from her sheltering corner. She wound
loving, even passionate arms about the
disreputable Reggie, ."^he faced, dishev-
eled, defiant, the officers of the law, the
"Town Tattler," the Freddie I^eslies, one
or two others,

"He may," .she said, with fine dramatic
int(jnation, "he a disgrace to his county,
his state, his country and his God. He
is not a disgrace to his wife. His wife
who Moves him. His little wifie who
for— who forgives him all. .\I1. All!"

"Oh, d-a-r-1-i-n-g!" .sobbed back Reg-
gie and fell upon her neck.

The "Town Tattler" fell upon her
trusty W'aterman and wrote the witching
hours away . . . and they all lived hap-
pily ever after.

E.\FFLED
By Wright FiEi.n
I kiietl here in this quiet place
A!id g:ize upon >nur calm, dead face,
Xot knowing if tiii^ thitis: lie grid".
()i- wliat I feel iie va^t relief.
I only know the tears I shed
.\re for myself, not for the dead;
1 (inly know, that, all my life,
.'^ince. for some whim, \oii made me wife.
Voiir mind and heart were locked from me.
And tho I sonelit and simpht the ke> ,
I ne\er fonnd it. ne\"er knew
The secret, inner road to Yon !
ncath levels all, they say, yet see.
Ueath has not hroncrht \on low for me.
I dare not sa}' of you, "Afy own . . , ."
The same proud look is car\ed in stone
I'pon your lips. Yon hold me still
Aloof and waitinp:, at your will.
-'\nd secret still you hold from mc.
Half smiling; thus, inscrutahly ....
The path outside was dark and drear.
The inner road was sweet and near . . .
"\'el, still denied the key h>' Fate.
Baffled, I kneel outside the gate !

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HERMO CO.. 512 E. 63ril St.. Dept. 310. CHICAGO

MOTION PICTURE CLASSIC

Johnny Jones — (Continued from page 60)

Buddy Jilcssinger, of ''.Maddin and the
Wonderful Lamp." 'T.alies in tlie
\\'ood" .md "Jack and tlie Beanstalk"
fame. ^'lUi all rcmemher little fat
Buddy, and how funny lie looked tryinf;
to chase villains in those entrancing
fairy-tales?

The one distracting circumstance i.>-
that T.ucille Rick.sen. who plays leads
with Jiihnny Jones, is tlie object of ado-
ration of both Johnny and Ruddy. Of
course, the star has a better chance,
partly because he's older, and again be-
cause bis pocket-money is about double
that of Buddy's^ — and you know the
deadlier of the species, no matter how
tin)', do lo\-e a spender !

joliiiny has a mechanical turn of mind.
Acting is just a means to an end, he
thinks. He is going to be a civil engineer
when he grows up — at present twelve
biriliday candles arc all that he can "blow
out" — but he spends his spare time eii-
inying the mechanical toys which his
f.ither gives him in great profusion. He
has all sorts of building arrangements
and tools and i'tads scientific magazines
with zest. . -

Johnny loves to draw, and one of tlie
funny things I viewed was a cartoon
ibey had discovered that morning, in
which Johnny, as F.dgar. is portrayed as
a pugilislic-looking infant with wings
and a halo that resembles a centipede
more than anything else, taking orders
from Mr. Hopper, who is saying "Noth-
ing like it !" — a favorite expression of the
director's when the children do not get
his idea at rehearsal. They all dote on
their director, and no wonder, for he is
lilay-fellow, story-teller and purveyor of
sweets to them.

Johnny is temperamental, for all he's a
lively lad. P'or instance, they had a vio-
linist on the lot to purvey soft strains,
the sort of cat-calls and woodland trills
v.hich were supposed lo fiithuse a new
star.

johnny Jones stood that soil of music
fnr three days, then he said, impulsively,
",Vw, say, Mr. tlopper, cant you cut that
violin out ? It makes me sick!"

Always obliging, the director got an
accordionist. Cliarlie Fcssi;i, wlio is
brolber to the famous vaudeville actor,
and now Johnny enjoys doing emotional
scenes and gets right into the ;ictl(iii
w illiont dirficuhy.

There arc some awfully cunning uni-
forms for Johnny Jones, one as the gen-
eral, one as the President of the United
.â– -States, in which garb- he lays down the
law to the ."senate. They've built a little
model of the White House just for
Johnny Jones' new picture, and quite as
much money and trouble have been ex-
pended on bis sets as on any that Pauline
Frederick miglit demand.

T saw them one day working on the
Long Wharf at .^anta Monica. The
small village had turned out en mn.tse to
do honor lo a great general's return with
his soldiers. Johnny came marcliing
home in his best new suit, preceded by
the Si-nl-i Monica band of thirty pieces.

He wasn't keen about the gaping .iiulti-
lude. but he did enjoy that noisy band I

Wlien I got a chance to talk to Johnny
again, I said. "Wasn't that great? It
must be lots of fun to wear a suit like
that and pretend you're the biggest inan
in town !"

Johnny looked wistfully at Long
Wharf, where boys and men stood mind-
ing fishing-poles, for halibut and dog-
sharks were a-plent)' that day.

"Aw, gee, I'd give anrthing to cut this
stuff and go fishing," he returned. Later
there's a scene in which Johnny and
Piuddy are permitted to squirt hoses on
each other, and then the real joy of act-
ing begins. No two boys ever had a
grander time! In fact, director and
helpers were drenched when trying to
separate the aquatic combatants finally.

Buddy Messinger laughed and chortled
uiilil his fat sides shook. "Say, Skinny,
iliflja getcher feet wet?" he shouted
facetiously.

"Slim" is the joy of Johnny's exis-
tence. "Slim" is the property man, a
real pal, an understanding sort of chap,
about six-foot-two as to length and one
foot wide. Johnny took me aside seri-
ously and said, "Did \'0U ever hear the
stoiy of the nigger who described a
skinny man ? He said, 'His head is just a
knot tied in his neck to keep his spine
from slipping thru his body!' I always
think 'Slim' looks that Avay — but he's just
cm'fiil nice . . . every other way . . .
.and he may get fat later, you know."
".Slim" helps Johnny make up, walks
about with powder-puff and lip-rouge,
and, as Johnny says, "is just a second
mamma to me — only I've got three
mammas, one at home, 'Slim' here, and
the one in the pla)'."

\'irginia jNIadison, Edgar's mother, is
another who shows keen interest in the
little brood. Taking it altogether, it
really is a wonde'- that Johnny is not
spoiled by petting. Vou just cant help
loving him. he's so human and funny —
and blest with lots of common sense aiifl
good deportment. It would be a strange
thing indeed to walk out of a door with-
iiut having Jolmny Jones rush ahead to
open or close it for one. He is always
finding chairs for standing onlookers,
.iiid doffs his cap in the most cavalier
manner, so that I'm not surprised to find
Lucille showing a tiny preference for
him.

IToneslly, the best time Johnny ever
had in pictures was when he and Buddy
Messinger were allowed to chase a cat up
a set alley while the camera registere<I.
If that doesn't prove Johnn)' is one hun-
dred per cent, .\merican boy, T dont
know what would.

"It was such a wild cat," said Johnny
Jones, ruefully, "that instead of running
straight thru the alley to the back lot. as
we wanted it to, the puss just beat it
right up the fence and across into the
caf<?teria Axindow- — gee, wasn't that tough
luck? .\ftcr\vards we had lo get a nice,
tame tabby-cat for the retakes."
(Cnnlimicd on pac/e 79)

fSivcniy-aii:}

HAMILTON'S PRICES GREATLY REDUCED FOR FALL!

The Garments We Are Showing in Our Catalog Bear Such Radical
Reductions that it Seems Almost Like the Old Days Again !

The Newest Fifth Avenue Styles —

Not ordinary* 'mail-ordcr"garments. Smart-
ly dressed New York women buy them every
dayin our five-storyFifth Avenue building.
New, chic, distinctive styles — at a price that
brings them within easy reach of everyone.

Buy From Actual Photograplis -

No guesswork in buying a Hamilton gar-
ment. You make your selection trom pho-
tographs of living models, showing just
how each garment looks when uom. See
these 300 new f.i'^hions in our Fa 1 1 Catalog.

Costs Nothing to Try

(Seventif-seven)

finary Qarclen

mo

AVOriON PICTURE CLASSIC

Johnny Jones — {Continued from page 60)

Hermo "Hair-Lustr"

• Keep* Ihv Hair DrcMcd'
FOR MEN, WOMEN AND CHILDREN

Tl._ I,. it vli .l.,v .1.,...,! •■ II iin.. -Il AMI-
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"..■H !>• 114

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Buddy .MtN.sin!,'i;r, of ' .Maddin and tlie
Wonderful Lamp." "Babes in the
Wood" .md "Jack and the Beanstalk"
fame. ^'^>u all icnienibcf little fat
Buddy, and how funny he looked tryinj;
to clinse villains in tho.se entrancing
faiiy-lales?

The one distract inj; circumstance is
that Lucille Kickscn. who plays leads
wilh Idlniny Jones, is ihc object of ado-
ration of hotii Johnny and Buddy. Of
course, the star has a better chance,
partly because he'.s older, and a},'ain be-
cause bis pocket-money is about double
that of Buddy's— and you know the
deadlier of the species, no matter how
tiny. <lo love a spender !

Johnny has a mechanical turn of mind.
.Vclins is just a means to an end, he
thinks. He is goins; to be a civil engineer
when be grows up — at present twelve
birihdav candles are all that he can "blow
out" — but be s|>en(ls bis spare time en-
joying Ibe mechanical toys which liis
f.tther gives him in great profusion. He
b.is all sorts of Iniilding :irrangeinents
and tools and reads scientific magazines
with zc'^t.

Jolmiiv lo\es to draw, and one of the
fimny things I viewed wa.s a cartoon
they bad discovered that morning, in
which Johnny, as I'.dgar. is portrayed as
a pugilistic-looking infant with wings
and a halo that resembles a centipede
more than anything else, taking orders
from Mr. Hopper, who is s;iying ''Noth-
ing like it !" — a favorite expression of the
director's when the children do not get
his idea at rehearsal. They all dote on
their director, and no \Minder, for he is
])lay- fellow, story-teller and purveyor of
sweets to them.

Johnny is tcmpcrament.Hl. for all he's a
lively lad. I'Or inst.'ince. they had a vio-
lini.st on the lot to ]>ur\cy soft strains,
the sort of cat-calls and woodland trills
\'. liicb were >upposcd lo enthuse a new
~tar.

Johnny Jones stood that >ort of music
fur three days, then he said, impulsively,
'.\w, s:iy, Mr. Hopper, cant you cut th.at
\ iolin out ? Tt makes me sirk!''

Always obliging, the directfir got an
accordionist, Charlie Fessia, who is
brother to the famous vaudeville actor,
and now Johnny enjoys doing emotion.al
scenes and gels right into the action
« ithont difficulty.

There are some a« fidly cunning uni-
forms for Johnny Jones, one as the gen-
eral, one as the President of the United
Slates, in which garbTic lays down the
law to the .Senate. They've built a little
model of the White House just for
Jtihnny Jones' new ]>icturc, and quite as
much money and trouble have been ex-
pended on his sets ;is on any that Pauline
Frederick might demand.

I saw them one day working on the
Long Wharf at .Santa ]\ronica. The
small village had turned out cii viasse to
do honor ft a great general's return with
his soldiers. Johnny came m.irching
home in his best new suit, preceded by
the S.-nl'i Monica band of thirty pieces.

He wasn't keen about the gaping multi-
tude, but he did enjoy that noisy band '

When I got a chance to talk to Johmiy
again, I said. "Wasn't that great? It
must he lots of fun to wear a suit like
that and pretend you're the biggest man
in town !"

Johnny looked wistfully at Long
Wharf, where boys and men stood mind-
ing fi.shing-polcs, for halibut anc' dog-
sharks were a-plenty that day.

"Aw, gee, Fd give an\1bing to cut this
>ti\fl and go fishing," he returned. Laccr
there's a scene in which Johnny and
Buddy are permitted to squirt hoses on
each other, and then the real joy of act-
ing begins. No two bo\'s ever had a
grander time ! In fact, director and
helpers were drenched when trying to
separate the aquatic combatants finally.

Buddy ?\Iessinger laughed and chortled
until bis fat sides shook, "Say, Skinny,
ilidja getcher feet wet?" he shouted
f.'icetiously.

"Slim" is the joy of Johnny's exis-
tence. "Slim" is the property man, a
real pal, an understanding sort of chap,
about six-foot-two as to length and one
foot wide. Johnny took me aside seri-
ou.sly and .said, "Did you ever hear the
story of the nigger who described a
skinny man ? He said, 'His head is just a
knot tied in his neck to keep his spine
from slipping thru his body I' I always
think 'Slim' looks that way — but he's just
iKi'ful nice . . . every other way . . .
and he may get fat later, }'ou know."
".Slim" helps Johnny make up, walks
about with powder-puff and lip-rouge,
and, as Johnny says, "is just a second
mamma to me — only I've got three
mammas, one at home, 'Slim' here, and
the one in the play."

^â– irginla Madison, Edgar's mother, is
another who shows keen interest in the
little brood. Taking it altogether, it
really is a wondc'- that Johnny is not
spoiled by pelting. You just cant help
loving him, he's so human and funny —
and blest with lots of common sense and
good deportment. It would be a strange
thing indeed to walk out of a door with-
iiut ha\ing Johnny Jones rush ahead to
ojien or close it for one. He is always
finding chairs for standing onlookers,
and dolTs his cap in the most cavalier
manner, so that I'm not surprised to find
Lucille showing a tiny preference for
him.

Honestly, the best time Jolinny ever
li.id in pictures was when be and Buddy
!\Iessingcr were allowed to chase a cat up
a set alley while the camera registered.
If that doesn't prove Johnny is one hun-
dred per cent, .\merican boy, T doiit
know what would.

"It was such a wild cat," said Johnny
Jones, ruefully, "that in.stead of running
.straight thru the alley to the back lot, as
we wanted it to, the puss just be.at it
right uji the fence and across into the
cafeteria window- — gee, wasn't that tough
luck? Afterwards we had to get a nice,
t.'inie tabby-cat for the retakes."
(Cnitliinirii on pof/c 70)

(Sevcnty-siic)

HAMILTON'S PRICES GREATLY REDUCED FOR FALL!

The Garments We Are Showing in Our Catalog Bear Such Radical
Reductions that it Seems Almost Like the Old Days Again !

Direct From the Manufacturer—

Means you pay little more than wholesale
prices. That's why Hamilton customers
have always b.>iiuht for less. Now with
these further radical reductions our al-
ready low prices have been greatly reduced.

The Newest Fifth Avenue Styles —

Not ordinary"maiI-order"g3rments. Smart-
ly dressed New York women buy them every
day in our five-story Fifth Avenue building.
New, chic, distinctive styles — at a price that
brings them within easy reach of everyone.

Buy From Actual Photograplis -

No guesswork in buying a Hamilton gar-
ment. You make your selection from pho-
tographs of hving models, showing just
how each garment looks when iconi. Sec
these 300 new fashions in our Fall Catalog.

Our Money Back Guarantee— We Pay the Postage— Costs Nothing to Try

If a garment is not s.itisfactory in every way, rcti

Y^'ur money l\nk vviilioiic question.

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NEW YORK CITY

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(Sevcntij-sevev)

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This is the scientific method — the modern way of
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Blue=jay

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.^\0â– rl()N PICTUKli

Way Down East

{Continued from page 31)
"Wont yciu please believe me, dear?

Wont you . . . wont you stop ?"

He Iiad kist lier hand and gone away.
.\ftcr a little slie crept away, too. The

ijlow of the coals had grown so dull and

cold.

The next day was the day of the liliz-
zai-d. .\bout dinner-time Martha Per-
kins "dropped around." It was one of
her many — peculiarities. Lennox .San-
derson did, too.

The family enlire collected about the
usually genial board, yet somehow, on
that night, it was not genial. There was
not only a storm without . . .

The soup had just been brought in
when the asperit)- of bearing of Miss
Perkins congealed and became a definite
tiling. Her puckered lips, her darting
glances, each one holding so many ounces
nf actual venom ; her outraged hair, each
liristle rampantly erect, all . . . At last:

"I must say. Squire Bartlett, that I, a
God-fearing woman, believe in limits even
to charity ..."

There was a general stir about the
table. Lennox Sanderson coughed, al-
most, it seemed, imnecessarily. It was
olnious to even the unobservant that
Anna ]\Ioore shrank against the back of
her chair.

Then: "That woman, there," the piti-
less Miss Perkins went on. "is — has a
past. She — she had a child." Whereat
Miss Perkins gargled in her throat and
retired in great confusion amongst the
folds of her mammoth linen handker-
chief.

Squire Bartlett brought his grizzled
brows together. The atmosphere seemed
to hang, for a period of minutes, thick,
definite, suspended, then came the
righteous thunder of his voice, ordering
the "unchaste woman" into the turbulent
night.

It seemed, to the stricken group at the
table, almost as tho a wraith, a .ghost, an
imreality, were passing from them. She
went so noiselessly, so unprotestingly, so
\ aguely and yet so definitely, that it did
nut seem as llio it could be she, delicate
as had been, invariably, her presence
among them. The door closed after her
and a squall of wind and snow whistled
and shrieked in the room for a second
after she had gone.

The silence succeeded her. Then Da-
\'id rose and faced his father.

"I am going after her," he said. "I've
already lost a part of my self-respect in
silting thru your denunciation of the
woman I so love. You "

The anathema his father hurled at him,
llie imprecations, the threats of punish-
ment in this life and hell in the life herc-
aflcr, he did not bear.

The faces of Miss Perkins, Lennox
Sanderson. Kate Brewster, her Butterfly
I\lan, he did not see , . .

He heard only that wraithlikc pas.sing,
saw only that veiled white face . . .

Four hours later he came upon her at
the bend in the river, where tlic ice had

fSercnlucinhtj

CLASSIC

cldyj^cii loo thickly to carry her farther.
She had come to this as a niercifu! outlet
to some wider, more kindly sea where
tliere might be, at the least, oblivion.

He kist her closed eyes, her sweet
mouth, her still hands. He promised her
life and love if she would return from
the dim recesses, the cold withdrawal . . .

â– \nd love is the conqueror, and there is
both a quick and a dead . . . Her eye-
lids fluttered under Iiis breath ; her hands
stirred to meet his ; her lips moved and itt-
tered his name . . . He took her home
... so reverently that they had nau.sjht
to say, so preciously they could but steji
aside, with such an air of One who, Ions
.igo. forgave where love was great, they
could but give their tender benediction.

Johnny Jones

(Continued from page 76)

Docs Johnny love to study? Sad con-
fession, but Johnny does not. He would
rather act than tackle the books — then go
to college — later travel as civil engineer
tlnu India and Soutli America. With
the joyful abandon of youth, with end-
less animal spirits and perfect digestive
jirocesses, he wants to let off steam and
hasn't the faintest idea at present that
the four hated study hours daily with
Sallie .Sykes are steiiping-stones to a
scientific career.

.So the only time I saw him scowl —
altho he was too obedient and polite to
actually demur — was when ]\Iiss Sallie
pulled the small chairs about in a circle
after recess and crooked one slim finger
in a beckoning welcome to her corner of
the stage.

Johnny turned to me for sympathy.
"Did you ever hate spelling? I do. T
lo\e geography, 'specially about the un-
explored countries — the kind Teddy used
tri visit — and 'rithmetic. because an engi-
neer has to learn estimating — but I cant
see what difference it makes how you
spell a word as long as it sounds all
right, can you?" Johnny practices what
lie lielieves in and spells camera with
three a's.

Then he rushed off, whistling gaily —
and when I turned to see why he'd faded
out .so (|uickly, I noticed Buddy dropping
into .a chair beside Lucille, who was
sitiiling her very sweetest.

LYRIC

V>\ John Hanlon

Till- .'I'ilies of m\ dreatn-^ I sift

To fintl a memory
i.'nctiarrc(l b\' pain, without a rift.

.Sonic treasured ecstasy;

Sometime'; the frac:rance of a flower,
l'i;o\ant beneath tiic dew;

Sometiities the rapture of an lionr
With .silence, love, and you ;

A sparkling cohweli's elfin lace:

'Pile echoes of a sonp;;
-\n ntil'amiliar, smilinji face

Amid a sullen tlirong;

Ent this I cherish thru the years.

Its cliarm can never die;
Your hhie eyes clouded up with tears

That day we said p:ood-hye.

(Hevnity-ninc)

Crrx

?»asaafefe.„. ^

But One Cent

Serves that dish of Quaker Oats

When you think of high food cost think also of Quaker Oats. One cent
still serves a large dish of this food of foods.

Other breakfast dishes cost many times .-ts much. Meats, eggs aii<l fi--li,
for the same calory \aluc, average nearly ten times the cost.

No price can buy a tetter food. The oat is the greatest food that
grow.s. It is almost the ideal food in balance and completeness. Its fame
is age-old as a body-bnilder and a vim-food.

Quaker Oats. vvhate\er they cost, would be the proper breakfast. It is
wise for everyone to start the day on oats. But the cost is ;i triHc. ll
means not only better feeding but a vastly lower food cost.

Quaker Oats .should he your basic breakf:ist. h was alvv;iys impnrtriiit.

liiit iie\er so much as now.

Cost Per 1,000

Quaker Oats
Average Meats
Average Fish
Hen's Eggs . .
Vegetables . .

Calories

. 6 Vic

. 45c

50c

60c

Ic to 75c

Saves 35c a meal

Note the cost per calor}- uf some necessary- foods,
based on prices at this writing. The needed breakfast
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(Cciitiiiiicil from I'aijc 64)

liird's Pi>nvanna. in the scenes where she
was scolded and had such a liard time,
they were serious enough to her, but
amusing to the audience.

".'^ome day I want to play big, emo-
tional roles. I .should Uke to be a .second
Pauline Frederick. \\'ouldn't that he
wonderful? I say to myself, tho, when-
ever T begin dreaming, that I'll do what
I, can do best and be satisfied in develop-
ing m_\' own talents. So many girls ruin
their future careers by insisting on play-
ing roles which are absolutely unsuited
to them.

"See my mascot?" and Miss Lee
jiointed to a rusty horseshoe hanging
o\er the door. "I found it here on the
lot and I wouldn't jiart with it for
u-orlds. I always say that I'm not super-
stitious, but I find there are three things
I cant get away from : first, a good-luck
horseshoe ; then. I like to see the new
moon over ni)- right shoulder. Really, I
have noticed that if you do this your
whole month will be happier. Silly, isn't
it? Then, I wont let anyone whistle in
my dressing-room ; that is an old stage
superstition that still clings to me."

"There!" announced Hattie. pinning
up the last refractory curl and stepping
back to Aiew her work. "It looks mighty
nice and you are as sweet as a peach."

"You mvist be a favorite," I com-
mented, watching Hattie's admiration.

"Oh, no ; ne\er believe that. There's
only one favorite, and she's Gloria," (re-
ferring to the beautiful Gloria Sw-an-
son). "The rest of us merely strive for
second place," merrily chided Lila.

- "Oh, go 'long now ; you know I like
all my girls," chuckled the pleased
Hattie'

As Miss Lee .slipped into a wonderful
frock of the new exaggerated hoop-skirt
model, made of lovely shades of yellow
satin and trimmed with bands of ostrich,
we chatted on many subjects.

I enjoyed watching this young girl,
who is fast winning a firm hold on the
hearts of picture fans. There is a child-
like frankness, a radiating sweet good-
humor and an innocent spirit of mis-
chievousness that are all very charming.
She is pas.sing thru the fascinating
"growing-up" process, and alternating
flashes of the poised woman and the in-
genuous girl keep one guessing.

".'^o many amusing things happen while
we are making pictures," Lila remarked.
"1 remember that I ate six big .slices of
liread and jam while we were trying to
perfect one scene in 'Male and Female,'
.and I'll never be able to look at jam
again.

"I have just finished making 'The
Prince Chap,' William de !Mille's first
siieci.al ])roduction, with Tommy Meighan,
and oh, I had a splendid jiart, and Tommy
is wonderful lo work with. I am now
having a nice little rest — except when I
have to come over to the studio and doU-
u|i in finery tn ha\c pictures taken." .and
Lila twirled gaily in front of the long
â– mirror to get a full \iew of her costume.

(MtiliUi)

CLASSIC

She was indeed a vision, for she is a
very heauliful .t;irl, with cleav-cut, per-
fect features, wide dark eyes and lovely
complexion, while the soft curves of
cheek and throat are most alluring.

It is always interesting to learn lunv I
one starts on one's career, and Lila gave
me a glimpse of hers. .She was born in
Xew York, but her motlier being quiet
and old-fashioned in her ideas, they were
far removed from the theatrical atmos-
|ihere, and she probably would never
liave touched it had the family not be-
coine acquainted with Mr. and Mrs. Gus
Edwards. They took a fancy to the
little girl and taught her songs and
dances and later, under the quaint name
of Cuddles Edwards, they made her a
^lar feature of their clever vaudeville
sketches. For seven years Cuddles
[ilayed thruout the country on "big time,"
and, with her natural dramatic qualiiica-
lions and magnetism, she became a great
favorite.

"And your advent into pictures?" I
asked.

"It was when I was in Los Angeles
several years ago that I visited the
various studios," Lila explained, "and.
like evervone else, I became enthusiastic
over motion pictures. On our return to
New York, Mr. Edwards took me out to
see Mr. Lasky ; he had a test made and
signed me with his company. It will be
two years in June since I came out here,
and they have been the happiest and
gloomiest I have ever known. You see.
I thought if my first picture was good, I
\\ould never need worry any more, that
I'd be iiwdc. but I found that to succeed
nn the screen one must keep right on
working and learning all the time. I
realize that my work improves every
lime something happens that develops tuy
nature, that tends to stir my own feel-
ings. I dont believe I knew what emo-
tions were all about when I first began."
]\Iiss Lee lives in a pretty bungalow in
Hollywood with her mother and small
nephew, whonr she adores. "We live
much to ourselves," she told me. "I
guess I became used to that while I was
in vauJeville and traveling about all the
time. I love to read, and my fad is em-
broidering lingerie pillows — I have stacks
of them. Then, I am taking piano les-
sons and studying dancing at the Deni-
shawn School. I love to dance best of
ct'crythiiiij!

Lila went on to tell me that her only
sister, Peggy Lee, was playing in Be-
lasco's "The Son-Daughter" in New-
York, and Lila hopes some day — oh, there
is plenty of time, for she is still in her
early teens — that she can appear on the
great Broadway in a big, smashing play.
Meanwhile, tliis happy, high-spirited
voung girl is growing up into a very
sensible and well-balanced woman, as
well as a beautiful one, and is giving us
some refreshingly wholesome screen
characterizations. There is no doubt tliat
Lila Lee possesses the qualifications for
a successful actress, the best one being
the willingness to work, and work hard!

(Fiflhty-oiie)

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The C' lining Collier

(Coiiliiiiicd from pcuic 5S)

I'anioiis Players- Lasky and have just fm-
i^lierl 'Youn^' Aiiiciica.' to be called 'The
Moy.' Jfy next is with Ollie Thomas in
'Xohody' — sonic fun! We're to be or-
phan, rural, dirty, dislieveled kids. F.
r.-L. is lendinj; nic to Sclznick."

"W'liat does your father say?"

"He's ]>roiid'that I want to do some-
thing. Oh. he's a brick! He even bellied
me get tip my contiact. I must make
good for him . . .

"And mollier." he added. "I'm the
only one they have and the tuo of them
bank an awful lot on me."

There is no ilnulit Iiut that he feels his
filial responsiliility. He intends to do big
things fcr the name of Collier, not fcy it.
He depends upon it for stimulus instead
of support.

The son beliexes his forte to be man-
aging and jiroducing rather than act-
ing, altho he has already appeared with
his dad in a luunber of his hits, and at
the pro])helic age of six disjilayed a
streak of family humor when he made his
debut in "Caught in tlic Kain" by hiding
under an umbrella .nnd carrying it across
the stage.

"I want to be in Uie business end of
the theater. I am practical and commer-
cial enough for that. I want to see a
show. I want to cut out what I know
doe<n't belong and put in what I feel is
lacking. ^ly real desire is to get together
nuisical comedies and ])resent them on a
colossal scale — in coo])eration with my
lather."

The comradeship between tlie William
Colliers and their son is one of the most
unusual — not only of the theater, liut
out of it. P.usler realizes it, too, and
claims his was an unusual childhood, be-
cause he was brought up in a s^tiie way.
The three of them. ((|uoting liusler),
ha\e been ''on the square" — always.
They have not made unreasonalile de-
mands, or argued, or laid down doctrines,
ilogihas and decrees. Theirs has been the
jirinciple to "talk things over.'' He was
never once commanded to "do'this"' and
"you must not do that," hut "do this he-
raiise . . ."His mother has never
wrangled with him, or doubted or mis-
trusted him. From the first he's stood
and talked; he's been placed on his own
and relied ujxm to do what is best for
himself and them. Flis name has always
evoked fidelity. He cannot forget he's a
Jr. and not finly lias something lo live up
to, but to carry out. l"or. .all his eighteen
years of life

The creed imbibed in him h.is been
llioroiie.t.f. His father has persisted that
whatever he lenrn, he learn diligently,
from the beginning and all thru. It was
ihat way when he was taught baseball,
tennis, billiards, pool, and no doubt ac-
counts for llie golf falher-and-son tour-
nament the two of them won last spring.
Hue winter, because of ill health, he had
to .stay away from school, so he went
down to the T.ong Island home and
finally occupied himself with becoming
(Conliinied nn j^age 104)

MOTION PICTl'Hi;

EasK-rn Studio Gossip

{Coiilinued from pai/e 68)

New York has had a number of vis-
itors from the Coast recently. These in-
cluded Lew Cod\', the he-vamp. Mau-
rice Tourneur was another. IMildred
Harris Chaplin and Helene Chadwick
are visitors.

"Rabo" Ruth, the home-run king of
baseball, has been signed by Kessel and
P.auman to make a feature or two. The
first, "Headin' Home," will be released
just about world series time this fall.

Goldwyn signed a Broadway theater,
llie Astor, for the run of its special pre-
duction, "l-^artbbound,' which opened
.\ugust 11th. .\nd they say Allan Dwan
may hire another to show his "The
.'â– ^coffer."

Mme. Olga Pelrova- departed Europe-
ward after a brief vacation at her Great
Xeck, Long Island, home, following an
Cirpheum tour. Mine. Petrova, be it
noted, broke every "previous vaudeville
record all ovor the circuit. Sh; is booked
for a thirty-seveiT weeks' Keith tour next
season. And still we hear rumors of a
return to pictures.

Jus'ine Johnstone has been busy, both
in Florida and at the Famous Players
Fifty-seventh .'street studio in New Y'ork,
on her first Realart star vehicle, "'Rlack-
birds." Jack Dillon is directing and
William Boyd is jilaying the lead.

Hobart Henley, the director, sailed for
F.urope on July 24th, taking along his
bride, who was Corinne Parker, the
actress.

Lowell Sherman, well known on the
stage as a "heavy," has been signed by
Famous Players. He is playing opposite
.Mice P.radv. Recently he was doing
"Way Douii East" with D. W. Griffith',
playing the villain who lures the fair
heroine aWay from the farm.

Whitman Bennett, the independent
]Moducer, jilaced Kenneth Webb under a
three years' contract immediately after
he finished "The ^Master ^Mind," the first
Bennett production- in which Lionel
Barrymore is starred. Webb is now
directing Mr. Barrymore in "The Devil's
Garden" for j\ir. Bennett. First Na-
tional will release these productions.

Doug Fairbanks and his bride, our
own Mary, made a triumphant return
from Europe and were feted and dined
in New York before they departed coast-
ward. Europe is reported to be slowly
returning to normal.

GeraUline Farrar has been using the
old Thanhouser ("New Rochelle) studio
for her Associated F.xhibitors' screen
work. Her first A. E. vehicle, "The
Kiddle: \\'oman," was made there by
I'.dward Jose. Patlie will release it, to-
gether willi other Farrar productions.
.\dele Blood and Montagu Love appear
prominently in the cast. "Many of the
scenes were shot at JMarblehead, i\Iass.
Following its completion, Miss Farrar
went lo the Adiroiidacks with her hus-
band, Lou-Tellegen.

Speaking of the .\dirondacks, Mrs.
Sidney Drew is turning out a number of
stories in her camp at Paid Smith's.

fKiqlitihlwo)

CLASSIC

Carol and Her Car
(Continued from page 17)

"The very first day I drove it to Sing-
Sing. (Miss Dempster lives with her
sister at Mamaroneck, her mother having
(lied Init a few months ago, thus ending
.1 comradeshi)) that was rare and un-
usual.) I know every motor-cycle police-
man in Westchester. They're all awfully
nice to me."

We admitted, (mentally), the discern-
ment of motor-cycle oificers.

"I am uyi at seven these days and out
along the hill roads. I used to ride horse-
hack a great deal in California, but, gra-
cious, I love motoring much more. .\nd
I love Westchester and the Sound far
more than California."

Whereupon JMiss Dempster offered lo
motor us to the Mamaroneck station,
after grimlv remarking tliat she had not
hit anything ninch — yet. We accepted.
\\'hich proves one of two things : either
the charm of Miss Dempster or our fear-
less attention to duty. .\nd (we hope
the owner doesn't re.id this") attention
to duty is something e.xceedingly elusive
on the edge of Long Island .Sound in the
dusk of a midsummer day. Particularly
when said charm is thrown into the i
balance.

P.S. — We hit nothing en route. That
is. nothing that prevented us reaching the
aforementioned station on time. j

And They All Wept!

{Continued from pai/e 44)

Then she came F.ast and, in 1019, went
into the Ziegfeld 'T-'ollies" and later into
the Nine O'clock and .Midnight Revue.

Thus the meeting of Mary and Dick
came about. When Clarine Seymour
died suddenly, Mr. Gritfith decided to
hel]i along the romance by giving ^liss
Hav the role intended for her.

The Barthelmesses have been lioney-
niooning in a little cottage on the Sound,
close to Kve and within easy distance of
the Griffith studio. ( Dick's mother has a
bungalow nearby.") There is just one
honevmoon intruder — a pet alligator
vclept "Nasturtium." And we sort of
suspect "Nasty," as Dick terms him, has
lieeu neglected o' late.

"DITST OF THE DESERT"
By Margaret Caulk Brewster
Dnsl of tlie desert, tawny, golcl.
Klixthniic with life, with jo>' iintnUt
Ydii run. yon leap in tlie mnrning liglif ;
Wiu sleep like a nestled child al! night;
.\nd 1. — a hnman bodied thine: —
Know all yonr heart and tlie song yon sing.

Dnst of the desert, yonr lips are mnte ;
lint the- breath of \onr spirit is lil<e a flute
That has thrilled from ages strange to man.
.\nd calk tlirn the dusk that no thonglit ca^i

snan.
.And I — wlicn the worhl sliall term me dead,
.'shall be one with this Imoyant dust 1 tread.

"\(v hody shall crnmhle. with yours shall merge.
M\ sold with your passionate life shall surgi'.
We shall dance, brave comrades, on pulsinp

sod
In the open reaches touch hands with God.
And all the while iny body shall be
Unst of the desert— exultant, free.

(Eighty-three)

I'll Teach You Piano

In Quarter Usual Time

To persons who have not previously heard of
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who still think that leannng piano
is solelv a prolilem of "finger gym-
nastics." When yon (to go to the
keyboard yon accomplish tteire n â– 
mitcii, because you vnderstand zeliol
you arc doing. W'itliin four les-
sons I enable .vou to play an in-
teresting piece not only in the
original ke\ . but in all other ke\ ,
as " ell.

I make use of every po.ssible seieu-
titic help--many of wliich are entirely
uiilnioien to the average teacher. M\-
patented invention, the COI.ORO-
TtTNlC, sweeps away playing diffi-
cidties that have troubled students for
generations. By its use. Transposi-
tion—usualb' a "nightmare" to stu-
dents— becomes easy and fascinating.
\\ ith my fifth lesson 1 introduce an-
other important and exclusive inven-
tion, QUINK-DKX. Uuinn-Dex is a
simple, hand-operated moving |)icture
device, which enables yon to sec. right
before your eyes, every movement of
my hands at the keyboard. Vou aelit-
atty see tlie fingers move, bistead of
having to reproduce your teacher's
finger movements from MEM()R\ —
which cannot he always accurate —
you ha\e the correct models before
\-ou during every minute of practice.
The COLOROTONK and QUINX-
DKX save you months ami years
of wasted effort. They can be ob-
tained only from me and there is
nothing else anywiiere even remotely
like them.

DR. QUINN AT HIS PIANO

From tlie Famous Slietcti by Schneider.

Exhibited at the St. Louis Exposition

Men .111(1 women «hri liavf failed li.v all other
methods have quietily and easily attained sucee^.
when stndying wilh nir. In all cssi-ittia! \va> -
\on are in closer tnneh willi nie than if yuii were
studviny liv the oral nietliod — yet iny lessons cost
you only 43 cents each — and they include alt ihe
many recent develupmeius in seientilie teaching.
For the student of moderate means, this method
of studying is far stircrur to all others: and eviii
for the wealthiest student, there is nothing hrlU-r
at any iiricc.

rtai

I that your progress is at

the hcst musical thought

( llli.t nuilirs all lite Jig,'re?<

ill

Yen may be ei
times in accord
the present day,
in the world.

Jly course is cndf>rsed by distinguished
musicians, who would not recommend any e.iurse
but the best. It is for beginners or experienced
players, old or young. Vou advance as r.t|)idly
ir as slowly as you wish. All neees.sary music
is supplied without extra charge. .\ ilipluma is
granted. \\'rite today, witli.olt erst ir i.ldiga "

64-pa
Ormoi

1,1.1

â– â– ;;,.

/..

FREE BODK

HowTo

Leari\
i Piatvo

.„«_„„ I Ki,i'; niioK coiTOX ,

QUINN CONSERVATORY, Studio KJ

Marcus Lucius Quinn Conservatory of Music
Studio KJ,.598 Columbia Road BOSTON, 2S, MASS.
GET WELL -BE YOUNG- GROW TALL

' &98 Columbia

\ fro" Ijonklfl. "Ilii

â–  full parlimiliirs n

â–  I'^iithiii OH'tr.

1 Name

Road,

Boston. 23,

Mass.

Willi.

V tu T
V.iiir

â– ;ini I'liim.
I'l.urs.- itiiii

ohIlCiit
tc- OrK

•ipt-fii.

; J Address

MOO An Hour

^^^ — \- -- , -I— C > -., I,,.,

m„Ht imrmrlanl health invo.iticn of tlif c.^ntur»
liiman Budy. It produce- n-rnml spinoa . It li..-

, circulation ami draiiioiju oI tJiL" l>"-l.i It i*ill

1S16 PROSPECT AVENUE. CLEVELAND. O.

VZ Price $2.50

ir Vou Can Tell it From a
GENUINE DIAMONDS<iiilitb.ct<

â–  .MKXU'.W L'lA.MH

Mill

III AlIKM

â–  iK\V.V.\.

t in

FIIEK. (Ciunirili

liiuk' Hllli .111'* <Mr;ir .â– . rii. H â– ,uali.-:iJi' it- â–  ' ' - i i m.iii
Price to Introduce. $2-50, jilus War li i â–  â–  . m

liui. Cents. Il.'iiiv Tii.tili Ut-'lfln-r Hiii-. t'-itji. n -r.^.-
?0.2fil for S:i.l». plus War Tax ir>c. Mountmus arf tuu
flni'st 12 kfinit ;.-nMl llllpd. M*>xloaii T>lniiHin(l<i itn
OITAUANTEEF) FOrt 20 â– \-K.\US, Send No Money. .I'l**!
Minn iu.«fi'jir'l t>r thi^i ml., slalo sl/e an. I Wf will innll at
..iir-c (â–  n n If iiiti hilh r>l I â– .!â– -' â– '!. r*>tii.ri In 2 davt fn.
MONEY BATK. le*. h»-'\'-v •' ■.'■■.■- \el <iuw\. ■ .■^^.'t \T<-»e'\:'^U
..n^l«iie.i«t..ti.i'.-. Wit'.- I..: (■■KI--|..'fii.,i..L- .M.K'-JT^WANTRn.

MEXICAN DIAMOND IMPORTING CO.

Derf. 0A2 Las CruMS, N. Mei

(KirUmu'r ronlrollrra Mrtifan Oiamonita)

l.l IK

\"es. vmi can in:ike %â– ! :in li"ur ;
l.alt' trv. Mahei- itia<lf $51
.iflcinomi. Cfwper ?4.J00 last yeai .
I want 800 more agents .|uick tn
lake orders fur my wonderful new
line of raincoat.s, raincapes :inil
wati^rjirnof apinns.

No Delivering
No Collecting

iiiiiiL

McD.mnngh niaili- $X1.1 in one
inoiith an(t fjrace Irvine eleared
17 in one day.

SAMPLE COAT FREE

Alsu Iicautiful saiuiilcs i.f 64 I'lmst
f.il>rics Kiven witJiDUl cliar^f Write
liiick. .St-nil 111' money. Nn exiierience
' necessary. I tell vmi where to go.
what to <l.. and what u, sav. Wril.^
II..W for full details t>f tins great offet

THE COMER MFG. CO.

Depl. D-31 DAYTON, OHIO

jire YOU

Curious —

— To see your favorite
stars in their home
environment?

— To see a "movie'"
company at work?

To see director, star,
cameraman and staff
actually producing a
picture-play?

— To see what goes
on at the studios,
between scenes?

—To learn ALL the
little secrets of movie-
land?

If SO see

SCREEN

SNAP-
SHOTS

"The News Reel of Filmland"

\

Produced by Jack Cohn in co-
operation with Brewster
Publications, Inc.

Lewis Lewyn. Coast Representative

Ask your theater manager
to book it

^ by [g'^ '^ ^'^^

irr.-SrKra.Tc^s^ ',^,fs.°H«' '= "^' •-* -"•

Screen Snapshots, Inc.

1600 Broadway New York

•\ Ti'XAS Blue B.— Greetings. EveiybnJy *
.xeit.cl about ck-ction. You point with pnclu
to llic extract from Kipliug wlucli reads, 1 Hat
Ivinn proverb wbicli sa\s that the pen is
iniyhtier than the sword." Perhaps, m age.s
tu'conie. liistorv will note that the pen of
President Wil>.>n did more to end the breat
War than all the swords in the universe Von
ean write to Blanche McGarity at this address,
i.r San .\utonio. Texas.

iNi.risiTivK EvK.— y<- stiis fret. So you
want 'an interview with Constance Talmadge
soon Ora Carew is playing in "His Friend
and His Wife." Ve.s. Pell Trenton is star-
ring. You will find Helen Jerome Eddy m
"The First Born" for Sessue Hayakawa.

Swi.F.T SiXTKF.N.— No, T am not angry. Tho
ihon callest me all the vile names in Webster,
still thou canst not r.ai>e mv ire. With all thy
faults, 1 love thee still, and the stiller you are.
the more 1 love vou. I would advise you to
write to the Griffith Studios for her photo.
Tliauks. but 1 take that aire weekly. \\'nte
me again.

.Al.ax M. R.. Bridceport.— I have answered

H. M. P.— So you want more addresses ot
the plavers. Most of them change about so
..fteii that the address wouldn't he correct
when it appeared in print. California and
Xew Mexico are the only states wdierc a mar-
riage license is not recpiired.

\\\xi>.\ .v.Nii .\N\v.— 1 used to drink lemon-
ade every day that 1 could not get buttermilk
hut now' 1 substitute grapefruit whenever 1
can aflford it. because a grapefruit is nothing
but a lemon that lias grown fat and prosper-
ous, ^'ou want to see more of Anna Q. Nils-
son and Wanda Hawlev. 'Nuff said!

t;. T. R. 16.— Dont trust me witli your
secrets. .•\ man who can be trusted with
-ecrets can be trusted with anything, and it is
usually not safe to trust a man who is getting
$9.00 per. Theodr.re Koberts in "The Old
Homestead." Thomas Meighan in "The
Frontier of the Stars," Call again.

Pan KY.— Thanks for the gum. 1 had a chew
on you. No. indeed. So yon live in a dull
town and it is not Philadelphia. But just you
dont forget that happiness is the ability to
recognize it. Remember Ibe Blue Hinl.'

lj)M-.it OF W,\i.i.v Keiii. -Memory is what
makes us vonng or old, Wallace Reid has
one child, and "The Golden b'etter" was pro-
duced in iH-brnarv, 1917. Wallace Reid in
■•The Charm Scliool" and Billie Burke in "The
Frisky Mrs. Johnsim."

NoHoiiv Home.— Sort of an appropriate
name! My favorite player? That's telling.
Theda Bara is yours, Nell Shipman in "Back
to God's Country." You seem to be able to
believe anything you wish. What a lucky crea-
ture! Eiiid Bennett in "Her Husband's
Friend."

W.vxiiv Hawley Fan.— Oh. yes, I am a fine
singer and have a fine range — 1 use it to get
my lircakfast on. ^'ou want Wanda Hawley
on the cover. See the Classic for .\ugust.
, Ruth Roland in "Ruth of the Rockies," Bert
l.vtoll in ".\ Me"ag. from Mnr>,"

The Gkove,— Thanks, old chappie. Mabel
Normaud is not dead. Irene Castle is 27 years
old and as to her salary— nobody knows, ami
nobody seems to care. You say I have_ a wit
which' Touchstone would envy. Who s he .
Juaiiita Hansen in "The Phantom Foe. Write
me some more.

EsTELH E B.— Whv, of course, thats
Marv's own hair, .^nd if 'it wasn't, what s
wrong about it? Marv will continue in pic-
tures Some prominent English producer of-
fered both Marv and Doug an enormous sum
to plav together in a picture, but they refused,
nil yes, "the great philosophers live under
different conditions; Diogenes lived in a tub.
Seneca in a palace, and I live in a hall room.
Why, Marguerite Courtot in "Velvet Fingers
.and' "Pirate Gold." „ „ ,

MvRjoRY Goldfinch, 30 Falcon .\ venue.
West Adelaide, South .Australia, wishes to
write to some of our .\merican girls.

Arthur A. I.— Well, here are just a few
of the leading stage stars who have appcare.l
in motion pictures : Sarah Bernhardt, Mrs Les-
lie Carter, Lillian Russell, Lew Fields, Kdw in
\bles Tnllv Marshall, Robert Edeson, Klsic
Tanis Cvril'Scott, Tames K, Hackett, Betty \ an-
'sen, and" Rose Coghlan. No, Lillian Walker has
not been with Vitagraph for some years. No, I
doubt if Caruso will appear in pictures again.
Beta.— I agree with vou about those gowns.
Some of the players with .good figures display
bad form. Ouch I Ethel Barrymore ^'^1 y.
B Davidson played the leads in "The \\hite
Kaven " Cleo M'adison and Richard La Reno
in "Black Orchids." Marguerite Clark and
William Lorelli in "Tlie Fortunes of Fifi.
Viola Dana and Robert Walker in "The jMor-
lal Sin." You're welcome.

FiLLUM Fan.— I dont know, try Calitornia.
So vou think H. B. Warner dresses in exqui-
site'taste. You are a clothes observer. June
Caprice was on the stage last. Sorry 1 cant
help vou about the contest.

Ei.MHURST.— Yes. things fly in pictures. M
fifteen a girl wants fame; at twenty .she w.ants
wealth ; at twentv-five she wants a Rolls Royce.
Natalie Talmadge is about two years younger
than Constance." Constance is 5 feet 6 inches,
Vour list of plavers who are Jewish cannot be
printed here, 'it is immaterial what one s
religion is.

Helen H.— Perhaps it w^as a slapstick coiii-
edv, and tlien anything is possible. Clara K.
Young is not married now. Elsie Ferguson
is, also Conway Tcarle. Sure, they all like it.
.Vcver an actor born w-ho does not appreciate
applause. .-\s Cowper says, "O popular ap-
plause! wdiat heart of man is proof against
tin sweet, seducing charms?" And since the
players cannot hear you applaud they naturally
like to read it.

FiFiRE.— Enjoyed your first letter very much.
The correct rpiotation is, "Tho the mills of
the God grind slowlv, yet they grind cxceeihng
small; tho with patience He stands waitin.g.
with exactness grinds He all," Of course, I
go in the ocean. Yes. there are several excur-
sions up the Hudson.

(C''iili'iih-fl 'in I'itiir S7 )

(TCiiililiifniir)

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InchcB; 1 Diatler, 123-4 inchcB *— ' -ki.. .t.-h

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,n, .„,Btopen vr-Bftablo dish. 9 1-2 InchcH; I

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STRAUS & SCHRAM.

Dept 1517 We>t3StliSt., Chicaeo. ill.

Easy Payments

30 Days* Trial

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. Enclosed find $1.00. Ship apeclul sdvcrtiBed llO-pteca
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./

>U'f

Ca-.alos, Put X tn the Proper Box Below:

U Fomitore, Rnji, Slovei. Jewelry D Men't. Womeo'i, ChOdren'* Clolhinr

(Eighty-five)

Write the Words
For a Song

Write the words lor a song. \Vc rtvise
song-poems, compose music for them, and
guarantee to secure publication on a
royalty basis by a New Vork music pub-
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poser is a song-writer of national reputa-
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Mai! your song-poem on love, peace, vic-
tory or any other subject to us today.
Poems submitted arc examined free.

BROADWAY COMPOSING STUDIOS
197-F Fituenld Bld<.. Bn>»dw»r tt Time* Square. NEW YORK

ii yj'y^ ' yi

^^^ Says-

â– â– Orcldedly the MMt Wondeiiu)
Nail Poliilt I liav* ev«r uicd."

Velvety; quick; lasting: bril-
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524 E. 20th St. Ntw York

ir rnur ciralvr li tmahls to hude'Iv
you. wnd .iOc for Petit* alxu »llli
his name sud addreM.

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free:

ff

Learn to Play the

UKULELE

\1I ilic l-caiitil"iii Hrtwaiiaii
nicUxlics— all the popular "jazz"
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iir finger tips. Ukulele music i>
allnrint'. it has won a national
piilarity. We supply y/>u with a

handKomc infttnimcnt made
of K«"»"'nc H-iwaiian Ko:i
wo<ni an«i 25 complrti-
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teach voti |o play satis

lorily or rrftind your money.

It inn ice inclu'lrs rverythioR

Send Coupon Now'""""*""*"'J

Inc. I

I finl Hawaiian C«n»«fvatory of Muilc.

I 233 Broadway. N«w Yorit City. ■

! I am IntrrrMrd In itit> I'tnjlrli-. I'K-a^- iljvI mo oomi4t.-lf |

, iiif'Tiiutlnn jli-.!!! V'ur roun*'. |

I riwx

' Writ. fun« inl tddrrss rlesrlrl

<Mlx.

Ihat Youth From Second Avenue

(Coiilimud from /'<7;K' I'J)
comiileted pictures uiuler my aim, I van-
ished oiif day and made a round of the
nintion picltire studios. Shortly there-
after I landed niv first jol). I was on my
way! Nor family nor feud could stop
me then !'"

.•'.\nd you've never wavered in your
choice?"

"Never. Never once."
"You've been unusually successful—^
unusuallv youn^'." I was ihiukiuf; of
his playini;' last season in "Martinique":
of his rel-enl pictures with Constance
Talm.-idjje ; of his rehearsal at the lime of
our talk for his new play to open the
next month.

•I've had my .strugf;le," he told me.
'down to my last cent ; not enou.ijh to
cat; no place to lay my head. I mi^ht
almost say; the gamut. .Vnd I'm glad.
1 dont want ever to forget that side of
the ledger. T dont believe that T ever
will. Just so long as we do remember it
we preserve a balance: we hang on to
the happier today; we appreciate the
awards. It was a priceless experience."
I asked Mr. Coleman whether he in-
tended to keep nn with both stage and
â– screen.

"T want to," he said ; "I am anxious to
establish myself on the stage so definitely
that I may return to it at any time after
.1 lapse."

'â– \\'hat type of work." I said, "in a
i,'eiieral sense?"

"Oh," he said, "in a general sense . . .
for instance, or for instances, Otis Skin-
ner, the Barrymores, Leo Ditrichstein.
William Gillette . . . once you have
.achieved standards of that sort, nothing
short of death or general disability caji
take them from you."
"What of the screen?" T asked.
"The screen," he said, "is for the very
voung; that is, iniporlanlly. After
vouth ... I want to do my best work
on it iimi', but I want, also, to have laid
the cornerstone for all the years that are
coming after."

One feels, strongly, a sense of poleu-
lial prodnclivity in !\lr. Coleman. He is
one of those from whom, reasonably, the
great may come. He is i)ossessed of
youth, sensitiveness to a marked degree, a
|iassion for his work, for life, for the
things of today and tomorrow. He has
foresight and common .sense. He is un-
limited, (illustration, to wit). He says
the feminine plays .i large part in his very
young life. He believes in marrying in
his own profession, because of the ines-
timable bond of better understanding.
The queiy arises: What good fairy was
absent from his cradle of Second .\venue
:il llu- surely auspicious christening?

M.P.C.-A.

DIFFIDENT
By Geokck S. Rkmmell

.\ little breeze sighed.
\nd murmured. "I tried

To whisper your lo\e in lu-r car;
Uut a blustering yali .
With grandiose talc,

Was holding her spellbound. I fear'

DIAMONDS

for a Few Cents a Day

neatly 100 jeu«' expcrfmee and .howB jou millio™ ««
doUani' »orth of jewelry <o ohoo.,. from--and Ih.j miy
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No Money Down

Th,- diamond yon seleet will be sent upon your .imjlo t.-
iuni-mllkouC o p«nnv dnj"- Then .t you do not thioll
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out tjcciue. H you decide to keep it. yonr credit la nood.

8% Yearly Dividends

Yon are aoaranteed an 8 per cent yearly locreaae in
value on all exchaneea. Yon can also earn a 6 per cent
booua. Ttie book tells how.

Write Today

Send your name and addresa today-NOW. Yon will ba
SnJ.rnooblir>tion.Yoa win tecei..oorl28-p.«. diamond
book by the nest mall. Send your name and addraia
HOW to Dcpt. 16-n „ ^^

cJ-MLYON(SGQ

1 Maiden Lane, New York, N. Y.

^

A/ah-s

n

stubborn

^p^ ic^^

hair cosy

to covib.

—

neat and

Belly Parht-r

attractive

Ftiitund in Jiuk yoru'f>rth's'-(i(t<Js and Enih"

Adopted by— Screen — Stage— Society

Became Hair-Dress will make tbe most stubborn hair stay ilia
waj- ynu (onib it aud retain a smooth, dressy appearaiico ilin
entire evtriinc. With Halr-Dress yt'U van comb your hair any
futjiioiiabltj st>'le — Btralght bock— any way you waiit it. Hair-
Dreas will also ulve ti. vour hair Uiat beautiful lustre so muoh
iu vobiid with UU'U aud women of Uie stage, the screen and
society, la harmless and acta as an excellent tonic.

Send for Trial Jar a,^"'triai ^lar.^^" use it nvo

(lavs. II It isii"t jHSl. what you have been lookinn for — send
it back. Your momy will be cheerfully returned to you.
.Send United States stamps, coin or money order. Your Jar of
delicittiily sceutod, greaselesK Hair-Dress wlU be promptly
mailed postpnid. Smd tor tlils wnnderful toilet necessity to*iay.

Send $1.00 lor Three Months' Supply
HAIR-DRESS CO., Dept 310, 920 Windsor Ave., CHICAGO

THE NEWEST STYLE

American Girl Bob

PRICE $9.95

"BOBBED HAIR" ii?o I JJrh'p&L".

What yiiii lime :i'lmlred in fillers you cm now linve wlllniiit emrl-
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Seiiil a fluiuplo of your liulr. Money back if not satisfied.
WALTER HAIR GOODS CO.. 729 Sixth Ave.. New York, Depl. M. C.

Mack Sennett Comedies

Bathing Girls' Real Photos

3x10, Assorted, $3.50 per dozen. Post Card size,
25 assorted, $1.00. Miniature Sets, 15 to a set,
25c per set.

Popular Film Stars

8x10 Three for $1.00; or assorted, $3.50 per
dozen. Post Card size, 25 for $1.00, assorted.

Pottage Prepaid ■ — ■ — ■ ■

ROSSLYN PHOTO STUDIO

447 S. Alain Street Los Anieles, Calif.

(Eifihtti-.iir)

L

MOTIQN PICTURE CLASSIC

The Movie Encyclopitdiu

(Coiilil:ilciI from l>iuir 84)
C). J. B.: Edith P.; A AIf.rry Couhi.i. :
ToiRMAi.iNic; Florence Billings AnMrRER ;
Kii M. D. ; Carolyn F. ; Mak; Tune L. ; An-
nette Y.; MliLHALL Fan; Elizabeth K. :
Master Richard; Jack D.; Francis M. ; F.
G. H. — ^Your questions have been answered
elsewhere. Let me hear from you next
month. Good niglit, and God bless you ail.

H. C. Oi.EAN. — (irectings! Warm enough
for you? (Tliis (inestion is enougli to make
e\-en Job mad,) You can reacli Wallaee Reid
at the Famous Players Studio. Los Angek-..
Cnl. Of course, I ^^â– ant all of \ou readers to
w rite to me. That's what Fm here for. to wait
on you.

(iissir. T. — Ne\ er heard of the pla\er >on
mention. Florence Turner is playing in "Blaclc-
mail" with \'iola Dana. But it is very probable
lliat Job never had to answer questions. Why.
Wallace MacDonald is playing opposite May
.Mlison for Metro. No, he isn't married,

CionnARn \V. S. — Horrors ! You write that
\ on find an inconsistency in "Male and Fe-
male."— Ihat when the party was rescued after
being on the island long enough to grow a
beard, they were all clean shaven. Neverthe-
less, xoh sa\- you hand it to Thomas Meighan
and "Theodore Roberts. Thanks for the good
\\islies.

Hattie H. — You say you vi^ant to keep on
Ibc right .side of me. That's the idea, Fm a
little hard of hearing on the left. What a
'inestion you ask me — Does Dick Barthelmess
care for girls? Hattie! Dont you know that
be now has a wife of his own ! Charles Mere-
dith is 23, and has brown hair.

F. R. F. — Well. I cant say nice tilings tn
each and* every one of my several thousand
correspondents. I haven't enough wit to go
annrnd. But be patient — all things come to the
p.ilient waiter. Yes, Cleo Madison was Judith
.ind Ro--.e in "The Trey of Hearts." while
George Larkin Avas opposite her.

Chin Chin. — Have no fear, ye who enter
here. Sh.vuowlanu has had a wonderful ca-
reer during the first }ear of its existence. You
w ant to set more interview s with Kenneth
Harlan and Webster Campbell. I had a royal
lime reading.yonr brilliant letter.

I'^DNA M. — Glad to hear that you patronize
nur advertisements and that yon ahvays get
what you want from them — s\veet are the uses
of advertisements. Yon refer to Huntley Gor-
don as the doctor and Walter Neelaud as
l-leil in "The Dark Mirror." .'\Iex Onslow was
jerry.

.\1ahik. Hartley. 1a. — I have snch a large
family tliat I cannot remember yon all. Ha\ e
1 met >'ou before? Sorr\-, but I haven't the
east for "Mothers," ,'\l]au Forrest was mar-
ried, but I dont think he is at this w^riting.
I'at O'iMallcN- was the husband, of Madge Ken-
nedy in "The Blooming Angel." By joining
ihe correspondence clubs. Write me. By all
means do.

Wanma axii Anna Forever. — Good! Yon
i;rect me, as Philotlieus. .W\ ha. fair lady, I
thank you I am not acquainted with the
:.;entleman, but it sounds good, and I l.telieve
I'hilo means wisdom. Y^ou say Wanda Hawley
.â– 1 id Anna Q. Nilsson arc a duet of blondes
w bich no other person can match,

St.\T!:EN — Pnit it happens that oil was first
-truck in this conutrv at the Drake Well, Titus-
\ille. Pa., on August 28, 1859. Put not too
iiinch faith in the Answer Man. He is getting
nid and is not infallible. Yes. Jack Mnlhall is
married. I'm sorr\-. Yon refer to King Bag-
'-:iit. Yi>n want to know of what faith is Behe
lianiels. Oh boy! I dont keep a church rec-
ord of the plaj'ers. Fm a busy person.

rsi'i:!'. — You betcha I have buttermilk ever\
mMrni:;g. Food for thought. Thanks for the
jnke. S'es, those 15-inch German guns were
heard 150 miles away.

Cauoline V. — Yes, I guess Anita Stewart
did the jig-dance herself in "Old Kentucky.''
-Mabel Normand has left Goldwyn to go oii
tile stage. Seena Owen is going to have her
own company. It's a sad month that we dont
hear of somebody going out for themselves.
Thomas Meighan is with Famous Placers.
(CinttiiiHcJ on pOf;c 102)

"Ferd, They are Playing Your Song"

Imagine the thrill these words gave Mr. Ferdinand Hohnhorst. ul
Covington, Ky., as he stood on a crowded street, watching the great Peace
Parade, when Meyer's Military Band came swinging along playing his
>ong, "Uncle Sam, the Peaceful Fighting Man." But let him tell his story
in his own \\ ords : —

Chcslcr Music Cuui/uniy Covinglou, Ky.

Chiciiyo, III. 1941 AuijHStiuc St.

"Gentlemen — My song entitled 'Uncle Sa)n. the Peaceful pighl-
ing Man,' that your Mr. friednurn composed and arranged for me, is
making a great hit. In the Peace Parade at Latonia, Ky., Meyer's
Military Band played my song three times, and we have no^c had
it arranged for orchestras and quartelies. and if is making a good im-
pression cveryivhcre. The Foealstyle Music Company. Cineinnali.
Ohio, a concern manufacturing music rolls for player planus, has
taken up my song, and has already sold over a thousand of these rolls
in Cincinnati alone, and are placing them in their bulletin fur April,
which 7vill go to all the different cities.

'M/,v song also has made a decided hit among school children, and
has been introduced into several of the Cincinnati schools. Thank-
ing you most kindly for the services you have rendered }nc. I remain.
Yours very truly, (Signed) Ferdinand Hohnhorst."

LEO FRIEDMAN, Our Composer

of whom Mr, Hohnhorst speaks so enthusiastically

_ is one of America's most gifted composers and the authin ul
many great song' hits, .'\mong his great .successes are "Meet
Me "Tonight in Dreainland," the sales of which reached tin
ctinrmiiiis total of more tli.in two million copies. Others that
feacheil into the millioti cl.iss were "Let Me Call You Sweet-
heart" and "When I Dream of Old Erin." !Mr. Friedman
writes music to words, that cause them to fairly throh with
feeling and musical charm. He has been styled "America's
I'avorite Composer," and properly so, for his melodies have
reached the hearts of millions of the American people, and
Leo Friedman made theui siug.

Why Don't YOU Write the Words for a Song and
Submit Your Poem to Us ?

WE WRITE THE MUSIC AND GUARANTEE PUBLISHER'S ACCEPTANCE.
SUBMIT US POEMS ON LOVE, PATRIOTISM, OR ANY OTHER SUBJECT

WITH A HUMAN APPEAL. We make no charge for e.\aniination of poems, anrl yon
incnr no obligation of any sort, when

yon send your poem in. If onr Lyric !(------"--â– ----------â– ----------

Editor finds it contains a good idea for â– 

a song, he will tell you so. The criticism , CHESTER MUSIC COMPANY

will be fair and very valuable to ambi- • Suite 273,921180. M.ehfgan Ave.. ChK-.^o. 111

tious song-poem writers. z

WHY NOT SEND YOUR POEM \ i.entlemen :-Hnclosed fnid poem entitle.!

TODAY AND LET US PASS ON IT. I

FREE OF ANY CHARGE OR OBLI- |

G.^TION? Yon can never know what â–  f,,,- you,- inspection.

von can do till von tiv. M.\KE ,\ •

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CHESTER MUSIC COMPANY ', y„._.., ijj„.„

Suite 273 •

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r,

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m\ \

The Cellul

(Coiitiinird f>

There is an interesting cast. Wynd-
hatn Standing is the murdered one.
MaltUin Hamilton is tlie murderci; Note
i<evallcs is the imi-nlso, Naomi Childcrs
is the innocmt wife of tlie mm-dcred man
and Lawson P.utt is a fr.end w!,o acts
rvs protagonist of tlic K.ng c.-ecd. Th.u
hinl speaks tl,e tlieory. Of th>s cast, wc
hand the larger p.ntioti of our pra.se to
Miss Cliilders. Never licfore was slie so
warm and moving. Only once or twice
did she lapse from a fine repression

Somehow or other. William de M.He s
visualization of the Kdward People
drama, "The Prince Chap, gave us a
large measure of entertainment. Now,
"The Prince Chap" is not technically
.rood The lesser-known De MiHe s direc-
Tion is along cut-and-dried lines. I he
People stor^itself is basically as tnte as
1 the weekly comic journals and as tai
1 from actuality as a best seller. >et
the thing stands appealing and mgratiat-
ing. even if it isn't life.

How manv times have grey-haired but
distinguished guardians fallen in love
with their pretty wards— in fiction and
tlie drama? Here a young artist loving
and beloved by an American girl goes
nflf to London to study. There chance
forces him to as.sume charge of a little
motherless girl. Tlie child grows up and
l„ve "^lowlv blossoms. The far-away
princess, of whom the artist has many
times tuld tlie child, marries another, as
far-away ladies often do, but the lonelv
artist does not quite believe that his ward
can care for him— the prince chap of her
dream. But, of course, she does, and
things end happily. ^, „ , i.

Out of "The Prince Chap' stands
i little Lila Lee. We frcquendy telt it our
critical duty to comment rather dispar-
' agingly upon Miss Lee when she was first
' thrust upon the screen as a star. But
i Miss Lee had the courage to go back to
the very bottom and start anew. She has
I justified herself in "The Prince Chap.
' Her playing of the girlish Claudia, just
i budding into life, is a charming and infi-
nitely touching study of melting girl-
I «r,manlioud. Anyone who can play so
1 svmiiathetically is sure to go far.

â–  We thought Thomas Meighan ade-
quate as the artist, altho he does not sug-
i;est the prince chap of our conception.
; Xor is Kathlvn Williams rightly cast as
the princess.' But Charles Ogle does
some excellent character work as an old
servitor who follows the prince chap to
! London.

i On William de Mille's direction wc
have commented. Once he even permits
' the plaver who depicts the studio land-
lady to' go thru an elaborate pantomime
indicating eviction when she tries to col-
lect her bill. Subtlety is missing— and
yet "The Prince Chap" stands as good
entertainment.

Allan Dwan's "The Scoffer, (First
National), is above the recent Dwan av-
erage. Here is a sort of comhinalion of
the spiritual uplift of "The Miracle
Man" and the regeneration note of ' The

MOTION PICTURE CLASSIC

liiid Critic

â– oin ptuic 43)
Ki-hl of Wav." His wife having disap-
peared with another, and having been
sent to prison unjustly convicted of an
illegal operation, a young doctor, cursing
Cod and man, goes ofi! into tlie North-
western lumber camps. He has resolved
never again to aid man thru his science.
How his cynicism gives way before the
faith of a' mountain girl and how he
comes to save a little boy from death
form the story. There is a picturesque
scene in which misunderstanding lum-
bermen mob the cabin where he is per-
forming an operation upon the boy.
They destroy his lights before they un-
derstand, in desperation, the doctor
calls upon God for aid. whereupon a bolt
of licrhtning hits a hut nearby and the
resultant fllmies i>rovide the necessary
illumination for the successful conclusion
of the operation.

J;unes Kirkwood is the cynical one
who is redeemed. Somehow his cyni-
cism seems too lightly shaded. One never
(luite believes him so lacking in godliness
as the subtitles try to make us believe.
Noah Beery really stands out as a
drunken lumberjack who gets religion. ^
Marshall Neilan has blended Poe's
"Murders of the Rue Morgue," the re-
cent newspaper tales of transplanted
monkey glands and a dash of journalistic
romanced plus a serial view-point of life,
in making his "Go and Get It," (First
National).

Page your credulities when you go to
see it. 'First of all. there is a wicked
newspaper publisher who is trying to
wreck his paper, owned by a rich young
woman, so that he can buy it m with the
help of the rival publisher. To do this
he 'phones all his news stories to the
rival and holds them out of his own
paper. To the office comes a returned
soldier-reporter and a young and pretty
girl news-gatherer.

At this time the city is startled by a
series of murders. These, it develops,
were committed by a monkey to whom a
surgeon has transplanted the brain of an
executed murderer. This is revealed as
the film unfolds, but Neilan finds it nec-
essary to send his hero-reporter leaping
from aeroplane to aeroplane and from
'plane to speeding train before he lets
him discover the .same thing. Finally the
boy gets his news heat, the unscrupulous
publisher is unmasked and everything
ends happily, for the girl reporter whom
the young 'chap has come to love turns
out 'to be the newspaper owner herself.
This sounds involved. But "Go and
â–  Get Tt" is involved. Lideed. it is almost
"Intoleranceian" in its leaping from
thread to thread. We doulit its wide
success. To us it seems an elaborate ef-
fort to develop a thrill melodrama, and
the effort is apparent all thru. Pat O'Mal-
ley is the fearless stunt reporter and
Agnes Avres is the pretty owner, but the
real honors go to the young and freckled
Wesley Barry, who burns up the produc-
{Cnntimtcd on page 100)

(Eighiit-ogM)

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(Eyglii\j-nine}

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AMlTION PICTURE

The Glass of Youth

(Coiiliiuicd jroiii pui/e .^0)
shall be in me of success, of ])roniisc, I
owe to her. .'^he had a limitless patience
with me, as she has with all persons and
all things — savin;,' only when she is in a
temper."

'Mas she a temper.'"

"Oof !" He threw up his hands and
tnid me of an incident, or more than an
incident to him, when on a tour witli
her. I think it was in Havana.

He had been told, he said, that the tour
was to end rather abruptly. Thinking
the information was to be accredited, he,
in turn, passed it on to someone else.
Madame Bernhardt sent for him and ac-
cused him of misinformation. He a[i-
pealed to her secretary for confirmation
and the secretary denied the truth. The
youthful Gaston told said secretary what
he thought of him, and Madame lost her
temjier to the extent of hurling sonie sil-
verware about and informing Mr. Glass
that he was a fool, would never be an
actor and. in brief, to be gone from her
sight and her company.

Later on, she telegraphed him for his
return — which he did not make.

He told me this with a certain pUiin-
tiveness and regrctfulness. .V certain
hesitancy and fragmentariness. He has
a perspective in it, but the regret he felt
at it tinges his memory still. He has, it
is evident, an admiration of Bernhardt
mixed with love, and a love mixed with
achniration.

"She told me," he said, "that I would
never be an actor. How did I dare to
suppose I e\er would be ? .A.nd I told
her. 'But, Madame, you, you .yourself .
are the one who told me that T
should be an actor, nothing but an actor,
all the time an actor' — and now I have
but the one ambition — when Madame
Bernhardt returns to this countr}', I
want to be playing on Broadway. I
want to make Iier see, I want her to
know that once slie was right and once
she was wrong, but that it was the first
time, tlie early v'ears wherein she was
most ric/ht."

In "Romeo and Jane," the comedy
which played on Broadway for a short
while and which is to return there in the
fall, Mr. Glass made a notable success.
The critics compared him to Lou-Telle-
gen to the extent of warning Mr. Telle-
gen to look to his lain"els. Gaston Glass
showed mc the clipping with this ci"iti-
cism with some glee. "I've sent it to
Tellegen," he said. "I know him. of
course, and I am wondering how he will
take it. Probably," he observed, naively,
"he will be as mad as anything."

When Tilr. Glass first came to this
country a little more than a year ago, he
knew not one word of English, nothing
of pictures and less of the customs of
llie country in general. .\ native pliabil-
ity and adaptability, the artist who
knows all things, all peoples and all con-
ditions without, paradoxically enough,
actually knowing them at all, is respon-
sible for the perfection with which he
has fitted inid the scheme of things.

CLASSIC

screenically, socially, professionally —
every way.

Already, and notably, he has been in
"Oh, You Women," with Louise Huff ;
"Let's Elope," with Marguerite Clark ;
"The Lost Battalion." "Mothers of
Men," with Claire Whitney ; "Humor-
esque" and "The World and His Wife,"
with Alma Rubens ; and "The Branded
Woman," with Norma Talmadge. He is
to do other pictures with Norma.

Previous to his picture work, Gaston
Glass was a pilot in the French Air Serv-
ice. He first came to this country, in
fact, for the French Air Service.

I asked him what he thought was the
difference between the theater in this
country and in his own.

He said, "It is not so much a matter
of studv here. It is almost wholly a
matter of recreation."

I asked him what made him prefer the
pursuance of his art in this country
rather than in his own.

He said, "Money — why not?"

Having no adequate answer to so es-
sentially sane a question, I gave none.

I asked him. further, what he thought
of the American girls, comparatively.

He eschewed the query. "There is
nothing comparative," he said, "about
girls. I adore them — all." He added,
plaintively. "There is just one thing
about the American girls . . . they all
say tlie same thing to me . . . and I do
not know how to take it. Maybe you
will tell me. They say to me, Norma
Talmadge, too, 'Dont lose your accent,
or you will lose your personality.' How
shall I take a thing like that ?"

He was quite plaintive and I had to
laugh. "They all mean it in a compli-
mentary sense," I said, with soothing re-
assurance, "of course . . . but . . .
dont lose it!"

TENDER-HEARTED TILLIE

By Wright Field

Slie never could abide the sight of sorrow.
And other people's suff'ring made her wince ;
.^he once cut off a worm's head in an apple,
And so she never peeled an apple since.
When baking day came 'round she shunned

the kitchen.
The sight of pain she always tried to shirk —
She was so ver}-, very tender-hearted
She couldn't hear to see her motlicr work !

She kept her room religiously on Sunday

Until the diimcr on the table lay,

It hurt her so to see her mother cooking

And serving meals upon the Sabbath day;

About the hammock on the front piazza

On Monday mornings she would always lurk,

While mother on the back porch did the

washing —
She couldn't bear to see her mother work!

'Twas bad enough to watch her parent bending
With aching back above the steaming tub.
Worse still to see her furrovired forehead

sweating
When halls and floors she was compelled to

scrub ;
And when the day for mending and for ironing
Arrived, the sight she felt she'd have to shirk,
And so went shopping — tender-hearted Tillie
Just couldn't bear to see her mother work !

(Ninety-one)

More Bubble Grains

Millions of dishes coming

Direct from the harvest fields we get the choicest wheat that grows.
Then we seal the grains in guns, apply a fearful heat and explode them.
They come out as bubble grains, flimsy and flaky — puffed to eight times
normal size. Yet the grains remain shaped as they grew.

Every night of the coming year millions of children will enjoy this
Puffed Wheat in their bowls of milk.

Three grains now exploded

Three grains are now puffed by Prof. Anderson's process, and each
has its own delights.

Puffed Wheat and Puffed Rice are whole grains. Corn Puffs are
corn hearts puffed.

All are thin and airy — all have exquisite flavor. And every food
cell is blasted for easy, com-
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(Conlinncd from page 62)
li.iii; hflorc either of them ever took any had to fun the plane

niterest m jiictnies. -

.\nd, speakinj; of Ray, I met his
fatlier. who is visiting him at present,
and I want to say right here and now
tliat the elder Ray. straiglit, tall and
handsome, would make a real rival for
his son in the malince girls' hearts did
he ever wish to invade the silent drama.

One of the most interesting stories
heing told around Los .Vngeles these
davs is that of Tony's house. It seems
that the handsome .Antonio Moreno
longed for a real home, a bungalow, .'^o
he went to work and bought a beautiful
little jilace in the foothills. Then came
the task of gelling servants, buying food
and running the ]ilace generally. The
servants imposed on Tony for special
privileges and special hours, and they ate
him out of house and home. Tony found
that buving his own bacon wasn't so
fascinating as he thought it would be,
so he literally threw up his hands, sent
the whole troop of parasitic servants
packing, forfeited his initial payment on
the house and said, "Good riddance."
Now Tony is back at the Athletic Club,
bag and baggage, and perfectly content
to let the other fellow take tlie responsi-
bility. Even the men find that house-
keeiiing isn't what it is cracked up to be.

.\ctually the most thrilling event of
the month in Hollywood was staged
when that daredevil aviator, Lieutenant
Locklear. performed for his Fox fea-
ture. I arrived on the scene just in time
to have a- short talk with him before he
went up in his aeroplane. His flying
field is a flat valley almost surrounded by
(iiu'pling hills. Here a church had been
iniill for the picture and a road wound
past it. On either side of the road tow-
ers had been' erected for the camera-men
and directors. Locklear himself is a
charming Texan, tall, boyish and sin-
cere . . . and he actually doesn't know
the meaning of physical fear. He was
wearing a dinner suit for picture pur-
poses and was as interested in whether
his make-up was on straight as a child
is with a new. toy. Finally the signal
was given that everything was ready and
Lieutenant Locklear vaulted into his
jilane. He had his favorite pilot at the
wheel, because he himself was to do the
stunts. Li the picture he was supposed
to be pursuing a band of robbers in an
automobile. Down the rr)ad past the
church sjied the auto, and thru the air
svyooped the jilane, then dipped down
over the aulo while Locklear climbed out
on the wings and, hanging just out of
reach of the ])nipeller. shot at the rob-
bers. A shuddei'ran thru the vast crowd
of onlookers and jienple held their breath
until he had balanced himself along the
wings and climbed back .safely to his seat.

"Oh. that was nothing," he said when
everybody oh'd and ah'd at him, on his*
landing, and he meant it.

Several times he performed the same
death-defying stunt so that the camera
would be sure and get it, and later he

that one of the
wings knocked down the church steeple.
None of us onlookers dared watch this
exploit, so we'll have to go see the pic-
ture before we know what really hap-
pened. The next thing we knew he was
back safe on the ground, a little out of
breath and saying:

"Gee. this suit is a mess."

May .\Uison's sister, Mrs. Wright, was
a delegate to the Democratic convention
at .San Francisco from Tennes.see. At
the close of the convention, almost every
politician you have ever heard of begged
her to get him a permit to visit the Metro
studio. Poor May did her best for her
si.ster's friends, but she .says she was
quite overcome, for each and every one
of them wanted to know how they could
get into the movies, (mainly in the busi-
ness end).

Speaking of Metro, T saw Nazimova
assist in directing a huge theater scene
for her next picture, "Madame Peacock,"
the other day. Nazimova is another who
allows no one on her set when she is
working. Screens are placed all around
it and huge placards inform one, "Mad-
ame Nazimova .set. .\bsolutely no one
allowed except those taking part." Being
small, I slipped in where angels fear to
tread. Over three hundred extras were
]ilaying audience in a theater scene.
Madame Nazimova's newest undertaking
is assisting in the direction of her own
pictures.

I talked to Wallace MacDonald in a
remarkable duplication of Greenwich
Village's "Pirates' Den." He was play-
ing lead for May .'Mlison in her new pic-
ture, ".Are All Men Alike?" I tried
very hard to get him to admit his mar-
riage to Doris May, which all the film
colony has suspected, but he only smiled,
denied it and then as.sured me that Miss
May was quite the most wonderful girl
in the world. In among the extras in the
scene was \\'allace's younger brother.
Wallace has just brought him out here
from their home in Nova Scotia,, and he
is getting his start and practical training
in that way. He is a good-looking young
chap.

Another interesting young personage
in Miss Allison's ".Are All Men .-Mike?"
is Henry Miller's young son. He looked
very pallid and far from strong to me,
but everyone raves about his histrionic
ability.

.Mice Lake was busily at work on
"Body and .Soul." She is a rather exotic
little creature and a clever actress. She
was wearing a black evening frock and
carrying a blue ostrich fan in the cabaret
scene that was being taken when I saw
her, and in between .shots she could
scarcely keep from shimmying", the
music of the orchestra was so peppy.
!^tuart Holmes is the wild, wild villain in
this picture, and, a queer diing, the hero
hadn't even been jiicked out at that time.
Director Charles .Swickard explained to
me that all the work was the villain's and
{Continued on page 98)

(Nkiety-two)'

A New Art

is calling to people Avho have ideas

Motion picture producers and stars are searching the country for
new workable story-ideas, for there's a famine in photoplays
which has now become acute. New writers — now unknown —
must be developed soon. So this is a call to you to take up a
new profession and win a new success.

SOMEWHERE in America this year
scores of new photoplaywrights must
be developed, and your opportunity to
win success is as good as anyone's.

For literary ability is
not required — one need
never have written pre-
viously for any purpose
whatsoever.

f

Dorothea Nourse
Attributes her suc-
cess as photoplay
writer to the Palmer
Plan.

Ideas about life, imag-
ination, and a willing-
ness to try are the sole
essentials.

Who hasn't thought
while viewing some pic-
ture, "I have a better
idea than that"? And
who hasn't had the
desire tti try to ivnie that better photo-
play?

The thing to do is act tioiv — begin to-
day— learn how to put your ideas into
the proper form for presentation to pro-
ducers.

The Form's The Thing

NEXT to ideas, the most important
phase of this new art is the arrange-
ment of ideas. And that is what is now
being taught most successfully by cor-
respondence through the Palmer Plan —
taught to people who have never written
and who never thought that they could
write.

Note the pictures of men and women
on this page. Learn what they have
done. Only a few months ago they, too,
were novices like you. Only a few months
ago they, like you, became interested, and
sent us the same coupon that you can
send.

5000 New Photoplays
Are Needed

THE dearth of photoplays plots is an
actual one — 5000 new ideas are
needed. The great producers must have
many for immediate production.

For 20,000,000 people are attending mo-
tion picture theatres daily, and they don't
want the same plays twice. This, remem-
ber, is now the world's fourth largest
industry, and is still it's fastest growing
one.

Producers are paying from $250 to
$3000 for successful first attempts by un-
known writers. They must hold out these

Inducements to pet the stories, to develop
neiv 'writers into photoplaywrights.

On this great wave scores will rise to
new fame, and you may be one of them.
Don't think you may not be — "what you
think, so you are," is a truth that all
should seriously ponder.

In addition to those whose pictures
are shown, the following novices have
lately won success under the Palmer Plan:

George Hughes, of Toronto, Canada;

Martha Lord, now staff writer for Clara

Kimball Young; Idyl

Shepard Way of Boston,

author of "Keep Him

Guessing" (Selznick) ;

Elizabeth Thacher of

Montana, author of

"Reforming Betty"

y \\^ (Ince) ; James Ken-

^A '"^ drick of Texas, creator

^ of six stories since en-

6. Lerol Clarke rollment less than a year

Fornicriy a toinis- ago; and Frances W.

ter. SoldBrstpho- Elijah, author of "Wa-

toplay for S3,0U0. j t >i i

gered Love, recently
purchased by D. W. Griffith.

You have as good a chance as these
to succeed and sell your stories.

The Palmer Plan

THE Palmer Plan of Education in
Photoplay Writing teaches the tech-
nique of photoplay writing. It is indorsed
by the substantial men of the profession
because it represents their ideas of the
proper kind of training — and the training
of new writers, they plainly see, is the
industry's vital need.

So on our Advisory Council are such
famous producers as Cecil B. DeMille,
director-general of the Famous-Players
Lasky Corp., and Thos. H. Ince, head of
the renowned Thos. H. Ince Studios. Also
Lois Weber, noted di-
rector and producer,
and Rob Wagner, who
writes of the industry
in the Saturday Even-
ing Post.

Twelve other leading
men and women of the
profession contribute
lectures to the course.

And the best known
players of national rep-
utation who constantly
need new plays, un-
qualifiedly indorse this
eludes personal instruction and criticism

Mrs. Caroline Sayre
She wrote "Live
Sparks" in which J.
VVarreo Kerrigan
starred.

plan. It

by experts in all depanments of the art.
It is of university calibre in all respects.
It brings to you all the best experience
of the practical men of the profession.
From no other group can one learn so
much of the essentials of the art.

A Feature of This Course

THE Palmer Plan also includes a vital
aid to students — the Palmer Market-
ing Bureau, headed by Mrs. Kate Cor-
baley, acknowledged judge of stories and
author of photoplays for William Far-
num, Frank Keenan, Mr. and Mrs. Sid-
ney Drew and many other stars.

This is the bureau to which producers
come for photoplay-stories — the great
clearing house for idea-material for the
screen. Situated in Los Angeles, motion
picture capital of the world, and in con-
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bureau helps to sell your work.

Scenarios are sub- ^flB^

mitted in person by this ml^ '

bureau direct to pro- ^fihl'tt^

ducers, stars and edi- i^k^&

tors. This is an exclu- ^^^^'

sive service available to ^^^P^
all Palmer students. ^^^L ki^^"^^

A Free Book \^1 /

Worth Your Reading ^

Paul Schofield

JF you are seriously a novice a year
interested, send for â– ''eo- Now earning

fu I 1*1 I â–  SI 0,000 a vpar as a

ree book which explams scenario writer.

the course in detail.

There is no obligation. Simply mail the

coupon and completely satisfy yourself.

The demand for new writers is enor-
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calling we know. Mail the coupon now.
See what it brings to you. You'l! be glad
you took this action.

I

Palmer Photoplay Corporation,

I Department of Education,

746 I. W. Heilman Building,
I Los Angeles, California.

I Please send me, without obligation,

I your new book, "The Secret of Success-

! fuf Photoplay Writing." Also "Proof

I Positive," containing Success Stories of

many Palmer members, etc.

I Name

I Address

City State.

I i All correspondence held strictly confidential)

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Athalie

{Continued from page 57)

malicious face of the utlicr woman, grew
fixed and far awav. "There are moun-
tains, white, with cold hlack shadows,

and a hut among them "

Winifred Bailey started, sat upright
,-ind cast a quick, hunted look at the man
lieside her, Arnold Wayne. "What is she
saying?" she whispered. "How does she
know ?"

"So small." the strange tone was say-
ing yearningly, and Athalie held out her
,inns as a woman to a child, "so sweet !
But it needs some one to love it ! Babies

must he loved or they die "

"Stop her! She shall not — oh, my
God !"

Arnold Wayne, his own face grey,
jerked at Winifred's arm. "Sit down!
Are you mad ! She cant prove anything.
It's all guesswork, I tell you !"

But Winifred did not heed or hear.
Her wide eyes were turned toward the
unseeing figure before them, cradling
emptiness in her arms. "See ! Cant you
see it! My baby! Our baby, Tony —
that I left in Switzerland I The old
woman said she was dead, but — I see
her— plainly " and she slid, crump-
ling, down upon his shoulder. With suti-
den tenderness the man took her in his
arms, as one who holds what is his own,
and faced the room manfully.

"I dont know how she guessed our se-
cret, friends," W'ayne said slowly, "but
by heaven, I'm glad! Bailey, it's the
truth. Winifred belongs to me, and I
shall take her. You will have to give her
her freedom, and I'll marry her, as I
should have married her five years ago!"
Pineport lapped up the news as a cat
laps up the choicest cream. Athalie
Greensleeve back, eh? And that city
feller Bailey hanging around, looking like
he didn't see nothing else in all the world
'cept her. Well, jest as we always said,
the city warn't no place for a gal — look
how she's fell away ! She aint long for
this world, that's certain . . .

Clive Bailey was the only one who
would not see that Athalie was very i
He was full of breathless plans for the
future, their future, that they would enter
upon together as soon as the legal for-
malities of the divorce were ended. He
knelt beside her chair under the budding
•-pring orchard and talked eagerly, pas-
sionately, as tho to drive away by the
very impetus of bis words any fear.
.\nd y\thalie listened, smiling faintly, say-
ing little, tho her eyes, on his flushed,
boyish f.nce, were compassionate.

Then one day, he came and threw him-
self down on the grass by her chair and
silently laid a paper on her lap. She read
the first words of it. laid it aside, and
their eyes met. "Tomorrow — this after-
noon !" he begged her, "and then — for-
ever afterward, oh, my dear! my dear!"
"t think — I have been waiting for
this," Athalie said faintly. "I couldn't —
go until you h.ad kist me, Clive. .\nd
now you shall kiss me — good-by."

At th.it he gave a desolate cry, and.
rising, flung back and forth under the
]iink boughs, defying God to take her
away just when he had got her, begging

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AUIIION PICTHMh CLASSIC

< iinl, s;iyiny' wild tilings. Presently he was
liesido her aj^ain, head on her lap, crying
I he tearing, difficult tears of a man. She
waited nntil he was quiet, touching the
rougli, dark head with pitying fingers.
Then . . .

"If you love me, Clive, you cant lose
me," she said; "I'll he near you all your
days and nights. Because the love part
of me wont die."

"Hut it's all of you T want, Athalie!"
the earth-bound soul of him cried ago-
nizedly. "What am I going to live on all
my years? What have I got to reniem-
lie'r?"

"This !" Athalie whispered. She drew
him up to her, lifted her face to his face.
I'or the moment she was not spirit, but
.ill woman, warm, tremulous, passionate.

"Kiss me, Clive !"

With his li])s on hers, his arms around
her, she let go her frail hold on Life
joyously. For her the glory of Love's
promises would never be tarnished by
fullillment, for her the rose of joy would
never fade and wither in her hands.

Her First Interview

(Coittiiiiied from page 52)
heavenly ! We did have a maid, but she
thought it was too lonely. We never get
lonely, do we, Lorrie?" and Viora
.squeezed her friend's hand.

".She's the settled one." she continued.
".Sometimes she has to sit on me, but I
always mind her, dont I?" and Viora
beamed on Lorrie, while Lorrie beamed
fin Viora.

"What in the world would you have
done if you hadn't found each other?" I
asked, for they seem such kiddies to be
alone.

"Oh, I dont knoic!" they exclaimed in
uni.son, while Lorrie slipped from her
chair into Viora's lap and they hugged
.each other close.

"It was Lorrie that started this picture
business, " began Viora. "I was away on
a little visit, and when I came back I
found Lorrie working as an extra here
at the Lasky studio. Of course, I came
ri.ght out to see about it. Louis Good-
stadt, the casting director, picked me out
and gave me my chance. Everyone says,
'My, how hicky you are,' and I know
they are right. I have been lucky, for,
you see, I just bumped into it, for, really,
I was never even stage-struck."

"Viora was going to be married "

liegan Lorrie.

"Yes," sighed Viora, pensively, "but
after I began in pictures I didn't want to
give them up, so I chose a career rather
than a husband. I'll only be twenty-
three when my contract expires, and that
will be plenty of time to marry. I want
a whole family of children, too."

The first thing Viora did was a small
part with Robert Warwick in "The
Fourteenth Man." Then things began to
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time to get her breath. .She played the
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brings you any of the exquisitely beautiful rings shown and
described here for ten days' wear free. Be sure to enclose
strip of paper showing exact
finger measurement as explained.

Just Mail
The Coupon

^ Send now and get a TIFNITE
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for 10 days on trial. Every one
set in the latest style Solid Gold
Mountings. Decide then whether
vou want to keep it or not. Send
for yours now — today — s u r e .
Send no money

How to Order

Rinf^Q '^'^' K*^' ''"-* 'â– 'f^'''

A^AAA^o si2e ring, cut a
strip of heavy paper so that
the ends exactly meet when
drawn tightly around the
second joint of fingpr on
which you want to wear the
ring. Be careful that the
measuring paper fits snugly
without overlapping, and
measure at the second
joint. Send the strip of paper
to us with order coupon.

THE TIFNITE CO.

511 So. PiTiDoatb Court, Dept. 938, Chicago,

Send me ring Nu. . .

iliiK. !«• wirr- tu enclose size i

III.

on ten days' approval,
deseilljcd abovo)

1 agree to pay $4.50 upon arrival, and balance at rate of $3 00
per month. Tf not satisfactory. T will return same within ten
days at your expense.

ON CREDIT

iTMMi IK

WATCHES

For GIFTS

Do your 8"t boyifijr wittioot
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W* offer cxcrptlonal values in those Diamond Rinue, SoUtatrea
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Thi? yean t is CTiM^dsIlytovoorint.-resrtodo your Kift buy inneiirly.
You can a.T't yoor order new nml we will luiM for later shipment.
ifdeairnJ. Sand For Catalog Today. Ubarty Bonda Accaptad.

The National Credit Jewelers

Dopt.C-6IG lOa N Stata St.. Chicago, III.

erOllCS IN tEAOINO CITIES

BJiosftca:;*; .

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m YIIARMU^S.-- Wi.t.htholm

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P. A. P. CO.. 469B Central Park W., New York.

ATwisi

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J.I.ROBIN&SONSInc:

NEW YORK CITY

Dead Men
Tell No

"We hike and ride so I'll never get
fat." she remarked, serenely. "I used to
ride in rodeos when 1 was a youngster on
the ranch. Lorrie and 1 wear boy's
clothes at home. The first time I met
Roscoe 1 had on my hiking logs, and I
guess he thought 1 was a little boy
coming to work with him," and both girls
indulged in a giggle-icst.

•■Roscoe is so funny, and a darling. In
fact, the whole company are such fun,
and thcv all help me in every way they
can. I'dont always know what to do,
and Roscoe will say, 'Now. just what is
it you want Miss Daniel to do in this
scene:' and the director will explain it
all over again.

"The greatest fun of all is receiving fan
letters. I'm beginning to get them, have
had twenty altogether. We get so ex-
cited when one conies. First I read it,
then Lorrie reads it aloud. One came the
other day from Illinois, and it spoke of
me as a 'famous star. That tickled me.
(1h, how I do prize them ! Why. they are
wiii-th millions, and I know I shall never,
never. >n'vcr be bored with them."

While this embryo star loves comedy,
she dreams of becoming an emotional ac-
tress. She adores Nazimova and wor-
ships Pauline Frederick, and she wants
to plav with Richard Barthelmess, too,
some dav. "He's so li'onderful!" she ex-
claimed,' which phrase means about
everything to an enthusiastic, effervescent
girlish point of view.

As we started back to the set, Viora
grew serious. "Did I say the right
things? Was that the way to be inter-
viewed?" which shows how unspoiled
she is.

With her beauty, her vi\id imagina-
tion, her sweet, girlish enthusiasms and
hopes, Viora Daniel promises to become
a favorite twinkler.

F.\IRY STORIES FOR FILM FANS
By Frank H. Williams

Once upon a time there was a star who
objected to having his name appear in type
larger than the names of the rest o{ the cast.

Once npon a time a comed\- was produced
in which there were no bathing girls nor slap-
stick.

Once npon a time there was a large-sized
town in which there wasn't a single girl who
thought she looked like Mary Pickford.

Once upon a time the screen version of a
popular novel was produced just as the novel
was written.

Once upon a time a screen star lived happily
with his first .and only wife.

Once upon a time a motion picture camera-
man actually felt that he couldn't have done
any better than the director for whom he
turned the crank.

Once upon a time a famous studio didn't re-
ceive a single letter from aspirants anxious to
enter the movies, for an entire day.

Once upon a time in a big movie theater dur-
ing an entire evening not a single person read
a title out aloud.

Once upon a time a very beautiful girl who
had a chance to go into the movies said she
preferred to stay at home and marry the son
of the corner butcher.

Once upon a time a great picture success
was produced and the director, camera-man.
scenarist, star, leading man, producer and
even.body agreed that the entire credit for the
production's success was due to the author of
the story.

TKe Octoher
S]iadou)land

Perhaps you feel that

there is nothing left for you

to discover

in the way of the

unusual in any of the magazines

you may see on a newsstand.

But you are wrong —

For after you have
laughed over the
drawings and comments of
ITynre sent us
from Paris;

After you have read the article
by Oliver M. Sayler
on the perfection of the
eabaret in Russia;

After you have dreamed over

the delicate beauty

of the new poems

by George O'Neil,

that young prodigy of twenty-three

who is hailed as the

coming poet of .A.merica;

And after you have lived thru

the one-act play

called "Damnably Clever"

by Gladys Hall and Dorothy Donnell,

we feel that you will go on

your way rejoicing that

there is still one thing left in

this himidrum slate

of affairs which is absolutely

new; which is beautiful;

which is, above all things,

unusual. .

Not that we mean to infer that
the above is all
the October Shadowland
offers — not at all, for there
are new portraits, new articles
of current interest, and
new color plates of new stars
and other luminaries.

Shadowland

175 Duffield St., Brooklyn, N. Y.

(Ninrty-ais)

Free Trial

nEND now for the New Wurlitzer catalog
,S and free trial blank. You may have any
*^ musical instrument known, with a complete
musical outfit, for a week's trial at home Return
the instrument at our expenseat the end of the
week if you decide not to keep it
You will eet a complete musical outmincludin^K the instra-

ment prSW for the cost of the instrument alone.

Convenient Monthly Payments

A few cents a day ivill pay for your
itistrumenf and outfit.
. . A-» 1'^ of Wurlitzer instruments 13 known
Artistic Quality all over the world, Wurlitzer
in^itniments have been the favorites of artists and have
heeTSed in the finest orchestras and. bands for years.
ThiS outfit offer indudes genuine WurllUer mstruments.

Evert known shinged instrument or wind instrutmnl

Send for New Catalog
and Free Trial Blank

Free trial blank comes with It. Catalog is fKtli. meâ„¢
is no obligation. Write for it today.

The Rudolph Wurlitzer Co. Dept

1 1 7 E. 4th Street, Cincinnati,
329 S.Wabash Ave., Chicago,

The Rudolph Wurlitzer Co., Dept. 1517

117 E. 4th St..Cinci»n.li. O. 329 S. W.buh Av... Chic... M

free trial and easy payment oner.

Name. .'. .
Addnss..

'i^m^.^'i^i^^'nt'in\vhlchvouareBp4CianyinUr^t4d}

m

Too -TEARS OF ^MUSICAL INSTRUMENT MAKING

(Ninety-scvrn)

" — Not One
Gray nair. Now" i

•'And my hair wa» quite gray a

short time ago!

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gray hair shows anj'wherel"

Kolor-Bak is not a dye or stain. It is
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ting hair and ecalp in a healthy condition.

Send for our special trial otter; also Free
Book on Hair which explains how Kolor-
Bak restores gray hair to its original color.

HYGIENIC LABORATORIES

3334-33^ W. 38tb Si.. Dept. 1093 Cliic«xo

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"u ft clou J before the Bun." hiding j
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STILLMAN'S^

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DEAD MEN
TELL NO
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ff'^k I Only 'e-es fora
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roiino' i>t(lfr. Ynu Inlc i
li r>ccnii*p wp refund yi'uc I
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AMERICAN HOME SUPPLY CO.

1013 874 BROACN/AY WYC -

Pacific Coast Paragraphs

(Continued from page 92)

the hero only came in at the last second
to save the "gal."

1 met F.arl Rodney, that good-lookmg
leadins; man in Christie comedies, in
Mollxwood the otlier day. He was all
broken vip over the sudden death of his
motlier, and I wish to express here our I
own sincere sympathy for him in his I
bereaxement.

Out at Vitagraph I found that serials
and comedies are the rage. The reason
is tliat they make nearly three times as
great a i)rofit on serials as on feature 1
productions. i

lean Paige was just completing "Hidden I
Dangers." As we stood beside the Vita-
graph swimming pool, I almost envied
her the necessity of diving in. but she
assured me that the dangers encountered
in serial making were really nerve-rack-
ing. Thev had been trying to get a pic-
ture of Joe Ryan saving her from
drowniiig in a sewer-pipe. Up to that
lime all that had been accomplished was
ihe cutting-up of Mr. Ryan's head when
he dived in three feet of water to "save"
her. Miss Paige was eagerly anticipat-
ing a three weeks' vacation in New |
York.

Our friend Antonio Moreno is also
serialing, and this time he is directing
himself in "The Veiled Mystery." while
\\illiam Duncan and Edith Johnson
have completed "The Silent Avenger"
and are starting "The Wizard Spy-
glass."

And, by the way, while I was in the
X'itagraph office word came thru that
"Lady Fingers" had been purchased for
F.arle Williams' next production.

X'itagraph is spending a great deal of
money on Larry Semon and his come-
dies. He is given carte blanche for his
productions and writes, acts and directs
them himself. He is as funny behind the
camera as in front of it.

r^umor says that Charlie Chaplin's
long absences from the screen have ne-
cessitated the arrival of a new comedian
to fill his shoes, and Harold Lloyd and
Larry Semon are spoken of as the only
possibilities. Frankly. Harold Lloyd has
alreadv nearly topped him in the heart
of the' public. In all the large \Vestern
cities I have found Lloyd comedies ad-
vertised as the main attraction, ahead of
the feature.

Besides Ann Forrest and Forrest Stan-
ley, other members chosen for Cecil B.
de Mille's new all-star cast include Clar-
ence Burton, Ann May, Theodore Kos-
loff, Kathlyn Williams, Theodore Rob-
erts. Sliannon Day and Bertram Johns,
llie i)icture is still tentatively called
â– The Other Wife."

Mildred Harris Chaplin is the recipient
of an offer to star on the stage in New
York from A. H. Woods. Whether she
accepts or not. she intends to make her
next F'irst National picture in New
York.

And. by the way, a bitter legal battle
for the custody of Baby Marie Osborne,
highest paid juvenile actress in the world,
will probably mark the divorce suit and

Splendid Christmas Gifts

1 4S86 9 1 -SO Artistic
6S-inch Bowl ot green pot-
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uttcrfly Ornament, and at-
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'Cardof Best Wishes. There's
no sweeter flower,— the fra-
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SO hBhtfol. Money back if yon
•**^ ore not pleased.

12BO0 3Se. These

Wonderful C

Buffs provide bours of

entertainment.

, 1 Our Catalog'
I k pictures Bu^

Cut'Ups and many Other Toys and Games.

142'77 65o. Pair of six-inch Bay-
berry Candles. In Mahoprany Sticks
thfy are delightful. Mailed with a
^yprig of Bavberry and Hand-Colored
^Gift Card they are irresiatible. See
Catalog, Page 67.

l4a27-»2.00

Pair of Mahogany Candle-
Bticlta, 7 inches high, nicely
boxed. Just the right size
to hold the Bayberry Dips
shown above. A refined and
tasteful gift.

Our Big CataloB pictures
thousands of splendid gifts.
It makes your Xraaa shop-
ping easy-a list of your
friends and our Big OlU
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it's Fr«» and it's a Great'
Big Help.

816 ELMWOOD

THE HOLMES CO., PRoVmS^"

IMusic Lessons

UNDER MASTER TEACHERS

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Any Instrument or Voice S"oLSyoS

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UNIVERSITY EXTENSION CONSERVATORY
149 SieK«l>My«re Bldg. CbiMgo* Illinois

Bowlegoed Mgd

Your legs will appear straight
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Remnrkable Invenllon— Combination how-
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Quickly adjuated to fit varloui degree) <f
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harnew or padded formi: just an Inienloui
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appearance wonderfully. Bowleeited mea
ererywhera are wearing thsm; emhuilaatlc.
Write for free booklet, mailed !â–  tiala
anvelope.

S-L GARTER CO.
814BTnjat Co. Bldg.. DA YTON, OHIO

SEND YOUR NAME-NO MONEY

We'll acnd vou a nenulne "KKeria Gem"* for your approval, rat
It hr^iiae a diamond. Stands all teats. Nt-tlilni: like It evor
iifT.rrd (iiilv an fxr>ert ran dlMlneulRli bctwim ihiMn. ^i;t fnf\
-'"' »o lUtl". Solo Importprs of "E(rerla Gom'-"OnIy rinil of oKt-nolnr diamond.
N«, 9 Lb'IIct- Stprlinit No 5 ^•''"^' ^°"-

nO. £ SilviT R aj. k p t *^"- ■'

irtilnK. Plat inum Finish

Gold Filled Mottntini;.
f>v«C«™i»lK. Grnu-
fnf "EuerlaGi'm â– â– 
Price - • • S3.S0

C\a>

»rly C

it: arnond thin
' I cnrntti.
1 Grrr â– â– 

Bpleher
Gf.ld Pilled Mountinir.
Over cnrot nil* . Genu-
ine "Eir*ri(iCem"
Price - • - S3.S0

Genuine "Eircrla , „

Price .... $4.50

- e ralrhnw flri-of dlsmonds. Wf It* toctayt Giv^ fill*

of nnarT and number nf rinir, Pnv tin arrival. If you eon tpll It from a diamond.
a^n^^ it bncW, If not anKuflifd within (Ive dnyi. rfturn rinir and money will be re-
fnnd«l. S«ttnlhMer«tp.i monntlntrB, clthfrr one willbe n revelation to you.

EGERIA GEM CO.. C-II3 P«lBt St., PmldaiM. R. I.

â– 'EirsrlB

' '\narT a

A Vt bnc

rXJn^l- r'oH)

Just your name on a
postal brings these
sensational bar-
gains for free in-
spection. Write
quick white this
W great offer rt--
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I

.29

carat

Genu- ,

ine Dia

mo n d

flaming

ancy. exquisite

Blue Wesselton

quality. Order by ,

NO.L505. Ifsatistied

after seeing it pay ,

only 591.15, Or you

may send it back

J^ Prices Smashed

i[>^ Barnard offers Diamonds at

old time low prices. We don't

buy Diamonds from cutters or

;ers. Instead, we pick up

nsfromdealersand people

""J/, who need money.

vi hesc we offer be-

' ' low wholesale.

:£Payour bargain

'^price if satisfied

afttr inspection.

Keiumit if not

wanted.

Blue Wesselton Diamonds
set in pure platinum. 1 '4c
size. Our famous ".Ameri-
can Beauty." Send no
money! Order by No. L506.
if satisfied after inspection
pay only $78.45.

somest of all gentlemen's solitaires. Extra heavy 14k
solid gold, extra strong. Sets off the liamingly bril-
liant steel blue white diamond to best advantage.
Perfect cut. full i,c weight. Orderby No. L507. Pay
only $194.45 after insp.'ction if you find it worth S.IUO
more than our pricL- at retail, if not. send it back.

Money Back Guarantee

in writing with every Diamond says in plain English
we'll pay you spot cash for it within a year if you can
find a better bargain. Exchange at full value forever.

Rush Your Name on a Postal

Vou need not send a penny, so take advantage of this
wonderful opportunity by writing quickly. Remem-
ber to attach narrow strip of paper for linger sue.
Don't decide until you examine the Diamond.

BARNARD & CO.

Oeot.tOIF 62 W. Madison SI
CHICAGO. U.S.A.

Everyone Admires a Slim Figure
You Too Can Become Slim

reduced their suptrtlunus fk'sli ami regained tlie
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FLO-RA-ZO.NA

BATH CARTONS

Disaohid iji the daily hulU tUiy bt-giu lu
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k-ssiy and cITectively. Absulutily free liiHii
]'jpsoui Salts, alum, or any tiarinfut liigiedieiUs.
A woiidertii! benetlt also in rheumatism and all
sliin eruptions. No druggitig. Iio ilruslic dieting.
til' iieive-racking exercises.

An aenthrtic dfliiiht to the woman rt reftne-
ninil A full iwo m-fks' coiirge of H FLO-RA-
Zn-SA biiflix mailed anvicliprr in the Vnitrd
Slntr^ t„i nrcipt of SS.On, If V""' dru-iO'St
CiniiKil fiipply yuii, irrilc fii ih-

Royal Pharmaceutical & Perfumery Co.. Inc.

Dcpt. C. 1090 Madison Ave.. New York.

Made to yonrmeasure, payable after received,

with tbeclear understanding' tbat if the fit is

not perfect or if you »re

not satirfied in every way,

,i^ you are not convinced you

h:ivo received a tine, high

grade, Bty)i[:h, perfect-fitting

tailored euit made to your

asures and bave saved

$15.00 to t20.00, you arc not

under the Biirntflstobliga*

tioQ to keep It.

Don't hesitate or feel
timid. Bimply Bend the
Etiitbiick, nocoEt to ycu.
Youororot outonepcr.ry.
Any monoyyournay bavo
ptidua is refunded at once.

\^ SAMPLES FREE

Any maa young: or
old interested in saving
money, who wants to dresa
well and not f fel ext-=va-
Rant ia invited to writu ua
forourfreo book of Bam-
ples and faehiona explain*
ing everything. Pka^o
write letter or po:tal

„ today, iuat Bay "Send me

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important about drc tinK well and savine muncy.

Park Tailoring Company

DoptaaT Chicago, ILL.

counter complaint of pretty F.dytlia Os-
borne and Leon T. Osborne. So far, all
attempts at an adjustment out of court
have failed.

Carlyle Blackwell, long a star in the
early days, is now a leading man for
Marion Davies.

The plans for producing the picture,
"Foolish Wives," at Universal City, un-
der the direction of Erich von .Stroheim.
called for too much attention to detail to
suit Captain George W. Hazen, secret
service agent for the Treasury Depart-
ment, and consequently warrants were
sworn out for the arrest of von Stro-
heim, Clarence K. Riley of the Riley-
Moore Engraving Company. Gleb de
\^os, artist and designer employed in the
art department of the Universal Film
.Manufacturing Company, and three
others, on charges of violating section
161 of the Federal penal code relating
to counterfeiting money.

The extreme penalty for the ofifense
charged against them is a fine of $5,000
or five years' imprisonment, or both,
according to Captain Hazen.

"Moving picture producers have been
flirting with the counterfeiting laws for
some time," said Captain Hazen. "We
have warned them repeatedly and ha\c
confiscated coimterfeit money from them
on several occasions. There is no such
thing as 'stage money.' Money is either
real or counterfeit. We are going after
motion picture peojjle the same as we
would any other violators of the law."

The scene of the picture, "Foolish
Wives," is laid at Monte Carlo, and the
script called for great quantities of
French money. This, it is charged, the
producers undertook to reproduce with
too great accuracy of detail.

A get-together meeting between rejire-
sentatives of the Los Angeles Chamber
of Commerce and motion picture pro-
ducers recently resulted in a love-feast at
which all grievances dissolved into thin
air and a spirit of cooperation developed.
The meeting Avas held following com-
plaints that those interested in motion
picture work had been discriminated
against by Los -\ngeles merchants.

Bill Hart and I had an interesting con-
fab out at his studio one hot day re-
cently. Bill's greatest concern at present
is his law suit against Thomas Ince, for,
as Bill puts it, "all the money he has in
the world." So far, things look opti-
mistic for Hart. Our great Westerner is
really pleased with the picture he has
just finished, called "The Testing Block,"
a story of the Sierras. Bill is writing
his own stories these days, "The'Cradle
of Courage" being from his pen.

Clara Kimball Young is taking a two-
weeks' rest before beginning work on
another picture, the title of which has not
vet been announced.

PS. — We exceedingly regret to an-
nounce the receipt of a telegram notify-
ing us of the death of Lieutenant Lock-
Icar, Zi'ho was instantaneously killed while
performing an extremely difficult aerial
"stiint" for the camera. The interviein'
contained in this article was the la.'st one
' he gave.

NATIONAL BOB

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A\nT10N PICTURE

The Celluloid Critic

(Continued from page 88)
tion as a bespectacled newspaper office
boy. You'll like him.

Far and away the best thing of nur
month — in points of workmanship and
humanness — is the latest Mrs. Sidney
Drew comedy, "The Unconventional
Maida Greenwood," of her series of Julian
Street's "After Thirty" stories. This is
another near-amorous adventure of the
susceptible Jimsie Wickett. This time
his understanding wife returns just in
time to diplomatically cure Jimsy of his
affaire with a Bohemian studio c^.veller
whose soul, according to the best seer
information, is just in tune with his own.
The lack of dramatic overemphasis, the
adroit filming of thought rather than
physical action and the closeness to real-
ity all stamp this little photoplay as a
gem of its kind. Mrs. Drew is one of
the two or three directors whose faces
are towards the movie Mecca of tomor-
row. These "After Thirty" stories,
subtle and slender tho they are, are ac-
tually mile-'itones of progress. A word
about John Cumberland. No player on
the screen is doing finer or more care-
fully conceived playing.

We found George Fitzmaurice's "The
Right to Love," (Paramount), to be rife
with the splendid direction and fine pho-
tography characteristic of this admirable
director. But Fitzmaurice has not dupli-
cated his "On With the Dance," because
here his story is weak, trite and hectic.
Classic readers are familiar with it thru
its appearance in these columns under its
original title of "The Man Who Killed."
Fitzmaurice, however, never evolved
more singularly beautiful cinema mo-
ments than in this fetid Constantinople
tale. Mae Murray is a colorful heroine,
to say the least.

Robert Vignola's draggy screen adap-
tation of "The World and His Wife,"
(Paramount), completely disappointed
us. Announcements presented this as
adapted from the play by Charles Fred-
eric Nirdlinger, in turn based upon a
"poem" by Jose Echegaray. Which, of
course, is a fearful injustice to a vigor-
ous Spanish playwright. Echegaray is
a leader of the younger Spanish school
of the drama.

"The World and His Wife" is a study
in the destructive power of gossip. ^
Ivchegaray takes three people of Seville,
a husband, a wife and another man, a
\oung poet, and shows how. without a
single real atom of wrong, they are
wrecked upon the shoals of tittle-tat'.le.
F.chegaray told his tragic tale in terms f -
psychologv. The theme has reached the
screen in terms of obvious physical ac-
tion. The whole opus becomes feverish
melodrama. Vignola has failed in points
ipf subtlety, atmosphere and shading.
The striving for Spanish atmosphere is
l)tainly labored. And there are numer-
ous slips, such as the moment when the
unmarried Theodora comes down to the
gate of her house to meet her affianced
husband. No well-bred Spanish girl
would do this.

(One himdred)

CLASSIC

ot^«U«. »^>o

No member of the cast seems wholly
in his or her role, but Montagu Love
easily contributes the most vigorous act-
ing as the husband whose life is sacri-
ficed to gossip. Alma Rubens is the wife
and Gaston (jlass the young poet.

We cant imagine why anyone filmed
the old Rex Beach-Paul ,\rmstrong
farce, "Going Some," (Goldwyn), unless
it is part of a .systematic effort to do
every play and book ever produced.
Elaborate changes ha\e been made to
brace up the thesis, "("ioing Some" is
just a skit built about a young college
boy, a cheer leader, who masquerades as
a crack runner in order to impress his
swcetlieart and who is thereupon forced
to run a race as the candidate of a lot of
bloodthirsty cowboys. Of course, he
wins. A\'e've forgotten how just now.
but that is of no consequence. Cullen
Landis is the rah-rah liar, but. to our
way of thinking, Willard Lewis runs
away with the film as a slang>' trainer.

Bessie Barriscale's "Life's Twist,"
(Robertson-Cole), failed to even begin
to get our interest. Miss Barriscale plays
two roles: a society girl and a factory
worker who look exactly alike. When
the rich girl and her husband become
estranged, the double brings them to-
gether again. Turgid.

Strangely enough, "Yes or No," (First
National), turned out to be Norma Tal-
madge's best vehicle in some time. Based
upon a disastrous and crudely melo-
dramatic Broadway stage failure by Ar-
thur Goodrich, it transforms into an ef-
fectively theatric celluloid offering. Not
life, obviously, but offering contrasting
roles. At once Miss Talmadge plays a
young wife in the tenements and, plus a
blonde wig, a luxury-loving matron of
Central Park West. A scoundrel ap-
pears on the horizon in each instance.
To their pleas, the poor wife says "No,"
but the other responds with "Yes." The
motion picture shows how prosperity
comes to the loyal lady of the negative,
while suicide follows the butterfly's
"Yes." Hectic stuff, but vivified by Miss
Talmadge's playing and by R. William
Neill's rather above-the-average direc-
tion. Neill has tried to keep away from
a- conventional handling of his scenes and
has inserted little human touches here
and there. We rather liked Rockcliffe
Fellows' playing of the workingman
husband.

Constance Talmadge is rather amusing
in John Emerson and .'\nita Loos' "The
Perfect Woman," (First National).
Constance plays a cutie with a conquest
system all her own. Her first collision
with disaster comes when the young
business man she fancies from afar turns
her down when she applies for a job, be-
cause, by every point of his efficiency
system, she falls short, .'^o she goes
liome, rebuilds her face, minus powder
and other aids, returns plus horn-rimmed
spectacles and — wins the position. The
employer is a man after Attorney-Gen-
eral Palmer's own heart, for he is en-
gaged in rounding up "reds" and the lady
with the system lends first aid, thereby
{Continued on page 104)

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Physical and Health Specialist

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"PROMOTION AND

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HEALTH. STRENGTH AND MENTAL

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The Movie Encyclopaedia

{Continued from page 87)

K. K. K. K.— Yon say, "Ever since I first
piirchascd a Cl.\ssic. the very first one pub-
lished, 1 liavent missed a number. 1 have de-
cided to take the bull by the horns and sell
the cow, as it were, and make myself a
source of amusement to your staff." Welcome,
and 1 am glad lo know yon. You can address
all of those players at Los .Angeles, Cat., and I
am sure it will reach them. Owen Moore is in
New Yurie playing for Selznick.

Just Jk.\n.— Fat men are not always funny,
nor thiu men solemn. No, I'm not fat, been
lollowinsj "Eat and Crow Thin" to retain my
girlish figger. Virginia Faire is si.xtecn, and
yon can reacli her at Universal Company, Uni-
versal City, Cal.

J. K. \V., KoKOMO. — Yes, there is a limit to
tverything — even my patience. Go ahead, tho.
Monroe Salisbury was born in New York. He
studied art and music and in 1898 went on the
stage. Played with Richard Mansfield, Mrs.
Fiske, John llrew, Nance O'Neil, and later in
stock. Mahlon Hamilton is playing opposite
Blanche Sweet.

Ruth A, M.— Sorry. Yes, FranK jveenan is
married. The highest mountain in the world is
Mount Everest, in the Himalayas, with an ele-
vation of 29,IK)2 feet. Just met a friend who
saw the sun rise at Mount Everest. Yes, Rob-
ert W arwick in "The City of Masks."

T;\LM.\DCE Fan.— Well, it is pleasant to hear
that many appreciate me, but it is sad to think
that all do not. Accent on the "zim" always.
Geraldine Farrar was born in Melrose, Mass.
Irrksistible. — Dear me! I'm in the best of
heallli, thank you. I rather like your descrip-
tion of love and malaria. Von say love be-
gins with a fever and ends with a chill, and
malaria begins with a chill and ends with a
fever. 1 think I get you. Referred to Dar-
win's.

C M. E. — Nay, nay, 1 never get angry when
my correspondents make fun of my bald head
aiid long beard. I have had them too long.
(But neither is too long.) Yes, I rather liked
Mary Pickford in "Suds." It certainly was a
touciiing scene when Mary sa\es the horse
from going to glue, and when she takes him
up to her boudoir.

Jessie A. — Enjoyed your very interesting
letter about Hawaii. Y"u must write me
again.

Mrs. Sippy. — Cannot tell you where Char-
lotte Claire Pierce can be reached.

Ph.sntom, Peking. — Guess you received my
letter b}' now. Why, Kenneth Harlan was born
in New York City in 1895. Yes, he has played
with Gertrude Hoft'mau. Has dark complex-
ion, dark hair and black eyes. Sessue Haya-
kawa is playing in "Li Ting Ling." Jack Mul-
liall is playing opposite Bebe Daniels.

Jack Mereiuth. — You are too intemperate
with your praise. Admire, but dont adore.
DorisLee in "Hay Foot, Straw I'oot." Larry
Semou was in to see us the other day. He is as
fine and as funny as they make them. He
does some mighty clever stunts in "Solid Con-
crete."

G. P. M. — You say you are five feet six, and
want lo l<now if Mildred Davis is taller.
You're welcome, kee)) the change.

Miss M. T. Heaii. — Well, just because your
mama has given her consent yon think tliat
nothing stands in the way of your becoming a
photoplay star. There may be other obstacles,
alas! Oh, pshaw I The Shah of Persia pos-
sesses an armchair made of solid gold, inlaid
with precious stones. If I had it I'd melt it
up and buy me a houseboat and a buttermilk
cow-. Drop in and see me when \on come to
New York. If yon have an aeroplane, I might
say, drop down to sec me.

Nena G. — Yes, to all of your tiuestions.
Every one of them

Zar.\oatin the Boob, — I understand the Im-
fcralur is the first steamship to be equipped
with a fnll-lledgcd bank. I'hyllis Haver is
ab»<ut nineteen. Norma Tahnadge about fi\e
feet two. Married, of course. But you cant
expect me to be nice if you call me a woman.
Max C. B. — Mary Pickford was born April
8Ui, 1894.

(Continued on page 1(14)

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ii©im PTcfeire
November

We're always on the look-
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We have to offer in the way of
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return from Europe. Adele
Whitely Fletcher and Gladys
Hall are the collaborators of
this play.

C. Blythe Sherwood, who
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star with Thomas Ince, has
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Naylor. There are new por-
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The Movie Encyclopaedia

(Continued from f'age 103)
Otj^A 17. — Bless yoit, my child. I fear yon ^

>till have a feelinp: fnr Crane, because >'0U
\\ rite me on Crane's stalionery. You say you
•ire always with me. For this we have friends!
I'm with you. Olga, every time.

CiTif. — So you dont believe I am 79, and
.viiu think I earn more than I .say. No, child,
I always speak truth when hard pressed.
Charles Ray in "Old-Fashioned Young Man."
Priscilla Dean in "Outside the I.aw." No, I
never read the Hearsed Publications. Nor the
"l.adies Hum Journal"- \ prefer "Town
Tropics." and the "New York Whirled." My
favorite author is Mrs. Humpty Dumpty
Ward.

.\Iiss LuTZ. — Joe Emory is not married.
F.lsie Ferguson is to play in "Sacred and
Pmfane Love" for the screen. 'Violet Hem-
ing in "The Princess of New York." We
have some queens here too. Haven't the ad-
dress of the Fairbanks twins.

SiLVKR Spurs. — You want Earle Fox to
come back. If it does you any good to un-
burden your troubles to me. go as far as you
like, and if I can say a helping word I am
yours to command. Douglas M,acLean in
"Lucid Intervals" and "Yancona Yollies."

B.wDic. — You say yon are 19 and you would
love to be Tom Moore's mother. I dont get
you. What do you think I am running, a
bazaar—send you a bit of my beard for a
.souvenir? Nay, I cant spare a hair. What's
in a name? Rye, N. Y. ; Bourbon. 111.; Green
River, Ky. ; Cliquot, Mo.; Brandy, Va. ; Port,
Okla. ; Sherry, Wis. ; Brandywine, W. 'Va. ;
Tank, Pa. ; Booze, Teim. ; Drinker, Pa. ; Vichy,
Mo.; and Lithia, Fla.

Pi-.\N-UTS.— So you want to see Maude
-\dams in "Peter Pan" on the screen. Yes, it
would be a treat. You also say, "Is it true
tliat Mary Pickford is going to retire? It
makes me blue just to think of it. I dont care
to live if I cant see sweet little Mary any
more." Well, you will live a little longer,
because Mary is still with us. Do write me
again.

-\nci:i.es, Phii.ippi.ni;.— I have sent your let-
ter on to Kenneth Harlan. Ashton Dcarholt
111 "The Girl in the Dark." Among the Hindus
enormous sums are spent on cremation of the
richer classes in sandalwood. Of course, I
want to hear from \ou again.

()L.v.\iri.\N.— Vours was indeed brilliant. I
am afraid \ou are too tender to succeed on the
rough journey of life. When yon have a pain
you insist that the whole world know about it,
whereas a window may have many panes all at
once, without making anv fuss about it. Be
like the window. Ta, ta.

BkrmceH.— Thanks for the fee. Raymond
McKee is 28 years old. Nazimova— I don't know
whether she smokes or not. and Bryant Wash-
burn is abroad. He is married and has a
happy family. Yes. today would be sweet if
we could kill jesterday, because happiness is
but unrcpented pleasure.

Kitty K.«.t.— \'nu say you always read our
"'•■'»-''''2".'cs. from the girl on the coyer to the
Palmohve ad. Dear me, no. I cannot give you
a hst of the actors who are paying alimony.
It would take a larger book than this. Ali-
mony must be considered the biggest item in
the high cost of living. Thomas Meighan in
"His Friend and His Wife." and Sydney Chap-
lin is to play 111 "One Hundred Million." He's
just playing in that, not getting it.

is mar

-"lying
I'-nniF..— Thomas Meighan— yes. he

ried

Rkiuxca.— Write to the Talmadge studio for
that picture. Harrison Ford is not married
"Peter Pan," "What ICvery Woman Knows"
and Little Minister," are to be produced
soon.

Emma C. H.— You say all the fortune-tell-
ers tell y<,u, you are made to be a movie star
1 hat s looking ahead. You can reach Virginia
â– aire at the Univcrstd Studio, Hollywood Cal
Enid Bennett m "I Wonder If" and "Imu'bus "

W.iLLACt Reid FAN.-Thanks immensely
bo you want more chats and stories about
Wallace Reid. Cleveland is the fifth city in
population of the U. S. That's going some

ISll t It? a a ,

Eugenia Bibby.— I read with a great deal
of interest your charming letter. I do hope
you succeed as a story writer. Yes, women

can vote for the Presidential electors and in a
large number of other states. Lincoln was a

Republican.

S. C. C— And yours was a very interesting
letter. John Barrymore is to play in "Amos
Judd" from the novel by John Ames Mitchell
Fatty Arbuckle in 'The Life of the Party,"
"â– The Traveling Salesman" and "Brewster's
Millions." Wnis rerroiis.

A. D. GiSHADN.— Sorry, but I can give you
no information about Clarine Seymour. 'The
author of "Pollyanna" was Eleanor Hodg-
man Porter, a direct descendant of Governor
William Bradford of the Mayflower. Yes,
an affinity is a high-priced luxury since the
cost is alimony.

F. O. B.— Charge it, please! Glad to meet
you. I really dont know of any star who
would carry on a correspondence with you.
They are all very busy. Yes, that's true about
Pearl. You should have enclosed a stamped,
addressed envelope. Write me again some
time.

David H. ; A Little Blonde; Norma's Ad-
mirer,- Mrs. R. F. E.; R. C; Sweet Cookey-
RuEv; Ethel M. F. ; Just Minie; Fan Tail;
Claire L. ; Lillian Aho; Marguerite Bruce-
Girl Named Makv; Florence F. ; Buck; and
Chuchi. — Thanks for your interesting letters,
but they have been answered elsewhere in this
department. Better luck ne.xt time.

Dadedeer's Girl.— Yes, I certainly missed
you. So you are seeing our Great Romantic
West. Write me again.

Jackie Star.— .^^nd your ambition is to see
me face to face. No, I dont have a license
to run this department. Perhaps I ought to
have. Gold teeth take black on the screen.
"Von cant tell the difference between artificial
and real ones.

J. B., Yarmouth.— Well, you call me old
Sphinx. Then you say a stone face often hides
a warm heart. I dont know which candidate
I shall vote for, altho I am nominally a Demo-
cratic Republican.

The Coming Collier

(Continued from page 82)
interested in a neighboring garage.
Consequently, there is no piece of auto-
mobile machinery he cannot analyze, or
any species of car he cannot drive. He
took up bo.xing that way, also — from the
beginning ; and because he didn't think he
would want to finish college, he didn't
start.

"I gave up the idea of college because
these next four years are what count. At
twenty-two I want to be definitely started
— ahead — on my life's work, whatever it
may develop to be."

The Celluloid Critic

(Continued from page 101)
winning his love. There are smiles in
"The Perfect Woman," altho the storv
i.s pretty shallow.

This Harold Lloyd goes speeding
.•ilong. His latest, "High and Dizzy,"
(Pathe), is made up of the oldest farce
ingredients; i.e., humor based upon in-
toxication and sleep-walking, but Lloyd
mvests the whole fabric with such adroit
by-play and such lively touches of fun
that It IS easily his best celluloid farce to
date— a classic in .subdued slapstick.
There is some tricked sleep-walking
along the high window-ledge of a hotel
\vhich will keep you gasping, no matter
lio\y much you know about camera
fakmg.

(Oik liundred and four)

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Look Before You Leave-

You can tell a good show a mile away if you've got a daily paper.

"Amusements": here we are: such-and-such a theatre, such-and-
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A jew
OF THE NEW

PARAMOUNT
PICTURES

Alphabetically Listed

Roscoe ("Fatty") Arbuckle in

"The Round Up
A George H. Melford Production

*Enid Bennet in

"Her Husband's Friend"

Billie Burke in

"Frisky Mrs. Johnson"

'A City Sparrow"

Ethel Clayton in

Ethel Clayton in

"Sins o£ Rosanne

A Cosmopolitan Production

"Hui-nores.que"

A Cosmopolitan Production

"The Restless Sex"

Dorothy Dalton in

â– 'Half An Hour"

Dorothy Dalton in

"A Romantic Adventuress"

Cecil B. DeMille's PriDduction

"Something to Think About"

Elsie Ferguson in

"Lady Rose's Daughter"

George Fitzmaurice's Production

"Idols of Clay"

George Fitzmaurice's Production

"The Right To Love"

Dorothy Gish in

"Little Miss Rebellion"

William S. Hart in

"The Cradle of Courage"
A Wm. S. Hart Production

*Douglas McLean in

"The Jailbird"

Thomas Meighan in

"Civilian Clothes"

A George H. Melford Production

-Behold My Wifel"

An All-Star Production

"Held By the Enemy"

*CharIes Ray in

"An Old Fashioned Boy"

*Charles Ray in

â– â– The ViUage Sleuth"

Wallace Reid in

"Toujours de I'Audace"
("Always Audacious")

Wallace Rcid in

"What's Your Hurry?"

Maurice Tourneur's Production

"Deep Waters"

Bryant Washburn in

"Burglar Proof"

Bryant Washburn in

"A Full House"

â– 'A Thos. H. Ince Production

paramount ^pictures

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NOVEMBER

Shadowland

LIK-E the Horn of Plenty,
SiiAnowr.ANn for November
â– * offers a magazine replete with
the iinest in literary contributions;
the most beautiful anil artistic; the
most interesting in the current af-
fairs of our daily existence.

\\'lK-n you read the article by
Walter Prichard Eaton, you will
gam a new insight into the com-
plicated character of the American
playwright.

Everyone know-s Heywood
Broun, the sometimes sarcastic, but
nearly always truthful dramatic
critic of the New York Tribune.
Mr. Broun, offers a thoroly enjoy-
able book review, which will delight
our most fastidious readers.

Oliver M. Sayler is a well-
known authority on the dramatic
life of foreign countries. He has a
story on the Japanese drama, which
is one of the most absorbing articles
in the magazine.

The photoplay of today and
the photoplay of tomorrow are
two entirely different things, says
Frederick James Smith. We
learn a good deal about it in an un-
usually interesting article.

Our own Wynn Holcomb has
sent us a new lay-out of Parisian
cartoons and pertinent paragraphs
on things pertaining to Paris which
will probably startle you.

BREWSTER PUBLICATIONS

ShadoAvland

175 Duffield Street
Brooklyn, N. Y.

Crystal Gazing

AmusinE. interesting, en-
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AVIATION PPPP

Information ■ ■» " ~

«nd us your name and address forfull Informnlon
regarding the Aviation and Airplane business. Find
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^/m. Vol. XI NOVEMBER, 1920 No. 3

THE GIRL ON THE COVER
(Painted by Leo Siclke. Jr.. from a photograph by
Alfred Cheney Joliiiston.)
Louise Glaum stands foremost at present in tlie vacillating line
of film lorelci. Miss Glaum made her debut on the stage as a
member of a stock company in Chicago, and has been numbered
anions the leading women of the screen for the past four years.
When Louise is not breaking up cinema homes, and depictmg the more tragic
side of life on the screen, she peacefully indulges in her real passion; i. e., the rais-
ing of chickens, and her chicken farm out at the coast is one of the most widely
discussed places in California.

Rotogravure Gallery of Players. Full-page studies of Page

Douglas MacLean, Barliara Bedford, Mary Ihur-

man. Eva Novak, and Elinor Fair..... "'''

What Time Is It? .\sked Muriel Ostriche as she

..ranted a somewhat liricf interview .Frederick James Smith 16

Enter Julio. Rudolph Valentino becomes the hero of

•The Four Horsemen" ■■ -C BIythe Sherwood 18

Myrtle of the Mountains. Presenting the background ,.,„,., on

of tlic Monde Myrtle Stedman Elizabeth Peltrct 20

With the Season's Ne«r Plays •

The Rise of Beatrice. Miss Buruham's rise to stardom r..Uh,rl, ?4

reads like a fairy tale "^'"'â– ' Goldbeck 24

That Swede From Ystad. No offense, but we mean

Anna Q, Nilsson • ■ ■ • Harrison Haskvis 26

The Charm School. The latest feature picture of the' ^ .,, _ . „

ever charming "Wally" Reid told in story form Faith Service il

The Story of Flora Revalles. A danseuse of the Rus- ^,. , , „ „ . it

sian ballet, Flora now adorns the silversheet hlizabeth I eltret Jl

Aye, Aye Sir. Tom Forman is now a maker of players

insfead of soldiers • •. Haael Shelley 32

The Twentieth Marriage. One out of twenty is sup- , ., i, „ , ti

posed to be a success, and here it is Elizabeth Peltret S4

The River Shannon's Namesake. Otherwise Shannon

Day the latest screen recruit from the Follies Emma Lmdsey^Sqmer *

Screen Impressions ir^^V' ^"""' '^"'""''' ^^

Peaceful Valley. Interesting story version of Charles Mnh..y„ iq

Ray's forthcoming feature film. • Pearl Malvern 39

The Celluloid Critic. Review of the photoplays °f

the mouth Frederick James Smith 4J

Peter Pan Dana! " The ' fads and fancies of Metro's „ , ^, „ ,,

popular little star ■■•..••••• ■ ■ u; ■ • ■ ""^'I •^'"'"''-^ "^

The Last Act. The finale of the Fame and Fortune

,. 40

contest

Dorothy Makes Her Bow. Dorothy Dickson of the „/■,,„.. da

yay little feet, now trips across the screen .«. ■''. " '""" J°

Pacific Coast Paragraphs ««-''' ■^''^"''i' f^

Eastern Studio Gossip '/â–  ' "i" V j"i'.'. ' i i ' v t;?

Double Exposures ; • V ' ' Vi Conducted by F. J. S. 52

The Branded Woman. Fictionization of the Norma „ w n n cj

Talmadge photoplay ,, Dorothy Doiinell 53

The Cinema Sport Girl. Otherwise Hope Hampton ^^^

But the Fellers Call Him Bill. This is justifiable in

the case of Bdlie Boyd ■^<"'"» l^Iontanye 59

The Amazing Interview. A somewhat unusual chat

with a somewhat unusual girl, Mane Mosquini Wilhs Goldbeck 6U

The Movie Encyclopedia The .Answer Man iiS

Subscnulion S.S.OO a year, in advance, including postage in the U. S., Culia. Mexico, anJ
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iTrepai.l, One and mo cent stamps accepted. Subscribers must notify us at once of any change

of address, giving both old and new address. ^^^ ^

Entered at the Brooklvn. N. Y.. Post OSice as Second class Matter. .
Copyright 1!»20. by Brewster Puldiciiions. Inc.. in the United States and Great Britain a Nevv
VoVk corpor.il>o;. with its principal office at Brooklyn. NY Eugene V. Brewster, President and
Editor-iii-Chief ; E. M. Heinemann. Secretary i Eleanor \. V. Brewster, treasurer.

ST.\FF FOR THE CI..\SSTC:

Frederick James Smith. Managing Editor

Adele Whitely Fletcher, Editor

norolhv Donnell Associate Editor

liuy L: Harrington ,. .Business Manager

Duncan A. Dobie. Jr Director of Adverting

Uuhis French, Inc -.."t'^'"" "»"■•»!"

Archer A. King, Inc i-' ' ' ^V" ""' M»"»e"

Ml 12 n. Hayes. ^^"' tngland Man.agcr

MOTION PICTURE CLASSIC - - - 175 Duffield St., Brooklyn, N. Y.

niagaziiio, published monthly, comes out on iho 15th. Its elder sister, the MoTlos PlcTUliE MifiiZlKE,
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DEAD
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TELL

NO
TALES

Stage Plays of Interest

^ h'codiTs ill ilisUiiil louns -cill do tccll to preserve this list for reference U'heii these spoken
plays appear in their vicinity.)

Hijon. — "The Ciiarin School.'' \i\ appealing
lit;ht conicdy with music, based upon .Mice
I'ucr Miller's story of the handsome young
hachelor who inherits a young ladies' finishing
school. Minnie Diiprce runs away with the
production as an old maid teacher, wliile James
(ileason, Sam Hardy and Marie Carroll are
ctt'ective.

Booth. — "Happy-Go-Lucky." Ran a long
time in London as "Tilly of Bloomsbury." A
t\pical llritish cimiedy by Ian May. O. P.
Meg^ie riuis away witii the comedy as the
balitt's bibulous aid.

Hroadhiirst. — "Come Seven." Amusing
adaptation of the Octavus Roy Cohen negro
stories which have been appearing in The
.Saturday Bveiiiitg Post. All the characters
are negroes, played by white players. Funny,
liut of little depth. Arthur .Vylsworth is ex-
cellent as a shiftless darky. Gail Kane and
Earle Fo.xe play the colored lovers.

Casino. — "Honeydew." Pleasant musical en-
tertainment with charming score by Efrem
Zimbalist. the violinist. Mile. Marguerite and
Frank Gill score with their dancing.

Century Promenade. — Xew York's newest
dinner and inidnight entertainment. "The Cen-
tury Review" and "The Midnight Rounders."
Colorful girl shows for the tired business man.
.\ delightful place to eat.

Eltinije. — "Ladies' Night." About the most
daring coined)' yet attempted on Broadway.
This passes from the boudoir zone to the
Turkish bath on ladies' night. Xot only skates
on thin ice. but smashes thru now and then.
John Cumberland is admirable.

Empire. — "Call the Doctor." Jean Archi-
bald's slender little comedy built around a
charming feminine doctor of domestic diffi-
culties. The production shows David Belasco's
smooth stage direction and is very well acted,
particularly by Janet Beecher as the physician
in cpiestion.

Porty-Fourth Street.— T). W. Griffith's mas-
ter-production of the rural melodrama, "Way
Down East." Splendid in many ways with
tnany moving moments and the biggest — and
most thrilling — climax since the ride of the
clansmen in "The Birth of a Nation."

Pulton. — "Scrambled Wives." Another typ-
ical farce built on a series of misunderstand-
ings. A divorced couple try to hide their first
wedding from their new marriage alliances.
Rather bright and amusing. Roland Young
is excellent.

G'/nfrc— George White's "Scandals of 1920."
Lively and well-thought-out musical revue
with lavish and swiftly changing scenes, plus
many pretty girls. Paint succeeds stockings
and tights in several numbers. .Ann Penning-
ton is the shining light of this revue.

Greemvich I'illaije Theater. — "Greenwich
Village F'ollies of 1920." Gorgeous and beauti-
ful, as is typical of John Murray Anderson
productions. Here is a musical entertainment
with imagination and charm. James Reynolds
has created some remarkable scenes and cos-
tumes and the whole ensemble is vivid and
colorful.

Henry Miller's Theater. — "The Famous Mrs.
F'air." Able drama dealing with the feminine
l)roblem of a career or a home. Skillfully
written by James F'orbes, with unusual play-
ing by I'llaucbe Bates, Henry Miller and Mar-
g;do (iilmorc.

Hudson. — "Crooked Gamblers." .\ lively
and thrilling comedy-melo of the financial dis-
trict, in which a guileless young inventor of
auto tires defeats the Wolf of Wall Street.
Taylor Holmes starred.

Little. — "F'oot-Loose," with Emily Stevens.
Zoe Akins' well-done modernization of the
old melodrama. "Forget-Me-Xot."

A' cm .■Imstcrdam A'ow/.— Ziegfeld 9 o'clock
and midnight revues. Colorful entcrtaiimienis
unlike anything to be found anywhere else.

Plymouth. — "Little Old New York." Rida
Johnson Young's delightful but fragile little
romance of Xew York in 1810, with John
Jacob .\stor. Cornelius Vanderbilt. Peter Del-
monico and Washington Irving among its

characters. Genevieve Tobin runs away with
the piece — and scores one of the biggest per-
sonal successes of many seasons. Here is a
Maude .-\dams in the making.

Republic. — "The Lady of the Lamp." A
fanciful and highly colored fantasy by Earl
Carroll. Built about ait opium dream which
reveals a tragic romance of old China. .\ cer-
tain charm is here. George Gaul is admirable
and Henry Herbert gives a remarkable por-
trayal of a sinister Manchu chieftain of cen-
turies ago.

Selwyn. — "Tickle Me." An -Arthur Ham-
merstein early autumn show with the amusing
Frank Tinney starred. Considerable fun, some
tuneful music and a very personable chorus.
Likewise gorgeous costuming.

Winter Garden. — "Cinderella on Broadway."
Typical summer-girl entertainment designed
for the tired business man. The extravaganza
this year is based upon the fairy adventures
of Cinderella. Plenty of girls, passable music,
attractive costumes and a little humor.

OX TOUR

".â– Ibraham Lincoln." Y'ou should see this if
you see nothing else from the New York stage.
John Drinkwater's play is a noteworthy liter-
ary and dramatic achievement, for he makes
the Great .American live again. ".Abraham
Lincoln"' cannot fail to make you a better
-American. Moreover, it is absorbing as a play.
Frank McGlynn is a brilliant Lincoln.

William Rock's "Silks and Satins." Another
musical re\ue. but we doubt if it will even
appeal to the tired business man. Ernestine
Myers, the dancer, stands out.

"Honey Girl." Lively musical comedy built
about the brisk race-track comedy, "Checkers."
This has speed and humor — as well as an ex-
cellent cast.

"Lassie." A charming and pleasantly tune-
ful little musical cotnedy of Scotland and Lou-
don in the picturesque sixties- Based upon
Catherine Chisholm Cushing's "Kitty Mac-
Kay." Tessa I-Costa sings pleasantly and Mollie
Pearson and Roland Bottomley are prominent.

"iWot So Long Ago." -A fragile and charm-
ing little comedy by a newcomer, -Arthur Rich-
man, telling a story of picturesque New York
in the early seventies. Genuinely delightful.
Finely played by Eva Le Gallienne, Sidney
Blackmer and an excellent cast.

"Jane Clcgg." St. John Ervine's powerful
drama, presented by the Theater Guild, has
been running in New Y'ork all season. -A drab
but brilliant tale of middle-class English life.

"The Hottentot," with Willie Collier. Typ-
ical one-man farce with the inimitable farceur.
Collier, at his best. Full of laughs.

"Plorodora." The much-heralded revival
of the widely popular musical show of some
twenty years ago. Done with charm, distinc-
tion and humor. Eleanor Painter's singing
stands out vividly and George Hassell's humor
is highly diverting. Then, of course, there is
the famous "sextette." Here is a revival that
really revives.

"The Storm." A well-told melodrama of
the lonely Northwest with a remarkable stage
effect of a forest fire.

"Scandal." Cosmo Hamilton's daring drama
wdiich Constance Talmadge played on the
screen. June Walker and Charles Cherry have
tlie leading roles.

Loeii.''s A'. 1'. and Loezv's .Imerican Roof. —
Photoplays: first runs. Daily program.

Loeii''s Metropolitan, Brooklyn. — Feature
jihotoplays and vaudeville.

Capitol. — Photoplay features plus a de luxe
program- Superb theater.

h'ivoli. — De luxe photoplays with full sym-
phony orchestra. Weekly program.

Rialto. — Photoplays supreme. Program
changes every week.

Strand. — Select first-run photoplays. Pro-
^r;nn changes every week.

(Sir)

"OH.MOTHEK

' 11 story s accepted!"

OUT of "the rainbow gleams of her youthful
dreams" has come The Great Reward ! The
happy sequel to alt her hurninR hopes — her eager
aspirations! The magazine editor has accepted her
story. His letter brings the happy news.

She moves as one in a daze "Can it really be
true?" she asks herself over and over. And all the
while she rIows with the pride of authorship, her
asoiring spirit transformed in the bewilderment of
this new triumph. 'Tis life's deepest moment for her.

She has crossed the Golden Rubicon ! Enthralled,
she stands upon the thresliold of a New Life! She is
at last— "AN AUTHORESS!" The story she has
written, filled with fresh, bright realism, stirring inci-
dent and sparkling dialogue — written out of her very
heart — painted in glowing words upon the Screen of
Romance, will be read by thousands, thousands!

But yesterday, in her girlish fancy, she deeply en-
vied those who live and move in that fascinating
sphere, the Realm of Authorship. But yesterday her
htpes mingled with her fears, her doubts of herself,
her simple lack of faith in her ability "TO WRITE."
nut yesterday she deemed well-nigh impossible the
triumph that has come to her today!

But yesterday her life was a dull, drear grind in a
department store. In her little niche behind the
notion counter her girl's soul was slowly shriveling.
The drab, grey life was deadening every spark of hope
within her. Thinking of her youth and yearnings,
she would oft' hopefully repeat to herself those lines
from some beautiful hook, "It is the Spring! It is
the Spring! And Life is so FULL of Flowers! Ah,
surely some of them are MINE!" But there was the
monotony, the dull servitude, from 8 to 6— it never
varied^ — it went on and on and on — a dumb fate that
seemed to .stare her in the face forever, just as it
might be pictured in a story by O. Henry.

Not that all girls are unhappy who work in stores,
hut she— she dreamed of higher things. She wanted
more out of life than the grey, humdrum e.xistence.
Why should Success be a thing OTHERS could attain
and not she? She had two good hands and a brain
— she was intelligent, observing, and though not a
genius, surely, she told herself, she could learn to write
stories as good as hundreds she had seen.

One day her sweet-faced mother noticed a small
advertisement in a magazine. It said; "Free to writers
— this wonderful book. Tells How to Write Plays
and Stories." "Here, Dorothy dear," said Mrs. Dean,
"here is something about writing stories and plays.
Here's a concern offering a free book on the sub-
ject. Why not get it? See what they can do for
you? Vou never c.Tn tell — maybe you really can
learn how to wri* the way you've dreamed so long,
and just think how wonderful that would be!"

The Authors' Press has this young woman's letter
on file. She wrote for our free book — and the picture
above tells the happy sequel.

This is a true story, as startling as it is romantic,
and here is the most starllitig thing of all — a re-
markable discofery that will thrill atKhitJoiis niett
and 7Votiic>t of all' titjes throuahout the 'world.' The
discovery is that: MIL7J0NS OF PEOPLE CAN
WRITE STORIES AND PHOTOPLAYS AND
DON'T KNOW IT!

(Seven)

For years the mistaken idea prevailed that you had to
have a special knack in order to write. People said it
was a gift, a talent. Some imagined you had to be an
Emotional Genius with long hair and strange ways.
They vowed it was no use to try unless you'd been
touched by the Magic Wand of the Muse. They dis-
couraged attempts of ambitious people to express them-
selves.

Yet only recently a great English literary authority
declared that "nearly all the English -speaking race
â– ziant to write! It's a craving for self-expression, char-
acteristic of the present century."

So a new light has dawned! A great New Truth
that will gladden the hearts of "all the English-speak-
ing race who want to write!" Astounding new psycho-
logical experiments have revealed that "the average
person" may learn to write! Yes. write stories an<I
photoplays; thrilling, human, life-like; filled with heart-
throbs, pathos, passion, pain.

Yott many learn it just as you may learn anything else
under the sun! There are certain simple, easy prin-
ciples to guide you. There are new methods that
jiroduce astonishing results for beginners, A remark-
able New System, covering every phase of writing,
has been perfected by a great literary bureau at Au-
burn, New York, now busily supplying this infor-
mation broadcast. .'\nd this New Method of writing;
stories and photoplays is everybody's property. Mot for
the select fciv. Nol: for those specially gifted. Not for
the rich or fortunate, but for men and women of
ordinary education and no writing experience whatever
—thousands who don't even dream they can write!

This institution at Auburn is the vyorld's school for
inexperienced authors — a literary institute for all hu-
manity. And everybody is taking up the idea of
ivriting. The fascination has swept the country by
storm! People are dumbfounded at the ease with which
they learn to write!

You know it was Shakespeare who said: "All the
world's a stage and all the men and women merely
players." Life's stage all around you is filled with
people and incidents that will make stories without
number. From the great Screen of Humanity and
its constantly changing tide of Human Emotions-
Love. Hatred. Jealousy, Happiness — you can create
endless interesting plots for stories and photoplays.
There is never a lack — it flows on in an Endless Stream
of Circumstance — like Tennyson's brook — forever!
Every person you know is a type, a character.
"Every house has a story." And those vvho dwell within
have impulses, ideas, hopes, fears, fancies that furnish
material for vou. The daily newspajiers are filled
to the brim. The Footlights of Fate reflect s-^enes and
incidents for the Pen of Realism.

There is nothing in all this world that so dominates
the heart and mind as the fascination of WRITING.
It gives you a new power, a new magic, that charms
all those around you. It lends a new attraction to
your entire personality. Authorship carries with it
new honors, admiration, respect — in addition to glorit)us
material rewards.

THERE IS A NEW BOOK AWAITING YOU
THAT AMAZES EVERY READER— and the most
amazing thing of all is— IT'S FREE! This new book
is pouring glad sunshine into the lives of aspiring people

who want to become writers. Within its covers arc
surprises and revelations for doubting beginners that
have caused a sensation everywhere, because it is
crowded with things that gratify your expectations —
good news that is dear to the heart of all those aspir-
ing to write; illustrations that enthuse; stories of
success, brilliant instances of literary fame coming
unexpectedly; new hope, encouragement, helps, hints
— things you've long wanted to know!

"The Wonder Book for IVriters" tells how stories
and plays are conceived, written, perfected, sold. How
many suddenly realize they can write, after years
of dou!)t and indecision. How the scenario stars
began. How they quickly rose to fame and fortune.
How ordinary incidents become thrilling stories and
plays through these New Easy Methods thai simplify
everything! How one's imagination pro^ierly directed
may bring glory and greatness. How to really test
your natural writing ability. How stories and plays
are built up step by step. How to turn Uncertainty
into Success.

This book and all its secrets are YOURS! Ycu
may have a copy absolutely free. You need not send
a penny. You need not feel obligated. You need
not hesitate for ANY reason. The bonk will be
mailed to you without any charge whatever.

There is no need to let your laudable and)ition
stand still — no need to starve the Noble Flame that
burns at the Altar of your Dearest hope — no need to
wait, to wish — to merely dream of being a writer.
^'our brilliant opportunity, your golden chance, is
HERE AND NOW! Get your pencil— use the cou-
pon below. This little act may prove the big, lucky
stroke of your Destiny I

The Authors' Press, Dept. 163, Auburn. N.Y.

Send me ABSOLUTELY FREE "The IVondcr Book-
for IVriters." This does not obligate mc in any way.

Name

Street

City

Dr.EscnWcm

'Craining jor Authorship

HoW to Wri+e. What to Write,

and Where to sell .

CulH^le your mind. DG\'elop

yonrlWerary gifts. Master Ihc
crlof stflf-ejtprcssion.Mak^
>*our spare Hmc profiiable.
nTum your ideas into dollars.
Courses in Short-Story Writ-
ing. Versification, Journalism,
Play Writing, Photoplay
Writing, etc., taught person-

_ .. ally by Dr. J. Berg Esenwein,

for many years editor of Ltppincott's Magazine, and
a staff of literary experts. Constructive criticism.
Frank, honest, helpful advice. Peol teac/iing.

0«r pHpit has r»c»iVrd eVtr t5.009/or stories and artlcitt
VritltH motllw /« spare Ume — "plav KorA," hf calls it.
Anoihtr papll received oler St.OOO before completing
her firsl coarse. Another, a busp Vife and mother, is
aVfrvfing oVtr S7S a Veek from photi>plat/ biriting alone.

Tbeie b no other inrtitution or asency doing so much for
wrilen, younc Of dd. Th< univcfMlici recoenizc this, for over
one bundled member* of the Engliih facultica of higher institu-
tions arc studying in our Literary Department. ' The editor*
recognix* 't. fof they ore corutantl]^ recommending our cour»es.

ISO-pBC* Ulualrml*d cal«leiu« fre«.

T^ Home Correspondence School

Dcp't. 112, SpTinrtfi*7ia.Mass.
^^^-^^^-ysp^ ^ H ^ «ii WW W'Wfg

LEARN DRAFTING

.t h^me In »t'irp licic u y^ii Wiull in .riu.i tdrli, r
!rex A.NP «fiMi:N l.V i;iltL\T lit.MA-NU ..
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COLUMBIA SCHOOL Of DRAFTINO

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Popularity Contest Closes

As tliis book goes to press the votes
for the i)opularir>- conlcst are still pour-
ing in. Interest is rife and lilni fans
cvcrywliere are working frantically to
give their favorite player just one more
boost before it is too late. But when this
number reaches the newsstands and the
subscribers, the great popularity contest
will have run its course and the linal tabu-
lation of votes will be in the course of
coniiilction. To arrive at the result may
take longer than is expected — but there
will be an announcement made as soon
as possible.

Mary Pickford, 150.768; N'orma Talmadge.
89.516; Pearl White, 36.943; Mme. Xaziinnva.
20.41 1 : Constance Talmadge. 16.657 ; Bebe
Daniels. 8.384 ; Viola Dana. 7208 ; Tlieda Bara.
7 16.'; Marv .Miles Minter, 7.048; Edicl Clay-
ton. 6.37.';' Lillian Gisli. 5.954; Marguerite
Clark, 5.840; Klsic KcfRUsoii. 5.637; Ruth Ro-
land, 5.408; Oorotliv Gisli. 4.815; .\nita Stew-
art. 4.626; Edith Johnson. 4.050; May .\llison.
3 .^61 ; Olive Thomas. 3.374; Pauline Frederick,
3 121: Shirley Mason 2.810; Geraldine Farrar.
2.667; Gloria Swanson. 2.604; .-Mice Brady.
2 526 ; Olga Petrova. 2.483 ; Dorothy Dalton.
2.419; Ann Little, 2,175; Alice Lake, 2,116;
Wanda Hawlev, 2.064; Irene Castle, 1,872;
Marie Osborne, 1,835; Alice Joyce, 1,620;
I'riscilla Dean, 1,558; Mildred Davis, 1,414;
lilanche Sweet, 1,365; Marie Prevost. 1,320;
Marion Davies. 1.170; N'ivian Martin. 1,003;
Kalhlvn Williams. 983; Mae .Murray, 960;
Doris'Mav, 901 ; Marguerite I'isber. 8.^9; Clara
K. Voung. 846; Phyllis Haven. 822; Juanita
Hansen. 815; Marjorie Daw. 761 ; Madge Ken-
nedv, 755; Betty Compson. 741 ; Corinne Grif-
fith.' 738 ; Marie Walcamp. 657 ; June Caprice.
640; Ccmstance Binney. 631 ; Bessie Love, 625;
Enid Bennett, 556; Jane Novak. 549; Mildred
Reardon. .S.W ; Dolores Casinelli ; 526 ; Sylvia
Rreamcr, 514; Rosemary Theby. 504; Gladys
Leslie, 4S9 ; Louise Lovelv. 474; Billie Burke.
462; Lila Lee. 459; Winifred Westover. 452;
Pauline Curlev. 417: Eva Xovak. 404; Lillian
Hall, .196; Mildred Harris. 391; Dorothy Phil-
lips. .^85; Violet Hcming. 378; Doris Kenyon.
,V3 ; Marguerite de La Motte. 367 : Mae Marsh.
352; Grace Cunard. 340; Helenc Chadwick.
334; Virginia Lee Corbin. 321: Ruth Stone-
liouse, 317; Fanny Ward, 308; Betty Blytlie.
300 ; Mary Thurman. 293 ; Peggy Hyland, 2S8.
William S. Hart. 95.587; Wallace Reid.
56 745; Richard Barthelmess. 35.703; Douglas
I-airbanks. 15,460; Eugene O'Brien. 10,624;
William Farnum, 10,567; Thomas Meigban,
6.9.';2; Tom Mix. 6,477; Elliot Dexter, 6,441;
J. Warren Kerrigan, 6,334; ChaHes Ray. 5,919;
Bert Lylell. 5..145; Tom Moore. 4,213; Gaston
Glass 4.075; William Russell, 3,819: Ralph
Graves, 3.604; Harrison I'ord. 3.627: Ben Alex-
.ander. 3.562; .Antonio .Moreno, 3,144; John
Barrymore. 3.102: Charles Chaplin. 2,961:
William Duncan. 2.855; Jack Pickford 2.244:
George Walsh. 2.208; Rodney La Roc(|ue.
2.196; Douglas MacLe.an. 2.184; Kenneth Har-
lan, 2,011; Eddv Polo. 1,959: Harold Ll.iyd.
1 7i6- Owen Moore. 1.600; Harrv Xorthrup.
1547; Earle Williams. 1.519; Llovd Hughes.
1.462; Conway Tcarle. 1.322; Monte Blue.
1.266; Robert Warwick. 1,110; Lewis Stone.
l.O.SO; Scssue Havakawa. 952; Percy Marmont.
888; Bryant W.a'sbburn. 854; Robert Harron.
8.16; Monroe Salisburv. 789; Louis Bennison.
771; William Desmond. 765; Marsb.al .Veilan.
759; Charles Xleredith. 743; Sunshine Sammy,
730; Lon Chancy, 687; Harry Carye. 671;
.Albert Ray, 662: Tom Forinan, 659; Eddie
i.yons. 652; FVancis MacDonakl, 646; Wesley
Barry, 641 ; Ben Turpin, .S64; J.ick Pcrrin, 537;
George Fawcett. 518; Hcnrv G. Sell. 506:
Joe Ryan. ,500; Webster Campbell, 494; David
Powell. 490; Theodore Roberts. 484; Robert
Gordon, 447; Mahlon Hamilton. 469: lames J.
Corbett. 462; Harry Morey. 455: Jack Holt.
441; Creigbton Hale. 416; Cullen Laiidis, 396;
F.morey Johnson. 389 ; King Vidor. 380 ; Lee
Moran, 371; Milton Sills, 363: Will Rogers,
354; Jack Dempsev, .148; Francis I'onl. .1,16:
Francis X. Bushman. 324: Fatty Arbuckle, 317.

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DEAD MEN TELL NO TALES

(Bight)

COMING !

ASSOCIATED FIRST NATIONAL
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yjie continental star
and a cast of 3,000 persons in

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A FIRST NATIONAL

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Watch for
it at your
theatre

(Nine)

A booklet of the most

famous skin treatments

ever formulated

You will fitul complete treatments lor
all tile commoner skin trouliles, as
well as scientific advice on the skin
and scalp, in the Ixxjklet, "A Skin
You Love to Touch," which is
wrapped around every cake ot Wood-
bury's Facial Soap. Among the
treatments given are:

Blackheads — A confession
Blemishes — How to get rid of them
Conspicuous Nose Pores^How to reduce

them
Enlarged Pores — How to make yout skin fine
Oily Skin and Shiny Nose— How to correct

them
Sluggish Skin — To rouse it
Tender Skin — The new treatmen.

'^-

To what type

does your skin belong?

IS your skin dry or oily— sensitive or resistant
—fine or large-pored?
Study your skin and find out to just what
type it belongs— then give it the care that suits
its itidividual needs.

Remember— different types of skin need
different care. If your skin is extremely sensitive
— then it needs a very special form of cleansing
which, instead of irritating and coarsening its
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tolerant. If it is pale and sallow— then it needs
to be roused and stimulated.

For every skin condition there is a special
treatment which, if followed regularly and faith-
fully each day, will help you to overcome the States and Canada. Get a cake today— begin,
faults in your complexion and to gain the smooth, tonight, the treatment your skin needs. A 25-
clear, flawless skin you long for. cent cake lasts for a month or six weeks of any

Begin, now, to take care of your skin in the treatment, and tor general cleansing use.

"Your treatment for one week"

A beautiful little set of Woodbury's skin preparations
sent to you for 35 cents

way that especially suits its particular type — see
what a fresh, individual charm you can give it
by this care. In the little booklet that is wrapped
around every cake of Woodbury's Facial Soap,
you will find careful and scientific directions on
the care each type of skin needs. Study the
treatment recommended for your skin and begin
using it tonight. In a week or ten days you will
notice a marked improvement in your complexion
— the gradual perfecting of your skin by natural
methods — which is the special achievement of
Woodbury's Facial Soap.

Woodbury's Facial Soap is sold at all drug
stores and toilet goods counters in the United

Send 25 cents for this ilainty miniature
set of Woodbury's skin prepar.itions,
containing your tomplele IVoodbttry treat-
ment for one week.

Vou will find, first, the little booklet,
"A Skin You Love to Touch," telling
you the special treatment your skin needs;
then a trial size cuke of Woodbury's
I''acial Soa[> — enough for seven nights of
::ny treatment; a sample tube of the new

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Powder, with directions telling you just
how they should be used. Write today
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If you live in CanaJti^ mUress The
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and learn the right treatment /or
this type 0/ skin

(Ten)

1JbTloi2 piovae <3^mc

DOUGLAS MacLEAN
The popular Thomas H. Ince star

rliotograpli b> Kvaiis. L. A-

riiolograpli by Evans, L. A.

BARBARA BEDFORD

^ Martin— the "th

other Tourneur discoveries

rluiloprapll hy W'itzil, L. A,

MARY THURMAN

Capitalizing her popularity, achieved as a Mack Sennett bathing beauty, Miss Thurman
has turned her talent to the dramatic side of the silversheet, and is now appearing in

Allan Dwan productions

fiiciiuyrapli by Krculich

EVA NOVAK

Little sister Eva is following in the footsteps of Jane's success, and is now being
starred by Universal, proving that sometimes there is more than one swan in a family

'liolt>K'aiiti 1>y Hartsiiiik. L. A.

ELINOR FAIR

Whose last name could be used first with the greatest ease, will appear opposite Otis
Skinner in the forthcoming Robertson-Cole feature, "Kismet

"What Time Is It?"
Asked Muriel

WE Iiave accomplislifd interviews uniler all
sorts of trying circumstances. We liave
"helped" stars pick ont gowns. We have
niotored into Westchester with 'em. We have dined,
tea-d, Ziegfeld roofed, suppered, lunched and —
whisixT — even hreakfastcd with them. Many times-
they have been in a luirry, but, to the l)cst of our
present disturbed recollection, nobody was ever quite
in so much of a hurry as Muriel Ostriche.

The task of interviewing a cute ingenue — film
ingenues are !)econiing more extinct every day —
rather intrigued us and we were exactly on time at
Miss Ostriclie's uptown hotel.

Two minutes later — i:32 p.m. to be exact — Miss
Ostriche appeared in the hotel reception-room. She
had a tiny package in her hand.

"I'm awfully sorry." she began. "You see, I'd
been jilanning to lake a 4:10 train to the beach for
the week-end and 1 thought our interview was to
be earlier and — but I'll take a later train."

Of course, we knew that she really di<ln't want
to take a later train. .Mso. we could not conscien-
tiously upset the schedule of an ingenue.

So we asked a i)orter to summon a taxi.

"We'll interview you en route," we confided.

"That'll be wonderful," sighed Miss Ostriche,
with .sometliing that we suspected sounded like relief.
"Better start now before the taxi comes. Want
a — er — pencil ?"

"We never use 'em," said we, trying to maintain
our editorial poise in the face of the Ostriche optics.
"What about your traveling bag?"

I'luiliiKinpIl 0 liy fn. li-rw.ioil Ik I'l.iKiiM.u.l

Muriel Ostriche
started in mo-
tion pictures at
old Bio graph
and played in
Eclair, Than-
houser and
World Film
productions.
Now she is
starring in a
series of film
plays being
made by Arrow

(Sixteen i

By

FREDERICK JAMES SMITH

"Dont need it," giggled Miss Ostriche. "I liave
evcrvlliitig here. ( Indicating the tiny bundle.) Bet
>0u cant gness tlie contents,"

( )nr poise was slipping. Wnere on earth was
the taxi?

"tiuess," insisted Miss Ostriclie.

We mopped onr brow. "It's a hot day," we
said, deftly changing the subject.

"A tiKithbrush and a nightie," continued Miss
( )striche remorselessly. "What do you think about
that '"

But tlie taxi arrived before we were forced to
commit ourselves.

(The scene changes to the interior oi an oiiyi
taxi.)

"Tell me the time and ask some (piestions !"

"3:51 — and how did you get into pictures?"

"We'll make it I'm a New York girl

Did you guess it ? Nobody ever does Of

course, Iliad the movie bug Every girl has,

some time or other A boy who knew me at

school, Christy Cabanne, was in pictures at the old
Biograph studio and he asked me to come up for

a try-out My people objected — furiously

What time is it?"

A French director at
the old Eclair studio
gave Miss Ostriche
her first opportunity.
The picture was half
over before Muriel
knew she was play-
ing the leading role.
At the left is a brand
new studio dressing-
room "snap" of Miss
Ostriche

camera-men said ?-

"3 :56 — and go on."

"We'll make it

I didn't know a thing
about pictures, natu-
rally They asked

me to do a scene

You know, for a test

try-out I was

scared something

awful Do you

know what one of the
What time is it ?"
"3:59 — what did he say?"

"'Some lamps!' Funny, wasn't it

Of course, I didn't know what that sort of
slang meant then — he was talking of my eyes,

you know What — —"

"4 :02 — and we guessed it — and we dont
blame him."

"We'll make it Well, after the test

( iriffith came around and said, 'I dont know
what we can do with her, she's too young to
be made love to and too old not to. Tell Iicr
to come around tomorrow.' — But I told him
1 was going to school and could only work

Saturdays and Sundays 1 guess he was

angry Wh "

"4:04 — you'll make it!"
"1 did a few extra parts at Biograph and
then I applied at the old Eclair stu<lio. — A
( CoiiliiiKcd oil page 70)

(Seventeen)

Enter Julio!

Photograph © Shirley Blanc. L. A,

"W

rOMAN is incomprehcnsihle." said Sijjnor
N'alentiiio one day. "N'o man can fathom
her. In fact, the man who hoasts 'I know
woman' is either a liar or an idiot."

"What about man— is he more easily under-
stood?"
"Yes — he is more practical, more elemental. Man has no
caprice ; no whim. He is whole— definite."

Being very much a part of those upon wliom he had ju.st
passed judgment, \'alentino placed himself under his own
stamp. "Definite," he said man was. Yes— so, he hnnself
is — in his extremes.

Fo'V just as it is simple to understand woman when oni-
realizes she is a contradiction, and one makes allowances for
her pros and cons, and one expects them— so, by the same
code of perception, is the nudy of Rudolph X'alentmo less
enigmatic.

Because one person coula discuss Valentino and say, "What
a care-free lad he is! Always joking, and romping; being
serious only in his mania to dance and play. Give hmi a
horse, a stretch of land, all day in which to tear over the
countryside, and he is content."

.\nd another person in sjieaking would offer : "That is what
I call an ambitious young man. He is very determined to
succeed, ami doesn't lose a minute towards
it. In his work he never slacks. He gives
his best in enthusiasm and most in time.

Opportunity wont be
more than once on his
It is also legitimate
sportsman! He does
but rides his animals

Rudolph Valentino is a
youth from Italy who
came to these shores in
pursuit of scientific
agriculture. Because of
his unfamiliarity with
the English language,
he did not succeed and
drifted into dancing
where he attracted the
attention of the leading
dancers in America.
His role as Julio in
the film version of the
famous Spanish novel,
"The Four Horsemen
of the Apocalypse," is
one which demands the
work of a great artist

given the chance to knock
door."

when one comments : "A
not tear over the country,
judiciously. Rather than
return hot and dis-
heveled, manifesting
all the signs of hav-
ing had a great time,
he brings his horse
home warm, but
carefully exercised."
And for those who
know him best, it is
not wrong when the
opinion is that"Rudie
is a lonesome soul.
He isn't so much
melancholic as pen-
sive. He has many
friends, and very
few. Books are his

Photograph by Shirley
Blanc, L. A.

(Eiahleeni

By
C. BLYTHE SHERWOOD

coniiianioiis, and dreams, and memories. A night
at liome. alone, with these, he considers far better
spent than jocularly abandoning himself to Bacchns
and bacchanals."

His appearance, too, is untraditional. Either, lo
correspond with his virile physique, he should not
be so a'slhetically attuned, or to accoril with his
vigorous spirituality he should not be so immacu-
lately groomed. One never thinks of an artist, or
an appreciator of art, as being also an appreciator
of cravats and im])orted eau dc cologne. .-Xnd when
one is fastidious about one's menu, it is expected
one would be, to the exclusion of one's choice of
opera

Vet this phenomenal youth cannot rclin(|uish his
fidelity to Arthur Symons, D'Annunzio, Dante,
Wilde, Fokine and Caruso, because of his ade(|nate
amount of interest in thoroughbreds, surf-bathing.
Hart Schafifner and Marx, and Dardenella. He
cares for both and will have both. A good piece
of watermelon is as absorbing to him as a work
of Rodin's. He can go one day to Shirley Blanc's
to be photographed as a rigid, immobile, determined,
stern mask. And the following afternoon he can
drop in to have the camera catch him as illusive,
lambent, unsubstantially poetique.

\'alentino with all his complexities, and because

Pliotugraphs l)y Shirley Blanc. L. A.

Altho he has made ex-
traordinary progress in
pictures, having played
opposite Mae Murray,
Dorothy Gish and Car-
mel Myers, Valentino
does not want to stay
here forever. He longs
to go to South Amer-
ica, China, Japan, Egypt
and India and to get to
know these places

of them, is normal. He
has the indolence of
Endymion who woidd
dream ; the reverence of
Dante who would wor-
ship ; the vitality of Don
Juan who would woo; the
extravagance of Don Quixote
who would exaggerate : the
courage of D'Artagnan who
would dare ; the restraint of
Sordello who would court in
deed; the desire of D'.-Xnnunzio who would achieve; the
strength of Vulcan who would excel ; and the philosophy
of Omar whose "yesterday is dead and to-morrow never
comes."

He resembles both Dick Barthelmess and Rod La Roc(|ue.
His accent is a composite of Leo Ditrichstein's, Jose Reub-
en's, and Pedro de Cordoba's.

Ideas are what he would oflfer ; and diffidence. S])on-
taneity ; and a total lack of response. Yet, he doesn't waver.
He is, as he says man is, definite — for all his moods.

One would not dare call this fiber of his temperament,
for to him, the word "temperament" is greatly misused
promiscuously thrown about. The genuine artist, he be
lieves rather leaves that term to where it has become estab-
lished— in the gutter. The artist recedes into his soul, and
believes. His ego is not "I am," but "I know."

"There is an artistic temperament," Valentino claims. "It
is a part of another nuich mishandled ])hrase, intellectuality.
(Continued <in page 72)

(Nineteen)

i>iii»Vf»iK

<vik^

-^^:^.

,» V

riiotograifh by Witrc). L.A.

OI" course, she had to get Chicago out of her system
or the city would have been calhng lier all the time.
So she went back to the place she was born and
studied for the stap", which, according to the laws of Romance.
was the proper thiug for a girl brought up in the mountains of
Colorado to do. .\X any rate, Myrtle Stednian not only studied
for the stage, but she went on the stage, becoming a prima donna
in a very short time.

But the most impressionable period of her life had been spent
in a mining camp about forty miles from Denver. There she
had learnt horseback riding and, being at an altitude of 10,000
feet, she had naturally become proficient in the most difficult
of mountain siwrts. She was a child of the snows, blonde and
hardy as a Dane.

It was while she was appearing in comic opera in Chicago
that she met Colonel .^elig and he. needing a leading lady and
hearing that she could ride horseback, immediately approached
her with an ofTer.

"But," she protested, "I dont know anything about moving
pictures."

"You can learn," he answered. "Why dont you come and
visit us?"

"So," she said, in telling me about it, "I went to visit the

Myrtle

of the

Mountains

studio. I saw the making of several
scenes, but wasn't greatly tempted
... I was afraid that I wouldn't be
able to do the work. Then Colonel
Selig showed me a beautiful thoro-
bred horse. 'This horse' he said,
'will be yours if you join us. You
can ride him all tlie time.'

"So it was that that decided me
to leave comic opera for moving
pictures."

You might call it persuaded by a
horse . . .

"My first picture was called 'The
Range-Riders'," she went on, "and
I was not the only member of the
company making my debut. A
young man who had come the same
morning was as strange to the screen
as myself. I was introduced to Tom
Mix and after that we
made a number of pic-
tures together."

Miss Stedman started
her screen career at
about the same time
that Mary Pickford.
Blanche Sweet, Bobbie
Harron, Kathlyn Wil-
liams and other
famous "pioneers"
started theirs.
Her work in the
popular
"westerns"
was un-
rivaled.

?ifeSf..5

Wii:^

Myrtle Stedman
started her screen
career at about the
same time that Mary
Pickford, Blanche
Sweet, Bobbie Har-
ron and other
famous "pioneers"
started theirs. Her
work in the popular
"westerns" was un-
rivaled

(Tri'enly)

By

ELIZABETH
PELTRET

W'c were lunching to-
gether in a pretty little tlat
she recently rented in
Hollywood. It is on top
nf a gently sloping hill am
commands a lovely view
of the surrounding coun-
try. For lunch, there was
chicken, jellied, with
mayonnaise, whole toma-
toes icy cold, Saratoga
chips, hot rolls, iced tea
an<l sliced peaches, the
whole especially designed
to tempt appetites made
indifferent by the heat
outside.

We (Miss Stedman
had thoughtfullv
called at my
office to get
m e J had

Photo l,y Witzel. I,. .\

Miss Stedman studied for the stage
and became a prima donna. It was

while she was appearing in Chicago
that she met Colonel Selig who,
needing a leading lady and hearing
she could ride horseback, ap-
proached her with an offer. She
has a propensity for Western pic-
tures and has appeared in many
screen versions of the works of
Rex Beach, Jack London and other
well-known writers

arrived to find the doorbell in the process of
being repaired, not by the to-be-e.xpected
workmen, but by two portly, well-dressed
ladies, the owners of the house.

"They own several houses," Miss Stedman
whispered, "and whenever anything goes
wrong, they insist on making the repairs
themselves."

During Umcheon, we could see them thru
the slightly parted portieres that divided the
dining from the sitting-room. One of the
ladies stood on a stepladder, placed just inside the front door,
and hammered from time to time, while the other held a kit of
tools handy and tried the doorbell occasionally to see if it would
work. At last it rang, and after making a few little repairs in
the kitchen ... it seemed that the ice-bo.x drain needed atten-
tion . . . they left, shown out by Lucille, Miss Stedman's irre-
pressibly good-natured little negro maid, who rang the bell her-
self for good measure and then ran thru the room giggling.
(Continued on [<a(jc 94)

(T-ti-cuty-onc)

With the

( Twcnty-t-ii'o >

Season's New Plays

r^'^:^^

^^^H^H^^^^^^ ^^"^^^I^^^^^^^^^^^^^^H

^ff'^^B ^

^""^^H

"*''^2** ^^^^B W

Kj^^^w

Right, Ann Pen-
n i n g t o n, the
piquant star of
"The Scandals of
1920," who is al-
ways a delightful
musical comedy
figure. Left,
Sally Long, one
of the prettiest
members of the
Century Prome-
nade

Pholograpli Ijy

Alfred C?heney Johnston

Left, an amusing
scene in "Ladies'
Night" in which
Charles Ruggles
and Edward
Douglas, shown
at the right, in-
vade a Turkish
Bath on ladies
night. Judith
Voselli plays a
movie vampirr
taking her daily
exercise, much
to the interest of
Messrs. Ruggles
and Douglas

PholoBrarili 1>\
Whitr .Sin. lie,

(Txvcnty-thrcc)

The Rise of
Beatrice

and now I found licr playing 0|>lX)sitc Douglas
MacL an. Biit I am running away with my
story.

Beatrice is a southern girt. 'I'exas is respon-
sible for the sihilant drawl of licr voice, the vi-
brant black of her eyes, the tiny suggestion of
bravado that smol-

Beatricc Burnham
is either a great
artist or a very little
girl. That is the im-
pression the inter-
viewer received.
She is a daughter of
the South, and Texas
is responsible for
the sibilant drawl of
her voice, the vi-
brant black of her
eyes, the tiny sug-
gestion of bravado
that smolders con-
stantly beneath her
appearance of
timidity

ders constantly bc-
neatli her appearance
of timidity.

.\ convent and a col-
lege are tlie two mile-
stones that mark her
pursuit of knowledge.

Beatrice is one of
those girls who never
tell you things. They
always confide them.
It is very agreeable.

"It is ten months
since I had my first
part — with Eddie Polo
in an episode of his

I')iolO(ir.-\phs by Freulich

A SOFT, cool hand in mine . . . black eyes that
fla.shed behind a veil ... a sigh ...
It \N^s done so deftly !

It might Irtve been a jjoem ; but. alas, it was only the
beginning of an interview— and in the conventional
surroundings of the Ince studio.

Beatrice Burnham is either a great artist or a very
little girl. It should have been easy to decide which
. . . if her shyness had not been so confoundedly be-
witching! I wanted to believe and yet that soft catcli
in her breath ... It was done so perfectly. Al-
most too perfectly !

While I yet held her hand, she indicated the path
that stretched away before us and disappeared into
a maze of sets and stages and great swimming pools.

She barely breathed the words: 'Terhaps a little
walk . . . Then I shall not be so nervous."

I watched her out of the corner of my eye. In
scarlet hat and coat she njade a vivid figure. The
only vagueness was the blue veil that covered her
face, that accentuated the whiteness of her skin and
the sloe-black of her eyes. .Xnd her grace was
not confined to her shyness. She walked beauti-
fnlly — with the balance and sway of a rce<l -in the
wind

I thought of the ragged' mountain girl in 'ISullet
Proof." It was hard to realize that this was she.
remember talking with Harry Carey during the |)ro
duction and I recall his good-natured a<lniis>ion:
"She's stealing the picture." •

I had often wondered what had become of her;

(1 K'ettly lour)

By
WILLIS GOLDBECK

"Cyclone Smith" series. It all
happened in the most wonder-
ful way. I was on the Univer-
sal lot as a visitor. I had no in-
tention then of ever attempting
to get into pictures. But
Jacques Jaccard saw me and
dared me to take a screen test.
I did, of course, and was a lit-
tle bewildered by the result."

She sighed retrospectively,
leaving my imagination hang-
ing limply in the air. That is
what makes me doubt . . .
her trick of always choosing
the correct moment — just
when you are waiting breath-
less upon her next word — for a
sigh and a pause.

A great artist ... a little
girl . . . ?

"What was the result," I de-
manded.

"Oh, everyone got terribly
e.xcited. You see, I had had to
cry and I cried so hard that
they couldn't believe it was act-
ing. But when they saw that
it was, I guess they thought
they had discovered a second
Bernhardt — for a moment.
Eddie Polo — he seemed such a
wonderfully famous man in
those days ! — declared that he
wanted me for one of his epi-
sodes. He got me without
much persuasion !"

We had talked ourselves
around the circuit of the studio
grounds and back to the long
row of dressing-rooms. I no-
ticed on a nearby door, in
bright, fresh letters the name
"Beatrice Burnham." A
glimpse of the room past the

lialf-open door made it seem cool and inviting. She murmured
a suggestion that we go in.

Once in, her confidence seemed to be restored, tho she sat
erectly graceful, her hands still nervous, while she told me —
no, confided — the story of her brief ten months in pictures.
It was that test at Universal City that she regards as the start
of her career. Two years ago she did one or two "bits" for
different companies, but they were merely the summer larks
of a school girl.

Universal realized that they had unearthed a discovery worth
while and were determined to keep it for themselves, on their
own terms. But they had reckoned without that bravado
smoldering beneath, that bravado which, after all, proved to be
an unquenchable courage.

"They were lovely," she sighed. "They took me to dinners
and sent me boxes of candy and even took me to the theater
now and then. I wanted it to go on forever. I forgot all about
the contract."

She ventured a naive little smile and glance.

"But it seems that they hadn't. They were even a little ex-
asperated when I at last said 'No' to them."

(Twenty-five)

Plintogrnpli by Frciilich

Miss Burnham has
been on the screen for
about ten months; her
first part was with
Eddie Polo in one of
his "Cyclone Smith"
series. Her career with
Universal was brief.
Then she called on Mr.
Ince, and he immedi-
ately engaged her to
play opposite Douglas
MacLean

There was an actual wonderment
in her eyes !

It was my turn to sigh. I did.

Her career with Universal was
as busy as it was brief. From the
Polo pictures she went to wild ani-
mal comedies and thence to five-
reel westerns. There is a hint of a
playful destiny in the fact that tlio
she came unharmed thru the animal
comedies with their inevitable lions
and chimpanzees, her arm was badly
lacerated by tlie treacherous teeth
of a grouchy bniin in "Bullet Proof
all her life.

In "Hitchin' Post" with Frank Mayo she did the work that
brought the offer of a five-year contract from I'nivcrsal. the
contract which she refused — after many dinners and a tlicater
or two.

She went to Edgar Lewis and won a good part in "Lahoma."
(Continued on payc 76)

Slie will carrv the scars

1 That Swede from Ystad

She Never Went Back

By FREDERICK JAMES SMITH

'â– 'IMk- golden reward I had heard about in far off
^â– ^la(l proved to lie pretty remote. Tlie best I could get
was ])osing for artists — at fifty cents an hour. I had a
terrible time making all ends meet for many months,
call those my bakery days, for it was pretty stiff
sledding and a dinner in a bakery restaurant was a
lu.xe event,
t was then that I met .Mice Joyce, who was also
an artist's model. .She landed with the old Kalem com-
pany and helped me get a hearing. I had her first
director when 1 started, Kcnean ISuel

"That was the beginning. I've been playing ever

since before the camera. I-'our times I have had passage

1m Hiked for hiinie, hut each time something unforeseen

pre\ented. lint I am going back to .Sweden for a visit

ne.xt spring.

".\Iy peojile have not seen me — that is, in

re.ility — for years. I only reached them

.â– ntly on the screen. None of my

older i>ictures were exported and

it was not until 'Seven Keys to

F'.aldpato' went across tliat

ihey had a chance to see me

on tlie screen. Right after

that Ysta<l — and .\storii.

where my folks now live—

had .'i chance to see me in

'The Trail to Yesterday' and

my pictures ha\ e been events

there e\cr since, it seems.

I supiwse the little girls look

S\v

YOU can bet Ystad is
mighty proud.
Isn't .Anna Q.
Nil.sson a Ystadian — or
whatever you call an in-
habitant of that distant
town?
Miss Nilsson really was born there.
Indeed, she is a typical blonde viking. "I
should have been a boy," she says. "In
fact. I was raised with a regular boy's training.
Dad, who was an army officer, had hoped for a
boy but he <lid the next best thing. Six feet two,
himself an all 'round athlete, he usc<l to ]iut me
thru a <laily routine of training froi)i my earliest
baby days. So I grew up to be able to perform
all sorts of stunts.

"Hack in those Ystad days I did not. of course,
conceive of a movie career. I was to be a teacher.
There was nothing much else for a girl to d(j in
those day.s, save being a housewife. So I was
sent to school with the idea of making myself a
school ma'am.

"Teaching never did appeal to me. 1 must ad-
mit. I can remember how several girls came
back to the town from .\mcrica — wearing silks and
That settled it, for 1 resolved to get to the fabled
wealth in some way.

"Later, when an old friend of my father's married in Xew
York and invited me ^o come over for a visit, I hastened to
accept. Mentally. I told myself I was going to stay — at least
unid I became rich.

"So 1 came. I was their guest for months. Father ke|)t
asking me to return, but finall\ 1 wrote to him, 'I'm not coming
baik until I'm a millionaire,' and 1 started out to grt some sort
of employment.

Anna Q. Nilsson wus
born in Sweden. She is a
typical blonde viking. "I
was raised with a regular
boy's training," she says,
"Dad, who was an army
officer, used to put me
thru a daily routine of
training from my earliest
baby days." Here are
several glimpses of Anna
as an oarsman

velvets.
land of

n])on me as a
sort of god-
dess of for-
tune, just as
the silks and
velvets of the
old days set
me to dream-
ing."

( Cuni'd on
^^(/|• 70)

fTjceiity-si-vJ

• - .^ . *'.>> --'..mLt wcci

ir=T

3:

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'%'

The Charm School

Told in Story Form from the Wallace Reid— Famous Players' Photoplay
By FAITH SERVICE

AUSTIN BEVANS was a bright young man. Most per-
sons concede'd hiiu that. He had two outstanding char-
acteristics so marked as to all but completely overshade
any others which he may have possessed. He was an e.xcellent
salesman and an excellent lover. Par excellence, in fact. Of
the first, his specialty was automobiles and for the second, at
the time of which I write, Susie Rolles.

Susie had an enterprising Mamma. An automobile Sales-
man, however snappy, did not accord with Mamma's enter-
pri.se. Susie was her one branch and be.st bet, and she had
buildcd greatly and rather expensively on Susie. The flavor
of gasoline did not suit her.

She explained this to Susie at some length and to .Austin with
some asperity. Wither of them seemed to weigh her words
very heavily. She Iia<l been all of seventeen years in instruct-
ing Susie that this world is ruled by Mammon. Susie was learn-
ing and .Austin might be said to be her last line before stepping
over into Mamma's Pet Beliefs.

Xevertheless, despite the fact that the course of love did not

( Twi'iily-sci'cn)

run smooth for .Austin with Susie, the young man had a lot to
thank the Rolles menage for. They were, he later admitted,
eye-openers, the pair of them. In the caustic course of her
harangues, Mamma Rolles had informed him that she hadn't
raised her daughter to be a laborer . . . she inferred that matri-
mony with Mr. Bevans would result in nothing else than that.

"Women, my dear, good .-Vustin," Mamma would say, "are
made to charm. To charm — that is, or should be, the alpha and
omega of their pilgrimage upon this ear+h. Women have no
business in business, either commercial or professional — their
business is to be charming — to be charming "

Evidently, Mrs. Rolles did not conceive the possibility of her
Susie being able to charm as Mrs. .Austin Bevans.

On one memorable occasion Susie greeted him with flushed
cheeks and dilated eyes.

"Vou must go at once," she said, with some e.xcitement ; "I've
had the dickens of a row with Mamma. I — I hate to fell you,
.Au.stin. but she is very firm in her idea. Her — her idea is that
you have neither birth, breeding nor [)rospects and I — and I "

MOTION PICTURE

Said Austin: "If you Austin laughefl.
are not in «ympa«hy ..j „,j,^, ^^^^.^ ^^g,, ^^^ ., ],g j„,
with my unalterable , ,. 11 -in
ideas and ideals, Miss sisted, my logical mind tells nie
Hayes, you are at liber- that. Breeding has an indelicate
ty to leave" sound to nie. I refuse to discuss it.
And as for prospects" — he inflated
his chest : "we shall see "

There was a melodramatic flourish of hat, and he was gone.
Susie wept a few carefully heconiing tears and went forth in
search of other fish to fry, and .Austin repaired to his office,
where he was duly notified that his services would no longer
be required. The implication pointed to a lady. Without an
undue share of perspicacity. Austin deduced that the lady was
Susie. It would be unbecoming a hero to suggest that he cursed
the House of Rolles roundly and well. Rather let it be inferred
that he languished and repined

Occasionally life as an equable equation presents it.self. Along
with his little blue ticket .^ustin found an ominous looking docu-
ment bearing the anathema of coming from an attorney. He
opened it 10 be informed that his Aunt Polly Bevans had passed
on to the Other Side and had left behind her on this terrestrial
plane her well-known .Aunt Polly Bevans' School for Young
Indies, with fifty pupils, a cottage and ten acres of well-tended
ground. The meat of the matter was the fact that the whole
descended to Austin.

At first he was staggered, being normal. He was a good
salesman — or had been until his dismissal pricked the bright
bauble of his confidence. He was a vivid lover, yet he had been
ousted via the back door like any skulking Romeo. And with
nothing to sell — and fifty maidens — vow ! Then, like all valiant
souls, he began to take stock of his experiences and determined
to make them work for them. Susie was a product of a system
of charm. Well — Susie would undoubtedly "get along." She
would toil not, neither would .'-he sjiin. She was a lily and her
mission was to grow, exhaling the fragrance which was her
riativity. The more perfectly she exhaled, the more perfectly

would she justify her nativity Not a bad thought Who

wanted college women, business women, professional women?
Who wanted oracles, theorists, faddists, modernists? What did
they profit a man ? It was one thing to lose one's soul for the frou-
frou of a skirt. It was another and quite unmanly to lose one's

mind for the firm tread
of an .Amazonjan intel-
lectual. In tftat respect,
as in most others, Mrs.
Rolles had been right.
.Austin was beginning,
in sooth, to look upon
her as his benefactress.
Viewed from afar,
Susie had the aspect of
something to be saved
from. Mamma Rolles
had thrown him the life
line. The result of the
cogitation was the de-
termination to perpetu-
ate at least one of
Mamma Rolles' theo-
r i e s. He, Austin
Bevans, would take
Aunt Polly's legacy,
fifty pupils, acreage and
all. He would remove
the Acting Principal, so
specified in the bond as
"Miss Hayes" and in-
stitute himself. He
would revolutionize the
school and the fifty
young ladies. They should be taught one credo — to
charm. It should be called The Charm School and
its aim would be to turn out upon the male population Loreleis
with every faculty trained to its acme of perfection.

Preparatory college courses, business trainings and the like
should be tabooed, ridiculed, relegated to limbo. To charm —
to charm — to charm — this and this only should be the rite and
the religion. It was a great idea! The world went mad over
ideas. .Austin exulted.

There would have to be money. Austin thought hard and
hit upon the last victim to whom he had sold a car. That said
victim happened to be Homer Johns, president of the Corn
Exchange Bank and an unapproachable proposition, did not deter
the apostle of the new Educational Creed. He went to him at
once and demanded ten thousand dollars.

While Homer Johns was spluttering and struggling back to
equilibrium, Austin was launching forth upon his project.

He had a convincing vocabulary, had Austiri. Also some gift
of oratory, but he probably got what he had come for — more,
because Homer Johns was fed up on the feminist movement
than for any other reason. Wife, daughter and now grand-
daughter had gone the radical road in the Johns menage and
the old man yearned for the gentler days of the toil-less and
spinless (not to say spincAea) woman. Here, he felt, was a
young man with the right idea. A young mari. who might be
preparing for a coming generation at least a fisw apostles of
peace. He was fnr him.

"I'll go down with you," he said, "and look over the ground,
it's bizarre — but it hits me right."

On the way down he disclosed the fact that he had a grand-
daughter at Aunt Polly Bevans' School. "She's been getting
the same way as her mother and her grandmother," he com-
plained, "and I am genuinely fond of the child. I dont forget
her little ways when she was a baby — she was the most cuddle-
some baby ever born, I think, and it gives me a shock to see
her and to hear her now, developing radical views and opinions,
talking of a college career, the economic independence of woman,
the evolution of this, that and the other thing. It sounds like
iron coming from lips where pearls ought to be. I'd like to
check her up. It would be worth ten thousand dollars to me to
do just that. If you can, young man, consider the ten thousand
as gift rather than a loan or an investment."

We may anticipate, but in accomplishing this end, .Austin
was helped by the fact that Elise Johns fell in love with him
and promptly lost all economically independent aspirations.
However, that is anticipating my story

(Twenty-eight)

CLASSIC

Elise may hardly be said to be alone. When the fifty young
ladies witnessed the arrival of Hoiner Johns and Austin Bevans
they naturally, being pessimists, thought Homer Johns was the
new principal. When Elise, still cuddlesome Austin thought,
involuntarily, greeted the old gentleman as Granddaddy and
.Austin dawned upon them as their Principal, fifty hearts cracked
like china and a cult was then and there established.

It was not all so soft, however. .Austin found himself, in
the first place, very much indeed "up against" Miss Hayes.
Miss Hayes had been Acting Principal since the Will of (lod
had removed Aunt Polly.

She beheved vehemently in the Woman in Big Business, etc.,
etc. She maintained with a beef, iron and wine enunciation
that this was the Day and Age of Specialization ; that woman
tiiust meet the new demand of the new Era; that .Austin was,
like his sex, endeavoring to keep Woman, servile, unenlightened.
She flatly denounced him as "shameless, archaic, insidious."

Said Austin: "If you are not in sympathy with my unalter-
able ideas and ideals. Miss Hayes, you are at liberty to leave."

The remark was, distinctly, a command.

Said Miss Hayes: "I have a three-year contract, Mr. Bevaiis.
1 am now entenng upon the first of the three years. It is my
pleasure as well as my duty to remain. I am a woman, Mr.
Bevans."

"We are not disputing that. Miss Hayes," said Austin, and
waived the question.

Let the woman rave, he thought. He would have exhaling
lilies despite her. He was not without instinct and intuition.
He had been there a week. A week had he been under the
battery of fifty pairs of limpid, upraised eyes, blue, grey, sloe-
black, leaf-broWn, they met his with a sparkle, with a tremor,

with a star No, he had nothing to fear from Miss Hayes,

These young, fundamentally feminine things would be lilies

or hardier growths as he should will Their will to charm

was there. His but to call it forth, perfect
it, enhance it, give it into their hands to use,
consciously, an invaluable weapon.

He had felt it as a niission when it first
came to him. He felt it more so now —
now that he had seen Elise. Not that he
admitted this to
himself in so many
words. He felt dif-

ferently about Elise, older, more protective When he noted

a flower on his desk every morning, a white and scent-giving
flower and traced it to Elise, he felt shamed. She was so young —
she would get over it — a school girl infatuation for the Acting
Principal who happened, quite accidentally and certainly uninten-
tionally, to be young and with some slight bearing ()f

course, she would get over it. ( )nce she was thru with the Charm
School, once she was launched into the brilliant prismatic circle
to which she had been born, she would exhale the perfume of her
charm in a rarefied circle above and beyond the Acting Principal.

At the same sacrificial moment he admitted his own love for
her, and knew, too, that he had never been in love before. Love,
then, was nine-tenths pain, nine-tenths self-abnegation, far more
distress than joy — cbbcnc!

There were so many contributory elements going to make up
the distress. There was Elise's roommate, for one, Sally Boyd.
Xot that Sally, as Sally, mattered very much either to Austin
or to anybody else, but she had a brother. Brother George had
been in love with Elise, it seemed, since pinafore days. When
the news of the .Adonis-like quali-
fications of the new Acting Prin-
cipal reached his ears, he was con-
sumed with jealousy. He besought
his mother to remove Sally from
the iniquitous surroundings and
to use her influence with Homer
Johns to remove his granddaugh-
ter. His stolid imagination, tem-
|)orarily inflamed, conjured up

vivid and vicious images He

had never been taken very seri-
ously, however, and found some

For a week he had been
under the battery of fifty
pairs of limpid, upraised
eyes; blue, grey, sloe-
black, leaf-brown; they
met his with a sparkle,
with a tremor. These
young, fundamentally
feminine things would be
lilies — as he should
will ....

f Twenty-nine)

MOTION PICTURE CLASSIC

He felt differently about
Elise, older and more prp-
tective. When he noted a
flower on his desk every
morning, and traced it to
Elise, he felt ashamed.
She was so young ....

difficulty in changing the order
of affairs.

With one gleam of perspicacity,
nevertheless, when he heard the
school lacked a secretary he got
himself engaged in that capacity.
On the spot, he felt, he could
keep an eye on what he was con-
vinced were nefarious- proceedings Sally, with sisterly

tact, had let fall all sorts of terrifying innuendos. Elise. in the
so-called commission of the school's task of writing a daily,
graceful, feminine note di-
rected all of hers toward
.Austin, and they were, as-
serted Sally, convincingly
graceful, not to say feminine.
Then, every day. a white gar-
denia found its fragrant way
to the vase on the A.P.'s desk.
It was unquestioned that Elise
was responsible. Their eyes
niet and held, Sally narrated.
even in class, like vises.

When the Charm School
disbanded in the early summer
Elise presented Austin with
four letters to cover the term
of the vacation. .Austin dared
not let the child know what
these meant to him. He looked
upon her as a child. He had
philandered so much. He

THE CH.i.RM SCHOOL

Fictionizcd from the Wallace Reid-.-Famous Play-
ers riiotoplay. based on the scenario by Tom J.
Gerahty ; adapted from the Saturday Evening Post
slory by .Mice Dner Miller. Directed by James
Cruze. Starring Wallace Reid. The cast:

.Austin Bevans Wallace Reid

Klise Lila Lee

Mrs. Rollcs 1 .\de!e Farringtoii

Susie Rolles Beulah Bains

Homer Johns Edwin Stevens

Miss Hayes Grace Morse

Sally Boyd Patricia Magee

George Boyd Lincoln Stednian

Miss Curtis Kate Toncray

Miss Tevis Minna Redman

Mr. Boyd Snitz Edwards

Mrs. Boyd Helen Pillsbury

Europia Tina Marshall

knew what pliilandering means — or doesn't mean. He dared
not take her seriously. So many had taken him seriously who
had no right to. He was sorry for all of that now. He hadn't
known, tlicn. about heartache. .

The day after the disbanding of the school, Austin was alone.
In the evening Homer Johns was giving his granddaughter a
<linner dance to which he was going, after that he thought he
would run up to the mountains for some fishing and swimming
before the fall term. .After that the rest of the summer didn't
very much matter. He would carry his image with him and

forget the rest of the world — tonight loomed large

The morning mail brought
him another notice from his
lawyer. The same firm, who
had announced to him the
legacy of Aunt Polly Bevans'
School, now announced that
the real will had been found
and that Aunt Polly had left
her school, not to her "loving
nephew," but to Miss Hayes.
.Au.stin whistled, then swore,
then whistled again. He paid
momentary tribute to the so-
rority of women. Then he was
conscious of a sort of ethical
relief. He felt that it had all
been too much — for him and
for the Young Ladies. He be-
lieved that he had done some
little good — but those "grace-
(Continucd on page 88)

(Thirty)

The Story
of Flora Revalles

By ELIZABETH PELTRET

THIS is the story of a girl whose father biiilt a railroad
in A frica. Whether her inheritance from him has aiiy-
thing to do with tlie matter or not, it is hard to say, but
time and space seem, somehow, to have no meaning to her.

It is a difficult thing, the moralists will tell you, to gain
fame if you keep moving all the time. And yet that is
exactly what Flora Revalles is doing. She has the mental
restlessness . . . and the determination, too, . . . that her
father must have had when he planned the 'lay-
ing-out of those tracks thru the jungles. She
could never "sing for her own village" she must
go out into the world . . . every corner
of it . . . and sing for the world.

"!' do not like long term contracts,"
she told me, "they keep one in
the same place for so long a time.
I hate to be tied down."

And this intense restlessness
... a restlessness of the mind
rather than of the body ... is, I
think, the most noticeably charac-
teristic thing about her.

We were seated in a little

alcove at the Beverly Hills hotel
where she was staying during the
production of the moving picture,
"Earthbound" from the spirit-
ualistic novel by Basil King, which
marks her second appearance on
the screen. Somewhere near, most
l)robably in the dining-room, an or-
chestra played "Finiculi, Finjcula."
The strains came to us softly. Portieres,
looped back but lightly, hid us completely
from the main lobby.

From the viewpoint of the lobby, this would doubtless have
been voted a very regrettable thing,
if they could have known. She
looked so gorgeou.sly vivid, did la
Revalles, like sunlight on snow,
you would have fancied, or if you
are in the habit of associating
people with jewels, like a rare
emerald. And yet she wore no
brilliant color, and few jewels, a
long ermine scarf was thrown
over her shoulders, her gown, her
hat, her furs formed a color com-
bination of black and white and
silver. Only her lips were red.
Her clear olive skin accentuated
the darkness of her eyes and hair.

There are artists who claim to paint the souls of their sub-
jects. She makes you feel that Leon Bakst could paint hers;
vivid, gloriously colorful in contrasting shades of greens and
blues and puri)les ; a thing of beauty and restlessness and life.
"I think I mu.st have been an animal at some time," she
said, "I love them so. But not the house cats;
no, 1 do not like cats. But I like tlwc tigers
nar^enKI^u'ii . {Conlinucd on page 71)

Flora Revalles is a
singer of note and a
ballet dancer of inter-
national reputation.
Her first appearance on
the screen was in the
Maurice Tourneur pro-
duction, "Woman."
Miss Revalles' work in
the recently released
Goldwyn feature,
"Earthbound," is of un-
usual merit

(Tllirly-oncj

jmrnnk^

Tom Forman was a
junior lieutenant in
the Infantry Corps dur-
ing the war, and proved
himself too valuable a
trainer of raw recruits
to be sent "over there."
Before the war he had
been a very popular
player — but found him-
self almost forgotten
by the fickle ;>ublic
on his return to the
screen

riiotoKrA|>l> Iiy Hailsook. I.. A.

Ap.ROAn-siion.DF.RF.n.
>.|iirt-sU'CVc<l man stooil iiii-
<k'r tlu' >\vcltiTinK lieat cif tin-
({lass-CDVorcd studio sta};t' al
Lasky's witli a Kirl child in liis arm*.
The l)al)y was (|iiitc ciiriifcirta])li'.
she liked the sinnig, cnvclnpint,'
cradle of llic man's \i\^ arms and slic
cooed (Ulightodly and shook her
ci -ly liead and gazed every wlure
except ill the <lirectlon of the camera.

"Hahy see pretty lady' Bahy
look at pretty lady. 1-ady will tell
lialiv nice story if hahy will look at her."

Thus the voice, low, |)atienl. drawled its rerniest over aiu'
over to the contrary little l.iss mitil finally the child's elusive
fancy was caught and she looked in the proper direction.

"Camera !" called the same voice, now
grown crisp and husinesslike. The hahy was
transferred to the arms of Mahel Van Hureii
and a scene for "Rozanne Ozanne" was shot.

"Rozanne dzanne," which stars the heaiiti-
ful Ethel Clayton, is of especial interest, he-
cause it is the second |)icture Tom I'orman
has directed for Mr. Lasky under his new
arrangement with that company.

"Aye,Aye,Sir!"

Tom Forman Now Gives

the Order That Turns

the Crank

The story of Tom Forman's development
is insei)arahle from that of the war. When
the hugle call to the great war was heard
ihrnoul the land, Tom Forman was one of
the most popular of the young leading men
of ihe silversheet. Unlike many entertain-
ers, he waited neither for the draft nor an
op]iortunily for facile service, but enlisted
in the coast artillery two months after our
entry into the great conflict.

"Cut out the war stuflf," he ordered me;
"every writer has sobbed over it in the
magazines. I only did the best I could for
the service."

P.nt because Tom F'ornian's story is dis-
tinctly an after-llic-war story, I must allude
briefly to his service.

When he found that the coast artillery
provided little opportunity for getting "over
there," Tom I'orman requested a transfer to
the infantry. In this branch of the service
he stood so high that he was one of the two
in his company to be chosen to attend an
ofificers' training
camp. Here he won
his commission as
junior lieutenant
and was put to
training raw re-
cruits. He was so
anxious to get across
that he worked them
harder than did any
of the other officers
until he lia<l the best
trained men in the
lot . . . and then,
because he had
trained them so well,
they were sent
abroad under the
guidance of another
leader and he was
held over here. He
had proved
himself too
valuable a
trainer to be
sent over there
as cannon
fodder.

(Tllirly-l-.io)

By
HAZEL SHELLEY

When lie heard he was to be held
here, Tom Forrnan invaded the
general's headijuarters in high
dudgeon. Twenty tini' he sought
his commanding officer before he
obtained an audience. Then he
stated his grie\ance, he wanted to
go to France.

The general looked at the dissat-
isfied officer. "H . sir," he said,

"Fve been training men for thirty
years, and they are over there and
I'm here, here because this is where

my country needs me . . . H ,

.sir, are you any better than I am?
I'm not complaining, why should
you? Go back and ti.iin your
men."

"Yes, sir," said Forman, and he
went back to his uncouth camp and
weary month after weary month lie
turned awkward lumberjacks and
backwoodsmen intrt sna|)py sol-
diers, and he shipped batch after
batch of them over there . . . and

Mr. Lasky came along
with an offer for Tom
to direct — and this be-
ing the work he likes
best, he is now happily
building pictures that
feature human types
and are logical. He is
bringing to the screen
a certain wholesome-
ness and a big view-
point. Mr. Forman's
one ambition is to hunt
tiger in Siberia

(Thirty -three J

he read about their "snuffing out" in
the jiapers. the soldiers he had made,
and still he was held here to make
new man material for (ierman cannon
to slaughter.

When the armistice was signed and
he found himself again in Hollywood
sitting on the side-hnes of a picture
studio with grease-paint on his face,
waiting for some silk-shirted director
to give him orders, he found a slow
antipathy for the whole mockery of it
stealing over him.
The woods and men, camp-fires and bugle calls, service and
work, and now this — grease-paint!

Before his enlistment, Tom Forman was well on the way to
stardom. His mail from fans and admirers had been the heaviest
in the studio ; when he returned he found he was
I)ractically forgotten. And he sat on the stage,
once more dolled up, forgotten by the public,
waiting, waiting for the other fellow to give him
orders,

Then came his great role as the young soldier-
husband in Cecil B. de M die's "For Better or
For Worse," one of the finest bits of silverscreen
{Continued on page 74)

The Twentieth
Marriage

ler. SoniL' jilayirs Ireat iheir act rather as llie
newly ricli treat their money; they must for-
ever lie niaUing it eviilenl. Not so the Xeills.

Their art has been with them for a Ion;; lime.
It is part of tliemselves 'I'hey are not merely in
the theater; they are of the theater and of all
tliat is best in it. In their home and in their
manner towards each other, you will tind no
sust,'estion (jf the mental turmoil that comes of
making the pursuit of pleasure one's princijial
aim ; the continual hanging on to a youth that
has faded. The Neills accept their added
years — (tliey are, I .should say, somewhere in
the late f<irties) — in cheerful peace, and for
this reason, they seem astoundmgly young. I
can imagine them thirty or forty years from
now, still surrountled, as they are today, by the
vnuth of the [irofession who love their work-
ami sincerely rcs]iect its tra<litions.

This is as it should be. Everything about the
Neills betrays their
tender regard for
tradition. In tlieir
liouse there is not
one single picture
that they bought
them.selves. Photo-
graphs and [laintings
alike, all have some
sentimental associa-
tion. So, too, with
the ))ieces of furni-
ture that they use

Edythe Chapman and
James Neill have been
married for twenty-
three years, and altho
they have been almost
constantly on tour,
they have been sepa-
rated for only ten
weeks, altogether, in
that time. People say
that only one marriage
out of twenty is a hap-
py one. — hence the title
of this story

IMiotugrapIt hy darcnrc S liull

NO one could give an
account of F.dythe
Chapman's home
life without describing
the home life of James
Neill also.

"We've been so long
together," said Miss
Chapman, or rather,
Mrs. Neill, ''that we are
almr)st like one person."

Kilvthc Chapman and
James Neill have been
married for twenty-
three years, and, tho
they have been almost
constantly on tour, they
have been separated for
only ten weeks, alto-
gether, in that time.

But. notwithstanding
their years of wander-
ing, the first thrug that
impresses one about the
Neills is the suggestion
they give of perfect sta-
bility.

They belong, you
would tell yourself, to
the nobility of the thea-

(Thirly four)

Bv
ELIZABETH PELTRET

and valuf the most. One cliair I-'.iiytlie Cli:i|)-
nian has on the front porch was made in U)38
and was hronght to Anierita by her ancestor,
W'ilHam Jones, thrn whom she is directly de-
.scendcd from Oliver Cromwell. She is quite
proud of belonging to the original "Jones"
family, whose descendants may be numbered
by thousands. She is a New Yorker by birth
and her early traditions were all of the un-
compromising mental strength and determina-
tion of the "Roundhead."

James Neill, on the contrary, is of Latin
descent — Spanish and Irish. He was born in
Savannah, Georgia, and while his wife's jieople
were fighting under the Northern flag, his
people fought for the Confederacy. His
father and mother were enthusiastic devotees
of the theater, and, far from discouraging
him in his choice of a career, they were enthu-
siastic about it and have always been jiroud
of him. He went to New York and began
by playing small parts in road companies.
His first engage-
ment, he remem-
bers, was in a melo-
drama called "Only
a Farmer's Daugh-
ter." Another early
engagement was
with a company
playing "The Hoop
of (iold," a melo-
drama in which he

Edythe Chapman at
one time was a student
of David Belasco's
when he used to teach
in the Lyceum School
of Acting. Henry C.
de Mille, father of Cecil
B. and William de
Mille, was also a mem-
ber of the faculty of
this school

played the leading
part and Julius
Kahn, now Con-
gressman from
California and
chairman of the
military CDmmittee.
played the heavy.
It was during the
run of this jday
that Kahn decided
to quit the stage
for politics. He
and Neill were
rooming together.

"I dont see the
use of all this,"
said Kahn to Neill.
"I'm going to
quit."

"Why, you big
fat-head," said
Neill, afifectionale-
ly, "what do vou
mean ?"

"Just what I

said." answered

Kahn; "I'm going

(Continued on par/e

SO)

(Thirly-pve)

Hhulln[r.^^.|l In
llannci- S. Bull

WIIF.X llic nv
C.T Sliniiiioii
flmvod intci
tame and melody, it
couldn't have had
any idea that very
<oon a wee brotli of
a girl was to be
named for it.

If some ])ri)niotcr
had given tliis river
of I'.rin such an ink-
ling, it might have
had itself copyright-
ed, so thai this same
slip of a girl could
not have stolen its
name. Hut nothing
of the sort hap-
pened ; and in N'ew
York, amid the
whirl of pleasure
and extravagance,
crowds of people
thronged nightly to
the " M i d n i g li t
Frolic," to hear a
slip of a girl sing

The River ^
Shannon's
Namesake

about "Where dear old .Shannon's flowing,
where tlie throe-leaved shamrock grows" —
and because of her Irish eyes and the win-
some daintiness of lier, they nicknamed lier
for the river whose praises she sang.
That's how Shannon Day got her name.

"My real name is Sylvia," she confided,
with a fetching frankness that is charac-
teristic of her. "I'ut I sang the Shannon
song so often, and then artists had me pose
as the river, and ]>ainted me for covers,
that the girls at the Roof began calling nic
'Shannon,' and pretty soon everyone was
doing it — .so I Just ado])ted it for good."

I think the good old Irish river must have
been highly |)leased, for luck has trailed
along in the wake of the little colleen who
looks entirely Irish, but who is, as she
admits laughingly, a
ICnglish, Hungarian
grandmother born in
give her personality

Because of her Irish
eyes and the winsome
daintiness of her, they
nicknamed her for the
river whose praises she
used to sing nightly up
at the "Midnight Frol-
ic." That's how Shan-
non Day got her name

Strange mixture of

and Welsh, with a

the County Cork to

its I'lrin-Go-I'r.igh

flavor.

With no expe-
rience or pull,
.Shannon man-
aged to induce
Ziegfeld to give
her a trial in tlic
"Follies." .Slie
was just fifteen

(Thirty-six)

By

EMMA LINDSAY-SQUIER

then, and a success from the start. But one
night she was singled out to do a little scene
with Ned Weyburn. Ambition, with a
capital "A," marked her then and there.
After that nothing would do but she must
have a fling at pictures.

"I was just a kid," this very apologetic-
ally, "and I figured out that if I was good
enough to be singled out of thirty girls for
a scene with Ned Weyburn, somebody
would think I was good enough for pictures."

So out West she came and, of course,
somebody saw her right away — a Ziegfeld
"Follies" beauty isn't exactly inconspicuous,
even in such a beauty mart as Los Angeles,
and she was signed up to play leads in
comedies with Fox. But homesickness and
Broa<lway-longing finally pulled her East-
ward.

"I was so silly," she admitted, her black-

ncf S Bull

After six months of vain
hoping and hanging
around the studios, Shan-
non Day got the part of
the Baby Vamp with Jack
Pickford in "The Man
Who Had Everything."
The rest was easy. Now
Cecil B. de Mille has
signed her up for his
forthcoming feature in
which she plays the part
of a married flirt

fringed eyes very solemn.
"I didn't realize what an
opportunity I was throwing
away, so back I went to
New York, and got into
the 'I'ol lies' again. 1
thought rd love it. with
mother in the Fast and
everything, but the girls
weren't so nice as they had
been. Their attitude
seemed to be, 'Well, you
didn't make good, did you?'
And, you know, I couldn't
stand that, so I made U|)
my mind to come out again and make good, if I died in
the attempt. So here I am. and at first I had quite a
hard time and lots of discouragements, because everyone
offered me comedy jobs, and I was determined to succeed
in drama — but I'm in to win. now; Fm years and years
older than when I first came West."

"Just how old are you ?" I wanted to know.
"Twenty!" was her impressive response, and I said,
"Oh !" in a projierly subdued tone.

.\fter six months of 'hoping- and hanging around."
Shannon Day got the part of the Baby \'amp with Jack
Pickford in "The Man Who Had Everything." The rest
was easy. .Mian Holubar wanted her for "The Little
Charmer" in his first feature, and now Cecil B. de Mille
{Continued on payc 78}

(Thirty seven)

Screen Impressions

By

LOUISE FAZENDA

LEW CODY — Palm Beach suits— Matinees

— Ladies* gloves in strange gentlemen's

pockets — Tea for two — Eau de lilac

JACK BARRYMORE— Lord Byron— Ivy-
covered castles — Hamlet in a poker game

ALICE BRADY — Purple pansies — Silver
spangles on black lace — Fireside at dusk-
Colleens

MARIE PREVOST— Red silk "Annette-
Kellermanns" — Fudge parties at boarding-
school — Stutz roadsters — Canoeing on
summer afternoons — Tam-o'-shanters

GERALDINEFARRAR — Valkyries and
castanets — Ladies in a Greek frieze — Car-
men and Sieglinde — Fleurs-de-lis on cloth
of gold

ELSIE FERGUSON— White peacocks-
Opening night of the Metropolitan — Sarah
Bernhardt as a mannequin at Lucile'- — Dia-
mond and pearl tiaras

BOBBY HARRON— "The Swanee River"

— "Traumerei" — Corn fields at noon —

Swimming pools — Lonesome little boys

RICHARD 8ARTHELMESS — A young
Richelieu — The first proposal — Trouba-
dours and lutes — Ruby intaglios

\

(Tliirly-eidhll

Peaceful Valley

Fictionized from the Charles Ray Photoplay
By PEARL MALVERN

PEACEFUL N'ALLEY was an imerlude. In the midst of
crowded things and places it canie, gweet-breatliing and
tranquil. It conjured relief to the mind and to the body.
It was devoid of all harass^
nient. It caused one to turn
away from the red raptures
and redder roses to the holly-
hocks, the zinnias, the ver-
benas and friendly small
pansies.

Its people had taken on its
aspect. They, too, were
sweet-breathing and tranquil.
They moved gently along tlie
placid streams of living.
There was no ostentation.
There was no friction. The
birds seemed to sing with a
certain unruffled happiness.
The brooks murmured com-
fortably. The skies bent low
and were kind.

Especially there were the
Howes. Mrs. Howe, Her
son Hosea. Her daughter
Martha, Especially because
tliey were e s s e n t i a 1 1 )â–  of
Peaceful Valley and, almost

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always, had been. Their father and his father before him had
tilled Perpindicular Farm with varying success, according to
the seasons and the rains tliereof. Mrs. Howe, too, had merely

stepped from a neighboring
farm to her husband's hearth-
stone. Joint legends came
down to Hosea and Martha.
They knew nothing else.

There was one excitement,
aside from dressing in one's
.Sunday best and hearing the
same minister drone forth the
same sermons, typed and filed
according to date and biblical
significance. Seasonal ser-
mons, as it

The people of
Peaceful Val-
ley were tran-
quil. They
moved gently
along the
placid streams
of living.
There was no
ostentation.
There was no
friction. But
this was cer-
tainly a memo-
rable Sunday

were. By
t li e t i ni e
I lusea and
Mart li a
were ten.
they could
tell before-
hand what
the sermon
was to be
on, by fig-
uring hack

MOTION PICTURE

a year, and by the time they were twelve they knew them word
for word. The only fascination consisted in wondering what
iiiifllit happen in the event of a variation. They were devout
and believed in miracles. I!ut one never occurred.

The other excitement was the old-fashione<l hotel on the
other side of the Farm. It was run by Jotham, also old fasli-
ioned. Its chief charm seemed to hold forth for insomniacs.
It looked deeply and chronically sleepy. One could but slec))
within its sun-lazed, unstirring portals. Still, each summer
there came to it from here and there strangers seeking one
form or another of respite from routine.

}losea and Martha had quite a list of fascinating recollec-
tions. (Occasionally, there had been, in the Fast, a boy or a
girl unique and glamorous, giving Peaceful valley food for talk
all thru the ensuing winter months. Winter was very rigorous
in Peaceful N'alley. Jotham and his hotel were something in the
nature of a charity.

The summer that Martha and Hosea were seventeen and
eighteen proved to be memorable. Jotham had put a new coat
of paint on the Hotel, which may have accounted for the uinisu-
ally festive guests. The lirst Sunday in June brought the first
one. Ilosea was preparing for Church when a man, obvious-
ly a "city" stoppcil and asked for some water. En route to
the well he impressed 1 losea with the evidently important
facts that his name was Ward Andrews, he hailed from tlie
very nucleus of the City and that he was, modestly enough, of

course, but taken all in all a most important, worth-while-
associating-with fellow. Hosea implicitly believed him. The
flap of Ward .\ndrews' well-kept hand on the shoulder of
his Sunday best suit maile liim quite tingle with a new self-
esteem. He felt a kinshi]) with the magical circle outside
Peaceful N'alley of which he and Martha and Mrs. Howe often
spoke with reverence.

Ward .\ndrews made a wry face when he drank the water.
"Some taste!" he observed, wiping his mouth with a very large,
lavender linen handkerchief. "Some taste, I'm here to tell
you !"

Hosea said he believed it was good for you, the water. His
father had told his mother so when she had first come to Per-
]iindicular. a bride, and hail, herself, objected to the water.

.Ml this gave Ward .Andrews a line of thought, but he main-
tained silence. It was his way.

liefore he left he had met Martha. "You're buried alive
here," lie informed her, "yon ought to get out and have a
chance."

Hosea colored u]>. "We're sa\ in' up to send her to college."
lie said, with a certain red-faced jiride ; "she did fine in school."
"Have you ever tbouglit of selling the farm?" Andrews put
the f|uestion carelessly.

Hosea nodded. "We Iiave." he said, "if we can get our price.
We'd clo most anything to give Martha her chance. She de-
serves it. She's the bright one of the family. And mother'd

like the city. She's
often felt stifled, she
says. Yes sir, we'd sell."
Andrews said a word
or two more, invited
Martha to ride '"ith him
in his car one day soon
and sauntered off with
a "See you in Church."
It was all very obvi-
ous, but Peaceful Valley
was very simple, and its
people were the same.

In the Howe pew
there were, that same
Sunday, two other per-
,sons seated. A kindly
appearing elderly man
and a sweetly appearing
young girl, Hosea
.stumbled over the elder-
ly man's feet and sat,
miserably, unable to
keep his eyes from the
delicately cut profile of
the girl. His sister,
Martha, had always
formed for him his
standard of beauty and
sweetness. She still did.
Yet he did not look at
Martha during Church.
He was able to keep his
eyes away from Martha.
He didn't ever wish he .
could touch the hem of
Martha's skirt with his
... his lips. \or did
he envision himself as
Sir Walter Raleigh
spreading 1. forth his
homespun suit for Mar-
tha's feet to tread upon.

The summer progressed.
Hosea and Martha felt it
to be a summer of which
each day was scarlet-
lettered

(Forty)

CLASSIC

All at once the world of women opened wide to Hosea and
the light that never was on land or sea caused his eyes to dance
in his head and his muscles to twitch and contract.

The girl, on her part, used her own eyes. She, too, found it
impossible to concentrate on the ministerial presence, self-en-
grossed and certainly pompous as that presence was. Hosea had
a clean brown sweep of cheek and chin, and long slim lines of
suggested strength. His hair grew strongly on his head and his
eyes were bright and kind. And the little girl beside him, too.
How clovery and sweet she seemed to be. And the patient-
faced, capable-handed woman. It was all very comfortable
and . . . and different.

Virginia Rand led a lonely sort of life in the city. Her
father, the doctor, did the best he could for her, but the best
he could was a fashionable boarding-school, and there was a
strata in Virginia's nature belonging as much to the Peaceful
Valleys of the world as to the smart schools, the Avenue, the
hotels at tea time. She felt a kinship and, more, a: yearning for
what these three represented, the strong young man, the blos-
somy girl, the mother of these twain.

She had a sense of humor, too, and .she noted Ho.sea"s dis-
comfiture and guessed, not without pleasure, what was the
cause.

She gave a dollar to the collection, for instance, and so did
he. The collector, a neighbor, stared at Hosea and wheezily
inquired of him whether or no he would have any change.
At Hosea's red-faced disclaimer his mother leaned over him
and inquired as to his sanity and Martha's pink mouth literally
fell agape.

The dog came in, too, and Hosea's embarrassment was
only slfghtly leavened by the pleasure he felt when Vir-
ginia leaned over and made the animal secure between
them. Hosea said, "thank you. miss," shyly, and from thai
moment the world became one woman, forever n' ever, amen.

(Forty-onci

New trails had opened in It was, certainlv, a memorable

Peaceful Valley and lo, at .Sundav

their very feet lay the " , ;,â–  ,. ,,, , .

Garden of Dreaming, the I" tti^ afternoon Ward An-

World drews returned. In the car he

had with him Dr. Rand and the
pretty Virginia. He said they
liad been talking over a project of buying the farm. lie did
not add what they had been talking about. The matter of tlie
fact was that .Andrew had told the doctor he believed the water
on Perpindicular possessed medicinal qualities. "We could."
he told the physician, "buy up the place, for little or no cost,
I believe. A sanitarium on a small scale built there and prop-
erly advertised would coin money. It's an odd location. Good
elevation and the hoi poUoi alwavs fall for the spring water
stuff."

Dr. Rand interpolated : "I believe you said there 'i.'as ..."
he said.

Andrews cut in with a sharji affirmative. "Of course," he
said, "there is medicinal quality to that water. Nothing ever
tasted like that unless it had some good purpose, however
obscure. I tell you, it's a find."

"We'll look into it," the ])hysician said, "as you say, this
location has advantages . . . golf links ... all that sort of
thing , . . quieting for tlie neurasthenics ..."

Andrews clicked his lips on a swift affirmative. The doctor
did not notice the crafty gleam unpleasantly lighting the
younger man's eyes. Hy such slight omissions are the enormi-
ties precipitated.

The summer progressed. Hosea and Martha felt it to be a
summer of which each day was scarlet-lettered. The farm
had never been so difficult and yet, Hosea thought, the plow
ran the more smoothly because, in the evening, he could don
his festive .Sunday black ( no longer associated merely with
the seasonal sermons) and go over to Jothams, there to sit

MOTION PICTURE CLASSIC

He had her in his arms;
had her, dripping, against
his breast before the sud-
denly sinister water could
touch her still face again

liazy and enchanted on the |
rail with \'irf;inia, ^ussanic
ncatli the sickle nionn.

Dish wasliing and men
had never 1)eeii so plent
Manila thnnght, an<l yet
was |>oesy to llie very snds and i;lnniiir tn the cuarsest
when, at any instant. Ward Andrews' hnsje car nii^dit
Iiiink for her ontside tlie wicker jialc.

New trails had openeil in Peaccl'nl \ alU-\ and li
their very lect lay the (iarden of Dreaniini;. the Wnrld

Tdward the end of the snni-
jncr Mrs. Ilowe was calleil
away. It had lonj; heen her
custom to dispense mercy and
aid the family resonrces liy
nshering the small new lives
of Pe<iceful \'alley into heinj;.
Snch a call came at the end of
the >nnimer.

She never hail any fear of
leaviii),' 1 losea and Martha.
They hail always been suffi-
cient nnto iheinselve-. prudent
and reliable. They were of
-ticli ^tntT.

Martha was a common-
sensical little thing, her moth-
er was always wont to say.
.mil for what lack her youth
might be res|)onsible. there

)orch
â– r he-

dins;
i f u 1 .
there
>lu-i-t
lionk-

I. at

were Hosea and Luke
to fill in . . . Luke be-
ing the boy from the
neighboring farm
whose dearest dream it
had long been to have
Martha promulgate her
mother's early destiny
. . . that is, to step a
piece down the road to
his farm, change her
hearthstone for his
. . . Mrs. Howe liked
Luke, and saw it all as
he saw it, as it had been
with her and the elder
Ho.sea, the Peaceful
Valley way . . .

Once or twice I-uke.
.sharpened by the mo-
mentary pangs of his
ungratified love, spoke
to the mother of the
danger he felt in Ward
.\ndrews. The mother
laughed at his fears.
"Girls will be girls,
Luke." she said, com-
fortably, "this bit of
foolishness will make
Martha all the more
content to tend your
home when she comes
to it. Martha is un-
common commonsensi-
cal."

The dear, good wo-
man 'had forgotten the
running sap of May !

Occasionally Hosea

or Martha would see

Ward Andrews and

Virginia in Andrews'

car. The pangs they

felt thev woidd mutually assuage. "They're stopping at the

same place," Hosea assured his sister, "it's only natural he'd

spin her about a I)it."

It stemed uimatural to Martha, but she didn't say .so.
( )n one such occasion Martha and Hosea were walking to
a lily ])ond dear to their chiUlhood. The t|uiet. tree-rimmed
place, odorous and rank with the lilies and the lily-pads, drew
a sif^h from Martha.

"When I look at this." she said. "I can understand how
folks die for love. IClaine, you know, Hosey, and that lady
way back in history. Lucretia. I think, who stabbed herself . . .

1 f 1 were to die of love I think
I'd do it here among the lilies
. . . wouldn't you?"

Ilosea's sturdy normality
rejected at once the morbid
suggestion. Instinct told him
that it was the glimpse they
had had of Ward and X'irginia
in the niotor ratlier than the
lily pond that had given his
sister her sad reverie. Some-
how when he thought of
Martha he lost .some of his ad-
miration for Ward .Andrews.
It was all /claimed for Luke.
Things went as things were
]ilanned in Peaceful Valley.

jothams broke U]) in early
.September. Old Jotham was
( Continued on fage S9)

I'K.VCKFrL V \I.LK^â– 
Fictinnizt'd frnni tlu- scenario Ity Isaliel Johnslnii;
aihiptcil fi-niii the stano play liy KiUvard K. Kidtlcr.
nircoii-d Iiy Jcrnnic Stnrni. Starring: Ciiarlcs Ray.
Tlu- cast:

llosi-a Howe Charles Ray

Ward .\ndrevvs Harry Myers

Luke Lincoln .Stedman

Dr. Rand Walter I'erkins

.Iciliani William Courtrinht

llinkie Vincent C. Hamilton

.Mr. Hrown Jesse HerrinK

Virginia Rami \nn May

.Mrs. Iliiwe , I,ydia Knott

.Manila Howe CharUille Pierce

Tilly Mellia Lorraine

Mrs. Brown Ida Lewis

(Foyly-Hva)

The Celluloid
Critic

"Way Down East" and other
Current Photoplays in Review

By
Frederick James Smith

T( ) us there is always a
tremendous jiersonal sig-
nificauce to a David Wark
Griffith premiere. It is as if
our own hoiies and dreams
wavered in tlie balance. Just
as we judge his prciductions by
a standard all their own, we
find ourselves consciously or
unconsciously "rootinj;;" for this
singular leader of the silent
drama. We want him to outdo
himself. We want him to plant
the standard of the photoplay
at a new point of advance. All
this because we know he de-
serves a big reward. First, as a daring and fearless film
adventurer, the one man with the courage to pioneer.
Second, because we know how sincerely he loves and
lives his work. .\n<l third, for the positive genius he
possesses, alcjug with the limitations every genius owns.
This personal efpiation may or may not cloud our
impressions of his work. For instance, we would like to
record his newest super-production, "Way Down East,"
as a cinema triumph marking a new farthest north for
the photoplay. Indeed, "Way Down Fast" is a com-
mercial success — and, we believe, the greatest since his
epic, "Tlie Birth of a Nation." .Again, he has acliieved
a thrill more stirring than anything that has moved across
the silversheet since that electrical ride of the Ku Klux
clansmen. .\n<l, better still, he has sounded a deep and
{Continued on page 86)

Top, Richard Barthelmess and
Carol Dempster in "The Love
Flower": center, Elsie Ferguson in
"Lady Rose's Daughter"; and at
the bottom, Gloria Swanson in
"Something To Think About"

(Forty three)

Peter Pan Dana

a gay comrade, a
uid getting out iif

As a rule, >he i> ji'lly,
tVarless diilil, ileiiian<liiig
life — everything.

Hut one of the reasons that she gets every-
thing is hei.-ause she isn't afraid to give. She
isn't afraid of the world, of work or of any*
thing on land or sea or in the air.

\\ hile she is naturally a baby doll, with the
lure of a vampire and the heart of a child, she
hates to be perpetually dressed uj) — and wor-
rying about her looks. She is not really a
"prinker," for in her there is still a great deal
of the primitive, a love of splashing in the
ocean and running about without the shackles
of hairpins and hats.

Dont mistake me, she doesn't pamper these
desires ; the Viola Dana that you see on the
screen, beautifully costumed, pinkly mani-
cured, perfectly groomed, dainty as a little
rincess, is the Viola Dana that you would see
teaing at the Alexandria Hotel, dining at the

ollywood hotel where she lives, or attending
tlie theater or swimming at Venice.

But those who know her best, know that she
gets tired of always being dressed u]i, always
on parade. The Viola Dana that I like best of

Y( )L''\ 1'^ seen iIkjsc tiny yellow butter-
llie> that ri{iat in the .summer sun and
light here and there on a perfumed
lluvver. Ccjuld you imagine one of those
lovely creatures animated by the ambition
of the busy bee, you would have a very good
iilea of what N'iola Dana is like. But Mi>s
Dana doesn't exercise her (|ueenly preroga-
tive and sit commandingly on her throne,
~he mingles democratically with her subjects
and does her share of the work and a bit
more.

"What is my philosophy of life:" re-
pealed \'iola Dana, tossing back her bobbed
head and trying to look very serious for a
moment.

"Why, just to live and to work."

And she does — live.

I know very few !)eople uho get the real zest out of "life that
\'ii)la Dana doe^. Somehow or other, she ha> gained happiness
in spite of trouble at an age «hen most girls are still seeking,
still wondering what on earth they Tiiid/ of life.

I think that X'iola Dana's secret is that she lives each day to
the very fullest. She snalclK-s every bit of joy and fun that
she can out of each hour. She doesn't worry over what is
past, nor does she eagerly dream of the future. She lives in
the present and tomorrow can take care of itself.

\'iola has always been made the baby of the family ,in(l— she
admits it — the spoiled baby. If she couldn't get what she
wanted one way, she would twist and turn evtrvthing abou\
until she did find a way of getting it. and somehow or other,
this is as it should be, for she is one of those people who, want-
ing and getting their own way. are big enough rut to be hurt
by being s[ioiled.

Viola Dana, a young veteran m
pictures, simply loves her work.
Her green eyes, with their long,
entangled lashes, sparkle with en-
thusiasm whenever she contem-
plates doing something new. Just
at present she wants drama, and
her new picture will be "The Twin
Cinderella." a drama after her own
heart

{l-orly-foinj

BY HAZEL SHE[.LEY

all i^ llii.- \'\u\:i wliu i> uiun- piDiiil i>i licr ^u\\-
Ijunu-d slioulder.-. and pfeliiig nose, i from
,■-« iniming at \ i-niccj. than slic i.s of licr
choicest Parisian frock.

I could tell you many thinjjs ahout hi.r
moods; her mo.st omnipresent one is a coni-
hination of [lep and jazz and giggles. She
is never bored, because -ihc never has time
to he. Often she makes good resolutions to
shut lierself alone in her room and reail -
hut that is as far as it goes — she's too afraid
she might miss some fun, so out she trots,
gaily and blithely, to "see what's going on.''

Recently her fad has been flying. Miss
Dana was taught by that daredevil of the
air, Lieutenant Locklear, who met a tragic
death recently. She manipulates an aero-
plane as ".safely" as a man. At first she
refused to run the 'plane, being content "just"
to fly, but Locklear, determined that she
should learn, signaled one day for her to
take the helm. (I confess my ignorance of the
specific term. ) Viola — she can be stubborn —
just shook her head and cuiUUed her small
body nicjrc clo--cly in the straps of the 'plane.

Some girls there arc who
can only be themselves in
one phase of life — Viola
Dana has a dual peisonal-
ity; when you see her
daintily gowned, perfectly
groomed, you think of her
as a little princess. When
you see her in her bathing
suit, frolicking around in a
shallow pool of water or
about to leap from a high
rock, Csee snapshots on
opposite page), you meet
a tomboy of the jolliest
variety

(Forly-lire)

All photographs by Hoover Xn Studio

Then and there, three hun-
dred feet in the air. Locklear
let go com[iletely of the appa-
ratus.

"And I kncic he wouldn't
take hold, so it was up to me,"
recounts Viola.

Now she is as keen about
driving an aeroi)lane as we
ordinary mortals are about
motoring.

Viola, a young veter.an in

pictures, simply loves her

work. Her green eyes, with

their long, tangled lashes,

sparkle with enthusiasm whenever she contemplates doing

something ncu , Jiist :it present she is sick of domg comedy,

( she is a fickle little lady, as variable as the winds in her

likes and dislikes). She wants drama . . . her new picture

will be "The Twin Cinderella." a (Irtiina.

She and her sister. Shirley Mason, are great \idU : in fact,
she is a great />«/ to anyone who is fortunate enough to
have won her friendship.

.She believes that marriage is a wonderful existence. She
^ays this liecause her experience was so wonderful. L'p until
the time of his death, she and her bu.-band worked ttigether
and played togetlnr. Theirs was a perfect com|)anion.sbip.
"He spoiled me a> if 1 were a child." sai<l X'iola : "he ne\er
seemed able to realize tlt.at 1 had grown up."

And no wonder, for \'iola. like IVicr Pan, will never
grow up.

Top. Miss Evelyne Ross,
Wallace, Idaho; center.
Miss Orpha Dunn, Seattle,
Washington, and lower
right. Miss B. Markova,
New York City

The Last Act

GlCXTl.l'l RE.\DI'".K; 'I'l.is is the last nidiithly luiiiDr mil which
Ihc Classic will puhlish for (lie Fame and Fortune Contest of
1920. When the hiniiary issue of this magazine reaches yoitr
hands, you will gaze uiioii the photographs of the final winners of this
contest, which has heen unique in the history of motion pictures.
The anuouncemcnt of the winners will he accompanied by the publi-
cation of the final honor roll members: those taking part in the film-
ing of the test scenes; (jhotographs of the world-famous judges,
and other items of universal interest to all who have been followiii!.'
the contest, and to the participants.

Not only were the editors of the three magazines, i.e.. Tiik Motion
PiCTi'KK Mac.azise, The Classic, and SiiAOoWLANn, overwhelm-
ingly surprised by the stir and e.xcitement which the contest caused
among the readers of these publications, but they were exceedingly .
gratified at the interest shown by the various well-known film com-
panies thruout the country. These companies expressed themseb es a^
desirous of signing up some of the winners on long term contract^,
and of assuring the cliosen ones of future screen success and fame.

(Jwing to this new ingredient, and because of the fact that the
contest assumed so great a significance all over the country among
movie fans, and particularly among our readers, the Brewster
Publications have decided to start another contest immerliately,
profiting by the experience of this one, which is now beitig com-
pleted, and striving to make the new one as nearly perfect as
possible.

This is the first official announcement of the new l''ame and
Fortune contest which will be conducted by the three magazines
re])resenting tlie Brewster Publications, and any of our readers or
their friends may enter the contest. Photographs may be sent in
without delay, and the first honor roll of the new contest will
a]>pcar in the Janitary issues of each one of our ])ul)hcations.

One of the most important features in connection with the con-
test of the i)ast year is the five-reel feature drama entitled "Love's
Redemption," which not only includes the I'ame and Fortune con-

Pliot')ftr.i|iI

PIiotOKrapli ?)y
T.Trr. .\cw YorJ.

(Forly-six)

The Fame and Fortune Contest Closes
in a Blaze of Glory'

test, but is also an unusuaMy intcrestinj; lilni
whidi will stand apart in its miiquc story, its
cast of internationally famous cliaracters. its
photography and direction. As this tilni-feature
has developed into surprising; ])erfection, another
story is now in process anfl just as soon as the
new I'^anie and Fortune Contest gets well under
way. the i)roduction of the new story will begin.

"Love's Redeni])ti<)n" carries the h'anie and
Fortune contest winners, the scenes in which
the judges make their final choice, and also
gives the chosen ones an unusual opportunity
to test their screen ability. This has now been
coni])Ictcd, and is in the process of being cut
and titled, and by the time this copy of the
Cl.vssic reaches your hands, the live-reel feature
drama will be ready for the exhibitors. I f
)ou have been at all interested in the contest
in any way, you will be able to see this film
at your home town theater. Tell the manager
of I your theater about it and he will be able
to procure it for you.

The contest manager, and tlie editorial statif
of tlie Brewster I'ublications have worked hard '
and late on the final outcome of the contest,
but as two-thirds of the entries came jiouring
into the offices at the

eleventh hour (despite
the monthly warning
to send in the ])hoto-
g'a|)hs early) tlie de-
lay in the announce-
ment of the final win-
ners lies in the hands
of the laggards. It is
a matter of physical
im])ossibility to do
tliree months' work in
a week or so, and as
the ]iictures began to
pour in, daily increas-
ing by thousands, just
before the contest was

Above, Miss Josephine
Hubatka, Elizabeth, N.
J.; center, Miss Evelyn
Pouch, Boston, Mass.;
and below. Virginia Lee
Nicholson of Balti-
more, Md.

to close, and even after the
final date, the (piestion of an
immediate announcement as
to the outcome became iiu-
possihle. .And so we ask your
patience, and being human,
we cannot close without sav-
ing, "We told you so."
.JH The hiiiiiir roll for this month is as follows:

l-:vel\n Ross, of 4Ui h'ourth .'Street, Wallace, Idaho,

nioKLiph by is a youug classical dancer who has done some amateur

""''â– "' "' theatrical work. She has also held .National and Pacific

Coast swimming and dixing titles, and is a blue-eyeil,

brown haireil mis-, with a fair comple.\ion.

Miss ( )rpha Dtuin, 21,i2 .Second .\venue, Seattle. Washington, is also
a classical dancer, having studied luider Ruth St. Denis and Ted Shawn.
l"or a ))eriod of two years during the war, .Miss Dunn entertained the
hny's at the contonments. and also worked for charity. She is an unusual
type with dark blue eyes and blonde hair, while her fair skin |iul- the
jiroverbial peaches and cream combination to shame.

Mi^s 11. .Marko\a. 24()S llroadway. .\'c\v ^'ork Ciiv. has had no ]iro-
fr^Mon.-il experience. .She is a bnniette.

losepliine llnhatk;i. M2 Williamson Street, l^lizahetb. X. [., informs
Us that while -.he has ne\er bad any dramatic experience, she' feels con-
\iiiced that anyone with gr(\ e\es, dark brown hair and fair complexion,
can make good — and looking at losephine's jjliotograph, we feel inclined
to agree with her !

.\lis-. h'.\el\n I'niuli. Iliilil Avery. Washington .and .\\ery .Streets,
r.oston. Mass., is ;i \(Ty youthfid entry of the type that should screen
well. She has dark brown eyes, while lier hair is blonde.

Virginia I .I'e .Nicholson. 2(i2() Xorth Charles Street. Baltimore, Md..
is a lillle southern beauty who has appeared in se\eral amateur ibe.ilrical
prnductions in lialtimore. Miss Xicholson has studied pantumime.

â–  r-rly..u-.ciO

A\ l\ 11) liiilc pcrM^ii. an nv;il fine
• lilic.-ilily prciiy. a pair i>\ .lark
jjicy fvi-N aic<-mi-(l Iiy the- ilarkcr
liiu-v ,<( the laslics and hniw-. a max of
-•111. (,'irli>li hair: Dorothy >,'ri-ct- yon ami
iMo-l a|>pri-ciativtly yon rc-lnrn a smiling
«m-llti},'. A liny lij;iire. the siif-fioiinn
ol a uiKiil-liiril in lu-r ^'raclâ– fnl niovi-
inenls. and yon have a soiniwliat in-
:idc'(|iialo |«irlrail of Dorollu Di.ksoji.
llu- iiif)-i rt-icnl of all MaKc' .eldirilii.,
lo join till- rank and (ilc of cclliiini,!
luniinarics.

I'lxini,' in the fact- of thai I'mvidiiuc s\Uu
inni- 111 all niovit slnr> an<l oilic-r cilchniic
little hoUl on the \ve>t >ide of -14lli -trcci i
ahiad i>l lime l.. keep onr huieheon cnKajjei
l>iek-on. I'ew and very far hetween are i

There is no more popular
daughter of Terpsichore
on the American stage
than the dainty Dorothy
Dickson. Her gay little
feet are now scattering
star-dust on the Silver-
sheet, and Dorothy's debut
in the forthcoming Fam-
ous Players-Lasky feature
Money Mad," is eagerly
expected

11 1- vtippo.ol lognide llie
, we arrived at llie r|i,i,.i

Dorothy
Makes
Her
Bow

dianinml wrisi-watclies show
any rcNpecl (or inlerviewcrs,
and so «c nearly fainted
with surprise as we entered
the doorway of the liotel, for
tlierc was Dorothy waitiiis; —
and looking as if she had
hoen waiting some time.

We matle our way to tlie
already cro wiled dining-
niom, sto|)ping every other
stei) so that Dorothy miglit
r e t u r n the cordial and
friendly greeting of some
friend, until spurred on bv
visions of our (lesk overflow-
ing with work, we desperate-
ly seized her arm and firmlv
managed to get Iter seated iii
a corner of the dining-room.

She k n e w e v e r y o n e .
Everyone knew her". She

lew momem-.
ueiii with Miss
tar« wlio«e

Pliolndrapli bv
Ol.l .MaM.r.

tTiirly riiiliU

i'jsir^£>^j:Eij

B. F

By

Wilson

likeH everyone

she knew and

they reciprocat-
ed. Q. E. D,

Dorothy is a

lovable girl of

many, many

friends.
Unspoiled,

eager with the

rush of youth,

expressing her

artistry thru the

magic of her

gay little feet ;

she has danced

her way into the

hearts of many

a blase audience.

And anyone

who has ever

seen Dorothy

dance cherishes

a beautiful

memory.

"Of course,

I'm nervous

about my en-
gagement with
1-" a m o u s Play-
ers. I feel ex-
actly as I did the

night I danced
for the first time

professionally.

Literally scared

to death. lUit
I've wanted to

do pictures for a

long, long time,
and I have had a
good many of-
fers. Some-
thing has always
interfered u]) to
the present. As
a rule I couldn't
sign any motion
picture contract

because of other contracts that prevented," she
tn my question.

As you know by this time, Dorothy is playing the lead-
ing role in "Money Mad." the forthcoming .Famous I'layers-
Lasky feature, directed by (ieorge I'itzmauricc. Stars of the
silvcrsheet who have essayed the lea<ling n'lle as their first
apjiearance on tlie screen are in the niinnritv. Dnnithy has
never faced a motion ])iclure crimera before, save fur the mak-
ing of a test.

"I-'amous Players li.avr had me in mind for quite ^ome time
In do a ])icture for iIkiu. l)Ut ihev liave been unalilc to get a
suitable story. This one of '.Money Mad' sounds quite exciting.
Huida Ber^'cre wrote tlie seenarin, and the character of the
girl i.s one whicli will give me an unusual cliance tn shuu
w hf'lber or not 1 have any acting ability.

id in answer

"I have been in town
shopjiing frantically every
day for a week because I
have to wear s<ime stunning
clothes in tliis picture," she
aflded, "and oh. I'm (|uile
wiirn out befnre I begin. 1
simi)ly hate to sbd]). dmit
you ?" she asked.

.Something in the wisiiul
little smiU' caused me I"
wonder at ihe undertaking
of so mm b work bv one so
that last yeiir u hen ^lu' ;nid
( C ontmucd

rhotograjih by Georgt- M. Kessltn-

Just three years ago, Miss Dick-
son made her first professional
appearance via Rector's in
Chicago. Not many moons after
this she was under the manage-
ment of Florenz ZiegBeld, who
advertised her as "The Greatest
Dancing Personality in the
World. ' For the past year she
has been twirling merrily to the
bonnie tunes of "Lassie," one of
the season's Broadway successes

fragile. .She had ju.st told me
Carl Hyson were dancing to-
iin pni/c S4)

Pacific Coast

Paragraphs

riiotograph by Woodlniry, L. A.

By

HAZEL SHELLEY

THEY say that the past sniiiim-r was tlie most sizzlins;
this California Coast has known, but thru all the
very wannest weather the studios and stars worked
steadily and indefatigably. Practically every member
of the' coast colony, however, formed a habit of swim-
ming, which looks as if it might continue all the year
'ri)u'nd. Most of the filtii folk jirefcr to take their daily
ili]) at Crystal |)ier. \'enice, and one sees every type of
highly colored and highly priced motor-cars transporting
our celhdoid queens and kings to Cry.stal I'ier when the
day's work is done. Viola Dana, Shirley Mason and I ila
I.ce arc only a few who go there daily.

Mary Thurman. however, prefers Long P.each. Cali-
fornia. 1 watched her taking her swim one Sunday re-
cently, livery man on the beach was raving about her as
the most beautiful woman on the shore, while all the girls
envied her, her snappy bathing suit and her — er — well,
vou know what Mary is famous for. No — she (li<l not
wear a one-piece suit, altho they are the rule out here.
James Kirkwooil also swims at Long Beach.

One of the most interesting parties ever staged at a
motion picture studio took place at the Hollywood Studios
when Marshall Neilan entertained three hundred Annap-
olis cadets who were out here for their summer cruise
under .Vdniiral Jones. .-Ml the midshipmen were pcr-
(Coiitiiiurd on fojjc 104)

Top. Dustin Farnum
and Mae Marsh chat
for a moment between
shots; center. "Micky"
Netlan finds himself
being used as a chauf-
feur by his son, Mar-
shall Neilan, Jr., and
below, an "off set"
glimpse of Cecil B. de
Mille, explaining some
line point to Agnes
Ayre and Clarence Bur-
ton between scenes

(Fiflvl

Gossip of the Eastern
Studios

B^

I ROADWAY was startled on September first by a tragic ac-
cident wliicb resulted in the deatli of Ho1)bie Harron. the Grif-
fith star. Bobbie \va taking a dress suit from a trunk in liis
room at the Hotel Seymour, New ^'ork, when the trunk cover
fell and exploded a revolver which had been in one of the pockets.
The bullet lodged in Harron's left chest. Bobbie was removed
to Bellevne Hospital, where he'lay until September 5 in a critical
con<lition, making a game fight for life. Loss of blood was too
great, however, and death resulted.

No player in the whole motion picture world was better beloved
than Bobbie. He was a modest, charming and sincere boy whose
hard work was just about to lead to great things. He leaves a
place which will be very hard to
fill. The tragic death was a partic-
ularlv hard blow to David W.
Griffith, for the producer and the
voung star had been friends and
co-workers for years and were like
brothers.

The shooting, of course, was
wholly accidental. Harron was
taking out a dress .suit in pre])ara-
tion for the o|)rning of the (iriffith
production, "Way Down East."
The trunk had not been o|)ene<l
since its arrival from California,
which explains the loaded revolver.
Bobbie had carried it during the
ei)idcmic of robberies and hohl-ups
in California last Winter and had

Sea-going glimpses of recent stellar Atlantic
voyagers to Europe. Top, Norma and Con-
stance Talmadge on the Imperatnr; center,
Dorothy Gish, also on the hii[)i'rator; lower
left, Olive Thomas, who afterwards died sud-
denly in Paris, and her husband, Jack Pick-
ford; and, lower right, Mae Murray on the
Olymitir

r

d

P1iotoKr.iph hy Western
Newspaper Union

rhntojrr.ipll C' I'v
Tinlirwood & fn.l.

sli])|)e<l it into his dress stiit
pocket, forgetting all about it.

Harron's death is a severe
blow to tlie Griffith organiza-
tion, following close upon
. the sudden death of Clarinc
Sevmour, who. like Bobbie,
ilied ujion the doorstep of
stardom. Harron had just
completed one production.
"Coincidence," for re-
lease ihru Nfetro and was
half way thru his second,
â– Tile P.rass Bowl," which
was being di-
rected bv Llnier
Clifton.'

.^peaking of
tile opening of
"Way T'Jo.wn
l-'ast." the production
had a --ensation.'il
]irin\icre ;U the 44tli
Street Theater. Ilu-
audience went wild al
( Cont'd on page I'M )

ph hy Irili-rnal i

fFilly-oiicJ

1 IM-MA (.KKIHl

Tl 1 \ r all snow
in till- movies
In really snlt.
all rain oonies from
a liose and that an
acrojilane ))rcipellor
<n|>i)lie> all wind.

That an onlsider
lia*n"t a ilianee to
-.ell a script ami
that any jiood snh-
mitted idea !â– - im-
mriliately stolen l>y
the scenario editor.

riiat prodncers make dinky little 1
trains appear to na\ i};ate witli a spec
the Tuxiiliclh C'ciitiiiy l.imitcii tlini
I inicra work.

That the stars always order inil
-ceiUN in which any other player doc
i^nod wt>rk.

That anv .\inerican film star conM
appear in person anywhere from
Siberia t" l'alaj,'onia and innm-
diately start a rii>t

That directors pay at the
rate of SI 5 for a lost eye,
SIO for a broken le;; and
S5 fiir a broken arm in
^ettlini; mob scene casnalties.

That Charles kay is so sjond
luratise be doesn't know a
ihin;; almnt actin;; tricks.

That wild anin'als are so
doj'cd for screen work that they dc
not know an actor from a camera.

That all nif;ht scenes are really taken

hroa'l davli-jht.

Double Ex

Conducted bv

posures

F. J. S.

< )t H I'woRITt-: SCRKK.N MiiMI \T or
THE Mo.XTII

(anil Dempster as a deep sea diver
in "The I .ove blower."

.Mong conio a filmydept "L'ncle
Sam on I'reedoni Kidfje." which the
advertisinj; declares to have "all the
palho~ and heart Kr'I'l'i'is; interest of
"The Music Master.' 'I'ticle Tom's
Cabin.' 'The Man Without a Conntry.'
'Way Down I"a-t' and '.\hraham
l.incdln' fnr''ed inln one intense an

The Classic

lias Secured a Remarkable M

]<!-

a/ine Feature

Mrs. PAU LINK BAR. ^,

reother of the famous .screen

Sl-

ren, has written her own story |

of 1 hcda B.ira's childhood

for

The {".lassie

m

This sensational article will he

the December Classic

^

enlhralhnsj photo-
play." From which
wc 1,' a t h e r. the
makers heliev tlicy
have a fair produc-
tion.

\'()w lliat the
inci\ies have readi-
ed a ten-dollar scale'
of admissions fat
the premiere o'
" W" ay Down
I'.ast") we are re-
Iks predicted that a

calling; the day^ wlien f

twentv-livc cent tlicatcr fee meant certain ilealh
to the ])hotii]>lay. Those Tccrc the happv
pioneer day; I

-pcakincr df "Way Down F^ast,"
llie usual aftermath of a Ciriftrth
production is upon us. '\'\n^
time we're surprised to find
Tlioinas luce in the van with
"llomespmi Folks."

The British critics arc protesting that

the Turkisli villain of "The Virgin of

.>tamlioul" wears the garb of a Hcdouin

chief and that the .\merican hero affects a

helmet such .i^ is worn by Rriti-^h Itulian

cavalrymen. h'ie. I'"ic I Mere detail- 1

Weren't the ramcls real?

Intim.vtp. Xoti-;
'The Carter de Havens seen in
'Twin Reds.' " confides a motion
picture trade pajicr heading.

.\i.u A^ s T \Ki M. I iiic
joN'. i;t( .
Hilly W'e-l is returning to the hlin^ \ ia
nan Film Coni|)any.
And the press agent announces: "W'e-t
i- said to be a natural comedian wlni
c.iii pniMike laughter in his own way."
^ cs. \c-e-e-s I

"Koinance 'auA inisunderstanding"

are announced to he the subjects

of W anda llawley's next vehicle.

nuile a new theme, eh. what?

' IlK IOF..\ (IK X'liTIl I S(;

TO K i; \ I )
Mrs.' ( liaplin's inter-
in the metro-
politan news-
papers anent
r domestic
dillicnltic-.

a

^ II iri.iiiiiiiiriiiiiiiiiiiiBD^Tiniaiiuiiwrii

The Branded Woman

Fictionized from the Norma Talmadge Photoplay
By DOROTHY DONNELL

MISS Mil, BURN', owner, president, and social sponsor
of Milburn Hall, the most select boardinj^-scliool on
the Hndson. where knowledfje was indeed above i)rice,
or ni least above the price of most jieople, surveyed the gather-
insj on the lawn with a smile that wonld have been complacent
on "less learned lijjs.

â– â– graduation Day is. with me, a solemn occasion." she intoned
to tlie circle of relatives, trustees and other guests gathered in
a group of \\;hich she was the grey satin-and-pearl clad nucleus,
"when I think of the young minds and hearts going out froiu
this cloister of learning where it has been my privilege to jiroted
and ])atlern them — where they have tlowtred, if I may say

All admiring murmur |ierniitted her to say so. She went on
in guarded and resonant phrases whose sonorous intonation^
rolled across the lawn and reached the imnch-l)owl table to ibc
nngodh glee of several of the flowered and their friends.

"Sophie's blowing lier own horn again." giggled one Huffy
unregenerate. "she's a great ])erformer at that kind of music,
i wonder wdiy someone iloesn't write words to go with it I"

"Thank Heaven I've heard her say 'young ladies strive always

ifiity-lhrcrl

for sweetness and light' the last time !" sighed the languid
girl whose diamond ring and bold, bright eyes contradicted the
protestation of simplicity of her frilled organdie. ".-\s soon a-
I get to town I'm going to have a permanent wave and go to
see 'Under Mary's Bed'! .Xnd I'm going to make Mnllirr buy
nic a toil' ni'ckcd i/own without any back to it "

"My -Aunt is going to let me come out in the fall." confided
another, swinging lier expensively engraved, expensively at-
tained di])loma disres])ectUilly by the ribbon, ''and :\ â– â– eiisoii
at Newport "

Ruth Sawyer turned her wide, slow gaze from one to aiiotlier,
then her dark eyes went irresistibly up to the handsome bov-
face at her side, like purple pansy blooms lifted to the sun
She was one of the few of the girls to whom the unsophisli-
catioii of white organdie and sashes seemed to belong bv divine
right of youth and innocence. Her dark hair waved softl\
back from a low white foreheail with none of the theatrical
etTect of the others. The sunlight lay on a pale, clear cheek
untouched with rouge or powder. The rest of the girU were
full of nervous movemenl. restless gestures, shrill word'i. bin
Ruth was strangely silent, serene ;imong them.

MOTION PICTURE

The girl colored sweetly
but her eyes, meeting
Billy Bolton's ardent gaze,
were direct and candid as
a child's. Young as he
was. he realized that she
was still living in a story-
bookland. half reality,
half dreams, a Sleeping
Princess whom he would
awaken

"S wcctlicart !" wliispt-recl a
vciicf in licr ear. "let"'; i;et out
(if tliis mob. Just tliink we've
l)ecn enjjaired a wliolc liour and
you haven't jjiven nie one kiss
yet !"

The (jirl coloreil sweetly Init
her eyes, nieetiuf; Hilly HoUon's
ardent ones, were direct and lan-
<h<l as a cliild's. YotnifC as lie \v;i<.
he reali/e<l that she was still liviuf; in a story-hook land, h.ill"
realitv. half dreams, a Sleeping; Princess whom he could awaken.
They strolled a little apart from the chatterinj; groups, hut
Kiilli listened to him absently an<l when he drew her (k)wn
beside him on a bench he saw that she was tremhlinj,'. "I've
been so happy here." she (|uivered with lips that trembled
cbildiNhly. "I'm afraid. Hilly— afraid ! It's like steppini; off
soniethinj; — of course I'm silly! Hut somehow 1 never saw
iK-yoiid today."

"Hut if vou love me. tlearest." the hoy flamed, and cauj;ht
her hands awkwar<lly. "everytbinfj will be all rij^ht ! It cant
bel|> beinj;! .\s soon as we bear from your motlier we'll b;-
married. .Anrl we'll live with the Mater for a while, anl I

wont let any harm come to you — ever "

Tbev were very yotmj;. pilcously yoimji. The wise old oak
who listened nnist have sighed (,'ustily. thinking; of the love words
It had beard since its acorn days, and how they had withered
iiid blown away like its own leaves rMi the winds of chan<{e.
Anil almost In-fore these had been uttered, the wind which bad
been jralberint; for sixteen years came upon KiUh at last .mil
the frail while btid of her i^irlhood shriveled nmler il.

The i^roups on the lawn were hardly aware of the limousine
when il (irs( rolled up the curvinj; drive, despite its lavender
tinliu),' and fjold ornaments and the scrawliii},' llamitin^ mnno-
),'r.nm I). H. on its doors. Milburn llall was nscd to limousines.
liMl il was distindly not used to the kind of woman who stepped
out of this one now, or the sort of man who followed her.

obviously abashed, and
carrying his flashy cane
defiantly to cover it.
Tlie woman for her
part made no pretenc e
of disfjuise. She was
ratlier terrible as she
rustled up the walk with
her gold-embroidered
skirts swishin;; abou
her generously display "
ed ankles, her plumes •
her jewelry ; the Iieavy •
exotic, costly scent she
diffused.

Miss Milburn was.
for a moment, stricken
speechless. Xo such
emergency had faced
her during many staid,
spotlessly respectable
years of |)rofiteering in
the higher education.
The woman was not
even doubtful. Xo one
could possibly have had
a doubt about her. She
gave herself away in
every hard glance, in
every stereoty))ed smile.
.Mready the guests and
the girls were whisjier-

ing

"Is Miss Ruth Saw-
yer here?" the vconian
asked loudly, confront-
ing the (|uivcringly
virtuous preceptress.
"I've come for her. I'm licr mother."

The jangling tone was ])lainly audible all ovev the lawn. On
the far bench Ruth rose to her feet uncert.ninly, staring with
wide eyes of horror, as one who looks u]iun some nightmare
thing. .She heard Hilly's ,gas]). saw the rigid scovn of the others
— and with her dark head high, .she walked across the grass to
that impertinent figure and held out her hand. "Here 1 am —
mother," she said dearlv. "how — how do you do?"

The i)ainted face ojiposite crinkled into haggard mirth. The
woman was handsome enough in her outrageous style, hut when
she smiled she was almost hideous. Traitorously tbe expression
betrayed a thousand tiny wrinkles filled with caked powder.
".\in't you (|ueer tho!" .she shrilled, "ain't seen me for thirteen
years and you say how do yon do! (jive us a kiss, cant
you !"

The girl moved like an automaton, but she kissed the scarlet
lips. .A burning blush drowned her jiallor. She turned to Miss
Milburn. "I suppose — I had better go. You have been very

good to nie "

N'irtue spoke in an acid voice. "I un<lerstood from Alderman
(irayson that your mother was living on her estate in Nice.
I'erhaps you can explain?"

"!v\l)lain nothing!" the newcomer said violently. "I guess
my money was as good as anybody's! It !iapi)encd to sm't me
to have Ruth here educated swell, and I'v.- done it. and kept
my hands off the job. Xow it ha\ipens to suit me to take her
aw.iy with me and I'm goi.v.g to do it too. I got a legal right
— I can jirove it '."

The group bud moved away, leavin;, the ,grim Miss Milburn.
the white gir'. and the red. vidgrr woman together. Tbe school-

I

owe an ,ipi

,'y to niy other
",.it I must beg
that this is as

head drew a sharp breath
scholars a'ld their friends." siie s;iid cuttingK
them to believe that 1 \v;is svholly deceiwd
aliIiorn-nt a revelation to me as to them."

.\bn.>e frothed on the other woman's tongtu'. but Ruth fore-
stalled il by laying a small icy hand on her mother's jewel-laden
one. "\o! .\n — iilease." she implorecl with a sick attempt at

(I'ifly-foiir/

CLASSIC

;i siiiilc. "let's go — mother," she (|iiivere(l all over at tlie word,
"Miss Milbuni will send my thini,'s on. We can talk about
everything; in the car."

'i'lie woman turned to her escort. "The nerve of some peo-
ple!" she screamed. "Did you hear that old hold-up artist?
Seems to me, "\"clvct" Craft, you mijjht show a little pep when
your lady- friend is insulted "

"\'elvet" Craft ! Some of tlie men guests — a highly resi)ected
church memher, a father or two. the most ])ious of
the trustees showed pitiful confusion, and furtively
sneaked out of the circle. "\'elvet" Craft, the manager
of the most fashionable gambling hell in the city!
Then tliis woman must be his partner. Dot Belmar,
whose e-xjiloils were featured frecpiently in the |)oIice
gazette, and who ]nir-sued her notorious career un-
molested, due to a certain mysterious "pidl" in the
city administration. The white-ruflled girls watched
their classmate move away beside the shameful ])lunics
with greedy eyes that had no glint of pity in them.
.•At the car. Ruth left the older woman to luirry up
the jiath to the dormitory. When she came down
stairs a moment later, with her hat jammed down on
her lovely dark head ruthlessly witlmut a mirror's
aid. she heard her name spoken.

"Ruth!" Billy Bolton groaned. "Ruth! Tell me
it isn't so. 'I'ell me that that — that woman isn't your
mother "

The girl looked at him steadily. Me saw that the
child-li.ght was gone furevermore from her dark eyes.
"I suppose slie is, Billy." s e answered (|uietly, "1
have not seen her since 1 \vas foiu'. 1 ihdn'l — re-
member But now I know why I was fniid. .So

it's gdod good-bye. Billy." -She held out her hand.

"RiUh — I did love you— " that cruel ])ast tense!
"but — I sup])0se I'm a cad. but 1 cant! >ly .Mater —
that woman — (jod! It's beastly!" He slithered to
the bottom ste]), sobbing wildly, but with the wisdom
of women, slie saw that his tears were washing away
the cause of them, and that his loss would not matter
to him long. She laid her hand on the shining head,
as tenclerly and understandingly as a mother might
])at her little sorry child.

"(iood-bye. Boy Dear." she said again, and was
gone. -Vnd he heard the cough of the motor on the
driveway.

Ruth Sawyer thought, as she sat hesi<le the voluable
woman whom the name of mother fitted as incon-
gruously as her dry, brittle, startlingly youthful hair,
that she had plumbed the depths of humiliation an<l
grief. Waves of Parfaitc d'Auioiir stifled Iter, until
she felt her thoughts whirling dizzily, with Craft's
weasel face bobbing on them like a cork on waves.
"There is nothing worse," she found herself saying
over and over, "there couldn't be "

Two hours later she could have laughed at her
abysmal simplicity — did laugh, wildly, without reason,
beating with small fists at the mirror that showed
her the dreadful thing that wore her face, a shameless
woman-creature with naked shoulders in a gown like
suli)hurous flames. The niaid who had put the gown
on her des])ite her struggles, an immense .Amazon with
arms like steel, brought her out of the rising tide of
hvsteria by pressing down on her thumb nails till the
cold pain recalled her to herself.

"That's no good," the woman said Icvclly, "they
all do it — at first. But
you'll soon get used to it."

Rutli stared at her. Then
she stood (|uiet. Strangely
quiet. She did not sjieak
at all during the moments
that followed, when she
went down the gilded
staircase into the drawing-
rooms, thru which wan-

<lered men in evening clothes and women with jjainted masks
of faces that smiled, while their eyes, unsmiling, peere<l from be-
hind their masks. .Music — music that twanged on the bare nerves
and set them (|uivering filled the rooms with barbaric sound,
a woman, dressed in a single purple veil, danced — laughter,
raucous, unmodulated . . . .\nd Dot Belmar, in a shameless
gown, moveil among her guests, stared at her from head to
foot with appraising eyes.

Standing tnere in the
sensuous gown, Ruth
lifted her nun's face to
the man whom the
papers agreed in nam-
ing the most corrupt
and powerful politician
in the city — and told
him the whole story
quite simply

d-ifly-fixel

MOTION PICTUHE

Then presently there was
Douglas Courtenay and
the new hope that stirred
with the warm shine of
his blue-grey eyes

"I hail a huiicli !" she .saiM.
t;l(ialint;ly. "you lau. l)uy beauty

)ver any tlruj; stnrt- oiuutcr. hut
tht-rc's soinclhini; yuti caul liuy
au<l lliat's tin- iiuiiiiirr. Ami
you've fjot it. It set uk- hack a
K<H)<1 uiauy cool thousands llicse last tiftecu years, hut it was
worth it. 1 always play safe hunches — wait till Hurke Whit-
lock sees yiiu !"

She turned away, uneasy uu<ler the girl's collected lock. Hut
in a moment she was hack. ka<linj,' a hurly man who wore his
evening clothes as careles.-.ly as tho they were overalls. "Ruth
ain't ac(|Uaiuted yet," she told him significantly, "I'm expecting
vou and her to he good friends, Mr. Whitlock."

Somehow — Kuth did not (|uite know how it came -she was
alone in a small room with this great, gross mass that peered
at her under bristling yellow-white browns and hreatheil ster-
torously. •'("onie here!" he growled at last. I'eople were ac-

customed to obey Hos-> \\ hillmk
wIk-u he spoke in that tone. She
came trembling, smiling a vague

frightened smile

.\nd then slie discovered that
lier idea of the Worst th.it fovdd
llaiipen had been wrong. (Jiiile
absurdly wrong.

It was a small thing that sa\cd
her — the catching of her lower
lij) between her teeth. Hut r.urke
\Vhitlock's mother had had the
>ame trick. He was si.xty years
old and she hail been dead hfl>-
live of them, but he rememh;r(.d.
lie released Kuth and ste|iped
liackward, nmttering. "Why
vou're not the sort the Behnar
, woman recruits," he said ])resem-
Iv in vast suqirise, "they light -or
swear, or laugh. ^ ou're different."
Stan<Iing there in the sensuou>
gown, Kuth lifted her nun's far.-
to the man whom the papers
.'igreed in naming the most cor-
rupt and ])owerful politician in
the citv and told him the whole
story ((uitc simply, tho once her
clear voice caught on a gasp when
she told of the coming of tin-
mother she had not seen since she
was a baby. " 'c'd so — I'm here."
^lie ended, auu ....me to him
swiftly, and touched his great
hairy, glilteringly manicured
paws. "Init you wont let lirr make
nie stay? Oh, I'm so glad it hap-
pened to be you and not one of

those others " It was not arli-

lice. but sheer, clear white faith
in him, and his will to save her.
Threats had never 'availed wiili
I'oss Whitlock. nor vitu|)erati'in
nor argument, but here, astonish-
ingly, stood one who believed in
him. trusted him for something
tliat he did not have.

"By the (ireat Lord llairv!"
rasped Boss vVhitlock. "I'll take
\ou away from that woman! I'll
— I'll ado])t you — " he stared
down at her. small eyes watering
with sentiment. "You're the Ke.d
Thing — cddicated. rayfined an'
I'm just a low-life, but there ain't
any harm can touch you if Piiu'ke
W"s around !"
Hereafter Ruth was to lind out the truth of this, his boast.
The \veai)on of his power was no knightly sword blade shielding
her. but a sledge hammer which is. after all. just as efficacious.
.â– \s Whitlock's ward, she had a position of secure resjiect, money,
leisure and a chance to forget, if forgetting were ])OSsible. But
the one evening in the reil salons of the House of Lost Jfo])es
had left a soul hurt that was long in healing. .She felt a sensi-
tive horror of going out into the bright siuishine that meant

recognition

.\t the end of tlie year, Hos^ Whitlock retired from the leader-
ship of his ])arly machine. How much Kuth had to do with
it even he did not guess, but there was a father-look in his little,
red-veined eyes as he showed her tlie steamship tickets he had
bought for them. "We'll go over an' hobnob witli the toffs!"
he told her jocidarly, "an' maybe we can fit you out with a
title if we can find one reasonable." The tickets were dated
for the next day. By such precipitate guile he got Ruth safely
away without hearing of the long-deferred judgment that had

(Fifty-six)

CLAjslC

ifjiiiul oiii Dili lii-iniar at la^t
ami siMit hi-r frcmi Ikt gaiiiin^'-
talili'-^ and sivrct. |)(.Tl'iinK'->li-
lli'd niiiiii> tci pri-Min for ten

Willi till' \ani^hiuu; ul Xcw
Viifk'> ^iiuikv sky-lini' it
siriiK'd to Rulli SauviT that
sill- had k'i'l thf secret dread
heliiiiil as well and were sail-
iii!,' mit into the clear, sun-sliot
light of a new day. With the
scenes that inllowed even her
iiieniory of it grew hazed and
unreal. .\s tho she had slept
feverishly one niglil. and
dreamed

Then. )>resent]y there was
iJoufjIas Cunrtenay and the
new hope that stirred with the
warm jjlance oi his bhie-grey e\i
lia<l not cliatted of love as the
She met it face to face now as
the iieoiihyte niij,'lit meet the Mir-
acle and when jiresently, he spoke
of niaking her his wife, she lay
thru tlie slow, still hours of the
niijlit that followed, trembliiif; and
awed at the heauty of life th;,t
had come to her. as |)erhaps on
another iiif;ht Mary of Bethany
1;iy and tl^""''j. of the angel's
words.

( )ld Burke Whitlock stayed on
in I'aris after her marriage, tlio
secretly his plebeian heart yearned
for h'onrteenth .Street, and .Amer-
ican beef slew and the old rage
.if liattle that stirred healthily in
hiv veins when he read the attacks
of the oppo^ition press. Btlt still
lie remained. L'ntil Courtenay's
teiiii as attache of the -\merican
I'.nibassy w,â– l^ over, he would
wander listlessly thru the marble-
lined boulevarils. eat of their liay-
thanish cooking."

".Maybe she'll need me yet." he
ihought. with a flash of that ])re-
>cienee tliat had made hiin power-
Inl. "I'm ihinkin' that husband
of hers isn't m;m enough to stick
h\' if trouble sh'd come."

lie watched the beloved face
vigilantly but could read in it only
lia|i])iness and content, When at
the eiiil of the year her baby girl
was born, Whitlock owned to
himself that his fears might ]>v
gniundless. .\ cablegram from
\nierica told him of the de.itb
of Dot Bel-
mar and the
hreaking-u|i
of her busi-
ness. Courte-
n:iy was a de-
voted hus-
band, a rapt
father "Still
I'm ihinkin:;
I'll stick
aionnd a bit
loiigc-r." he
mused, stub-

TH1-; BK.\.V1)EU

WUXI.W

1-iciionizeil from ilic scciiari

1 by .\iiita Loos and 1

\lliirt l':irker; adapted from Oliver D. Baili

y's play,

"liranded." Directed liy .Mbcrt I'arker.

Starring

Norma Talinatl;.;c. The cast;

i<nth Sawyer

. . . Xtinna 1

aliiiad^v-

Unu^^las t. oiiru-nay

.... I'lTcv Mamiiiiit |

â– \ elvet" Craft

. . . . Vincent

StTraiU)

l.iniral U'lntlock

. . . .(k'orye

Fawci-tt

I>..l Helmar

. . .(iraci- St

uddifnrd

William Hulioii

(Jasti

n (ilass

.\lr» linlton

Jean

AniHuir

\ iviaii Holton

Edna

Murphy

Henry B0I1..11

H. J

Carvill

McrhtTl .A.verill

Detective

Charl

. . . .SidiR-y

i-s La 111-
Hi-rlurt

U weler

-Miss Weir

. . . Eilouard Diirami
. . . . Hcnrioiia Floyd

^. ICxeii .It Miss Milliurn'-, she
others h:id, lightly, fan liarly.

""^on're not

\ery cordial to
( Cdiitinittd

bornly, sliaking his grizzled
he.-iil, "iho belike I'll git me
passport into the ne.xl world
from a frog-eating priest and
be sent to the furren (|uarter
of the lieyond !"

It was when her liab) was
nearly six months old that the
.'~lh;ulow fell across Ruth's jo\.
When she looked up in the
lllois, slarlled to bear her old
naiiu in this far land and met
the leering, rodent eyes of
"\elvet" t'raft, she felt as tho
;ni icy band had scjueezed her
heart. "What," she asked be-
tween labored breaths. "What
— do you — want?" I'Hr she
knew instinctively he had coiiu
to I'aris solely to meet her.
old friends," Craft answered,

Dll ptKJC 68 j

He watched
the beloved
face vigilantly
but could read
only happiness
and content in
it. When at
the end of the
year her baby
girl was born.
Whitlock
owned to him-
self that his
fears might be
groundless

F,fly-wi',-ii

The Cinema Sport Girl

Hope Hampton, starring in pro-
ductions at the head of her own
motion picture organization, is a
cinema star who really loves the
open

Miss Hampton is equally at
home on the tennis courts
and golf links, and she has
found time to learn how to
drive a hydroplane, as the
lower snapshot indicates.
Hope, however, is a believer
in preparedness. Hence the
bathing suit

(Fifty-eight)

But the Fellers
Call Him Bill"

By
LILLIAN MONTANYE

I\ lilt (ifficc i>f one nf tlic putciUatt's of
l";iinnus-I^1aycrs studio a tall, well-jjrooincd,
Miidotji-liaired, snmoth-shavi-n man aro^t- to
jjrcct nie.

"Mr. William Hoyil?" 1 ventured.
His cool, inscrulalile jjrey eyes looked
strai^'lit into mine for a moment then melted
into uni|uestionin^ friendliness.

"N'es." lie said — "but — I su]ii>ose you know
Kujjene Field's ])oem —

I-alhiT calls mt William, sister calls nic Will —
.\liithcr calls mc Willie— lint the fellers call nic
Hill , . .

It's that way with me. I'm "William' on the
theater projjrams — but to my friends 1 am
just plain 'Bill' or 'Billie'."
There is a tremendous satisfaction always

I

Phulo^ianlis l>.v MuTtrM

Billie Boyd was twenty-
three when he began his
stage career, said begin-
ning consisting of doing
extra parts for which he
received the munificent
sum of one dollar. He is
known as juvenile lead
thruout the country. His
last Broadway appear-
ance was in "The Voice
in the Dark," and he is
now playing opposite
Justine Johnston in her
irst Realart Picture,
"Blackbirds"

in meetinji a man who admits tliat
he loves his chosen profession so
much that he would not j,'ive it up
or consider doinj; anythini; else —
and tho he fell down over and
over afjain he woidd just K<-'t np
and. with ((uiet persistence, start
all over ajjain. .\ot that he talked
a ,i;reat deal aluiut success or fail-
ure— liillie Boyd isn't that kind.
Justine Johnston in her 1 le wears an armor (jf reserve, of

first Realart Picture, impervioiisness — sometliiuj^ like a

small boy who is afraid he will
be caujjht .showiuj; off — a certain
reticence, a savinj; in the use of
words as tho he were afraid iie mi^jht say too n^ich — especially
a^ a|iplied to himself. But — in sjiite of liis inscrutability, his
a]i|iarent modesty — one knows that he is accustomed to };cttin^
what he wants. .\'ot in any im])ulsive, unpremeditated or iin-
doerved way — he is not the sort that would trust to luck. He
wmdd make up his mind wliat he wanted and yo after it, ami
his clnminatinj,' jiersonalily would put it across.

I'lir instance, there was the bc^jinnin^' of his sta^e career. 1 Ic
was not >taj,'e struck to the ventnre-all-no-matter-what-hapiiens
t'xtent. I lis father was a pid)lisher of directories — Boyd's direc-
lorii's beiufj well known at one time in .\ew N ork and suburban
cilie--. W'lien William was thru collef,'e his father wanted him
to enter the publishing; business, which W illiam did with ap]iarent
(CoiitiiiKcd (III pdiic '^'6)

(riflynim)

rholn^rnpli by Witxrl, L. A.

MAKIK MOSQUIXI was a terrible mistake. I tlKniK'lit.
wlieii I lieard it, of jazz bands and jjoiipinfi; corks, of
Jersey lightning and New Jersey niostiuitos, of snaj)-
piiijj, black eyes and daintily embossed profanity, of hvnteric
bands and a gay, seductive accent —and 1 liastened to the inter-
view.

Marie slioukl have been Priscdla. and a pnriian. Hnl. ala.^,
her nicither came from Bordeaux and iur lailier from Milan;
and so yon must be content with Marie, and the fact iliat she
alnio.st l)eeame a mm — but not i|nite.

I-oni let me prejudice you. She is charmin«;ly fjentle, and
hers is not the innocence thai hcickens isjnornoce nor the virtue
thai suggests smugness. W .ilching her on the screen, where
she breaks "Snub" I'ollard's heart with merciless regularity,
you'd never suspect a want of sophisticatinn.

Hnl if only 1 had been a c_\nic!

I should have taken that name. .Marie .\loM|nnii ; loyed with
it — politely, of course: woven a delicate .satire about it and
abunt the fresh simplicity of the girl wlio bore it; dissected
it, giving each detail ils measure of sweetened iron) : and finally
1 should iiave solemnly <leclare<l it, and the girl, quile impossible.

But — I say it with a sigh — I am not a cynic; and 1 sat thrn
an entire noon hour of a hot .\ngust day humbly grateful
that il was 1 who was giving Marie her first interview.
.She didn't i|uitc know what to do with me, nor yet
just what to sav but she managed to make me

The Amazing
Interview

feel most inconscionably big anil impor-
tant. ^'on've often read the expressiiJii
in the i)apers "epoch-making." I felt like
that.

Marie's history isn't history at all. It
is pure fantasy. It began sixteen years
ago — she was four years old then, when
she entered a convent situated in the
paradoxical environment of Hollywood.
For twelve years her life was colored
by its dim, religious light and then .she
left it, but with the resolve to return
within the year and become a nun !

Dame Fate is a great humorist ; and poor
Faith is too often her butt. She guided
Marie to the office of the Rolin studio,
introduced her to Hal Koach, and then,
with an expectant grin, sat back to enjoy
her handiwork.

Her anticii)ations were not in vain.
Marie started as a stenographer in the
studio oftice with no intention or desire
to establish a closer connection with the
screen; but the date she had set for her
reiurn to the convent found her playing
the "vami)." her first role,
in "Lonesome Luke," one
of Harold Lloyd's dim be-
ginnings !

"I didn't care for it
l)articularly at first,"
she confessed. "I went
right back to my short-
hand and stenog-
raphy and proba-
bly w-onld have
been there today
but for Mr.
Roach. I owe
everything
to him."

The father of Marie
Mosquini came from
Milan, and her
mother from Bor-
deaux. Nevertheless,
Marie is a typical
American girl with
the languor of the
South in her veins

(Swtly)

MiMMi&i^i^:^.

By

WILLIS GOLDBECK

I had been absorbing the details of her
dressing-rooni. our council chamber on the
upper floor of the new Rolin studio. Two
Kewpie dolls in saucy dress and a group
of jioly pictures, side by side . . . Robert
Service and Maxtield Parrish . , . blue cre-
tonne and a riding crop ... a framed quo-
tation from Omar beside a portrait of Harold
Lloyd . . . Marie is amazing.

I asked that she tell me about lierself —
and she said she thought I was the ideal type
of interviewer !

I got out my notebook and jotted that
down.

And because I enjoyed her pink confusion
when I asked her a point-blank question, I
demanded to know her philosophy of life.
I admit it was orthodox.

She looked startled for a moment and her
eyes sought counsel of ceiling, walls, and
floor.

"Well," she said, "I think that everything
that happens is for the best — particularly
Bebe Daniels who is my one and only girl
friend."

She tendered me Bebe's photograph. A
brief inscription testified to the new star's
undying fealty.

Marie is of a composite type, with distinct
suggestions of Norma Talmadge and Clarine
Seymour. Her eyes are particularly inter-
esting ; large, and when they are not dream-
ing, brimful of mirth. But she has not the
fire and verve that one might expect from
such a parentage as hers. To the casual
acquaintance she is an American, with the
languor of the South in her veins.

Her ambitions, stirred at last by the recog-
nition which is coming to her, are beginning
to awaken. Whether her wholesomeness and
sincerity can withstand the temptations of
egotism and adulation remains to be seen.
I for one do not doubt the outcome. She
has been in the studio atmosphere long
enough to sejiarate the sheep from the goats,
the sycophants from heljiful friends.

"Last week I got one hundred fan let-
ters," she said with a naive pride. "I feel
so sorry for tliose
[joor, dear people
who wrote them,
for my name never
appears on the
screen and they
had to address
them to the girl
who plays ojiposite
'Snub' Pollard.
But I a<lore them
for their trouble!

"' )h dear," she
sighed, "these past
two days have been
wonderful. Last
night Harold Lloyd
took me for a ride

(Conlitincd (in
payc 102j

(Sixty-otieJ

At the age of four
Marie entered a con-
vent where she re-
mained for twelve
years, leaving with
the certainty that
she would return to
become a nun. But
she is now appear-
ing opposite "Snub"
Pollard, and out at
the Rolin studios, it
is said that in the
near future she will
enter the realms of
stardom instead of
dreaming within
convent walls

riirxoyraph l)y
W.tzel, I.. A.

The

Fascinating

Senor

Tony

Tony Moreno is still
disporting in Vitagraph
serials, but we are look-
ing forward to the day
when he will launch
forth in regular photo-
plays, for the screen
has no more colorful
personality. At the left,
Tony has posed in a
neat little fireside
tableau, nicely calcu-
lated to send feminine
film fans' hearts sky-
rocketing. Just imagine
a fireside, a banjo —
and Tony!

(Sixly-lwo)

Soften and rtmnve surplus lut'ule rw'tthout cut'
ting. See ixhat a firm smooth, even edge Ciitex
yii-es your rutide without futting.

H'hen you cut the cuticle you leave lit-
tle unprotected places all around the
delicate nail root, iL'hif// beiomcs sore,
rough and ragged.

The wrong and the right
way to manicure

CUTTING tlic cuticle is ruinous.
When yiiu cut the cuticle ynu leave
little unprotected places all around
the tender nail root. These become rough,
sore and ragged ; they grow vine\'enl)' and
cause hangnails.

You should soften and remove surplus
cuticle without cutting. Just apply a bit
of Cutex, the harmless cuticle remover, to
the base of your nails, gently pressing back
the cuticle.

The moment you use Cutex you realize
how exactly it is wh.it you have needed.
It does away with all need for cutting,
leaves a firm, smooth line at the base of
your nails.

First file your nails. Then wrap a bit of
cotton around an or.ange .stick (both come
in the Gutex package), dip it in Cutex,

and work around the b.-ise of the nail,
gently pushing back the cuticle. Then
wash the hands, pressing back the cuticle
when drying them.

For snowy white nail tips, apply a little
Cutex Nail White underneath the nails.
Finish your manicure with Cutex Nail
Polish.

To keep the cuticle particularly soft and
pliable so that you need not manicure as often,
apply a little Cutex Cold Cream at night on
retiring.

Regularly, once oj twice each week, give
vour nails a Cutex manicure, ^'ou will never
again be bothered with coarse, overgrown cuti-
cle or hangnails.

Cutex Cuticle Remover, Nail White, Nail
Polish and Cold Cream come in 35 cent sizes.
The Cuticle Remover comes also in 65 cent
size. At all drug and department stores in the
United States and Canada and at all chemists'
shops in England.

I

Six manicures for 20 cents

Mail the coupon be'ow with two dimes
and we will send you a Cutex Introduc-
tory Manicure Set. large enough for six
manicures. Send for this set today. Ad-
dress Northam Warren, 114 West 17th
Street, New York City.

// you live in Canada, address Nor-
tham iVarren. Dept. 911, 200 Mountain /
Street, Montreal.

Mail this coupon with two dimes today

NORTHAM WARREN

Dept. 911, 114 West 17th Street, New York

N ame

Street and Number

City State

Goldwyn sent Jack Pickford and his
company to the top of Mt. Lowe for
special scenes of his production, "Just
Out of College." At the left Mr.
Pickford and his director, Al Green,
are examining the distant stretch of
country, visible thru the low-hang-
ing clouds

1^ V^^^Â¥^

Drama

On the Roof

of the

World

In the circle Molly Malone
is endeavoring to locate
members of the company
from a lower level of Mt
Lowe. At the right Irene
Rich IS using the horizon
for a dressing-table

"X ^-

f Sixty-four)

w

Clustery %/inds

and

the Completion

HAT is more invigorating than a walk or drive

on a crisp. cle;u (ia\ in c;iri\ .uitunin, when sharp wituls
brinj/ a ruddy colrjr tci nne's face, .md stimulate the joy
of ti\ing.

But these same keen winds produce other effects. They

rciughen and chap tender skin, — they catch up little particles'
of dust and loiHie them in the tiny pores of the face, and
trouhle results. The nat\iral oil of the skin combines with
the dust and the complexion Ivconies blotched, [iray-lookint;.
and rough.

Prevent these conditions— help to keep your skin clear

healthy /ind soft, by cleansing it with RESINOL SOAP.
Let the pure, refreshinj; lather sink into the pores and rid
thcin of lurking impurities.

But Resinol Soap is not only for those amioyed by com-
plexion defects. It lias been for years a favorite .amoni;
u-onien for <lail> use in the toilet and hath.

$ii\rl l>\ all /Irliiir/fsts iiiiH ill fhllct ij'i'iils I'llliil rrS.
Lcl II.S si'iiil \'>u II Iriiil sizi niki. Dif^t. /.i-d.
Rcsiii'il, ti'jitiiiiori'. Md.

RKSINOL SHAVINC. STICK gives a creamy,
non-drying; lather which is alone sufficient to
warrant its adoption by the discriniinatinc man.

'â– .<ri>iv Si> '

Zena

at

Play

Zena Keefe is the newest
Selznick star. Above, you
may glimpse her in her new
car and, below, she may be
viewed entertaining her
young boss, Myron Selznick,
with the harp. One must be
nice to one's boss, you know

At the right,
Zena is peeping
thru the motion
picture camera
lens at herself

(Sijriy-six)

Little rules that help you look your best

*^

Occasionally you meet girls who are beautiful without effort;
but most lovely people are lovely because they know the rules.
Here are a few simple ones, approved by skin specialists,
which every woman would do well to follow.

Never permit your face
to look ihiny

Powder — Yes. Just enough powder
to have that soft, natural look.
And when you powder, do it to
last.

The only way to make powder
stay on is— >io/ to put on an ex-
cessive amount — but to begin with
the right powder base.

For this you need a cream which
will not reappear in an unpleasant
shine. Pond's Vanishing Cream
does not contain a bit of oil. It
disappears at once never to re-
appear. Before you powder take
just a little Pond's Vanishing
Cream— a tiny bit — on your finger
tips. Rub it lightly into your face.
Notice the instant smoothness it
gives your skin. Now powder as
usual. See how smoothly the
powder goes on — how natural
it looks. You will find that it
will stay on two or three
times as long as ever before.
You need never again fear a
shinv face.

The bedtime cleansing that brings

a clear skin. Never retire

mthout it

One of the chief reasons for a "muddy"
look in the skin is the dust that gets
lodged deep within the pores.

The only means of keeping the skin
clear is to remove deep-seated dust. For
this cleansing you need an entirely
different cream from the one you use
for a powder base, and protection. The
right cream for cleansing is one prepared
with an oil base. The formula for
Pond's Cold Cream ' was especially
worked out to supply just the amount of
oil to give it the highest cleansing power.
At night rub Pond's Cold Cream into
the pores of the face, neck and hands,
and wipe it off with a soft cloth. Cleanse
with Pond's Cold Cream regularly and
ynu can keep your skin clear.

Mail this coupon today — Free sample tubeg

POND'S EXTRACT CO.,

116-0 Hudion St.. New York City.

Please send me, free, the items checked :

Q A free sample o( Pond's Vanishing Cream

Q A free sample of Pond's Cold Cream

Instead of the free samples, I desire the

larger saAiples checked below, for which I

enclose the required amount :

n A 5c sample of Pond's Vanishing Cream

G A Sc sample of Pond's Cold Cream

Name
Street .

Catch the little lines before
they grow deep

By starting in time you can keep your
face free of the wretched little lines
that will keep starting. For this too
you need a cream with an oil base, a
cream that will work into the skin
gradually. Pond's Cold Cream has
just the smoothnes and body re-
quired to make a perfect massage
cream.

Every normal skin needs both of
these two creams. Neither will foster
the growth of hair. Get a jar or tube
of each cream today at any drug or
department store. You will realize
for the first time how lovely your
skin can he.

PON D'S

Cold Cream ^
^anishino Cream

One with an oil base and one without any oil

A rough sl^in a sign of carelessness

To get out even in the milder weather of
winter without protecting your skin is
simply reckless; for wind and cold whip
the moisture out of your skin and cause
roughness.

Skin specialists say you can protect your
skin from this injury by applying, before
you go out, a cream which makes up for
the moisture that the wind whips out. For
protection, as for a powder base, you need
a cream unlhout oil. The same pure, grease-
less Pond's Vanishing Cream which you
use as a base for powder, contains an ingre-
dient famous for years for its softening,
protective properties. Always before going
out. smooth a little Pond's Vanishing Cream
into your face and hands. In this way the
delicate texture of the skin will not suffer
from exposure.

Net)er let your skiri look ^"'C<^

When you arc tired, yet must look
your best, you can bring your skin
new freshness by applying a cream
that is instantly absorbed by the
weary skin. The instantly disappear-
ing qualities of Pond's Vanishing
Cream give it a remarkable effective-
ness in bringing immediate freshness
to your skin, Just a bit of it rubbed
into the skin relieves in a moment
the strained look around mouth and
eyes and brings new transparency to
your complexion.

I'alliiif; (•■•i>ily into sli']) lK'si<li' lu'r. Hi-
-till was (la]i|>er. a >lini furtive follow
uliosf yi'llow-staiiu'd liiifjiTs -jIiooIv a- iIkv
lumhlfd vvitli the i-tirnal i-ij;arct. "Iml
since yon ask it, I want — what everybody
wants — tnimey. I'm a nicrdiant. I've
jjot wares to sell that I think you'll huy.
How much will you ,i,'ive me if I donl tell
your Inie^new hushand whose dan,i,diler
you are. and what sorl of place W'hillock
look you out of?"

The hluntness of it was like a Mow Slie
staggered, then rallied. "Vou wouldn't
dare!" she flashed, "Burke Whitlock
wouhl "

"I'ooh!" he flipped the ashes contem])-
tuously from his cigaret. flipped Whit-
lock out of existence, "that old has-hecn !"

"My hushand." she sai<l proudly, "would
kill you 1 There is nothiu}; you can tell
hii)i unless you lie !"

"Still," Craft said smoothly, "the trutl
has a shady sound — eh? .\nd I've };ot ;i
flash-lijjht of you in that dress you wore —
Dot always had 'em flashed. Came in
handy sometimes. What d'you say?"

In the end. she );ave in to him. .'she
j;nve him money, took it to his rooms in the
shahhy I „atin Ouartcr. ( )f course, she yot
nothiiif;. More demands. I'leadinj^. and
always, at last, in terror for her happi-
ness, yieldin;;. When she hroujjhl him the
money from the .sale of her pearls — her
guardian's weddin;,' present — she told him
(lully that she could do no more. "This
is chicken feed !" Craft sneered. His tone
•jrew U!;ly. "If you cant do hotter mayhe
your hushand will I"

Burke Whitlock. noddinj; over a two
week's old .\'ew \'ork paper, had a sudden
himch. He had had them heforc in his
career — hadn't he !,'uesse<l when the med-
dlesome reform fjanj; were jioinj; to raid
Joe's? .\nd when the I)..\. was goinj; to
demand something;? He |)ut on his hat
and left his hotel, calling a ta.xi with hor-
rible mutilation of the hVench lanf,'U.\i,'c.
.\t the corner of a houlevard some dis-
tance from Ruth's flat, the light of a street
lamp fell a moment on the face of a inan
hurrying along the pavement. Whitlock
nuittere<l an oath. "If that wasn't "\'el-
vet" Craft I'm a damned mouseer!" he
muttered, "looked mad too ! Something's
happened. Damn it, garsong ! (jettcz
\oHs a move on! \'cete!"

He was panting from the three flights
when he flung open the dodr of the Covirt-
enay flat atid stepped into the charming
little green-and-siiver drawing-room
l)o\iglas Courlenay. standing hy the man-
tel, head on clinched hands turned at the
sound, a white, drawn young face.
"Hullo 1" he said flatly, "you're^you're
a hit late for the show 1" and he laughed
unpleasantly.

"Show I" snarled Whitlock. His heavy
lips drew back over his great scpiare teeth.
I )nce more he was the fighting animal.
"What d'you mean, show ? Where's
Kuth ? What'- hapi>ened ?

Ruth is in — her room," the younger

The Branded Woman

[Conliiuicd fioi'i f'(i;ii' .^7)

man said with a distinct effort to speak
(|uietly. '"We have had a visitor. When
he left — she said she %vas tired .'\nd was
going to bed."

"It was Craft then!" Whitlock burst
out violently. "I ha<l a hunch I But I
diiln't have it in time. What <liil he tell
you ?"

"ICverything." said Douglas levelly. "1
im.igine you know it already. Dinit you .'
Ahoiu Ruth's mother? .\nd — where you
found her?"

( )ld Whitlock brought his fist jarring
d'lwii on a fragile I'rench table that gave
out a splintering sound, "^"es! 1 know
that you find the wliitest lilies in the
dirtiest swamjjs !" he roared. "That's what
1 found — a white lilv ! If he said anything
else he lied !"

.\ flash of hope lightene<l the heaviness
of his look a moment, then died. "But
she's paid him money — regularly. She
admits it. .And she's been to his rooms
with it "

The two men stared at one another.
Whitlock took a ste|) forward, shaking a
great, freckled fist in Courtenay's face.
"I knowed it! I knowed you warn't a
man enough to stand up for her! You've
lived with her goin' on two years and
still you dont know she's the Real Thing!
^'ou believe the first blackmailing scala-
wag that comes along trying to dirty her
name. Say! You'd ought to be beaten
and I've a good mind "

"I've been a fool ! " Douglas admitted.
He passed a hand over his haggard face,'
"hut it was like a bolt out of the sky. 1
never dreamed — you can see it might have
been a shock ! .And then she was so quiet
about it all — if she'd only screamed, only
cried, but she just stood still and looked
from one to the other "

".She's a thorobred!" the fild man said
proudly. ".She woiddn't scream if you
killed lier. Dot Belmar's daughter? Well,
the woman said she had proofs, hut I'm
not so sure. I've got detectives working
on it now. I never knowed a ragweed
to bear a rose myself."

"I've been a fool." Ruth's husband said
again. gla<lly. He went to the door leading
into the bedroom, opened it. and gave an
exclamation. "Ruth! Where are you?
Ruth darling!" Suddenly he sprang into
the inner room. 'I'herc was the sound of
overturned furniture. Slowly he appeared
again in tlie doorway, "(ionc! .She's left
a note — says she'll never see baby or me
again to — bring shame to us "

He staggered and tild Boss Whitlock
caught him and held hiTO while the awful
sounds of a man'-- difficult sobbing filleil
the room.

.\ month later the two men, with a
French nin-se carrying the baby, stood
on the forwar<l deck of a steamer as it
nosed its way up the familiar, crowded
harbor to its Hohoken berth. 'J"he faces
of both were cut with fresh lines of sleep-
lessness and worry, but \\ hitlock's tone
was aggressively cheery as tho by denv-

ing fear he could avert the iiesd for it
"We're on the same side of the water as
Rinh, anyhow," he said, "on'y she got the
boat ahe.id. There's no doubt about th;n.
me boy! She's been here a matter o' ten
days. What can happen to her in ten'
d.nys?"

'AN'hat cant hap]ien?" groaned Com i
enay, leaning heavily on the rail. "A lovilv
thing like her — alone — frightcMTed ! Cioil '
.\nd Craft was on the same boat — in tlu
steerage. I dont dare to think "

"Then (|uit thinking!" the ol<l politician
snapped, "we wont get anywhere by
thinking. It's action we need. First otT
I'm going to see whether they've forgot-
ten Boss Whitlock. and if not. we'll have
the whole police force and half the town
besides looking for her!"

Boss Whitlock was not forgotten. .As
he had boasted, the w-hole machinerv of
the city was set in motion to seek kuth
Courtenay. but for a whole month the
search was unresultful. Douglas Courte-
nay paced his hotel room haggardly, old
Whitlock beside him uttering bluff words
of encour.igement.

".She's not here — she's nowhere," the
husband groaned. "The world's so big
and .she was .so little. Besides — perhaps
— she isn't in the world."

But Whitlock would not listen to that.
".She's no (piitter." he said stanchly. "we'll
be finding her soon. I got -a hunch."

Two days later a detective brought them
word that a woman answering To the de-
scription was seen to enter a chop-suey
joint on the lower East Side, but when he
had followed her into the place she was
nowhere to be found and the blank-eve<l
l)ro))rietor denied all knowledge of her.
"The restaurant's a blind," the man told
them yawning, "I got a tip a .South .Amer-
ican named Alvarez hangs out there and
recruits girls for Brazil. Maybe we'd bet-
ter raid the joint."

The few shabby ])atrons eating at the
oilcloth-covered tables of .Ah Sing's looke<l
u]) apathetically as the group entered, then
resumed their eating of the slimv chow
main. The plain clothes men and Whit-
lock pushed by the chattering waiter into
the murky regions of the kitchen, but
Courtenay did not follow. The mirror
over the fly-specked cigar case had shown
him a sleek, rat-colored head that he knew.
In six strides he v\-as standing, looking
down into the paling face of "X'elvel"
Craft.

"Where is she?" he said tensely. His
hand lay on the table, cpu'vering. There
was murder in the steel-blue blaze of his
eyes. "Dont deny that you know. Show
me the Zi'ay In (]ct to her or I'll choke the
life out of you here and now!"

The man actually s(|uealed with terror.
He scramhleil out of his chair and led the
w-ay to the hall, and uj) the dirty stairs
into a region of tangled passageways. At
the end of one he sto])pe(l. crouching
against the wall. "I haven't done her no
i CitiitiiiKcd nil f'agc 101)

{

In SQUARE cornered box 50 cents

Guaranteed to contain DOUBLE the quan

tity of former round cornered 25 -cent box

!*</

^^N the stage or in the audience — with the stars of
^-^ drama or the leaders of society — Freeman's Face
Powder has aKvays been a prime favorite.

Clinging, dainty, and with an exquisite, delicate fra-
grance, Freeman's gives to the complexion that soft,
velvety look and feel of a baby's skin.

At all toilet counters or senA
5 cents for miniature Kiic

The Freeman Perfume Company

2507 Norwood Avenue, Cincinnati, Ohio

FACE
POWDER

Beauty ~y our ,
Companion Alwayt ^ -^^^

Before the journey, protect your complexion from the grime and duit of travel.
Upon arrival refreth and promote the softness, fairness and daintiness of your
•kin with D. & R. Perfect Cold Cream, beauty's most intimate friend and aid.

On the trips of every day, let it guard your skin from weather's whims. Make
the mile stones that mark the year along life's path less pronounced by the
daily use of this "perfect" toilet requisite. To the American beauties of three
generations it ha« brought winsome loveliness and enduring charm.

- FREE Trial size tube of Perfect Cold Cream sent with our
^ compliments. Address Daggett & Ramsdell. Dept.

I 5 M. D. & R. Building. New York.

DAGGETT^ RAMSDELL'S

PERFECT COLD CREAM

"The Kind That Keeps"

*4

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Donii solvei the prolilem.
Vou apply Donte to the
skin with a little wnler.
that*! all. Donte not only
removes superfluous aiul
undriirahle nair. but aUo
prevrntt its return, at it
works under ns well as
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Hair is heautiful on the head, but nowhere else. No
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Put Dontl oo Your Dresalng Tablt
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AiPl

Name "Bayer" identifies genuine
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©'

im>mm^

Aipirln il Ihc Hide niirk ol Bifri M,nur*c(uf« 0
MonotcctUicidtiltt of StlUxllctcId

MOTION PICTURE

"What Time is It?" Asked Muriel

(Coiiliiiiicd from page 17)

French director there ^'ave me my first
chance. — I didn't know until the jiroduc-
tion was half over that I was playing the

leading role Of course, I had to

keep working every day and I had to give
up school My folks were "

"l-'urious." we interrupted. "It's 4:0r>.
Two more hlocks and you'll be at the
Pennsylvania station."

"After that I worked at Thanhouser.
World I-'ilm and now I'm making a series
of ])ictures for Arrow. — You must see
them? — I'm going to California to do
several Pronii.se you'll see tlieni?"

"Yes," we said rashly. "It's 4:08 and
there's yonr station."

( Business of exiting rapidly from taxi
and settling with driver wlio, naturally,
has no change. )

At the train gate. Miss Ostriche re-
marked to our gasping self. "Thanks

awfully Hope you've got enough

material."

We struggled for self-possession.
"Dont lose that package, whatever you
do," we begged.

The gate closed upon our interviewee.

We turned and staggered into the sta-
tion drug store.

"One Bron — er — one chocolate soda."
said we hoarsely. From sheer force of
habit we looked at our watch. It was
4;t0. "You'll make it," we mumliled to
the CO — soda clerk.

"1 am," said he, laconic-like.

That Swede from Ystad

I. Continued from paijc 26)

Miss NiiSSon siniled. .\ flashing smile
it is, for she is dazzlingly blonde, some-
thing the motion picture camera does not
always reveal.

Miss Nilsson has just finished William
Locke's "Idols" under Raoul Walsh's
direction. Ucfore that, she was in .\llan
Dwan's "In the Heart of a Fool." .And
"The Fighting Chance'' preceeded "In
the Heart of a Fool." .\ company all
her own is in the offing. "I hope to make
my own |)ictures. like all the rest." she
says. "But I never count on things until
they happen."

Miss Nilsson indulges in no superlat-
ives about herself. Slie is not one of
those players who comment loftily u]ion
art. Indeed, we detect a sense of liunior.

.\nd a regular human being-ness.

Which is something of a combination,
coupled witli tlie Xilsson blonde charm.

Ystad surely has a right to be rather
proud.

MOOD
By GEiWiF. S. Remmki.l

Morn, — and my soul's like an aspen tree,
Quiv'ring for the things to he;
Soaring, leaping.

Xight, — and my soul's like a willow tree.
Silver-grey by a trouhled sea;
Drooping, weeping.

(Seventy)

CLASSIC

The Story of Flora Revalles

(Continued from page 31 )

and thee lions . . ." It is ini])ossil)lc to
ri-produce lier accent in print. Slie lias
been sjieakini; Enjjlisli t'lir SDnictliinfj over
two years. Not a very lonj; time, but she
speaks it exceedingly well, only stressing;
lier syllables evenly as one would in
b'rencb and bcin^ noticeably careful about
her diphtlioufjs. .And a^'ain she said :

"I do not like your Rocky Mountains.
'I'bey arc beautiful, yes; but so lileak and
lonely I .After you Iiave been traveliii}j
tliru tlieni for two or three days you
wanfto cry. But it is not so of the moun-
tains in Switzerland. They are yrand avid
majestic and they are not so lonely. There
•.are villajjes around them and i)eoi)lc ami
,1,'reen tbiujjs j;rowinj,' ... C )b ! I love
.Switzerland! 1 ^u there as much as jhjs-
sible. My mother is there, too ; it is my
home."

l''lora Kevalles was born in Switzer-
land of French parents. So far as slie
knows, no member of her family has ever
been in any way connected witli the .stage.
( )n the contrary, her mother was very
inudi opinised to an artistic career for
Iter. Her father was a well-known civil
engineer. She bad two brothers, tho only
one is living,

"I sang from the time 1 was a little
girl," she said. "Even then, my music
was my life. .\nd I would want jieople
to listen ; that is mucli. thee audience ! So
I wanted to sing grand opera on the stage."

Remember that back of all this was the
indomitable sjjirit of her father and her
consciousness of liim, laying tracks for
civibzation in .African jungles, suirounded
by an alien people, wild beasts and the
ever-present danger of some strange dis-
ease. .Slie i)aused for an instant, frankly
waiting for me to say .something.

".And then?" I jiromirted.

".\nd then," she went on. "I went to
Paris. It was for my brotlier ; to visit
him, you know. I decided to enter the
Conservatoire. I knew that if 1 could do
that, my mother would not oppose me any
longer. She would realize tliat it meant
the promise of a good career. So I went
to a teacher and told liim to coach nie for
the examinations. Hut to enter the Paris
Conservatoire is not an easy thing. Tliere
were more than a hundred of us who took
the examinations and only fifteen were
chosen." Becau.se she was among the
fifteen, her mother withdrew all objec-
tions to the artistic career.

"I think that, in France, one works
harder preparing for the stage than in this
country," she went on. .And tlien, skip-
])ing the intervening period, "1 still bad
one year to study wlien the war broke
out in 1914, the Conservatoire closed, and
I returned to Switzerland." For a while
it seemed that all thought of a career must
be laid aside until the world was at peace
again, but she kept on with her singing.
She could hardly have done anything else ;
it had become a part of her life.

"One day I was singing at a friend's
house in Geneva. The manager of the

(Seventy-one)

The Man Who Woiddrit
Stay Down

unskilled work,
next. Pleasures

He was putting in long hours at monotonous
small pay scarcely lasted from one week to the
few and far between and he couldn't save a cent.

He was dciwn — but he utnildn't stay there! He saw othiT men pninKJted, and he made up
his mind that what they cuuld di) he cciuld dii. Then lie found the reiisnii they were promoted
was because thev had special training — an expert knowledge of scjuie one line. So be made up
his mind that he would get that kind of training.

He m: rked and mailed to Scranton a coupon like the one below. T'hat was his first step

His

were

upward. It hroujilu him just the intormalion
the training he needed right at home in the
spent part of his spare time stud\ing.

The first reward was not long in coming — an in-
crease in salary. Then came another. Then he was
made Foreman. Now he is Super! n tend e tit with
an income that means independence and all the
comforts and pleasures that make life worth living.

It just shows what a man with ambition can tin.
And this man is only one out of hundreds of thou-
sands who have climbed the same steps to success
with the help of the international Correspondence
Schools.

What about you?

Arc you satisfied merely to hang on where you
are or would you. too, lilce to have a real job and
real inonev ? It's entirely up to you. Vou don't hfnu-
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want in the work you like best. Ves, you can !
The I. C. S. in ready and anxious to come tu you,
wherever you are, with the very help yyu need.

Surely when you ha\e an opp,)rtunity that means
so much, you can't atford to let another priceless
hour pass without at least finding out about it. .And
the way to ilo that is easy — without cost, without
obligating yourself in any way, mark and mail this
coupon.

he was looking fo
hours after supper.

He found he could get
From that time on he

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BOX 6752-B, SCRANTON. PA.

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Depl. 320 Maeontc Temple, Chicago

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opera was a ^'uest tlicrc. He heard me and
utTered nie an engagement. I tulil hini.
'but I have no repertoire.' lu Paris one
learns to sing first, then one gets a reper-
toire. .So he gave me eight days to learn
the role of Marguerite in 'Fansl.' "

She had never even sung with an (jr-
chestra and they could not give her a
single rehearsal. But' when the o])ening
night canie she sang Marguerite, and so
brilliantly that she was given a contract
â– vhich she afterwards broke to join the
Ktissian Ballet.

".Mr. I.eon Bakst gave nie two days
to decide about joining the ballet. I ac-
cejited at once and thouglit a little about
it afterwards. ()f course, it meant a
law-suit for me. 1 had to i>ay the director
of the opera in Geneva some few francs,
but that was all right."

.She feels that the art of the ballet is
the highest, most jierfect art of all.

She ap])eared with the Russian Ballet
in London and Paris and came with it to
Xew York on a tour of this country.
Frt>m the pantomime of the ballet to the
making of a moving picture was but a
step and a -ste]) she was certain to take.
She a])pearcd as Mes.saline in the Maurice
Tounieur [jroduction "Woman."

"That," slie remarked, laughing, "v. as
because M. Tourneur sai<l that he did not
know any other woman wicked enough
for the part: which was . . . perhaps!'
... a ciimpliment . . ." She has a
French woman's ability to say slightly
startling tilings .so that you feel they are
without meaning.

"I have heard that people are often dis-
api)oinled on seeing themselves for the
first time on the screen. Xow I ... 1
was sur])rised that I should look so well.
I did not know that I was so . . . what
would you say?"
"Beautiful ?"

"Ves, that is it," her voice was throaty
with amusement. There is, of conr>e,
nothing of the ingenue about her.

"But then 1 am not ])etite nor blonde."
.she remarked, implying that she could
easily |)lav the ingenue if she thought tha-
it would be becoming; and undoubteilly
she could !

She walks with a peculiar lithe grace
and her hands are beautiful and exjiressive
bevnnd descri])lion. The occult has a very
powerful attraclioii for her. but she has
never had any personal experience in
siiiritualism.

"But I believe in the existence of the
spirit after what one calls <leath and in
the iiossibility of communication. It is
just a conviction 1 have . . . something
1 cannot explain . . ." She is also a b;'-
licver in the thetiry of reincarnation.

".So. it is veree interesting; this moving
I>icture 'Farthbound,' but when it is fin-
ished. 1 shall not apjiear in another mov-
ing i)icture right away; I shall go. I think
to I.oikUju and take u]) my work again."
She walked with me to the door, ll
was a warm ... an almost ojijiressively
warm . . . night in late December. There
.-ire comparatively few lights anmml this
hotel in the hill's . . . Beverly Hills is
I Coiitiniicd on /'ui/c 97)

(Scvenly-lwo i

est 'IVay to Select a IPhonogra

To accept tlie first phonograph offered is both foolish and unfair. Make sure
you are buying the best. Compare it with the others in all of these six points:

This is

^Adyertisement No. j
of a Series

A GOOD phonograph should last for life. Yet even if
•^^ "something goes wrong" within the first months, you
have no direct claim against the manufacturer who does not
give you a written guarantee.

A signed and printed guarantee accompanies every CRESCENT
Phonograph. In case of trouble you have only to notify your dealer
to obuin prompt and expert repair service without charge. Compare
the CRESCENT guarantee with other guarantees before you buy.

WRITE FOR

PHONOGRAPH

A musician visited many dealers to determine wh.it points arc most important
in selecting a phonograph. These points are contained in this interesting
booklet, mailed, with our compliments, at your request. Address; Crescent
Talking Machine Co., Inc., 7 White Street, New York City.

Crescent Talking Machine Co. Inc. New York

'-' CiTABLISMCD 1913

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(Conlimtcd from page 33)

acting of the year, and what was the re-
siih, so far as I'ornian could see!" One
fan who hy sonic chance had not for-
gotten liini, wrote, "Oh, yon mustn't take
parts hkc that, showing your face all
scarred and ugly."

Later on. when he did a coujile of
jiretty-boy )iarts, ("which, heaven knows,
I've outgrown," says Tom), several new
fans wr(Jte him and said, "There, that's
tlie kind of i>art v. e like to see you take."

Is it strange, then, that Forman was
tilled with a disgust at pictures? A dis-
gust which was notliing more nor less
than a natural revulsion after all he had
gone thru: to come down to playing
jiastel movie men who had nothing more
dit'ticult to do than to look handsome and
stride from room to room to win back
Iiis fickle following.

It seemed unendurable discouraging,
but the salary was attractive and better
than could be made in anything else.

,\nd then Mr. Lasky came to the res-
cue with an ofTer for him to direct, and
Tom iMjrman is bringing all the jiatience
and big. wonderful manhood that came
to liim out there in the training camp to
the building of pictures, and he is hapjiily
working in a comfortable brown sack
suit, and he doesn't wear silk shirts aJl
the time and he isn't worrying if his nice,
rather wavy light hair isn't brushed
sleekly from his temples, for he is again
useful, again giving orders.

When you first meet Tom I'orman and
hear his slow drawl, you are apt to think
he possesses that Texas laziness, but as
you know him better you realize that this
is but a facial calm, a surface lethargy.

He wants to make good ])ictures, ])ic-
tures that are logical and feature human
types ; he doesn't want any sex stuff and
he doesn't object to melodrama, provid-
ing it is honest melodrama. He is bring-
ing to the screen a certain wholesome-
iiess, a big viewpoint, an easy-going-get-
there method that has something in it of
nature's slow but sure method of creat-
ing, antl his (me great, absorbing ambi-
tion is to hunt tiger in Siberia, and, when
he is old. to retire to his ranch some thirty
miles from ilollywood.

He loves hunting and fi.shing, dogs and
babies, and he says he would like nothing
belter than to dream away his life by a
trout stream, and somehow, I can see
a vision of Tom I'ornian. when be is old,
sitting by an oi)en fire])lace in his ranch-
house, with bis arms fidl of grandliabies
and his old dogs snuggling at liis feet,
and I can hear him drawl out the story
of liovv he made men for the great war
and there will never be a mention of
"When I was a great screen actor."

For Forman is. first of all, a whole-
some man who discounts momentary
comi)liments and comi)Ietely lacks a
swelled head.

.Above everything el.se, Tom Forman
is a comfortable man, and we may expect
real stuff to come from his direction in
TfcWres, the same as it did in the great
war.

( Sfvciily-foitr)

CLASSIC

Enter Julio!

(Continued from page 19)

"I doiil mean iulelligcncc," he said, "I
mean human intellectnality, possessing;
wliich the artist becomes mure hnman than
the ordinary mortal ; not more tempestu-
ons (temper-estuousj."

He has been here six years, liaving im-
migrated as a scientific agriculturist, bul
because of his ignorance of the language,
he was forced to work at wliat did not re-
quire a vocabulary. He was lonesome
when he first came. He did not know
anyone. He would go from restaurant to
restaurant, finally becoming acquainted
with two Austrians who spoke Italian.
They met every night ; and he was in-
troduced to their fair companions ; and
be wished he knew how to dance. One
day they went for a holiday to the Bronx
Zoo. Outside the monkey bouse, one
of the officers started to tango. Young
Rudolph was fascinated, and begged to
learn the steps. He was given an imme-
diate lesson, and that evening, back in the
cafe, on the floor Bonnie Glass ( Ben
AH Haggin's wife) spied him, and want-
ed him for her professional dancing
partner.

For two years he went hungry (it is
his word ) for someone with whom he
could talk, until one night, while perform-
ing in Philadelphia, with Joan Sawyer,
be met after the party, John Fox, Jr. Thev
talked— until 5 A.M. ]\Ir. Fox asked Val-
entino his age. When be learnt it was
only twenty-two he was astounded ! He
sent "The Little Shepherd of Ivingdom
Come" to the boy-f(n"eigner and auto-
graphed the preface with "H you use your
head as Well as your feet, you soon will
not have to use your feet." And Valen-
tino never forgot !

He must have used his feet well, for
Nijinsky asked him to give him a les-
son in the tango — this from the premier
danseur of the Bohm-Diaghileft' Russian
Ballet!

You'll see him dance the tango in "The
Four Horsemen of the Apocalypse" in
which Metro production be was allotted
no less a role than Julio.

"I did not want to be labeled a pro-
fessional dancer. That is why I gave it
up. I was not a dancer, anyway. Nijinsky
is a dancer. In what I was doing I had
nothing to express."

Altbo be has made extraordinary prog-
ress, having played opposite Mae Mur-
ray, Dorothy Gish, Carmel IMycrs, Mad-
ame Namara and with Eugene O'Brien,
be does not want to stay here forever :
nor does be desire to settle back home.
His longing is to go to .South America.
China, Japan. Egypt and India, and to get
to know those places.

Those who impress him most on the
screen are Barrymorc, Ferguson, Tal-
madge, and Nazimova.

He is anxious to meet Ibaiiez and hear
the author's opinion of his interpreta-
tion of "The Four Horsemen's" hero. "I
was never so happy over any part before.
I love it." Not a libertine, not a coward :
just a boy with failings, hopes, humanncss.

(Seventy-five)

"All Right Then-
rU Go to Hell!"

>»^

"It was awful thoughts and awful
words, but they were said and I let them
stay said."

Jfc It had felt good to be all washed

— clean of sin and to be able to pray — but

Huck couldn't tell on Old Jim no mat-
ter how sure it would make him of going to Heaven.

So he tore up the note and swore he would never reform again.
He would steal Jim out of slavery, he would — and if he could think
up anything worse, he'd do that too. As long as he was going to
hell anyway, he might as well make it worth while,
who ever knew the heart of a boy as does

MARK TWAIN

12 Volumes at a Low Price

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for both sets for ex-

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II i!inr;;i's* pro-
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2 eggs each, per day, $164

Average meats, $146
Average fish, $146

$1 9 C QairA^^ Quaker Oats breakfasts. rnm|iared with these other desir-

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Packed in sealed round paclcaget with removable cover

MOTION PICTURE CLASSIC

The Rise of Beatrice

(Co)ilimiri! front page 25)

It was her first taste of "real direction."

llcr shyness stood her in good stead
when she was seeking for something else.
It was with more of a forlorn hope than
anght else that she went to see Mr. Ince.
When after a two hours' wait she finally
reached the lair of the great man, she
fomid that there were five other great
men there too, all of whom began to stare
at her intensely.

"It was perfectly awful," declare — er —
confided Beatrice, rather breathless at the
remembrance. "I just begged them not
to look at me, and finally Mr. Ince made
them all face the wall while he talked to
me. Once DouglaG Macl.ean, who was
one of the five, turned aroimd and hissed:
'Just the girl for me,' or something like
that. I didn't hear him. They told me
afterward that I was busy untangling my
fingers just then.

"There are only two things I remember
clearly. One is Mr. luce's constantly re-
peated question, 'But why didn't you come
to see me before?' It seems to me that
that was all he said.

"The other is the question of Douglas
MacLean. After they had all filed solemn-
ly otit to decide whether they wanted me
or not and then filed back again, he came
over beside me and said, 'We want you.
May I look at you now?'

"I answered : 'I guess so ; but look
quick !' "

She sighed.

"I dont guess I can tell you any more,"
she said softly.

I was loaih to go. I hadn't decided
her in my mind yet. It seemed to me
that she was unique in a profession where
so]ihistication has become a dogma. I was
fascinated.

I loitered, and in loitering discovered
that for seven years she had studied under
Madame Rasciie, ballerina of the Metro-
jiolitan Ojiera House . . . the secret of
iier undulant grace.

I had to go, but I went lingeringly. A
great artist ... a little girl . . . ? The
(|uestion rectirred in my mind thruout
the day ; and the phrase "soft eyes and
a sigh."

COMPENS.\TION

By Charlotte Becker

When T was twenty I felt, oh, so old.

Each passiuf; pleasure found rae more

blase:

Life was as tasteless as a tale oft told,

.'\nd there was nothing new to do or

say.

Now I am forty, I feel, oh. so young,

liacli day I find amusing things to do,

And life seems like a fragrant garland

flung

For me to savor each fresh scent and

hue.

I wouldn't he as old as youth again
If time consented to turn back the
years ;
I want to stay as young as a.ge, and
drain
Life's utmost treasure, even unto
tears!

{Seventy-six)

Keep the Luster

on your teeth — there's now a way

Acts in five ways

Pepsodent multiplies the starch di-
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deposits that cling. It multiplies the
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Two factors directly attack the film.
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The object is to combat film daily,
also its baneful effects. And to multi-
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and quickly know that Pepsodent is
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Send the coupon for the 10-Day
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the film-coat disappears. Let the. clear
results show what this method means
to you and yours.

.-ill statements a p prove J hy aiiihoritics

You knov/ how teeth shine — how
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cleaning. He removes the film which
makes teeth dingy.

There is now a way to every day
combat that film. Millions enjoy its
benefits. And a ten-day test will be
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The film does this:

Film is that viscous coat you feel.
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millions of teeth are wrecked by it.

It is the film-coat that discolors, not
the teeth. Film is the basis of tartar.
It holds food substance which fer-
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acid in contact with the teeth to cause
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Germs breed by millions in it. And
they, with tartar, are the chief cause
of pyorrhea.

You must combat it

To save teeth and to keep them
white one must combat that film. Den-
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Now efficient methods have been
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The methods are combined in a
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Millions of teeth now
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Millions already use Pepsodent. large-
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(Scvcnty-sci'cn)

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Stafford -Miller Company

SU Louis. Mo.

The River Shannon's Namesake

{Continued from page 37)

has signed her up for his forthcoming
fe.-itiire, in which she plays a married
Hilt.

"And when my ]iictures iiit New York
— oh, goodie !" .She drew a dee]>, ec-
static breath. "I want the people who
knew me to say, 'Well, maybe after all
she will make good!' People were so
skeptical !" she ended plaintively.

Sometimes, she admits, she gets hor-
ribly lonesome for the "Follies," the
grease-paint, the gorgeous costumes and
the cliattcr of the girls. Novelists, she
confided, have the wrong idea of "chorus
girls." They ]iiclure "stage-door John-
nies" forever hanging about, sending
notes and flowers — oh. there zucrc lots of
llnwers sent, she added, but no notes;
that was an iron-clad rule set by Zieg-
feld himself. If your admirer wanted
to get into communication with you, he
had to write a letter and trust it to Uncle
Sam.

"Mr. Ziegfeld hates the movies be-
cause they take so many of his girls
away," she went on. "Once, when I
knew some picture people from Califor-
nia were out in front, I Ijegged him to
let me lead the feature song that evening
so that tliey would notice me."

"Notice you and steal you for the
movies, eh? he had demanded, and,
refused point-blank to allow such a
thing.

Shannon looks like a great many dif-
ferent people; certain of her pictures
look more like Mabel Normand than
Mabel's own photographs do ; her profile
is like Mae Murray's and some of her
expressions remind one of Jack Pick-
ford. This Protean resemblance is excel-
lent for publicity purposes, but Shannon
doesn't like it.

"I want to reach the point where I will
look just myself, and nobody else," she
declared. Anyone would be sympathetic
with Shannon. There is a naivete about
her that is captivating and disarming. It
may be real or it may be cultivated.
Who cares ?

Of course, Shannon has lots of hob-
bies— she rides horseback, and admits a
fondness for historical romances. .\nd
as for dancing

"I keep in practice all the time. I dont
ever expect to go on t^ie stage again, but
1 might need the work in ]iicturcs, and
besides, it's wonderful for the physifiue.

"In the 'Follie.s' I did lots of specialty
dances and, in one of them, I was tossed
.-ilioul the stage like a bean-bag. When I
came out here, 'Fatty' .Arbuckle sent for
nic, .saying I was the kind of girl he'd
Mke to have play opjiosite him in come-
dies, because he could do anything with
me — but I wouldn't take a chance —
would you ?"

I assured her most emphatically that I
would — not! And after carefully sur-
veying Shannon Day's [letite prettiness,
1 was liearlily sjlad that llie rotund Kos-
coc liad not made a bean-bag of her. I'm
afraid that the river Sbamion would
have lost its namesake.

(Scvcttly-ciijhl)

Free Trial

^fEND now for the New Wurlitzer catalog
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\t^\ct\r- Oii'ili^iT of Wurlitzer instruments 19 known
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been used in the finest orchestras and bands for years.
This outfit offer includes genuine Wurlitzer instrumen's.

Every known stringed itistrument or ivind instrument
included 171 this offer of free trial in your own honie. Have
your /fee trial now. We do not cltarge you a penny forit.

Send for New Catalog
and Free Trial Blank

Every instrument known illustrated and described, with
price and small payment terms. More pictures and more
information about musical instruments than in any other
book pubhshed. It is a veritable musical encyclopedia.
Free trial blank comes with it. Catalog is FREE. There
is no obligation. Write for it today.

The Rudolph Wurlitzer Co. Dept. 1518

117 E. 4th Street, Cincinnati,©.
329 S. Wabash Ave., Chicago, III.

The Rudolph Wurlitzer Co., Dept. 1518

1 1 7 E. 4th St.. Cincinnati. O. 329 S. Wabash Ave.. Chic«BO. Ill

Send me your new catalog with illustrations in color and full
description of the Wurlitzer Complete Outfits and details of the
free trial and easy payment offer.

Name. . . .
Address. .

200 YE.\RS OF â– ^MUSICAL INIsTRUMENT MAKING

IState muaieal iiutrum*nt in which you ara tpteially inUrtittdi J^— *

fStfi'j'Pittv-nh

INSURE HAPPY DAYS
for those you love

A Prudential

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PRUDENTIAL DAY
THE NATIONAL PAY-D.^Y

Tlie Twentieth Marriage

[Continued from page 35)

to unit. I'm not an especially good ac-
tor whafs the use of my gonig on \vhen
it looks as tho the best I can do is
forty a week? I think it would be much
Letter for me to drop it all and go to
tOn^ress."

••\\hv dont you drop it all and go to
the Wliite House?" Neill asked, sarcas-
tically. "It would be about as easy.
lUit his roommate was in earnest.
"No," he said, seriously. "I'm gomg to
('(ingress!" ,

\nd he did ! He left the company and
went to San Francisco, where, wuh his
brothers, he opened a hat store. After-
wards, he became an attorney, was sent
to the legislature a few times, and then
went to Congress from an Irish district
because the leaders of that district had a
row between themselves.

\nd again. Neill. on his first visit to
the coasf, was with the "Held by the
Enemy" company which included in its
cast such famous people as Henry Miller.
X'iola Allen, William Gillette, Melbourne
MacDowell and George Fawcett.^

However, it w^as not until NciU had
completely served his apprenticeship
audw-as the successful manager of his
own company that he met Edytlie Chap-
man.

The Neill Company was playing St.
Paul when the engagement of Henrietta
Crosman, as leading lady, terminated,
and it became necessary to replace her
with someone else.

"I was sent to Mr. Xeill by an agency,
said Edythe Chapman. "This was in
1897," .she w-ent on, "and I have never
had to look for an engagement since."

Unlike her husband, Edythe Chapman
was given a leading part in her first en-
gagement, and has never played anything
else.

"Until," she said, "we both grew too
old for leading parts. Having our own
company, we were able to be always
together."

Many players, now famous, were at
(litTereiit times members of the Neill
Company, h'.lsie Janis spoke her first
lines inm their stage. Henrietta Cros-
man has already been mentioned as being
with the comiKiny in its early days. Julia
.\rthur, lUanche Hates, Julia Dean, and
Reginald I'.arker are others.

"I had very few 'early struggles,' "
ICdythe Chapman went on, "and those I
had were all in getting started."

She attended Tlie Lyceum School of
Acting. Franklin H. Sargent was the
head then, as now. Henry C. de Mille,
famous iilaywrighl, and father of C. V,.
and Williain de Mille. David Belasco
and Nelson Wliealcroft were members
of the faculty. .\l that time Belasco
was a teacher in the school at a very
small salary.

".\t the end of my first year,' said
Miss Chapman, "I found myself witliout
money, and, worse, it seemed without
any encouragement to continue. iMank-
lin Sargent advised me not to go on. He
said that he did not think I had talent
(Continued on patje 82)

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1 MaiHc. L.nne. New York N.Y.

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Learn How to

.WRESTLE

In YoDT Own Horns

, ' r.,â„¢ h.%;\o'!i;;.'w,.n j\pi. Mys^i^'ji itin,^^":.

I to dofcniJ yourself. Ltarn (rom tbo woria s ^-naiirf

FarmerBurnsandFrankGotch I

I _. « .. L V,, c-ranii Kntfh-trnlnerof SEVEi4l

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Criiap Uils wonilcf rul ui.portunity. toUta age.
FarmaiBunu. 161Slt» E«cb. Blda.Omam.NcH.

(Eighty)

Whose Smiles are These?

A Mcrving Picture Star
Must Have Good Teeth

A CLOSE UP of a smile shows once or
twice in nearly every reel. No wonder
a star must have good teeth.

Look at these smiles, and see if you recognize
them. They are the smile-photographs of familiar
favorites, who know the charm that comes from
the white flash of wholesome, well-kept teeth.

Send your guess on the coupon below. If

you get one of the three right we will mail
you free a generous trial tube of Colgate's
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Colgate's is a safe dentifrice. It cleans thor-
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ness. It makes no claims to "cure" abnormal
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your dentist.

You owe it to your own smile to keep your
teeth in the best possible condition. Use
Colgate's and protect your smile. It has a
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brushing a treat.

COLGATE & CO.

Eitah. iSo6
New York

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Dept. 15
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I know who's stniling; please
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PAUL VON BOECKMANN, Studio 138, 110 West 40th Street, New Yorh

MOTION PICTURE CLASSIC

The Twentietli Marriage

{Continued from page 80)

ennitgli to c\er do anything worth while
in the theater. But I was to be given
some encouragement after all. David
Relasco asked me if I inteniled coming
hack the following year. I said that I
couldn't. IVly money liad given out and
I had no talent, anyhow.

" 'But you Imvc talent,' he told me.
i'ni so sure of it that, if I sell the play
I'm writing, I'll see you thru and you
can ]iav mc when )'ou are a leading
lady.' "â– 

The play was "The Charity Ball," on
which he was collaborating with Henry
C. de Mille. Needless to say, he sold it,
but an unexpected stroke of good for-
tune for "lidy," as her friends call her,
made it unnecessary for her to accept
his offer. A distant relative died and
left her six hundred dollars. So, she
went back to the school and, graduating
sccon;l best in her class, played the part of
Clytemneslra in Sophocles' "Electra."
This was followed by her first profes-
sional engagement, which was for the
leading part in "The Charity Ball."

The Neill home is a sort of Mecca for
the entire profession. They live very
simply in a pretty bungalow of their own
in Glendale. Their lot is 100 feet wide
by 175 feet deep, and on it they grow
oranges, lemons, grapefruit and even
dates. Like nearly every one else in
Glendale, a suburb where no one is either
rich or poor, they have an automobile.
but they do not keep any servants, and
fine glance at their faces would be enough
t" tell you of their contentment.

It is said that only one marriage out of
twenty is really happy. If this is so,
then the Neills have made the twentieth
marriage.

Since coming to the screen the Neills
have made a number of pictures togetiier.
James Neill was with Famous Players-
Lasky for five and a half years, starting
with them in the second picture ever
made by that company. Mis first picture
was made for Universal, and from there
he went to Kalem, where he directed Car-
lyle Pilackvvell for a while. It was some
time before Edythe Chapman decided to
go on the screen, and then she did not
sign any contract until she and her hus-
band both joined Goldwyn, where they
are at this writing.

IN THE POST OFFICE
By TiiELM.\ Stillson

So many little doors are here, each with

its little key;
So many eager eyes that watch to catch

the gleam of white;
So many hands that flutter in gay

exi)ectancy,
.'\nd tear the seals asunder with
tremulous delight.

So many letters come to me in writing

coarse and fine.
In big and little envelopes, white,

yellow, grey and blue;
And i would give them all away to hold

one careless line
In funny, ragged characters, scrawled

hastily by you.

(Eighty-tii'o)

Send No Money

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MOTION PICTURE CLASSIC

Dorothy Makes Her Bow

(Continued from page 49)

gather, they appeared in three different
places in one evening, something quite
unheard of on the stage. Dancing at ten
o'clock in one place, at half-past ten in
another production, and at midnight ap-
pearing on the Century Roof, where hy
the way, Florenz Ziegfield had previous-
ly managed Miss Dickson, advertising
her as "the greatest dancing personality
in the world."

She has only been on the stage for
three years. Previous to that, she lived
the usual popular debutante's life in
Cliicago. Her father, just before she was
to have had her coming-out party, made
some unfortunate investments in stocks,
and Dorothy awoke one day to find that
when she wanted anything, she could not
have it. Nothing daunted, she deter-
mined to make her own money and this
is the way she went about it. She and
Carl Hyson, a boyhood friend who was
in college at the time, had danced together
very often at parties, and had always
caused great enthusiasm and admiration
because of their skill. One night they
decided to take up a bet made by some
friends of theirs concerning a dancing
prize at Rector's It happened that on
this particular evening, they had as their
competitors, Maurice and Walton, (the
famous dancing pair known all over
the world], and two other professional
couples who had become household names
in Chicago because of their dancing abil-
ity. All of Dorothy's friends were pres-
ent and there was much excitement when
she and Carl started to dance. They re-
ceived an ovation at the conclusion which
caused the manager of the place to offer
them a contract ; and Dorothy accepted.

It was while Dorothy and Carl were
still dancing at Rector's (which they did
for about six months after the above Iiap-
pened) that Florenz Zieglield, the well-
known connoisseur on feminine beauty
ha]jpened to be in Chicago and while at
Rector's one evening saw Dorothj' dance.
1 le immediately offered her a contract,
and brought her to New York where he
starred her in a play at the Century The-
ater. She made a tremendous success in
New York, and from tlien on has ap-
])eared with increasing popnlarit)' in vari-
ous Broadway successes. This season she
has been featured in "Lassie," one of the
most popular plays on the rialto, and
has ju.st left that company for a well-
earned vacation before starting work
with Famous Players.

"I know what a tremendous risk I am
taking." .she said, a])ropos of its being
her first venture in jiictures, "but even if
I do fail. I will at least have assured my-
self that I took the cliance. I realize what
a Iiuge task I have set myself to do; very
few people know anything about me out-
side of the big cities, and it is the movie
fan that makes the movie star, I think.
But perhaps if this picture turns out to
my credit, there will be a few people who
will sec it, and I hope to build up my
[Continued on pacjc 97)

(P.ighly-four)

This department is for infonnalion of general iiiTcifSl only. Those who (lesire answers by mail or
a hst of the tilm manufacturers, with addresses, must enclose a stamped, addressed envelope Address
all mquines to The Answer Man, using separate sheets for matters intended tor other departments of
this magazine. Each inquiry must contain the correct name and address of the inquirer at the end
of the letter, which will not be printed. At the top of the letter write the name you wi-^h to appear
I hose desiring nnmediate replies or inforniatian requiring research, should enclose additional stamp or
other small fee; otherwise all inquiries must await their turn.

Thelma F. — Greetings! How are you this
nice fresh, snappy morning? Thank you. You
think I am a darling, and not an old man.
Wont you let me be both? Write direct to
Bill Hart for his picture.

Hf.nrv C. — The story of "The Sagebrusher"
has never been flctionized in the Classic.

Wan da H awlev Adm irer. — Why should
they be prohibited? Tsuru Aoki was born in
Japan. September 9. 1892. She has been on
tlie stage since she was eight years old. She
is five foot one. weighs 120, and has black hair
and eyes.

Little Rock, Ark. Fan. — Did you think I
was M. S. Cheatham? Oh! You can reach
Ralph Graves at Metro, 1476 Broadway, New
York City. The Lee children have been play-
ing in vaudeville all summer in and about New
York City. He seems to be drifting.

RoRERT. — Good morning. Bob! Write Grace
Cunard. Los Angeles. Cal. Why House Peters
is playing in "The Great Redeemer" for Metro.

Just Me. — Just you! And you want me to
tell Harrison Ford that you love him so much.
Will you girls never get any sense? You may
admire, but not adore. Man's mind is marble,
woman's mind is wax ; and the one is no better
than t'other. Hope you have a boii z'oyagc.

Olive B. — Oh, is that so? You think it
would be mighty interesting if I married Con-
stance Talmadge. I agree with you absolutely.
See if you cant fix it up for me. Dolores Cas-
sinelli is playing in "The Hidden Light." Joe
Moore and Eileen Sedgwick are playing in
"Love's Battle" to be released by the Climax
Film Corp.

H. E. C. — Thanks, old man. Keep the check.
Write me any time you feel like it. You sure
have some sense of humor.

FiTz & Startz. — So you dont agree with me.
Isn't that strange! I expect that I am in the
small minority with most of my opinions, still
I am rather proud of that. The man who fears
to take his stand alone, but follows where the
greatest number tread should hasten to his rest
lieneath the stone — the great majority of men
are dead. No. not me.

Irene H. — And why are you so scared of
me? I dont bite. Even tho I am caged in my
hall room, with iron doors, and my big watch
dog along side of me. Oh yes. T "have a new
dog — a Russian wolfhound. William Conklin
in "The Haunted Bedroom." Jack Crosby in
"A Daughter of Two Worlds." Come in again.

Miss Atlanta. — Alice Joyce Admirer, H.
A. E. ; Roscoe; L. Mc ; Nellie S. — Your let-
ters were very interesting, but require no
separate answers.

Thelma. — Of course it is much cheaper to
subscribe; why dont you?

Broihe. — Mizpah means "The Lord watch be-
tween thee and me when we are absent one
from the other." Why that was E-lmo Lincoln
and Enid Markey in "Tarzan of the Apes."
Oh, I dont mind working this kind of weather,
but when the old thermometer gets up around
98 and 100 degrees — I'm thru!

H. H. H. — Well, there ain't no use. An affin-
ity is a high priced luxury since the cost is

alimony. Frank Mayo in "Black Friday." You
mean Ethel Shannon in "John Petticoats."
Come on.

Wanda Hawlev. — So you think my answers
are snappy. How?

Jl-st Me.— You here again? And so soon.
I certainly do not own an automobile. I had a
Ford once, but I got tired of dodging other
cars and people on the street and so I sold it.
.\ulomobiles kill more people nowadays than
all the other nuisances put together. The
automobile is the modern Juggernaut.
Brownie Vernon in "The Coming of the Law."
Harrison Ford in "The Veiled Adventure."
Yes, we have the October Magazine w^ith Con-
stance Talmadge's picture on the cover.

Singer B. — John Barrymore says he is going
to remain in pictures, j'ack Holt is playing in
"The City Sparrow."

Runv. — ^'ou are all wTong about Eugene
O'Brien. He is a dandy chap, and I like him.
You can reach Mahlon Hamilton at Hampton
Studios, Hollywood. Cal.

Kitty.— Good for you. You can reach ^'iolet
Mersereau at the Apthorp Hotel, 94th St. &
Broadway. New York City. You say you want
more of Ruth Roland. So do we. She is too
busy to think of us these days. You will have
to write a separate letter to the Magazine about
those pictures. You should never write to a
publisher and take up matters pertaining to
several departments in the same letter.

Cleopatra. — It was Bernard Palissy, born in
Agen, France, 1510, who was the first to redis-
cover the art of producing white enamel. He
was the leader of ceramic art in the 16th cen-
tury, and his life is characterized as "the great
romance" in the history of ceramics. Your
letter was indeed interesting, and I hope you
write to me again.

MicKEV T.— The Dolly Sisters are still on
tlie stage.

E. L. M. — Thanks for your verse. I wish I
could print it.
_ Lucu.LE. — CiiUen Landis in "Girl from Out-
side."

H. G. — You're not the only one. I have sad
news to relate also. On May 1st. next I must
vacate my hall room which I have now occu-
pied for nearly ten years, and seek new quar-
ters. If the editor-in-chief decides to raise my
salary before then, I shall perhaps be able to
have a real square room with two windows and
a closet. Wont that be grand! May 1st is
generally called moving day. but next year the
great moving day will be March 4th.

BucciK. — Why, there is no reason whatever
why a Roman Catholic may not become Presi-
dent of the U. S.. altho a Catholic was never
nominated for the Presidential Office. Yes,
Vivian Martin is married. She is playing in
"The Song of the Soul" adapted from the
William J. Locke story "An Old World Ro-
mance." The picture was edited by Robert W.
Chambers. Carol Dempster in "The Love
Flower," one of Griffith's poor pictures. Yes,
we think Carol is a real comer. She showed
a remarkable advance in "The Love Flower."

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{Coiiliiuictt from I'agc 43)

fine luiinan note in fully a half dozen
])laces— a human note that reaches out
aiul plays upon your heart-strings.

"Wav Down East," as written by T.ottic
Rlair Parker, was one of those perennial-
ly popular stage melodramas. This story
of an innocent country girl, .-Vnna Moore,
who goes to the city, is wronged by a
villainous city chap, becomes a mother
after a mock marriage, seeks regenera-
ticju in work uixm a farm, is ex])Osed
by gossips and turned out into a blind-
ing New England blizzard, only to be
sa\e(l by an honest young country boy
who loves her despite everything, was
seemingly an obvious thing of the hokum
theater. Ajiparently, it bore no real re-
lation to life anywhere.

We see the "Way Down East" of
the stage <lifferently. The old melodrama
wciuld not have gone on year after year
had it been entirely distinct from reality.
Its background of homely New England
life gave it the breath of life. With all
its painted scenery and torn paper snow-
it was redolent of the soil. But, most
of all, it carried a message. It presented
the struggle of woman for equality in
its way as vividly, as centuries before,
Euripides did in his Medea. To the
simple playgoer of the nineties, Anna
Moore personified womanhood in its age-
old .struggle for recognition — against the
man-made odds of decades. Not that we
consider "Way Down East" for a mo-
ment as a thing of literary or dramatic
\alue. It was a melodrama of fear-
ful dialog and even more fearful con-
struction. But a compelling message
and a compelling background were
there.

The sawdust and the wires become flesh
and blood when transferred to the screen
under (iriffith's hand, the canvas trees and
calcium-lights transform to vast sweeps
of landsca]ie alive with summer smishine,
the lorn ])aper to a bleak an<l whirling
winter blizzard. "Way Down Ea.st"
gains vastly u])on its transfer from stage
to Idni form, fijr the director endows his
characters with a humanness they never
possessed behind the footlights.

Griffith has taken his motion picture
camera into the history of the persecuted
Anna. The P.arker opus started ui)on the
arrival of the girl with her "past" at the
Harllett farm. Criffilh moves back into
.Anna's girlhood and, step by step, shows
her dazzled and destroying dip into the
city and her disillusionment, along with
tlie coming of her baby and its death.
This portion of the cinema "Way Down
Ea^t" to us is turgid and rather uninter-
esting, which seems to prove our theory
that the stage "Way Down East" owes
its success to its homely rural background
and the vitalness of its indirect — and even
claptrai) — feministic single standard ar-
gument.

Once Griffith definitely reaches the

countryside in this feminine "Pilgrim's

Progress" his drama becomes alive with

vigor. .'\1I the sweetness and fragrance

(Coiiliiiurd on pacjc 98)

Eyemshei and

Expression

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Dcpt. 7. COUNSEL SERVICE

248 West 76th Street - . - , New York

Hi^h School Course
in 1 Tears

You can complete

this simplified High
School Course at home inside two years. Meets
all requtrcmunta for entrance to college and the leading
profossionB. Thia and thirty-Bix other practical courses
are described in our Free Bulletin. Send for it TODAY.

Am«rlcaii School of Correspondonce

Oept. H7G2 CHICAGO, ILL.

DEAD MEN
TELL NO
TALES

(Eigkly-six)

^^V Down

^^" Brings You This

Smart

Velour Plush

Coat

Send only $1.00 with the coupon and we will
send you this stunning, rich-looking coat Ex-
amine it. See yourself in it. Then, if you wish
to send it back for any reason, your money will
be returned instantly. This is a wonderful
chance to get a splendid coat and pay in small
monthly sums. Send the coupon now.

Contrasting Collar

V^h ,f'5'"''""^|>' itylifh ladies' coat is made of fine quality
rich velour plush. Handsome Beavertex collar in con-
1™.",'' ''°'" K"es charming, fashionable touch and at
same time is very becommg. The collar may be worn
?S,Jl, "ii^''°"'''S"'lS"' bu'fned high around neck. The
smart all-around belt is buttoned in novel style and is
r,,â„¢^''""'!'^"'' ahan.dsome buckle in the back. Latest
riMrah?.'^?'''"''^- '^°=' '-^ ''i"='' throughout with lustrous.
^h.^v'^V §"''>' mercenzed twill sateen. Colors: You;

^SS'lifs^^rtS'ld.^'"^ °' ^'"^ °«'"- S-'^ '' •" "

Order by No. F-44 Terms $1 .00 with coupon.
S4.65 monthly. Total price 128.75.

Six Months
to Pay

Leaxn to buy the Elmer Richards way. Dress
well and pay m small monthly sums that only
amoimt to a few cents a day. Thousands of
delighted customers praise our splendid values
and bargain pnces. No charge for credit. One
price only. You have everything to gain and
nothing to lose. Try it and be convinced.

Send Coupon

This splendid coat sent on approval. See it. Try
It on. If you don\ keep it you are not out a
penny. Send the coupon with a $1.00 P.O. order,
or a dollar bill. Mail coupon now,

Elmer Richards Co.

Dept. 1518 W. 35th Street, Chicago, III.

Elmer Richards Co., Dept. 1518, W. 35th St., Chicago, III.

I enclose $1.00. Send Smart

Velour Plmh Coat No. F-M. Color . . Size

.StaU..

(Eighly-seven)

OPPORTUNITY MARKET

ART

WHY NOT DO OIL TAINTING AT 1I0MK? Write for
iii<'tni<-tlon Lrfiiul«-i.|«'. Aiiiiiut. Sk.-t.-litim mul otb.'p arts.
Ji.-ii. H. i:rl.-|'- ^"'•' "•''^ '^^ ■ '--Ttliiii^''. M».

BUSINESS CHANCES

$2 00 MONTHLY lU'YS DEKIl tu hiiul an.l Int.Tcst In oil
W^ll« th:H ^lu.uUl imj- *UHl for ra.h «J.Oa iiiv.Htrvl. Writ.'
for iwirti.-iihirs. Ti-xms t;iil( Cuiniwny, 701 Klrst Niitioiial
Bank, noiixton, Tvxm*. ^^^

COINS AND STAMPS

"OLD MONKY WANTED." 53 to S'OO cacb paid for
humlnila of coins «liil.<i l-t-fon- iNO.'t. K.-^-p all oUl nionyy.
S^'nti 10c for now Ulustnittii «-oin value book, triw -IxH. You
may liave coins wortli Inrt'e itn-iiiiuiiis. C'-t lasted. CliirkL-
Coin Co.. Box 1.'5. U- Itoy. N. Y. ^^

FILMS DEVELOPED

M\1L I'S 20tf with any sIio lUm fop dcvflopincnt and six
vriv.-t print.s. Or send kIx ncsntivt-K any size and L'Oc for six
nriuts. llr wnd 40t,- for one S x 10 iiiountpd oiiIarKompnt.
l*n>nipt. p^Tf(H-l scn-lre. Itoanoke Plioto Flninliins Co.. liOT
lt*-tl Av.'.. Uoatioko. Vn.

GAMES AND ENTERTAINMENT

NEW PATRIOTIC PL.VYS. Rpcitatluiis. Entprtaininonts
for Warliiii.- H.'nt'llts. VaiiUovlllo .Skct.-licj'. Monolopm-s,
nial»«ni.'s, Minstrvl. Tableaux, Drills, MiisU-al PU'ces. Miiko-
up r.oods. LaPRc Cutaiosue Fn-e. T. S. Dcuison & Co., Dopt.
03. Chiciiyo. ^^^

HELP WANTED

••K.VILWAY TKAFFU: INSl'ECTOKS oarn from ?110 to
$-HiO in-r montli and oxim'us»'s. Trnve! if desiti'd. rnliiiiit<d
n.KaiKvnK'nt. No aj-c lUiut. Wi- train you. Positions fnni-
Ishiil uud'T Ruarantei'. Write for Ixiokiet C.M-(i4. Standard
Business Tnilnins Institute, Buffalo, N. Y."

WANTED. — Pietureplay writers. Bis pay. Exporienne »n-
nf,-.'»sary. Best -ourse 1io-t to write iiu.l sell plays. Pj-T;'""
»1.00, Address Studios. Sr,.; CariH-ntor .\ve.. Oak Park, III.

THOUSANDS V. S. OOVERN^IENT POSITIONS OPEN

to men— \vonien— girls. J135 to $200 month. Short hours.
Common edueation suflleient. Write immediately for free list
positions oiK-u. Franklin Institute. Dept. C. 70. Rochester,
N. Y. .

HELP WANTED— MALE

DETECTIVES EARN BIO :tlONEY. TR.VVEL. Great
ilenianil. Fas-inatini: w..rk. KxprTi'iitc unii'-.^-ssary. \\e
tmtn you. Pani.ulars free. Write. American Deteotive
Systi-nis. 19G*< Broadway. New Y'ork.

MAIL ORDER BUSINESS

S30 n week KvenlnRK. I iiimlf" It Willi n smnlt Mnil order
nnri!n-w<. Stiirli-.l wllh j;i. Free nuoklet. 2.' postase tolls
how or Hond :2:»- for Saniph- ami Plan. Al|if S-.-ott. C«boPs,

MISCELLANEOUS

YOC WRITE WORDS FOR A SOXO— W<- write the
liiiiflc-. pilldl-h. and w-iiir,' a . oi.jrlitlU. Sillmiit Im.-nis on
nny »\il.J"t. Tlii- M'tmixilltan Studios. 014 S.' Mlclllean
Avenue, Dept. 111. diliag". HI-

H KITE TlIE WOBDS FOR A SONG. We rerlae poeuia.

cc .luiKli- and iniarantc- In w.-ure piililienllon. Sul.mlt

. M.H on any Hul»j<'<l. Itroadway studios. lOiM. Flt7.;;erald

MOTION PICTURE BUSINESS

KU.OO PROFIT NIlillTI.Y. Small capital Ktnrt» you.

. "111111. ~ild on Inslalhuinls. No experlen.-e needed. Our

H hlnei. are until and endoriu'd liy Covernnient Institutions.

riloe free. Atlas Movlnt- rli luro Co.. 4U'0 Morton llldi:..

â–  tii.iiKo.

PHOTOPLAYS

ExelianKe Plots for »». Photoplay .lean a. eeptod any
form; revised, typed, publislied. eopyr silted, .sold. Adv ee
free, l-iilverni Seenurlo Corporation, Western Mutual Lite
Itldp.. Los .\npeles. _^__

WKITER.S! Have you a Bons-poeiu. story, photoplay to
"l" Suliiuit MSS. now, Musle Sales Co.. -ll'. St. Louis.

Courses In Pholo Play wrlllnB »"-i> »""■•""' s"',!!"'.^!;?
lo â– i.in We offer eoiuplele lustruetions and Intoruiallon
not'onlV in How to write Motion Pl'^;""-'',};?"^'*',, '"" °S
how to sell thein, an.l where the liest markets lie. IWs
valualdo Isiok prepared l.y a writer aud staee director of
wide esperlenee sent on reeeipt of SI.UO. Sano Sales Co..
Dept. C. Box 1101, nea Moines, Iowa,

II.VVO jou nn Wei. for a photo piny? A yj'i'P'rte cm"^<'
wllh model s.snarlo. Teaeh.s you how, $1.1111 postpaid.
P. Franels Carr, 140 North TtU Street. Urooklyn. Is. ^.

MOTION PICTURE PLAYS

I KEK BOOKLET eontnlnlnp r,r, helpful BUjtfWstlons on

â–  tliii-' and s,-llinii photoidays, stories, pwiiis. sonss. Atlas

rddtsliint* Of., 300 Cin.iniiall. iHil't^

NEWS CORRESPONDENCE

yndlerile. GOO. St. I^uis. Sio.

PATENTS

\BN »25 WEEKLY. Kpare time, writing for newnpnpers,
'r,i:ii7.,ites. r.xisrieno- uums-essary ; di-tnlls fni-. Press

PVTENTS Write for Frvs* Illustrated ttulde Ttook. Send
lii'.Klet or Bketeh for free opinion of Its palenlalde nature.
Iliirliest Ref"n-nees. Prompt Attention. Heasonalde Tenns.
Motor J. trans * Co., 621 Ninth, Washlnston, D, C,

PICTURES

ZEE IlEAl'Tiri'L GIRL PICTl'RES, 12 wonderful poses
SI, Keruml.d It dissntisBed, Balrart Co,, Dept. Ito. St,
Ivouls, Mo,

SALESMEN WANTED

LIVE SALESMEN WANTED, We are located in the
heart of the t-r.iit Oil Field of North Texas and recom-
mend only the licst coniiianics. We turuisii hank reter-
ence and pay our salesmen 'veil llariyell llrokenigc Com-
piiuy, Central Stock Hxchanac Hldi:., ttichita I' .ills. Texas,

SKORT STORIES

STORIES AND PHOTOPLAY IDEAS WANTED hy 4S

companies: bij: pay. Details free to beginners. Producers
League, 441, St, Ixiuis, Mo.

FREE TO WRITERS — A wonderful little book of money-
making hints, suggestions. Ideas; the A B C of suecessful
story and movie play writing. Absolutely Free, ,Iust ad-
dress Authors' Press, Dept. 14, Auliurn, N. 1.

STORIES. POEMS, PLAYS, ETC., are wanted for publi-
cation. Good ideas bring big money. Submit MSS. or write
Literary Bureau, 1.34, Hannibal, Mo,

E\RN S25 WEEKLY, spare time, writing for newspapers,
magazines. Experiene.. unnecessary : details free. Press
Syndicate, r.HII St. Ixiuis. Mo.

SONG POEMS

YOC WRITE THE WORDS FOR A SONG, Well com-
pose the music free and publish same; Send song poem to-
day. A, F, Lenox Co., 271 West 12uth St,, New York,

WRITE THF, W ORDS FOR A SONG. We revise poems,
write music and guurantec to secure publication. Submit
poems on any subject. Broadway Studios. 107U, Fitzgerald
Bldg,, New York,

YOU WRITE WORDS FOR A SONG, We write the
music puldish and secure a copyright. Submit poems on
any subject. The .Metropolitan Studios. 914 So, Michigan
,\veniie, Room 101, Chicago, 111,

WRITE THE WORDS FOR A SONG, AVe write music
ami Kiiaraiitee publisher's acceptance on a royalty basis.
Mr. Leo Friedman, THE COMPOSER TO TUF, AMERICAN
i'EOPLE, is our leading composer. Among his well-known
hits are such songs as "Meet Me To-night in Dreamland"
and "When I Dream of Old Erin," Submit poems on
patriotism, love or any siilijcct, Chester Music Company,
Dept, 324, 920 South Michigan Ave,, Chicago, 111.

SonKS Published On Royalty. We revise, compose, ar-
range, engrave, proof, print, publish, copyright, advertise
and sell music. Write for our royalty music publishing
offer. Do not send us poems until you iiave received offer.
We are music publl.shera. not mere composers and arrangers.
We attend to every detail from receipt of poems until regu-
lar copies are ready for display and sale In niusic stores,
llrennen's Music House, Suite 201, 2 West 123ra St„ New
York,

Write a Sonjr Poem, Love, Mother, Home, Comic or any
subject. I compose music and guarantee publication. Send
words today. Eilward Trent, 033 Reaper Block. Chicago.

SONG WRITERS

WRITE THE WORDS FOR A SONG. Wo write the

music and guarantee pubiisher's acceptan.e. Submit poems

on patriotisiii. love or any sub.iect. Chester Music Oi.. 920
S. Michigan ,\ve.. Room l.**.',. Chicago.

YOU WRITE THE WORDS FOR A SONG. We will
write the music, puljlish and secure copyright. Edouard
llesselberg. our chief comiKiser, has to his credit the great
lilt "If I Were a Rose," and other famous songs. Submit
poems on any subject. Send for cur ,Song Writer's Guide
nnd submit iiocms at once. Metropolitan Studios, 914 South
,Mlchlsan .\ve., Dept. 112, Chicago, Illinois,

WRITE THE WORDS FOR A SONG, Wo revise poems,
compose music for them and guarantee to secure publiea-
tinn on royalty basis by ,\ew York music piildisher. Our
t;hlef Composer Is a song-writer of nntlonul ripiitation and
lias written many big song-hits. Suliiiiit poems on any
subject. Hronrlwny Studios, 107A Fitzgerald Bldg,, New
York.

VAUDEVILLE

GET ON THE .ST.\GE. I tell you how ! Send Ge postage
for Instructive lUustrali'il Singe Book and particulars. C.
LaDelle, Box 057, Los Angeles, Cal.

The Charm School

(Continued from fagc 30)

ful letters," those fifty pairs of limpid, in-
quiring eyes, the flowers on his desk — no,

he didn't do — they didn't do It was

just as well â–  He would tell Homer

Johns about it that evening and then carry
out his original plan of going away. He
had resources — the pain at his heart might
be a slight deterrent — but he had to figure

that in

At the dance he told Homer Johns of
his aunt's true bequest. He hadn't fig-
ured wrongly. Old Johns chuckled, said
he thought it just as well, altho he would
have to hunt around for a school for Elise
and offered Austin a $25,000 a year job,
which was promptly accepted.

"Run away for a month or two, young
man," the older man advised, "before you
tackle the new proposition. You look a
bit as if you'd been handed a blow beneath
the belt."

"I have," Austin said.
It wasn't until later in the evening that
Homer Johns discovered the blow beneath
the belt to be Elise. Mrs. RoUes gave him,
unwittingly, the information, "I hear,"
she said, "that young Austin Bevans isin
love with one of his Charm School pupils.
I am so glad. It relieves Susie of his un-
welcome attentions."

Johns drew his heavy brows together
and smiled. "I've just given him a heavy
job," he said, "that's a comer, that young
man. I should be tickled to death if his
attentions were in the direction of one of
my family. He's a comer and he can be
trusted. Two noble traits in man."

Mrs. RoUes sought out Susie. She was
quite breathless.

"Encourage young Bevans," she said,
hastily, "he's a protege of Homer Johns.
That means a fortune. Give it out that
you and he have long been engaged.

Waste no time — most important

Susie gave it, with a nicely unerring
instinct, to Elise.

Elise believed it. We always do believe
the worst anent the one we love, so far
beyond our reach does the Desired One
appear.

Elise decided to vanish. It was the only

thing left for her to do, she decided, with

the radical desperation of the very young.

The green earth should swallow her up.

Oblivion was kind.

She left a note for Austin graphically
describing her intent. Then, like Ibsen's
Nora, she "went out into the night" — as
far as Austin's car. The low-swung back
tempted her. It would be so thrilling to
sit there and watch proceedings. Who
knows but what Austin might do some-
thing dramatic? Might even give chase.
Her essential romance thrilled to the pos-
sibilities in the situation. She waited •

In ten minutes Austin appeared. _ Her
heart pounded, the whole of the universe
was the terrific onslaught of her heart — it

was like the roaring of many waters

Then he was speaking to her, "Where
were you going?" he said, but with the
articulation of "where" she knew that he
loved her.

(Eiffhly-cight)

CLASSIC

Peaceful Valley

{Continued from I'aijc 42)

wont 111 say that lie hail li;ul all llic lahur
Ik- could well stand by Labor Day. ( )ii
(he. last day of this particidar summer
more than Jothams "brohe up." Ilosca
had been over all forenoon, ofiferingf his
dog to Virginia and helping her pack.
She refused his dog, "because }'OU love
him so much, Hosea." While she was
speaking, it came to her how much .she
loved his comfy, homey name. "I'll be
back next summer," she told him, "we'll
have the same good old times . . . they
liavc been good, Hosea, haven't they?
I've come to love your mother and
Martha and nice Luke and . . . and all
of Peaceful N'allcy."

llosea didn't speak because he couldn't
find courage or conviction to say what
he wanted to, and he wasn't given to
light talk.

It wa.s going to be lonesome, but he
and Martha would have lots to keep their
tongues going this winter. He would
plan a sensational crop for Perpindicular
next summer and who knows but what
. . . Their mother would soon be home
and maybe, after a bit, the aching which
X'irginia had left him, along with the
sweetness, would cease. He hoped so . . .

When he got home Martha was not
there. .Funny. For awhile longer he
hung about, dreaming . . . Deliberately,
he gave himself this hour . . . himself
and N'irginia ... At sundown he would
limit up Martha . . . He didn't know
why the lily pond suggested itself to him
on this night, save that the facts of love
and death are ever intermingled . . . lie
walked to it, with undue haste. It was
undisturbed and the lilies, overburdened
with ripe sweetness, breathed forth their
dolorous breaths for the exquisite delec-
tation of his nostrils. He walked home.

At midnight of that night there was no
^ilarlha. lie and Luke had sconreil the
countryside, given out alarms, done all
their locality could do.

The next day his mother came home,
and he had to tell her.

The pallor of her face was like that of
death.

That night he went to the city. He
went blindly and he searched blindly.
He hadn't ever rcaJiced the city. Every
slim girl he saw he thought he saw
Martha. Every vestige of distress was
her distress. After a week he returned,
baffled, bewildered, distraught.

The winter settled down on Peaceful
Valley. Always, before, for Hosea it
had been a cheery time of white snows,
flashing sleds and scarlet mittens, peace-
ful evenings, Christmas greens and more
than the usual goodies at table.

This winter the snow was like a pall,
and there were no flashing sleds nor scar-
let mittens.

For all Hosea and his mother, more
worn now than ever before, knew their
Martha might have been under the blan-
keting snow, dftcn, they hoped she might
be. It would be kinder so.

(mjhty-iiiiuj

My Secret of Teaching Piano

And Why I Have More Pupils

Than Were Ever Before

Taught By One Man

There Must Be Some Good Reason Why My Students

Become Skilled Players of the Piano or Organ

in Quarter the Usual Time and at Quarter

the Usual Cost — Why They Do This

Not Sometimes, But Regularly,

Consistently, Habitually,

Year After Year

More than twenty-five years ago I originated the correspon-
dence method in this country. And although I encountered
SMHU' prejudice :it first, yet every year I enlarged the scope of
my work until now many hundreds of
persons all over the world are studying
with me. Every state in the Union,
every province in Canada, contains
scores of accomplished players who ob-
tained their entire training from nic —
and at much less cost and effort than
was usually considered necessary.

I will gladly refer you to any number
of my graduates wlio will soon con\ ince
\ ("lu of the prompt and satisfying results
they obtained with me. There seems no
r(.ason why you should not benefit in the
same way, and I certainly urge you to
invt-stigate without obligation by writ-
ing for my 6-i-page free booklet, "How
to Learn Piano or Organ.''

Occasionally I still encounter a man
or woman who is hesitant aliout learn-
ing by mail and feels that the methods
nf 50 years ago are "safer." This feel-
ing is. perhaps, natural enough, but it
is due to a misunderstanding as to what
are the real problems in learning piano.
>ou will learn much more rapidly' by
my scientific ziritlen method than by the
old fashioned "spoken" or oral method,
which cannot be made really systematic.
My free booklet will fully satisfy your
niind in this regard and explain exactly
bow and why my method produces such
iridy surprising results.

My Course in Piano or Organ repre-
sents the best thought of the present day
and makes use of every possible scien-
tific help — many of which are entirely
wg^^^^^.^ ,^ jni/.:)(07e)i to the a\erage teacher. If

|HHBfl^^^^p| you wanted to study with a so-called
^^^^^P|H|^^ teacher" by the old-fashionL<l

^^^^^^^^^^F <"'''' system, and yet could afford only

^^ .^MMkA $1 to $5 per lesson, you could obtain

^j^^^^m/i t only third-rate instruction. No tru<.
"^W^^HH^^^ authority could give you his entire,
.^- -^ ^^T 2 exchisii'e attention for so small a fee.

^'et, as you know, one lesson with an
authority is worth a dozen other lessons.
Hy enrolling with this Conservatory and
joining my Personal Instruction Class,
your lessons cost less than 4,? cents each,
as part of the Complete Course. Yet
e\ ery step you take is under my personal
supervision, and in all essential ways, I
am in as close touch with you as if I

Marcus Lucius Quinn Conservatory of Music

Studio KK, 598 Columbia Road, BOSTON, 25, MASS.

-'-'w'

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DR. QVINX AT III.S PIANO— from ll.r f.imou.t

sketch b)( Schneider, czhihitcd al tin-

St. Louis Exposition

were standing at your side. No matter where
you live. T can teach you successfully. You
study in spare time at home.

My system Is entirely difTerent fnim all olliers. In my
third lesson, I leticli you to i.luy mi interesting pirce, imt
only in the orinlrial key. l»ut iiK" in all otlicr keys. This
IS made po^siblo by my pntmlrrl invention, the Coloro-
tone. and enables you to leurji it oner the famous Li-./,t
system of playing very piere hi nnv kru wilh rmrlfv
the KflHir flnofiino — whicli is usually taiigliL only after
three year of Bludy. The Colorornno saves yon fnnii Icani-
ing u greotidliiHt method at fli\t and llicri llir.nving ll
away three years later fnr the rtinrct inetlii.d. Willi my
fifth lesson 1 introduce iiiiolhvr important ami e\iliistve
invention. Quinn-dex. (liiinn-de\ is a simple, liand-nper-
aled moving picture device, wliicli enahles you lo sic,
right before your eyes, evyry movement of my liamK lit
the keyhoiird. Yutt nrtwiUu «cc the fitment imvr. In^U'iid
of having to r.-prodini' your teacher's finger movcTiunls
from MEMORY which cannot he always acpuralc— you
have the tonici m.idi'tt liefore you during every miniitu of
practice. Tlic ('nlnr.iiiPiic and Qiilnn-dex sjivf you vi'mthit
and prarn or M.i.tnl .itnit, Tliuy can he obtained otily
from mc, imi ihin 1 nmhing else, anywhere, even re-
motely lilu' iii.fii ,\|i II jind women who have failed by all
other metliuil- Ii.im' iiuicMy and easily attained j-upccss
when studying witli nie. My Course is endorsed by dis-
tinguished musicians who would not reconmicnd any
Course but the h^-ft. It is for beginners or cvpcrlenced
players, old or young. You advance aa rapidly or as
slowly as you niiih. All necessary music is supplied with-
oul extra charge. A diploma is granted. Write tiday,
without cost or obligation, for ti'l-page free booklet, "liow
lo Learn Piano or Organ."

J""-"-'FREE BOOK COUPON---- —

I QLUNN CONSHRVATORY. Studio KK

I 598 Columbia RuaJ, Boston, 25, Mass.

I Please send me. wilhoul cost or ohiigalion. your

I free booklet. "How to Learn I'lano or Organ." and

I full iiarilcuhirs of your Course and special reduced

' Tuition offer.

I 'Name

I

I Addrega

I

I

X Offer

00 An Hour

0^ for Spare llm<

ynii can niiike $2 ;in Ii'nir iind iml,
Iialf try. Mnher inudi' $.".1 In on,-
n rtfrriuon. Cooper $4, JUO Inst yfii r.
I want 800 more ap^iits ijiiifk to
take orders for my wonderful ni>w
line of raincoats, raincain's and watrr-
proof aprons.

No Delivering
No Collecting

Tnliriinl of v«Ur-s. That's why
Mi'Dopoiiph made $813 ia one
month and Grace Irvine clcarvd
$17 Id one day.

SAMPLE COAT FREE

AlMi Ixnuilifnl s;iiMph-,>^ of i\\ (in.-st

fabrii'rt ^iven without chsiix'". Writi-

lii'k. Send no money. No cxpi'rii'nce

noi'i'Hsary. I trll y<m wIuti- to go.

what to iln und what to suy, \Vriti>

w fur full drtoils

this

olVri

THE COMER MFG. CO.

Dcpt. D-32

DAYTON. OHIO

Musiclessons

UNDER IVIASTER TEACHERS •

US

^^=Honie

A Complete Conservatory Course

Rv Mail Wonderful home study music lessons under
eT-: ZT \.^r'^^ American and European teachers,
fcndorsed by Padercwski. Master teachers guide and coach
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Any Instrument or Voice i^'J^^r^JyoS

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Ornan— and we will send our FKKK CATALOG* coverinc
all instrumental nnd voi-al courses. Semi NUW

UNIVERSITY EXTENSION CONSERVATORY
149 Sicgel-MyerB Bldg. Chicago, Illinois

f VMY DONT YOU Write

THE WORDS FOR A SONG

n> criniiHitiink' the niuslc j^-r,.,. ami ouhllshin;;

..am,.. .Si.n.l |,n,.„i- i,, d.v.

D. M. LENOX CO., 271 W. 125th St.. New York

")\uir luiir is yoiii- fortune" might well be said, for it is surely one of
vour most noticeable features of beauty.

CANTHROX

SHAMPOO

is always a source of gratification to the vast number of attractive women who
have learned its virtues. The cooling, sootliing inHuence of its fragrant, invigorat-
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giving a flul^ness that lends the appearance of massiness to the hair.

For Sale at All Drug Stores

No Good Hair Wash Cosis Less

One reason for the great popularity of Canthrox is that it requires so little trouble
or time to use it. Vou just apply the fragrant, invigorating lather thickly, rub
thoroughly into the hair and scalp, rinse out carefully with clear, warm water,
after which it ilrics cjuickly and easily.
H. S. PETERSON & CO., Dept. 177, 214 West Kinzie Street, Chicago, HI.

Free Trial Offer

Vou ought, .It least, to try Canthrox,
since to prove its merits and to show
in all ways that it is tlic most satis*
factory hair cleanser, we send a per-
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receipt of two cents for postage.

Be a "Movie"
Photographer

Lim SSO lo S200 ».clilr

:- ^:, .■ ••■ ~ k 'ililnic you It all [><arts

e.BRUNCL COLLEGE

of PHOTOGRAPHY

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134 South Clark St.. Chicago, III.

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y^

NATIONAL DOLLY'S
BOB

Buy a cute Bob for the lit*
tic girl's dully— Costs only
One Dollar to make it look
like new. or to improve the
hand-tomcst doll you can
Imy. Write u^ the color of
l>olly's h.^ir and the Bob
wHI be sent Postpaid It you
tend money order for S 1 .00.

Kveryonf thinks it'* my hair —
ii'' a\\ th' r- , I sent a strand

NATIONAL BOB
Youth and fashion is everything -that's
why 1 wear Tile Xational Boh. It's too lovely
for words with its soft wavy hair falling over
the comh.t that slip so easily into my hair. I
attach the ends with invisible pins and tile
Bob's on and ofT in a jifTy.

it matches so perfectly and is so comfortable
nf my hotr with SIO.OO and It came Postpt

NATIONAL EAR PUFFS

WITH CURLS

Dress your lialr becomingly

with these Pufts Cnrls. match-
inp so perfectly that tlicy Inok
as tlioueb they Krew there.
Fasten thein in your hair with
pins and the PutTs fall over
your cars and the Cnrls coyly
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Postpaid ir you send a strand
of your hair with money
order for S6.00.

and I never sacrificed a hair.
Id.

The National Hair Goods Co., Dept. c, 368 Sixth Avenue, New York City

Spring brol<e rcliiclanlly. Early sum-
mer opened Jotliam's. Ward Andrews
had written .several times saying he was
prepared to take up the option on the
farm and Hosea had decided not to go
in for too much in the way of crops. If
the old i)lace were sold his labor would
be for naught. Rut he needed extra
mone)'. When old Jotham offered him
a Job as waiter he seized upon it.

His fir.st evening was memorable. He
came thru the door balancing his tray,
more or less dexterously, and beheld Vir-
ginia. The tray met an instant collision
with the floor. Over the debris Virginia
laughed, and the few other guests laughed
too. The red- faced boy and the merry
girl were so palpably together.

.\ftcr su]ii)er Ho.sea and \'irginia sat
iin the porch rail together and she told
him of her winter and her studies. Hosea
told her of their sad winter, his mother's
and his. Of Martha who had vanished
from the earth.

"I'm doing this for the extra money,
mostly on tliat account,'' he told her;
"we've got to get trace of Martha, Mother
and I. We'd not rest even in our graves
if we never heard anything of her."

Mrginia was tenderly compassionate.
She laid her hand on his arm and stroked
it a bit.

"I'm so sorry ..." she kept murmur-
ing; "I'm so sorry ..." Her sympathy
was very sweet.

Later in the evening Wanl Andrews
asked \^irginia to marry him. "Your
father's willing, Ginny," he ended his
]ilca.

fdtlier's not marrying you. Ward," she
told him, "and, personally, / couldn't.
Just couldn't. I like you . . . but it has
to be so different for . . . marriage. I
. . . well, there's just no use."

Ward Andrews didn't accept defeat
gracefully. He didn't tell her not to
worry, it would be all right with him. He
scowled and gave her to understand he
felt himself misused.

Hosea was learning to accept . . .
Perpindicular without Martha, dreams
without Virginia. This, perhaps, was life.
Life as it must be lived.

Then, one day in June, the old couple^
from across the road broke in on the
Howes, sitting more or less wistfully in
the sunlight, and told how they had seen
Marthy a spell up the road, stragglin'
along and a cryin' to herself. "Actin' up
as (|ueer," the old lady vouchsafed.

Hosea wasted not a moment. His dull
and weary brain made, miraculously, an
instantaneous response.

The lily pond !

"If I were to die of love, I think I'd do
it here among the lilies . . . here among
the lilies ..." She hail said it.

She had gone down twice when Hosea
caught the dank glint of her hair in the
lazy ripple of the pool. The thick white
of a lily baffled her curled fingertips.

I le had her in his arms ; had her, drip-
Jiing. against his breast, before the suil-
denly sinister water could touch her still
face again.

In the front room Ward Amlrews had
{Continued on page 92)

(Ninety)

Combination tea Itettle and double boiler (3 pieces), E qnart size
8-,4 ini;hc'g inside, with a double boiler, 2 quart capacity; one Colo-
Bial design coffee percolator (2 pieces), 8 cup size with welded
Bpoot, dome cover, fully polished; 1 roaster consisting of 9 pieces
measures lO'-i inches wide and 6 inches high. These 9 pieces hava
dozens of dmerent uses, including bread or bake pan (7 pint ca-
pacity); stew or pudding ;Dan (7 pint capacity): pudding pan or
mixing bowl (4 pint capaciLy); egg poacher (5 eggs at a time):
jnulfinpan; biscuit baker with 5 Gostard cupsor jelly moulds- de- p
locking Bell basting roaster, double boiler cereal cooker or trinlo
Bteamcr. The outht also includes 6 quart preserving .jettlo witti
cover 2 bread pang, 1 lip stew pan d quart capacity), llipetew

fian(l('j quart capacity). Combination cake and pudding pans
2 pieces), consist of 2-quart pudding pan with cake tube; 2 9-iiK-b
pie plates; 2 9M-inch extra deep cake pans; 1 colander with 9*ineh
top. 5'<-inch bottom, and 2,'i-inch depth (can aJao bo used as a
eteamer). Shipping weight about 15 pounds.

All pieces (except the pie plates) are highly polished, made
of genuine Manganese aluminum, extra ha-d. absolutelv
guaranteed for 20 years. '

OrderbyNo.A5439TA. Send Sl.OO with order.
«7.BO monthly. Price, 27 pieces, $23.90.

Easy Payments

open a charge account with us. We trust honest

geople anjT\'here in the U. S. Send for this wonderful
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women's, men's and chiidreo's
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^SSr^t STRAUS & SCHRAM "oe'p=££°« Chicago

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TZ^i^r" V°' ■""-■'''=''. I am to return the set within 30 Jays and you
ore to refund my money and any frcicht or express charees I paid.
D 27-Piece Aluminum Kitchen Set, No. A5439TA. $23,90.

Po-'OJUcc sialc

II you ONLY want cotfllOE pot X below:
UFumteie. Slovt.and Jewelry UMen'i. Women's and Childtcti'. Clotlicg

(Ninety-one)

"««'^-,,

HVWK

The Wonders of a
Puffed Grain

F.K-h Puffed Wlu-at hubbk- is a «-l,..l.- sirain pv.ffrd t., eight times n...mal size.
\ hundred million steam explosions have occured w.thin it

Every food cell Is exploded, so you see an a>ry, toasted m..rsel as llimsy as a

'"""pSd rice is whole rice puffed in like way. Puffed Corn is broken o.rn

'"'*' T.;: ;S:u::'lt;icing, the Aav.. is hke nuts. The airy granules seem to

melt away.

But think what they are

. 1- 1.. i 1,;,. nr,. ,'1 lin foinU littcJ f"i- iligcstioii as srains never were
, , "'" Fln^h!'pu«e. hea, gran, .milk and you have'the grea.es, food in existence,
'''"s'erve "vi.h crfan; and sugar^ mix wi.h frui.. Douse with meUed huuer for hungry-

'""^n'lifwavslh^e'^..^"â„¢"^- --^"^"fl'"-^ -'-'â– -â–  y^' '"'^ are supreme foods.

Min'ornow enjoy .hem. Serve all .hree in all .he ways you can. No o.her gra.n

food can compare wiih .hem.

Puffed
Wheat

Puffed
Rice

Also Puffed Rice Pancake Flour

Puffed
Corn

A pancake surprise

We iiiiw [uix I'uitVd Rice Hour In an ideal pan-
cake hieiul. It makes the pancakes Huffy and
^ives a nutlike taste. You will surprise your folks
with the finest pancakes ever tasted when you use
it. Ask for Puffed Rice Pancake l-'l.)ur. It is
self ralslnR — simply add milk or water.

MOTION PICTURE CLASSIC

Peaceful Valley

{Continued from j'.age 90)

come with his option money. Somehow,
thcv hadn't seemed to lliink he ever would.
With it right there, before them, with
Luke in the room with Martha, swearing
he wanted her at once, no matter what
had befallen her, it didn't seem neces'.ary
to liart with stony old Pcrpindicular. It
.seemed hard and wholly undesirable. The
past winter had taught \alues.

Old lotham saw how it was going.
Saw that it di<ln't need to go. His hand
was in his pocket when Luke opened
Martha's door to come out and Martha,
catching sight of Ward Andrews framed
in the front door, emitted a piercing, un-
mistakable shriek of terror, of appalled
recognition, of appeal ...

Somehow it struck them all, simul-
taneously. Ward Andrews . . . the op-
tion . . '. Martha and her disappearance
riosea was upon him before Luke
could get there and finally out of the
chaos some sort of order was evolved.

Luke went back to Martha to still the
incoherence of her reiterated "I got away
from him ... I got away from him . . . he
never so much ... I did ... I did . . /
Dr. Rand had Hosea by the hand. "I
have been investigating this young man
on the quiet for .some time," he said, indi-
cating what was left of Ward Andrews,
"and he hasn't borne the investigation.
I have also been investigating your farm,
Mrs. Mowe. You and your son are to
be congratulated as potential millionaires.
The place is invaluable in mineral
springs."

C)utsi<le the door \'irginia had ma-
neuvered Hosea. Her eyes were upon
him, beseeching.

"Once you said," he imparted, "that
vou loved mother . . . and Martha . . .
and Peaceful X'alley . . . but yoU didn't
mention ..."

"You?" prompted X'irginia, touching
him, "you? Oh, darling, that was only
because I was a 'fraid cat ... I didn't
dare . . . And I wasn't sure about you.
r.ut I am now. I see it in your eyes . . .
I do ... I do. ..."

Ho.sea took her in his arms and kist
her. All at once it was the natural, the
only thing to do. .All at once, too. Peace-
ful \'alley was filled with an unearthly
light as of a great glory and there was the
sound of singing, heavenly sweet, and the
slimmer burgeoned and filled the twilight
with a million, million roses . . . and
thru it all filtered Martha's thin little hap-
jiy laugh. Dr. Rand's deep ])leasant
voice, their mother's tremulous, eager
answers . . . the singing of their pulses
. . . his and hers . . .

The Quaker Q^ts G)mpany

Sole Makers

THE IMPERISHABLE

By CH.^RLOTTE BliCKER

Dcaili may take to him the painter,
HiU his ucirks to us lielong;

lie may steal from us the singer,
13ul he cannot seize tlic song.

Au<\, Old he may take the lives that
lIiiUl our sum of joy, yet he

Cannot roll us of the largess
Of a siuKle memory.

(Niiicly-iii'o)

Importers Prices Direct On

DIAMONDS

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State and Quincy Streets
Dept. Z3590, Chicago.III.
Diamond Headauarters

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L. Basch & Co., Diamond Headquarters,

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Please send me /rce, without obligation, your 1921 Basch De Luxe
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Name

Address

Town , ,,,, State

Faces
Made
Young

Tlie«e«rriof a youth-
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Suite 1136 Garland Bld£. Chica«o. 111.

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3S3 Fifth Avenue New York

Itill)iiit<i BulUllng, 4th Floor
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FREDERIC LA DELLE. Box &67-B LOS ANGELES. CALIF.
Play the Hawaiian Guitar

Just Like the Hawaiians!

Our method of teaching is so simple, plain and caay
that you begin on a piece with your first lesson. Ii
hat! an hour you can play it! We
have reduced the necessary motions
you learn to only four — and you
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Then it is only a matter of practice
to acquire the weird. fascinating
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plays any kind of music, both the
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hist lesson, in
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am lnl.r"l..t In the HAWAIIAN GI'ITAH. Plr.»««
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. St.!.* . S

PIMM Writ* Nan* and Addrtaa Claariy

Myrtle of tlio Mnuntains

(Conlinucd from page 21)

•"Ininny little thing!" said Miss Stcd-
iiian. laugliiiiK in sympathy.

.\n(l then, just as wo left the table and
started for the living-room, the doorbell
began to ring.

"What on earth !" she exclaimed . . .
there was no one in sight. Still the bell
rang, londly, continnonsly, as tho making
up for lost time. After a protracted
search it was discovered that the amateur
electricians had in some way connected
the thing with a clothes clo'set door. When
the door was left open tlie bell wouldn't
ring at all, but with the door closed it
raiig all the time. The tloor was propped
open, to keep out the noise, and we re-
turned to the living-room and seated our-
selves cnnifortably on a big davenpurl.
^\â– e had been laughing .so heartily that, for
a minute, conversation was impossible.

"Let's .see; where were we?" said Miss
.Stednian, and then answering herself,
"Oh, yes; at the Westerns. Of course,
we worked under difficulties that pro-
ducers dont have now. There was, for
instance, the matter of the trademark. It
was, you reiuember, a big diamond 'S' and
it bad to appear in every scene. Some-
times we would get miles out on location
and find that it had been forgotten. When
this happened, i^roduction was held up
until the pro])erty man could get it from
the studio ; we never dared make anything
without it."

There was, of course, the ever present
possibility that someone would try and
steal some of their stufT.

Tt was about five years ago that Myrtle
Stedman left Chicago and Westerns for
drama and California. She appeared as
."saxon in Jack I^ondon's "Valley of the
Moon." and was also in the first produc-
tion of "Burning Daylight." It will be
remembered that she was at Lasky's for
a time playing with Hayakawa, Wallie
Reid and many others.

"1 su|>pose you've had a trying week,"
1 remarked, referring to some re-takes for
"Sowing the Wind," in which she had
been working at the Alayer studio.

"Yes, I've been weeping steadily all the
way thru this picture. It's an old 'Ro-
mance' play, you know — of course, they've
briiught it up-to-date.

"1 did hojie that I was going to do a
W'estern next, but it seems that the picture
wont he a Western after all. It's a mill
story. However, it will be with Bill Hart
and I'm delighted abmit that anyway!"

Myrtle .Stedman has a frank, straight-
forward way of looking at you from clear
blue eyes, a frank straight- forward hamb
shake.

.She ha.s never lost her ca])acily for
enthusiasms. She loves the theater and
she can still watch a play or a i)icture un-
critically, laughing at the right motiieiUs
and crying at the right luomcnts. Inn.
\\ ith all this, her work shows her to be
a remarkably finisheil artist.

It is not to be wondered at, that Rex
I'leach, seeing her in .\ew York, engaged
her for the part of Cherry Melotte in
"The Silver Horde." She was an ideal
choice for the i)art.

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DO YOU WANT A

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1299 McAllister St. San Francisco, Cal.

••DON'T SHOUT"

ou. 1 can hear now as well
as anybody. 'How?' With

THE MORLEY PHONE
I've a pair in my eart now. bul
they arr invisibl<^. I would not know
I had ihfm in. tnywlf. only thai I
hpar all ridht ."

The Morley Phorve (or th.

DEAF

II to the ears what gluset are
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(Ninety-four)

How Every Woman Can Have
A Winnings Personality

Let Me Introduce Myself

DEAR READER: / zvish to
tell 3'"i( liow to have a charm-
ing, winning personality be-
cause all my life I have seen that
without it any woman labors under
great handicaps. Without person^
ality, it is almost impossible to make
desirable friends, or get on in busi-
ness; and yes, often must a woman
give up the man on whom her heart
is set because she has not the power
to attract or to hold him.

During tny career here and abroad, I
have met a great many peuple whom I
have been able to study under circum-
stances which have brought out their weak
or strong points, like a tiny spot on the
lens of a moving picture machine will
magnify into a very large bhit (.n the
screen. And I have seen so many people,
lacking in personality, try to make 3
success of their plans and fail completely,
in a way that has been quite pathetic. I
am sure that you also are familiar with
one or more such cases.

Success of a Winsome Manner

/ saw iiiDucroiis failures that were so
distressing that my thoughts could not
help dwelling upon those shattered and
vain conditions. I have seen women of
education, and culture and natural beauty
actually fail where other women minus
such advantages, but possessing certain
secrets of lovablcness, a certain winsome-
ness. a certain knack of looking right and
saying the right word would get ahead
delightfully. Nor were they naturally
forward women. Nor were they the kind
that men call clever. Some of them, if
you studied their features closely, wen.-

decidedly not
handsome ; yet
they seemed so.
They didn't do
this by covering
their faces with
Cosmetics; they
knew the true
means. And often
the winning wom-
en were in the
thirties, forties, or
even fifties. Yet
Ihey "appealed."
You know what I
mean. They drew
others to them by
a subtle power
which seemed to emanate from them. Others
liked to talk to them and to do things for them.
tn their presence you felt perfectly at ease — as
though you had been good, good friends for
very long.

French Feminine Charms

The French u-omcn among my friends seemed
to me more generally endowed with this ability
to fascinate, than did my friends among other
nationalities. In the years that I lived in
Parts, I was amazed to find that most of the
women I met were enchanting.

"Is it a part of the French character?" I
asked my friends.

"Were you born that way?" I would often
ask some charming woman.

And they smilingly tuld me titat "personality"
as we know it here in America, is an art, that is
studied and acquired by French women just as
they would learn to cook, or to sing by cultivat-
ing the voice. Every girl and woman possesses
latent personality. This includes yc^i, dear reader.
There are numerous real secrets for developing
your personality. In France, where the women
have always outnumbered the men, and where
opportunity for our sex is restricted, those who
wish to win husbands or shine in society, or
succeed in their careers, have no choice but to
develop their charms in competiticn with others.

How Men's Affections Are Held

Lately the ncu-sfal'crs have been tcUiug us that
thousands and thousands of our fine young army
men have taken French wives. It was no surprise
to me. for I know hinv allurina are the French
girls. Nor could I help conceding the truth in
the assertion of a competent Franco- American
journalist that "American girls are too provin-

JULIETTE FARA

You may have all those attractive qualities that
adore In women

cial, formal, cold and unresponsive while the
French girls radiate warmth cf sympathy, devo-
tion and all those exquisite elements of the heart
that men adore in women."

And 1 who am successful and probably known
to you by reputation through my activities on the
Faubourg St. Honore can tell you in all candor,
as one woman confiding in another, that these
French secrets of personality have been a very
important factor in the successes of mine. But
It is not my tendency to boast of myself, the
Julictie Fara whom I want you to feel that you
already knfiw as your sincere friend, but I sneak
of VOU and for YOU.

French Secrets of Fascination

My continued residence in France enabled me
to observe the ways and methods of the women
closely. I studied and analyzed the secrets of
their fascinating powers.

H'hen I returned to the dear eld U. S. A., I
set myself at Work putting together the lacts,
methods, secrets and formulae that I had learned
while in France,

Of one tiling I am absolutely convinced — every
woman who wishes it may have a winfiing per-
sonality.

Overcoming Deterrent Timidity

/ know I ca7i take any girl of a timid or over-
modest disposition, one who lacks self-confi-
dence, or is too self conscious fur her own
good, and show her how to become discreetly
and charmingly daring, perfectly natural and
comfortable in the presence of others. I can
show you how to bring out charms which you do
n-ot even dream yuit possess.

Uncouth Boldness — or Tactful Audacity

If you arc an assertive Woman, the kind tiiat
suffers from too great forwardness, I can show
you in a way that juu will find delightful, how to
be gentle and unassuming, to tear away the false
fabric of your repelling and ungracious person-
ality and replace it with another that wins and
attracts. By this method, vou will succeed, oh
so well, while by uncoulnness or misapplied
audacity you meet with setbacks.

y ca7i take the frail girl or woinan, the listless
one who usually feels that the good things in
life are not for her and show her how to become
vigorous and strong, tingling with enthusiasm and
good chet-r and how to see the whole wide world
full of splendid tilings just for her.

Become An Attractive Woman

/ can take the girl or woman who is ignorant
or careless of her appearance, or the girl

who dresses unbecomingly and instill in
her a sense of true importance of appear-
ance in personality; I can enlighten her
in the ways of women of the world, in
making the most of their apparel. All this
without any extravagance; and I can show
her how to acquire it with originality and
taste. You realize, of course, that dress-
ing to show yourself to advantage, is a
real art and without that knowledge you
will always be under a disadvantage.

For Married Women

There arc some very impo-rtant secrets
which married French women know that
enables them to hold the love, admiration
and fidebty of their men. How the selfish
spirit in a man is to he overcome so in-
gen-.ously that he does not know wluit \o:i
are accomplishing until some day he aw'ak-
ens to the fact that his character and his
manner have undergone a delightful
change — that he is not only making you
happy, but he is finding far greater pleas-
'^'^*'' '" iif*^ *^^" when he was inconsid-
irate. There are secrets in my compila-
tion that are likely to change a turbulent
course of married life for one that is en-
irancingly ideal. And this power lies
within you, my dear Madam.

Acquire Your Life's Victory Now

U'liat we call personalilv is made up of
a number of little things. It is not some-
thing vague and indefinable. Personality,
charm, good looks, winsomeness and suc-
cess can be cultivated. If you know the
secrets, if you learn the rules and put
thtm into practice, you can be charming,
you can have an appealing personalilv
Don't think it impossible. Don't think
3''." "i^s' be born that way. Don't even
ihink it ought to be hard to acquire if
because the secrets of charm that I have
collated and transcribed for you are more inter-
esting than the most fascinating book you have
ever read.

Once yo^i hare learned my lessons, they become
a kind of second nature to you. When you notice
the improvement in your appearance, how you
get on easier with people, how your home prob-
ems seem to solve themselves, how in nmnher-
ess little ways (and big ones, too) life gets to
Hold so many more prizes for you. y.ni will de-
cide to put more and more of the methods in
practice in order to obtain still more of life's
rewards.

No Fad— the Success of Ages

I am well encugh known by the public not to
be taken as advancing some newfangled fad. AH
my hte 1 have understood the value of plain
common sense and practical methods. And what
1 have put into my course m the cultivation ..f
personality is just as practical as anvthing can be.

/ could go on to tell you more and more about
this truly remarkable course, but the space here
does not permit. However. I have put some im-
portant secrL-ts for you into an inspiring little
book called How- that I want you to read. The
Oentlewoman Institute will send it to vou en-
tile'' askr^' P^^'P^"^' '" ^ P'^'" wrapper, just for

'•rinir''^''^'"' '" y"" '^ *° ^'^"J f'^'' 'he free book
^yn If you want to gain the finest of friends
and to possess happiness with contentment that
win come to you as the result of a lovely and
winning personality. ^

ImnOVtant ^^ "V"'" ^^^'^' Fara'j little book "How," free, you may fill out the coiipoD and
1- senJ in: or you may write by letter or postcard requesting it. Address as below :

GENTLEWOMAN INSTITUTE f^!:^!l^.

jFree Book Coupon

.SIniiily rut out tliU eoup<in

I i)ain-r. mall to us, with

â–  wrillcii very iilainlv

- MiiJuiiif .lulietto Fara'

. AdiJn'»i.<).

I GENTLEWOMAN INSTITUTE

I 615 West 43rd St., 2n-A. New York. N. Y,

if

Mnir mnn.- iiml uddr««,i

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"Rut tlie Fellers Call 'Him Bill"

{Continued from j^agc 59)

\villinj!;ni,-ss. Ho thoiKjhl he wanted to go
(111 the stas^re— but lie was not sure, because
lie had not yet tried it— or anything else.

So lie tried directories. But figures and
detail work bored him. He was not in-
terested in directories altho he honestly
tried to be. His father was disappointed
— his mother, well known to the profes-
sion in this and other countries, did not
want him to go on the stage.

Billie Boyd was twenty-three wdien lie
began his stage career — hut he began by
doing extra parts, receiving, sometimes,
the mnnificent sum of one dollar — fifty
cents (if which he handed over as a com-
mission. But he bad decided and there
was no turning back. From these small
beginnings he has advanced rapidly. Not
(inly in all the principal cities of America,
but in all the provinces he is known as
juvenile lead hero of drama or light
comedy, in character parts. His last
Broadway appearance was in "The Voice
in the Dark" and he had just finished a
long engagement in Chicago with "Poker
Ranch." reaching New York just in time
to begin work in the filming of "Black-
birds" in which he is appearing with
Justine Johnson in her first Realart
]iicture.

"And have yon deserted the stage en-
tirely ?" I asked — knowing well what his
answer would be, but wisliing to get him
to talk about himself,

"No indeed!" he said emphatically. "I
was glad of the chance to do this picture
because I have finished my stage engage-
ment in Chicago and A. H. Woods who
has practically signed me for the coming
season was not quite decided about the
piay I was to appear in. So I bad time
td do this and am enjoying it wonderfully.
I'uiiny business — " he commented. "Went
to b'lorida week or so ago to take some
scenes. .And now, we are doing some
scenes that come away ahead of those we
took in Florida.

"I'm not used to that — and even tho 1
know the story, it's a bit confusing. You
see I have done only one picture before
this — A'irtuous Wives' with Anita Stew-
art. But I hope it will develop that I
can do more. I really like the work very
much. Ten years ago," he said, reminis-
cently, "George Fitzmaurice tried to jier-
suade me to go with him as a director. T
could not .see pictures at all at that time —
and turned down his proposition."

"You might have made a big success
as a director — as Mr. Fitzmaurice has
done."

"No," he said decidedly. "I am an
actor — and while some actors are good
business men — 1 am not. And I believe
a director of motion pictures should be
both. As I see it, it's up to the director
to make the picture both an artistic and
business success. I might take care of
the artistic end — but the financial end
would be a big gamble. And 1 couldn't
give up the stage. It's my job — it's all
I know. So ril keep the faith — so to
speak — and try to justify my choice of
a profession. And Billie Boyd ivoutd.

T^urVoice "

Will Be Envied

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The Story of Flora Rexallrs

{Conlhiued from page 72)

more a scries of estates tlian a town . . .
and the hotel is snrronnded by wide
grounds. 'I'hcrc seemed to he twice as
many stars in the sky as is usual and a
little new moon looked very brilHant and
very near. One felt as tho in the midst
of a stage setting, radier than a .scene of
reality. There, .she told me of a thrilling
experience which she had while in the
South of Russia. The anecdote deserves
a jilace here because it illustrates so well
the daring of her nature.

"1 had been in Russia manv times," she
said, "but never far from civilization. On
this occasion just a little stream separated
us from a Tartar village where the people
were wild and veree cruel. We had been
warned, our jiarty, but still 1 wanted to
cross that stream. It was so narrow one
could ste]) across it quite easily.

"One day, I was out walking with a
friend and we decided to go just a little
way. We had hardly crossed the stream
when we were surrouniled and made pris-
oners. I was never so afraid in all mv
life. I was certain that they were going
to kill us. They made us prisoners for
some time, then tliey let us go. They said
that if ever we came back they would
certainly kill us !"

But she had had her own way about
crossing the stream; she is that type of
woiuan.

Dorothy Makes Her Bow

(Continued from page 84)

popularity with each succeeding picture,
that is if I make good. I am not going
into this venture with any false illusions,
you may be certain. I sometimes think
that I should have worked in small parts,
gotten some ex[)erieuce before venturing
into being featured in pictures, but cir-
cumstances have forced me to act other-
wise, and I can only work and wait."

Miss Dickson is one of the most photo-
gra])hed g; '.: in the country. Not an
issue of any of the popular magazines
seems complete without a photograph of
her. The dainty charm of her wistful
beauty lends itself with e.xtreme aptitude
to the camera, and this is perhaps what
tlie powers that be over at the Famous
flayers studio realized when they signed
Dorothy up with an interesting contract.

We lifted our glass of iced coffee
slowdy, our thoughts busy with the many
gifts which the fairy godmothers had
showered upon this one girl-woman. Our
eyes chanced to fall on the diamond wrist
watch she wore. Choking and sputter-
ing, we came back to earth and gurgled
that we had to dash — "no idea it was so
late — Heavens! Much work to do."

"Can I drop you anywhere. I'm on mv
way to finish my shopping," said Doro-
thy.

"No. thank you. Have to go by sub-
way. Many thanks just the same. Thanks
.awfully. Good-bye! Good-luck!"

"Good-bye. See you soon, I liopc,"
said Dorothy — and she will !

(Nincty-sez-cit)

i'ou hare always wished for it — tttiA
hisi-inatinij ubilitt/ to draw. Ami
"ijFji i7',v !titai'.i ! Tliii power to i/nutji
n prnril and pictnriic pour iitin.i.
In "speak" more tlini a jeir pen-
strokes than pour lips coii/d lilt in
lialj Aowr, to spread your messape
lurtlier and stronper tlion anp eon-'
eon reach — tliis wojiderjal abilito
Jilted with pleasure and profit is wot/'
pours! Forr/et that pou pni'i hare
no "talent" — forpet that t/»n via'f
nut he "gilted"~but RKMIIMHHR
that, repardless of these thinps. the
titseiiiatinp abililp to draw e'nn now
be pours I

New Easy Way
To Learn Drawing

How you can earn big money in
Commercial Art ^ Illustrating,
Designing, or Cartooning, with-
out being a "genius" and with-
out being" gifted" or"talented."

Never was there such a need for artists as today!
Business, revitalized, needs thousands. Illustrated
catalogs, advertisements, posters, circulars, trade-
mark designs — countless pieces of art work are
needed by the busy business world. More than
48,868 periodicals are published in America — think
of the enormous amount of art work they require —
think of the thousands of artists needed to satisfy
this never-ending demand. Magazines, ncwpapers,
advertising agencies, business concerns, department
stores— all have realized the commercial value of
pictures and are calling for artists to draw them.
Big money is gladly paid— and big money is waiting
for anyone with foresight enough to prepare for this
pleasant profession. Thru our new, easy method of
teaching, YOU can easily earn big money as an artist.

Learn in Spare Time at Home

This new method is like a fascinating game. No
matter how little you may know about drawing, no
matter whether people tell you, "you have no talent,"
no matter what your present ability may be — if you
ciiii write we can teach you to draw.

Have you ever notited a child trying to draw?
Every child does it. They also try to read and
write. The faculty of reading and writing is
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Everyone has within him the power to picturize his
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New Method Simplifies Everything

Our new method simplifies everything. All the
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pictures. Shading, action, perspective and all the
rest follow in their right order, until you are making
every week pictures that sell for as much money as
you now earn in a month.

Every drawing you make while taking the course
receives the personal criticism of our director. Will
H. Chandlee. Mr. Chandlee has had over 35 years'
experience in commercial art, and is considered one
of the country's foremost authorities. He knows the
game inside and out. He teaches you to make the
kind of pictures that sell. Many of our students are
now commanding big fees — some of them have re-
ceived as high as $100 for their first drawing!

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The Celluloid Critic

{Continued jrom page 86)
of the country sweeps out from the silver-
sheet. There is the Uartlett kitchen the
forum of llie Xew !• ukUukI family, there
is the Bartlett farmhouse porch, whereon
tnother does her ehuvning and lather
reads his paper in the twd.ght of the
departing day, there arc vast stretches
of hav and daisy fields by summer an.l
frozen roads and snow-swept country-
side by whiter. Mr. Griffith has caugfit
it all, from the gentle lure of the New
England lune to the thigling sleigh ride
and barn "dance days of December.

We do not mean that Griffith has been
entirely successful. He has permitted a
horrible overdrawing of rural comedy
cliaracters, following in the footsteps ol
the original stage version. How easy
it would have been to have limned these
folk simply and honestly, to have pre-
sented them with homely sincerity. Hut
Griffith, we suspect, felt this necessary to
meet popular favor. In our critieal-
and perhaps impractical— way, we doubt
it But of course, we have no millions
at stake, waiting upon the film's success

or failure. . , ... r ,.,

W'c have noted the big thrill of the
Griffith "Way Down East." In the
stage version, the unhappy Anna merely
disappeared out the door of the Bartlett
maison into a flurry of fluttering paper.
Upon the Griffith screen she struggles
thru a real blizzard until she falls un-
conscious in the midst of an ice jam.
'I'hereupon the ice breaks and Anna is
carried upon a careening aiK\ steadily
dwindling ice cake towards the river falls.
•11,0 count rv lover dashes blindly to her
rescue and— leaping from one ice block
to another— reaches Anna's side as she
is about to be swept over the falls. Seiz-
ing her. lie jumps from ice floe to ice
floe until he reaches safety. This sounds
tame in the narration. In reality, he seems
two or three times to leap from an ice
cake just as it plunges over the roar-
iii<r cataract. We do not know how Grif-
fith accomplished it, but, as we have .said
this is unquestionably the biggest thri 1
since that classic climax of "The Birth
of a Nation." At tlie New York pre-
miere the audience actually leaped to its
feet and shouted as .\nna, alias 1 .ilhan
Gish, was carrie.1 to safety, by David,
otherwise Dick Barthelmess.

Here let us give Miss Gish lier just
due. Her Anna Moore, a ghastly color-
less being on the stage, is one of the big-
gest things the cinema has ever revealed
1-if it isn't the biggest. Right now we are
rather of the opinion that it tops every
histrionic performance of the past. It has
slashing moments, as in the hysteria of
the baby's death anil again when the dis-
iraughl' girl bursts into a denunciation
of those \vho persecute her, but, best of
all it is a big, consistent and developing
performance. .'\nna literally grows from
wide-eyed girlhood to womanhood before
your eyes. Congratulations, Miss Gish!

Mr. Barthelmess is excellent as the
country lover. Fine, too, is Burr Mc-
intosh's virile and unhending old Puritan,
{Cunli)iucd un page 100)

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Tlio Cdlulnid Critic

{Ciinliiiucd I rum [>iujc 98)

.Sqiiire Bartlctl, iiicaniate representative
nf the Xew lCnf;l;in<l conscience, lie is
tlie atniosplicro of "Way Down East."
l.ouell Sliennan is a vivid villain, Kale
r.rnce is sweet and moving as Mullier
Banlett, Mary Hay has cute moments
as a city educated fanu maiden .-ind
Crcigliton Hale plays a butterfly-hunting
scientist with fine — and even subtle —
liiuclies o{ humor. But the rural comedy
characters — horrors !

Mr. (iriflith has achieved some unusual
things here and there, both technically and
dramatically. In the last named category
comes llie scene where he has dared to
show the agonies of childbirlli. t'lriffith
has utilized the Brewster melhnd of natu-
ral color photography lor at least a half
dozen scenes. Alongside the superb color
of Bitzcr's matchless photography it seems
doubly crude. There are many notable
moments ])hotographically. One, which
occurs in David's chase of the lost Anna,
will cling in our memory. This is a fleet-
ing glimi)se of tlie boy caught in the
wiiiriing blizzard, framed by swaying
lir trees against a haze of swirling snow.

.\ minor plaint can be made against
the seeming confusion of time in the city
and country scenes. Lucile and 1920
reign in the wicked metropolis, while the
country is still in the nineties sartorially.

Griffith came near greatness in "Way
Down l£ast." He fell short in two things,
slowness in reaching the real theme of
his story and, in a greater measure, in
constantly tearing away the homely and
tenderly developed atmosphere with such
palpably overdrawn horse-play characters
as Hi Holler, Seth Holcomb and Reuben
Whipi)le. But "Way Down East" is so
worth while that we predict an endless
sort of popularity for it.

And, let us add, you will not forget
I\Iiss Gish's performance. It is splendid
in every sense of the word.

Lack of space necessitates brief re-
views of the various current photoplays :

'■rhc Love Flower." — Xi. W. Grif-
fith's story of a man-hunt in the .South
Pacific, (irifiith lost his theme in pretty-
ing a romance between the pursued man's
daughter and a young adventurei. Does
not seem real anywhere but it establishes
Carol Dempster as a cinema personality.
1 lere is a young girl with charm, distinc-
tion and vividness. Dick Bartbelmess is
not at his best.

"The White Circle." — Maurice Tour-
neur's visualization of Robert Louis
.Steven.son's "The I'avilion on the Thinks,"
another man-hunt with entirely different
treatment, (iriffith deals in personalities,
Tomneur in backgrounds. There are some
superb scenes on the lonely moors by
night. .Sixittiswoode ,\iken plays an old
man frought with fear about his pursuers.

"Lady Rose's Daiiyliler." — Hugh
h'ord's visualization of the Mrs. Humph-
rey Ward novel. A .study in inherited
wcakne.ss. Bad continuity and inferior
direction handling. Elsie Ferguson was
never moic unconvincing.

"45 Minutes From Broadway." —
{Contiimcd on page 101)

iilite"

^.^^'

CELECT your own

*^ subject — Jove, patriotisni

— write wliDt the heart dictates,

then submit your poem to iis.

We write the music nnd guarantee publish*

er*s accept.nncc. i>iir leading compostT is

Mi». Leo Fpicdmao

one of Americn'i^ well-known; mus-riaiv-;, the ;iui!ior
of manvsong successps, such as "Meet Me Jimight
hi Dreamhvd," "Let Me Cait Yoit Stveeihetni,"
-'When I Drram of Old En'ti." and orhws the sales

of which rau into miitions of a^jiies. '^cncl as mzny poems
asy..i] wish. Don't Dctav. Got Busv- QuitU.

CHESTER MUSIC CO.^^^ ^.^^^Vi'J '^■"•- Chicago, ill.

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MOTION PICTURE CLASSIC

The Branded Woman

{Continued from page 68)

liarr.i," he wliincd. "Before God I liaven't !
All 1 did was to send a fake message to
the day-nursery, where she was worUin',
for Alvarez. He was on the hoat and
hired nie to find her. If anything's hap-
j)ened "

He fumbled for a key, fitted it into the
lock of a door, and |)nshed it open. At
tlie moment of his entering a shot sounded.
Douglas Courtenay stepped over Craft's
jerking body and caught the little figure,
holding the smoking revolver, in his arms.
"Ivuth !" he cried, "Oh my darling "

She did not look at him. "I thought it
was the Si)aniard," he felt her shudder.
"This afternoon when he brought me here
I stole this from his pocket — to use when
he came back — " she sighed, shuddering,
and her weight grew heavy. Douglas
Courtenay gathered her in his arms and
strode down the stairs, stopping only for
a word with those who were hurrying up
in answer to the shot.

"Accidental death — I'll see to that !" the
old boss said with a kind of pride in his
]>ower, "after the formalities are over I'll
come to your hotel. Be gentle, boy, and
dont say too much ! Sure it's words that
do more harm than bullets in the world !"

But when Ruth opened reluctant eyes,
moments or hours later, to find herself
held in her husband's arms, there were no
words needed between them. For the
deep lines of suffering in his face begged
her "Forgive!" and the look in his eyes
said "Love." With a little sigh of content
she nestled closer and answered both by
lifting her lips to his kiss.

The Celluloid Critic

{Continued from page 100)

Charlie Ray mis-cast as the slangy prize
fighter hero of George M. Cohan's fa-
mous opus. Has the little human Ray
touches but lacks Jerome Storm's direct-
ing hand. Remember how Storm could
work you up to a pitch of fine enthusiasm
over the sale of a mere bond? This is
utterly flat. Probably you will like Doro-
thy Devore as the heroine.

"Civilian Clothes." — The likable Tho-
mas Meighan in Thompson Buchanan's
drama built about the handsome soldier
who isn't so handsome when he dons his
"civies." Cut and dried direction by
Hugh Ford results in a colorless picture.
Martha Mansfield is pretty but fearfully
inadequate dramatically.

"SometJting to Think About." — This
— the latest — Cecil de Mille offering will
interest you. De Mille has deserted sex
for the spiritual uplift, and he shows
what the power of right thinking will do.
We wish we had more space to devote to
this, for it deserves extended comment.
De Mille hits several very effective the-
atrical moments. Gloria Swanson is
more varied than ever before. Elliott
De-xter plays sympathetically, and The-
odore Roberts is a strong and winning
figure.

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Write the Words
For a Song

Write the words for a song. We revise
song-poems, compose music for them, and
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Our Lyric Editor and Chief Composer
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Mail your song-poem on love, peace, vic-
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Poems submitted are examined free.
BROADWAY COMPOSING STUDIOS

107-F Fitzgerald Bldg., Bro.Jway at Times Sqnsrc, NEW VORK

If YouCanTell it -from a
CENUINE DIAMONDSendiikKk

To prove our blue-white MEXICAN DIAMOND closely
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MEXICAN DIJIMONO IMPORTING CO. Depl. CA2 Las Cmces, N. Met.

(Sxcluiivo contTolUra Mexican Dtamondt)

How to Obtain Beautiful, Rich,
Long, Eyelashes and Brows!

EVERY WOMAN should be the rightful owner of beautiful eyes, the essentials of
which are. First: Long, rich eyelashes; and Second: Well-cared-for eyebrows. No
matter what color your eyes may be, — gray, brown or blue. — if they are shaded
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Nowadays, no one needs to be the dissatisfied possessor of short, thin, uneven brows
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M. T.'s Eyelash and Eyebrow Beautifier, which has been successfully used by thous-
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strengthening the particular follicles which produce rich, dark eyelashes.

MONEY REFUNDED IF NOT SATISFACTOI^Y
Upon receipt of 75c in stamps, min or Money Order, T will sfnd you postpaid, in plain
wrapper, a bottle of M. T.'s Kyi-I.-is'i and Eyebrow Ut-autificr together with my copyrighted
booklet on Beauty Hinti

The following preparations are of highest standard and well recommended:

M. T.'s Nature's Beauty Cream, a wrinkle eradicator $ 75

M. T.'s A. B. A. Lotion, for Pimples and Blackheads J .75

M. T.'s Depilatory to remove superfluous hair $ .50

M. T.'s Freckle Cream, for stubborn freckles and tan $1.00

M. T.'s Minerated Quinol, "The Incomparable Vanishing Cream" $ .75

M. TRILETY, Jt'^.,.., Dept. 30, Binghamton, N. Y.

It

Talcum

The most fascinatingly
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powder perfumes for the
skin. Antiseptic, prophy-
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refreshing, it is an ideal
face, skin, baby and dust-
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and cools, is convenient
and economical and
takes the place of other
perfumes for the skin.
Splendid after bathing
with Cuticura Soap. A
few grains sufficient.
■wCuticura Toilet Trio'*®

ConsiclinR of Cuticura Soap to cleanse and
purify, Cuticura Ointment to soothe and
soften. andCuticura Talcum to powder and
perifume, promote and maintain skin puri-
ty skin comfort and skin health often when
all else seems to fail. Everywhere 2Sc each.
Sample each free by mail. Address; CnUcur*
Uboralorict. Dcpt C. Maldea 48, Mum.
niir^Cuticura Soap shaves without mut.

A\yi' ^vV'//^v,

. -hi.-

..1

(Iril

K^nil

<i<U
No, 4 ii,i<h«r I4K I No. £ SiUT n .

Ov4d M1I*d yonntinK. 1 •="•"«. t'Utlrium
Prtce • • • S1.90 I r:*n<ilna "EvHi I

Nntllthk- like

SEND YCWR NAME-NO MONEY

W.'ll ft. ri'l liiu a -.tiiilii.- 'K.-iia (.Ji-iiV for yi.ur U|.i.r'i%»1. Put

Ihi-y

•- Tom

'"•9. BO

Prlc« •

Provl(t«nc«. R. 1.

Dead Men
Tell No Tales

Tlie Amazing Interview

(Conl'mucd from f'ai/c 01)

ill his braiul-ncw limousine ami now you
have come to interview me!" Ami she
sighed again.

If only I had been a cynic!
Marie does not always plan to remain
in comedv. Mr. R:>aeh has been dcvelop-
ini; plans for the productitjn of scrums
drama and has urs;ed diat she stay with
him a little longer --until he can put his
plans into efTcct. It is very probable that
she will. At least, if she maintains her
l)resent record, she will never be very far
away, for she has never in all her life
been out of the city of I.os Angeles!

"But that's not half so silly as the fact
that I've never ridden on a railroad tram !"
She is delightfully aware of her own
uniqueness ; a uniijueness, by the way, m
which a jirofessional generosity is no small
factor. It seemed to'me that in her I hail
discovered the epitome of the spirit of the
Rolin studio — surely the most cheery m
Los Angeles.

She told me of a brief talk with Harold
Lloyd just before my arrival.

"He knew the moment he came in the
room that 1 was terribly upset about some-
thing and, of course, when I wouldn't tell
him what it was he only grew more curi-
ous. In the end I gave in— somehow one
always does give in to Harold — and con-
fessed that I was about to be inter\-iewed,
and that I was dying of fear that you'd
forgotten me. and that it wasn't really
for the Classic after all . . . But
Harold laughed at me and promi.sed not
In tell anyone. You see, I dont want
anvone to know until it actually comes
out in print. Then I shall take it to Mr.
Roach and say, 'There! Now see what
you've done to me !' "

In her home, a bungalow in Hollywood
where she lives with her mother, Marie is
much the same as at the studio; a little
less restrained perhaps, with the actress
side of her for the moment obliterated,
the chum of a splendid collie dog, whom
she has brought up since his third day on
this earthly globe. That he is burdened
with the conventiimal name of "Shep"
makes him none the less beloved.

In common with so many, many other
voung actresses Marie is a worshipper of
the elder Talmadge. To be somewhat like
her, to accomplish something of her suc-
cess, to achieve a tithe of her perfection
. . . that would be enough. .She asks
no more. But like all others who will
ever rise to any greatness Marie is so es-
sentially herself that she ctaild never be
a second anybody. She must be an "only"
or nothing at all.

I was still persistent. I wanted a
glimpse of her inner .self. There had
seemed to be a reserve, and so I said
again: "But tcl! me something of your-
self, something that is not of your work,
nor of your dog. but just of yon."

"I ?" She looked rather frightened, but
look heart at my smile. When the words
came they came suddenly, as if tliey had
at last broken out of a secret chamber of
her heart . . . "Oh, I just want to 1m'
good, good now and always!"
I f only 1 had been a cynic !

"gloria SWANSON WALLACE BElD

IValU IJiMdlc.iiUnilirlaKr J'oromuunl S/cir

Hermo "Hair-Lustr"

(Keeps the Hair Dressed)
FOR MEN, WOMEN AND CHILDREN

Tlio luir will Stay dressed after Ilcnno "OAIR-
LUSTU"' liiis bL'cn iippUeO. Nu more imi^-sy, un-
Udy lool:lriB Iialr. Adds a cliani.ii.K sheen un.I
lusicr insuring l\w life of the hair, as uell as Us
beauty. Ores* It in (irty of the prevailing styles.
luT il will stay Ihtil way. (Jives tlie ha.r that
soft Klossy. well enmitied apiiearaiice so bectmimB
(„ ihe stars ..f ihe stage anil screen. Guaranteed
harmlcsE. greaseless and stainless.

'l WO Sizes — 50c and $1.00

Al Your DK^^iliER or Direct
il size three limes the (luantity of 50c size.
SFMD FOR J-Ul TODAY. Use It 5 days. If -tlls-
satisttcd retorn what is left, and we will REFUND
YOUll MONKY IN Fl'LL. Uiice you use Heritm
â– â– H.\IR-l.L'STlt " yuu will never be without it.
HERMO CO., 542 E. GSrd St., Dept. 311. CHICAGO

I

ms/^ForCM/y^ssm

AufumnMorn/n^s

a jVf'^' T TSALYTE. the extra-

' U ordinary beater,

robs the Fall and Winter morning of its sting

by a mere twist of the wrist I

Usalyte ia an absolutely new. safe, quick and
cheap moans of usine Eas fcr heatinir purposes.
It will p:iy for itSL-lf a dozen times over, the first
Beason. by the coal it saves.

In two styles: for heating only or,
withthe now and exclus-
ive in-built mantle, for
beating and lighting.

For htaixng only, $1.75
Ft>rhcaiinQand, iighiing
Order from your dealer
or direct trom us. Take
no interior substitutes.

Dept. M O.

JlKOBINSSONSIflc.

13DT.13I-Sr.andPARKAvE.
NEW YORK CITY.

riDlin, Hawaiian Guitar. UkuleleT

Guitar. Mandolin, Cornet, Tenor Banjo or Banjo

Wonderful new eystcro of tcacblnir note music b? mrdi. To first
puplla Id ci\e\\ locality, w^ k<vo a $20 eupcrb Violin. MoodoliD,
UlmlpIc.GuiLar. llnwniin Gulbir. Comet, Tenor Banjo or BanionbHO-
lutely frpp. Very small chiiri;o for leEtHonfl only. We guurantvo sue-
jpsaornochartfo, OjinpleCo outfit fruo. Write now. NoobliitnUon.

SLINGEBLAND SCHOOL OF MUSrC, Inc. Dept. 28 CHICAGO, lU-

BowlGoged Men

Your legs will appear straight
when you wear

Straightleg Garters

ItcntarUablo Invention — Oomblnallon hose-
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harness or padded forms; just on Ingenious
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appiaraiii-e womliTfully. Bowlogged men
cTtTywhero arc wi'aring them; enthualaatlc.
Write for free booklet, mailed In plain
envelope.

S-L GARTER CO.
SMC Trust Co. Bldu.. DAYTON. OHIO

((hu- luiiulrcd innl l7^'o)

•Miiiiiriiiiii[]iiiiiiiiiirii]iiiiriiiiiriuiiiiiiiiiiiiuiiiiiiiiiiiiuiiiiiiiiiiii[iiiiijiiiiiiii]ii>:

K.

Motion Picture
Magazine

for

DECEMBER

VACATION time is over — and
once again the world turns its
tliouglits to the problem of pro-
viding entertainment for the long
winter evenings.

Whether it be the velvety warmth
of a marl)le mansion or the gas-stove
warmth of a hall bed room,

Ike

MOTION PICTURE
MAGAZINE

provides the necessary companionship.

"Breathes there a man with soul so
dead" that he would fail to thrill to
the glory of Clara Kimball Young?
Adele Whitely Fletcher says "no." in
her story about the dark-eyed Clara.

And who can resist the blue-eyed
appeal of Hope Hampton, the Girl on
the Cover? Gladys Hall has inter-
viewed Hope for this number.

The Blonde Blanche Sweet has been
cornered by C. Ulytlie Sherwood and
tells us things about herself which we
knew not of.

The Rainbow Chasers is an unusu-
ally interesting story on extracts from
letters to the scenario editor.

Hazel Naylor chats with Forrest
Stanley, that handsome new leading

= man of Cecilc <le Mi!

George

I Walsh, Niles Weldi, Jack Pickford,

I Clyde Fillmore and Enid Bennett are =

I a few of the others whose stories ap- |

I pear in this coming issue. The gallery =

I is an unusually attractive one. 1

I THE MOTION PICTURE MAGAZINE |

I 175 Duf field St. Brooklyn, N. Y. j

^•ii[]iiiiiiriiiii[]iiiiiii [jiiiiiiiiiiiitiiii ir[]iiiiiiiiiiii[]iiiriiiiiiii[]iiiiiiiiriii[.:

/ CJii.' h„„.U...I .,,,,1 f J....... i

Cartoonists

Make
Big Money

^^"^

-^^

Every time Sid Smith makes a stroke of his pen,
millions of people laugh, and every laugh means money
for the man who creates it. Andy and Min earn big
money for him every day.

Men who can make people laugh are highly paid for doing
so. By capitalizing their humorous ideas and their ability
to draw, cartoonists like Fox, Briggs, King, and Smith make
$10,000 to $100,000 a year. \' <,u may have ideas that are
equally good. Let Federal training give you the skill to put
them on paper.

Send For This Book

If you really want to learn to draw, send for "A Road To Bigger
Things." It describes the Federal Master Course and shows how it
will develop your originality while teaching you the technical details
of cartooning. Through the Federal Course you get the composite
experience of more than forty of the greatest cartoonists and artists
for your personal use. Send six cents today for your copy of this
book. Be sure to state your age and present occupation

Federal School of Applied Cartooning-

01027 Warner Building Minneapolis. Minn.

THE PHOTOPLAYWRIGHT'S PRIMER

By L. Case Russell

r>o yuu think you ciiu write "as tfood" stories as you see on t}i( scrtsn' Vi.ii
Mivsti-r till' tfclmiquc nf ))hotimlay writiuK so .simyily presented in this little book
Send 50-.-ciits in stamjis
BREWSTER PUBLICATIONS, Inc,

A child

rite tlii-ni lOO'/r better,
r-an understand it.

1 7S Duffield St.. Brooklyn, N. Y.

If You Can Tell a Lachnite from a
Diamond, Send It Back

Here is a man made gem that has the eternal fire of the diamond It is cut

h^nf w """il • ^!f" '^u <^'=""0"d tests and is guaranteed forever. Over 150,000 people wear
them. We will send your choice of the 2 illustrated above, mounted in solid gold on lOdays free trial.

Send No Money

. Just send us the coupon with

your name, address and finper siza

„„, „,, .. , , - ' ^^^ ^^ w'" Bend you either rinir you

R^O ^,1.^^^ It comeB make the Aral depoaJt (W 75( w,th the poatman, Wea?
It 10 full days If you can tell It from a diamond send it back and we'll re-
;"ml/»*il" TtP°f ". J' .J"*" decide to buy. merely pnv the balance at $2.60
a montb. The total price wf eiiber nog la only 113.75.

OrderTodaV ^^^ '^^ coupon or a letter or a post card. Be
„#^»^„ ■ »i J »ure to sendyourflnKeraiie. Todothiscutastnp

2«,?tfth\ ^"*^*S'""^*' '*"S"' %*" **^® ^'"^^"d joint of the finger on wbicb
pou wiBh to weai the nnB. Sena the coupon now-aod not a penny in caeb

ITV Harold Lachman f!o *>«p«i5i8 t2N. Michigan
QQ> m^nivM *.>tt\,iiuian \^o., Avnu», Chicago. Illinois

Send a

, Ladlf

rloff on 10 dart

. Chicago, lliinots

' frctt trial. When tt

t S4.Tb Htlti UiB poatmaa After tan dara t

^-j T- •-: '",'.'"•'.;"■ "?""' ""' •260 a month until tha

balance hag been paid. Total cost to ids. (18.75. If I rstum

Addms..

si3i3i3iaa)si5iai3jaiai5iaisiasiaiaafflaaaH3ajaiaisja5iaaasiaBaEiaia^

'"""iiiiiimwattia^ .'• 'if-. " •

^ i^

APE you GOING TO

MEASURE UP

TO HER VISION

OF MAN MOOD

Are You Physically Fit?

Do yoii look forward serenely, coiifulciilly. towards tlie day when you will wed
the girl you chcrisli? Do you sec in your day dreams a loving, admiring wife
and sturdy children of your own llesh and hlood and a dear little, hapjiy home?
This is the picture every man ought to he ahle some day to realize. But j'ou may
be one of the thousands, who, for one reason or another — known only to yourself
perhaps — have stumbled into youthful errors which have discouraged and weakened
you and made you almost hopeless of ever being hap])ily married. You fear the
consequences of deception. You hesitate to make love, lest you make a miserable
mess of soitie sweet girl's life. Life looks mighty gloomy to you.

But don't be disheartened. There is hope for even the frailest of humanity, for
both sexes of whatever age.

My Hand is Held Out To You In Friendship —
I Want To Help You

Strongfortism has lifted tliousands of weak, ailing, impotent, discouraged men out of
the bog of hopelessness and despair and placed iheiii on the broad, straight road to health,
happiness and prosperity. Sirtin.^:fortism lias restored the manhood they had destroyed
and thon;2rht they had lost forever and given the renewed vitality, ambition and the power
to DO THINGS in the world. Strongfortism has enabled them to beget children who
will make citizens of wliom both they and their country will be proud.

And you do want cliildren, don't 3'ou? Of course you do — and you shall be a proud
father, with healthy kiddies at your feet, if you listen to my advice and take my hand and
let nic help you to be a real man.

STRONGFORTISM

Is A Science In Itself

Strongfortism is a long stride ahead of any so-called physical culture course or system
that you know of. It embraces al! the essentials of such systems, but is not limited to
them — it goes far beyond, reaching out to a variety of Nature's aids, employing them to an
advantage that brings surprising results to every Strongfort follower.
I banisli all drugs and medicmes and clumsy devices intended to re-
lieve disease. I get results that are most astounding because my plan
is so simple — my instructions so easily followed.

My FREE Book Tells All
About It

Send today for your copy of
"Promotion and Conserva-
tion of Health, Strength and
Mental Energy." It's Jrtu, hut
i!ic inlormalion wliich it con-
tains will be of inestimaiile
\aluc to you. It will tell you
Iiow you can, without medi-
rines or drugs, and witliout the
use of expensive apparatus,
build yourself up to perfect
health — how y<')U may become
a strong, healthy man. Fill
out coupon at the right and
mail it with three 2c stamps to
cover packing and postage and
you will receive your copy by
return mail. Take the first step
by, mailing that rnuprtn nowl^^

LIONELSTRONGFORT

Dr. Sortccnt. of
Har\ art], di-c I a red
that "Slroni^lort is
unquestionably the
llnt-iit specimen of
p hy s (oil ile^elop-
ment ever seen."

LIONEL STRONGFORT

PHYSiai AND HEALTH SPEaAUST
63 Slrontforl Inilitute, Newark, N. J.

FREE CONSULTATION

COUPON 1

Absolutely ConHdentlul |

Mr. Lionel Stronofort — Dcpt. 63-

-Newark, N, J.,

Pomonal I'l.;tsc

i "PROMOTION

AND CONSERVATION OF HEALTH, STRENGTH 1

AND MENTAL

ENERGY." fiiT 111

sliii;i. of uhli'li I

lll(i.flii;.llnn uu 11
III.' iilillVilIlllK 111^

|| .iil'iiii-I.' rli'i-ij

^111. 1 Till' S[)li liU
-X hulllH. VMlll-

..Colds

. Coi^atlpatlon

.. Despondency

Catarrh

. Biliousness

..Round

. .Hay Fevor

. Torpid Liver
. Indigestion

Shoulder

A»thina

..Lung Troubles

. Oboslty

. Nervousness

. . Muscular

. Hoadacho

. Poor Memory

Development

. Thinners

Rheumatism

. Advanced

. Rupture

. Gastritis

Course

. . Lumbaoo

. , Heart Weak.

. .Maahood

Nrurltis

Restored

Niiuralola

. .Poor Circula-

..Easy Child-

..Flat Clioil

tion

birth

. . Doformltv

. .Increased

. Successful

(Dcitrllic)

Helnht

Marriage

. . lanomnla

.Skin Disorders

.Healthy

..Youthful

. Impotency

Children

Erron

. Groat Strenptlt

. Vital Depletion

.Short WInil

. Fnlllna Hair

. Female Dis-

, Flat Fciit

. Weak Eyes

orders

..Stomach

.Pimples

..Weak Back

DiBordorv

. Blackheads

H*n Mention

Other Subtects not listed nhovo

Noliif

■V«

Occupation

nt',

SInle ..

}5>!iaaiaJ3l3)SS3/33iaja3M2I33l3i3/3SMSMaJa/fflSM)a®S(iI31^^

MOTION PICTURE CLASSIC

Gossip of the Eastern Studios

{Continued from page 51)

the 1)ig climax, standing and cheering.
iJIlian Gish, DicU Bartheltness and
1 -Dwell Sherman were present and the
audience insisted upon a speech from
Miss Gish. Mr. Griffith was also called
upon. Mary Hay (Mrs. Barthelmess)
was unable to be present, being on a visit
to relatives in Oslikosh, Wis.

News has reached New York of the
death of Susanne Grandais, "the Mary
Pickford of France," in Paris. Some of
her films reached this country from the
French Gaumont studios.

The usual autumn business changes
have been i nder way. Samuel Goldwyn
lias resigned as president and F. J. Godsol
as vice-president of Goldwyn Pictures.
Messmore Kendall was made managing-
director, pending the election of a presi-
dent.

Vitagraph announces that Antonio
Moreno is at last to be shifted from serials
to features. Good news this !

The exodus of stars to the other side
lias continued all summer. Ainong those
who crossed were Norma antl Constance
Talmadge. Dorothy Gish and Mrs. Gish ;
Mae IMurray and her husband, Bob
Leonard, and Mme. Olga Petrova. Theda
Bara returned and went on tour in her
stage play, "The Blue Flame." She is
booked for a tour of twenty weeks.

Tragedy ended the Paris visit of Olive
Thomas and her husband, Jack Pickford.
Miss Thomas died of mercurial poison-
ing on September 11.

Alice Joyce called Mrs. Sydney Drew
from her camp in the Adirondacks to
direct her in a Vitagraph production,
"Cousin Kate." Mrs, Drew may do an-
other story to follow "Cousin Kate."

Jerome .Storm was secured to direct
IJllian Gish in her first star production
under the Sherrill banner. Miss Gish
has experienced considerable delay in get-
ting started, owing to story changes, etc.
Mr. Stomi will start work on Jerome
Storm Productions sliortly, a million dol-
lar organization having been comjileted.

Much interest has been aroused in the
East over the reports that King Vidor is
to direct Ralph Connor's "The Sky-Pilot."
This will be the next Vidor production
to follow "The Jack Knife Man," which
scored so heavily in the East. Joseph
Plunkett, manager of the New York
Strand Theater, called it the best film he
had offered this year.

Pacific Coast Paragraphs

(Continued from page 50)

mitted to watch scenes being taken. Of
the actresses present, Marjorie Daw was
by far their favorite and, no wonder, for
in her simple but smart little brown taf-
feta frock she looked verj', very pretty.
Then, too, one couldn't help admiring her
charming manner, neither affected nor
spoiled. She was wholly natural and a
little bit shy over the fuss the three hun-
dred middies made over her.

(One hundred ai .'.four)

iimm

t

History Repeats Itself i

The Fame and Fortune Contest of 1921

'^ y^^HE phenomenal success of the Fame and Fortune Contest
%^^ which has been conducted for the past year by THE

MOTION PICTURE MAGAZINE, THE CLASSIC

and SHADOWLAND have firmly decided the heads of the Brewster
Publications that another contest, even more far-reached in its power,
should be started immediately for the year 1 92 1 .

The Golden Key of Opportunity is in Your
Hands— Turn the Key in the Doorway of Success

and thru the portal of the Fame and Fortune Contest you may enter
the kingdom of the screen.

Photographs May be Entered at Once

and the first honor roll winners will appear in the January issues
of each of our publications.

Send In Your Photograph Early

We know that you get tired of reading this
notice, but if you could have seen the aval-
anche of pictures which flooded the offices
at the last moment, and could realize that
there must ensue tremendous confusion, un-
necessary work, and inevitable delay in the
announcement of the final winners, you would
appreciate the value of this Warning. Those
who have failed in previous contests are elig-
ible to enter the next contest.

Fill Out The Coupon Below At Once

ag

FAME AND FORTUNE CONTEST

CLASSIC ENTRANCE COUPON

Name -

Address

Street ;..â„¢

City

State

Previous staye or screen experience in detail, if

Wh

en born .

BK.ndc

Brunette^

Weight Height

(Thia coupon, or n similar one nf your own makinR. i.iubi l>e
secured to the back of earn photo Eubmilted.)

( One hundred and jive)

~^

^
s

^

MQTEm A" '^â– '' iJ^'''^'-""-^ <-'f ''''" Clialcou de Ludc in France. It 7i'as such scenes that the French chei'C'
Hers, the forefathers of the modern Creoles, left behind ihem to establish the colony of Nonvelle
Orleans (New Orleans). The Creoles are of pure French and S(>anish blood, and tlteir wonder-
ful hair is a mark of their descent as zvell as of the care givey it. They have always retained
the "secrets de toilette" as zvell as the charm bequeathed them by their aristocratic ancestors.

For Beautiful Hair

Take the advice of highest medical authorities

IPVERVONE (men, women and children)
-^ should have healthy hair. Nature pro-
vided it in the beginning. Proper treatment
will preserve it through life.

The most eminent authorities have pre-
scribed the way to prevent the loss of the
hair's life and luxuriance.

Highest authorities

The Council of the American Medical
Association (the highest authority known)
has recognized Resorcinol Monoacetatc for
the treatment of dandruff (seborrheal
eczema) and baldness (alopecia-areata) —
the common foes of beautiful hair. Re-
sorcinol Monoacetate is the principal ingre-
dient of "La Creole" Hair Tonic. Thus
science approves this wonderful prepara-
tion. Abundant vigorous hair is now easily
attained.

Simple directions

Two or tbree times a week apply "La Creole"
Hair Tonic to the scalp. Moisten the liair and
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of the finger tips. Scalp circulation is then stimu-
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of your hair.

Proper shampooing

Absolute cleanliness is essential for beautiful,
healthy hair. The scalp ig constantly throwing off
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"La Creole" Liquid Shampoo is made from an
exclusive Menthol formula of purest cocoanut and
cochin oils. Vou will instantly notice the delightful,
cooling effect from its use. The hair becomes soft
and lustrous — dries quickly — and the scalp and
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apply "La Creole" Hair Tonic aftt-r shampooing.

When purchasing "La Creole" Liquid Shampoo
be sure to get "La Creole" Hair Tonic also, be-
cause the formula of each is designed to aid the
other.

*'La Creole"

Hair Tonic,

75c

"La Creole"

Liquid Shampoo*

50c

Xa Creole

5^ "La Creole" Hair Dressing

is a treatment for the gradual restoration of
the Natural Dark Color to hair that has
grown gray, gray-streaked or faded. Re-
finement approves its use.

// yoH cannot obtain these preparations at
advertised prices — write us direct and we
wilt see that you are supplied.

At Drug Stores and Department Stores

La Creole Laboratories,
Memphis, TenB.

V\cnsr wn-I hnoklct. "La Creole— H,.i
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Name

Street

City State

(One hundred and six)

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If you would have your skin delight-
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Price $5 complete (in Canada, $7.50).
Fitzgerald Mfg. Co., Dept. 216, Torring-
ton. Conn. We also make The Star
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to bathe. Get one. $5 complete.

electric 7^Ic7^sage

VIBRATOR

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Use Old Dutch for all general cleaning. Goes further
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ACTION PICTVDE

A BREWSTER PUBLICATION

DECEMBER

Jtbt UANIELS

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WRITE FOR
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"pearl
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Keep It

For $4.00

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A Finer Type-writer
at a Fair Price

Or Return
It At Our
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Pre-W«r Price $100

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The Guarantee of a $2,000,000 Company that it Is the Identical Model

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savings.

Brand New — Latest Model

Do not confuse this with offers of earlier
models, rebuilt or second-hand.
Note the signature of this adver-
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OUIVCf?

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NOTE CAREFULLY— ThiB'coupon will brini; you either the Oliver Nine
for free trial or farther iaformatioa. Chock carelolly which yoa wish

THE OLIVER TYPEWRITER COMPANY,

1458 Oliver Typewriter Bldg., Chicago

Ship me a new Oliver Nine for five days' free inspection. If T keep
' — ' it. r will pay $64 at the rate of S4 per month. The title to remain in
you until fully paid for.

My shipping point is

This does not place me under any obligation to buy. If I choose to
return the Oliver. I will ship it back at yourexpenseat theendof fivedays.
j Do not send a machine until I order it. Mail me your book — "The
' — ' High Cost of Typewriters — The Reason and the Remedy," your
de luxe catalog and further information.

Name..

Street Attdreaa .
City

Occupation or Quaineaa..

(Three)

^/I ^^munou/d fj\.h

Ethel Clayioii in
"A City Sparrow"

Ethet Clayton in
"Sins of Rosannc"

A Cosmopolitan Production
"Humoresque"

^1 yhramount y^t.titrc

A Cosmopolitan Production
"The Restless Sex"

Dorothy Dalton in
'â– Half An Hour"

Dorothy Dalton in
"A Romantic Adventuress"

Cecil B. DeMilie's Production
"Something to Think About"

Elsie Ferguson in
"Lady Rose's Daughter*

George Fitzmaurice's

Production

"Idols of Clay"

George Pitzmaurice's

Production
"The Right to Love"

How

do you \now
it will be agood show?

liv the n:i

-that's h(i\v.

Not liy tlif title, ncir thf plot, iiur the cast, but hy
the name that ffunnuitrcs quality in nil tliese.

./ P/irdfiiotint Picture.

Thoufih times change, thuuj^h persnnal popu-
larities wax and wane, one thing is constant, and
that is the steady demand of the whole nation fur
Paramount Pictures.

Know what to go hy in all the ins and outs of
\our motion picture experience. Know that Para-
mount ithi'iiys {ieli\'ers.

I'ind that iin/nr and )()u hnil a good show.

That's how you }{no^/^

A fezc'

OF THE NEW

PARAMOUNT
PICTURES

fCnntinucil)
ALPH.\BETICALLY LISTHD

Dorothy GiE^h in
"Little "Miss Rebellion"

William S. Hart in

â– The Cradle of Courage"

A William S. Hart Production

tDougtas McLean in
"The Jailbird"

Thomas Meighan in
"Civilian Clothes"

George Melford's Production
"Behold My Wife!"

// (J^aramotuit picture

An All-Star Production
"Held by the Enemy"

i'Charles Ray ia
"An Old Fashioned Boy

ICharlei Ray in
•The Village Sleuth"

Wallace Rcid in

"Always Audacious '

"Toujours de L'Audace"

/J Cpammounl ^iduic

Wallace Reid in
"What's Your Hurry?"

Maurice Tourneur's

Production

"Deep Waters"

// Cpammount ^u:Uuv

Bryant Washburn in
"Burglar Proof"

Bryant Washburn in
"A Full House"

1 I'hos.H .hict'ProductJuit

Cparamouni pictures

I'/HtlHi'. KAMOUS PLAYERS~IASKY CORPORATION f/!tiiUJ^'\

Crour)

Bring Out the Hidden

beneath the soited. clismiort'd, faded or OEed coniplcvioii is
line tail- to look upon. Mercolized Wax gradiiiilly, gently ab-
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iiiiHitiriil skin iindorneath. T'sed by refined ^\lnnen who prefer
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iiiiicp pii(''t;iKe, wilh diruc-
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Mercolized Wax 1;„,™J„;

LEARN MEC
DRAWIKG

Eam*55fo*50
a weeR to start

with cpportuniltcs for aiJvani-er
ChiefDraftHmanat?75(oS10(l<
aweek. MLthnnicalDraftinEi!
necessity in alt E n sin ei? ring, Ini
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men of praotioat training and
tbum well for their skill.

We Will Teach You At
Home By Mail

by our improved practicnt method just
Weteach you real meohi

Wo eiv

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Draftinff Ini

and d» amiy with temuus iu.\i □<.
You make mpid prugresa by
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previous experience in drowine i
niuHter draCling by our practical

BREWSTER PUBLICATIONS

Write the Words
For a Song

Write the words for a song. We revise
song-poems, compose music for ihcm, and
guarantee to secure publication on a royalty
tiasis by a New York music publisher.
Our Lyric Editor and Chief Composer
is a song -writer of national reputation
and has written many big song-hits.
Mail your song-poem on love, peace, vic-
lorA' or anj' other subject to us today.
Poems submitted are examined free.

BROADWAY COMPOSING STUDIOS

107-E Fitzgerald Bldg.. Broadway at Times Sqatre, NEW YORK

Be a "Movie"
Photographer

Earn $50 to $200 weekly

t'usclnatinK miirk takinc you tu all parts
of the wurld

e.BRVNE.L. coLcece
of PHOTOGRAPHY

1269 Broadway, New York

134 South Clark St.. Chicago, III.

Day or niRhl classes. 3 mi.nlhs' rourso i
Pholosraphy and MoDon Pictures opi-raL _
In-ttrucrrirH. 1 natal I men (h takun Emile Brunei

Yort. Chicago. Bolton, ["hiluil'-luhi.t, |iL-tr<nt. Fill

Call or send toddv tor Booklet S.

DEAD MEN TELL NO TALES

Dead Men
Tell No Tales

DEAD MEN
TELL NO
TALES

^-^^^ Vol. XI DECEMBER, 1920 No. 4

"~ THE GIRL ON THE COVER

l^Painlcd by Leo ^iiclkc, Jr.)
Bdie Daniels, a hlack-eycd beatify of Spanish lieritaRc, who has been ofi tin
staKe since the tender ace of ten weeks, witeii she took the part of the baby ii
"Tane." A speaking part in "The Confederate Spy" at four and playing ii
stock at the aee of six are steps in her remarkable career, until site readied tin
s< rt-tii. \ow she lias left tlie farce-coinedy of the cinema and is appcarinff m
iier i.uniierc Realarl pro.luction. "Vou Never Can Tell."

Rotogravure Gallery of Players. Full-page studies of Page

Marie Mosciuiui, Priscilla Dean, Hope Hampton,
Sylvia Breamer, aiid Margaret Loomis 11-1.-'

Shadowing Kismet. Otis Skinner leaves tlie footlights

f(ir tlie screen, but retains his favorite role IIii:cl ShclU'Y I'>

Kirkwood Confesses. He deserts the megaphone to re-
turn to his lirst love Tniman B. Handy IS

My Theda Bara. The mother of Theda relates the child-
hood and quaint notions of the famous screen vampire Mrs. Pauline Bara 19

As A Lamp To Be Tended. An interview revealing

new phases of Madi,'e Kennedy Gladys Hall 20

The New Zealand Bushranger Barbara Beach 22

Storm Warning, Film fans had better take warning. ../-ri-rfi'nVi- James Smith 2.5

Those Moreno Eyes -•*

The Case of Norma Talmadge. .\i\ analysis of the suc-
cess and fame of this star Vrederick James Smilll 2.-i

My Lady Claire Willis Coldbeek 26

Madame Peacock. Fictionizing the play in which

K'azimova is starred Faith Service 28

Boudoirs and Bicycles â– '1

Monroe Salisbury Presents. He is now at the head of

his own cmipany Eli:aheth Pellret il

The Diminutive Dorothy Devore. Who used to be a

simple maid named Ann Hazel Shelley 3-1

Ann Ascends. And glimpses stardom at the top of ^ ^

Ihe ladder Lillian Montayne 3(i

Admissions .....'. •. P<^arl Malvern .W

Deep Waters, A fictionized photoplay of a Maurice
Tourncur production of a story l)y F. Hopkinson
c;iiiith Dorothy Donnell .W

Semon, the Jester Harrison Haskins 4.1

How "Earthbound" Was Made. Revelations concern-
ing the insiile work of a stupendous screen release Jameson Sezvell 44

The Celluloid Critic frederick James Smith 45

The Winners Are Announced. .Resume and results of

the Fame and Fortune Contest 46

An Irish Twinkler. Meaning Eileen Percy, one of Ire-
land's gifts to the silversheet Maude Cheatham AS

Midwinter in the Theater 50

Dinty. A novelization of the picture in which Wesley

Barry is being featured Pearl Maherne 52

Bringing the Congo to Broadway, Secrets of darkest

Africa to l>e revealed where tlie white lights gleam B. /â– ", ll'ilson 57

Know Thyself, Says Juanita Hansen, a serial star, now

planning to do features Faith Service 5X

Pacific Coast Paragraphs. News of timely interest

concerning the cinema celebrities in the West Haael Shelley 61

Eastern Studio Gossip ^â– .â– â– â– â– , .V ' ' nn

The Movie Encyclopedia. Information for movie fans The Anstcer Man 90

Subscription, $3.00 a vear. in advance, including postage in the U. S., Cuba, Mexico, and
Philippines; in Canada, $3.00 a year; in foreign countries, St.On. Snigle copies. 311 cents, postage
prepaid. One and two-cent U. S. Government stamps accepted. Subscribers must notify us at once of

any chance of address, giving both old and new address.

Entered at the Brooklyn. X. Y., Post Ofhce as Second-class Matter. ,
Copyright 1020 by Brewster Publications, Inc., in the United States and Great Britain, a New
York corporation, with its principal office at Brooklyn. N. Y. Eugene V. Brewster, President and
Editor-in-Chief; E. M. Heinemann, Secretary : Eleanor V. V. Brewster. Treasurer.

ST.AFF FOR THE CL.^SSIC:

Frederick James Smith, Managing Editor

Adele Whitely Fletcher, Editor

Capitola Willi.anis Ashworth t Associate Editors

Dorothy Donnell '^ . ,.

Guy 1.. Harrington v^.- â–  , Business Manager

Duncan A. Dobie, Jr Director of Advertising

Rutus l-rencli. Inc ^b^^}"" "^"'''B"

Archer A. King, Inc : ; ' ' ' ^^"',"'', ^ ""^Ber

Melz II 1! ives -^*-"^^' England Manager

MOTION PICTURE CLASSIC - - - 175 Duffield St., Brooklyn, N. Y.

This magazine, publialied monthly, comes out on the lath. Its elder sister, the MoTlcs PiCTtjRE .\I.\OAZlSE,
comes out on the first of every month. Siiado\vi.and appears on the 23rd of each moutli.

(Fiz'e)

CELECT your own

'^ subject — love, patriotism

— write wliat the heart dictates,
then submit ynur poem to lis.

We write Ihc music iind Kuarantee publiafa-
er's acci'Ptance. Our K'-l:!o.! tO'iv'StT is

Mr. Leo Friedman

one vi America's weM-kn'>wti jnuslci.ins, the uulhor
of manvsoHR successes, sticli »s "MfH M-' Tonight
itt Drrumiortd," "Lft Mr Caii You Sweetheati,"
" When I Dr.-nm of Old h'rin." and others the sales

CI vlirhnkij into miiiinns of mDtCfi. Si-nd o? tmtiy poem!'
kt; yi>U wish. Don't Orlav. C*t Bufty—Outck.

CHESTER MUSIC Ca'^^^rrrVao" *'"â–  Chicago, III.

SuftntT YOUR Sons Potm ON AKT SUBJECT fOR OUR 40viCE ^„<-<^^8l

Wr RtviSf Poms. coTPost njsic Of uo oiscrip- ^^-^^•ip-^^-^ji

nOK SICuRt COPTBIGMT ANO EHPlOl OfiiGlhAL ..^^-IJ^ H^'^CONTAlNS
ntlflOOi (0« FACJUfATiNG TrU PW'l-'C*-rf^^ H>''\(U(MBII INSTRuC-
TtON CM OUTRl&rir Wit Of SO'^f^tfflJjy^^ri.K IQ m-vim «0 ntii

Of '^*f''^''*c^^,^<r| •JiJ>*^ioi, im tftfai uwn 4:conpLi5.i[D bt ime pop

'''*" ^-rYMfViJ-^'^ ^'^* ^** " ^"^^^ fit LAR 0 OKIT «t IKOa W nit, fluOt
^^llJ^.^'^^OfS SCOPt W) 6»tAT(B OPPORtUHlIlES AffOfitKD Si Pt«E.
ifci-^"^ KNICKERBOCXER STUDIOS- WSGAitrtBuw. NYCirr

HIS LOVE

for y.tti will not .iiily l;i»t, hut
::ri>wslt«>tiycf cvfi V ifiiv llicoii:;!!'
out iiwin li-il lift- II you kiKHv m(i:i1
uv It'll III "»lH-r<' KnoultMli:**
yi e II 11 N lliipitliM'tH." FiitHl:i-
innit.-il f»rtH niilcli im niic li;is

â–  v.r .l,ii.-.| piv.'.-it lH'f..ri' ;ii-,- lu'iv (-.lunim -Iv wl forlli.

Ali-"lt,t.lj .iiir.-iviit fi.xn orh.'i- unilc* .(faliuj.* nilh mail iiinl

wiMiuiM. \\ III liiU-iiMirv l<>%-i-. nijikc IKr ii tici-iii!iitciit ItoiicviMiMili,

mill [in-Triil ull kliHlrt t,( luiiriliil uiihiip|>iiifrs iiiiil dl^-oiro.

Mnllc*! II) iilnlu i'mtit fur •mi' ihtlliii-. s<-n>l :it (HI(*>-,

Depr 7. COUNSEL SERVICE

248 West 7flth Strtel .... New York

.T SllOTt StOlliCS bi^'demlnd

I for ahort fltorir*. photoplnyfl »nil f ■•ftlun

- » to writs at home Innpiirrtimi-. Jack London said ko. Hound

I otbor Kr«mt wnf.r* huv- tnitotHiil <iur hum.- «tu<Iy coursi', Th»
I course ■• fufiiiiitiDu ao'l t^ike* only a t--w ot yoor sparu houn.

Wr^fs (nr Fr** RaaL â– "â– * dftailn of oof Ltinltcd Intro-
I nrne lOr rrer DOVK dactory offer. No oblmaUon.

iHOOSIglNSTJTUTE^^^joySI^FtjWaraoJnd^

Dead Men Tell No Tales

DEAD MEN
TELL NO
TALES

LEARN

Movie Acting

A r.i-L-nialiir^' i.r.'ics-ion tli.it i-a: â– * Itic Would
'•ou like lo kiunv ii' \ -lu .trc .i<!:i|jIi.-<1 to tliis work?
Send lite ior our Twelve-Hour Talent-Tester or
Key to Movie Acting Aptitude, ami Kn.l whcllu-r
or not ) oil arc suited lo take uii Mo\ it- ActiiiR.
A iiovci. iiistniclivc nmi \.iluable wurk. Sentl
din'c or stamps tohiy. A kirgc. interest inn. iUus-
if.iled H<»k1i-t on Movie AciinR incUuIed FRP^EI

FILM INFORMATION BUREAU. Su. N., Jacksoo, Mich

IMPORTANT NOTICE

Due to uiiforcsi'iii conditiiins. it has been impossible to announce the final results of the
I inatest of All Popularity Contests in this issue. The tinal votes have been tabulated, how-
e\er. and a complete announcement, with the interesting last-minute developments, will be
lirinled next monili. and also in the ,Ianuar.v number of the Motion- Picture M.\c.\zi.\f..

Stcige Plays of Interest

{I\i\iJi-rs ill iiisliiiit li>

IS zcill do tiv// to l^rescrtr this list /or reference zvlien tliesc spohcn
f^ltiys nf>f>eiir iit fhcir vicinity. )

Jielasio. — "( )iu-.'" \\ itli l'r;iiici,s Starr. I'lil-
w arc! Knobliick's oims of twin .sisu-rs with liiU
half a soul apiece. Xcithcr sister can get alouj;
\\ithom tlie nlla-r. hciiee ihc drama. Miss Starr
plays the iwiiis. Mr. Helasco's handling of this
phiy saves it from slipping over the line from
serious drama.

Bijou. — "The Charm Schou!." .\n appealin^^
light conic<ly with music, based npon Alice
Hiicr Miller's story of the handsome yoiinj.;
hachclur who inht-rits a young ladies' tinishing
.school. Minnie Dupree. James Gleason, Sam
Hardy and Marie Carroll arc effective.

Boot It. — "Happy-Go-LucUy." Ran a lonn
time in London as "Tilly of llloonisbury." .\.
typical llritish comedy hy Ian Hay. O. P.
I Icggie runs away with the comedy as the
bailiffs bibulous airl.

Hroadhurst. — "The Guest uf Honor." with
W illiam Hodge. A typical sttgar-coated Hodge
vehicle, in which virtue is shriekingly triuni])h-
ant. Xowhere near life, but pleasant bunkum.

Casino. — "Ho'K-ydew." Pleasant musical en-
lertaiiimeut with cliarming score by Kfreiu
/imbalist. tlie violinist. Mile. Marguerite- and
I'rank Gill score witii their dancing.

Central.— "'\'\\c Poor Little Kitz Girl." A
musical play enjoying a long run. Andrew
Tombes heads the cast.

Century. — "Mecca.'' A gorgeous and elabo-
rately colorful "mosaic in music and mime'' of
ancient Kgypt along the lines of "Cbu Chin
I how." "Mecca" acliieves se\eral rarely beau-
tiful moments in the ballet interludes created
by Michel IVikine. A huge cast and fourteen
scenes.

Century Promenade. — Xew ^ ork's new est
dinner and miflnight entertainment, "The Ccn-
lury l\e\iew" and "The Midnight Rounders."
t olorful girl shows for the tired business man.
A delightful place to cat.

Cohan and //arris. — "Welcome Stranger."
Aaron Hoffman's story uf a Shylock in a .\'ew
ICngland town. Presents the battle of Jew and
gentile in a way that the Ile!)rew gets nnicli
the best of it. teaching a wliole town kindliness
and religious toleration. George Sidney is ex-
cellent as the twentieth ceiitury Shylock.

JS!tin<n'. — "Ladies* Xigbt." About the tuost
daring comedy yet attempted on Ilroadway.
This passes from tlie boudoir zone to the
Turkish hath on ladies' night. Xot only skates
on thin ice. hut smashes thru now and then.
John Cumherland is admirable.

7:m/'/V(\— "Call llie Doctor." Jean Archi-
bald's slender little comedy built artmnd a
eharmitig feminine doctor of doinestic difti-
rullies. The production shows David Uelasco's
•-mootii stage direction and is \ery well acted,
particularly by Janet I'.eecber as tlie physician
in (|uestion,

I-orty-i-onnh .Street.~\). \\ . (iriffith's mas-
ler-production of the rural melodrama, "Way
Down East." Splendid in many ways witii
many moving moments and the biggest — and
ino;.i thrilling— climax since the ride of tht;
clansmen in "The P»irth of a Xntion."

y-»//()7i.-— "Kilter. .Madame." The l)est thing
— dramatically speaking — in Xcw York at the
present moment. .\ \ ivid study in artistic leni-
IKiament : the story of a butlerfly opera singer,
(iilda \aresi strikes lire in this Vole and gives
a superb performat-ce. .Xorman Trevor plays
Iter husband admirablv.

Ilcnry Miller's Theater.— "The b'anious Mrs.
I'air." .\blc drama dealing with the feminiut
problem of a career or a home. Skilfully
written by James 1-orbes. with unusual play-
ing by IJlanche Mates, Henry Miller ami Ma'r-
'.^alo Gilmore.

//i/^/iodronie. — "Good Times." Another big
and picturesque Hippodrome spectacle. Xoth-
ing like it anywhere else on eartii. Plenty of
entertainment.

Xeiv .hnsterdani /<oof. — Ziegfeld 9 o'clock
and midnight revues. Colorful entertainments
unlike anything to be found anywhere else.

/'alaee. — Keith vaudeville. The home of
Aiuerica's best variety hills and the foremost
music liall in the world. Always an attractive
\audeville hill.

/'/v;;((»f(//).— "Little < )U1 Xew \"ork." Rida
Johnson ^ oung's delightful hut fragile little
romance of Xew \ ork in 1810. with John
Jacob Aslor, Cornelius Vanderbilt. I'eter Del-
tuotiico and W'ashingttm lr\ing am'otig its
characters. Geneviexe Tohin runs away with
the piece — and scores one of the biggest per-
sonal successes of many seasons. Here is a
.Maude .\dams in the making.

A'<'/>«/>/(f.— "The Lady of the Lamp.'' A
fanciful and highly colored fantasy by Larl
Carroll. Muilt about an opium dream wdiicli
reveals a tragic romance of old China. .\ cer-
tain charm is lierc. George Gaul is admirable
rind Hein-y Herbert gives a reiuarkahle por-
trayal of a sinister Manchu chieftain of cen-
turies ago.

Seh<;yn. — "Tickle Me." An .Vrthur Ilam-
merstein early autunm show with the amusing
IVank Tinney starred. Considerable fun, some
tuneful music and a very person;iI)le chorus.
Likewise g(_jrgeous costuming.

Shuberl. — "Greenwich Village Lollies of
1920." Gorgeous and beautiful, as is typical of
John ^Murray Anderson productions. Here is
a musical entertaimnent with imagination and
charm. James Reynolds has created some re-
markable scenes and costumes and the whole
ensemhle is \ivid and colorful.

Times Siina7'e Theater. — "TIic Mirage," with
l-'lorence Reed. The first offering in Broadway's
newest theater. Edgar Selvvyn's drama of
X'ew ^ ork's easiest way: the tale of a country
.-iri who comes to the wliite lights and forgets
her ideals. Miss Reed plays the girl and prom-
inent in the cast are .Man Dinehart, Malcolm
\\ illiams and I'lorence Xash.

ll'i)iler (n7rrfc;L— "Rroadway Heauties." An-
otlier t>pical Winter (iarden revue, sans satire
but plus girls. Bert W illiams furnishes mosl
of the real fun. altho luldie Cantor and George
LeMaire are also present.

OX TOUR

"Crooked immblers." A li\ely and thrilling
coniedy-melo of tbc linancial district, in which
a guileless voung inventor of auto tires defeats
ihe W'olf of Wall Street. Taylor Holmes
.'tarred.

"/â– oot-Toosc." \\\\.\\ Emily Stevens. Zoe
A kins' well-done modernization of the old
melodrama, "I'orgct-.Me-Xot."

"C indereUa on Broaduiay.'' Typical girl en-
tertaimnent designed foi" the tired business
man. The extravaganza is based upon the fairv
adventures of Cinderella. Plenty of girls, pass-
able nnisic, attraeti\e costumes and a little
humor.

"Scrantblcd Wives." Another typical farce
Iiuilt on a series of misunderstandings. .\ di-
\orced couple try to lude their first wedding
from their new marriage alliances. Rather
hright and amusing. Roland ^'oung is excellent.

(.,eorije White's Scandals of P)iO." Lively

and well-thougbt-Out musical revue with lavish

and swiftly changing scenes, plus many pretty

girls. Paint succeeds stockings and tights in

(Continued on /yuije S)

(SU)

OPPORTUNITY MARKET

FILMS DEVELOPED

MAIL VS iOc Willi :niy siz.' lilin for ihvi-ltipui.nt nml six
vi'lvct priuts. Or suiiil six lU'yulivfs any sizi- iiml :;u<- fi>r
six prints. Or scud 40<- for one SxIO niouiit''<l enlarycni'-iit.
I'roiiipt. perfect si-rvii-c. Koun.ik- Phutu Fiiiisliinu- <''i.
'Ji*7 ll.-ll Ave.. Itouniikf. V;i,

GAMES AND ENTERTAINMENT

NKW PATRIOTIC ri.AYS. It.-.-itati.ui^. Kntcrtnlnincnts
for Wartiim- H.n.lits. Vau.Iivilli- Skctilii's, aiomilofinfH. Dia-
lunii.s, Miiistn'l. Tal.h-aitx. Drills. Miisit-al Pift-i-s. .Mak.'-iip
<;mii^. I^ir:;.- ralalo;:ii.- Fii-r. W S. Ix-nison & 0>.. Kept.
f.li. Clii.a::...

HELP WANTED— MALE

KAIIAVAV TRAFFir INSPKCTORS r-arn frnn. $110 to

Sl'Uii p.r nlli :.mt .xp.ii-'-s. Trav.l If di-sin<l. rnliiiiit>-.l

advanifiHi'iit. Ny aur<- Umit. \Vr train yon. Positions fnr-
liicli.-d nnil.r ^iiarani.-.-. Writ.- for Booklet OM-ii-l. Staudard
Hiisiin"-s Trainiu.; Iii.--titiit--. Itiiflalo. N. V.

HELP WANTED

PHOTOPLAYS

i>ETKOTIVK.*i KAKX BIG MONEY — TR.WEI (Jnat

ileniaiid. I-'asiinatin;; work. l^xiiiTi^iu-c nnni'i-csKary. We
train yon. I'artieulars fri'i'. Writi- Anierieaii Deteetlve
System. IIKJN liroadway. Ni-w York.

MAGAZINES

BACK ISSIKS OF MOTION PICTURE CLASSIC. ^lotion
Pii-tnn- M:i:;azin<-. rtmtoplav and all [inhlieatioiis for sulo
liy Hoston ,Ma;::ixili.' Jlx.Iiaiii;.-. lUU -Mouutfort St.. Uo^ton,
.MavNiMliiis.-lt-.

MAIL ORDER BUSINESS

t^O A "WEEK EVENINGS. I made it with a sninll mail
Ltd. r l■^sines^. Stait«(l with $3. Free booklet. 2i- postjitie,
till- liou- or seiiil li.'ii- for sainpli- am! plan. Alpe Si-olt,
loh.MS. X. Y,

MISCELLANEOUS

YOC WRITE WORDS FOR A SONG. ^Ve write the mii-
nU\ piildisli and si-inn- a â– upyritiht. Snhrnit poems on any
Kidil.it. Ilir MiliM'piilitaii MnUio>. ItH S'l. Mirliiuan Avi-..
Ii.pt. in. CliiLayo. 111.

^>RITE THE WORD.S FOR A SOXG. We revise poems,
write mnsic and yiiaraiitei- to st-curc pnldi.-ation. Siibnnt
liiM'ins on any snhjert. Kroadway Stiiditis, HI71I, Fltx.i.'.TiiUl

MOVING PICTURE BUSINESS

S:U.<m PROMT NIGHTLY. Snii.ll .-apital starts yoi;. Ont-

lUs .-i.ld on install i.r- .N'.- .â– Np.Ti. ii.-.- n.-ed--d. Onr ma-

. Iiiii. s ai'.- r-i-il aii.l ,nil..i-..-.l l.y c4..v.-i-iit it instituti-ins.

r,it:ili.- fn-c. .\tlas Moviii;: Pietur^- f".. 4:!ii .Morton P.ld^..

NEWS CORRESPONDENCE

E\UN 9'i-i WEEKEY, SPARE TIME, writin;,' for news-
paii.r- nia^razjui-s. i:x[M-ri.-n.e niim-ifssary ; d'-ttiils fn-...
IT. -- Syndi.ate. .'.liU. St. I..mis. Mo.

OLD COINS WANTED

OI.O <OINS. T,ar^i- Fall .Sillini,- Catalo^'iie of Co'inn for
Stii. 111-.-. Cataloym- qiiotint' ini. .s [lai.l for roiiis. t'-u
II. III-. William Hessk-in, lOlI'. Trenioiit St., ISostou, Muss.

"t»I,l) MONEY W ANTEI>." S2 to $">00 each paid for hnn-
diiil- nf lojii- ilat.ii li.-fon- l.s!).'.. Kerp all "Id iiion.-y. S.-ml
in.- ii.r n<-\\ illii>tr:il.-.| .-oin value book. hIta- 4x<J. Von may
lia\.- ...ins w..rtli !ari;i' rn "â– minins. il.-t iio^t<*d. Clark.- (.'oin
Co., i:..x ir,.-,, I,,, u.iy, X V.

PATENTS

P \TKNT".s.-ml for fn-e lki.ik. Contains valiabic informa-
tii'.i inr- Inv.-nt.irs. Sfud sketeh ..f yonr invention for Fi-'-i-
|>|.M iMji „f it- pat.-ntal.l.' niitni-.-. Proni|)t si-rvie.-. (Twt-nty
\-.n- -xpi-ri.-n.-.-. I Tallj.-rl Jt Talhert. 4H0U TaibiTt lU.i^.,
U .-liinzton. L>. C.

r\TFNTS. Writ.- for Frei> Illnstrated Guide Book. Send
' I ..r ski-t'-li for fr.-i' opinion of its piitentable nature,
t r.'f.rfri.-.-. Prompt alt.-ntioti. Iti-asonal.l.- t<Tms.
: r. Lvaus. A; C".. I'-I Ninth, Washi.i^tuii, D. C.

PHOTOPLAYS

FKKF -Iii..t..[diiy« i^aiit.-d f.-r (alif.irnia Pi-..dm-.r-. Plays

i-riti. i/.'d aiKl n-vis.-d fn.-. s.>ld 'oiomis-ion. Plot Chart

nn.l r..pyii:zlit Itook fn'.- t" lli';:innTs^n.» cxiiericii.- ■

.â– .irr.'-ii.mdi m-c eour-i- m-.-ossary if y.m havi- Ideas. P!Hein\r
â– I . .ptabl.- plii.vs a-'snr.-d. Submit .MSS. or write. Harvard
' '•■ II ny. -10, Marvin, San Franeisi-o, i'alifornia.

FREE TO AYRITERS — .\ wondc-rfnl littl.- book of money-
niiikJiii: hint-. suL-^'esIions. Idias : tlie .\ U C of siieri-ssfnl
ftlotv and movi.- plav M-ritinir. Absolut.-ly fn-e. Jnst ad-
dr. .. ,\ntIiors Prt-ss. P.pt. 11. Auburn. N. Y.

fScrcti)

COURSES IN PHOTOPI..VY \\ RITING are genernlly sold
for $U(l to $Rll. W<> od'ur i-omph-ti' iiistrnetions and informa-
lion. not only in how to write motion pietiire plays, Imt alwt
Imw to si-11 tlieni.iiml where the luLst mnrkets He. This valnabb'
book, pri-]>ari-d by a wrili-r and t>ta);e dlreelor of wide fX-
pcrii iie<-. sent on reielpt of fl.UU. Suno Sale.t Co., I>ept. 0.
Itox IIUI. Ill's .Moines. Iowa.

EXriI.\NGE PEOTS FOR *$. Photoplay id.-aK a.-eepted
anv form-, ri-viscl. lvii.->t. imblishud. ropvri;:hti-d, sold. Ad-
\i.i- fn-i". rni\.r-^al .'<i.-nari.. Coriwratlon. W.-steru Mutual
l.if.' lUdg.. I...S Any.lts.

W.\NTEI>^Pi.tMr.-play writers, P.iu' pay. rixii.-ri.-m-.- nu-
ll ssan. lies! i- s.' li..w lo writ.' ami sell pla.vs. Prepaid

Â¥1.01) .\ddress Studios, SjfJ Carpc-nter Ave., Oak Park, 111.

WRITE PHOTOPEAYS — S.'O to $3nn caeh for b.'«innerf.- :
.-xpi-rien.e nnm-i-fssary : wr iti- toilay for fni- jilan. Mami-
s.ri[its wante.1. I...s Annebs Pln-topbiy Co,. Draw.T U7T.

1,..S AllK.-l.-s. 4-Jllif.

SHORT STORIES

STORIES, I»OEMS, PEAYS, ETC., are wanted for pnhli-
.â– iitiori. (iooii iih'jis briUfT bij; money. Submit MSS. or write
Mierary Bureau, VM. Hannibal, Mo.

WRITERS! Have you a -•*onK-pot'iu. story, photoplay to
sill.' Sul'Tint .MSS. now. .Musi.- Sab-s Co.. 42. St. Ijinis.

SONG POEMS

YOr WRITE THE « ORDS FOR .\ SONG. Well eom-

jLisi' th.- nnisi.- fn-«- and publish sa S.-ml S.m^' P<><-m to-

ilay. A. F. Len.j.t I'o., JTl Wt-st llT.th St., New York.

WRITE THE WORDS FOR A SONG. W.- write iimrie
and ;rnarant''i- publish.-r's a.-.-.-ptam-f on a royalty hutsis.
.Mr. I,.-«. Friedman. THE CO.'^IPOSEK To TlIF AMKKICAX
I'FdPI.E. is onr blading eompusiT. .\mon;r his wtdl-known
hits are smh soncs as "Me.-t M.- T.mij^ht in Dreamland"
and "When I I>n*ani of Old Friu ," Submit po«-ins wn patriot-
ism, lovi- or any subject. Ch.st.T .Mnsie Company, Dept.
;i2i. lllill South 5Ii.-hi;.'an Av,-.. Chiea;;... lit.

W RITE THE WORDS FOR A SONG. "We revise poems,
write nuisi.- and iruarantef to sei-ure pnbli.-ation. Snbnnt
poems on anv snbjert. Broadway Studios, IPTH, FitaiyeraM
lUdg.. New York.

YOU WRITE WORDS FOR A SONG. We write th.-

music-, publish and s.-.'nre a eopyrii.'ht. Submit po s on

iinv snbj.'.-t. The M.-tropoIitan Studios. '.114 So. .Mblii;:an
Ave., Kooni 1U4, Chieago, 111.

WRITE THE WORDS FOR \ SONG. We writ.- th.-

itiosii- an.! ^'Uarant-r publislnT's a.-eeptuni'.-. Submit iK>eins
..n rMtri.-tism. l.>v.. or any subj.-.t. Chester Music Co., U'^O
S, Mi.hiyail Ave., ibfia IS."., Chi. -ay".

WRITE .\ SONG POEM — rx>ve. nioth.-r. home, <-onii.- or
anv subject. 1 .'unposi' niusi.- ami ;;uar;mti-i' pnbli.-ation.
.Send wonls tmlay. Kdward Tr.-nt. fiK3 Ueaper P.lii.k.
Chi>'ii::<t.

SONG WRITERS

.SONG-WRITERS* MAM AE AND GlIDE s.nt fr-.-!
Contains vabi:i1ili- iii^tiiM'tions ami aitvi.e. Submit son;;-
piK-ms f.ir «'\a mi nation. Wi- will furnish musi.-. copyright
:iii.l fa.-ilitat.' p'.il.li.ati.m ..r sal.-. Kni'k.-rli..iki-t' Stuili.is.
:'.1U Caiity HUIl;., Xcw York.

SONG WRITERS — If yon have sonj; pof-ms write mo im-
na-ilhit.Iv. 1 liav.' b.-st propo»:iti.(n to oflf.T you. Kay Ilili-
bi'ler, i>. 133, 4010 Diiken.s ,Vvi-., Chieagu. 111.

YOr WRITE THE WORD."; FOR .\ SONG. We will

Mrih- Ilie niu-i.-. piihlisli and s.-i ur.- r.)pyri;;lit. FdouanI
lU-ss.-lli.-r^', oirr .hi.-f ...mpo.-ir. lia- In hi- .r.-.lit tin- yr.-at
hit. "If I \V'-r.' a Uosf."' and other famous songs. Submit
pot-IMS on any sid.jeet. Send for our Sonjj Writer's Gnid.-
ami sidmiit iioenis at onee. Metropulitun Studios, '014 South
M.ihiinan Am., Dept. IJHJ, Cliii ago, Illinois.

WRITE THE WORDS FOR A SONG. We r.-vls.- pi..-ms.
...mp..s.- mu-i.- for tii.-ni ;in.l -mirant..- t.. s.-.-nn- |mblbntion
.Ml r..yalty basis by N.nv Y.uk iiinsi.- pnblish.-r. i»ur Chi.-f
Ciuniioscr is a sonc-writ.-r .>f national r.-pnt:ilioii ami lia-
writteti tnany bi;; son::-hits. Sidmiit |«..-ms ..n any siibJ.-.-t.
Jlroailway Stuilios, IU7A Fitzgerald lildg.. X<" V.irk

STORIES WANTED

EARN $2.> WEEKLY, SPARE TIME, writing' for m-ws-
Iiata-rs, nnnrazinrs. F\ii.ii. -!...â–  uini.-.i ssary ; ih-tails fi.-.-.
Pn-ss Syndi.ate. .'.(iU. St. U.nis. Mo.

STORIES AND PHOTOPE.XY IDEAS WANTED by 4S

. imiiianii-s; blu- pay I^.â– tall^ fre.- t.i bi-;;lnners. Prodneers
I..-a«m-. 4 11. St. Ij.ais. .Mo.

VAUDEVILLE

<;ET ON" THE ST.\OE.

I t.-ll you h.tw! S.-ml il. p..stai:"- f'-r instruetlv.- ilbtstrat.-d
eta^'e book and parlbalars. C. I,:il).'Ui-. IWx .'..â– .7, I.us
Angi-les. C"llf

Screen Stories in
Demand

I5t-t(ire sending; >iiur photoplays
and stories out on tlie marlcct, ht-
careful to have them lirst put in
proper form and language. The
"Detailed Synopsis" is preferred
hy the studios, as almost every
producing company now has its
own scenario form, and it would
be ;!n utter impossibilit)' for out-
side ^vriters to learn them all.
But, a "Detailed Synopsis" can
he used by any company, and, if
accepted, will be "picturized" by
their own writers to suit tlieir
own requirements.

We CRITICISE, REVISE, and
T^'PE photoplays and stories at
reasonable rates, which will be
furnished on application. After
REVISION, we return the same
Carbon Copy and Original, to
the writer, along with a complete
list of PRODUCING COM-
PANIES, to whom scripts may be
sent directly. This is the methcjd
now universally adopted by both
studios and writers, and it has
been found to work adrairabl),
as it is a distinct advantage to
the \vritcrs, who tlms come into
personal touch \\-ith the Studio
Editors and Directors.

Mr. T. Herbert Chesnut ("Allan
Douglas Brodie"), short story
\\'riter, photopla)'\vr igh t and
screen actor, who lias made many
friends among writers thruout the
English-.spcaking world during the
past five years, is now Editor of
our SCENARIO DEPART-
MENT, and will be happy to ex-
tend every courtesy to our patrons.

\\'e assure the readers of MO-
TION PICTURE, CLASSIC
and rHADOWLAND that we
slia'l be glad t) give them every
:issistance in cur power. Send
stamp for further information.

Brewster Publications

INC.

SCENARIO DEPARTMENT

175 DuffieW Street,
Brooklyn, N. Y.

f

q-aiei!M w'.g

B'^'Wil-l M.MJ-il

'Cmimng jor /Tutliorship

How'towVitcWhatloWriie.
ond Where te sell .

GiHiVal^ yoin" mind. Do'dop
yourlilornry gifts. Masi»?r IK^
orVof .â– wlf-eSpression.Mrtl**;
your spar*? Hmc profiioblc.
Turn your ideas into dollars.
i:oursts in Short-Story Writ-
ing, Versification. Journalism,
Play Wjiting. PholopUiy
Writine.'lc. taught person-

Dr. EsenWcin ally by Dr. J. Berg Esenwein.

for many years editor of Lippincott's Magaime. and

a staff of literary experts. Constructive criticism.

Frank, honest, helpful aivict. Jfeal teac/img.

On, p.o.l *<.. r.clctd ol-.r JJ.OOO /or «or/« oni ■■"'''"
3.oMrr pa»ll r.«.t»<J of.r JI.OOO J./or. c=mp/.Mn.
ft.r /irjl toofjc. ylnol6»r. o t..» i-l/' onJ mo</..r. (.
.wrMrt* o«r J75 a t».r* /rom pSo.o»/af urilrt. o(onr.

Thcrr is no other institution or oioicy doing so much for
writers young or old. The universities recofinLje this, for over
one hundred mcmheri of the English (aeullies of higher .nititu-
tions •re studjing in out Literary Department. The editors
reeognije it. toe they are constantly recommending our courses.

150-PBse liluslrBled catalogue free.

j tfie Home Ojirespondencc School

' Dcp'l. 112. Springfield. Mass.

/„.., .«o» ' 'jNCOSPOiATtn .904

• STAa.)SHLO isor

->rs:

b'w'h:

/ \n

IWrestling Book FREE

f hf .

and Frank Cotch

I Bums >
JFTinar Bums,

Free book Itlls you how. Secret
f,J Dfin'ldcUy, Boetrofie.henlthy.
into (or free book. State your ago.
N«b.

B ttamge Bailding. Otnaha,

BIG

^PAYING*

POSITION

CUARANTEEDtoYou

\\hv -grina- away at a dfsk when three months- home fipre^
lltnr prcp«rili..n will qualify you for prof..sslo„ tif «»''*»*
Tnllle liltpectoc— fascinating. wcU-paU. oui-door work leadiiiK
1.1 itICCKK TliiDB'- ... ,,

'JTAKT .\T $110. adraoclng to J250 anJ moro monthly, al
:,..^..i. yiaiU. Mm big gfflcluls. Be your own bo.s. Travel

.>i><l 1>
U.-tn.-i

ladfH yourwlf.

»...r n,:>>rtfr) r. .
; NOW,

. dn('-"f or mfiney n-ftimleil. Write
^A^ for FllEK BookU-U D-ill"-

r-ir

STANDARD BUSINESS TRAINING INSTITUTE
Buffalo, N.Y.

lEAMWIfiElESS

^ ,^ AT HOME QUICKLY AND EASILY

"^ ri Oithcr lit sea ur on li.n.l-~«llli ^iil.--i ■■:>

■ . -^^'/B I'iil «aUnc.. «rt alway. r.^a«l>' I'T

^^ '- / H Tiincil Wlri-I*-** OpiTUtt.r<. If you

tant a 8uccc»»ful future — ono fllletl wltli

vlu! enterprise, advcnlurc. and flii""-

cial aucce** — lake our course i" Wn-^'

^•^•CX 1\ Salaries alart at Jlir. a month plus

Room. Bonf'l nntl I.uundry, which

meanpi a i0i.1l of J20n nr more u

>\ W innnth, One Of our recent gratlii-

I -SHortitS^ \\ Travel Without Expense

I A«\J.**^ rW If ynu are fuger to travel, anyniii

^ 'OP?0*\v c/ i6\\ nfTalr.. Wirele.* ofTcrs you he
-rtjO^ ^iT^Vl '■h«n« o' • life*"™*'- On »hln
L V ^ -.-^ ivJ » »">ar<l you arc nite.l as an oifl-

^-^"* ♦.'if^C'C^ ft cer. llvlnK and oullnK in Uie
'^5v " . ^^rO->^;--n tt ofnceri- quarter*.
fViii^S^i^'*-\ 1 Wireless Instruments
" Free

In ndilitlon t" all I'Xt *>'-''''â– 

r W« furn1«h FIIKE U. e^ety

jlu.lenl a Natrumeter— an auio

mntic lran«mHter and «ce'y'

^ >j'..'"r,r"".rt"eV?™.'t'»i;.''^.T"rbUr;

'"' '".'.X'^.l orSnem I,â„¢, .-I"!'!.'"!â„¢ o( out course,
>"" """'"■' ""iEND FOR f"EE BOOK ^„ „

S.o-1 l^e folkn.ln» eoowrn t"e,"^„r, .„.,, nn,. .I h..m..

. MAIL THIS COUPON TODAY

«AT,0«AL "AOIOJNST.T^^.^^,^,

A«. .„ JiOOi**^-

CltF

Stage Plays nf Interest

(Cimfi""!-'' /'"'" /'''.'''" ^^
scMT.nl lutnibiTS. .\nn rennington is tht.- sliin-
iiii; liiiln 111 ilif revue. i • •,•

■•.lL/.,..» /..-..CO/..." You sl.ot.Ul sec tl.i-. .1
vol. see notl.iiiR else from the New \ork stage.
"John Uritikwater's play is a nnteworlhy liter-
ary and tlrainalic acliievenicnt.for lie makes
?he Cireat .American live agam. ".Abrahan,
Lincoln" cannot fail to make you a be tcr
\mtricaii. M.ircover, it is absorbing as a pliiy-
i-rank .McCilynn is a brilliant Lmcon.

WWmm Rock's "Silks a:>d i,alms. A"otl«;'^
nnisical revue, but we doubt if it vvmII- c\en
appeal to the tired business man. brnestine
Mvers. the dancer, stands out.

â– 7/oi.i-v Girl.- Lively musical coincdy built
about the brisk race-track comedy, "Checkers.
This has speed and humor— as well as an ex-
ccUcnt cast. . ,

â– â– Ussi,:" A charming and pleasantly tune-
ful little musical comedy of Scotland and Lon-
tliin in the picturesque si.xties. Based upon
Catherine Chishohn Cnshmg s Kitty Mac-
Kay " Tessa Kosta sings pleasantly and Wollie
Pearson and Roland Bottomley are prommeut.
".V'<i( So Lo«g Ago." A fragde and charm-
ing little comedy by a newcomer, Arthur Kicii-
man. telling a story of picturesque New \ ork
in the early seventies. Genuinely deligli tul.
1-inely plaved by Eva Le Gallienne, Sidney
Blackmar and an excellent c.Tst.

â– â– Ja>ie Clcgg." St. John Ervine s pmyerful
drama, presented by the Theater Guild, has
been running in New York all season A drab
but brilliant tale of middle-class English life.

-The llvllcntoir with W iHie Collier. Typ-
ical one-man farce with the inimitable farceur,
â–  Collier, at his best. Full of laughs

"Florndora." The much-heralded revival ot
the widely popular musical show of .some
twenty years ago. Done with charm, distinc-
tion and humor. Eleanor Painter s singmg
stands out vividly and George Hassell s humor
is diverting. Then, of course, there is the fa-
mous "sextette." Here is a revival that revives.
•■The Storm." A well-told melodrama ot
the lonely Northwest with a remarkable stage
elTect of a forest fire. , , . ,

-Scandal." Cosmo Hamdton's daring drama
which Constance Talmadge played on the
screen. June Walker and Charles Cherry have
the leading roles. , „ , , -j n

"The Girl in the Limousine. .\ decidedly
daring boudoir farce by Wilson Collison and
.\very Hopwood. in which a pink and white
bed is invaded by every member of the cast
during the progress of the evening.

"Xightie Night." Described bv the program
as a "wide awake farce," "Nightie Night" lives
up to its billing. It has plenty of verve, ginger
and some daring. . .

"The .Magic Mclodv." A "romantic musical
,ilay" with a tuneful score and a picturesque
Willy I'ogany setting.

"WHyDoritYou!

LOVE IS DEAF
By John Haxlon
Oncf I heard a symphony.

Sublime chord on chord,
As music won Eurydicc

i'"or her lonely lord ; —
Tho 'twas tonal ecstasy
I was bore<l.

Once I heard a woman pla}
Tunes she scarcely knew

In a fumhlinc, halting way,
Discords not a few; —

I could listen all the day;
It was you!

Our Composer will

write the music — we'll

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printed atid copyrJRhtfd

I your name according to

our special plan.

Submit Poems to
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(^iir loading Composer, is a
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Scnihriifh, Nordica and dc
Rvszkc. Among his great-
est song successes are,

"IF I WERE A ROSE"
of which a million copies
have hecn sold.
Don't let another day go
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DEAEH MEN TELL NO TALES

Dead Men
Tell No

DEAD
MEN
TELL

NO
TALES

(Eight)

"OH.MOTHEK

Qfiij story's accepted!"

lis thetEnl^ moment Mfe

Ifli

OUT of _ "the raiuljow gleams of her youthful
drcaiiis"' liris come The l,itat Reward ! The
hapi'y spquel lo all hi^-r Imriuiig hopes — her eager
nspirations! The magazine editor has accepted her
story. His letter brings the liappy news.

She moves as one in a daze "Can it really he
true?" she asks herself iiver and over. And all the
while she i^lows with the pride of authorship, her
aspiring spirit transformed in the bewilderment of
this new triumph. 'Tis life's deepest moment for her.

She has crossed the Golden Rnhican! Enthralled,
she stands upon the llircshnid of a New T-ifel She is
..t last— '-AN .\rTHORF.SS!" The story she has
written, filled with frcsli, bright realism, stirring inci-
dent and sparkling dialogue — written out of her very
heart— i>ainted in glowing words upon the Screen of
Romance, will be read by thousands, thousands!

Hut yesterday, in Iicr girlish fancy, she deeply en-
vied those who live ami inuvc in that fascinating
sphere, the Realm of Authorslii|i. But \esterday her
hrpes mingled with her fears, her doubts of herself.
her simple lack of faith in her ability "TO WRITE."
Hut yesterday she deemed well-nigh impossible the
triumph that has come to her today!

But yesterday her life was a dull, drear grind in a
<lcpartnient store. In her little niche behind the
notion counter her girl's soul was slowly shriveling.
The drab, grey life was deadening every spark of hope
within her. Thinking of her youth and yearnings,
she would oft' hopefully rc]icat to herself those lines
from some beautiful book. "It is the Spring! It is
the Spring! And Life is so hT'LL of Flowers! Ah,
surely some of them arc Ml NIC!" Hut there was the
monotony, the dull servitude, froni S to 6 — it never
\ aried — it went on and on and on— a dumb fate that
seemed to stare lier in the face forever, just as it
might be pictured in a story by O. Henry.

Xiit that all girls are unhaijpy who work in stores,
but she — she dreamed of higlier things. She wanted
more out of life than the grey, humdrum existence.
Why should Success be a thing OTHERS could attain
and not she? She had two good hands and a brain
—she was intelligent, observing, and though not a
L-enius, surely, she told herself, she could learn to write
stories as good as hundreds she had seen.

One day her svveel- faced mother noticed a small
ailvertisement in a niaga/ine. It said: "Free to writers
-this wonderful book. Tells How to Write Plays
and Stories." "Here. Dorothy dear," said Mrs. Dean,
â– 'here is something about writing stories and plays.
Here's a concern ofl'ering a free book on the sub-
ject. Why not get it? See what they can do for
you? Vou never can tell — maybe you really can
fearn how to write the way you've dreamed so long,
."Hid just think how wonderful that would be!"

The Authors' Press has this young woman's letter
I'll file. She wrote for our free book — and the picture
;dio\e tells the happy sc<|nel.

7/ri.t is a true storv, as startliiiu us it is rnmatCtlc,
inij lu-ic is the most startling thi»a of all — a re-
markahlc discovery that '>vill thrill atyibitions vicn
•mil zi'omcit of all aacs thrmiohout the zcorld ! The
.tis.-oz-crv is that: MILLIONS OF PEOPLE CAN
WRITE" STORIES AND PHOTOPLAYS AND
nON'T KNOW IT!

fXinc)

For years the mistaken idea prevailed that you bad to
have a special knack in order to write. People said it
was a gift, a talent. Some imagined you had to be an
Emotional Genius with long hair and strange ways.
They vowed it was no use to try unless you'd been
touched by the Magic Wand of the Muse. They dis-
couraged attempts nf ambitious people to express them-

Vet only recently a great English literary authority
declared that "nearly all the English-sf'eaking rare
uantto write! It's a crai-ing for sctf-c.rt'ressioH, char-
actcristic of the present ccntifry."

So a new light has dawned ! A great New Truth
that will gladden the hearts of "all the English-speak-
ing race who want to write!" Astounding new ps>cho-
togicai exiieriments have revealed that "the average
person" inav learn to write! Yes. write stories and
photoplays; thrilling, human, life-like; filled with hc.irt-
tbrobs. pathos, passion, pain.

V(>ir i(((iv Ictirii it just as \oii dm v Iruni aii\tliinff else
under the sint f There are certain simple, easy prin-
ciples to guide you. There are new methods that
produce astonishing results for beginners. A remark-
able New System, covering every phase of writing,
has been perfected by a great literary bureau at Au-
burn, New ^'ork, now busily supplying this infor-
mation broadcast. And this New Method of writin :
stories and photoplays is d'Cryhody's property. Not for
the select fcxi: Nm for those' specialty gifted. Not for
the rich or fortunate, but for men and ' women of
ordinary cdueatioii ami no writing experience whatever
— thousands who don't even dream they can write!

This institution at Auburn is the world's school for
inexpericTiced authors — a literary institute for all hu-
manity. .Vnd e':'erybody is taking up the idea of
ti'jiVifry. The fascination has swept the country by
storm! People are dumbfounded at the ease with which
they learn to write!

You know it was Shakespeare who said : "All the
world's a stage and all the men and women merely
players." Life's stage all around you is filled with
people and incidents that will make stories without
number. From the great Screen of Humanity and
its constantly changing tide of Human Emotions —
Love. Hatred, jealousy, Happiness~you can create
endless interesting |ilots for stories and photoplays.
There is never a lack -it flows on in an Endless Stream
of Circumstance — like Tennyson's brook — foreverl
Every person you know is a type, a character.
"Every house has a story." And those who dwell within
have impulses, ideas, hopes, fears, fancies that funiish
material for vnu. The daily newspaiiers are tilled
to the brim. The Footlights of Fate reflect scenes and
incidents for the Pen of Realism.

There is nothing in all this world that so dominates
the heart and mind as the fascination of WRITING.
It gives you a new power, a new magic, that charm.i
all those around you. It lends a new attraction to
your entire personality. Authorship carries with it
new honors, admiration, respect — in addition to glorious
material rewards.

THERE TS A NEW BOOK AWAITING YOV
THAT AMAZES EVERY RKAOER— and the most
.imazing thing of all is — IT'S FREE! This new boo';
is pouring glad sunshine into the lives of aspiring people

who want to become writers. Within its covers are
Burpi iscs and revelations for doubting beginners that
have caused a sensation everywhere, because it Is
crowded with things 'that gratify your expectations-^
good news that is dear to the heart of all those aspir-
ing to write; illustrations that enthuse; stories of
success, brilliant instances of literary fame coming
unexpectedly; new hope, encouragement, helps, hints
^things you've long wanted to know!

"The Wonder Book for IVriters" tells how stories
and pla>s are conceived, written, perfected, sold. How
many suddenly realize they can write, after years
r>f doubt and indecision. How the scenario stars
began. How they quickly rose to fame and fortune.
How ordinary incidents become thrilling stories and
plays through these New Easy Methods that simplify
everything! How one's imagination properly directed
may bring glory and greatness. How to really test
>our natural writing ability. How stories and plays
:ire built up step by step. How to turn I'neertainty
into Success.

This book and all iis secrets are \'Ol'RS! You
may have a copy absolutely free. You need not send
a penny. You need not feel obligated. You need
not hesitate for ANY reason. The book wilt be
mailed to you without any charge whatever.

There is no need to let your laudable ambition
>!tand still — no need to starve the Nolilc Flame that
burns at the Altar of your Dearest hope— no need to
wait, to wish — to merely dream of being a writer.
Your brilliant opportunity, your golden chance, is
HERE AND NOW! Get your pencil--use the cou-
pon below. This little act may prove the big, lucky
stroke of your Dcstiilj' !

The Authors' Press, Dept, 120. Auburn. N.Y.

.Srn.l mc .\RSOLUTELV FREE The H'ondcr Book-
for il'ritcrs." This does not obbgate mc in any wa>

Name

Street. . .

Facts about her skin

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that every girl should know

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(Ten)

nOTION PiaUK- CM9?1C

MARIE MOSQUINI

phoioyrduli '">■ Witzil. Li.« Aiik'vli'

PRISCILLA DEAN

Priscilla's most notable performance was the title role in Universal's "The Virgin of
Stamboul," which had its premiere during the last year

1^

V

^

\

^

l'h-lMi;r,i,.li l,j Ni, I. A.,. Mu

"iKrf^, v;,;(^V(r,

HOPE HAMPTON

Miss Hampton is about to make her second stellar appearance in "The Bait, ' a melo-
drama of international intrigue

SYLVIA BREAMER

Miss Breamer is bringing "Athalie," one of Robert W. Chamber s heroines, to the silver-
sheet in the Mayflower production of that nam?

The entrance of
Otis Skinner into
the celluloid
world marked the
inevitable sur-
render of all the
great stage ce-
lebrities to the
lure of the screen.
Mr. Skinner will
be seen shortly in
a film version of
his former stage
success, "Kismet"

• <TjO\V did you

I I h a |) p e II to
* * fall for the
hated movies?" thus
1 greeted Otis Skin-
ner, very nearly the
only great actor on
our stage today, who
has up to this time
zealously repudiated
any art in pictures
and steadfastly re-
fused munificent of-
fers to see himself as others sec him.

"Why pick on nie," he retorted, "1 kndw
dozens of actors riglit Iiere in Hollywood
who hate i>ictures . . . hut — the money . . ."

I pricked up my ears, this promised to
be an extraordinary interview.

"Seriously." he aililed. " 'Kismet' is go-
ing to be a very beautiful picture."

He motioned to the scene on the bor-
der line of which we were sitting. It was
the harem scene from "Kismet" which .Mr.
Skinner played .so long and so successfidly
on the stage. M our feet lapped the C(m)1.
green water of the sunken swimming pool.
beyond rose the purple and gold walls of
the palace. Enormotis silken cushions, as
wide and broad and deep as 1 am tall,
were huddled invitingly against pajiier-
mache marble pillars. In llie background
an accordion player wailed fragments of

Shadowing
Kismet

all the haunting old love songs. The mechanics of the
movies, that pitiless hanime ng of stage carpenters and
electricians, was strangely absent. The illusion was as
perfect as if we had been in front of the footlights.
•A'en tlie rustle of the queen of the harem's beads
sounded a note of something imminent, somethinsr
great nni)endnig.

"When you finish 'Kismet' will you do another pic-
ture?" 1 infjuired.

"It all depends how this jiicture turns out," he rc-
])lied; "if 1 am rotten in tliis, never again! If it is
a success, I sliall undoubtedly do others."

.And right there one touches tlie chord of Otis
Skinner's being. He has no desire to be attached, be
it ever so ephemerally, to — a failure. \Vhat he does
must be of the very best caliber. He loves most that
which attracts the greatest success. He has jiassed be-
yond the ])ersistent stage of youth which stubhornlv
stamps its foot and hews and whacK.> its way out of
the barriers that hinder it. Otis Skinner has reached
tlie age where a rough road in life means a detimr.
His is the philosophy of the person who has arrive<l.

He has long since pass-
ed the stage of growing
pains. He sees life as it
is. Is the gossamer veil
of romance rent into
shreds, you ask? \o,
indeed — for his is tlie
jiovver to recreate ro-
mance. Sitting in the
green glare of the Klieg-
lights, he recounted for
me the story of 'Kismet.'
and by the tones of his
voice alone transported

(Sixteen)

By
Hazel Shelley

me into a story-book
world — but the false
sentimentality of
yoiitb is gone. It is
not likely that he
wonld mope over the
past, or long for a
departed favorite.
He is interested sole-
ly in the play of to-
flay. The play that
attract.^ the widest
popular applause is
tlie one he loves the
best.

He says that stage
people are not com-
pletely understood.
He quoted Henry
Arthur Jones as say-
ing, "all actors are
rotters" and then
added "that erudite
gentleman tried to
write plays for the
'rotters.' Of course,
he failed.

"Many actors
make the mistake of
thinking the ap-
plause, the notes, the
flowers are tributes
to them personally
and become big-
headed or pig-headed
as the case may be.
That is why you see
the strutters, the
poseurs. The audi-
ence is perpetually
mistaking the part
the player is playing
,with the man him-
self. They ascribe to
him all the virtues of
the stage cliaracter
he is portraying,
while in real life he
may go home and
beat his wife."

"W hat do y o u
think of matinee
girls ?" I asked.

"Matinee girls?
Ciod bless them ! Where would we be without them? We have
to have someone to buy the tickets, you know."

Otis Skinner is a jovial gentleman with a vast fund of humor.
He possesses all the witticism of the accomplished raconteur.
This is as it should be, for all that is best in the traditions of
the stage are a part of him. All that is best in literature and
art, he is familiar with.

In spite of his erstwhile persistent hatred of the silent drama,
he has not entered it with ignorance. He now goes to see movies
indefatigably. He knew what others had done and were doing
in the shadows before he stepped into the camera's glare.

What he hates most about pictures is their trite melodrama,
their persistent namby-pambyness ; what he likes about them
is their ability to present the beautiful.

fScvcttteen)

He said, "People told me I
should find a vast difference in
the mechanics of the movies and
the stage. I see very little dif-
ference in the required methods.
A little slowing down of action
to give the camera time to reg-
ister— that's all."

Mr. Skinner is tremendously
interested in all that pertains to

his picture, "Kismet." He wants the scenes to be the most

beautiful that have ever been erected. He is enthusiastic over

the costumes and he marvels at the way a whole city street

(Continued on page 83)

Mr. Skinner's family is a
happy one. He is tremen-
dously proud of his daugh-
ter who has just completed
a two years' course at
Bryn Mawr College. She
is playing a small part in
"Kismet" and goes to
Paris in the fall to study
for the stage

Kirkwood

Confesses

By

TRUMAN B. HANDY

by ihe villain, and return somewhere off-stage
tu fjct renovated. Not that ynu ever expect
•nrnps' tu get otl' all the fjrinie. That's out of

the question.
'Props' is
'props,' and he'll
u n - s p 0 t y o u
enough so that
the dear fans
wont think you
are >]K)rting sar-
torial novelties.

"This leading-
. man life has the
directorial exis-
tence skinned a
mile ?" I again
ventured.
(Continued on

When James Kirkwood
made his screen debut, the
majority of the now-
known "pioneers" were
"extras" at the studio,
making five dollars a day.
He became a director after
playing every kind of part
in one- and two-reelers,
and finally joined the Fa-
mous Players, where he
directed Jack Barrymore,
Hazel Dawn and Florence
Reed. Now he has again
taken up the grease-paint,
and. judging from his
popularity as a player he
won't have much oppor-
tunity to discard it

Photograpli.i liy Evan

THERES an intangible something to James
Kirkwood which you simply have to describe
as "personality." Not that it is expressed
either in a loud voice or a jazz shirt, after the
fa-l'ion of some of our other screen leading men,
but, nevertheless, it's all there.

Kirkwood has come back to the screen after
quite a lengthy directorial absence. The traditional
grease-paint and handsome-hero stuff is a relief.
he says, af;> r ihe strenuous duties of a megaphone
manipulator, and hereafter he's quite satisfied to
leave the direction end of tlie movie game to what-
ever gentlemen may be disjiosed to shoulder its
burdens.

The solid comfort enjoyed only by that variety
of the human sjiecies known as motion picture
stars — the solid comfort relative to having even
the minutest speck of dust brushed from the coat-
tail of one's suit by a fourth-assistant property
boy, was being enjoyed by Kirkwood when I cor-
nered him in a brilliantly lighted cuhby-holc nf a
stage at Ince's, where he is working in a Cdaum
picture.

Kirkwood enjoyed himself ostensibly. Oh, so
ostensibly! In fact, as ostensibly as only one who
is accust'ome<l to the joys of an aclorial existence
can possibly enjoy himself. L.inguidly he held up
one arm while "props" with a whiskbroom hacked
away at a dust smear. A broad smile o'erspread
the kirkwood countenance.

"Oh," he almost yawned, "I'm so lazy. So
<larned lazy! Too lazy, even, to doll myself up.
And very liappy ! This is the penalty one pays for
being a cinema hero. You mess up and get me>sed

(EighlceiO

My
Theda Bara

By

WOL'LD you like to know the real 'riiecla
I'ara? Perhaps you wonder if there is
a rcn} 'I'heda Bara and not just a reel one,
after the many contradictory things you liave
read ahout her in magazines, newsjjapers, etc.
X'ictor Hugo, 1 helieve, said, ".Art is a corner of
life seen thru a ])ers()nality," and if 1 may lie
lierniitted to paraphrase, "A personality is a
corner of life seen thru a press-
agent or an interviewer. It
is a diflicult task, indeed, for
any one to tell the exact truth
about any person, and more
especially if that person is an
artist who is a strange mixture
of moods, ])aradoxes and com-
])lexities — but this is the task
that I, her mother, have set for
myself.

In the four-and-a-half years
that Theda Bara has served you
— her fans and friends — much
that was malicious, cruel and
untrue has been written about
her and I feel that the time has
come when one who knows lier
in the most intimate sense possi-
ble should at least attempt some-
thing that represents a true pre-
sentation— or close-up of Iier-
self, if you prefer.

To those of you who have
grown to love her — and there are
many, (jod bless you — my task
is an easy one. To those of you
who hold otherwise, you at least,
in your hearts, have the desire to
see fair-play — to render unto
C'lcsar the things that arc
C';esar's and so I ask you to read
this article with an open-mind-
edness that simply follows the
good oUl rule of doing unto
others as you would have them

( S iiu'tccti}

do unto you. You,
whether you be mother,
son or daughter, can un-
derstand how a mother's
lu'art nuist be wrung
and torn upon reading
the various articles ])ur-
porting to tell the truth
hut. in reality, the low-
est order of cowardly
attack by men and
women' who enter your
home under the guise of

At the age of three, sur-
prising as it may seem,
Theda was a blonde of
the fairest type. Then,
every night her prayer
was something like this:
"Please, dear God, make
me a tall lady wif black
hair and wif black eyes
and have a 'nana (banana)
under my pillow in the
morning." Above, Theda
Bara, at the ages of three
and four, and below with
her sister, Loro, and her
mother

I'lu>l..j;r,ii.li li) rh.irl.illf Kaircliil.l

honor hv

friendliness and who go away and outrage
every law of hospitality, good-breeding and
pri.iting that which is far more
coiitcni])tible than lies — half
truths. If you, in your life's ex-
perience, have ever made a state-
ment and afterwards heard it
falsified and garbled beyond rec-
ognition by malicious people so
that you burnt with the outrage
and insult, you can, perhaps, in a
measure, realize the heavv,
heavy heartaches that have been
the portion of a girl named
Theda Bara.

Perhaps you think a mother is
so blinded by her love and ina-
ternal ])ride that she is unable to
present an impersonal jjicturc.
Kea<l and judge then, for 1 shall
tell you of her faults as well as
her virtues.

Perhaps I had better begin
back a good many years ago,
with myself — I, like most I'rench
children, was christened with a
long string of naiues. Pauline
Louise Francoise (etc., etc., etc.,
etc., ) de Copi)et. My mother
and father <licd when I was a
small child and I, with my dear
sister, was left in charge of a
guardian, mutually a])pointed hv
my dear parents before their
death. We were on our way to
my uncle who was at that time
court surgeon to the first Em-
peror, hut on the boat our guar-
(Continiicd on j^ar/c 97)

"•,'■>

r

r

rholograph by Edward Thayer Monroe

Madge Kennedy has long
been a favorite of both the
stage and screen. For the
past three years, however,
she has devoted herself
entirely to the silversheet,
but will be seen this sea-
son in a new play on
Broadway

MADGE KEX-
XEDY was
practically t'"
route the other day,
when slie, none the
less, very graciously
served me tea and
chicken sandwiches at
the Ritz Carleton. She
was about to take a

plunge into atavism (to which I shall devote a para-
graph anon) and had, i)rior to the plunge, to buy
a hat, gifts for the staff at the studio, a book for
her husband to peruse on the trip, ct cetera ad in-
finilum.

With the liberality of time, characteristic of the
person with many things to do. Miss Kennedy was
enthusiastic and eager to talk about her new stage
play and was reading, incidentally. The Life of
Leonardo Da I'/iifi— not that that has anything to
do with the play.

The plunge into atavism lieretofore mentioned is
better described by a trip Miss Kennedy and her

fa As a
^ Lamp

to be

Tended

husband were about to em-
bark upon the morning after
our talk.

They were traveling, Miss
Kennedy explained, in
rather caravan fashion, car-
avan a la mod!' it mii^ht be
said. First Mr. Bolster and
herself in the Mercer, fol-
lowed by the chauffeur, the
maid and the impedimenta
of camping in the Ford.

They were heading first
of all for Quebec, pitching
their tents in the resinous
woods by night, wearing
riding habits and khaki in
general, and stopping every
second or third day at some
hotel to taste, momentarily,
of civilization ere retiring
again to the forests pri-
meval.

"Such preparation as we
have been undergoing at
home!" Miss Kennedy
laughed; "First of all a
room was set apart to col-
lect things in. The 'things'
began with a folding cot
and a luncheon basket.
Since then they have swell-
ed to amazing proportions.
There is a most motley col-

(Txventy)

.J

By

GLADYS HALL

lection inclusive of
famous old niiddys of
mine, riding skirts,
one's favorite books,
fishing tackle and
huge boots. It will be
refreshing, tho, much
more so than a con-
ventional vacation at
a conventional hotel.
It will give us time to
breathe and time to
think and time to re-
createourselves. Inthe
jiictures life has been,
for me, just one gown
after another — clothes,
clothes, clothes . . .
( )h, how good the oltl
middy and the riding
skirt will seem !"

Lofty green branch-
es and running pebbly
brooks and lilt of
birds, and all free,
unfettered woodlan
things seemed mirror-
ed at that moment in
her face . . .

I asked her about
her play ; how she felt
about returning to the
speaking stage after
her three-year absence
therefrom; what were
her sentiments upon
leaving the studio life,
etc., etc.

"As for the screen,"
.she said, "I feel that
I have been very un-
fortunate in my sto-
ries, my material. I
feel disappointed in
the work I have done ;
the work I have not
done. Still, it was not
standing still, because
it is a part of my

philosophy that no experience is without growth, without an
accruing benefit. All told, I simply feel as tho I were laying
down one vehicle and taking up another.

"I am unspeakably enthusiastic over my play, 'Cornered.'
It is a melodrama., which is a new field for me, but it provides
me with plenty of delicious comedy, and it runs a gamut of
emotions, never for an instant losing track of the human touch.
Which is, of course, the essential element. My part in 'Cor-
nered,' and I dare go on record as saying this, is the best
woman's part in — well, in my time. It is so varied, so complete.
"I have read plays, plays, plays for the past three years and
this is the first one that has so much as intrigued my interest.
I had determined never to return to the stage until I had
found the, to my mind, the play . . ."

(Ttveuty-OHe)

Photograph by Edward Thayer Monroe

"You believe, then." I inter-
polated, plagiaristically, "that
'The play's the thing?' "

Miss Kennedy was em-
phatic.

"The only thing," she said ;
"absolutely the wliole thing. In
'Cornered,' for instance, any
girl with an air of breeding
could play my part ; the play
is all . . ."

"That savors of self -depreciation," I said.

"I hope not," said Miss Kennedy, thoughtfully ; "really, I
(Continued on page 71)

"I always feel that a person
bearing within him an art
should consider that art as a
flame to be tended, to be kept
clean and bright," said Miss
Kennedy, "I believe that one
should conserve one's self
for this flame; guard one's
self; watch over it. It is a
lamp to be tended and
trimmed"

^^n^»>

The

New Zealand

Bushranger

WHAT is a New
bushranger?
That is precisely the
first {luestion I aske.l Mr. Patrick,
whose Christian name is Jerome.
•• \n outlaw," he toUl me.
■•■\n(l yet Mr. Belasco always
called you the New Zealand bush-
rangcr?"

He 1 ..dded assent.
1 stared more closely— mayhap
more rudely (but inter\icwers are
privileged creatures ) at the power-
ful male person seeking with me that oasis
in the Uskv studio, a cool spot. He was
wearing white jeans and a grey coat. His
methocl of wearing ^^^-"} ^^^f'J'' "'V]
who seeks tailors who build clothes to ht
him nol n.oUl him in., stock clothes. His
phvsi.|U,- i- muscular, he gives the impres-
sion of <lapper solidity, of a healthy sophisti-
cation, of a man whose traits are all mas-
culine and who is neverthdrss an artist .\iu
withal he is redolent of Broadway and all
the best things for which Broadway, New
York, stands.

-An outlaw," and the more 1 gazed at
him the less 1 saw anything which would
render that term applicable.

But David Belasco always calls Jerome
Patrick "that New Zealand bushranger.

By

BARBARA BEACH

aiKl who am 1 to argue with Belasco ?
To sneak of Belasco is only nat-
ural when one is with Mr. Patrick,
for to that virile young man, Belasco
is the god of all things as they
should he and the father of his

'^For lerome Patrick is primarily
of the stage. He loves it, it is his

'"'"If I thought I would never tread
the boards again, 1 wov.ul want to pass out,
he sa°d. and Ine meant it. The stage means
more to him than life itself. 7„i„„h

Jerome Patrick was born in New Zealand
^ of verv religious and

perhaps slightly narrow-
minded parents. They
destined him— when they
found he wouldn't be a
priest— to be a doctor.
For a while he tried to
fit his square personality
into a round hole and
practised at medicine and
also at dentistry, but his;
leaning towards the stage
only became greater as
the (lays passed.

The inevitable climax
(Contiiuicd 0)1 page 72)

Mr. Jerome Patrick is
primarily of the stage. He
was born in New Zealand
and his parents destined
him first for the priest-
hood, and then a doctor s
career. For a while he
tried the latter and prac-
tised at medicine and
dentistry, but his leaning
toward the stage only in-
creased until he finally
decided to leave home. He
appeared with Lenore Ul-
ric in "The Heart of
Wetona," and his first
screen appearance was in
"Officer 666"

/TwcMly-l-'

H'

' rX'l up your UK'Ui-
irauiluni liiiok
rif,'lit now ami in
it write two word>:
Jcriimc Storm. For you
are S'li'iR '" I'car more
of tlii> iuilixidiial with
the oogiiomen of trou-
bled atmosphere, liefore
long, too, for Storm is
now directing Lillian
(ii.sh upon lier first ap-
])earance as a star.

If you are a real movie
fan, you already know
Storm as Charlie Ray's
director. Which, of
course, stamps him as
unusual and necessarily
liossessing a human anri
syni])athetic hand. Hut
the Ray-.Storni iiartner-
ship was broken to per-
mit the formation of
Jerome Storm I'rodur-
tions, for the director
has gone the way of all
directors who do any-
thing aboxe the average.
.Storm is teni])orarily di-
recting Miss dish, pend-
ing the launching of his
own organization.

We are willing to
stake our judgment back
of the statement that
Storm will go a consider-
able distance. Because
— but let Us go back to
the beginning.

Storm came thru the
Usual film mill. His
career moved past the
regular milestones : the-
atrical barn-storming,
California studios in the
pioneer days, and so on.

Born in Colorado, he
went on the stage at
Elitch's fjardens, where
regularly a stellar stock
company ])layed each

summer. After that came seasons behind the footlights.
Finally came California and the movies.

Storm became an actor at Inceville, that pioneer training
school of stars, actors and directors. Chet VVithey, the present
director and recent maker of "Romance." was playing "heavies"
there in those days. Frank Borzage, still another recent di-
rectorial discovery and the maker of "Humoresque," was acting
there. Mildred Harris was playing child parts. Sessue Hay-
akawa and T.suru Aoki were featured players. But. tnore im-
portant to this tale, Charlie Ray
was a player at the Ince .studio.
Indeed, the first words Storm
heard around the Ince "lot,"
were spoken in an argument be-
tween two actors as to which
was the better "heavy," Withey
or Ray. In those days, Charlie
was doing dee])-dyed Villains
and doing them vividly.

At Inceville started the early
friendship of Ray and Storm.
"Oddly, my strongest early im-
pression of Ray came about
thru the fact that I was cast for

(Twenty-three)

Storm Warning

Film Fans Had Better Watch Out

By FREDERICK J.AMES SMITH

IF.KOME STURM

Q Jerome Storm has very sharply defined
ideas about the photoplay. He is going to
center his interest as a producer upon small
town stories, because he believes in the
human, close to life theme — but, as he eX'
presses it, he believes that this should be happy
and wholesome, rather than hectic and
gloomy. His directorial ideals are substantially
those of King Vidor and Mrs. Sidney Drew.

an Irish role which had
been intended for him,"
says Storm, "Everyone
shook his head and saiil
I would have to go some
to fill the part.

"Of course, everyone
knows how Ray stepped
gradually from heavie--
and character roles to
his present style of part
— and to success. While
success was coming to
him I was being graiki-
ated from acting to di-
recting. My first pro-
duction was Knid Ben-
nett's 'Keys of the
Righteous.'

"When the opportun-
ity came to rlirect Ray I
was delighted. I started
with 'The (lirl Dodger'
and directed him in all
his productions up to
the time we severed con-
nections, making this
step for our mutual be-
nefit. 'Peaceful Valley'
was my last Ray pro-
duction. You know how
easy it is to slip into a
rut. We thought the
best thing all round was
to try new fields, as it
were.

"Let me express my
great admiration for
Ray as an artist. I hon-
estly think he stands
alone. Impressed with
his humanness, film fans
underestimate his his-
trionic ability. He is
liast master of every
technical trick. Every
effort is carefully con-
ceived and worked out.
It has always seemed
uncanny how this boy,
who. in reality, knows
but little of the varying
phases of life, can understand and reflect them upon the screen..
Working with him as long as I did, I know him to be a great
artist in his jiarticular line of playing, altho he is a big boy at
heart."

Which is praise, indeed. Storm, too, gives Ray every credit
for the success of his vehicles. There is nothing of the tyjjical
self-assertive screen director about him. .Storm, in reality, is
wholly unassuming and likable. The generous and sane way
he prai.ses others and the way he subordinates himself, point to

a well ]K)ised and clear think-
ing mind.

He has very sharply defined
ideas about the i)hoto])lav. He
is going to center his interest as
a producer upon small town
stories, because he believes tl ey
best reflect the healthy average
of American life. He believes
in the human, close to life
theme — but, .as he expresses it,
lie believes that this should be
happy and wholesome, rather
than hectic and gloomy. His
( Cnntinucd on ('aye 8.S )

Those Moreno
Eyes!

One of the really picturesque personalities of
the cinema is Antonio Moreno, the Vitagraph
star. And nobody — we suspect — knows better
how to demonstrate the possibilities of eyes
than Tony from old Spain. On this page
Moreno demonstrates

ir^^rnlyfn

The Case of

Norma

Talmadge

By

Fkederick James Smith

TH I-', possibility of writing ;i
verbatim chat with Xornia
Talmadge is <|uite b;-vniul
(Hir Ueii. Miss Talmadge cannot
be interviewed in that fashion.
She does not |)ose placidly before
an interviewer and recite her likes
and (lislikes, lier ide;is of art and
the movies, her opinions npon the
way things slundd'bL-. Emjihat-
ically, she does nat.

Noniia Talmadge is not that
sort of star.

She strikes us as an cvery-day
sort of American young woman
elevated to. high estate by the
cinema. .Al.so it seems to us that
she is (|nite willing to be consid-
ered in this fasliion. Any attem])t
to gild a ])ersonality. we suspect,
would stir her sense of humor.

Said sense of humor impressed
us most of all. This — and her
very easy going outlook upon life.

W'e know that the Leagne of
Nations, the Bolshevik bugaboo
and the problem of capitol and
labor concern Miss Talmadge not
a whit- Tlie average girl is in-
terested in other things — and so
is Miss 'i'almadge. Again, the
average star would try to im-
press you as vitally alive on every
topic, but Miss Talmadge is not
the average star.

We like her sincerity and her
lack of pose.

Because she does not unfold a
colorful — and doubtlessly care-
fully created — personality for
one's inspection, it mnst not lead
you to think she looks down u|H)n
the i)hotoplay.

We can well believe that stardom is a mixtnre of work and
good fun for her. She isn't the sort of person to slight things.

When we interviewed Miss Talmadge. she curled up com-
fortably in a huge arm chair and ran her bands rather hope-
lessly thru her hair. We represented her third interview of
the day.

Then she snnuiioned a maid with tea and cinnamon toast, ( at
least, teat and toast were among the things brought), and set-
tled back into her chair.

It develoijed that :

Miss Talmadge admires Xazimova immensely.

That she dislikes most of her recent pictures and is terribly
disa|)pointed in them.

That she is a sort of older sister-mother for the family,
which, incidentally, means that she keeps a careful eye upon
th(. harum-scarum Constance. "Someone has to get Connie to
the studio," she sighed.

That she is so tired at night that she either rests completely
or goes to the theater for recreation. Sometimes she reads a
magazine story or two.

That she likes to jjlay evcry-day sort of people.

(Tzuenty-fize)

That temperament amuses her

That

Is our pen jjortrait still vague?

whole
Perhaps, we

.hould go back to our first meeting
with Miss Talmadge. It was — well
— some vears ago. The scene was
the old \'itagrai)h yard. We were
talking with Kdith Storey when a
slender girl in short skirts happened
to pass. Miss Storey introduced us
to "the Talmadge kid." This was,
of course, before the silversheet ar-
rival of Constance, who. at that
time, must have been even slenderer
and in even shorter skirts.

Norma secured her early training in those ])almy \'itagrai)b
days. She played everything from children to grey-baired
mothers and, incidentally, found time to grow up. From Vita-
graph she went to Triangle. .Xfter this came her marriage to
Joseph Schenck, the vaudeville and motion picture manager.
{Continued on faije 88)

Norma Talmadge does
not pose placidly be-
fore an interviewer and
recite her likes and dis-
likes . . . She strikes you
as an every-day sort of
American young wo-
man elevated to high
estate by the cinema

'My Lady Claire

AN interviewer is like a bold
kiiijjlit of ye uUleii days,
lie rides forlli to rescue
ladyes faire from tlieir castles
of obscurity, to assail with bis
lance-bke pen ibc powers of
darkness wbicb strive constantly
to cut tlieni off from the wurhi,
and to crown them finally with a
wreath of t;ol(len praise, printed
where all may read. Usnally
there is a fierce drajjon. called
stranjjely " dear momma." who
guards the castle's [XDrtal. .And
the tiercjT the dragon the fairer
the princess languishing within
. . . That is the rule.

I was considerably encour-
aged, therefore, when I knocked
upon the door of Claire
.\dams' bungalow in Holly-
wood. .V pretty melody which
was being played on a piano
.within halted suddenly, in the
midst of its most lilting strain. .\t the
same time the door swung ojien and tbe
dragon stood revealed. .As dragons go, she-
was quite homelike, clothed in a voluminous
apron, grey hair and "specs," but she was
undeniably a dragon. Her gaze pierced me like
a rapier and I thought 1 detected tbe odor of
sulphur. Perhaps it was only the coffee boiling
over in tbe kitchenette.

.\nd tlie princess? She was standing in the
center of the room, clasping a black i)oodlc

By

WILLIS GOLDBECK

\

PhotoKr.ipIi h>- Evans. L.

A.

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♦

The career
of Claire
Adams is
just at the
budding peri-
od, and one
catches a
glimpse of
dazzling pos-
sibilities yet
to be unfold-
ed. She was
born in Can-
ada and has
lived in Can-
ada and Lon-
don 'most of
her few years.
She has no
desire for
stardom— but
is sincerely
in earnest
concerning
her progress
on the screen

in her arms in a manner that
seemed to say, "You shall not
have my child !" When she be-
held me, a bint of disappoint-
ment crept into her eyes, .she
drop])ed the child, which fled
yelping to the kitchenette in the
dragon's wake, and e.xclainied :
"But you're not at all formid-
able !"

Behind that sentence I di-
vined worried hours of prepa-
ration, epigrams neatly poli.sbed
and ready for the psychological
moment, a studiedly careless
knowledge of all tbe vital ques-
tions of tbe day. I felt sorry
for Claire. I shoidd have warned her of my
youth !

It is significant that even as I use her first
name, Claire, I have a sneaking feeling that
I shouldn't. She is like that ; instinctively,
Britishly reserved, a person whom one cannot
hope to know in a day, or a month. We talked
of every thing from socialism to real estate
but never once did she open the gate to her
inner self. With her, snontaneous intimacy
is impossible.

Her career is just at the budding period,
perhaps a little beyond, so that one catches a
glimpse of dazzling possibilities yet to be
unfolded. It is the result of ambition's tri-
umph over parental prejudice. In Canada,
where she was born, she gained a few weeks'
{Conthmcd on page 76)

fTu'cnIy si.i)

Madame Peacock

By

FAITH SERVICE

MADAME i'KACOCK slipped from her head the inag-
niliccnt head-ilress cuiiipuseil of the feathers of tlie most
magnificent birds of the species. Slie slipped tlie silken,
embroidered sheath she wore from her body, suddenly weary,
suddenly divested of glamour, suddenly and unniiraculously
itself.

For the first time in, oh, well, in many, many years she felt
that she was herself, essentially herself. Xot very wonderfully
herself .save as reality, liowever unlovely, is always wonderful.

It hurt to be herself. To be herself. Jane (ioring, again. It
hurt because she liad. first, to be so divested of the glittering
garments she wore. The garments of .Sham.

What, again, had Cleeburg. the manager of the theater, said
of her, that afternoon, as she was leaving.

"Sham's her middle name, my Ijoy," he had said, to the
author of the new play, "she cant help it — she was born that
way. A sham !"

" 'A sham !' "

Well. . .well . . .?

Her nervous fingers unbound her hair. There were one or
two grey hairs. .Angele had been careless, of late, then . . .
Of late, everyone liad been more or less careless. Kver so
slightly there were appearing rents and tears in the adulation
she had been for so long accustomed to, so long fed upon.
.And how greedily she had eaten ! How she had taken the
public laurels and burned them at her own insatiable altar,
inhaling the smoke as rare incense, into her nostrils, into her

(Tu'enty. seven)

very being. .-Xh, it had been a breath of life to her, pervasive,
consuming . . .

To stimulate it further slie liad ilone all niamier of eccen-
tricities. She had culled the rarest silks and jewels, the m<ist
e.\travagant fads and foibles, the bizarre of all countries ami
fashions. London had called iter, had acclaimed her as
"Mailanie Peacock." She, together with London, had alpiost
forgotten that she had once been (joring. Jane (ioring, simply
born and bred. That there had ever been McXaughton, or
the baby . . . that ever . , .

â– As in a mirror, life-sized, faithful in it^ reproduction, fear-
ful in its verity. Madame I'eacock beheld her years come
cree|)ing back. Some grey with tears, some red with hope,
.some chameleon in their many colors, some strident,
.some subdued. She looked because she wanted to. but
more because she couldn't help it. Her sham had dropt
from her with her head-dress and her silken robe. 1 ler years
were demanding toll of her. . . . She had preached the philos-
ophy, many times, to many an admiring satellite, of the inevit-
able i)aying of a ])rice. . . . Knowing, full well, as she had
preacheil that she Madame I'eacock. would n ver pay. would
evade payment, being sham. Wliat she had not foreshadowed
was the iiossibilily of sham deserting, of the years coming back
to one, rather than one going back to the years . . .

First, then, came McXaughton. The man. no, the 6ov
she had married. lie it was who had first given her to herself
as something rare and wonderful and set apart. Prior to his

.MOTION PICTURE

i.i>miii({, lii> love of liiT. >Ik- hail hail no very jircat M'lf-oticin.
Slu' had hupcil ^lllâ–  iiii^ht act one day. might be on the .-â– tagc.
more In-caiise the stage seemed so glamourous a mystery than
for any self-assurance. Then Mc.Naiightoii had come and had
told her she possesseil i|ualities akin to the great ones of the
<lrania.

I le had taught her the value of her great green eye.s, her sup-
ple iKidy. her red rage of a mouth. He had taught her hy his
luimhle. |xistulant love of her. His adoration had liecu the
first food her shunhering vanity had had to feed u|)oU.

Ai\d how she had fed upon it! Hungrily, gratefully at first.
'riien with rapacity, with disregard. Little hy little the world
she had known liad faile<l from her enraptured vision and she.
she herself, had stepped onto the stage of her imagining,
supreme.

The hahy had come. Hut she had come too late, .^he did
not give lane time enough, time enough to preen, to muse, to
capture the full glory of the career she was sure, now, she
was to have.

Then, the first engagement.

In McXaughton's tender arms she had sobbed out her first
reaction to the I'.ig Chance,
terror, joy, self-confidence,
timidity.

That niglit the baby had been

ill. and she had not cared. She

had told Mc.X'aughton he must

care for it ; she was to rehearse

in the morning,

she must have her

rest.

M c N'aughton
had known his

The opulent years had
followed. The years of
Madame Peacock. Glitter-
ing, golden, fiery years.
Triumphal years with, in
this hour the ring of brass

first pangs that niglu. 1 lad felt his first fear that he was
doing Jane harm rather than good. Had woven, for lier, the
first threads of the mantle of sham >he was so superbly to wear.
It had been spectacular and swift. The first engagement
had been brilliant and successful. She had been "a find."
London raved over her green eyes, her accent (iiure Dorset-
shire polished and contorted, had they known). There had
been vague comparisons to llernhardt, to Duse, to all the great
and gifted of the Drama.

Jane (ioring hail drunk it in.

With the beginning of her engagements and the sure argo-
sies of success coming in, daily, freshly laden, she had accpiired
more and more temperament, more and more disdain of the
liimible McXaughton, tlie importunate baby, the demands of
every-day living.

There came the day when she told liim that 'if he really cared
to help her, as he had so often and so extravagantly sai<l, she
could tell him how he could do so.

"Mow?" he had asked, with the pathos of eagerness char-
acteristic of him where she was concerned ; "you know you
have only to tell me, Jane."

"[•"orget me," she had said to him, and, renu'niscently. how
metallic, how terrible her voice came back; "forget me. I am
going away."

In the mirror of her years she shut her eyes ag'ainst the re-
membrance of his face, white and unforgetable, even now . . .
The opulent years had followed. The years of Madame
I'eac':,.k. ( ilittering, golden, fiery years. Triumphal years,
with, in this hour the ring of bra.ss.

The gowns she wore, the gestures of her famous hands, the
sweep of her eyebrows, the shoes she wore on her arched, im-
perious feet, the reed-like unex])ectedness of her laugh, all
these things had been copied, emulated, jiarodied. made world
wide. Ah, she had known Fame . . . why were the
dregs so bitter?

Her car driving thru the London streets had been
the signal for a mob to follow. In the theater
she had been a despot, an empress, unquestioned,
untouched, supreme. All the sediment of
tyranny in her nature had been stirred U]),
made active. . . . How she had ruled !
What an imperial dreaiu had hers been !
Why was the i)ur])le faded and the goUl
lace tarnished — tonight ?

The lovers who had pursued her — a
trou|)e viewed in retrospect — a
youth with gold hair dulled
— the strident young lead-
ing man she had repulsed,
who had called her milk
and manna — Nirvana — ful-
filiuent — whither were
they gone?

Then, five years ago, af-
ter one of her most suc-
cessful ])erformances, she
had gone home and found
McN'aughton awaiting
her. She hail scarcely
recognized him. The
years had depleted
him, had hurt him,
marred him.

He had told her,
timorously, that he
had induced her press
agent to let him come
in his place. He had
to see her, he had
said.

She had questioned
him, more with her
slender brows, her
manner than the so-
licitude of words.

fTwenty-cighl}

CLASSIC

He had told her he was ill, forced to go to Colo-
rado ; their early days had seemed to return to him.
miraculously recharged with their old significance
. . . the child . . .he thought perhaps she had found
the glitter more superficial than the gold, that she might
wish to accompany him . . .

Into his white, somehow bewildered face her own laugli
rang back to her, thin and cruel. Xo, she had told him,
and so deep-dyed was her chosen art tliat she had been,
temporarily, the victim of her own delusion. No, she
ro longer belonged to herself, certainly not to him, but to
the Public, the Public who had given her idolatry and fame.

He had brought to bear upon lier a few more reminiscences,
memories. He had again referred to their child, emphasized
the mutuality. She had ignored it.

.Xngcred at her indifference not so much to himself as to
the child, McXaughton had bidden her farewell. He had told
her that she was giving up love and friendship and the inimita-
ble gift of her baby for — sliaiit. He, too, "sham." . . . How
fitly she must have worn it that, here and there down the
primrose path, to the tune of lutes and the delectation of
honeycomb, that word had appeared to her . . . .Sham !

Well? . . .

On her head she seemed to feel, for the first time, the weight
of the peacock feathers. t3n her body the embrace, the soft
sweet .strangulation of satins and silk. ( )n her hands and arms
the hard, unlovable kiss of jewels. She had no tears
.\nd there was no place for laughter . . .

The mirror brought back five more years. Still tri-
umphant years: still rejjlete with adulation; dizzying suc-
cesses; popularity a|>proaching genius; genius rather great
than good. Yet they wore, these later years, a dif-
ferent aspect. After McNaughton's sudden, unexjjected visit,
after his sudden complete departure they seemed to be, the
years, tinged with the pallor of his face. Now and then a
shrill voice echoed thru them, reed-like as her own strange
laughter, and yet dissimilar. Her mother's face, too, ap-
peared infrequently, her mother who lived with her rather in
the capacity of maid and general factotimi than mother. Yes,
they had changed, tlie later years . . . the flowers were more
hothouse than natural; the footlights seemed garish rather
than like stars fallen to her feet for her further glorification,
even the notices in the pai)ers seemed to hide, thinly, sardonic
censure under their hyperbole . . .

What had she done, then, Madame Peacock? . . .

There seemed to be. she felt, a reluctance on the part of
life to let fall further largess, .\fter all. what had she given
to life? Never before had this cpiestion touched her, .She,
Madame Peacock, favored of life and the lovers of life. But
what, what rcallv. had she given?

The mirror she faced demanded a reply. It would have none
of silence and the evasion of silence.

She answered : "Nothing."

That, persisted the mirror, was not enough, was not drain-
ing the mouth of verity.

She answered then, "WORSF. than nothing I"

The mirror was content. It was true . . . all these
. . . .Sensationalism . . .
jealousy . . . occasional

. . worse than nothing,
envy . . . rancor . . .
wonderment, mostly
unwholesome, a great
deal of fear . . . exci-
tation abnormally ob-
tained . . . inflation
of values where values
were nil. . . . These
tilings she had given
. . . these worse-than-
nothing things.

In exchange for
what ?

In exchange for
young McNaughton.
for young-old Mc-
Naughton now. no

' Twenty-nine)

The lovers who had pursued
her — a wistful troupe viewed
in retrospect — a youth with
gold hair dulled — the stri-
dent young leading man
she had repulsed who
had called her
milk and man-
na — Nirvana
— fulfilment —
whither were
they gone?

n\\jii\ji-\ ri\^iuf\l^ y^l-nsjl\^

Later in the week she had
remarked on the ugliness
of the girl and Clee had
said, without enthusiasm,
that she was like enough
to play own sister to
Madame Peacock

doubt. McXauglitnn with Ills
holief of ailoration. liis self-ef-
facement. Iiis teiulerne.ss that
knew no limit, hi-- pritle that had
been spared no barb. McXaugh-
ton who from the depths of his
love had given her the first food
to feed upon, her egotism its first
heady draught, her futhre. its tirst tinge of individualism, of
apartness from herself, small duties and small cares.
.\nd her baby . . .

In that moment she had her baby for the first time. ... .A
girl-baby. . . . Madame Peacock. . . . .^he wanted to laugh,
tlicn, but the inirror forcbade laughter . . .

This brought her back to the Present, to Today.
.•\ week ago a now girl had entered the cast of the new play.
I^he had shown, during the initial jierformance, a strange facil-
ity, a really remarkable comjirehension of the lines . . . Cleeburg,
the manager, lames, the young author, had been enthusiastic.
Madaine Peacock had inquired her origin. .She had been
"discovered." it seemed, in
some Western town in the
States : Madame Peacock had
shrugged an<l laughed. Her
own laurels she knew to be in-
vincible. They bad taken root
and grown to her, to herself,
to Madame Peacock. . . .
(.'loeburg had seemed, for the
tirst time indififereiU. . . .
I lad alinost ignored her as she
^at ill the wings smoking, nos-
trils disdainful, had not
opened the doors for her and
-tood before on her way from
the Jrcssing-rooiu to her wait-
ing car. Little omissions, per-

M.\D.\ME PE.\COCK
Told in short story form, by permission, from the
Metro production, based on the scenario of Madame
Nazimova, adopted from the story by Rita Weiman.
Directed by Ray C. Smallwood and starring Mme.
Nazimova. The cast.

Jane Goring ) ,, , ,,

Gloria Crommell \ Madame Naz.mova

Robert ,McNaiit^Iiton George Probert

Kiulolph Cleeburg, the manager John Steppling

Lewis William Orlamond

Thome Rex Cherryman

Harrison Burke Albert Cody

Character Lady...... Gertrude Claire

Mrs, Goring Mrs. Woodthorpe

flaps, but .Madame Peacock had
seen other laurels wilt and droop
from lesser causes. . . . She had felt a
|)renionitory chill . . .

Later in the week she had remarked
(in the ugliness of the girl and Cleeburg
liad said, without enthusiasm, that she
was like enough to play own sister to
Madame Peacock.

The actress had been furious. This,
this most certainly, was infringement.

That day the girl, with whom, by the
way the young author had become ab-
surdly infatuated, ha<l come up the stage
stairs to her dressing-room to thank her for
the privilege she felt it to be, to be in her
company. The child had been ofldly sin-
cere. Madaine Peacock felt again a ridicu-
lous desire to kiss the girl's tousled head,
green eyes over which the lids drooped like
Hower petals ; eyes in which smoldered,
oh, uiU|uestionably, the iierfection of the
talent she, herself, bore within her, less
adequately.

To her secret self, to the mirror, then, she

admitted it . . . The girl whom Cleeburg

had discovered in the States was her own

.-^ ,, , Art made perfect, recreated aj.ain and gar-

*?i I mented in youth. Invincible and virginal,

,She shuddered.

Then, today, the girl's unmistakable tri-
umi)h ; the enthusiasm at the theater : the
ignoring of Madame Peacock, It had been
intolerable. . . . Why, then, before this
mirror did it seem no longer intolerable, but
the poetic law of compensation, beautifully
balanced, equipoised ?

At the theater . . . her heart had known
black rage and her brain, wearied, over-exerted, had reeled,
had become abandoned and unsteadied . . , venom had come
from her heart to her lips — she had felt, first, an impulse to
cry out, to destroy , , , .she had told Cleeburg that, unless the
girl were dismissed instantly, she, Madame Peacock, would,
herself, sever their connections. The ice of the manager's face
who had been, so short a while ago, servile, obsequious . . .
His answer had seared her, leaving her, she felt, exposed,
withered, undesirable , . ,

"I have signed the young lady up with a life contract," he
had said, then he had shrugged . . .

He had needed to do nothing further . . . that shrug! . . ,
Madame Peacock, with her long cape drawn about her, sud-
denly old and inexpressibly weary, had crept from her dress-
ing-room to the outer door. On the way the smell of the
grease jjaint, the old dust of old sets, the dimness , . , all
that hatl been champagne to her seemed stale and odoriferou.s.
She had no spirit to do more than incline her weighted head to
tlie door keeper who raised his hat to her as she passed. Just
as in her most dizzy triumphs, he had raised it in recogni-
tion of a great arti.'^t. This
alone was left her ; the .salute of
the keeper of the door, thru
which, for the last time, she was
passing. It was said of him
that he, too, had been great for
a time. And had been cast
forth. Well . . .

In her apartment alone
Madame Peacock shuddered
and drew in her breath with a
little shivering cry,

A great need of a human

touch overcame her. Also the

knowledge that she had been

without a human touch for

{Coiilinucd on page 8,S)

(Thirty)

Boudoirs

and
Bicycles

Bebe's road to stardom
was a trail of luxurious
cinema boudoirs. Here-
tofore, she has been
one of the screen's
most attractive boudoir
sirens — especially in
the silken dramas of
De Mille. And now un-
der her new contract —
who can tell?

Realart themselves
realize "You Never
Can Tell," and thus
they have titled her
new picture. Inciden-
tally, it is doubtful it
anvone ever reahzed
just how attractive a
mere bicycle could be

{Thirty-one}

Photograph by Hoover Art Co.

"Another important
thing," said Monroe
Salisbury, "is that our
pictures will be cut to
rtatural length and cut
by the man who is di-
recting them" Above,
a character portrait
and right, an informal
picture

MONROE SALIS-
BURY was stand-
ing in front of a
niiiving picture theater on
Broadway, Los Angeles,
wailing for his car. He
liail just returned from
a trip to northern Cali-
fornia where he had been
shooting scenes for "The
Barbarian," his first pic-
ture made with his own company.

"Aim maybe you think we t'idii't have a won-
•Ic-rful camping outfit!" he said. "It was such an

utfit as I dont believe anyone ever had before.

li course, tlie scenario called for a society camp ami
we had to have one. ami. e(|ually, of course, it proved
useful and luxurious for the company. We traveled
in style. Mr. and Mrs. Jack Cudahy were members
nf the party, as were also their two children, Michael
anil .\nn, who i)Iayed i)arts in the picture. We left
town in the Cudahy's machines and carried with us
a numl)er of tlieir servants, including their chef.

"I've never seen a long period of location work-
go by so smoothly. There was really no friction
at all. We matlc our heatUiUarters at Sisson, but

Monroe Salisbury
Presents. . .

branched out from it for many miles. I
think that tlie mo.st beautiful part of the
trip was that spent on the John Wrinkle
estate, near San Francisco. There we shot
scenes of deer in the wild ; some of the ex-
teriors were unimaginably beautiful.

"Did you hear that I had a road built for
me? A nine-mile stretch, between Sisson and
Castle Lake. It was formally christened
Salisbury Pike just before I left. And now,
I come home to lind a new and unusually
rigorous bunch of traffic laws !"

"Arrested ?" I a,sked.

"Yes, before I had been in town for an
hour. Something in tlie nature of a welcome
home, I suppose."

I notice that there was about Iiini an air
of happiness that no annoyance over the
much-cussed traffic laws could effect, even
temporarily. After a period in which he
had been, as an acquaintance of his phrased
it to me, "In prison" . . . making pictures
of an arbitrary length under certain set rules,
with the question of expense something to

(Thirty-l-,co)

By

ELIZABETH PELTRET

bf ci)n>iikTL(l ;it every liirn. lie is, at last free and has unlimited backing
. . . (Jack (.'udahy is among those heavily interested) ... to make pic-
lures according to his own ideas of how pictures should be made.

'I'hese ideas arc not basically new.. The screen has had enough of
newness. What it needs now is a little wholesome tradition. And this
is what Monroe Salisbury plans to give it.

During his career on the stage, he was associated with such people as
Cliarles Frohman, Richard Mansfield, Mrs. Fiske, John Drew, Kathryn
Kidder and Nance O'Xeil. Undoubtedly, he absorbed all of the finest
traditions of the stage and made them his own.

His company — The Monroe Salisbury Players — has been formed on
the same principle which has gone to make famous stock companies ever
since the beginning of theatrical history; that is, the principle of imi-
form excellence which dictates that every member of the company must
be an artist in his own line, and must remain with the company for as
long a time as possible. To this latter end, it is necessary that they
should never be dissatisfied. Said Salisbury :

"The whole thing must be looked at from the viewpoint of the actor.
Donald Crisp, who is directing, is himself an actor and a good one. His
Hattling Burrows in 'Broken Blossoms' is a bit of artistic work that will
never be forgotten. He is, then, capable of directing actors
and understanding their peculiar needs. The same with the

His favorite paintings
are of Indian scenes
and Indian characters,
and of the pictures he
has made, he enjoyed
the part of the Indian
in "Ramona" best of all

/•

Pliolograiih li:
Evans. L. A.

management. The i<lca
is that we are featuring
our company. We could
not do this if the
company were not
a good one.
Consequently,
an artist who
joins tis is do-
ing us a favor
and will be
treated accord-
ingly !"

During our
conversation,
we had walked
slowly up Broad-
way to a confec-
tionery store, where
we had enjoyed
something cold to drink.
W'e had then walked
back to the original place,
in front of the theater,
arriving there at the same monient that his car drew up.

Miltini Markwell joined us. He is a young man with fair
hair and blue eyes. Given the role of a surveyor in "The
Barbarian," he has something very much more important in
"Ethan of the Mountain" which will be the second picture
made by the Monroe Salisbury Players. He recently ap-
jjeared in stock in Seattle.

"Shall we drive around for a while?" Salisbury suggested,
"Suppose we take you home?" We soon found ourselves
on Santa Monica Boulevard where the heat of the day was
relieved by a light breeze blowing in from the sea.

".Another important thing," he went on, "is that our pic-
tures will be cut to natural length, and cut by the man who
{Continued mi page 84)

(Thirty-three)

The

Diminutive

Dorothy

Devore

wcru (k-niandcd, .iiid just ylory
in sin),'ing to an audience.

This, of course, necessitated
a lictitious name and Ann,
who was at tliat school j,'irl a.tjc
when one worships Robert W .
C'hanilHis, caramels and clmc-
olate ice cream, adopted the

4,,i**^^.,

Dorothy Devore was born
in a small town in Texas.
Her real name is Ann Inez
Williams, and altho Ann
Inez is still in her 'teens,
she has been a choir
singer, a cabaret dancer,
a vaudeville artiste and is
now a star for Christie
Comedies

riiotographi

SOME 'teen years a^'o she was
horn .\nn Inez Williams, in
a small town in Texas,
L'. S. .\. Today she is Dorothy Devore. star in
Christie Comedies and leading lady for Charles Ray
in "Forty-five Minutes l-"roni Rroadway."

It all happ<-ne<l very much in apjiroved story-hook
fashion. When .'Xnn Inez Williams was eleven years
c.ld. her mother, seeking renewed health, brought her
to California. , , .

.•\nn Inez at that time had four brothers and an elder sister, l hey were all
married; had families of their ow.n, and so mother Williams felt free to devote her
time wholly to .Vnn Inez and her health. She brought all the family furniture,
took a comfortable house in Los .Xngeles and sent Ann Inez to private school.
.Ml scciiud going smoothly— that is, on the surface.

But .Ann Inez wasn't the placid little soul her mother thought (I could have told
her that, the moment I saw those big brown eyes with mischief hidden deep, deep
within them. ) .Xnn, who was called Dot at school because she was .so very tiny,
\va> possessed of a tremendous voice, and it used to amuse all her friends to hear
that huge voice issuing from the slender throat of the very littlest one of them.
.â– \nd so Ann, who was very ambitious, caught the career fever and .sang in the
church choir where her voice, she says, "Just boomed out."

This led to an ofTer for her to sing in private bom- s of society people for the
entertainment nf blase guests. .Ann Inez knew that her mother would never con-
sent to this, so she used to run away from school everv afternoon when her services

(Tliirl\-four)

By

HAZEL SHELLEY

name of Dorothy Devore. Slie
says the Dorothy was easily ac-
counted for, but she must liave
chosen the Devore from a
Snal^f'y Stories magazine.

Dorotliy's mother didi l hear
about lier professional success
until it led to a splendid cabaret
offer. Then, of course, as moth-
ers of spoiled dauj^hters have a
habit of doing, she, at first, ab-
solutely refused to let Dorothy
keep up her work and at last
gave ii gracefully.

So it was that Dorothy De-
vore, without training of any
kind, found herself heading a
troupe of professional chorus
girls in the vaudeville act at
Levy's, a very popular I^os
Angeles cafe. Dorothy not only
was the headliner but taught
her chorus new dance steps and
songs and managed them — and
she was, I might add, in her
very early 'teens. But when one
is in their very early 'teens and
ambitious, nothing seems impos-
sible— perhaps that is why Dor-
othy was so successful.

In a very short while an of-
fer came to book her over the
Orpheum vaudeville circuit, and
it seemed that Dorothy's great-
est dreams had come true.
Everything was planned. She
was to be billed as "The Mini-
ature Pocket-Edition Sophie
Tucker," the real Sojihie Tucker
gave her permission to use
her name in return for the
exdusi ve-right<r

Photograiihs by Evans.

hy liai'l compo*

And. then one day, she received a telephone call from Eddie
Lyons, of Universal's Lyons and Moran comedies.

"Would she consider coming out to Universal City to do
a picture with them?"

She had had no desire to enter pictures, but she had a little
spare time, and so she went out to Universal City, fully pre-
pared to be assigned nothing but an atmosphere part. But
without even taking a test picture they assigned her the lead. And
that rather settled Dorothy's career, for she was seen by Chris-
tic's casting director and cajHured with the lure of a high salary.

That was two years ago, and Dorothy has now become
Dorothy Devore spelt with a small v. She played opposite
Bobby Vernon for some time and was then made a .star her-
self for Christie. She has the greatest fondness for that com-
pany, and altho she is being sought on all sides by directors
who wish to ]nit 4ier into drama, she only dips into drama at
])resent when her services can be dispensed with briefly at
Christie's.

Because she is so very young she is still in love with her
first love, farce-comedy ; for she believes that that which we
learn first we learn best.

(Tlurly-fiz'e)

-SO vety^ —
young she is still in
love with her first love,
farce-comedy; for she
believes that that which
we learn first we learn
best

And so it ha|)])ened-that her vau<k' —
ville tour was postponed indefinitely
— but Dorothy Devore admits diat
it is her real ambition, and some day
she hopes to travel. She can imag-
ine nothing more wonderful than a
tour in vaudeville. But at present
she is very happy in pictures, because her mother is hajipy to
have her in them.

As for Dorothy Devore herself, this little hapjicning illus-
trated what she is like better than anything else.

The other day she was introduced to a dear old lady of
L.i'venty or thereabouts.

"And what do you do, little girl ?" she was aske<l.
"I act in pictures," respondc' Dorothy.
"What — you are one of those motion picture actresses? Land
sakes. I'd never have believed it, why, little girl, you belong in
a sweet little home, married to a good man, with a cim]ile of
kiddies."

Dorothy says she considers this the greatest compliment slie
has ever received. Incidentally, one of Dorothy's schoolgirl
(CoHtinticd (in puijr 71)

Ann Ascends

formallv, a friend, (or interviewer), in
]i;ijanias is quite all right. (We'll say it is,
ami so would auvouc- who had beheld Auu
May.)

"I know you wont mind." she began.
"You see, I'm so frightfully busy, as I'm
leaving tomorrow for the coast, with only
three days' notice. Now what do you think
f)f that?' I came Hast after finishing 'Paris
(ireen' with Mr. Ray, expecting to stay all
spring and summer at least. But here I
am," indicating the adjoining room, where
one glimpsed a bewildering array of dainty
feminine am'arel, "madly packing.

"Not that I'm not glad to go back to the
coast,'.' she said, becoming mor- shining
each moment. "I adore it there and I dont
like New York, not at alt. The atmosphere
is so unreal and every one hurries so and
there are no neighbors or uiceu cozy, homey
.times and no
long, be-au-ti-
f u 1, al way s-
warm-and-sun-
shiny automo-
bile roads here
as in Califor-
nia— I'm so tired
and need tea,"
touching a bell
and giving an
order. "You
dont mind if I

Ann May has never
been on the stage, altho
she studied dramatic
art for five years. She
is practically a new-
comer to the screen,
but her work as lead-
ing woman for Charles
Ray was so effective,
that she is again going
to play opposite him
in his first First Na-
tional picture

All pholosraphh by Ilnover Art Co.

IF I ha<l to choose one
word with which to de-
scribe .\nn May, I would
choose .'hiiiiiii/. she is so
un(|ualitiedly that. Shining
Ill-own hair, worn in a mass
f curls, eyes like twin
-tars, a face as bright and
a smile as sunshiny and
alluring as a June morning.
She has an air, too, this
shining .\nn, of delicate,
high-strung intensity, as
llio poised. l)ir<llike. to sec
wliat woiulerful thing is
happening ne.xt, just around
the corner. I'.veii her
voice, heard before I saw
her, was "shining." and
then she came blithelv in,
clad uiiembarr.issedly in
black pajamas bizarrely
embroidered in green. r<d
and gold.

Time was, of course,
when pajamas were merely
sleejiing apparel and were
never, not f'vr, worn out-
side one's bedroom. T'.ut
times have changed and.
with them, the ways of pa-
jamas— and to receive, in-

^ Thirty-six }

By

LILLIAN MONTANYE

jusl keep fussing at sonie-
tliing, do you ?" she ended
l)reathles.sly. "1 iiiiist
run fresh ribbons in these
things — my maid is rushed
to death with last-minute
sliop])ing."

She is a daughter of
Ohio, Ann May. Toledo,
to be exact, and a gradu-
ate of a dramatic school
of that city. Not that she
was expected to take ad-
vantage of this training
in any way. Certainly
not! But a girl should
receive some sjiecialized
training, and, if she can
afford it, why not along
some line that she likes?
reasoned an indulgent
father. If she cared to do
so, she could become a
teacher of elocution some
day. And so, because
from a child little Ann
could "speak pieces" in a
most entertaining way and
because her father was
proud of her talent and
because Ann wanted it
very much, she entered
the dramatic school,
where she continued five
years.

"Father never seemed
to have an idea," she said,
"that I might want to go
on the stage. Of course,
it was part of the training
that the pupils of the
school take part in theat-
ricals. Well, when dad
found out how 'popular' I
was, it was both funny
and pathetic. He was
proud of me, as he was
of the little girl who spoke
pieces to amuse his friends
— but he didn't like my pojjularity, for he was afraid it would
'put notions in my head,' and he ordered me to sto[) taking
part in the entertainments. But 1 could not do that and con-
tinue at the school. I finished the course, but have never been
on the stage — yet."

"And do you consider that your dramatic training has helped
you at all in screen work ?"

"Not a hit!" she smiled, relaxing into a corner of the divan
with a cup of tea and bit of pastry.

"Of course, any line of study hel])s one to concentrate and
is good mental disci[)line. Aside from that, my training taught
me poise, a certain amount, at least, and it did wonders for
my voice. It was worth while just for that — if I ever get a
chance to use my voice. But as to technique — the technique
of motion picture acting is not to be learnt at a dramatic
school. Of course, I had no thought of pictures then."
"And when did you think of them?"

"Well, it sounds funny, but a jiicture of mine was used on
the cover of a book. A man .saw it and said it was a good
screen face and should be in pictures. I was offered a part
in a picture with Catherine Calvert and ju.st for fun I took it
and was crazy about it. Father," she said slowly, a shadow

(Thirly-seven)

There is an air of delicate,
high-strung intensity
about Miss May, as tho
poised, birdhke. she eag-
erly awaits what wonder-
ful thing will happen next

'Lombard!. Ltd.,' with Bert

flitting across her bright face,
"had died, and mother, knowing
that I scorned a social butterfly
existence, consented to let me
try pictures. She thought it
would be a more normal life
than the stage. So we went to
the coast, where I did a jiart in
Lytell.

"And then I was asked to play opposite Charlie Kay in
'I'aris (ireen.' I cant tell you how thrilled I was. It seemed
that the door of ojjjMirtunity had o]iened — and it had because
I am called back to play opposite him again in his first I'-irst
National. Isn't that wonderful? He is the cleverest and the
kindest man in the world. ICvery one who works with Charlie
Ray simply adores him. He is a real inspiration, too. He
told me how hard be worked, and how discourage<l he be-
came, thinking he never would 'arrive.' It made me more than
ever determined to succeed.

"And so I'm anxious to he back and at work. I have h.id a
good time in New York — just as a spectator. I could never
(Contittufd on payc 72)

Admissions

By
Pearl Malverne

inn else, hi^ work-
\ng kiidwlcdtje ol
all tlie proffssioiial
branches has been
ucirth while. Ineach
separate branch, he
tells nie, he met a
separate and dis-
tinct type; code of
condnc't. philosophy
and method, and
that each has been
interesting; and
worth while

Kenneth Harlan
has played on the
vaudeville stage, has
appeared in legiti-
mate drama, has
toured in stock, and
is now treading the
celluloid boards. He
prefers the vaude-
ville stage to any of
the foregoing phases
of drama. The first
picture he ever did
was with Constance
Talmadge

All iihotographs l>y
Clateiice BuH

KE N X I-: T H
H.XRl.AN is
one of the
workers. 1 didn't sec
him working, hut
then, one seldom
does on a sttidio in-
terview. I suppose
if 1 sverc of the
school of Maeter-
linck, I could con-
sume a whole para-
graph on a scientitU-
simile ancnt the
drones and their
antithesis. Being
handicapix;d, I shall
have to say that :

He has invaded
vaudeville, stage
and screen, stock.
ct al.. and I leave it
to i/ublic opinion
whether or not a
mere drone would,
or could, be so versa
tile. . . • Changes
of any sort reciuire
initiative and initia-
tive re(|uircs work.

He says that in ex-
perience if ill uoth-

\.

iK

Of all of them the
vaudeville life ap-
pealed to him the
most from the hu-
man, personal view-
point.

The first picture
he ever did was with
Constance Talmadtje.
And he was doing
one with her the day
I talked with him at
the studio. In the
distance, also tem-
porarily off the set,
Constance like her
leading man was jjin-
ioned on the inquisi-
torial prongs.

I asked him
whether he liked do-
ing comedy, and he
said he preferred
other things. "I am
not the comedy type.
I think." he said.

He added that he
believed in changing
from one si)here to
another, but not from
one tyjie to another.
( Cont'd on pof/e 70)

{ Tliirly-i-itllXI

By
DOROTHY DONNELL

"TT'S a sightly mornin'." said Caleb West contentedly, "the
I ocean's as bright and blue as the picter on an insurance
calendar." He hitched his chair a little back from the table
and fumbled in the pocket of his faded blue shirt for his pipe.
Bcliind the tin coffee-iiot his wife, Betty, leaned her soft chin
on her clasped hand, looking dreamily away thru the window
at the ocean, sparkling in the early sun.

"I like it better when it's kind o' misty and mysterious," she
confessed shyly, "and you can imagine the fishing boats are —
are gondolas and the summer cottages on the cliff are palaces
an' towers — "

"Romancing again!" P.ut Caleb's tone was indulgent.
"Wonder why 'tis that you young folks is always wanting
something different, wishin' today was tomorrer, and here was
somers else. Reckon it's because they're young — a kind o' a
disease like measles or chicken-po.x. Time'll cure it. Betty,
like it has me." His slightly faded, humorous blue eyes were a
trifle wistful as he looked across at the fresh, girl-face opposite.

She shook her head. "I dont want to be cured ! What would
be the use o' living if you couldn't look ahead, and expect some-
thing beautiful ? I want to go everywhere, and see everything
and feel all the different feelings in the world !" There was a
kind of fierce hunger in the way she threw out her arms. He
watched her somberly,

"Reckon I'm too old for such junketing, Betty,'' he said
quietly, "you'll have to go to those furrin places alone,"

She started slightly, as one coming reluctantly out of a glor-
ious dream. Her eyes widened as they turned on his rugged,
weatherbeaten face with tlie greying hair and the fine, humor-

(Thirty-niuc)

ous lines about the eyes. "(^h. Caleb, I was just a-foolin'!"
she laughed, and ran around the table to perch on his chair
arm, "you cant get rid of me easy as that ! Besides how'd I
enjoy traveling thru the Alps and ruins and pyramids and
thinking of you having to eat your own cooking?" There was
only mischief in her vivid face now, tho his eyes were watch-
ful. .And with a sigh Caleb West got to his feet. "Building
lighthouses may be isn't so romantic," he said, "but folks
couldn't travel without 'em. .\nd you couldn't build lighthouses
without laying foundations for 'em first. I'm necdeil, Betty,
and it's good to feel needed."

She went to the door with him and lifted her face to his
good-by kiss. "Be careful, Caleb," she whispered with a shud-
der, "I know you're a master-diver, but sometimes when I get
to thinkin' of you down uiider tons an' tons of green water
seems as if I'd sh'd scream. I need you too, Caleb — "

The trouble went out of his eyes then, and lie caught her to
him with a kind of clumsy fervor which the slim, handsome
youngster, coming U]) the ])ath noted with a scowl. That old
buzzard an' a pretty girl like her! Why he might be her father
— all of fifty he must be, and she hardly turned twenty yet.

"Dont think, Blossom," Caleb admonished, "there's, a heap
of suffering comes from thinking about troubles that ne.er
happen. — Why, hello. Bill. Coniin' along of me, eh?"

Bill Lacey shook his dark head. "Maw's gotanother of her
headaches. I haven't had a bite of breakfast — if .Mrs. West
could give me a cup o' coffee — "'

He sat before his filled plate, later, making small pcetense of
eating, while his eyes, full of little smoldering sparks, followed

MOTION PICTURE

"I'd like to see things," tlie girl's slender figure from tlie

she confided, "but I ^^^J\^ („ ^\„\^ 3,„] euuboard sulleiilv.

ire" sighrd" "C^llb •^"-I'l-nly the dishes clanged with

likes to stay put" the jarring blow of his fist on the

table. "Damn it!" he burst out. "I

seen him at the door — kissing you —

he <lon't know how to kiss. I'etty ; Vou ain't ever been kissed!"

She stood quite still, staring, while the quick color flooded
to the bright line of her hair. "Bill Lacey, are you stark crazy ?"
she gasped, "the idea of talking like that ! It's — it's wicked — "

"It's true!" he came to her and gripped her wrists. "I'm
crazy all right ! Crazy about you — an' I have been ever since
vou come here seven months ago. What ilid you marry him
for? He's almost an old man. he dont know how to make you
happy but I do. I — you — "

She wrenched herself free of him.

stand there and say things about
Caleb ! He's the best man in the
world — he married me when
Paw was drowned and he's
Ijcen kind and — and wonderful
to me. I — I guess you'd better
go now. I guess you'd better
not come back either."

The color did not leave her
cheeks after Lacey, mumbling
apologies, strode away, tall
and straight in the sharp, un-
compromising light of the new
day. She went about her house-
hold tasks with tightened lijis
and hands that shook and blun-
dered over their work. Once
she stopped to look out o£ the
window, wimderingly. as tho at
an unfamiliar world. The line
of rocks jutting against the sky,

'1 am hajipy ! Yc

OF.Er \V.\TKRS
Fictionizctl. Iiy i>erniissioii from ilic Maurice Toiir-
ncur prmhirtion for I'araniDum, hascci on the sce-
nario of Jack t;ill)ert; adaplcil from the hook "Calcli
West, Master Diver," l)y !•'. Hoplvinson .Smith.
Directed hy Maurice Tournenr. Tlie cast :-

Caleh West Broerken Christians

Betty West Barbara Bedford

Bdl Lacey Jack Gilbert

Kate Lcroy h'lorencc Deshon

Henry Sanford Henry Woodward

Morgan Lcroy Jack McDonalrl

(."apt. Joe Bell tieorge Nichols

.â– \unty Bell Lydia Y. Titns

Barzella Bustud Marie Van Tassell

Squalere Vixley James C. Gil)srin

Zuby HiKKins Ruth Wins

Seth Nuntjatc H. Hdgar Stockwell

Prof. Pa«c Charles Millsfield

(His Niece) ScKKrid McDonald

the platform with its
diving api)aratus and
pigtny figures, the
liotels and boats, and
white road winding by
were the same— yet
subtly dififerent. Some-
thing seeined to ha\e
thrown her safe, serene
world out of focus.

A red racing e.'ir
panted by with the
gleam of a yellow
sweater and the glitnpse
of a white flannel suit.
"Mr. Sanford's taking
Mrs. Leroy out to the
Point again." she said
vaguely aloud, and sud-
denly the wor<ls seemed
to take on sinister
meaning in her own
ears. "I wish he hadn't
come, meddlitig." she
tliought and .detertnin-
edly resolved to think
110 more. She worked
all the morning on still
blue denim, making a
shirt for Calel). disci-
plining her fingers, liy
afternoon Lacey's wild
speech and the hurtful
strangely thrilling grip
of his fingers on her
wrist seemed like a
feverish dream. She
was singing as she began her preparations for an extra good
sujiper. but the song broke off short with the sound of heavy
boots on the pathway.

She turned a small face, bleached with fear to the door.
Caleb— O (kid! Dont let it be Caleb!"

Her husband's ruddy face answered her prayer. He looked
concerned. "Betty, young Lacey's had an accident, rock fell
on his leg. I guess it's broke." He looked at her guiltily.
"I — I'm having him brought here. Betty. I know it'll make you
a hea)) of extra trouble, but you know his maw's only a step
one. and besides she's kind o' an invalid. Do you — mind .'"
She was clinging to him. sobbing. "I dont mind anything so
long's ycm're not hurt!" slie chokeil. "Oh. Caleb, but you gave
me such .1 turn !"

Young Lacey proved a meek and docile patient. Pain at first,
prudence later kept him from touching on the subject they had

last quarreled over. He slept a
great deal, or she thought that
he slept, not guessing how often
the heavy black lashes hid a
gaze that followed her every
movement. His grit in bearing
the ordeal of moving, and his
helplessness touched her jjity
dangerously, and the admira-
tion that he let her see now and
then in his handsome dark eyes
was not unpleasing — so long as
he did not put it into words.

When he judged that her
defences were down he began
to talk, maltcr-of-factly, about
every-day things. There was a
youtig eagerness in his attitude
toward life that found its coni-
plenient in her own vague, rest-
less yearnings. Besides he had

(Forty J

CLASSIC

traveled somewhat, a fishintj voyase arotiiul tlie Cajie, a trip
to New' York, and lie spoke confidently of goin^ sonic day to
the West Indies. She listened, her fingers forgetting to hold
the needle, her eves wide with gazing at the far places of her
fancy.

"I'd like to see things," she confided, "hut I gncss I never
shall." She sighed, "Caleb likes to stay pnt."

"He would." Lacey agreed, kindly tolerant, "folks lose that
when they get his age — wanting to go places. I mean. — and
discover life." Silence lay over the room. Into it came, pres-
ently, the sputtering cough of a recklessly driven motor. "San-
ford's going to hit a snag some day." the boy said, choosing his
words, and watching her averted face under lowered lashes,
"anybody with him this time ?"

She looked, answered almost unwillingly. "Mrs. Leroy."

"1 thcmght so." said Lacey. "she usually is. Well, you cant
blame a jiretty woman like her for wanting something more
than that husband of hers can give her. He's slow — Leroy is.
doesn't talk much — always
reading a paper. I guess he's
older than she is, too."

That was all then. He man-
aged it cunningly and with in-
finite patience. When Caleb
was present he always seemed
to defer to him, but managed
to make him seem older, grey-
er and more unromantic than
ever in contrast to his dark
youth and eagerness. He saw
her sometimes glance from
one of them to the other, and
then run to Caleb's chair and
perch on it and lay her bright
head on his dusty one almost
defiantly. Lacey could have
leapt from his bed and
snatched her away in the con-
suming jealousy that swept
him at the sight, but he only
smiled. He loved Betty West,
selfishly, perhaps, but as much
as it was in him to love — and
he waited his time to possess
what he wanted.

It came presently. He was
not quite certain of her, but
he dared not wait. There was
no longer any excuse for his
staying. He could limp about
the house, could have walked
without limping, indeed, "to-
morrow." he said, as he sat on
the seaward-looking porch,
while she shelled peas, "to-
morrow I'll be gone — "

A pod slipped in her fingers,
scattering its green globes
over the grass. She bent over
the pan. "Tomorrow ' Yes.
— I suppose — you'll have to
go back to work."

He spoke in a low tone.
".\re you sorry. Hetty? Are
you going to miss me?"

She tried to smile. "Of
course I There wont be any-
body to praise my piuUlings !
Caleb never notices what he's
eating — "

She paused, beginning to
tremble as she found her
hands prisoned and his eves
with the di-iturbing flame in

I Fnrl\-onc I

them close to hers. "Betty! Betty! Dont you see I cant go —
anil leave you here? We belong together, dear! We're both
young, we both want life and everything it can give us. It isn't
wicked to want them, it's the way the world's made! West
isn't really your husband — he never was your lover. Betty —
you're going to come away with me — on the Boston boat —
tonight — "

"Oh, 1 couldn't!" she (juivcred, but she felt as tho strong
tides were beating her, carrying her out with them from her

safe harbor, "Caleb — what
would he do? I've got to get his
supper. You mustn't — it isn't —
right — "

He saw that he had won, anil
laughed low with triumph.
"Then life is wrong. Girl!" he
exulted, "you've never lived —
but you're going to. It's your

When Caleb was present
he always seemed to defer
to him, but managed to
make him seem older,
greyer and more unro-
mantic than ever in con-
trast to his dark youth
and eagerness

â– III lEBB

IVH.

.MOTION PICTURE CLASSIC

Bui he was wise enouyh

birthday, Betty, yours and mine. '
not to kiss her. even llien.

Caleb West came home late, miting with a curious sense of
uneasiness tlial there was no smoke curlinfj up from his diimney.
He pushed open the door and found darkness and tlie sharp
sudden scent of tlie sea. "Rctty." he called. "Betty-lnrl. where
are you ?"

A match sput-
tered and flared
out under his im-
patient fingers.
He lighted an-
other. Then he
saw the note on
the mantel shelf,
hlotched with
tears. After he
had read it he sat
a long time, hours
— staring down
at his twisted,
gnarled old hands
lying on the red-
checked table
cloth. It was a
fresh cloth he
note<l stupidly.
She mii>t have put
it on just before
>he went — he
groaned as if in
pain.

•' Without a

word he turned on

his heel and set

the helmet over

his head"

Sanford paid assiduous
court and Kate Leroy's
gay, pleased laughter
shrilled her flattered de-
light to all the world

"He's like the ocean —
when there's a fog," he
fiinnd himself repeat-
ing nieclianically, "he
says that there is life be-
hind the fog — and I
want to see. You'll never
forgive me, Caleb, or
believe that I do love
you. Your new shirt is
in the top drawer — the
camphor is on the
kitchen shelf in case you
catch cold. C) Caleb — "
He held the pitiful,
foolish note to tlie fipme
of the lamp, watching it
consume. Captain Bell,
standing unnoticed in
the doorway, regarded
him in amazement. "I
swan!" he ejaculated,
"tlie hull blame world's
gone plumb crazy to-
night. Caleb West. What
in tarnation you doin'?"

The other man gripped
!iis arm, turning a stark
face toward the window.
Over the water came the
sharp yelp of a steamboal whistle. "She's gone," lie said
heavily, and his lips came together like the jaws of a trap, "she's
gone with Bill Lacey to find life — " he laughed silently, un-
pleasantly.

Captain Bell probed tlic white face in the lamplight with
(Cotiliinicd on ['age 66)

For:y-tU>0^

Semon the Jester

By HARRISON HASKINS

WHEN .we were invited to luncheon witn
Larry Senion at the Hotel Astor. we made
one condition — that no custard pies or
spaghetti would be served.

One cannot be too careful with movie come-
dians.

But — seriously — Semon is no mere clown. No
screen player we know has a more alert bvisiness
brain or does clearer thinking. His long newspaper
career, which preceeded his film debut, gave hiiii
an unusual viewpoint.

Only a few years ago he was feature sporting
cartoonist on The Neiv York Evening Snn. Before
that he was on the art staff of The New York
Telegram, The Morning Telegrapli and Tlie New
York Herald. But the real incentive which led him
to film comedy dates back still further.

Semon comes of a picturesque family of theat-
rical adventurers. His youth was not the
youth of the average boy. Instead of
baseball, marbles and the back lots, it was ^^-^ ^i
spent in backwoods town halls, remote
railway stations and
dingy trains.

To go back to the
beginning :

Semou's grandfather
was connected with the tours of
the magician, Herman the Great.
The comedian's father naturally
became interested in magic and
took up the work. The elder
Senion became Zera the (jreat.
and toured the country as a
magician, hypnoti'it and ventril-
oquist, accompanied by his wife
and the boy, Larry. He carried
a vaudeville company with him
and comedy, tumbling and other
miscellaneous acts were inter-
spersed with the mysterious il-
lusions of the Great Zera.

For a long time Larry Semon was a news-
paper cartoonist. Then he turned to motion
pictures — with remarkable success. "I do all
my work myself," says Semon. "I do not use
doubles. Naturally we take lots of chances
and, let me add, there is less faking in my
comedies than in most farce productions"

wsaji^sjsm}i£MM}&miasa}im,..

Larry, of course, was
called upon to assist in var-
ious ways and, in time, he
became a proficient and
versatile performer. One
night would find him an
acrobat, another a hyp-
notic subject, again he
would be a comedian,
just as the needs of the
little barn-storming com-
pany developed.

Larry himself wanted
to be a singer but fate —
and his father — inter-
posed. He lost his voice.
And his father, tired of
the struggle of pioneer
stage work, wanted his
son to do something dif-
ferent. Both the elder
Semon and his son had a
certain knack of carica-
turing. Residt — the boy
was sent to art school.

Finishing his course,
Semon secured his first
employment on The New
York Herald. He ad-
vanced until he occupied
the first comic post with
The Evening Sun.
{Continued on page 81)

(Forty-three)

How "Earthbound" Was Made

By
JAMESON SEWELL

PKOBAP.l.V no niotiuii picture story yet filmed i)resente(l the (liltitiilties
offered by liasil King's psychic novel, "Earthbound." Hence the story
of the director, T: Hayes Hunter, is of uni(|ue interest.
l''irst, "Marthbound" required seven months for its develojimenl fmni the
l)rinted page to the photoplay screen. I'our months Vi^ere actually occupieil
in filming the story at the Goldwyn coast studios. Mr. Hunter actually shot
iyO,0(X) feet of film, which were cut down to 7,600 feet, the final length of
the completed screen production.

To those who have not yet seen "Earthbound." sonicthing of an explanation
is in order. The I'.asil King novel traces a domestic tragedy which culminates
in the murder of the other man by the husband and then goes on to show the
regeneration of the dead man after death — how his spirit readjusts two shat-
tered houseliolds to the best of his (or sliall we say its) ability. Thru a
great deal of tlie story the chief protagonist moves in shadowy spirit form.
This necessitated double ex|)osures and the most adroit camera trickery,
be exact, there were 166 double exjMsure scenes in "Earthbound." Successful
double exposure work can only be obtained by the most careful and painstaking
camera work.

i!ut let Mr. Hunter himself ex])lain

"Let us assume I intended to photograjjh a scene in which the spirit talked to

his living friend. I first rehearsed the two actors tcjgether in the scene as it

would be screen visualized. Then I timed the action, using a ticking metronome

to standardize our count. For instance, at the count of 63 we would find that

the ghost started speaking, that at 79 he stopped,, that at 8.S the material figure

felt his presence and turned around, that at 96 the spirit materialized to be

visible to the living man. that at 115 the spirit walked over and put his arm

on the other's shoulder, that at 169 the living man .show'ed visible emotion as

a result of the otlier's words, that at 175 the ghost started to dis.solve out,

taking eight counts to become nothing.

"You can realize that, if we depended upon a human count, an inac-
curacy would be bound to occur. The metronome kept this in perfect
measure, even the cameraman grinding to its beat.

"Let us assume that we have carefully reliearsed and timed every
(Continued oit (tagc 92)

Four months were
actually occupied in
filming "Earth-
bound" at the Gold-
wyn studios and
190,000 feet of film
were shot. Top a
new portrait of T.
Hayes Hunter ;
center, Mr. Hunter
directing a scene in
"Earthbound," and
ri^ht, with his fa-
mily on the grounds
of his Hollywood
home

(Forty-four)

The Celluloid Critic

The Month's Photoplavs in Review

Bv Frt'deiick James Smith

AN u(kl and liuiiicly little tale. >liiiiiiig uut of an execedinglv
dull photoplay month is "Honest Hutch," an unpretentious
Will Rogers effort which, to our way of thinking, is the
best thing ever done by Goklwyn. Interesting it is to see this
simple story of a village loafer easily displace all the expendituri'
and elaborateness of a long line of Goklwyn productions.

"Honest Hutch" is just another proof tliat real film drama is
the drama of every-day life, minus cla])trai) and melodrama —
that the really big play may revolve around the simjilcst
daily events.

"Honest Hutch," which by the way, is built fr.nn a short
story by Garrett Smitli, has a delightfully (koli thesis The
shiftless, happy-go-lucky Hutch, with his embittere<l
drudge of a wife and his brood of ragged children, lives
a life of utter laziness — until he finds a bo.x containing
fifty thousand dollars in SiO.OOO bills. Hutch suddenly
realizes that the money is useless to him, since no one vvili
believe him the possessor of an honestly acquired $10,000
bill. It is a case of going to work, thus aci|uiring a repu-
tation cc|ual to his money, or throwing the fifty thousand
away. Hutch, reluctantly, goes to work, altho he has a
sneaking doubt that the money isn't worth the labor. How,
in the end, he finds real joy in work — and in bringing
happiness to his family — is brought out with homely
humor.

Rogers is Hutch to the life. It is an honest, close to
the soil performance, and his best celluloid role thus far.
We congratulate h.ini. ( )ur hat is off, too, to Clarence
Badger for his directorial handling of "Honest Hutch."

In interesting contrast to""Honest Hutch" is "Madame
X," Goldwyn's visualization of .^.lexandre Bisson's super-
heated Parisian melodrama. With all its expensive out-
lay, "Madame X" does not come within a hundred miles of "Hone
closeness to life.

Bisson is a master of adroit stage techni(|ue. He knows how Xi> build
with fine theatric effectiveness. His characters may be puppets neatly
maneuvered to get the greatest dramatic efifect, but lie, at least, achieves
the result he seeks. "Madame X" has a scene of big emotional ajjpeal.

".Madame X" tells the story of a young French wife who leaves her
husband and baby-boy for love of another. Later, when her husband
refuses to forgive her, she drifts to the moral de|)ths, a drug wreck. Finally,
she commits murder and is brought to trial. Without realizing her identity,
htr hu.sband. now a man of affairs, is a visitor in the court-room while
their son is appointed to defend her. She is steadfast in her refusal to
say a word, but the boy by a brilliant and impassioned speech, wrings a
verdict of "not guilty" from the jury. Then her wrecked constitution
gives way, but not until there is a reconciliation.

This court-room scene was an electric thing behind the footlights, but
it is lost in the screen adaptation. This is due to several reasons. Director
[•"rank Lloyd launches his story in loo high an emotional key. Consequently,
he steadily loses effectiveness. .Again. Pauline Frederick did not touch
us anywhere as the wretched Jac(|ueline. Her performance, in a measure
due to the director, of course, lacks all gradation. From start to finish
it is a drab uncolored thing on the verge of hysteria, without the building
u]) necessary for sympathetic appeal. Again, Casson F'erguson is an un-
fortunate choice as the son. Here is a big role in every sense of the word.
What Richard Barthelmess could have done with it! Indeed, the whole
cast of "Madame X" disappointed us.

"Xomads of the North," ( F'irst National), a James Oliver Curwoo I
storv, liad enough theatric ingredients, including a forest fire, to have been
an effective ]iicture. It fell down largely thru inferior direction.

\\'ith the Canadian- Northwest as his background, Curwood has unfolded
a story of a cruel factor, his scoundrelly son, an innocent cutie of the wood-
(CotitiuKcd oil piu/c 101)
(Forly-fivc}

Above, Pauline Fred-
erick in "Madame X,"
left. Alia Nazimova in
"Madame Peacock,"
and below, Constance
Binney in "39 East"

st Hutch's'

wasKmrJKTTV«ml6Zijc^

The
Winners

Are
Announced

THE 1920 I'-anif
and Fortune
Contest closed,
on August 1, and on
September 23 the
judges met and, after
due deliberation, ren-
dered their verdict.
In announcing their
decision, which was
not without dissenting
votes, it seems desira-
ble to make some ex-
planations. Quite early
in the contest several
unusually promising
contestants appeared,
and for months they
continued to head the
list. Repeated motion
jjicture tests were
made of them under
various conditions and
the most promising of
these young ladies
were sent to Albin.
Lumiere and other
photographers for
studies. They were
photographed from
every possible angle
and under diflferent
lights and conditions
to make sure that they
were endowed with all
of the many essentials
that go to make up a
one -hundred-per-cent.
screen star. Among
these were Lucille
Langhanke, formerly
of the West, but now
of 419 West 115th
Street, N. Y. City;
Helen DeWitt of
Queens. N. Y. : Beth
Logan of 22 Maple
Street. Bronxville, N.
Y. ; and Erminie Oag-
non. formerly of Can-
ada, but now of 244
West 109th Street. \".
Y. City. For beauty,
charm, grace and
personality, they are

Left, a camera study

of Allene Ray of San

Antonio, Texas

V I'liutngrajili 1)y Albin

(Forty-six)

aw:ird(.'(l lirst honors,
and in commemora-
tion of the event,
they will be present-
ed with gold medals.
Each of these yoiinj;
ladies will hereafter
lie known as a Gold-
Medalist of the 1920
Fame and Fortune
Contest.

Lucille Langhanke
is an amazin-jly well
equijiped girl,' with
sunset eyes and hair,
and her frier.ds will
not be surprisetl to
read here that for
grace, charm, beauty
and photographic
picturesqueness the
contest has produced
no superiors. In fact,
we have already
placed her with the
Famous Players-
I-asky Company on
a five-year contract,
and you will soon
Iiear mucli of this
unusual girl.

Helen DeWitt is
none other than the
violinist who for
years toured the
world with iMarlame
Gadski and Sousa's
Band as soloist. She
is a little blonde of
classic beauty, with
golden hair and big
bhie eyes, and is
about twenty years
of age. The Metro
Company has already
engaged her to play
in Bert Lytel produc-
tions, and the con-
cert platform's loss
is the screen's gain.

Beth Logan is a
distinct type and a
real discovery. She
is about five feet five
in height, slight of
figure, with large,
dark, sparkling eyes,
and is full of vivac-
ity and "pep." She
is barely fifteen years
of age and we have
no doubt that the
screen will soon find
a place for her.
â–  Erminie Gagnon is
just sixteen and we
have made over ten
tests of her before
the motion picture
camera. In real hfe
( Cont'd on f'agc 68)

Right, a new portrait

of Corliss Palmer, of

Macon, Ga.

(Forty-scren)

I'lloloRrapli l,y l.,„„i,

An Irish Twinkler

1 was a infnibi,T nf the cast, 1 jjasscd from role to role until
actiiallv played every part from a loaf of bread up. I felt
fiiU-tledgcir actress and after playing with Rlsie Janis anil
Deslys 1 went with Ziegfeld. sjiending two years in 'The

s' and 'Midnight Root."

other never (|uite approved of the stage," she went on,

vears
'l had
lil<e a
( iabv
l-ollie

-M
thoughtfully, "and was anxious for me to get uito pictures — we
used to talk al)Out it so often, .\fter her death I wanted more
than ever to do what she wished, so one day I told Mr. Ziegfeld
that 1 intended to leave the show and go back to posing.

".\ night or two after this, Douglas h'airbanks .saw me in the
•.Mi<lnight Roof and, with his characteristic iminilsiveness, he im.-
niediatelv engaged me to play leads, so within two weeks after
Motlier left me 1 was on my way West to act in motion ])ictures!
Almost uncanny, wasn't it? Somehow, 1 felt she kiic'c, and I
was hajjpy that I could so soon fulfil her dearest wish."

It re(|uires but a moment's chat to discover that the guiding in-

tlnence in Eileen Percy's life is her mother's memory and her

sincere desire to live up to what this mother would

wish. Ideals of the highest order, early instilled by

the absent one, form the girl's standard.

rn to the wailing of Irish winds and the
wash of waters on the wild shores, there
is just naturally an aura of romance
around this ])retty girl all the time
and you have only to look at the
lurking smile at the corners of the
eyes and the provocative curve
f the lips to realize how
well the Cjuaint endear-
ments of old Ireland
fit her. "Macushia,
m a V o u r n e e n.

FRt iM the Emerald Isle' to the silver-
sheet is a long trail but it was trodden
l)y a little maid of Belfast between
the ages of infancy and sweet sixteen.
Recalling the roguish twinkle in
her eyes, no one will be surprised
to learn that Eileen I'ercy is a .

(laughter nf Ireland, liclfast be-
ing her birthplace.

However, she was still a wee
baby when the family came over to tliis coun-
try, so the first part of her journey to the sil-
verslieet was made in her mother's arms, but
the latter part was made alone on the trim and
indei)en(lent feet of the "colleen" herself.

The I'ercvs. arriving in this country, set-
tled in N'ew York City, where the five children,
three brothers, a little sister, Thelma. an<l
Eileen, herself, grew up.

Eileen attended school in New York and
Krooklyn. then was sent to a Sisters' Convent.

She wasn't very big when she began |)os-
ing lor the noted artists of the <lay. among

them Harrison Fisher and Howard Chandler Christy. It is easy to imagine
their ilelight in drawing the girl's piquant little face, with the wide eyes
that are set far apart, continually changing color, ranging from the deejiest
blues thru various greys to a hivcly green.

It fre(|Uently happens that it is but a step from posing to the stage, so.
when "The Blue Bird" was |)roduce<l at the N'ew Theater, h'.ileeu was among
the grou]) of "unl>orn children" in that fanciful scene which the poet. .Maeter-
linck, wove into his great dream drama.

"1 grew up in that play." remarked Miss I'ercy. "and during the three

She wasn't very big wncn
she began posing for the
noted artists of the day —
and it frequently happens
that it is but a step from
posing to the stage, where
she made her debut as an
"unborn child" in "The
Blue Bird." Top, a new
portrait; center and right,
informal pictures

(rii,ly-ciuhf>

Bv
MAUDE CHEATHAM

ahagar" sine was to that mother whose
nieiiiory she adores and is to the people
from her island who seek her pictnres in
American theaters.

I saw it all as we were sitting in her
bungalow dressing-room, where her per-
fectly molded features, masses of glossy
hair and fair complexion were enhanced
by the artistic decorations in soft shades
of orchid. These bungalows arc all the
fashion at the Hollywood studios, for the
idea, started several years ago by Mary
I'ickford's cunning bird-cage in the cor-
ner of the f.asky lot, has met with favor.
At the Fox studio, each star has a jirctty
grey bungalow set in a lovely garden,
and Eileen, now a Fox star, has in hers
an effective setting for her daintiness,
which does not destroy the glamour of
romance.

Her humor is of the quiet kind, and
the she looks the part of the peaches
and cream girl, she has a remarkably
sane balance, governed by a happy view-
])oint of life, with a safe margin of spirit
— when the occasion demands.

"Being with Mr. Fairbanks was a very
wonderful experience," Miss Percy was.
telling me, "and I shall never be grate-
ful enough for all I learned with him, but
I found it a pretty big jump from The
Follies, to playing lead with one of the
foremost film-stars. I
became discouraged
after completing five
pictures and decided
to give them up. I
was only sixteen and
had not yet foimd my
bearing since los-
ing Mother and
tho 1 had my
sister, Thel-

At the studio they will
tell you that Eileen is
a general favorite —
never indulging in tem-
perament and always
being on time. Above,
another camera study,
and left, Eileen at the
shore

ma, with me, I near-
ly died of loneliness.
"Oh, of course, I
came to my senses."
she went on, "and I
suddenly realized that
to succeed I must get
right down to hard
work and seriously
study this work. The screen is illuminating, for
it reaches the thought behind the action and this
is, after all, tlie very point on which the finely
balanced ball of success is poi.sed. If the founda-
tion is not true and sincere, the w-hole thing
crumbles — , this is so with everything, motion
pictures and life itself.

".â– \s soon as I looked it squarely in the face
everything seemed to come to me in the most
satisfactory way and now I am fired with a big
ambition to make a worthy name for myself.
I seem destined for comedy — farce comedy, so
I presume that will be my forte."

After i)laying in several pictures with Sessue
I layakawa, where her <lainty fairness made an
excellent foil for the Japanese artist. Eileen was
(Continued on page 100)

f I'lTly-nivc)

Holbrook Blinn and
Frances Carson appear
at the left in a coiorful
moment of Porter
Emerson Browne's
drama of the South-
west, "The Bad Man"

Photographs, left and hclow.
by It:i I). Schwarz

f

Genevieve Tobin, below, who is the

charming and personable heroine of that

pleasant little drama of Manhattan in

1810, "Little Old New York"

Photograph,
left, by Alfred
Cheney Johnston

Tot Qualters, above, is a picturesque
figure in the Century Roof entertain-
ment, "The Midnight Rounders"

(Fifty)

Mid-
Winter
in the
Theater

One of the centers of
interest of John Mur-
ray Anderson's highly
colored "Greenwich
Village Follies of 1920"
IS Margaret Severn,
who contributes several
interesting — and vivid
— dance interludes

Zimbalist. the fam-
ous violinist, has
made his debut into
the musical world
with a light operet-
ta, "Honey dew."
The real hit of
"H o n e y d e w" is
scored by a little
Spanish dancer.
Mile. Marguerite,
who here appears
with some of the
Zimbalist chorus

f Fifty-one)

Double Exposures

Conducted bv F. J. S.

How TO BE A Movie Review i.k
(hi '■>»<• Lrsxoii)

I \(:Ti; — \'iiu know tlu' Uind of ni ition picturr criticisms you
n ;ivl in the daily newspapers and in the trade ])ap(TS. But liave
V. 1' ever thought of trying it ynitrsrif.' HertV how to do it).

I < the director wrecks an autoniohilc :

Truly no expense has heen spared.

If it is a wildly improhahle melodrama:

Crammed full of real thrills and possessini; a wealth of action.

I f the principal cutie is in ]Kril
.•mywhere :

kepletc with heart interest and hav-
iiij; an absorhing love story.

If the star is tlownrifjlu bad :

The drama carries itself, altho tlu-
])opular star was never better.

If the star and the storv arc botli
had:

.Agreeably entertaining and marked
â– iv >nperb photography.

1 f a mystery tale :

Perplexing story in which the in-
terest of the absorbed spectator will
lie held to the end.

If the cutie wears several gownv :

.Star runs the whole gamut of emo-
lions.

If the cutie reveals a glycerin tear
in the close-up:

Here is. indeed, a triumph of emo-
tional acting.

I f the plot is almost invisible :

A sweet and simple photoplay of
rare wholc.soniene.ss.

h'or any |)holoplay including a nioh scene :
(ireater punch thpii "The Birth of a Nation."
For any jihotoplay with a spiritual rcforniatioi! :
More uiilifting than "Ttie Miracle Man."
For any photoplay attemirtiiig hazy "art" iihotography :
Nothing like it since "Broken Blossoms."
For any star wearing curls :

. . . gives a sweetly unsoiihisticatcd ])erfoniiancc whicli
plays U])on the heart strings.
I'dr any male star :

That lie succeeds in this dillicult
role attests to the ability of the ster-
ling actor that he is.

TlllXCiS 1 SHALL X1':\KR I.I\"F.

TO SFh:

By l.ofiSE F.\7.ENn,\

Bull Mnntaiia in tlic !''lorodora sc.Ktrttc

.\'aziniova in one-reel comedies

Theodore Roberts walking a slack wire

(ieraldine I'-arrar playing Peter Pan

Lew Cody in the cement business

Mildred Harris Chaplin debating on
the League of Nations

llayakaua in a railroad serial

Katherine McDonald eating a hot dog

Tom Mix in '-lledda ( iabler"

Louise Fazenda as "Little Fgypt" in
a «ide show.

Doug Fairbanks is .going to do
D'Artagnan in ;t lilni version of
Dumas' "The Three Musketeers."
Our choice for the Dumas Iiero is
lien Turi)in. with Charlie Mu'-ray
•Old Chester Conklin as the other
guardsmen.

.Koi) TiiiNLis VN'e're Tired Ok

Property ducks that squirt water
in tlie comedian's face.

Cnunbling roses to indicate the
]:assing of a character thru the pearly
gates.

Burning oil wells in the weeklies.

Stories of star's (lets.

Stories of star's insurance.

Stories of star's offers to return
to the legititnate.

(Cinilinncil on page W)

{rifly-l-.c'

Dinty

Pearl

By
Maivernh

A'

ocsn t

( IIAI
lake i):i\ fi r
doiii' riglu."

Dinty stood his grounri
squarely, legs ()lantc(l
sturdily apart, blue eyes
level, lie repeated his
assertion. It was said
withoiU l)ravado. sini])le
as part of the' boy's
oreed.

The third District .\t-
lorney eyed the small
and evidently Irish face.

â– 'You're from the auld
eounthrce" he said, with
a smile and a brogue.

O i n t y ' s 1 1 1 u e eyes
gliiited.

"Yessir," he said,
"we've a story, we have.
,\ rare one."

â– "rdl it nie."

Ihc third District .\t-
torney seldom squan-
dered his valuable time
so freely. More or less
of a humanitarian, he
h.ul learned to reject
nnich of the flotsam
drifting in to him in these
quarters. Kspecially, the
ones with "stories."
(jene rally, the fiction
was connivance in one
form or another, more
or less ingeniously
masked. Dinty seemed
difl'erent. There was a
liglit in his blue eyes,
wide eyes suggestive of
strain and slee()lessness,

there were faint hollows in his too-\oung cheeks and an irresist-
ible and unquenchable humor in bis smile, a ready smile.

"My mother was Doreen .\dair," the lad said, as tho he loved
the dark romance of his telling: "she was in love, very greatly
in lo\e she was, with Danny O'Sullivan. He had eyes like me.
that Danny. There are many times when my mother, not so
well as at other times, sir. kisses my two eyes and says 'fer
you. Danny-arragh'. She forgets-like. They married secretly,
the pair of 'em. Doreen .Vclair had a landed father and oh,
such a lady-mother; luiglish, she was. I've heard of her often.
I, aces, she wore, and little tip-tilty caps and a haughty air.
Danny ( )'Sullivan wasn't good enough for the likes of an
.\dair. .And so they got married, and then Danny got wind of a
job in .America and he told Doreen how that he'd go over where
gold was growing like sumac at home and then he'd send for
her, and after a bit they'd go home again. Cnesus-like an<l rich
and the proud mother of Doreen would how her haughty head."
Dinty vouchsafed a smile. "It didn't happen like tliat." he said.
" 'cause / came first, and then, when Doreen got here. Daiuiy
had been kilt onlv three days before." \ little tenderness actual
in its significance touched the lad's sensitive mouth, "it was a
battle the little woman had to fight then." he said, "with me a
babe as helpless as helpless and nary a cent, nor kin, nor friends,
lint it takes the Irish ! Her proud mother and her stormy father
and me, soft and dei)endent, but most of all. most of oil. her'

(Fifly-lhrce)

love for Danny ( )'.Sulli\ an pulled her thru, .'she worked by d.i\
and she worked by night and her body got thin and stooped .i.i.l
her ])retty liair thinned and there's siller in it, and her feet lo-i
their sha])es, slie saifl, and her liands got twisted and poor-like
and after a while a doctor told her . . . her lungs had to be
'humored.' but, at first, she couldn't humor them, owing to
the work and the hard times and all. Hut now . . . now . . ."
the embryo man ijuft'ed his own exceeding small chest. "I'm the
man of tlie family, now," he said. "I work by day and by night
J take care of Doreen. I feed her and make her all comfy,
same as she did for me, and I think she's mostly hap])y. .\'ow
and then she takes me for Danny O'.'sullivan, and not just Dinty.
and then she smiles and looks like the little picture of her taken
on her father's estate, all curls and frills and laughing, .^n it's
mostly all right."

"But some of it isn't? .Some of it is figlit, eb ?" The young
third District .Attorney felt a suspicious stinging of his eye-
balls. Nor was he, in any sense, a sentimentalist,

"Well, it's like this. I'm selling pajiers. Me and Water-
millions, he's black outward and white inward, and Chinkie.
he's yeller, but the same applies to the inner. We're up against
a gang, l.evinsky's the head of it. Levinsky's a bird. He
makes life hard for mc and for Watermillions and Chinkie.
He has all the best corners, you sec, for his gang. Whenever
one of us gets going good and gets a trade, he takes our corner^

MOTION PICTURE

Another Chinaman had
accompanied them and
they had taken the white
woman into a banquet
hall, all red and black
lacquer, couches and weird
contrivances for pleasure
and for torture

away from us. and makes us
move on. W'e cant get a foot-
lidld. not that way. and we dont
get on very firm or very fast. I
'spose gangs must be gangs."

The third District .Attorney
fingered his lost wallet, contain-
ing its thick wad of bills and
other, valuables, that hour re-
turned untouched, by Dinty. There were not. in his section.
many Dintys. Painful experience, the jiainful exjieriences of
others, had taught him that. Dinty bad refused reward in the
shape of a.tenner. despite the sick, beloved Dorecn and the gang
and the jireempted corners.

John Xorth rose and clapped the small man on one lean but
unflinching shoulder.

"Keep a stout heart, my friend," he said, "and we'll see what
can be done."

.\ week later Dinty received a communication from the third
District .Xttorney. It requested the honor of an interview.
I'he sum and substance of the
interview was that Dinty ac-
cepted a loan, on a strict busi-
ness basis, wherewith he col-
lected a .selling force of his own,
inclusive, of course, of Chinkie
and Watennillions. bought up
some corners, and became the
leader of a gang of little fellers
to oppose Levinsky's big fellers.
Xorth also insure<l the little
tellers police protection.

Dinty was exuberant. His
mother's teaching was right as
right. The white light of it
burned on the zealous altar of
his soul.

Dinty sold the editions in

Dl.VTY
Fictionizcd. liy permission
Xciian production oi his story.
Fairfax. Released by First N'

Dirly O'Sullivan

Dorecn O'Sullivan

Danny O'Sullivan

Judge Whitley

Ruth Whitley

Jack North

Wong Tai

Sui Lung

Mrs. O'TooIc

Harry Flynn

.Mcxandcr Horatius Jones....

The Tough One

Wong Tai's son

which it was heralded
that Judge Whitley's
twenty-year-old daugh-
ter Ruth had been ab-
ducted from her home :
that foul play was .sus-
pected ; that the Secret
Service was operating,
etc., etc. It stated, fur-
ther, that Judge Whit-
ley had been the instiga-
tor of the recent very
vigorous campaign to
clean up Chinatown,
further deductions as to
the local source of the
abduction were unneces-
sary.

Dinjy read it with a
(|ui\er of his small mus-
cles. He had the ele-
ments of chivalry and it
made him shudder to
think that in that fester-
ing alley and byway,
among tlte Eurasians
who moved about with
padded, sinister foot-
steps, scorned alike by
Chinese and white, a
white girl, gentle and
high-born, was secreted.
When he leariied that
John North loved her.
even as, zenith of all ro-
mance, Danny O'Sulli-
van had lo\ed t!ie young Oorecn, all liis Irish was up.

He ached to conspire. He dreamed fitfully of the fia.sh of
knives and the snarl of teeth in pallid yellow faces. His vivid
imagination showed him secret panels and underground dun-
geons and holes beneath the earth, foully conspiring to blood-
curdling conspiracies.

He told North all he knew and all that he had heard of the
desperadoes of Chinatown.

"It's one of the Malays." he said. "I can bet. It's one of
them half-breed Malays. They cling together like glue. There's
Dorkh. for instance. He's got some white in him. That makes
him a'l the worse. It makes him cunning. Chinkie's scared to
fits of Dorkh and his sister is Dorkh's Chinese wife. She's
scared to fits of him too. She's only a kid. fifteen. Thin and
lemon colored with terrified eyes. I u.seter look like that in the
dark, once. I'll bet it's Dorkh."

That night Dinlv's susjiicion was confirmed by ludge Whit-
ley.

.North called on him and told him of his talk with Dinty. "I
try to draw him out." he said, "very often those kids are .scav-
engers of information, and
Dinty "s would be straight."
Whitley groaned.
"It is Dorkh." he s'aid. "I've
been keeping it to myself for a
twofold reason; first, because I
feared further enmity if pub-
licity got out and. secondly. I
had no confirmatory word. To-
night I got a message direct. .A
month ago I sentenced his son
to San Quentin for killing a
Chinaman in a gambling row'.
Dorkh came to me and tried In
bribe me. He was ferocious
in his svelte way. Naturally, I
refused the bribe. He left ine,
apparently reasonable. Then . . .
this . . . Ruth. God, God, to

from the Marshall

Scenario by Marion

ational. The cast : —

Wesley Barry

Colleen Moore

Tom Dannery

....J. Barney Sherry

Marjorie Daw

Pat O'Malley

Noah Berry

Walter Chung

Kate Price

Tom Wilson

.^ron Mitchell

Newton Hall

Youn^ Hipp

(Fifty-four)

Bringing the Congo to
Broadway

"-'^t

By B. F. WILSON

Ax uiuisiial pliasc of the nuitioti picture inilustry reoeiilly
came to light with the return of Dr. Leonanl John \'aii-
ilenbergh from an eleven months' trip thru Central Africa.

( )n the twenty-fourth of September, 1919, Dr. Vandenliergh
logc-tlicr with a camera-man, an assi.stant, and Dr. Cieorge I'.,
Shattuck, embarked from New York to Xaplcs, From there, the
party journeyed to -Mombasa, on the east coast of .\frica, con-
tinuing on to .Mbert Nyanza, I-ake Kioga, and following the Nile
to Alexandria. This small body of men brought back sufticient
ilata to confirm uni|nestionably the report of the (jxistence of a
race of pygmies, known as the Mambuti,

"W'e encountered many dilHcuhies in locating this trilie," said
Dr. X'andenbergh, "for they are
a most timid people. Xone of
them exceed four feet in height,
and their customs and mode of
living are perhaps the most un-
usual I have ever encountered
in my nine years of missionary
work in the wilds of .\frica."

W'e were seated in the offices
of the Famous Players-La.sky
Corporation. .\t first impres-
sion. Dr. X'andenbergh re-
sembles a banker, or doctor,
yet the deeji-set eyes and the
bronzed skin bearing witness
of long months of exposure to
burning rays of tropic suits.

»^i

I'll.

o^'i:iiiIi hi
la, .NV>v V..rk

r^

f^\\l^

places him as one who 'has
seen wide spaces, and lived
in strange coimtries.

"You see, 1 had originally
planned this trip solely for
the purpose of gathering
material for a coast to coast
lecture-tour in connection
with niv missionary work.
I have for nine years lived
witli these people, who are s<j pathet-
ically untouched by the hand nf
civilization. I wished to arouse the
interest of .America, and to get her
help for the.se ignorant children.
Mr. Jesse Lasky heard of my pro-
jected trip and most generously
offered to finance it if I would take
a camera-inan along and jirocure
some motion pictures. .\lso my
missionary work is to receive a
certain percentage of the returns
from the pictures when they are re-
leased as a s])ecial feature.

"It was thru the friendshij) with
some of the White l'"athers, wlio live
so simply and work .so earnestly
on their apparently tliankless tasks,
that I managed to finally locate the
Mambuti. As I have said before, they are a very timorous little
peojile and, upon the first inkling of our approach, they fled,
leaving the villages quite emi>ty. However, they were coaxed
back thru intermediaries, and finally became quite friendly, jjosing
for pictures and dancing for us. I lived in one of their villages
for some weeks, making a thoro investigation of their habits, their
daily life, their customs. I found that they existed on ro<lents.
caterpillars, and other similar focKl. and that their chief sport was
{ Continued on payi' 102)

Two strange tribes of
Africa are the Mambuti, a
race of pygmies, and the
Masai people, who are
giants in stature. Dr. Van-
denbergh confirms the re-
port of their existence in
his recent trip to Africa-
Top, a White Father with
two of the pygmies;
center. Dr. Vandenbergh;
bottom, two Congo belles
in gala attire

(Fifty-seven)

. 1 1

(i

' ^'.

IMiotogrAphs l>y Edward Thayer Monroe

Juanita Hansen has a
sort of hovering solici-
tude which one might
not expect, perhaps, of
her somewhat sensa-
tional appearance. She
has a super-ability to
wear clothes startling-
ly — at the same time
this does not mitigate
the kind heart beneath
the latest Lucile
model

OF course, I knew that
Juanita Hansen had had
an apartment or a bun-
galow or something or other
in California with Mary
Thurman ; that she had been
one of the famous Mack Sen-
nett bathing girls and that she
had rather recently changed
her line, as it were. I knew
that she was but newly ar-
rived in New York ; that she
was effectively blonde and

that she was occupying Texas Guinan's apartment in the
precincts of the village' known as Greenwich. This last
I knew with a beautiful definiteness, because she had
cozily invited me to dinner, and I always a.scertain dinner
addresses ... I am an interviewer.

These facts, above related, were the only facts in my
possession. I had heard, tho, come to think of it, that
â– iome glib soul had observed that Texas Guinan's apart-
ment resembled the large set in "Intolerance," and, having
seen Miss Hansen photographically, I anticipated an —
well, graphic evening. I got it.

I was greeted by a vision, nothing else, nothing less,
with hair blonde and bobbed, in Turkish costume of an
extreme effectiveness, even to the bound ankles.

"1 always," scid Miss Hansen, "wear this thing around
the house. It is a habit with me. Just before I left Cali-
fornia, tho, I was throwing away a lot of things and was
about to include this in the lot, when Texas Guinan came

\n\

Know Thyself

in and advised me to keep it. 'You'll need it,'
she told me, 'in my apartment.' I find that I
do. It, sort of fits in."

Miss Hansen was hospitable plus over a
charming dinner-table containing not merely
charm but food, substantially speaking as
well . . . delectalile and exceedingly gooey
chocolate cake inclusive.

Juanita occupied a tall and carven chair of
somber hue and looked startling . . . like a
glad sort of picture, framed.

.'^he has a .sort of hovering solicitude which
one might not expect, perhaps, of her some-
what sensational appearance. One knows,
however, that the sensational appearance, the
super-ability to wear clothes startlingly, does
not mitigate the kind heart beneath the Lu-
ciles. if they be Luciles.

There is an air about her at once of minis-
tration and childlike pleasure.

She had never been in New York before,
which I , did not know. It is, I suppose,
always .something of a shock to a born and
bred New Yorker to encounter a person who
has never before so much as seen the famous

V .'.1^.

<*^

r >

r

K

( l-ifly-c-ighlj

By FAITH SERVICE

sky-line. "I nearly," she told nie, "went crazy
the first night I arrived. Some friends met me
and took me some place to dine ... I dont
know where ... I was so excited and seeing so
many things all at once, so it seemed to me. I
just kept bobbing from one side of the taxi to the
other, asking questions galore and always coming
hack to 'Where is the Statue of Liberty !'' I thought
I couldn't be hajipy until I had seen that."

After dinner we insjiected some creative fab-
rics known, commonly, as gowns ; likewise hats
and vamp negligees and such-like triumphs. I
discovered in tlie delicate process the innate
good nature of Juanita, a sort of ready and open
obligingness pleasing to find. Tired from a long
day at the studio, strenuously serialing, antici-
pating a repetition of the same early the follow-
ing morning, she still tried on the various hats
and gowns for us, (her secretary, her P. .\. and
>ne), with unvarying eclat and with varied and
always bewildering achievement.

Then we went into the dimly lit, mirror-hung,
exotic living-room and toasted our feet against a
coal grate . . . and talked ... I asked her
what had induced her to leave the Sennett line
of work, et al.

riiotographs by Edward Thayer Monroe

Left, Miss Hansen in
a Turkish costume
which reduced ye in-
terviewer to a state of
semi-consciousness for
the entire evening.
"One day I made up
my mind that I would
make good," she says.
"More importantly, 1
made up my mind that
I could make good" —
and she has

"/ s ti d d e II t y
found myself," she
said; "I 'had al-
ways been very
self-depreciatory
and without any
.self-confidence at
all. I thought
every one I saw-
was so supremely
much better than
anything 1 was or
was doing that I
would come away completely crushed and dis-
couraged. I'd see Lillian Gish, or Norma Tal-
madge, or Blanche Sweet, and I would go
home and think, 'Oh, they are zvondcrful! I
can never be like that.' and I would be so blue
I would be actually in despair. Then, one
day, it came to me like a flash that each one of
us has his or her own ])articular place in the
scheme of things which no other person can
possibly fill or even touch. No matter how
small the place, it is our own place, uniquely,
to do with what we will. It came to me as
sort of revelation. No one can take anything
from us or give anything to us in so far
as our niche in life goes. We are all per-
sonalities. No two of us are similar, really.
I sort of felt that I had met myself and for
the fir.st time. I took a look at myself in the
glass. I was still young. I made up my mind
that I would cut out ]/arties and fooling
(Continued on paye 83)

I H,fty-n,ii,-l

Nancy Manages

By LILLIAN MAY

IDOXT know wliat it was
about her. She is very
small and childishly

formed. Her brown hair

waves naturally over her

ears and is drawn low at

the back of her head. Her

dark blue eyes look out

from long, curled lashes

that were not darkened.

Her mouth, a real Cupid's

bow that an artist might

have formed, was not too

red. Her clear skin with a

suspicion of small brown

freckles was guiltless of

powder. She was quietly

dressed and yet, as we

walked a few blocks up
Broadway, thru the lobby

of the Claridge and into the

dining-room to a cozy cor-
ner, it was as tho every one
were saying, "Here comes
Xancy Deaver !"

How .so much personality
could be encountered in
one small girl I have won-
dered ever since. .And it
was not long until 1 dis-
covered, that not only is
Nancy Deaver a person of
exceeding charm and per-
sonality, but she is also
very business-like.

In the first place, there
was the business of being

born. Daddy Deaver is a civil engineer with business all over the
the world. Mother Deaver accomi)anies him on all his trips. Did
Nancy, merely to be born, separate the family or postpone an
important business trip to .Australia? Certainly not. Tlit tri]i
was made as scheduled and en route, efficiently and promptly.
Nancy was born. Never for a moment would she interfere
with the business uf civil engineering or anything else!

"That's why I am sometimes called an .Xustralian." she said.
"but I'm not. I was born on the way to wherever we happened
to be going, which happened to be Australia. But fatlier is
English and mother is Scotch, therefore I am English and
Scotch and proud of it."

The little family, however, remained in Australia for
some time and it was there at the age of ten that Nancy
made her stage debut in a Christmas pantomime. She
made such a success of it, too, that she begged to con-
tinue her work as a child actress, which she did inter-
mittently, thru several years of traveling about with her
parents.

"Ever since I can remember, 1 have loved to act and
dance," she said. "Dadd)- didn't want me to do it, but
mother didn't mind, and I reasoned with Daddy, telling
him that as long as he and mother were always traveling

that I might as well
put it to some good
advantage for myself.

A continual source of
surprise is that so much
personality can be en-
compassed in the di-
minutive Nancy Dea-
ver. And not only is
she a person of exceed-
ing charm and the
above personality, but
she could also come off
with flying colors in
the latest and most dif-
ficult of efficiency
tests!

rlmtnKf.npli' hy Apefl.i

Of course, he said that I
ought to be put in school in
England and left there. But
all the same lie was glad
that mother refused to have
me left behind at a stupid
school. You see my father
is not a typical Englishman
— the kind who rules his
family. No indeed. Mother
and I rule him. And some-
(Continucd on fayc 86)

(Sixisri

Gossip of the Eastern
Studios

THE new Long Island studios of llie I'^amous
Players-Lasky Corporation are now running in
full force. It's a big, model plant, and an ideal
creative home for the photoplay.

Motion picture stars are still coming and going
abroad. Dorothy Gish has returned with her mother.
.She i.s going to rest a while, making a trij) to Cali-
fornia before she resumes production. Blanche Sweet
recently sailed for Paris. . Herbert Brenon, fresh
from interesting activities along the Mediter-
ranean and in Italy, has been visiting in New
York. Very possibly he may go back to
make a few more pictures. As The Cl.\s-
sic goes to press, this is still pending.

Some interesting news comes from Real-
art way. They say that Constance and
['"aire Binney are to appear together, playing
the sisters in the new novel, "Christopher
and Columbus." By the way; Constance
is going to play behind the footlights again,
alternating with her screen work. It will
be in a Rachel Crothers drama. "Nice
People."

The<la Bara returned from an inter-
esting trip abroad and is again on tour
in her .stage play, "The Blue Flame."
Rumors are current regarding a
return to the screen next .sum-
mer. Be that as it may, it is
an interesting possibility.

Madame Olga Petrova
made a flying trip to
England on business
and returned to open
a t w e n t y-w e e k
vaudeville tour of
the Keith Thea-
ters. This will take her to the
middle west.

The remarkable — and even
sensational — success of David
Wark Grififith's super-picture,
"VVay Down East," is the talk
of the motion picture world.
"Way Down East" is doing an absolute
sell-out business at the Forty-fourth Street
Theater in New York, and is playing to
S. R. O., (Standing Room Only), in Boston
and Philadelphia. A Chicago presentation
is about to be made.

There is much talk about David Wark
Griffith's future plans. The tragic death of
Bobbie Harron, of course, upset things a
great deal and activities at the Mamaroneck
plant ceased for many weeks. Griffith al-
ways personally supervises the presentation
of his productions in the various cities. Fol-
lowing the launching of the Chicago run, it
is likely that he will again turn to produc-
tion immediately. He has another super-
production in mind, one in which Dick
Barthelmess will be featured. After this,
Dick is to be starred.

Charlie Chaplin lias been seeing New
York very much incng. He dodges in-
terviewers, but cap be occasionally seen
at the theater and at evening roof enter-
tainments.

(Sixty-one)

George Fitzmaurice who once was an
art student in Paris, looks over a
studio "prop" in the upper picture. In
the center, Constance Binney pauses
for a cup of tea between scenes of her
latest Realart production. Below,
Thomas Meighan confers with his
father, John A. Meighan

Pacific Coast Paragraphs

Above, Bebe Daniels de-
serts the luxurious bou-
doir to pose as a sea siren
for a new effect in a new
picture; right, Marie Mos-
quini believes in enjoying
every shining off-stage
minute, and below Betty
Blythe, who is now busy
before the Fox cameras,
as Queen of Sheba, in the
spectacular production of
that name

By HAZEL SHELLEY

TRA time at the Alexandria! The statuesque blonde wearing the beautiful
tailored suit and the trim sailor hat is Kathlyn Williams — with her hus-
band. The demure, slender liltlc girl in the dark blue serge and close
lifting hat is Colleen Moore who has just signed a fine new contract with
Marshall Neilan. 'IMie good looking hoy with her is her brother, Cleeve.
King Baggott is the business-like man on your right and so it goes — unless
you look closely you miss die celebrities, for they are just people.

One of the beautiful brunettes in Los Angeles is Florence Vidor. I met her
out at the Ince studio the odier day where she was completing her final scenes
in "The Magic Life." House Peters was playing opposite her. The quality
of Florence Vidor's beauty is the sort you read about and dream about. There
s a perfection of feature, poise and carriage which leaves one fairly breath-
less. She was wearing an evening gown of yellow and lavender draped
chiflfon. Her luxuriant chestnut hair was bound closely to her shapely
head. Her complexion is so finely luminous that it is scarcely necessary
for her to use any make-up. About her there is a spiritual aura, a peace,
a completeness. She is a wonderful woman, wife, mother, and artiste.
William deMille has begun work on Barrie's play "What Every
Woman Knows." Lois Wilson has been given Maude .\dams'
original role and Conrad Nagel plays opposite. The Conrad
Nagels are a model, happy, young married couple, who are now
making their home in Hollywood.

Another admirably mated pair are Mr. and Mrs. John Bowers,
who recently spent a wonderful five weeks' vaca-
tion on their yacht, the Uncas.

Metro has signed up a stock company of un-
^Ki^^^ usual strength this season. Included are Wynd-

ham Standing, whose performance in "Eyes of
the Soul" was a screen epic, Edward Connelly.
Edward Jobson, Florence Turner, Cleo Madi-
son, Edward Cecil and Lawrence Grant. Having
these players always available, means that Metro
stars will be supported by practically all-star
casts.

We were all just thrilled over the addition of
Careth Hughes to our film colony, when along
came Fame and handed him the leading role
in J. M. Barrie's ".Sentimental Tom-
my," and he departed for New York.
However, he was only loaned to Fa-
mous Players by Metro for this one
jiicture, so we may expect him back
again soon.

And speaking of "loaning," Mar-
shall Neilati has loaned Colleen
Moore to King Vidor for one picture,
"The Sky Pilot."

Jack Mulhall. another happy bene-
dick, is to have the leading role op-
posite Viola Dana in her new pic-
ture, "The OfF-Shore Pirate."

By the way, I stumbled on an in-
teresting rumor the other day. It is
said that Thomas H. Ince. who !)i"o-
duced the wonderful old Indian pic-
tures in the good old Fine .'\rts days,
will produce another Indian drama
in the near future.

I watched Myrtle Stedman being
directed in "The Concert," by Victor
Shertzinger a while ago. Miss Sted-
man has remarkably expressive blue
eyes and fair hair and is, complete
mistress of screenic moods. .She can
turn from a study of
"Vogue" on the side
.vio"n°oV.'L.''A"' ''"^s *° 3 most pathetic

(Continued on page 94)

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(Si.vty-fhrccJ

The Fair Four

Pathe has a new idea! A company
of six girls has been organized —
the half dozen to take turns play-
ing leading roles in Rolin comedies.
They are to be known as the
"Vanity Fair Girls"

The piratical flapper just
above is Ethel Broadhurst.
Ethel rather gives us the im-
pression that walking the
plank wasn't so unpleasant
after all

PhotORraphs by Witzfl, I-. A.

The pensive maid is Jean Hope;
the fair pilgrim in the center is
Del Lorice; while the agricul-
turally inclined young woman at
the lower left is Lilymae Wil-
kinson. Lilymae is one of those
names that printers and proof-
readers remember in their pray-
ers every night

(SxxU-jour)

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I Sixty-five }

shrewd eyes. "Mm !" he saitl at last dry-
ly, "she must ha' found it quick, because
she's down at my house this minute, cry-
ing as tho her heart 'ud break. I couldn't
make out what was wrong, so I cunie miT
to find out. Went away, oh ? With Bill
Lacey ? Well. I puess she changed her
mind."

Caleb West caught the table edge. "She
— didn't go?"

"Didn't 'pear to." the Captain said, dry •
Iv, then his tone changed, grew pleading.
"Caleb, she's young. We older folks for-
get what the world looks like to twenty.
We'd ought to make 'lowances. Shall I
go back and send Betty home?"

The master-diver stood immovable.
His face was like granite. "It's too late.
Bell." he said slowly. "It 'ud happen
again. I couldn't stand it. watching" her.
wonderin'. I'll give her half I make but
— she cant come back."

.\rgument. pleading availed no more
than a wave washing against a rock.
"There ain't nothing." mused the good
Captain as he plodded heavily homeward,
"there ain't nothing unforgivinger than
a good man. nor stupider either. Caleb
West is all right when it comes to laying
the foundation for a lighthouse but he
cant keep his own home from drifting to
shipwreck."

White-faced but singularly calm, the
girl received Caleb's edict. "He's right I"
she flashed when the Captain showed in-
dignation. "I haven't got the right to go
back." She faced the old man bravely,
"you know what folks'll say. But it wont
be true. Bill Lacey never so much as
kissed me. Soon as I got on that boat I
knew I couldn't go. But I was wicked all
the same. I listened to him and I —
wanted what he said— Life! and things
happening — and things to see ! And I de-
sen'e to be punished."

The tiny fishing village rocked sea-
sickly with the news. Housewives left
their dishes unwashed to discuss it over
their fences, the men on the fishing boats
rolled it like a flavorsome morsel on their
tongues. But there was a singular scar-
city of details. None of the three in-
volved would speak of what had hap-
pened. Bill Lacey, sullen-eyed, with bit-
ten red lips left the lighthouse gang and
went to work as a fireman on a freighter,
plying between the island and the main-
land. Betty West got a place as a wait-
ress in the hotel, and Caleb strode to and
from the ledge where the lighthouse was
rising, with a heavy look that forbade
questioning.

But the gossips eked out their fare with
another spicy morsel. For a long time
the admiration of Henry Sanford, the
contractor who was building the light, for
pretty Kate Leroy, the wife of the hotel
owner, hail been uimiistakable — to the
whole village, except apparently, to slow,
silent, plodding Morgan Leroy. The hand-
some shoulders and dapper mustache of
the city man were almost never seen
without an orange sweater, a floating

Deep Waters

(Continued front page 421

chitTon veil close by, and while Sanford
paid assiduous court and Kate Leroy 's
gay. pleased laughter shrilled her flat-
tered delight to all the world. Morgan
Leroy, in shapeless old trousers and
wrinkled necktie sat hunched over his
pai)er in the hotel office.

In her leisure hours Hetty slipped away
to the cliff, and sat. a smaM. huddled
figure hidden among the bushes, looking
out over the restless harbor to where the
far figures of the divers moved on their
platform. The ocean no longer called to
her imagination. Its eternal plaint
moaned in the homesick ears of her soul.
and slow, silent tears gathered in her eyes
and dripped off the point of her chin.
To Bill Lacey, when he tried to reason
with her, to plead angrily, passionately
she answered only "No. That's all over
with — please."

"But you cant live here all your life
like this." the boy stormed, haggard eyes
on her colorless little face, "people whis-
perin', working like a hor.se ! Ask Caleb
for a divorce and marry me. We'll go
away — to Europe, we'll see the world — "

sine smiled sadly, as tho she were in-
finitely older and wiser than he. "I
couldn't be any farther away in Europe
than I am here," she said, and fell to
brooding, not noticing when he stumbled
blindly away.

People said afterward that the explo-
sion aboard the Bessie Marie, freighter,
was a judgment, rolling the good old
Methodist word solemnly on their
tongues. They proved at the inquiry
that it was a leaky valve. Whichever
you prefer, it was at least a turning point
in si.x people's lives. Almost before the
vibration of the explosion had died away
a crowd had collected on the shore and
the tug with the divers, still in their suits
had started for the wreck. Captain Bell
was casting off his dory when he felt his
arm seized, and looked down into the face
of Betty West. "I've got to go I" she
told him wildly, "I've got to go!"

And so Caleb West and his wife came
face to face at last on the tilting deck of
the tug beside the mass of wreckage which
alone showed where the Bessie Marie
had gone down. Her hands went to her
breast, but she did not speak, only looked
up niio his face, set into hard and alien
lines. "All o' the crews safe — but one
man." he said harshly, "he's in the air
lock. If 1 dont get him in ten mimites,
handsome Bill Lacey'll never break up
another man's home."

There was such terrible bitterness and
exultation in his tone, and his kindly eyes
held such an unholy light of triumph
that she cried out then and clutched at
his arm. "Caleb! You're going? You
must ! ( )h — you must !" She was think-
ing only of him. and of the Cain-rejjroach
he would carry always thereafter if he
did not go, but he read in her agony
another meaning. Without a word he
turned on his heel and set the helmet over
his head.

It seemed to Betty West that all her
lifetime up to that moment was not so
long as the ten minutes that followed,
when she stood by the bow. staring down
into the green deeps as tho by the force
of her will she could draw hiin up to her.
When the ugly, squat figure appeared,
silently carrying something limp in its
arms and clambered clumsily aboard, she
heard the sound of hysterical weeping
somewhere at a great distance but did not
know that it came from her own lips.

They laid Bill Lacey on the deck, a
long young sprawl, terribly still. And
while she watched them work over him,
Caleb West clambered out of his diving
suit, staggering with weariness. It had
been a gruelling fight under the crushing
green waters, a fight more than physical.
Dut he" carne out of it a conqueror. Hu
went to his wife now. and the hardness
was gone from him. "I saved him partly
because 'twas my duty, Betty, but mostly
because you wanted him.'' He smiled
crookedly. "I been wrong. I was too old
for you — I didn't have the right to your
youngness, Blossom." (the old pet name
slipped out unaware), "but I'll give you
back what I took, best I can. I'll set you
free — "

The nearness of her — ah God ! the
dearness ! He shut his eyes lest he forget
his promise and take her straightway, be-
cause he could do no other, into his weary
arms. Because they were shut he could
not see the quivering shame and tender-
ness in her upturned face, but suddenly —
thru the . darkness, spiritual and bodily
that engulfed him. he heard a whisper; —
"Caleb, please — dont — set me free. 1
want — I want to stay — "

And, as in the beginning, the voice
cried to the swirling chaos, "Let there be
Light," and there was light. Now Caleb
West opened his eyes on a glory of sun-
set crimson and a face in it, lifted to his.
It was not the placid kiss of middle-age
but the kiss of a young, ardent lover that
he gave his wife then —

.'\nd the same night that robbed the
village of one scandal took away the other
also, on the train that carried Henry San-
ford to the city — alone. Captain Bell,
who rowed two passengers from the
F'oint to catch the train, might have been
able to explain why he brought one back
with him. weeping with a melancholy sat-
isfaction over her shattered romance and
tremulously grateful for its shattering.
Rowing homeward, after he had left
Kate Leroy, whimpering her gratitude at
the hotel, Captain Bell regarded the lights
twinkling friendliwise along the shore
contentedly, his face gently humorous.

"Ain't it nice to think all o' them lights
mean a home," he ruminated aloud, rest-
ing a moment on. his oars, "That's the
way the Lord meant it to be. 1 reckon,
men and women set in homes. An old
bachelor like me has missed his job at
home-making. Still," and he chuckled
softly, "I do' know but what the Lord
needs a few lighthouses, too!"

(Sixly-si.r)

fSixty-xcven)

The Winners Are Announced

she is very pretty to look upon, with an
unusual complexion.

Among the early contestants were two
children of unusual beauty and screen
personality, — Little Ruth Higgins of 20
Liberty Street, Morristown, \. J., and
Dorothy Taylor of 1322 Findley Avenue,
X. Y. City. Both of them ])lay important
parts in "Love's Redemption." and we
know of no other children on the stage
or screen who could have played and
looked better. They are each awarded
silver medals and will be known here-
after as Silver-Medalists of the 1920 Fame
and -Fortune Contest.

.And while we are speaking of "Love's
Redemption." be it remembered that every
member of that cast was carefully selected
from among thousands of applicants and.
therefore, each one is hereby given the
award of Honorable Mention, and a place
on our final Honor Roll. They arc Dorian
Romero, Lynne ^L Berry, Katherine Bas-
sett, William R. Talmadge. .\rthur Tut-
bill, Cecile Edwards, William Castro,
Ellsworth Jones, Scymoure Panish. Jos.
Murtaugh. Effie Palmer, Bunty Manly,
.Mfred L. Rigali. Edward Chalmers.
Charles Hammer, William White. Xor-
bert Hammer. Carl Chalmers, Doris
Doree. Mrs. F. Mayer. O. L. Langhanke
and Jose Santo DeSigue. Some of these
are "types" and are not honored for
beauty. Mr. Romero deserves special
mention for his work in this ])lay.

During the warm months hundreds of
girls appeared before the judges, and
some were so beautiful that it seemed
they would outshine those previously
mentioned in this article, .\mong these
was Betty Poniroy Hanson of Rugby.
.\orth Dakota, who seemed to be the
exact "double"' of Lucille Langhanke.
Several tests were made of her and it
was found she screened remarkably well
and had all of the elements that a screen
star should have. In the same group
appear Mary Jane Sanderson of Johns-
town. Pa., and so promising was her first
test that we at once telegraphed her to
return for another. She is not quite
fifteen.

There were two more in this group,
deserving of special mention, for they
screen exceptionally well. They are
Yvonne Bailey of 15 McDonald Street.
Brooklyn, X. Y., and Bertha Keating of
Springfield, Mass. They are each about
thirteen years of age and a trifle too young
to win first honors in this contest, but
look out for them in the next !

Early in September there came two
girls of remarkable beauty and presence,
each measuring about five feet seven in
height. They are Elma McKinney of 114
West 58th Street. X. 'S'. City, anil Eileen
Elliott of 707 Ritner Street. Philadelphia.
Pa. They both screen very well, indeed.
>nd while their spheres will be limited on
.ircount of their unusual size and height,
t'le cinema will find a place for them.

.Xhnut this time came two charming

[Continued front piuir 47)

little bnmettes. who were long considered
for first honors. They are Katherine
Leonard of 160 West 84th Street. X. Y.
Citv and Bve Madden of 1667 Grove
Street. N. Y. City.

Those who saw "A Dream of Fair
Women" will remember the cute little miss
who i)layed the part of the "tough girl."
She was then only fourteen years old.
She came down to Roslyn one day in
July for a new test, and everybody was
amazed at her a|ipearance. She screened
beautifully and we did our best to get
her back again for additional tests, but
she was away on the road playing in
vaudeville. She is Evelyn Pouch, but we
are unable to give her address.

Late in .-Xugust several of tlie judges
met and again went thru huge piles of
photographs in search of some "rose born
to blush unseen and waste its fragrance
on the desert air." fearing that somebody
of unusual promise had been overlooked.
Several thousand photographs were thus
selected and ^ent to the studio of the
editor-in-chief. .Many hours every day
were spent in .going over these photo-
graphs in the hope of revealing a rose or
a bud that had been previously over-
looked. About a hundred were selected
and the wires were burned up in sending
hurry messages for these girls to appear
at once before the judges. Telegrams.
form letters and jihone messages were
sent out in great haste, and soon they be-
gan to bear fruit. Among these photo-
graphs was a small, poorly made, and in-
artistic one sent in by a friend of a young
lady in Canada, unknown to her. The
young miss was surprised to receive our
summons, but. when she learned what
had happened, on she came from Canada,
and now she finds herself on the final
Honor Roll, well up among the winners.
She is Jean .Mclntyre of Meaford,
Canada.

.'\nother similar case, and even more
astonishing, is that of Corliss Palmer of
Macon, Georgia, who will now be amazed
to find herself a winner. Her simple
photograph had been passed over and she
came within an ace of being lost in the
shuftle.

.-Xnother similar case is that of .'Mlene
Ray. a charming little blonde from San
.•\ntonio. Texas, who came, saw and con-
quered at the last minute. Both of these
young ladies are dazzling beauties of rare
charm and photographic possibilities, and.
as Emerson said to Walt Whitman on
receipt of a copy of "Leaves of Grass,"
— "\Ve welcome you on the threshold of
a great career." Many screen tests have
been made of them and the judges are
convinced that, everything considered, the
contest has produced nobody quite so
faultless as these two Southern beauties.

Space forbids our making further men-
tion of the many glorious girls who ap-
peared in this contest. There is a limit
to all things, even to the final Honor Roll.
It is quite possible that we have over-

looked some who have screen possibili-
ties. We now wish that we had secured
half a dozen cameras and camera-men
instead of two and given every girl ad-
ditional tests under different conditions.
Therefore, we say to all those who.se
names do not appear here that they
should not be discouraged, and not give
up hope for the future. May they have
better luck in our next contest.

All of those mentioned above are de-
clared by the judges to be the real dis-
coveries of the 1920 Fame and Fortune
Contest. However, we have agreed t(j
make stars of the winners, to give them
two years' publicity in all four of our
publications, and to secure for them con-
tracts with reliable companies. We have
already secured two cotitracts. as above
mentioned, and we shall do what w^e can to
secure others as fast as opportunity comes.
We surel)^ cannot be expected to declare
as wiiniers all of the foregoing, for vari-
ous reasons. Some of these girls are not
yet ready to start on a screen career and
.some are mere children ; and as for pub-
licity, there would not be room for niucii
else in our magazines were we to grant
two years' publicity to all.

.As for Lucille Langhanke. she is al-
leady a* -star, and is entitled to all -that a
winner is entitled to. The same is true
of Helen DeWitt.

But since the judges are to select one
or more who are to be declared winners,
and who are entitled to the full quota of
our promises, it is foimd necessary to re-
duce the number of declared winners to
two. Should more than two winners be
announced, we could not fulfil our prom-
ises. In one sense of the word, all those
above mentioned are winners, because they
have all won honors. Lucille Langhanke,
who will hereafter be known as Mary
.â– \stor, has already been made a star, or
will be made one by the Famous Players-
Lasky Company, regardless of what we
do for her. They have already started
their campaign of publicity. However,
we insist u[)on selecting and making at
least two more stars and, therefore, we
take pleasure in announcing the final de-
cision of the judges as follows :

The uinncrs of the 1920 Fame and
forlunc Contest are herebv declared to
he:

Corliss Palmer, 614 Mount Pelier
Avenue. Macon, Georgia ; and Allene
Rav. 2248 River Avenue, San Antonto,
Te.nas.

To these two young ladies we extend
our hearty congratulations for having won
the greatest contest that has ever been
staged. We are confident that the future
will prove the wisdom of this choice. In
the years to come, these two young ladies
and five million readers will look back
upon this announcement as an epoch-
making one. and the editors of the Brew-
ster Publications, as well as the judges
of this contest, will always feel gratified
and elated over the wisdom of their choice.

(Sixty-eight J

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(CotitiiiHc'd from pacje 38)

He prefers the heavier, more dramatic
roles. Better fitted to them, more in his
element. He does not, he informed me,
go upon the general theory of the good
in ver.satilily. .To be able ... all right
. . . but in practice . . . no; We have,
he adduced, a limited time to progress in.
It is too much to e.xpect that we can
progress along all lines and reach any
number of definite and worth-while goals.
There is such a thing as overstepping one's
mark and one's capabilities. St'rained
efforts qre palpably so. A wise man
knows and remains within, his own limits,

"Still," I said, "you are going to appear
in a stage jilay as well as in pictures this
winter, isn't that so?"

He admitted it . . . no. them.

"I hope to," he .said, "for a year or so
anyway. It will give me a better working
value, to myself and to those employing
me.

"It is also a matter of money. Working
at both increases my market value. I
think we are all interested in the nioney
end of it. I am. I admit that, too."

"Do you think," I pressed, "that the
money end is of more import to the
majority than the so-called Art end?"

Mr. Harlan considered, blowing, the
while, perfectly remarkable fantasies of
smoke against the ceiling.

"I think," he said, "that to the wise
and practicable individual the money end
is the means to the Art end and, there-
fore, greatly and certainly primarily to be
considered.

"Money is the great liberator. We can
do so much more with it than we can
without it, which would be trite if I did
not mean in anything but a material sense.
We can be artists so much more youngly
and easily because we have the where-
withal to lessen the brunt of other drains
and 'pressures."

"What." I said, "is the most worth-
while thing to you?"

".Ambition," he said, sans hesitation.
".Ambition and California. Sunshine and
the will-to-get-on. Without ambition we
are dull, flat and quite stale. An in-
teresting person is almost sure to be an
ambitious person, in one sense or another.
You can be sure that it is the missing
ingredient in a savorless person."

"And work?"

"Work is the walls of the house, of
which ambition is the foun(^''»ion," Mr.
Harlan said, adding, rather vaguely, "but
I am getting in beyond my depth. .Any-
way, I mean that ambition is, of all char-
acteristics, the fundamental prompter."

.Afar off someone hailed him. Con-
stance, duly inquired of, no doubt, had
gone back to the set. Mr, Harlan arose
with some alacrity, not to say relief.

"Speaking of work," he said, "this is
the first stroke I have done today. Per-
haps that is why I am so glib . . . â– 
talking about it ... It often goes that
way ..."

The camera clicked and I departed.

( Seventy i

r.LASSIC

As a Lamp to be Tended

{Continued from page 21 )

dont believe in self -depreciation. It is an
inverted form of egotism, and quite as
Iiannfnl as its antithesis. We caimot liel]>
what we are. We really have no reason
to laud or to cavil at what we are. W'e
arc. and it is outside our volition.

"It is what we do with what we are
that matters ; that can give us the rijjlit
to [>ride or shame. If we are born with
a gift of writing, of acting, of painting
or playing, it is so. What matters is the
way in which we treat the gift, once it
is ours. Whether we maltreat or exalt
it, humble it or glorify it.

"I always feel that a person bearing
within him an art should consider that
art as a flame to be tended ; to be kept
clean — and bright.

"I believe that one should conserve
one's self for this flame ; guard one's self :
watch over it. Sometimes the simile
of a lamp comes to me, a lamp to be
tended and trimmed, dimmed, perhaps, or
raised.

"One should be able to consider it, this
art, subjectively, abstractly, a thing not
, entirely one's own. to be rendered an ac-
counting for to the public . . ."

Miss Kennedy gave her whimsical de-
precatory smile ; patted her husband's
hand, near her own, said, "I hope you
do not think I am trying to be theoretical,
unduly," and was gone from me in quest
of the Hollander hat.

"Come and see me in my play," she
called back to me, and I said:

"I will — good luck!"

The Diminutive Dorothy Devore

(Continued from page 35)

ambitions was to be a millionaire and have
five babies by the time she was twenty-
five.

And there is still time for even this
dream to come true.

Dorothy Devore is as unlike an actress
as anyone I have ever met. She is a tiny
little, girl, another member of the five-
feet-small brigade. She has enormous
large brown eyes with an innocent stare.
Her hair is naturally a reddish-brown,
and off the screen she doesn't curl it,
neither does she use make-up, and she
is one of the few girls I know who has
no interest in a lipstick. She wears —
in real life, you understand — simple little
frocks of gingham or of organdie as the
occasion may warrant. She is all in all
the typical American ingenue. Her very
manner, bearing and clothes, bespeak the
clean-minded, very young, well-brought-
up daughter of an .•\merican mother.

.A cabaret dancer, a vaudeville artiste,
and a motion picture actress!

I give you my word, as well as the old
lady's

You'd never know it from meeting her.
(Seventy-one )

t^

Anotker
$50 Raise!"

WHY, that's my third increase in a year! It just shows what special
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"Just after that an opening came and he
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IILLUS PRATING

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UOOKKEEPtK
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Common School Subjects

Mathematica
CIVIL SERVICE

Railway Mall Clerk

tciTOMitniri': oi-FidtTiNO

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You Have a Beautiful Face

BUT YOUR NOSE?

oiutc neccsaitj

if

I.N this ilay and ag? attention to yuur apticarancc is .
rxpcct^to make tlie most out oi lii'e. Not only shoui<i you wiah \n appear as-
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yrmr efforts, hut you will find the world in general judging you pi call y, if not
â– wli'ijlv, }>y vour "looks." therefore it jiavs to "look vour l)t!St" at all times. PER-
MIT ^^ O^'E TO SEE YOU LOOKING OTHERWISE; it will injure voar wel-
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IVritc today for free booklet, which tcUs you hotv to correct lli-Shaf-ed
Noses without cost if not sotisfartory.
M. TRILETY, Face SpeclAllst. 1039 Ackerman Bldjt.. Binghamton. N. Y.

J^ghts

GLOW of fire-light
in happy faces;
merriment sparkling in
laughing eyes; and a
bond of light-hearted
fellowship in the form
of fairy Nabisco Sugar
Wafers.

Serve Nabisco with
any refreshment — or
serve them as the re-
freshment.

MOTION PICTURE CLASSIC

Ann Ascends

I Continued from page 37)

be a part of it. I love the theater and
have revelled in the opportunity to see
the work of some of the great artists.
And there are many wonderful things to
see and learn. Hut do you know that it is
the 'outsider' who really knows and ap-
preciates the best things in New York?
What does the average New Yorker
care about the art galleries or walking
across Brooklyn Bridge at twilight or
the view from the top of the Woolworth
Building or plays like 'The Jest' ?

"I have been living here with friends
who seem to live in a mad whirl of din-
ners, teas, dances, shopping — going
round and round in a circle and getting
nowhere. They have tried to carry me
along — because they think it's the only
life for a young girl. But I had decided
that it would never do for me and, as I
expected to be here several months,
engaged a room down-town in the dor-
mitory of a girls' club — all of them girls
who work and live for something besides
a good time.

"My philosophy of life may be a very
c|ueer one," she said, "but it seems to me
that youth is not the time for frivolity.
Not if one is to get anything out of life
worth having. It's the time to discover
many wonderful things — to study, to ob-
serve, to travel — to cultivate worth-while
people — to build. And then, when one is
older and has learnt to discriminate and
knows what one really wants most in life
and has earned the right — why. then, let
them 'as wants to' go ahead and frivol,"
she laughed ; "it's up to them !

"No. I'm too young in the business to
have any theories about pictures. I'm
just learning and glad of the opportunity
to watch and learn. In the meantime,
I'm glad I'm going back to God's beau-
tiful country, where one can reallv live.
But some day. when I have acquired
much experience and a great deal nf
nerve. I'm coming back to New York
and haunt the offices of the Broadway
managers until they offer to try me out
in a stage engagement. Of course, T
realize I will have a great many things
to contend with, but the game would not
he worth playing without them," quoth
the shining Ann.

The New Zealand Bushranger

( Continued from f<a(/e 22)

was brought to a head when his father, a
stern man, utterly forbade him to appear
in an amateur performance for which he
lad been rehearsing for weeks.

It was the last straw. Jerome Patrick
left home and answered the call of that
will-o-the-wisp fame. â– 

But he was willing to work hard, no
false pride kept him from attaining his
ambition. He was willing to do anything
that was honest, providing it kept him in
the theater. Thus he was a chonis man.
a leader in stock, a player in the provinces,
but all the time he had just one object
{Continued on page 74)

{ Seven ty-t^co)

o

Tim Land of Romance

Few people realize that they mat/ enter into
this charmed land, and rnnirihitln to it.
Noiire^iy — the greatest nT(>.\t3 iicie onrn of
that chiss. Chances? — just as man>/ as in
atnj other walk of life. Vou simply haven't
tri'i.

New Opportunities

In Photoplay Writing

Open to All Who Have Ideas

WHO will say that he or she has not
average ideas and imagination
nbout life? And who has not thought, in
the theatre, thr.t they have as good or
better ideas for photoplays than some they
hive seen on the screen?

And did you know that literary ability
has nothing to do with this new art?

One doesn't need "style" or vocabulary,
but simply good ideas and the ability to
express them clearly.

Foi" photoplays are not written as stories

are, or as plays for the stage. They are
built of ideas, which are put into pictures,
arranged in a certain way.

TlinsL' wlio would write photoplays .irt:
most concerned with ihnl part'ntlar >ii -
raufjcuicnl. And now thert 's a way in which
ynu can U-.irn huw to arraniit- your idi-ns.

Wlien you have learned that, you have
learned to write photoplays in the form
acceptable to producers.

And producers will rejoice as much as
you in your new success.

For There's a

Famine in Photoplays

THERE'S a need for 5000 new stories
and producers must have scores of
them to produce at once, for the demand
is far exceeding the supply that present
writers can prepare. Twenty million peo-
ple are attending motion picture theatres
daily and they are calling for new -plays.
Their interest must be maintained if the
art is to sur\'ive. The opportunity to aid
is yours. Who will rise to a new and
perhaps "unexpected" success on this
modern wave? Who is there who hasn't
said to himself, "I am capable of doing
something that I have not yet found, far
better than anything I have ever done"?

The Palmer Plan

THE Palmer Plan of Photoplay Writ-
ing teaches you mainly how to pre-
pare your ideas for acceptance. Then as
you progress it develops you in all the fine
points of the art. It is both a primary and
finishing school, and it has brought out
many star writers — Mrs. Caroline Sayre of

Missouri, author of "Live Sparks" for J.
Warren Kerrigan; Dorothea Nourse; Paul
Schofield, Ince writer; G. Leroi Clarke,
who sold his first story for $3,000; and
others who have won success. "His Maj-
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Fairbanks, is a Palmer student's story.
James Kendrick, another student, sold six
stories less than a year after he enrolled.

We maintain a Marketing Bureau in
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offer their stories to the big producers if
they so desire.

Our Advisory' Council which directs our
educational policy is composed of Cecil B.
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Lois Weber. All are famous in the indus-
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Twelve leading figures In the profession
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The Palmer Plav Is romplete. efficient
and vitally interesting — it enthralls those
who take it up. There is no tedium; in
fact one finds in it one o( the best of all
diversions from other lines ol work. Don't
say you can't follow it. Dun't think you
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A Free Book

Worth Your Reading

THERE is much to tell about this
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Success when it comes is rapid, the field
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Get the free book now. Learn all about
this new way to success. If you are of
average intelligence, if you have dramatic
ideas and ambition, you have the complete
fundamental equipment for success.

Palmer Photoplay Corporation,

t > f III rtmtn I uj Ldii:-Htiijn,
7'i7 L W. HellmLUi Bids..
Los Angetes, Calitornia,

Please send me, without oblication. your new
book, "The Secret of Successful Photoplay \yriting."
Also "Proof Positive," containing Sucteas Stories of
many Palmer members, etc.

Name

Address

City

State •

iAU corre»j>ondcnc» held strictly cot\fidential}

(.•^ezjenty-tkree)

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MOTION PICTURE CLASSIC

The New Zealand Bushranger

(Continued from page 72)

in view : to be under Belasco's manage-
ment.

It is a singular fact that when one has
a straight goal in mind one generally
reaches it. Patrick reached his.

It was while he was playing "A Thou-
sand Wars Ago" that Belasco sent for
him. And he has been associated with
that wizard of the stage ever since.

'AVhy. I can remember* when I was
jjlaying in 'The Little r.,ady in Blue,' I
had to write a letter and Belasco had
me supplied with paper stamped with the
monogram of the character I was play-
ing. In that' play, too, I had to ask the
butler each night for a glass of claret.
At the dress rehearsal three different bot-
tles of claret were brought me (no ice
tea in this production) and Belasco asked
me to sample them and order the one I
liked best. I singled out the one I pre-
ferred. Mr. Belasco said, 'Oh my word,
the most expensive of the lot, that man
will bankrupt me.' Nevertheless, he or-
dered it. and at every performance I was
served real claret."

Mr. Patrick played with Lenore Ulric
in "The Heart of Wetona" and more
lately in "By Pigeon Post." At present
he has come West to play in pictures.

His very first glimpse of the Klieg
lights came in "Officer 666," his second
in the all-star production, "The Furnace,"
directed by William D. Taylor for Para-
mount.

He praises Mr. Taylor's work very
highly.

"Mr. Taylor is a gentleman in every
sense of the word," said Patrick, "and
he is keen enough to know that a picture
must be produced with a splendid cast
thruout. The star system, turning every
ray on the star, is all wrong. I myself
have found pictures like starting all over
again, and I am so interested that I shall
keep it up and see what I can do."

And I hope that Mr. Patrick will keep
it up, because he has that which the screen
needs — something new. He possesses all
the culture and background which a first-
class stage training gives one; he is
young, different from other movie heroes
and decidedly easy to look at.

His hair is red — absolutely — altho
women who fall in love with him will
call it russet, Titian or some other poetic
name — it is the kind of hair that waves
naturally, tightly, the kind that a woman
would love to run her hand thru and feel
the short tendrils cling to her fingers. His
eyes are blue-green, fascinating because
they bespeak superiority yet humanness.
sophisticatiorj yet clean-mindedness. He
iloes not wear a mustache in real life,
consequently he seems more boyish and
younger than he appears on the stage or
screen.

He has the exterior of a hero, the heart
of a gentleman, the mind of a scholar and
the soul of an artist.

Here's hoping the Klieg lights reveal
Jerome Patrick's personality honestly.

(Seventy-fottr)

mm

(Scvcniy-five)

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"<Ca- JX>-'''ccss aire "

My Liidy Claire

{Continued from page 26)

experience as a child .actress before her
parents refused to let her continue. Even
in the face of their strong disapproval she
never jjave uj) her ilream of the stage.

.\t the beginning of the war, she be-
came a nurse. She collapsed tnially un-
der the strain of her work and retired
to private life ai^ain. A trip to New
"S'ork found her surreptitiously making
the rounds of the movie studios. When
she aelually landed a small hit her father
gave in and lier career was started.

"I .shall never forget," she laughed,
"die reply that granny wired from Eng-
land when father wrote her what T had
done! She demanded, 'Are you out of
your head to let the child become an
actress? She will he ruined!' But suc-
cess juslifies almost anything.

"When she saw my first big picture,
"The .Si)irt of the Red Cross,' she sent
a wonderful letter of approval!"

.She is jjatriciaiily beautiful, Claire
.\dams, in a dark, intense way, patently
a woman of the world, and possessed of
all the easy charm that worldliness im-
plies. Her voice, influenced by her life
in Can.-ida and London, is modulated and
(|uiet. In tlie ^\'est, where voices incline
to stridency, it is like the touch of velvet
after gunny-sacking.

And this English deliberation has crept
into her being, until it is an integral part
of her life. I asked her if she did not
mourn New 'S'ork, where she had got
her start witli \'itagraph. She shook her
head slowly.

"X^o," she said. "I do not like New
^'ork. Its mone}'-madness makes more
than a few weeks of it unbearaiJe. It
seemed to me that while I A\'as there I
was under a terrible, relentless pressure.
I was caught uj) in tlie ma^ i-ace and had
to keep up with the racers or be trami)Ied
under foot. The average dweller there,
if he is working, may see nothing of grass
or trees for months on end, and only an
occasional dash of smoky sky. 1 liave
been brought up chiefly in western
Can;ida, and tlie oiUdoors has become an
essential part of me. Here in Califor-
nia it is crowded enough, but at least one
may live comfortably, and have a lawn,
;in<l a car and keep a dog without fear
of ])rolest from the landlord."

Eater, on the track of her ambitions,
I spoke tentatively of stardom. Her re-
ply was as convincing as it was surprising.

"No, I do not want stardom. T think
r could be content if it never came, .\fter
all, there is an infinite satisfaction in be-
ing surroimded by a cast of capable actors
and, in the end, being a part of a picture
diat is thoroly satisfactory and as perfect
as good acting can make it. The star is
loo often surrounded by an inetTectual
support that ruins the picture as a whole.
Think of the couiUless jiersonal triumphs
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I even talk of stardom? It is not so long
ago tliat I was taking lessiiiis in the art
of walking from Kosloff, ami so far 'The
Killers of tiie Dawn' is the only pictnre
that has been released niider my new
contract for five years with B. J. Hamp-
ton. 1 have cnnij)leted others, of conrse —
Churchill's 'The Dwelling Place of Light,'
I tarry I^eon Wilson's 'Tlie Spenders,' and
Upton Sinclair's 'The Monev Changers.'
Hut I still attend each day's 'rushes' on
the alert for every little exaggeration,
every fault of expression that I have
made. And in the increasing confidence
that is resulting, in the surety that I have
done this or tliat bit as near perfection
as possible, there is a thrill that the pos-
sibility of stardom has never given me."

In defiance of her earnestness, I started
out to write about Claire in an airy vein,
to try to weave fantasies into tlie serious
web of her ambitions. I find that I have
failed miserably. The heavier vein per-
sists.

But I would not give a wrong impres-
sion of her. Her work is not the be-all
and do-all of her existence. She had
just returned from a five days' trip to
Mt. Baldy, an interlude of rest between
|)roductions, where she had fished the en-
tire fi\e days, had caught one fish, and
had come home contented. It was a mag-
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,'\nd she has created a charming home
for herself out of a miniature bungalow,
a taste for delft blue, and the aforcmen-
lioncd poodle. The dragon, who after
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aspect, it would seem, hides a multitude
of kindnesses. I conferred my blessing
upon her as soon as I knew that she was
not a "movie momma."

I didn't want to leave. But I could
hear the dragon thumping tinnily in the
kitchenette, lier energy increasing with
each thump. It may have only been a
good dinner in pre]3aration, but it sounded
like a hint. When the jjoodle stuck his
head out of the door and sniffed straight
at me, I kncit.' it was. I withdrew m\-
blessing and departed.

DARK AND DEW
By Ted Olson

III tlie (lark, in the dew.
When the laggard day is thru.
.\iid one star burns, whitely chill,
lust above the highest hill,
W'licii the lilac's odorous pain
.Swims across the dusk again.
Comes a dream, dear heart, of you —
111 tlie dark, in the dew.

Hark! the silence stirs alone

To the frogs' metallic drone.

Or the wavering, unseen flight

Of .I bird across the night:

lUit the mom is all a-blur

With the shades of things that were.

With a joy reborn anew —

In the dark, in the dew.

In the dark, in the dew.
How my heart leaps back to you!
To your slim young wildwood grace.
To the glory of your face ;
Till the fragrant twilight seems
Wann and redolent with dreams.
With one dream I never knew —
In the dark, in the dew.

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Kiikwood Confesses!
(Continued from page 18)
•'Vou said it! No more directing for

Kiikwood, a few years l«cl<, was one
.,t the coterie of popular matinee favor-
„ec_wlien he played opposite^ Mary
rickford in â– â– Behind the Scenes Just
at the zenith ot his popularity he gave
his admirers a heartaclie by leaving thcni
Hat to direct. I-or a long tune \vc hear.l
nothing of him, fnrllier than that htj
would produce tliis picture or that, until
Mian Dwan lured him back to the grease-
paint in •• The Luck of the Irish.

In the picture he played a whole-
hearled, manly young Irishman Kirk-
wtiod. lieing both manly and whole-
hearted, made the ch.iractenzation a page
from the hook of Life. He had a hght
fir iwo every twentv-five feet, and by the
lime that the picture was half over yoii
commenced tn wonder whether God ana
human vitalilv would pull him thru

Fi'diling is one of his pastimes de luxe.
llaciriii the old I'liugraph days he used to
astoni.sh them all by his ability in a
screen free-for-all, and now that lies
staged a regular film "come-back, they
stiff continue to cast him as the chief
purvevor of this black-and-blue drama.

"I've had sonietliing like four hundred
brawls before the camera," he remarked,
••and I've never put anybody perma-
iiciitlv out of commission. Screen fight-
in.'-s'a fine art. You have to hit your op-
l„iiu-nt so you wont crack either his
make-up or bis jaw."

Kirkwood. both in his make-up and
off-stage is not the tvpe of. the matinee
man His hair is naturally curly— »of
marcelled. His teeth are all his own, and
he has enough muscle to beat up a cop
should he want to. Furthermore, when
vouVe talking to him. he seems to forget
'that lames Kirkwo(i<i is alive. He never
iiieiit"ifins himself, and it is only with the
tUinost difficulty that he is made to say
aiivlhing at all about his work.

And, girls. be"s just a wee bit bashful!
In fact. ''he blushed— visibly, even under
his makc-n]! — when someone asked him
if he'd ever been iiroiiosed to. Of course,
he has; what good-looking screen actor

hasn't?

Rut it's nothing to hrag about, he adds.
Rather, it's an honor to be proud of, and
lie wishes it made known that he would
]ike to olilige each of the fairest fair

ones, onlv

That "only" is a definite reason, which
it is not niv province to disclose. Suffice
it to say tliat James, being a dutiful son,
sujiports his mother.

Kirkwood insists that he likes to do
•;-ither dramatic or comedy parts.

To his great credit his versatility '.â– "-

,-ibles liim to do one as well as the otIuT.

"What are vou best in?" I asked.

"Why ask me '" he rejoins. "Why ask

any actor? How does he know what

he's best suited for?"

Once, when be was very young, a stage

manager had him don crepe whiskers and

l)lay old men in their seventies. Later.

he did foreign diaracter parts. It used

{Continued on page 80)

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WINDS

By VVkjciit FliiLi)

'rile south uind, >\veepinjj inward trojii

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Kut so it lifted hers another day —
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It whipped her grey eyes till tlie tears

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I WONDER!

By J. Lilian Vandevere

A very dignified old gentleman

Comes often to the motion picture house,

And tho we sometimes have adjacent

seats.
He never speaks. I watch him, and I

catch
Unnumbered little hints that make me

smile
And wish I knew him. When tlie travelog
Transports us to some Old World river

town,
I've heard him sigh, and when the boat

swept round
The river's curve and landed, he said

"Yes!"
Beneath his breath, then coughed, and |

stirred a bit. i

He always comes to .see the heroine
Whom some think childish. Once the

lights went on
Ouite suddenly, and T suqirised a tear
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I've seen
The picture in his watch — a gentle face —
That looks quite like our heroine herself.
The homely man who does the Western

stuff
He never misses. There's a little scar
On my old hero's forehead, near his

hair —
I wonder if he's known the West him

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He ne\er even smiles at me ; in fact.
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As if he said. 'A\''hat common folk are

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But when I go again, to right or left,
A bit in front. I see his silver head
As usual !

(Sd'Cnty-iiine)

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iVl t J I H J IN r H_- I U IM- v^ I- n J t-' 1 xj

Kirkwood Confesses 1

(Continued from poijc 78)

to be Ills iunbitiim lo be a heavy.
There's something about the expres-
sion of his eves that made me think that,
perhaps, he'niiglu be a gooa_ be-vani]>.
Whereupon I broach the subject and —
am at once squelched.

"He-vamp?" he snorted. "Nothing
doing!''

Some day. when he has amassed a neat
.ittle bank account from the silent drama,
Kirkwood is going to "settle down" on a
comfortable "farm. Now, he says, he
gets tired of the sophistication of the
stage, exactly as a banker wearies of the
humdrum existence of the clearinghouse.
It's reversing the English on your own
life, as it were ; everybody gets bored
doing his own particular line of work —
or, rather, tires of his world.

Kirkwood literally got dragged onto
the screen. Griffith, working at the Bio-
graph in New York, saw him one day
when he visited some friends at the stu-
dio and prevailed upon him to accept a
part. Previously he had been with
Blanche Bates on the stage under Be-
lasco's management in "The Girl of the
Golden \\'esi," with Henry IMiller and
Margaret Anglin in "The Great Divide"
and with other stars of the legitimate,
and was playing the male lead in the
stage version of "Behind the Scenes"
when be strolled into the studio.

^Vhen he made his screen debut, the
majority of the now-known "pioneers"
were "extras" at the studio, making five
dollars a day. He started in a picture
with jMariou Leonard and Mary Pick-
ford — went on before the camera for the
first time in a "retake." After playing
every \-ariety of part in one- and two-
reelers, he was at length given INIarion
Leonard to direct, and subsequently, af-
ter careers with lieliance, i\Iutual,_ Uni-
versal, Fox and American, he affiliated
with Famous Players, first as a leading
man, later as a director, w-here he swayed
the destinies of such stars as Jack Barry-
more in "The Lost Bridegroom"; Hazel
Dawn in a number of plays, and Florence
Reed in a series, among which was "The
Struggle I-^verlasting."

Shorllv afterward, when Jack Pick-
ford began to make pictures for First
National. Kirkwood became his director.
He wrote "In Wrong" for Mary's little
lirother and directed him in it. Later, he
held the megaphone for "Bill Apperson's
Boy."

It was then Allen Dwan came along,
and Jim joined him, later going to pjay
opposite Louise Glaum in "The Girl
Who Dared" ; and now Kirkw-ood will
])ennanently remain in his make-up, be-
cause, in the final analysis, he likes to
think that there is a bigger field in acting.
"But," I concluded, "I thought I heard
you say you're lazy."

'•Qh, yes," he responded. "I guess I
am. But I couldn't go without work-
ing— not if somebody offered me a cool
million to take life easy — exactly as I
like to take it."

(Eltlhiy)

;>)iiiiiiiiiiiii]iiriiiiJiiiii]iiiJiiiiiiiiiiinijiiiiiiic:iiiiiijiiiriiiiiijiiiiitiic]iitiiiiiiiii[]ii<:

I Motion Picture
I Magazine

i FOR DECEMBER

I ' I ^ HE luxurious person- |

I I ality of Catherine Cal- |

I vert pervades the at- |

I mosphere of "Satin and |

I Pearls" as her gowns and |

I jewels did the Japanese Gar- |

I den at the Ritz, where she |

I was interviewed by Adele |

I Whitely Fletcher. Read |

i about the capture of this star |

I by V'itagraph and her return |

I to the screen. |

I The story of Bobby Har- i

I ron in the December issue of |

I The MuTiox Picture Mag- |

I AZIXE holds much interest, as |

I it is the last interview granted |

I by him before his death. |

I C. Blythe Sherwood pre- |

I sents new views and sidelights |

I on Blanche Sweet. |

I The personality of Forrest |

I Stanley is portrayed by |

i Hazel Simpson Naylor. I

I Hope Hampton, in her |

I palatial apartment in New |

j York, grants an interview to |

I Gladys Hall. Result — a |

I vivid word picture which |

I brings before the reader this |

I luminary, her charming neg- |

I ligees and exotic perfumes. |

I E.xcerpts from letters written to |

I scenario editors appear under the |

I title of "Rainbow Chasers," by Eliza- i

I beth Peltret. |

I Departments of valuable informa- g

I tion conducted regularly by The |

I Motion Picture Magazine are: |

i The Answer Man and Greenroom |

i Jottings. Valuations of the pictures |

i to be shown are to be found in the |

g Screen Time-Table. |

I Three powerful new photoplays 5

g not yet released will appear in fiction |

i form. Read them and be prepared |

i for a fuller enjoyment of the plays. 1

I Get the news of the activities, f riv- 1

S olities and festivities of the celluloid 1

1 \»'orld in the December issue of |

I THE MOTION PICTURE |

I MAGAZINE I

I 1 7? Duffield street Brooklyn, N.Y. |
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I I'itttlty-ijnr I

Semon tiie Jester

{Continued from f^ugc 4.^1

.\11 this time, however, he had his eye
upon motion pictures. This, too, may be
traced to the adventurous elder .Semon.
who had once manufactured "flapper-
l)Ooks." little photo-packets which gave
the effect of motion pictures when the
thumb was run over the edi,'es. Later,
too, he had been interested in the making
of slot machine movies, the earliest form
nf the photoplay.

But let Semnii tell the rest of tlv talc
himself :

"Thru J. Stuart Blackton I secured
the opportunity I desired at the Vitagraph
studio. I started learning direction as
his assistant and then became a director
myself. I did all this during the last year
of my caricaturing contract with Thr
Sun. Then I decided to cut adrift from
comic drawing and stick to pictures ex-
clusively. Chance threw me into come-
dies, for the simple reason that, at the
moment, they had dozens of dramatic
companies at work and needed farce
directors.

"I did not play at first, but. as I worked
with one comedian after another. I found
that they did not quite carry out my ideas
in one thing or another. \\'hy not try
myself?

"I did — and I'm still at it. Of course,
my earl)- barn-storming training was a
vital aid. And my newspaper work gave
me a clear — and broad — viewpoint.
That's about all."

Now let Semon offer an explanation
or two anent his comedies.

"I do all my work myself. I do not
use 'diiubles.' Naturally we take lots of
chances. On high buildings, for instance,
and, let me add, there is less faking in
my comedies than in most farce pro-
ductions. The members of my company
are mostly all acrnbats.

"I ha-v-e been asked why I do not try
five-reel farces. I believe them too long.
Audiences do not want so much sla])-
stick at one time. I do not think they fit
into the average theater ])rogram. (Ju the-
other hand, I want to go on niakiny fa^t
two reelers.

"This coming year I hope to elaborate
upon my work of the past. That is, I
am gi>ing tn 'shout' my two-reel comedies
in as big and elaborate sets as serve for
five-reel dramas."

Semon has had a mass of amusing ad-
\entures before and behind the camera.
Only recently he was using a colored man
ill a comedy scene and the company had
been enjoying tliemselve.s in "kidding " the
darky regarding an imaginary scene in
which they told him he was to appear
with several saxage lions.

Finally. Seninn thought he wcnild add
the final touch to the colored man's wor-
ries.

"Kastus," he said, impressively, "we'll
shoot your lion scene tomorrow — ever
work with animals?"

Rastus breathed hard. "Yas, .sub, ah's
worked with animals — pigeons, goldfish,
canaries, hut ah draws the line right
there!"

Now Gasihl
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that falsely proclaims the
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Canada Address "^

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HISTORY REPEATS ITSELF!
1 ke Fame and Fortune Cjontest of lyji

Tlic phenomenal success of the Fame and Fortune Contest which has been con-
ducted for tlie past \car b\- The Motion Picture Magazine, The Classic and
Shadowland has firniK- decided the head of the Brewster Publications that an-
other contest, even more far-reaching in its power, should be started immediately
for the \ear 1921.

Tke Golden Key oi Opportunity Is m Your Hands —
Turn tke Key m tne DoorA\^ay or Success

and thru the portal of the Fame and Fortune Contest you may enter the king-
dom of the screen.

Pkotograpks May Be Entered at Once

and the first honor roll winners will appear in the January issues of each of our
publications.

bend m Your Pkotograpk Early

We know that you get tired of reading this notice, but if you could have seen the
avalanche of pictures which flooded the offices at the last moment, and could re-
alize that there must ensue tremendous confusion, unnecessary work and an in-
e\ itable delay in the announcement of the final winners, you would appreciate
the value of this warning. Those who have failed in previous contests are eligible
to enter the next contest.

Fill Out the Coupon Below at Once

FAME AND FORTUNE CONTEST

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' I hi- roupoii. i.r :i MrniLir iinc nl yniir iiwii niakiiij;, must lie securcil to the hack of each jihoto sulmiittecl.)

i

ss

s

(Eighty-two)

MOTION PICTURE CLASSIC

Shadowing Kismet

{Continitcd from pac/c 17)

was built for his picture. He can call
everyone, even the minor players, the
stage carpenter, the stage artist, by his
hrst name. Now that he is in pictures
he has not spared time, effort or talent
to make his picture the very best that has
been done.

Mr. Skinner's family is a very happy
one. He is tremendously proud of his
only daughter, Cornelia Skinner. It
seemed to me that he is even more in-
terested in her career than in his own.
She is a tall, regally attractive brunette
and has just completed two years at Bryn
Mawr College. She is playing a small
part in "Kismet" this summer, and in the
fall goes to Paris to study pantomime,
drama, and enunciation preparatory to her
debut on the stage.

"I was hoping." ^Ir. Skinner told me,
"that her talent might run in another di-
rection— literature, for instance, but so
long as she has made up her mind to go
on the stage, I am going to see that she
gets the very best groundwork possible."

So you see even those with a heritage
of genius must studv.

Know Thyself

{Continued from page 59)

around. I made up my mind that I
would leave the sort of work I was do-
ing. I made up my mind that I- would
make good. More importantly, I made
up my mind that I could make good. I
felt, for the first time, that I could dij
just what I wanted to do if I wanted to
work hard enough. And I did want to.

I have always thouglit we could do any-
thing if we wanted to badly enough. Now
I was ready to prove it.

"I walked across the street and told
Mr. Sennett I was leaving — just like that.
'What are you going to do, Juanita?' he
asked. 'I dont know,' I said, 'but I am
going to do sometliin</.'

"That very day, walking around town.
I ran into Crane Wilbur. 'What you
doing, Juanita ?' he asked me. 'Nothing,'
1 said. 'Do a picture with me,' he sug-
gested. I did, and I've been doing ever
since.

"I have set myself a mark. Chalked
myself up, as it were, financially and
otherwise, and I am going to attain it. 1
have reached one mark now, and that
lirst mark is the hardest of all. It's the
devil and all to get your first thousand a
week, for instance, but once you do . . .
It's all a question of knowing yourself,
setting riglit what's *\vrong, eliminating
wastes, lutilding up the weak spots. It
(■«» /)(' done. "That's my slogan. .Some
I)eople call it getting a line on yourself,
.still others getting wise to yourself. It
all amounts to the same thing — sclf-
knowledfje."

(Eighty-three)

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these solid gold rings on 10 days trial. These exquisite gems liave the eternal fire of diamonds. Over 150,000
people have accepted this offer and have found the way to own beautiful jewelry at a trifling cost.

If You Can Tell It From a Diamond Send It Back

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at S2.&U amoutb. Tbe ti>tal prico of eittier ring is only «lti.76.

Send Coupon — No Money

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G^

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Monroe Salisbury Presents...

{Continued from page 33)

is directing them. Donald is cutting 'Tlie
Barbarian' now.

"It stands to reason that you cant shoot
a large number of scenes and then leave
it to someone wlio hasn't the remotest idea
„f wliat you are trying to do, to put them
totjcther. I f a story can be best told m
four-and-a-half reels— or in six-ani|-a-
(luarler reels— why. that is the length to
whicli it shotild be cut. No one can do con-
sistently artistic work if he is forced to
make all of his pictures the same length,
any more than a writer could do artistic
work if he was forced to make each one
of his books contain exactly the same
number of words.

"We want to keep, as nearly as pos-
sible, the same people with us all the time.
We may not be able to do this at tirst.
as I may go on tour with 'The Barbarian'
and I couldn't carry so large a .salary list
j over an indefinite period of time."

(The cast includes Jane Novak, Alan
Hale, Barney Sherry, Lillian Leighton,
Eleanor Hancock, Milton Markwell, t^uy
Milham, Larrv Steers, Svdney Dean, Har-
ri.son Post, Tip O'Neil, Marcel Daly, an<l
Michael and Ann Cudahy. )

Salisbury was faultlessly dressed.
Never conspicuous, you would not, for
instance, notice his clothes before you
noticed him, he is punctilious in these
matters. He wore the conventional dark
coat and light trousers with a dark hair-
line stripe, white hat and white ntibuck
Oxfords.

His eyes were shaded by large, smoked
"lasses, which, while making him look
older than he does on the screen, added
to his natural distingue air.

He is tall and holds himself erectly.
j As he talks, especially about something
which particularly interests him, his lips
have a way of quivering into a sort of
nervous smile.

His fingers are long and expressive.
His favorite gesture is a short, side-ways
movement nia'de with .stiffened fingers and
the palm turned inward. ?Ie has a keen
sense of the dramatic. This it is that
makes him so fond of Latin and Indian
characters and gives him the insight to
]Kirtray them so exquisitely.

He humors his a;sthetic and artistic
taste by making a hobby of collecting odd
and interesting articles, some of which are
real works of art. others mere curios.

In his apartments you may see many
curios from the South Sea Islands, the
Philii>i)ines. or made here in the St.ates
bv his Indian friends.
' His favorite paintings are of Indian
scenes and Indian characters, and of the
pictures he has made, he enjoyed the
part of the Indian Alessandro in
"Ramona" best of all.

He is unmarried and is living at the
Mountain \'iew Inn with his mother.

"We are thinking very seriously ol
moving." he said. "We've lived there
for a long time."

Which goes to show that this is a jieriod
.if change for Monroe Salisbury.

(F.inhly-foiir)

CLASSIC

Madame Peacock

(Continued from l>agc 30;

. . . oh, for a very great wliile . . .

Slic ran into lier room where, as she

knew, lier mother sat, solitary, sewing

. . JJetails wrought themselves upon

her, . . . The pity of her mother's hands

. . . tlie joylessness of her hfe

She hiiried her head in tlie patient la])
. . . she sohljcd ... "I am afraid — I
am afraid — "

Iler mother patted the humihated
head. She said no word, being wise.
Tlie touch was what the woman wantcil —

The bell rang and the head burrowed
deeper. "T can see no one — " Jane Gor-
ing said, "no one — today . . . dont let
them finil me, mother — dont — dont — "

Her mother left the room and when
she returned, Madame Peacock could
hear, from her pillow, that there were
others with her. Why did the}' seek her
out ' Why did her mother go against
her in this wav? Didn't they know she
was done wdth the Public even as the
Public was done with her — ?

She raised her eyes, an<l it was jMc-
Naughton, McN'aug'hton holding the arm
of the girl from the theater. Her mother,
too, her mother had her arm about the
girl —

Jane stared. Then unbidden tears
clouded her vision. Things kept throng-
ing back — her desire to touch this girl's
hair — her vision of the girl carrying on.
perfecting, the weapon .she, Madame Pea-
cock, was now to lay down . . . the
travail she had undergone at this intru-
sion of the younger generation — ah, now
.she knew — her subordinate leaving of the
theater — her hunger for the human
touch —

She rose and, very slowly, crossed the
room to where the girl was standing. She
put forth her forefinger and, very deli-
cately, traced the features, her own, yet,
mysteriously, not her own . . . sharper,
keener, sweeter. . . . She looked at Mc-
Naughton and she never knew how
sweetly, how plaintively, she smiled . . .
she didn't have time to, because her head
was on her daughter's breast and her
arms were clinging about the young slen-
der body, of her own fashioning, her
own neglect, and when she raised her
head again there was a rainbow across
her eyes —

Storm Warning

{Continued from page 23)

directorial ideals are substantially those
of King Vidor and Mrs. Sidney Drew.
Here let us add his belief in Henry King
as a coming directorial force. It is not
commonly known that King made the
comedy success of last season. "2iVi
Hours Leave." King is now with Bessie
Barriscale.

Storm suggested that we jot down the
name of Henry King in our memory
book. We offer the suggestion for what
it is worth. But — emphatically we ask
you to be sure to have Storm in your
memorandum book.

(Eighty-five)

I CAN HELP YOU-

IF I CAN PUT
INTO YOUR HANDS
THIS BOOK ON

STRONCFORTISM

Is Your Wife Proud of You?

I'.i.'.s sill' Inok ujHiii V'U i'> ii'lniiriilion :is li.r i-lcil )>li> siciill/ ;iiiil Kniitiillv :' 1 i.u ., hlic cniii|iiiic ymi with otlii_-i- mcti jtn.l
sir- ill yon tlu- iinl.list of tlii'iii liWl Or dii..- ,slii- sir in mm a fmii, licKitjitiiiK. <liscoiiriiK<''l in'liviilu;il l'«ir wlimii m1i.
is sorry — a ui :ilJini; ^li<- Ii;is to joU.V ami {oav aiitl Itio.! l . m Id «nrk umcI iiiiikf :■ liiiiii of liiiiisclf 1' Arc joii Ijiiijriii.l.
tiicii out, ilisirnlirii il t-. â– ;o out into tlic wmlil iwA uiaki- a fi"ht Un- a itlacc for i-oursu!f and fainilvf Arc vou ufraift tu

-n int. I s'Ki- I .ti,]r- wli./iL' both si-x*'s uiiti-lr ;iinl I'njoy tiii; .1\.'h';

Stand Ready to Hel

You

in a Wiiy that n
Nvstem of Ki.'If-<
milking' better men, happier men out of tliov!s:inil-t >

J otlKT m.iii in til.- worl.l (.-an Ial;>
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..Rtl.,

nil- (0 l.laci'
me. lliat i»
•.1 11ic1lisi.lv,.

williin ; oiir griiRii i
Ivjidiiiff the way ii
tiiilurps.

STRONCFORTISM

ftullds

Vou to IVIsnhood

It mukes niea new. It civji^.en^ slumbciuiit
iinibitiuti. It puts |tep into I'.c laiipiiiJ teWuv.
It sends a new thrill of eiiuigy tlirotiKli thi- hnd:,
— fills it with tile desire lu du, to arhievi:. It
ritjs the syiiteni of disease without the \isv if
drugs or medicine, clears the mind at di-Npundeiic..
— 'iiiakes the world look briglitiT ai.d l^c i;i ■
»orth living.

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"FromotioQ and Oonaerv&tloQ of Be&Ub,

Btreugtb and Mental Ecergj"

The information which It contains will Iju i-T

i I lost i ma hie value to you. It will tell yui liow jdn

liiii, without medicines or drugM, unil \\iihoiii i!i.

iisu of expensive ariparatus. Imild yuursell' U|i tu

.â– if.;t(. hfjllli.

LIONEL STRONGFORT

STRONCFORT JVlfli^ival (iVfl Ui'itllh Sjit-riitUst

The i\rj\ci Man Dept. 130 Ncwark, N. J.

FREE CONSULTATION COUPON-

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,N. J., r^

rFioiiul— 1

Please send mc >nur hnolt "Promotion and Conserwa- 1
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. , Colds
. . Catarrh
. .Rupture

..Neuritis
. .Neuralgia
. . Flat Chest

..Vilal Iteplellon
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. .Indigestion
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..poor Memory |
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other subjects not lisl

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Name

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Dcpt. 812, 30 N. Dearborn St. Chicago, DUnols

Relief from irritating coughs and
colds and sore .scratchy throats i^
only an arm's Icnf^th away when
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tains no opiate.

PI SOS

for Coughs & Colds

f

Inish this sketch!

Do you like to draw? Do you want to become an Illustrator? Then
try your nand at thissketch of HardinR and see wh:it you can do. News-
paper illustrators make big money drawing Ciirtoors. Some cartoonists
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Federal School of Applied CartooninK \ From McCutcheon Cartoon
02037 Warner Uulldlng; MinnenpoiiN, Minn. J^ m Chicago Tribune

Hair Seems Twice as Abundant

After a "Dandi-rinc-" massage, your hair takes on new life, lustre and
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A 35-cent bottle of delightful "Danderine" freshens your scalp checks dand-
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tiiftitiog.

For h'-ntinff onfy, $1.75

Fi-r luiitinif and UgUtino.

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D»pt. \;r.

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USAL\TE. the heatinir
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Produce a natural, beautiful ripptc
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send $2 for set of 6 mailed with full directions.

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noiln. Hawaiian Guitar. Ukulele.

fiuitar, Mandolin. Comet, Tenor Banjo or Banja

WonJrrrul new nystcm of tuikchlnn note musto by mntl. To first
liui^lln In <uih Iwuliiy, wo Rivo D Vi^ Bupyrb Vtolln. Mandolin,
llhul'l-. CulUr, Huwiitln Cultar. Comet, T«n..r Itaajo or Bunju ubno-
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SUNQEBUND SCHOOL OF MUSIC. Inc. Oept.lB CHICACO. lU-

Don't Risk Material In Poor Dye

Each imekane of '•Diiiiu.Mid Dyes" conlaiiiM directions
so »imi>lc tliat any woman can dianionil-dye a new.
ricli failclcsn color into worn, aliabby dresses, blo\iaes.
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Buv "Dianiond Dyes"— no otlier liind— tlieri perfect
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i6 Rich, Fadeless Colors

Nancy Manages

{Contiuiicd from page 60)
time.s," slic added decisively, "I rule
them both !

"So, I had uiv way. and stage-managed
m\self around the world, going to school
wherever we traveled at hours that suited
my work. It was not a 'regular' educa-
tion, of course. But dont vou think that
a girl who has traveled in Australia,
Great Hritain. France, Spain, Germany,
and Cuba, learning nearly all these lan-
guages and business-managing herself
into jobs wherever her father's business
took him, has learned .toxic thing?

-And the trouble I had with the Gerry
societies and children's societies and the
like. I never could see what the fuss was
about, I was just being myself. Even
after I was old enough, 1 was always hav-
ing to explain myself because I was so
sinall they wouldn't believe me when I
did tell the truth. But I always man-
aged !"

Nancy Deaver's first stage appearance
in America was about four )'ears ago
with Fred ^^'alton, the English panto-
mimist, as the IFa.r Doll. Needless to
say, her success was assured. And then,
being, as she says, grown up and able to
manage a "regular" career, she has
worked steadily in musical comedies and
vaudeville, always in dancing parts.

Until last winter, Nancy had never ap-
peared in a picture. She always intended
to, she says, but was cannily biding her
tiuie and watching her chance. One day
she met Charles Miller, the director,
whom she knew very well. "Nancy," he
said, "I'm thinking of producing 'East
Is West' and I want you as the Chinese
girl."

"Me? I should say not! I'm not the
type and I dont want to be a Chinese
girl."

"Never mind what you want," he said,
â– 'come and let me make you up."

"Anyhow," I thought, "here's a
chance to learn something about screen
make-up. And when he had put a black
wig on me and fixed my eyes so they
slanted, I didn't know my.self. But it
happened that instead of producing 'East
Is West,' he produced 'The Law of the
Yukon,' and I was given a leading role.
I played the part of a young girl whose
father kept a dance hall. I was very
carefully looked after by my father in the
story, but I had a chance to dance in the
picture, so I liked the role very much.

"Well, I have traveled nearly all over
the United States and thought I knew
something about cold and snow, but I'ort
Henry, up near the Canadian border,
where the picture was made, was the
coldest place in the world. We were up
there fourteen weeks. Lots of times it
was too cold even to work, but it was
perfectly glorious and was surely just the
right tei'njjerature for that picture. The
queer characters ]Mr. JMiller unearthed as
extras, and what he got out of them, was
uncanny.

"Thi.s is ancient history, but we were
up there at Christmas time, a bit lonely
(Continued on page 88)

(F.!(lhty-si.r)

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m^

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A-lOO — Beautifully
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A-132 - Prcny liaiid-eii-
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A- 105 - Gunuine
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inuuniing; o et
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gnci;nn;nt riuK.scl wilU
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lag $88.50 PLATIMUI _

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A-116— Perfectly cot,
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III beautiful, hand-
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A-117— Kvtni
heavy UK
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I Justed inove-
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' with UK link \
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i

A-129 -Eeaulfful la-
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biiUtaire engagement .^ r-T-^fc.

I'lng set with flno ,, ^t^^^ij^^

blue-white Diamond ^ ^^K?A*'*

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A - 10!) *. :.ll. IIM

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rind u II o genuine
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$50 Kuinishrd In rligunl l>lu^h gift case $42.50

%

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• 1650-1660 BROADWAY, NY.

(Eiijltty-ieren)

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Mi*i Uptly PrTk«r

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CROOKED SPINES

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^ETONTHESTAQE

I T«ll Voij Howl Stan Worit and Cabnr.t Enter.

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FREDERIC U DELLE. Box 667.B LOS ANGELES. CALIF.

The TUnite Co.,

No. 3. Solidiroidlls-
pnioir OhiU, mounting.

TIfnIto lirm, elmoat •
eeret In .lz«.
>r"<ind ..rood ioint of (Inerr. If
"".nUilF ondl the one, »l« W.

*iU. ■ T'-r It llmii'd. Heud wh!l« il liolda «0od.

Dept. 1001, Chlcigo. III.

Nancy Manages

^^Coiitinucd from page 86)

I and homesick, sonic of us, so we decided
j to see what we could do for the natives.
\Vc had a community (."hristnias tree in
the town square and every poor child, ( 600
of them), had a toy, some sweets, and a
useful gift. We nearly froze before it
was over, but it paid. Mr. Miller was so
lovely to work with, and we were just
I one big f.nmily. The peoiile of the com-
I munity treated us like royalty. We were
I entertained by the nicest people. If mak-
ing iiictures were always like tliat.I would
want to make them the rest of my life.
' "Jt was good to get back, tho. You
know 1 just love to cook, and, next to
dancing, it's my favorite sport. Up
north, the food was good but nionoto-
[ nous. So when I got home I started in to
cook and I had a wonderful time, only it
seems to me prices are more appalling
than ever. I'm ashamed to think how
much I have squandered on chops.
I "So. since I've been back I've cooked
and I've danced. No, I have not danced
for managers or at rehearsals or even in
restaurants. But, I knew there must be
I a lot of new dance music since I left, so
the day after I returned I bought fifty
new dance records and every morning
when I wake up 1 jump out of bed, put
on a record and have a party all my own.
"Yes, I shall do more pictures. In
I fact," she said, "I have had several offers
i and just now I am holding out on a cer-
; tain person because I happen to kmow
I'm the t\pe he wants and I know that
he knows that the type is very scarce.
So, I'm waiting to get what I want. Do
you see?''

I did. AnA have every reason to be-
lieve that \ancv will get it.

The Case of Norma Talmadge

(CniitiiiKcd from page 25)

who has produced her pictures ever since.

It is rather difficult to summarize her
screen work. We doubt if she has ever
once given a characterization in the full
sense of the word. She is always Norma
Talmadge. That she has succeeded lie-;
in the fact that Norma Talmadge repre-
sents average .\mcrican girlhood. Con-
sec|uently she has made the j-oung women
of her veliicles flesh and blood folk to
those in front of the screen. Hers has
been a healthy, natural girlishness.
There was no forced cuteness, no
"clever" touches, no be-curled super-
innocence. She was a regular girl, with
the feelings, the flapper viewpoint and
the high spirit of a regular girl.

Miss Talmadge has retained her hold
because .she has remained unspoiled ; be-
cause, in the main, she has retained these
things. Tims it is that a little Hrooklyn
school girl shot to cinema popularity and
success mimis all technical e(|uipment.
without the breadth of vision that comes
of tasting anil observing life, lacking all
â– -eeming histrionic essentials. Indeed,
she has succeeded and retained success,
because of these things — and because .she
is Norma Talmadge.

PL

h^Jb.-.d/ mm

" — Not One
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"And my hair was quite gray a
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Two Sizes— SOc and $1.00

Al Your DEALER or Direct
SI size Itirfc limes the riuantily of 5 0c size.
SKND von JAK TODAY. Use it 5 days. If dls-
siiilsllyd n-liirn whiil Is Ifft, and we will REFUND
VOIR MONEY IN' FULL. Onco you use Hermo
â– IIAIR-LISTR" you will never be without it.
HERMO CO., 542 E. 63rd St., Dept. 312, CHICAGO

Bowlegged Mgh

Your legs will appear straight
when you wear

Straightleg Garters

Rcniarltalile invfiillon^Combinatlnn hose-
t^uppnrti-r and pant-leg SIralebtener —
Quickly adjusted to At various deflreei
of bowlegs; as I'usy to put on and com-
I'Tiablf to wear as any ordinary garltT
no harness or padded forms: just an
iiiSLTiious special garter for bowlcggec! men
-improvts appearance wonderfully. Bow-
li k'Reil men everywhere an- wt'urlug them;
I iiiliusla.'tilc. Write for free booklet,
mailed In plain envelope.

S-L Garter Co.

814-D Trust Co. BIdg.. DAYTON. 0.

(Biyhty-cight)

jMOTion picture classic

Double Exposures

(Continued from page 52j

Stories of star's letters from Japanese
ailniirers.

Stories of stars.

A"t tile |)resent speed of release, Chap-
lin's'"The Kid" will have white whisker-
lieforc he sees a screen.

Ves. Rdllo, we know people keep eoni-
paring the screen to the stage, to the
damage of the former. The answer is
simple. Rollo. very simple. In 1915,
Frances X. Busliman was on the screen.
In 1920, Francis X. Bnshman is on the
stage.

Anyone else in the andience having
qnestions will please hand them to the
ushers on the way ont.

No, no. Rollo! "Black Beauty" is not
1o be confused with "The Four Horse-
men of the Apocalypse."

C'UR F.woRiTE Screen Moment of ttie
Month
Constance Binney dancing in her top
floor bedroom in "39 East."

Dinty

{Continued from page 56)

had caused them to be strapped to this
fable. Over the table swung a massive
knife, clutched in a dragon's teeth.

In this room, the Chinese w-ife tolil the
father and lover, Dorkh had imprisoned
the white woman before he made good
his departure.

Even as they talked, then, Ruth was
on the hideous table, her wide eyes watch-
ing, sanely or insanely, the descent of the
nnirderous knife. She had held out, they
knew then, against the Eurasian, and this,
this vile death, was his revenge.

The father lost control and hurled him-
self against the door.

North tried his turn. "It is absolutely
useless." he said. The Chinese wife nod-
ded a dumb assent.

In the background, Dinty, Chinkie and
VVatermillions stood, rooted, their indi-
vidual heads bristling, their mouths lonse
and agape. Within that door the heart
of their hearts was being tortured. In ihi-
twentieth century, that gently bred girl,
tortured! Rutli . . . their Ruth . . . left
by a Malay hall-breed to so lurid a death !
' .Ml at once Dinty and Chinkie bent
their heads together.

Tlie older men were crying out to her
now, to the victim within. They were try-
ing to make sound carry some comfort,
some sustenance to her. 'They loved her
too much to be efficient. Dinty' sensed
that. He knew . . . Once Doreen had
had hemorrhage ... He hadn't been
much good.

W'atermillions and Chinkie were agree-
ing with him. It was tremendous! An
in-;pired plan !

(Continued on page 102)

(Cights-innc)

I'll Teach You Piano
In Quarter Usual Time

To persons who have not previously heard
of my method, this may seem a pretty bold
statement. But I will gladly convince you
of its accuracy by referring you to any num-
ber of my graduates in any part of the world.

There isn't a State in the Union that doesn't contain a
score or more skilled players of the piano or organ 'who
nlititiurd tlifir entire training from nie by mail. I have far
more students than were ever befori'
iauL;ht by one man. Investigate by
w rit ing for my 64-page free booklet ,
"How to Learn Piano or Organ."

My way of teaching piano or organ
is entirely different from all others. Out
of fvery four hours of study, one hour
i'^ sjieni entirely a^cay from the key-
hoard — learning something about Har-
mony and The Laws of Music. This is
rm awful shock to most teachers of the
"old school," who still think that learn-
ing piano is solely a problem of "finger
g\ ninastics." When you do go to the
keyboard, you accomplish tii-iec as
much, because you understand zchat yon
iirc doing. Within four lessons I enable
vou to play an interesting piece not
only in the original key, but in all other
keys as well.

I niake use of every possible sciLntilic
help — many of which are entirely un-
known to the average teacher. My
patented invention, the C(.)LORO-
TON'E, sweeps away playing difticultius
ihat have troubled students for genera-
lions. By its use. Transposition — usually
n *'nigh;mare" to studi-nts — beconiLS
easy and fascinating. With my fifth les-
son I introduce another important and
ixclusive invention, QUI N N-D EX.
Quinn-Dex is a simpU-. hand-operated
moving picture device, which enables
you to see, right before your eyes, every
movement of my hands at the key-
board. YoH actually see the fingers
move. Instead of having to reproduci
\our teacher's finger Tiiovements from
MEMORY — which cannot be always
accurate — you have the correct models
before vou during every minute of prac-
tice. TheCOLOROTONEand QUINK-
DEX save you months and years of
wasted effort. They can be obtained
only from me. and there is nothing else,
MM— y i^i anywhere, even remotely like them.

Marcus Lucius Quinn Conservatory of Music
Studio KL, 598 Columbia Road, BOSTON, 25, MASS.

â– â– ''W

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MBST"'^

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DR. QUINN AT HIS PIANO

From the Fanmus Sketch by SclinriiU'r. Eslitbitcil
al ilie St, Louis Exposition.

Men and women who have failed by all othi-r
methods have (luicKly and easily attained success
when stiidyinR with me. In al! cssctilial wavs yon
Are in cIosL-r touch with me th.in if you wrn-
studying by the oral method — yet my lessons cost
you only VA Cents each — and they incbide all thf
many rectnt developments in scientific teaching.
For the student ni mndtratc means, this method
of studying is far suprrior to all others; and even
for the wealthiest student, there is nothing better
at a:iy price. You may he certain that your projf
ress is at all times in accord with the best musical
thought of the present day, and this inaffes all the
difference in the xvorld.

My Course is endorsed by distinrruished nmsi-
cians, who would not recommend any Course but
the best. It is for bejiinncrs or experienced
players, old or youuK- Vou advance as raiiidly
or as slowly as you wish. All necessary music
is supplied without extra charge. A diploma is
granted. Write today, without cost or obliga-
tion, for (i-t-pagc free booklet, "How to Learn
I'iaiin or Organ."

F/?££ BOOK COUPON

I QUINN CONSERVATORY. Studio KL.

I 598 Columbia Road, Boston, 25, Mass.

I I'k-ii^f sfitd me. witliniit COJit or oMigutloii. yniir f-c-

I Ixiolilel. "Him in [,e;irii I'lano or (>rguti,"unil full iiuil

! irlnrs of yuiir CuiirnU nud mmcUil rt'iliiirj Ttiltloii offtT.

, Name

, Address

This Girl Is A Wonder

Do you want more money thiin y<iu ever possessed? If >■•;
learn to make nut and fruit bonbons — the business will i»-i
ynu $90.00 to $300.00 per ninnth. You can work from ynnr
iiwn humi- ; ail who sample yonr hnnbons b<<<irnf rt^-t^ular m--
tiirnt-rs. Ynu start b^' invcstins Ii-s thLin SUMHi (or >iipplii-.
Mary KHz;ibi-th started her camly kitrhni with ^r,.\nt an.l ti.i -
mad'f a lortune. Cannot you do likt-wiM-'^ 1 \wll ttll you all
about the business and help you start, so you can beconit in-
dependent. Now is the psyehologieal time to make bij?
monoy, as sugar is cheaper and tine bonbons conmi.intl pho
n-uiienal prices. AVrite to-(Ia\.

ISABELLE INEZ
383 Morewood Building, Pittsburg, Pa.

LEARNING TO TYPEWRITE?"

ynu hovo JQHtfitsTtcd I'-nmlntr Ihf typewriter,
â–  obnut to tiiko UT' thiH intiTrilinc. liiiyiMi;
mini'ss, order oni? at thi-Mo pra.'Mf/-' k-.-yb'-u'-il â– 
...ir.-. It f» u buBincHt. <:..iirBr in iLiplf . cm t,-
.i) lit h^mc, and t*Ai.-hrH hoyboard lnyoul Ihi-
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PRACTICE KEYBOARD"

01.1

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I'T the ombitiouji t^itit. S<-iit to you, poatpuid
Ior(1.00 Dcpt.B

JumboPEANUTS

~*UKSH From .Sunny Carolina.
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TRY THESE PEANUTS AT OUR EXPENSE

-ondorfirl iuMtiiil', Wril.

II, loJjy iinii wt- will s'Tid ymi at our own cxiiitiiM; (jh l'"r.-.' /

Triul, a big fl\c pfiutid bug witli a rrjpy nf our new hm.k jL

ti-niiig Of more Uwa .'.B wayu to jirepare lliem nuicKly (Y

and L-iisllv at hima-. If you dun't Uiink tliuin lliu tii-sl ^/>

vanuts you've ovi-r tasloj roturn tlio roiiiuliidfr of Uic*
bug and yon win'l owi* u* a penny. If you llliu tliutn
Mcrul u«! i>nly ?-.">l' for the big Ave jKiiind bag. You an-
tf. he the judge. Write lodHy for your Trial Bug at OUr

e\|H-ii«(.' uiid a fr-'' <'"!'> "t our new biKi!i.

EASTERN PEANUT COMPANY
Dept. i:j. Hertford, N. C.

A Prudential

Monthly Income

Policy

is like a radiant burst of sun-
shine thru dark clouds.

A Prudential Check can be put
into the hands of your loved
ones on the first of every month.

Hundreds of American homes
know this day as

PRUDENTIAL DAY
THE NATIONAL PAY-DAY

Jnsure to

She |!

INSURANCE COMPANY OF AMERICA I J

■yixra1.d Under ihe u«i of IfK Siarr ol Ne* Jcrr.y pvj^

Home office I '-

iFORBEST F. DRYDEK
^>nj President

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ii

- ^ , l^c Aafe feyclop^cai

"n '*^An/wk Aan m

This deparlmcnt is for information of general interest only. Those who desire answers liy mail, or
a hst of the film manufacturers, with addresses, must enclose a stamped, addressed envelope. Address
all inquiries to The Answer Man. usiiip separate sheds for matters intended for other departments of
this magazine. Kach inquiry must contain the correct name and addfess of the inquirer at the end
of the letter, which will not' he printed. At the top of the letter wrifc the name you wish to appear.
Those desiring immediate replies or information requiring research, should enclose additional stamp or
other small fee; otherwise all inquiries must await their turn.

Virginia K. — How do you do! Glad to soo
you this evening. Is Rex Beach married. Very
much so. Walter McGrail is not married. Wal-
lace McCutcheon is a player, also the husband
of Pearl White. I'll say so.

Baby Blue Eyes. — Oh, I began my career as
a very little boy. Rod LaRoque plays the part
of Life in "Money Mad." Bert Lytell and
Lucy Cotton in "Misleading Lady." Well, your
trouble seems to be that }'ou think you are
thrifty — whereas you are spcndthrifty.

Dorothy F. — Ves, he is married. I am afraid
you idle too much, Dorothy. Everything comes
to him who works. Uont be a Micawber, al-
ways waiting for something" to turn up. The
crowd always makes way for the man who
pushes boldly forward. Yes, Will Rogers has
been appearing in vaudeville. Making some
money too. He played in "The Guile of
Women."

Carl E. S. — Too late for that issue. That is
a very profound question you ask, "Is life worth
living?" Once more this oft repeated irksome
task must be accomplished — it all depends upon
the liver. You want to know if Corbet played
in the Eighteenth Amendment. I dont think
it was his turn at 1 at.

ToTO Mac. — Well, his experience should
teach us to beware of love at first sight — always
have a second look. Sorry, but I have no cast
for "The Love Flower." I dont happen to
Iviiow the middle names of the ten players you
1 inquire about. That was some verse of yours.

Paul Y. — You want to know wliat queen
was crowned, with all due ceremony, after
her death. You refer to Inez de Castro, queen
of Pedro I, of Portugal, L350. It has not been
(lone in photoplay, I believe. Sorry I canu'it
help you.

Betty B. — Oh, hello I I understand that
Marguerite Clark spends quite a bit of her
time in Xcw Orleans with her husband and his
I)arcnts. Dorothy Davenport is the only wife.
1 know of. that belongs to Wallace Reid. Run
in again, Betty.

Red Rosi:. — Dont know where I will spend
Thanksgiving, but I hope someiiudy will take
pity on me, for 1 do love turkey and cranberry
sauce. No, I cannot tell you what the actresses
do to keep tlieinselves beautiful, hut I know
that there is no torture that they would not
sutler to enhance their beauty. Just send nic a
stamped, a<ldressed envelope and I will send
you a list of the correspondence clubs.

Hkumax B. — You want a picture of William
Farnum in the ^ravure section. Certainly,
come and .see me in my cage. It is more blessed
to call than to receive. Well, Mary Miles Min-
ter played in the picture play "The Littlest
Rebel" and on the stage.

Wee WEE.--Oui la, la. God bless the public-
ity man ! Without him many a player would
be born to blow up unheard and to go to seed
unseen. But wasn't it Benjamin Harrison, in
his contest for the presidency in 1S88 who
origin.ited the .so-called "front porch" cam-
paign? Or was it McKinley— I forget.

Cakmf.n Silva-Havana.— Dont know where

you can purchase all the photos of the players?

j You want to sec Forrest Stanley antl George

Walsh in the gallery soon. I'll do what I can.
Yes, the pen is mightier than the sword, but
I have found out that the scissors are often
mightier than the pen.

Helen Louise, — You want to know all about
George Walsh. I'll try to find out — wait a
minute. Viola Dana is playing in "The Off-
shore Pirate." Jack Mulhull opposite her. Oh,
thank you, it isn't so cold up here. I expect
to get a new feather bed and a fur coat. I'll
send you the rest by wireless telepathy.

Amado B. Magtoto. — Stiletto! No, I am not
married. Your first question to me. You think
Marie Provost partly resembles Mary Pick-
ford and partly Mae Murray. Maeterlink is
finishing his hrst original motion picture sce-
nario for Goldwyn. It is called "The Power
of God."

Blue-Eyed Doll. — It is bad cynical philos-
ophy that says, "It is rare that, after having
given the key of her heart, a woman docs not
change the lock the day after." I cant believe
that most women are as fickle as that. I under-
stand Nazimova is doing "Aphrodite." You
know Madame Petrova was asked to play the
part for the stage play of the same title, but
refused.

Kawloops Kig, — Thanks for the nice things
you say about me. So you have been watching
Lariy Steers and think he has an awfully kind
looking face — so whimsically Irish. Montague
Love opposite Geraldinc Farrar in "The Rid-
dle, Woman." You must write to me again,

MoNSHEOis. — Yes, "Limchouse Nights." Buy
the book. They say that there are no pleasures
where women are not ; and that, with the French,
champagne itself has no flavor unless served by
ihc hand of beauty. I hold womati in high
esteem, but not so high as that. I have got along
for 79 years without one, and my champagne
always tasted pretty good.

Ai.LEX. — Oh, yes, I always use a typewriter.
Every make of typewriter produces its own
peculiar noise by the clatter of the keys. An
expert recently recognized and named correct-
ly 20 different machines simply by the sound
of their operatioiL I k-now the sound of some
automobiles, particularly the Ford.

Stacy B. — I didn't see "The Adorable Sav-
age." You say there were seals basking in
the tropical sunlight on the Fiji Islands. Now
wasn't that clever of the director? Such a
novelty !

A Dog Lover. — You should see our two dogs
we have here in the office. A Russian wolf-
bninid and a collie. Write to Mack Scimett.
\'ou will soon see Hope Hampton again, and
in a more attractive role. You know she is a
new star, and I am betting on her.

John M. — I haven't the heights just now, and
cant get them right away. How would I look
walking around among the players with a tape
measure ?

Buck Puivate. — Welcome! Vivian Martin
can be reached at the Capitol Theatre Bldg.,
N. Y. City. I guess they only appear to be
friends. Friendship between two leading ladies
in the same company is only a suspension of
hostilities.

{Continued on pat/c 103)

(Ninety)

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Town Stale. ,

(Niucly-onc)

Never Forget

How folks love Bubble Grains

The finest breakfast you can serve lacks its greatest charm without them.

There are three of them — PuflFed Wheat, Puffed Rice and Puffed Corn —
and each has its own delights. You can serve them in a dozen ways. So tlicy
bring to breakfasts endless fascinations.

What other cereal is half so enticing as these flimsy, flavory grains?

At other hours

Remember what Puffed Grains are. Two are whole grains steam-e.\ploded,
one is corn heart> puffed. Kvery food cell is blasted for easy, complete digestion.
rhe grains are puffed to bubbles, eight times normal size.

They are tlavorv. flaky tid-hits, yet they arc ideal scientific foods.

Use in home candy making or as garnish on ice cream, or as wafers in your
soup.s. Mix in every dish of fruit. Salt or butter, as with peanuts, for hungry
children after school.

The night dish

the

.At supper or bedtime float Puffed Wheat in milk. Then you h
supreme food made delightful and easy to digest.

Think of whole wheat with every food cell blasted — made into food con
fections. Do your folks get these ideal foods as ()ften as they should?

Puffed
Wheat

Puffed
Rice

Also Puffed Rice Pancake Flour

Puffed
Corn

The finest pancakes ever tasted

Now we mi\ ground Puffed Rice in an ideal
piancake flour. Your grocer has it — Puffed Rice
Pancake Klour. It is self-raising — batter is made
in a moment. The Puffed Rice flour makes the
pancakes fluffy and gives a nut-like flavor. You
have never served a pancake so delicious. Try

T^e Quaker Qats (pmpany

Sole MaherM

MOTION PICTURE CLASSIC

How "Earthbound" Was Made

(Coiitiiincd from payc 44)

bit of action of our scene. I first 'shol'
the material portion. That is, after the
actor playing the living man had re-
hearsed his part alone, I took his scene
with him in it alone. Here I would care-
fi'illy prompt, something like this : 'Get
ready to feel his presence — you sense his
presence — you see him' — and so on.

"Having taken the material side, we
woidd next film the .spirit action. The
player doing the ghost would rehearse
and, wlien he was perfect, we would cov-
er the entire setting, even the carpet and
floors, with black velvet. Then we would
grind the film carefully back in the
camera to the start of the scene.

"T should, perhaps, explain the velvet,
.'-lincc we were re-exposing the film, the
velvet prevented any fuzzy doubling of
background. Only the ghost's figure
would be photographed, the velvet pre-
venting an\' reflection of light or pho-
tography of background,

"Then we put a gauze of crepe de
chine before the lens. This gave the re-
sultant vague and hazy spirit effect.
.\fter which we 'shot' the scene, which
dovetailed in exact numbering with the
material portion.

"You can guess how easily these scenes
slipped up. The slightest error threw
everything out. To guard against this,
we 'shot' every scene many times and
finally used the best 'take.' Right here
1 want to express my appreciation of
the way the players co-operated with
me. Frequently we worked from 8 :30
in the morning to midnight or longer.
This was uecessary because the camera
could not be moved between exposures ;
diat is, between the filming of the spirit
and material 'shots.' It would never be
possible to re-set up the camera exactly
the same. A divergence of one-eighth or
one-(|uarter of an inch woidd wreck
everything.

"There were many apparently insur-
mountable difiicuUies. For instance, in
a scene of speedy action, such as the one
where the widow falls thru the spirit
arms of her husband to the floor. It is
practically impossible to time a fall with
accuracy. This simply meant doing the
scene over and over until we caught the
right thing.

"Again, I believe the scene where the
dog sees the spirit is the most unusual
cxainple of double expo.sure ever made.
You cannot rehearse a dog or tell him
what to do. So we did the next best
thing.

"On the top of a platform, out of range
of the camera, we placed a goat. Now a
dog hales a goat, perhaps, more than any
other animal. In front of the goat we
placed a draw curtain.

"At the moment when the dog sees the
spirit, we drew aside tlie curtain and re-
vealed the goat. Of course, the dog
started, bristled and jumped (o his feet,
revealing all the necessary emotions.
(Continued on page 94)

(Nilicty-tzvo}

I

Free Trial

^fEND now for the New Wurlitzer cata-
ij log and free trial blank. You may
^"^^ have any musical instrument known,
with a complete musical outfit, for a week's
trial at home. Return the instrument at
our expense at the end of the week if you
decide not to keep it.

You will get a complete musical outfit, in-
cluding the instrument and all the neces-
sities with it — velvet and plush lined carry-
ing case with lock and key, self instructor,
instruction aids, book of music, all attach-
ments and extra parts— everythingyou need.
This new Wurlitzer plan effects a tremendous saving
for you if you decide to buy. as everything is in-
cluded at factory cost. Wurlitzer supplies the outfit
and instrument practically for the cost of th6
instrument alone.

Convenient Monthly Payments

A feu) cents a day will pay for your
instrument and outfit.

tkrtictiK Oii!>1Jt-«r of Wurlitzer instruments is
ATtlSnC yuaWty known all over the world.
Wurlitzer instruments have been the favorites of
artists and have been used in the finest orchestras
and bands for years. This outfit offer includes gen-
uine Wurlitzer instruments.

Every known stringed instrument or wind
instrument included in this offer of free
trialinyourownhonte-Haveyourfreetrial
law. We do not charge you a penny for it.

Send for New Catalog
and Free Trial Blank

Every instrument known illustrated and described,
with price and small payment down. More pictures
and more information about musical instruments
than in any other book published. It is a veritable
musical encyclopedia. Free trial blank comes with it.
Catalog is absolutelyFREE. There is do obUgatioo*
Don't delay. Write for it today.

The Rudolph Wurlitzer Co., Dept, 1519

117 East 4th Street, Cincinnati, O.
329 S. Wabash Ave., Chicago, UL

' MUSICAL INOTKUMENT MAKING W

200 YEARis^^JF MUSICAL IJ)
Copi/rii/ht, i920 ^"^^^^iir— — -^r^::^^^^^^^ Thaliuiiolphn'uiliticrOo.

The Rudolph Wurlitzer Co., Dept. 1519

117 E. 4tb St.. Ciacinuti, 0. 329 Wsbub Aft., CbicMo, 10.

Send ma yoar a«w cstalOK with IllDBtrations in color and
full description of the WarliUer Complste Outfit! sod
details of toe free trial and eaay iiarmeot offer.

Nam4 ,

Addrtm

iStaU eniaieol irulruiMiil in wAicfk vow ar* •pwioUy inUn»tad,\

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favorite of women of taste in society
and on the stage.

The regular r"'ce is$I5,00«nounce,butfor 20c
you can obtain a miniature bottle of thi»
perfume, the most precious in the world. When
the umpte comes you will be delighted to find
that you can use it withoutextravagance. It la
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Sample

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â– end you â–  sample
vUl of Ricger*s Flower
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Aktur <Ao OrianUl PtrfoBc) parol. 2.2£

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sample offer, loz. 11. 60

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Paul Ricger &. Co., (Since 1872) ^

Z64Fir«t Street, Soo Frmncbco

Enclosed 6nd 20c for which please send roc
•ample bottle of Rleger's Flower Drops In the
odor which I have cnccked.

D Lilj ct lU Vallej O Rose O Violet
G Ro-nanvt O Lila£ O CroKi^^la

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r>yi;r..>Cox — vt.co er.cIjicJ.

S cnclo«d.

. HaaKlMaJraoBSMfwakaiMnal y

(Conliiiiicd from fcgc 92)

You will recall that the ilog siKlck-tily
turned and looked about as the spirit
faded out. Here we closed the curtain
and started an unusual .scries of noisc<
under the set stairway. Naturally the
dog wheeled ahout to see the new sur-
prise and tooked puzzled at not being
able to tell what it was.

"The .scene where the murdered man
finally disappears for the last time re-
i|uire(l the most e.x])ense. The material
exterior was 'shot' in .Santa I'.arbara but
the psychic part was done on the dolil-
wvn lot at night. .\n inclined platform
two-hundred-and-fifty feet long was built
and covered with velvet. .\ motor driven
car was arranged to run up this platform,
carrving powerful lights. Thus, when
the spirit apparently walkeil away over
the tree tops, he in reality walked up tliis
velvet covered runway, while the electric
light car traveled alongside."

Pacific Coast Paragraphs

'{CoiUUntcd from ['age 62)

and emotional episode with a facility
which is little less thaii amazing. Others
in the cast of "The Concert," are Mabel
juliene Scott who has left the Lasky lot
"for the Goldwyn studio, Lewis Stone and
Frances Hall, a new screen recruit from
musical comedy.

Maurice Maeterlinck left behind him
several original stories for the screen
when he departed from this coast. The
first of these, "The Power of Good," will
be produced as a (Joldwyn sjiecial. The
continuity is being written by Elmer Rice,
author of that famous stage success "On
'I'rial." l\lr. Rice is so youthful that it is
hard to believe he has already attained
the success for which other men work
years.

Mary Pickford has almost completed
".\ Flame in the Dark." This is the story
of Italian atmosphere written and direc-
ted for her by Frances Marion. In it
our Mary grows up, puts her hair on
top of her head and becomes a regular
emotional actress. Tho taking the part
of an Italian, Miss Pickford is not wear-
ing a dark wig. for she says she came
across so many blond Italians in the vil-
lage she visited to get the atmos])here for
her story that she decided against the
black tresses. Before this picture is re-
leased, however, you will see our Mary
in another of the kid comedies in which
she is so well loved. This, too, was writ-
ten by Frances Marion who will direct it
and who has titled it "Rag-Tag and Bob-
Tail."

Thru some error a report was circu-
lated that Elliott Dexter was still handi-
capped by his recent illness. This is un-
true. Mr. Dexter has returned to the
screen with a greater power for portrayal
than ever. 1 greatly enjoyed watching
him during the filming of "The Witching
Hour," his most recent picture.

Tke Holiday
Number

of

Snaao^^^lana

LIKE the pack on the
back of St. Nick, De-
cember Shadowland
comes laden with gifts. The
pictured faces of screen fa-
vorites, bright stories of
unique personalities, and
lovely color plates are some
of the pleasant surprises.

Novelizations of new pho-
toplays soon to be released, a
quick-moving one-act play,
"Ask Ouija," and the smiles
and satire of the critic are
other presents enclosed with-
in this holiday number of
Shadowland.

W. L. George, the man
who wrote "Caliban," making
it one of the six best sellers,
naturally holds strong and
interesting views on timely
subjects. Read about him as
Frederick James Smith de-
lineates him in "Women and
the World War."

Mordkin, the inimitable Russian
dancer, and IVIordkin, the man, are
the subject of another story by Oliver
M. Sayler.

Thru his successful achievements
with the "Greenwich Village Follies,"
James Reynolds, tho but 2i, is rec-
ognized as a leader in stagecraft. His
story will appear in Shadowland
for December.

The versatile pen of Frederick
James Smith gives an enlightening
picture of E, O. Hoppe and his
unique work with the camera.

The r.imblings of The Rambler
result in a page of attractive sugges-
tions for Christmas gifts.

A magazine that aims always at
the artistic and the beautiful, it will
he especially alluring for December.
Bring joy and inspiration into your
home with the holiday number of

SHADOWLAND

175 Duffield Street Brooklyn, N. Y.

IJrHai5IM3iSiaraMSHaJ3iaiSEI3iai3EH33M3iSI3IEI3l3JS

$

1^ A Room Full of Furniture

6 Pieces

Large arm rocker and
arm chair are 36
inches high, seats
19x19 inches. Sewing rocker and reception
chair are 36 inches high, seats 17x17 inches.
All 6 pieces are well padded, seats uphol-
stered in brown imitation Spanish leather.
Library table has 24 x 34 inch top with
roomy magazine shelf below and beautiful
designed ends. Jardiniere stand measures
17 inches high with 12 inch top. Made with
the simple lines and not over massive con-
struction of the famous Neo-Mission Style
so popular in homes of refinement.

Easy Payments

Open an accouut with us. We trust
honest people anywhere in the U. S. One
price to all cash or credit. No discount
for cash. Not one penny extra for credit.
Do not ask for a special cash discount.
V/e cannot offer any discount from these
sensational prices. No. C. O. D.

30 Days' Trial

Our guarantee protects you. If not
perfectly satisfied, return the article at our
expense within 30 days and get your
money back — also any freight you paid.
Could any offer be fairer ?

Send only $1.00 and we'll ship you this handsome 6-piece hbrary set. Only $1.00 down,
then $3.25 per month until you have paid only $35.90 in all. A positively staggering value, and one of
the biggest bargains ever offered. This magnificent library set is not shown in our regular catalog
because the value is so wonderful and the demand so great that there aren't enough to go around.
So clip the coupon below today, and send it to us vnth $1.00, and we will ship the entire six pieces,
subject to your approval. Have the set in your home for 30 days, then if you are not pleased, send it
back and we will return your money. No C. O. D. Sent knocked down to save you as much as half
the freight charges. Easy to set up. Shipping weight about 175 pounds. Order by No. B6196A. Send
$1.00 with coupon. $3.25 monthly. Price $35.90. No discount for a^h. No pieces sold separately.

Act No w- While this Special Offer Lasts

This wonderful 6-piece fumed solid oak library set is not shown in our regular
catalog for we are not able to obtain enough to supply the demand for such an

unusual value. When our limited supply is exhausted, we will be forced to ^ ««■•■■■■■■■■■■■■■•
withdraw the offer. First come, first served. Act quick. Send coupon now. > _ o o i_

y btraus ii. bchram

Depl.IS19. W.35thSl..Cluuio

Send the Coupon /A

M. ^* dayrt' tri

with only $1.00 today. Remember, this is a Special '* â– ^**' '"'"

Offer, not shown in our regular catalog, to acquaint new

customers with our wonderful bargains in furniture and V

household goods. Thousands will take advantage of this ^*

special offer, so we cannot tell how long we can con- -♦

tinue this rock-bottom sale, on such a rare furniture ♦

value. So act now, while this special offer lasts. ^ Name

Just $1.00 and the coupon brings this 6-Piece ^

Fumed Solid Oak Library Set, at once. ^ R.F.D.'or

Ship me your .'-pefial uJvi-rtiaed

"iece Fumed Oak Library .Suite.

[>3ed And $1.1X1. I ani to have 30

.' trial. If 1 ketsp the suite I will

pay yuu $r;.25 moDthly for the balariL-e

If not Rut ist)t.'d , I am to return the suite

lA-ithin ill) ilays and you art- to refund my

mornyand any freiKnt eharites I paid.

U S-Piccc Ubriry Set, No. B6196A. $35.90.

Straus & Schram Sp^isa ^chLTgf

Catalog Free

Ask for our Bip 228-pa?e Barfirain Catalofc, listinn thoosanda of

unoHuftJ bftfmiins in fumlturi- i'-wi-lry. carpi-Lf. tmK". ourt»ins, rtilverwari?,
talkifiir moohin.-s. stoveB, opwing raai-hlnes. washina machlni-B. bjiby cuTiuKCH,

lilrc'i'- wcarinif apparel. Si'tid the toupon today. The »UDe llbL^ra} ttrmH ;

in monthly payments no aQylhimt you (.â– htxiBe. .

|T Poet OMc>^ Staff

' II you only want cat«l*s put X In proper box b«law :

O Faraitare. StOTM sad Jcwelrr Z) McB'i,W«iBta'taadCbiIdrta'«ClatU«s

iSiiicty-fiVi')

The Fighting Earl

By
LILLIAN MAY

these days of mad scun-ying lo get any
place at a41 to live. Go out and cat? Of
couise not. Karl, (already present, coat
oft", hard at work), could go out and get the
makings of a meal. He could also cook it.
It wouldn't be the first time.

ICarl went. He came back laden with
bundles. We removed the baby's doll, a
bundle of clothing and the piano stool from
the dining table and, presently, we ate. We
had choiis, creamed peas, French fried po-
tatoes, alligator pear salad, fifty-seven varie-
ties of French pastry and cofTee fit for the
gods. Earl was some cook.

When we had finished. Earl washed the
dishes and arranged the cupboards. He
decided where the piano should stand and
moved it in place. He hung pictvires and
became deeply involved in restoring effi-
ciency to a dis-
abled group of
light fixtures. He
talked very little.
"Wont you
please talk?" I
said. "What kind
of interview is
this ?"

"What does
talking amount to
in times like
these ?" came back
{Continued on
page 99)

ilo t>>- Pnck.irJ Exctiansc,

OF all the interviewers ever staged, this one with Earl
Metcalfe was most unusual. Hearing of the im-
Ijtnding interview, a mutual friend invited me to
meet Mr. Metcalfe at dinner at her home. It would be
jolly and different, wouldn't

it? she said. It would, and
eventually, it was.

,\nticipalorily, I fared
forth on the appointed eve-
ning. M the home of our
mutual friend, I found that
she had moved that day to
the floor below. She had
always wanted that par-
ticular apartment and that
morning found she could
have it' She had salvaged
the elevator boy, the door-
man and, presto, change !

Dinner? Of course. But that was a

re detail. The point was, she h.ad

moved. It is an accomplishment in

Earl Metcalfe was born in
England and went back to
his birthplace as a com-
missioned officer of the
Fighting Sixty-ninth in
the recent world war. He
served with the American
Army for a year and was
then honorably dis-
charged. He has just be-
gun work on a seven-reel
feature which the Fox
Film Co. are producing

(Ninety-six)

MCiTlON PICTURE CLASSIC

My Theda Bara

{Continued from page 19)

iliaii, vvlio liad betrayed liis trust thru
rasli speculations auil investments, com-
uiittcd suicide, so that my sister and I
were left entirely in tlic charge of my
imcle, a very brilliant surgeon and a most
erratic man. Our e<hication was an un-
usual one according to his jjeculiar ideas
and my early recfillectinns are kaleidos-
copic, here, there, every vifherc — a series
of strange places, faces, schools and gov-
ernesses— and America. So much for niy-
self and the jnire French strain in Theda
1-iara which has been so often dis])uted.

Theda Bara's name is not Death and
Arab, spelled backwards, as someone has
ingeniously concocted nor was she
christened by the Fox Film organization.
.She was named originally Theodosia
Hurr after .Aaron liurr's lovely daughter,
the one really fine and splendid influence
in a brilliant but dissolute career. ]\[y
husband and myself were greatly im-
pressed by Theoilosia Burr's beautiful
but tragic life and .so we called one of
our daughters after her, with the hope
that she might emulate the character of
this very fine woman who met such an
undeserved and terrible fate. Theodosia
is a long, long name and she had many
pet names as a child, amongst others
Theda which you can see for yourself, is
a diminutive of The(o)dfosi)a. The
Bara is an old family name and now
you have the real e.xplanation of this so-
called mystery.

In most people there is a dual per-
sonality and I think always of an old
nursery jingle that you all are familiar
with when I think of my daughter Theda
— 1 believe it was especially written for
her, both as a child and a grown woman.

"There was a little girl and she had
a little curl right in the middle of her
forehead, and when she was good she
was very, very good and, when she was
bad, she was horrid."

At the age of three, .surprising as it may
.seem, Theda was a blonde of the fairest
type, with blonde ringlets covering a very
small head and two large violet eyes.
Every night her ])rayer was something
like this, "Please, dear God, make ine a
tall lady wif black hair and wif black
eyes and have a 'nana (banana) under
my pillow in the morning." Naturally,
1 was able to fulfil the latter half of this
jirayer and the first part of it seems also
to have reached its destination.

,\t this time we had a home in a suburb
called Walnut Hills — the house .was of
brick with a very large veranda and stood
rather high upon a hill.

One day I placed her upon the veranda
in a very big chair with a pretty pair of
new booties on — pink in color. "Her lit-
tle feet stuck straight out in front of her
and I left her, the dog on guard beside
her. gazing with enrajjtured concentt^-
tion and vanity at her new acquisitions,
in order that 1 might fini.sh dressing her
brother and then take both of them for a
little ride. T was gone for possibly fif-

m â„¢ wm m. m

and all within is snug and cozy despite the howling wind and drifting snow without—
when sparkling eyes reflect the firelight's glow, and the lilt of melody tingles through

of real companionship, when soul meets
I music opens the way. And

our veins — then do we know the sweet thr

soul on thar blessed plane of mutual understanding to whic

of all • ■ • ....

music, there is none so intimately, humanly appealing as the silvery voices of

^i&m.

GIBSON

instruments

ly. a UliJbOIN is more'than a mere instrument. It is a pal; an understanding
friend; comforting; cheering; always ready to sing our heart thoughts; evtpiisitr
in design; finish and tone — truly a GIBSON is a "joy forever."

We want to tell you about GIBSON instru-
ments, the most itiliiniiti-ty Innuniil of all
musical instruments. Because they bring self-
ptrfurnuil music within the reach of everyone,
whether the taste be for classic, popular or the
dashing "jazz" of the day — GIBSCJNS are
universally known as "ideal home and compan-
ion instruments." Easy to play, entirely satis-
fying in every respect, superb in workmanship,
finish and tone.

GIBSONS have played a part in liundreds of
ittle romances — confidential human histories
— about which we shall be glad to
tell you. Also the GIBSON
Book and free trial proposition
sent for the asking. These will
help you to become better ac-
quainted with the GIBSON
familw

Teacher Salesmen Wanted ;

Wonderful Field ;
Ask for Details. Write Us !

Gibson Mandolin-Guitar Co.

612 Parsons Sr.
Kalamazoo, Mich.

Tlif only rXilus'lVf miiitujaittirn s iij

Ingh-grttde fretted instruments.
Develnfiers of ManJoitn Ori /irifni.^.

Do You Have to Have Money

to Get Into the Movies?

OUR booklet, "Can I Get Into the Movies?" will tell you
exactly what is necessary to enter the Movies. It tells you
more,too — HOW to get in. .■ -__

Enclose ten cents with your name and | the nauonai. motion picture institute

11 J- ^- ^1 â–  ^^ J -I â–  1^5 Duffleld Slreel. Brooklyn, N. Y.

address distinctly written and mail as [

I -Liir^TT^AOT^J ! I'biLsP Sfinl nil- a ,r.,i,y vt your iMNiklft. "Who

early as possible! rLhAhh do not ' ;â– "â